Are There Actually Enough All-Ages Comics? – My Week in Comics September 12–18


This week: Maybe all-ages and kids’ comics comics are doing okay without my fretting, a podcast you should be listening to, and What I Read.


A FUNNY THING that’s happened since I’ve worked in comics (the beginning of this month marked my second anniversary at Dark Horse) is that I’ve developed a passion for all-ages and kids’ comics, both as something I enjoy reading and something that I wish everyone were publishing more of (there is an argument that “all ages” is a meaningless term, and this piece prefers “family entertainment,” but to be honest I don’t see a meaningful distinction between their term and what I think people mean by “all ages”). I’m not sure if my growing taste for the material developed out of a feeling that to expand the industry we need to grow comics readers from a young age, my internship with Top Shelf and its great all-ages line and later assistant job on books like Stan Sakai’s Usagi Yojimbo and Larry Marder’s Beanworld, or some other source. I’ve long been a fan of series like Usagi, Jeff Smith’s Bone, Andi Watson’s Skeleton Key, and Jay Stephens’s Jet Cat and related titles, but it’s only in the last year or so that I’ve started to feel more evangelical on the issue.

And that evangelism? Pretty quickly hits any number of walls. The fact is that no matter how I try to justify their necessity, these books don’t really sell, at least not in the comics market. And maybe not really so much in the book market, which we have been told really want all-ages and kids’ books, but licensed ones. And, champion second-guesser that I am, I’ve started to wonder if maybe publishing really good all-ages and kids’ comics just simply won’t do the trick, if maybe the world really doesn’t want them in the numbers I’ve convinced myself they do. And I realize, when I think back, that my own history doesn’t dispute that. I didn’t get into comics through designated all-ages or kids’ comics (though the Batman comics of the mid-’90s were fairly innocuous), and the all-ages comics I listed above were all things I got into in high school.

Detour into the secret origin of Brendan’s comics habit:

When I was a kid, I was aware of comics, I just knew they were for idiots. Then—and I don’t know how this happened in a rural area and without friends that read comics—in 1993 or ’94 my younger brother got into the X-Men comics of the day. He was eight or nine, I was ten or eleven. He also, before too long, started reading the not-aimed-at-kids Spawn. Me, I was just along for the ride on the stops at the comics shop after we were picked up from school.

Eventually, just from being in the store every week, I picked up some comics myself. I don’t remember why exactly. I was bored in the store, and I liked the recent Batman movies, so I bought a Batman comic, and deciding that Superman was a logical companion, I picked up one of his as well. The actual issues were Detective Comics Annual #5, probably because it had Batman and the Joker on the cover, and Adventures of Superman #0, since the number and “Beginning of Tomorrow” tagline implied to me that it was a place to begin. Both turned out to be middle chapters of crossovers and were in retrospect no good at all. Why I didn’t decide I was exactly right about comics and never buy any more is beyond me.

Instead, on my next trip to the store, I signed up for a pull list with Batman and Superman on it, though discovering that each character actually had several titles and I couldn’t afford both, I quickly switched to the four Batman series of the day, Batman, Detective Comics, Legends of the Dark Knight, and Shadow of the Bat. The only one I didn’t subscribe to was Batman Adventures, the most kid-friendly one. Even at the earliest stage of the hobby, I recognized that the four I had chosen looked similar and interacted with each other. Adventures didn’t “count,” and besides, it was for kids. Just like my brother read Spawn, I was uninterested in the Batman comic aimed at kids (though its greater rigidness of design, following the cartoon, may have been an unconscious factor as well—more below). That’s one thing about about kids: what they really want is the thing that seems aimed older.

It was years later that I would discover Bone and then Usagi and then other “all-ages” comics. I later came to appreciate certain elements of the Batman Adventures aesthetic and a few of the writers and artists that worked on it over the years, but I’ve never been a regular reader of it or any other kids’ version of the superhero characters I have followed, though I did love Supergirl: Cosmic Adventures in the Eight Grade and pick up Tiny Titans whenever it shows up at work.

And we’re back!

So it’s hard for me to know what comics will truly appeal to kids, since I didn’t start reading comics until I was 11 (still a kid, sure, but definitely later than many comics fans, a lot of whom were well on their way to their first loss of interest in comics just as I was really getting into it), never read the kids’ versions of superhero comics until recent years, and discovered the many wonderful independent all-ages comics as a teenager. Looking at my own tastes, my instinct is that original comics that are of their time are what kids want. My first all-ages comics are all properties created within my lifetime. All are original and creator-owned, none a licensed version of a movie or TV show, but that is probably a function of my coming to them later, and some of them being recommended by students at the arts high school I was attending at the time. I begin to think my experience is unusual, and I realize that I need to do a lot more thinking on this issue.

