• Actual Romances #1 Actual Romances #2

    Best Love #33 Best Love #34 Best Love #35 Best Love #36

    Cupid #1 Cupid #2

    Faithful #1 Faithful #2

    Love Classics #1 Love Classics #2

    Love Dramas #1 Love Dramas #2

    Love Secrets #1 Love Secrets #2

    Loveland #1 Loveland #2

    Molly Manton's Romances #1 Molly Manton's Romances #2 Romantic Affairs #3

    My Love #1 My Love #2 My Love #3 My Love #4

    Romance Diary #1 Romance Diary #2

    Romances Tales #7 Romances Tales #8 Romances Tales #9

    True Life Tales #1 True Life Tales #2

    Young Hearts #1 Young Hearts #2

Click on each image to view larger
1 2  
33 34 35
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2 3
1 2 3
1 2  
7 8 9
1(8) 2  
1 2  

Comics missing:

Free web hostingWeb hosting

Actual Romances #1-2 (Oct 1949 - Jan. 1950)

Best Love #33-36 (Ago. 1949 - Abr. 1950) continued from Sub-Mariner Comics.

Cupid #1-2 (Dec. 1949 - Mar. 1950)

Faithful #1-2 (Nov. 1949 – Feb. 1950)

Love Classics #1-2 (Nov. 1949 - Feb. 1950)

Love Dramas #1-2 (Oct. 1949 - Jan. 1950)

Love Secrets #1-2 (Oct. 1949 - Jan. 1950)

Loveland #1-2 (Nov. 1949 - Feb. 1950)

Molly Manton's Romances #1-2 (Sep. 1949 - Dec. 1949)

Romantic Affairs #3 (Mar. 1950)

My Love #1-4 (July 1949 - Apr. 1950)

Romance Diary #1-2 (Dec. 1949 - Mar. 1950)

Romance Tales #7-9 (Oct. 1949 - Apr. 1950)

True Life Tales #8(1)-2 (Oct. 1949- Jan. 1950) continued from ¿magazine?

Young Hearts #1-2 (Nov. 1949 – Feb. 1950)


Romantic Affairs #3Romance comics.

American romance comics had their origin in the years immediately following World War II when hip comics readers found crime-busting superheroes in tights and trunks a thing of the past. Adult comics readership had grown during the war years and returning servicemen wanted sex, violence, and humor in their comics. The genre took its immediate inspiration from the romance pulps, confession magazines such as True Story, radio soap operas, and newspaper comic strips that focused on love, domestic strife, and heartache, such as Rex Morgan, M.D. and Mary Worth.

Aside from the one-time publication of Mary Worth comic-strip reprints, romance as a comic-book genre was the brainchild of Joe Simon and Jack Kirby, two comics artists known for their superheroes, such as Captain America, and their kid gangs, such as the Young Allies. Simon was serving in the United States Coast Guard when he got the idea for romance comics: "I noticed there were so many adults, the officers and men, the people in the town, reading kid comic books. I felt sure there should be an adult comic book." Simon developed the idea with sample covers and title pages and called his production Young Romance, the "Adult Comic Book". Simon later noted he chose the love genre because "it was about the only thing that hadn't been done."

After the service, Simon teamed-up with his former partner Jack Kirby, and the two developed a first-issue mock-up of Young Romance. Bill Draut and other artists participated, with Simon and Kirby producing the scripts because "we couldn't afford writers." Rather than the dramatic comic strips, Simon took his inspiration from the darker-toned confession magazines such as True Story from Macfadden Publications.

The finished book was delivered to Crestwood general manager Maurice Rosenfeld. Crestwood owners Mike Bleir and Teddy Epstein were enthusiastic and worked out a 50% arrangement with the creators. Profit sharing was unusual at the time, and Kirby later noted he and his partner were, in fact, the first to receive percentages.

The first issue of Young Romance was cover-dated September-October 1947, and beneath the title bore the tagline "Designed For The More ADULT Readers of Comics". The title sold 92% of its print run. With the third issue, Crestwood increased the print run to triple the initial number of copies.Circulation jumped to 1,000,000 copies s month. Initially published bimonthly, Young Romance quickly became a monthly and generated the spin-off, Young Love — together the two sold two million copies a month. Kirby noted the books "made millions." The two titles were later joined by Young Brides and In Love, the latter "featuring full-length romance stories".Young Romance #1

Timely/Marvel brought the second romance title to newsstands with My Romance in August 1948, and Fox Feature Syndicate released the third title, My Life, in September 1948. Fawcett Publications followed with Sweethearts (the first monthly title) in October 1948. By 1950, more than 150 romance titles were on the newsstands from Quality Comics, Avon, Lev Gleason Publications, and DC Comics. Fox Feature Syndicate published over two dozen love comics with 17 featuring "My" in the title—My Desire, My Secret, My Secret Affair, et al.

Artists working romance comics during the period included Matt Baker, Frank Frazetta, Everett Kinstler, Jay Scott Pike, John Romita, Sr., Leonard Starr, Alex Toth, and Wally Wood. Marie Severin once was given the job at Marvel of updating the clothing from old 1960s romance comic stories for publication in the 1970s.

Romance comics did impressively well commercially, but negatively impacted the sales of superhero comics and confession magazines. True Story admitted their sales were being hurt by the upstart romance comics. In the August 22, 1949 issue of Time, a report indicated that love comics were "outselling all others, even the blood and thunder variety ... For pulp magazines the moral was even clearer: no matter how low their standards for fiction, the comics could find lower ones."

By 1954, parents, school teachers, clergymen, and others taking an interest in the welfare of children, believed comic books were a significant contributor to the epidemic of juvenile delinquency sweeping America. While romance comics did not bear the contempt and scrutiny heaped upon crime comics and horror comics, the genre did provoke comment from child specialist, Dr. Frederic Wertham. In his book, Seduction of the Innocent, Wertham deplored not only the "mushiness" of the romance comics, but their "social hypocrisy", "false sentiments", "cheapness", and "titillation". He claimed the genre gave female readers a false image of love and feelings of physical inferiority.True Life Tales #2

Following the implementation of the Comics Code in 1954, publishers of romance comics self-censored the content of their publications, making the stories bland and innocent with the emphasis on traditional patriarchal concepts of women's behavior, gender roles, domesticity, and marriage. When the sexual revolution questioned the values promoted in romance comics, along with the decline in comics in general, romance comics began their slow fade. DC Comics, Marvel Comics and Charlton Comics carried a few romance titles into the middle 1970s, but the genre never regained the level of popularity it once enjoyed. The heyday of romance comics came to an end with the last issues of Young Romance and Young Love in the middle 1970s.

Charlton and DC artist and editor Dick Giordano stated in 2005: "[G]irls simply outgrew romance comics ... [The content was] too tame for the more sophisticated, sexually liberated, women's libbers [who] were able to see nudity, strong sexual content, and life the way it really was in other media. Hand holding and pining after the cute boy on the football team just didn't do it anymore and the Comics Code wouldn't pass anything that truly resembled real-life relationships."

Decades later, romance-themed comics made a modest resurgence with Arrow Publications' "My Romance Stories", Dark Horse Comics' manga-style adaptations of Harlequin novels, and long-running serials such as Strangers in Paradise — described by one reviewer as an attempt "to single-handedly update an entire genre with a new, skewed look at relationships and friendships.

From Wikipedia, the free encyclopedia.

Romance Tales #8