- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- In Box: Rethinking Text in the Digital Age
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- I’m Not a Kid; I’m a Shark!: Identity Fluidity in Noelle Stevenson’s Young-Adult Graphic Novels
- The Cartoon on the Comics Page: A Phenomenology
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Radical Graphics: Australian Second-Phase Comics
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Self-Regulation and Self-Censorship: Comics Creators in Czechoslovakia and Communist Eastern Bloc
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- Animals in Graphic Narrative
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Drawing, Redrawing, and Undrawing
Abstract and Keywords
This chapter outlines a new critical perspective on the creative and commercial synergy between comic books, toys, and broadcast media/film from 1970 to 2010. Applying a variety of critical methodologies, it surveys early cross-marketing of comic-book properties via toys, dolls, and action figures before 1980, then examines the 1980s and 1990s as a watershed moment when comic-book continuities and animated television series were developed in tandem to support toy sales. The resulting interdependence of comics, toys, and animated series as well as the development of comics packaged with toys transformed the signifying potential of more wide-ranging media narratives. The chapter concludes with a discussion of custom, “retro,” and event-specific “exclusive” iterations of comics and action figures within mediatized networks of mythology, memory, and nostalgia post-2000.
CUNY Start, Queensborough Community College
Department of English, St. Louis Community College at Forest Park
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