I do maintain that the ideas in kids’ and all-ages comics should be modern. The bookstores want licensed material because it’s the parents actually buying the comics, but they probably prefer material licensed from contemporary sources, since that will be more attractive to actual kids. Either way, parents may not have time to sit down and evaluate books or comics for their kids themselves. Instead, they count on the brand name of the book to tell them what they need to know. Either it’s familiar from a movie or TV show that their kids love or it’s something they themselves loved as a kid. Kids’ versions of superhero comics are most likely aimed at comics-loving parents who read those characters as kids, while those comics licensed from more contemporary kids’ entertainment will at least be familiar to parents, even if they don’t push the same nostalgic buttons. And why should they? It’s selfish to think our children should read the same things we read as kids.

The one superhero exception for me has been the Johnny DC era of DC kids’ comics, which I’m sad to see mostly ending. It looks like soon Tiny Titans will be the only one left not connected to a TV show. What Tiny Titans, Supergirl: Cosmic Adventures in the Eighth Grade and Billy Batson and the Magic of Shazam have in common is that, rather than following the design and tone of DC cartoons, they were created by individual cartoonists or teams and are a product of those cartoonists’ unique styles. Anyone who’s seen Art Baltazar and Franco’s or Landry Walker and Eric Jones’s creator-owned comics can tell that they were hired by DC to bring their sensibilities to the kids’ line rather than for their ability to write and draw in the style of an existing cartoon. Having read several of Baltazar and Franco’s comics in particular, it looks like their mandate in creating Tiny Titans must have basically been, “Do what you’re already doing, just with our characters.” It’s certainly impossible to imagine the series continuing if Baltazar and Franco were to move on. (Disclosure: I had the pleasure of working with Baltazar on a couple of stories for MySpace Dark Horse Presents.)

Maybe this is something that just looks like a problem from the point of view of a direct-market-focused indie comics fan. If bookstores are selling licensed kids’ and all-ages books and kids are liking them, maybe everything’s fine. And Bone, naturally, is the big exception, having been a huge success in bookstores. Maybe that’s a gateway drug, and kids can discover 2020’s equivalent of Skeleton Key when they’re a little older, so long as comics shops don’t scare them away.

So why is this obsessing me? Am I the same as the parent who complains that superhero comics aren’t appropriate for children because they want their kids to read the same thing that they used to read? Am I just pushing these comics because they’re the sort of things I enjoy today, when I should be researching what kids love right now and figuring out how to make great comics out of that? Is that the more sincere approach to making kids love comics? Because that’s supposed to be the idea, right? Not just trying to make kids like the same artists I like, but introducing them to comics.


On a more positive note, I have been getting a real kick out of the Aw Yeah Podcast with Art & Franco. Art Baltazar and Franco Aureliani are the guys behind my favorite of the current crop of superhero comics aimed at kids. They are the creators of DC’s Tiny Titans and the current writers of Billy Batson and the Magic of Shazam and the upcoming Young Justice, as well as the creators of original kids’ comics Patrick the Wolf Boy, Grimm Reaper, Jack & Jack and many others.

Baltazar and Aureliani are very funny guys who make great comics and put together a pretty hilarious podcast. There are five episodes to date, which are available to download at

They also have a nice interview where they lay out their approach to all-ages comics at CBR.

And I’d like to give a shout-out to another all-ages comic that I have really liked recently, the comedy Western Reed Gunther by Shane and Chris Houghton. Check it out!


  • Dominic Fortune: It Can Happen Here and Now by Howard Chaykin
    Chaykin being Chaykin: lots of sex and liberalism and Jewishness. Count me in. The main story is pretty raucous between its old-Hollywood debauchery and fascist-rebellion-busting action. This book is also a great bargain, including the four-issue series, but also the six-part story that was serialized online and two of Chaykin’s original Fortune stories. The online story, written by Dean Motter, is a light mystery that takes Fortune to the 1930s versions of Latveria and Wakanda, and features encounters with the man who will become the Red Skull. Silly, but fun.

