Bronze Age Comics Download Cbr: A Review of the Top Comics from the Bronze Age

Comics are a lot of fun, but in the modern age, you're more likely to be reading them on your computer screen rather than on paper. If you're a comics fan using Windows 10, you may not know what options are out there for a decent, dedicated comic reader.

Bronze Age Comics Download Cbr

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On the plus side, if you do decide to shell out for the full version of the reader, the app will also synchronize your collection over the cloud. So if you happen to run Windows 10 on both your tablet and PC, you'll have access to your comics on both platforms.

While nowhere near as good-looking as Cover, CDisplay Ex is an amazing free option for folks who like to read slightly older comics. CDisplay Ex bills itself as the world's most popular comics reader, and it's easy to see why.

The program allows you to read comics in almost any format you might expect to find a comic saved in. Image files, PDF documents, and of course classic CBR or CBZ files will all work with this reader.

There's also the extra-special feature of automatic color correction in case you're reading some old comic scans that haven't aged so well. This color correction feature is not only impressive but genuinely useful since harder comics with color issues can be a pain to read.

The only thing that knocks CDisplay Ex down a peg or two as a comic reader is that it completely lacks any sort of library function. If you want to organize your comics outside of your standard filesystem, CDisplay Ex leaves you high-and-dry.

There's also no slick-looking library and no automatic sorting of books into their own series folders. You do have a library, but it easily becomes overwhelmed if you happen to have a lot of comics in your collection.

You can edit each comics' meta info while you're reading it, so it's possible to micromanage your entire collection. There's also a magnifier in case you want to see the details of the artwork up close.

You can still make a library and read comics in many different formats, but the app feels unintuitive to use. The library isn't integrated into the app, but it opens in a separate window, and although you can read image files, you can't add them to your library for some reason.

If you only have a few comics, then MComix will fulfill your needs perfectly, as opening individual files and reading them is a pretty simple experience. It's even pretty easy to read an entire series, as when you open a single file, it automatically loads the next file in the folder when you're done reading.

The final entry on our list is MangaMeeya, a freeware application that is designed for reading Japanese comics known as manga. Despite being designed for a right-to-left reading system, MangaMeeya is perfect for reading comics.

In 1956, Harvey Comics discontinued its horror comics, and the tone of scary magazines across the country was doused with a wet rag. The horror continued in the Silver Age, but as you might find in the first few issues of House of Mystery for example, the stories always ended with the supernatural elements being faked or a moral play where the bad guy gets his comeuppance.

That theme grew as the 70s progressed, and Bronze Age comics were then written for a Young Adult audience rather than selling the silly stories Fawcett used to publish with Captain Marvel and Mr. Tawny the Talking Tiger.

The Digital Comic Museum offers a way to download the entire comic books in .cbr or .cbz format directly, and The Internet Archive is another great source for these and other downloads (like Old Time Radio horror shows!)

The Modern Age of Comic Books is a period in the history of American superhero comic books which began in 1985 and continues through the present day.[1][2] During approximately the first 15 years of this period, many comic book characters were redesigned, creators gained prominence in the industry, independent comics flourished, and larger publishing houses became more commercialized.[3]

The late 1970s saw famed creators going to work for new independent publishers. The arrival of Jim Shooter as Editor in Chief at Marvel Comics saw the departure of key creators at Marvel such as Steve Gerber, Marv Wolfman, and others. In these new companies (Pacific, Eclipse, First) creators were free to create very personal stories. Mike Grell's Jon Sable Freelance, Howard Chaykin's American Flagg!, Mike Baron and Steve Rude's Nexus, Dave Steven's Rocketeer and John Ostrander's GrimJack attracted some attention and garnered a number of awards. These creators were brought in by DC editor Mike Gold to create defining works such as Green Arrow: The Longbow Hunters by Grell, Blackhawk by Chaykin, and Hawkworld by Truman. With Alan Moore, Frank Miller, and Art Spiegelman's Maus (which would later receive the Pulitzer Prize), this period marks the summit of the artform per comics expert Scott McCloud.[citation needed]

