A Comedy of Comic Book Industry Errors

Written by Dave Gieber


Although lacking in popularity for years,repparttar mid-50s through early 60s brought back a resurgence ofrepparttar 116008 superheroes. This in itself was not bad, especially since I like superheroes. But asrepparttar 116009 publishers wanted to cash in on this rebirth, all other genres withinrepparttar 116010 comic book industry started to fade. The romance comics,repparttar 116011 westerns,repparttar 116012 hard-boiled detectives,repparttar 116013 war comics and science fiction comics all started to pass byrepparttar 116014 wayside. The superhero was being driven byrepparttar 116015 market forces, which became to exist inrepparttar 116016 US comic book industry. Suppliers and consumers alike developed an obsessive preoccupation with superheroes, which ultimately became a detriment torepparttar 116017 medium as a whole. By catering too much torepparttar 116018 limited market of superhero lovers, a much broader audience became neglected. One analogy presented inrepparttar 116019 past was that superheroes are like really good desert. We all like desert, but who can eat it allrepparttar 116020 time?

Another concern with this market saturation wasrepparttar 116021 aesthetic merits underrepparttar 116022 weight ofrepparttar 116023 superhero longevity itself. This was not necessarilyrepparttar 116024 fault ofrepparttar 116025 genre itself, but ofrepparttar 116026 market upholding its lone cash cow. The very nature of art of storytelling withinrepparttar 116027 superhero arena, was greatly affected. We all have learned fromrepparttar 116028 time we were young,repparttar 116029 fundamental elements of storytelling. There isrepparttar 116030 beginning, a middle and an end. The telling of superheroes defies these fundamentals. There is a beginning, a continuous middle and NO end. The most obvious (and arguably most drama killing) story telling convention is that a leading superhero character can not die, at least, not for long.

Where isrepparttar 116031 sense of suspense in knowingrepparttar 116032 peril ofrepparttar 116033 superhero againstrepparttar 116034 super villain, will not last for long. Knowing that to sustainrepparttar 116035 market popularity,repparttar 116036 hero must return issue after issue. While thrilling, it becomes and unconscious exercise in waiting to see how our hero survives. This does not commandrepparttar 116037 drama as that of a character whose outcome you are uncertain of for any given issue. This leaves no ending to an otherwise great story line, and thus a paradox. How could our superhero characters continue, as we would have them, if they were truly to die?

Cognitive psychology has demonstrated that memory retention is stronger with beginnings and endings. We wonder then, how can a story be memorable if there is no ending? It can be theorized, that to keep comic books good, and this includes super heroes, they have to ultimately come to an end. It has been quoted before that all good things must come to an end. Would this help to keeprepparttar 116038 comic book industry on a more successful track? This can now only be torepparttar 116039 speculation of each of us as individuals. Think about what your opinion is.

The Most Helpful Piano Lesson

Written by Emily Sigers


The most helpful piano lesson I ever had was given when my teacher called a number of her pupils together in a class and actually showed us how to practice. Not told us how, but actually showed us how. I had had other teachers deliver long lectures on how to do it but this wasrepparttar first time one ever demonstrated her method to me with her sleeves rolled up - and nothing up her sleeve!

In this lessonrepparttar 116007 teacher memorized a page and a half of a piece which was entirely new to her and worked it out as she would have done by herself.

She read it over once to see what it was all about and, without losing any time, she went right to work onrepparttar 116008 first phrase and memorized as she went along. I was surprised atrepparttar 116009 great number of times she repeated over and over again so small a thing as half a measure. When she had gained a working knowledge ofrepparttar 116010 whole phrase she went over and over that, trying it in many different ways as to touch, pedalling, and fingering, and upon deciding which was best, she then practicedrepparttar 116011 approved version numberless times until she really knew it in her mind.

I had thought that when musicians began to approach perfection they discarded childish things like counting aloud. It was a surprise, then, to hear this teacher rigidly counting each measure. I concluded right then and there that she really had nothing up her sleeve - that there was no magic about it, nothing but hard work and a never-say-die spirit. My great regret is thatrepparttar 116012 first teacher I had did not do something of that kind for me. It would either have made me quit then and there or it would have savedrepparttar 116013 years of useless dreaming of royal roads to success and countless hours of poorly directed and misapplied practicing.

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