  • Dr. Horrible and Other Horrible Stories by Zack Whedon, Eric Canete, Farel Dalrymple, Jim Rugg, Joëlle Jones & Scott Hepburn
  • Fogtown by Andersen Gabrych & Brad Rader
    This is the first of the Vertigo Crime hardbacks I’ve read. I was impressed by certain elements, particularly the unblinking approach to sexuality, but overall the plot doesn’t have a lot of energy to it, the standard device of the detective’s two cases intersecting is introduced in a limp, predictable way, and most of the twists arriving courtesy of characters appearing out of nowhere to change the game. I did like the chunky grittiness of the art by Brad Rader, whose work I’ve previously been exposed to mainly through the Batman Adventures comic, and I loved how the crappy paper added to the pulp flavor. This didn’t quite do it for me, but neither did it scare me off from the Vertigo Crime line.
  • The Incredible Hercules: The Mighty Thorcules by Greg Pak, Fred Van Lente, Reilly Brown & Rodney Buchemi (library)
    Without my really noticing, this has become my favorite current Marvel comic, appealing to both the Greek mythology nerd I was as a kid, and my current taste in superhero comics (smart but not self-serious is apparently a lot to ask). This volume collects two concurrent story arcs featuring the two main characters, both of which are great reads, and both of which actually have consistent art teams all the way through. My understanding is that these issues were originally released bi-weekly, with the two stories alternating. I think I’d have preferred the stories be separated for the collection, but that’s my only real complaint. Herc’s story sees him manipulated into impersonating Thor, and culminates in the Mighty Thorcules battling the Incredible Hercuthor. It’s very funny, with great character comedy at the expense of each god. Amadeus’s story is played straight, but still fits in some pretty wacky ideas, and ultimately has more import for the ongoing story. Really looking forward to what’s next.
  • Joe the Barbarian #1–#7 by Grant Morrison & Sean Murphy
    Like so many things, this reads a lot better in a chunk. The first issue may seem slow taken alone, but the leisurely trip we take through Joe’s house is actually incredibly important, as it establishes the geography that will be so crucial throughout the rest of the series. I was mostly in it for the art when I read this monthly, but the story also has a lot more resonance when read together. The arc of Joe’s quest is much clearer and the stakes seem a lot higher. This is good comics. Despite being from Vertigo, I’d say it’s also a pretty good all-ages comics. Attention DC: If you want an almost certain positive review of the hardcover, I’m probably not a bad person to send one to.
  • The Kurosagi Corpse Delivery Service vol. 11 by Eiji Otsuka & Housui Yamazaki
  • Marvel Two-in-One #44 (from Essential Marvel Two-in-One vol. 2) by Marv Wolfman, Bob Hall & Frank Giacoia
    Curious about the old-timey Marvel version of Hercules, I discovered that this was his only appearance that I owned. In at least this instance, he’s a much more serious, straightforward hero and talks like Thor with the “doth”s and “thou”s. The story is entertaining if unremarkable, with an inexplicable framing sequence in which the story is being told by the Thing to some unruly kids at camp. Flipping through the book, it doesn’t look like any of the other one- and two-issue team-ups have a framing sequence, so I don’t know what it is about this one. Maybe the inclusion of a mythic hero from ancient Greece made a nod to the oral tradition seem appropriate. I dunno, I tend to feel like framing sequences almost never add anything to a story.
  • Usagi Yojimbo #131 by Stan Sakai

Images of Skeleton Key © Andi Watson. Images of The Aw Yeah Podcast © Blindwolf Studios, Electric Milk Creations and Shakey Productions. Images of Joe the Barbarian © Grant Morrison and DC Comics.


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12 Responses to “Are There Actually Enough All-Ages Comics? – My Week in Comics September 12–18”

  1. Are There Actually Enough All-Ages Comics? – My Week in Comics … | Batman Says:

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  2. Kat Kan Says:

    Please don’t discount the importance of schools and public libraries as markets for all ages comics. I’ve been a public librarian, am currently a school librarian. I have always pushed to get good quality comics suitable for younger readers into libraries and schools. The interest is there, and I can tell you that my students love comics. Their favorite titles now are the Bone series and Yotsuba&!, a cute manga series. They read lots of others, too – whatever I get into the collection gets read.

    • Brendan Wright Says:

      Definitely. That’s where I’m leaning now, that I’ve probably been looking at this from a too comics-shop-centric point of view. My library system is really wonderful about comics (it’s kind of funny I forgot to mention it after writing about comics from libraries a few weeks ago),so thanks for mentioning that. Also, I love Yotsuba&! and am glad it’s connecting with kids.

  3. Landry Walker Says:

    An interesting aspect of the all-ages comics topic that most people miss is the Disney Adventures era. The magazine that Eric Jones, Art Baltazar and I all used to call home.