The Comics Code Authority was established in 1954, and specified that no comic should contain the words "horror" or "terror" in its title. This led EC Comics to abandon its horror comics line. Publishers such as Dell and Gold Key Comics did run an expanding line of silver-age horror and "mystery" titles during the early 1960s, and Charlton maintained a continuous publishing history of them, during the later 1960s, a gradual loosening of enforcement standards eventually led to the re-establishment of horror titles within the DC and Marvel lineups by the end of the decade. Since this genre's evolution does not neatly match the hero-dominated transitional phases that are usually used to demarcate different eras of comic books, it is necessary to understand this "silver age" and "bronze age" background. 1970s horror anthology series merely continued what had already been established during the late 1960s, and endured into the 1980s until they were markedly transformed into new formats, many of which were greatly influenced by, or directly reprinted, "pre-code" content and styles of the early 1950s.[citation needed]

By the mid-1980s, X-Men had become one of the most popular titles in comics. Marvel decided to build on this success by creating a number of spin-off titles, sometimes collectively referred to as "X-Books". These early X-Books included New Mutants (which would later become X-Force), X-Factor, Excalibur, and a Wolverine solo series. There were many new popular additions to the X-Men in the 1990s, including Cable and Bishop.

By the early 1990s, X-Men had become the biggest franchise in comics, and by the middle of the decade over a dozen X-Men-related comic books, both continuing and limited series, were published each month. On an almost annual basis from 1986 until 1999, one storyline crossed-over into almost every X-Book for two to three months. These "X-Overs" usually led to a spike in sales.

Complementing the creation of these franchises was the concept of redesigning the characters. The Modern Age of comics would usher in this era of change. The impact of Crisis on Infinite Earths was the first example as Supergirl died in issue 7, and long-time Flash (Barry Allen) died in issue 8. Specifically, Barry Allen signified the beginning of the Silver Age of Comics and his death was highly shocking at the time. Marvel Comics' Secret Wars would usher in a new change as well as Spider-Man would wear a black costume. This costume change led to the development of the character Venom.

In 1993, a coalition of African-American writers and artists started Milestone Comics, believing that minority characters were underrepresented in American superhero comics. Some of the company's better-known series include Static, about an African-American teen who became Milestone's key character, Hardware, an example of Afrofuturism, Icon, about an alien mimicking the appearance of an African-American, and Blood Syndicate, a series about a multicultural gang of superheroes. All of these flagship titles were co-created by Dwayne McDuffie. In 1997, the Milestone Universe merged with the DC Universe.

By the late 1980s, important comic books, such as the first appearance of a classic character or first issue of a long-running series, were sold for thousands of dollars. Mainstream newspapers ran reports that comic books were good financial investments and soon collectors were buying massive amounts of comics they thought would be valuable in the future.

But few, in the glut of new series, possessed lasting artistic quality and the items that were predicted to be valuable did not become so, often because of huge print runs that made them commonplace. The speculator market began to collapse in summer 1993 after Turok #1 (sold without cover enhancements) badly underperformed and Superman's return in Adventures of Superman #500 sold less than his death in Superman #75, something speculators and retailers had not expected. Companies began expecting a contraction and Marvel UK's sales director, Lou Marks, stated in September 29 that retailers were saying there was "simply no room to display all the comics being produced".[10] The resulting crash devastated the industry: sales plummeted, hundreds of retail stores closed and many publishers downsized. Marvel made an ill-judged decision during the crash to buy Heroes World Distribution to use as its own exclusive distributor,[11] which resulted in both distribution problems for Marvel and the industry's other major publishers making exclusive distribution deals with other companies, which would lead to Diamond Comic Distributors Inc. becoming the only distributor of note in North America.[12][13] In 1996, Marvel Comics, the largest company in the industry and hugely profitable just three years before, declared bankruptcy.[14]

In addition, the publishing format has gained such respectability as literature that it became an increasingly prominent part of both book stores and public library collections.[citation needed] Trade paperbacks and graphic novels are the preferred format for circulating library collections, since these collections are created to be read, and not to be retained as collector's items or as investments.[18][19] Attempts to catalogue and circulate single-issue comics can pose difficult problems[20][21] and the durability of the trade paperback format is an important consideration for longevity and collection development in public and school libraries. Trade paperbacks "are also the primary culprit in people's confusion of the lexicon, since 'TPBs make up 95% of what many librarians refer to as graphic novels'".[15] 2ff7e9595c