In this transition from character to commodity, comics became partially removed from an aesthetic appreciation of the art to a lucrative business asset.
Within the eighteen to thirty-four age group, almost three times as many people read comics, as did those of an older age.
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There are further aspects of possible comparison between the two comics.
The emphasis was on opera singers, but well-known comics and revue artists were also used regularly.
Several guerrillas, wreathed in cartridge bandoliers, were reading comics near an empty café where an old man was picking crumbs of bread off a table.
An aspect of popular culture that is not found much in the industrialised world, comics are read by all levels of society and all age-groups.
Could comics be used as a vehicle to present science attractively once again?
Several common themes run through the treatment of science by comics in the 1950s.
As well as newspapers, and for those whose literacy level is not up to the language of a newspaper, comics for adults are widely available.
Even during the heyday of the comics, certain science fiction stories were raising the question about the misuse of science.
The model is based on the semiotic square already employed in the analysis of various semantic micro-universes (novels, comics, advertising, visual arts, music, etc).
Then two aspects of the comics are more closely examined, namely their dramaturgical structure and the properties of their characters.
Each of the themes incorporates comparable materials: stories to be read aloud by the teacher, audiocassettes with stories, word cards, murals, and comics of the stories.
Indeed, a high level of political content was a distinctive feature of the magazine, which was particularly significant since it was usually assumed that comics were targeted at youth.
Above: comics keeping the audience involved by playing out front.
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