    Around the time that editor Steve Behling took over the comics section, the magazine started commissioning original, creator owned material (they may have done so earlier, but this is when I became involved). They also started advertising the word “comic zone” on the cover. When they did this, sales spiked. Subsequently, it wasn’t long before they added a separate “Comic Zone” quarterly magazine. Disney Adventures sold in numbers that make the highest selling comic of any month look laughable. The material inside was a combination of licensed and original work and the name Disney meant that parents knew they could trust giving it to their kids. Usually. We got a couple of complaints, but those were rare.

    The genius of the magazine was that it synthesized all aspects of the argument. It had recognizable icons to lure the kids in, and new material to make them stay interested and a brand parents could trust. Sadly, since the magazine folded in 2007, nothing has come close to filling the void.

  4. Christopher Says:

    Also, Bone appeared for at least a brief time in Disney Adventures, which is where I first saw it.

    Although I really wonder if the gateway drug theory is any more true for comics then it is for drugs. When I was a very small child, my father and I would read Tintin comics together at night before I went to bed. He’d do some of the voices and I’d do others. Fun times, but I didn’t get into comics because of it; Tintin was a book, not a comic. If I wanted more I’d go to the library, or maybe a book store.

    And of course, I loved newspaper strips like Calvin & Hobbes and Dilbert, and if somebody had turned me on to Pogo or Little Nemo, I’d have been entranced by those too. But again, that was stuff you found in the library or at a used book store. It had no relationship to Spider-Man and Batman.

    I don’t remember how I got into comics as a hobby, but I’m sure it had nothing to do with those newspaper comics and Tintin books I read as a little kid. And on the other hand, I’m pretty sure that even if I had never heard of Scott McCloud and the Comics Journal, I’d still love reading my old Tintin and Far Side collections.

  5. Landry Walker Says:

    I didn’t mention Bone because it, as awesome as it was that it appeared in the magazine, was reprints rather than original material. At least, that’s my understanding. I wasn’t involved professionally with the magazine at the time and was not in the demographic likely to read it.

    I don’t really believe in the gateway comics theory. Or more to the point, I don’t think it’s as important as kids just reading comics. Whatever form those comics are in. It’s great if they do make that leap to more mature works, but first and foremost, my interest with producing comics that kids can read is to get kids to read.

    That said, at the age of four I was entranced with reruns of the Adam West Batman series. I quickly identified the characters from the show with the comics on a spinner rack, though the late-1970’s Batman wasn’t immediately interesting to me. However, I explored all the other comics on the spinner rack. Most notably the Harvey Comics stuff. Eventually as I outgrew Harvey I drifted back Batman and superheroes in general.

    But you could find comics anywhere back then. And even the superhero books were typically suitable for readers of all-ages. Accessibility cannot be overstated. The reason I cited Disney Adventures is because it shows that kids gravitate towards material aimed at them with higher numbers if that material contains comics. About a 25% sales increase if I remember correctly.

    Imagine the success of a DC Presents magazine at the check out stand or a Marvel equivalent? Of course, then imagine the difficulty when a parent picks up a stack of the regular, modern superhero titles for their 6 year old.

    • Brendan Wright Says:

      Count me as one of the people who unfortunately doesn’t think of Disney Adventures. I know I’ve heard it come up in conversations like this one before, but I can’t remember ever seeing a copy. I was even surprised yesterday to learn it was digest-sized; I guess I assumed it was magazine format. Was it a grocery store checkout thing?

      I’m really glad it came up, though, and really interested to hear about the sales increasing when an issue would advertise the comics inside. So many people are worried about how to make kids read comics, and something like that is a reminder that you don’t have to make them. They want to read comics, it’s just up to us to bring comics to them rather than expect them to come to us.

      The whole “gateway drug” thing is something I’ve really turned around on in recent years. It actually seems sort of absurd the way that as comics people we’ll discuss comics in those terms, as if the purpose of comics is to create addicts. No other entertainment business works that way. The film industry certainly doesn’t cater to 100,000 addicts while ignoring the billions of casual film-goers. What’s hurting the comics business isn’t too few addicts, it’s too few casual readers.

      The other part of the gateway mentality I find interesting is that success is measured not by how many kids become comics readers and then either pick up comics at the library or read things like Disney Adventures or Diary of a Wimpy Kid, but by how many of them start going to comics stores. Comics stores, as much as I enjoy them, aren’t really about comics, they’re about a particular culture, and a particular way of buying, thinking about, and discussing comics, and that is generally the addict way, the Wednesday crowd, whether for superheroes or indie comics. Even the boutique or bookstore-model comics shops presuppose that you are shopping for comics, and here’s where you come to get them. But people buy books at grocery stores and airports, not just bookstores. Comics can’t be casual purchases if you have to look for them to find them.

