>>53613479 This belongs on /co/, but the usual explanation is something as follows.
Between the early 1900s and the 1960s or so (which are the Golden and Silver ages of American comics), comic books were extremely varied. Of course Superman and Batman were already around and popular, but you also had romance comics, sci-fi comics, PSA comics, historical comics and about as much variation as in today's Franco-Belgian comics and manga. I'm not entirely current on what happened so maybe an American anon can elaborate, but somewhere around the 60s someone made a parody comic about how Batman and Robin might be gay for eachother (which since became a running gag) which caused uproar in America. Marvel and D.C. of course pushed this shit to the foreground and made a lawsuit out of it, which resulted in Byzantine legislation which ment that in the end only Superhero comics about good, wholesome, all-American superheroes could be produced. That legislation was revoked a long time ago, but in part due to that legislation Marvel and D.C. were able to gain such a position of dominance on the American market that they (and their capeshit comics) were the only ones that mattered.
This is why almost only superhero comics are produced in America. You either have wholesome American heroes, dark and angsty anti-heroes (these have become somewhat the norm since the 90s) and even the "deep" and "intellectual" comics are just character deconstructions of capeshit heroes.
If you want to get your fix of non-capeshit comics you need to resort to Franco-Belgian comics, manga or independent webcomics. No wonder that the manga boom didn't really start in America until the late 90s and early 2000s: that's the era when American capeshit reached its low by, as I mentioned earlier, making angsty anti-heroes the norm. Not sure how popular Asterix and the like are in America so I can't comment on that.
>>53614988 As if Hungary has produced anything worth reading in the last decades.
>>53615943 Oh, a little addendum: Marvel and D.C. not only dominate the American market, but also operate almost exclusively on brand names. Early in their existence, both companies produced a slew of new heroes and comics. Now this happens very rarely and the companies mostly focus on reboots, retcons, retellings, alternate universes, parallel dimensions etc. etc. Because why create a new comic you won't know for sure will sell or not when you can sell the Superman fanboys the same comic 50 times?
>>53621964 My dad and uncles pretty much *only* watch moe, as far as anime is concerned, these days. After having been into Gundam, LoGH and such when younger. I don't know that many other people in their 40s well enough, but I would disagree.
>>53622245 That's a trend I noticed too: - as kids, we contemptuously refused to even glance at stuff like Candy Candy because it was girly - as teens, we would watch a bit of Cutey Honey or Magical Emi, but only for the pantyshots - as young adults, we would still do the same with Sailor Moon, but consequently get entrapped in the moe - further on, we got even more into moe with Card Captor Sakura or Bincho-tan - Nowadays as grandfathers, we downright dote on stuff like Gochuumon or Girls und Panzer, just like we dote on our grandchildren.
Makes sense too, boys look for role models (so manly men), but when they're grown up they're more into raising their kids.
glad I am not the only one finding it to be the cringiest thing imaginable I mean men in embarrassing clothes killing totally-not-nazis (tm) with superpowers or clear cut/black and white "bad guys"? really? isnt this what 9 year olds do with their toy soldiers?
I honestly cant understand how can anyone 15+ years old be into that
It is literally the same fucking thing as mythological characters from European cultures, which are usually just as ridiculous, stupid, and over the top when you analyse them. The difference is that your ridiculous mythology is older so you pass it off as "culture". Get off your fucking high horse.
>>53623986 OP never said that, he wonders why they're so obsessed about it, to the point where it's pretty much the only thing Americans write comics about. The Franco-Belgian and Japanese markets are far more varied by comparison, despite themselves possessing some superpowered individuals who have a lot in common with American capeshit. In Nipland battle shonen are probably the equivalent of capeshit, yet while they're the largest share of the market they don't dominate the industry as much as capeshit does in America. There's still a plethora of romance, psychological, horror, comedical, girl-oriented, pornogrpahic and even cooking manga.
>>53623712 >Why is France so perfect? Actually, in this instance it was more of a case of blind luck. After a few semi-succesful attempts with "kiddy" anime in the early 70s, a public TV channel decided to try "UFO Robot Grendizer" (a super robot show), mainly because it was very cheap. The person responsible for choosing programs for the youth objected because of the violence, but one of her underlings cleverly escalated to the boss, who greenlighted it. It was a tremendous success, some even claim it reached 100% audience ratings (meaning every single French TV that was turned on was showing Grendizer). They tried to reproduced that success with an anime targeted at girls, and picked Candy Candy, and it worked extremely well too.
After that, French public TV decided to coproduce anime (French stories and actors plus Japanese animation) which gave us stuff like Cities of Gold and Ulysses 31 (based on European history and mythology), and the rest is history.
Later generations had Saint Seiya, then DBZ and so on, but basically anime hit everyone hard in their youth, and many still watch it as adults (though no longer the same kinds of shows). Alternatively, some no longer watch anime as adults, but were hit by a the usual nostalgia wave in their 30s, so DVD of old anime made a killing with these people.
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