      The reason the post I wrote doesn’t entirely hang together is that just sitting down to think about this stuff evolved my opinions. I started to write thinking, “There need to be a lot more of the kinds of all-ages comics I liked as a teenager,” and sort of ended up at, “The point is that kids read, I’d like them to read comics, and what matters is that stuff they like comes to them rather than I try to get them to come to stuff I like.” I’d rather have millions of casual fans than a few thousand addicts.

      • Landry Walker Says:

        Sorry. Missed your reply until now. I’m just glad you’re initiating this kind of dialog. It’s important and under-discussed. And really, the initial article was great. Helped me crystallize some of my own thoughts on the topic.

        Yeah, Disney Adventures was digest sized grocery store distributed. Though I think that a larger part of their sales was subscription based. The built in brand name goes along way.

        As you say, it’s up to us to bring the comics to the audience. The audience is there. Even in this modern era of electronic distractions, kids do still like to read and parents feel good buying them something to read.

        Something you said reminded me of an exchange during a panel a few years back. It was a panel about getting kids to read comics – I stated that the old question of getting girls to read comics was answered, and now we needed to figure out how to get boys back. Someone in the crowd objected. “These girls aren’t reading comics”, they said. “They’re reading manga!”.

        So they’re reading comics, but now we’re supposed to tell girls they’re reading the WRONG comics?

        The manga bubble has burst a bit, but the point remains. Comics have always evolved. Forcing them to remain in one distinct form out of nostalgia only leads to an aging fan base.

  6. steve Says:

    I only bought one issue of Disney Adventure in my life, the one which Sergio Aragones (and the rest of the Groo Crew) contributed a short “George of the Jungle” story to.

    I never saw the Disney Adventures magazine as a kid, probably wasn’t around back then, but I did read the occassional Disney comic when I was young. I also read the occassional Gold Key and Harvey comic.

    But, like Brendan, I was definitely drawn to more mature comics (nothing like what “mature” means in todays comic market) when I had my choice of what to buy. I can’t remember ever buying any kids comics as a kid, I always read them while over at a friend’s house.

    I was living on a small farm in the late 60’s and early 70’s when I was in elementary school, Westerns were still popular on both TV and in comics and I was a big follower of the adventures of characters like the Rawhide Kid and Kid Colt Outlaw.

    Today, my favorite comics is Usagi Yojimbo, which shares a lot of similarities with those Western comics I used to love as a kid, both chronicling the adventures of the honorable drifter as they travel the country-side helping those in need and sticking their noses in where they knows they shouldn’t….

    Did the comics I read as a kid influence my taste incomics later in life, or have I always had a part of my personality which is attracted to specific types of characters and stories?

  7. Shane Houghton Says:

    I wanted to peek my head into this convo to say thanks for the Reed Gunther shout-out Brendan!

    My brother and I loved, loved, LOVED Disney Adventures! We had a steady diet of all sorts of great all-ages titles for our brains to munch on like Uncle Scrooge, the Harvey comics (I liked Casper and Spooky the best), some Looney Tunes and I even remember getting into the (probably short-lived) Incredible Crash Test Dummies comic book.

    All the kid’s comics stuff I was reading growing up was extremely adventurous. Maybe because I was an amped up little boy, but I loved the Saturday morning adventures of Tail Spin, Chip and Dale’s Rescue Rangers, and Batman: The Animated Series. Maybe because I was growing up on that, I was looking for the same in my comic books.

    Landry, you’re a lucky fella to have been working on Disney Adventures and I know I’m definitely appreciative for all your amazing work!

    Thanks for letting me shove in my two-cents everyone!

  8. Landry Walker Says:


    Very lucky. It was a great magazine and seriously met some of the nicest people I know through that job.

    Also: The Reed Gunther stuff looks great. I don’t know what the context is for that sequence on pages 28 through 31, but the storytelling is just fantastic. Looking forward to picking it up.

  9. neil Segura Says:

    I recently started an all ages comic not realizing how rare they are. Most of the people we sell to seem relived to get a break from juiced up superheros, T&A and the undead. They are happy to read something simple and fun that makes them smile. All I am trying to do is create a comic I would want to read, and I like to be entertained, not scared out of my mind or have to think too much (but thats just me).

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