The ‘90s Were the Most Complicated Decade of Comics

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In the annals of comic book history, no decade showcased such dramatic peaks and troughs as the 1990s. This decade stands out as one of the most intriguing for a multitude of reasons. Marvel and DC Comics saw unprecedented success with their blockbuster comic events, while Image Comics, spearheaded by the iconic artists of the era, made its debut. Dark Horse Comics continued to nurture groundbreaking indie works from luminaries like Frank Miller, John Byrne, Mike Mignola, Paul Chadwick, and others. DC’s Vertigo line produced comics that would become timeless classics, while Alan Moore, a prolific writer of the time, contributed exceptional writing to Image’s artists, filling a void at the Big Two. The 1990s, often referred to as “the decade of extremes”, exemplifies this duality perhaps more than any other field, and nowhere is this more apparent than in the comic book industry.

For those who didn’t experience it firsthand, the ’90s are often viewed as a dismal era for modern comics. However, this notion is greatly exaggerated. While there were some lackluster ’90s comics, there were also many exceptional ones. In retrospect, the comic industry in the ’90s was divided into two main factions – those emphasizing style and those prioritizing substance. To put it simply, the ’90s comic landscape was a complex tapestry of two distinct industries.

The ’90s Changed Comics Forever

In my perspective, the 1980s stood out as the pinnacle of comic book history. Although the 1960s were innovative, it was during the 1980s that comics truly matured, thanks to pioneering creators such as Alan Moore, Frank Miller, Chris Claremont, and numerous others. Comics transformed into literature in the 1980s, producing some of the greatest comic books ever created. Towards the end of the decade, the emergence of superstar artists like Marc Silvestri, Todd McFarlane, Rob Liefeld, Erik Larsen, and Jim Lee turned the industry upside down. As the 1990s approached, the comics landscape was shifting dramatically, leading to the defining event of ’90s comics — the rise of Image Comics. Pioneers like McFarlane, Liefeld, Lee, Silvestri, Larsen, Whilce Portacio, and Jim Valentino left Marvel over financial disagreements and founded their own company. This exodus reshaped the industry in two significant ways. Firstly, it ignited the independent market more than ever before. Comics were big business in the ’90s, and Image played a crucial role in nurturing the indie side of the comic industry. Secondly, Image’s focus on style influenced the “Bad Girls” comics of the era — comics featuring scantily clad female characters. Image thrived on its artwork, prompting Marvel to follow suit, marking another major change. The 1980s produced some exceptional written Marvel comics, while the ’90s saw the publication of series like Force Works, Fantastic Force, and Nomad. Despite the departure of the Image founders, Marvel continued to cultivate new star artists to fill their ranks, often relying on the same writers from the 1980s. Although Marvel produced visually stunning comics during this period, the writing generally fell short in comparison. There were still some exceptional ’90s Marvel comics, but the lack of strong writing almost brought the company to its knees.

The surge of comic book artists gave rise to a speculative bubble among collectors. As early issues from the ’60s were sold for significant sums, collectors began purchasing numerous first editions and special event comics, anticipating massive returns in the future. However, impatient collectors panicked when iconic titles like X-Men (Vol. 2) #1 or Spawn #1 failed to sell for a million dollars a year later. As a result, collectors abandoned comics, leaving Marvel and DC in a precarious financial situation. Even powerful independent companies like Valiant struggled during this period.

Despite facing tough competition, DC and Dark Horse not only survived but thrived in the ’90s due to their commitment to content over aesthetics. They boasted some of the best writers of the era, producing exceptional comics such as “Sin City,” “Hellboy,” “Martha Washington,” “Concrete,” “Dark Horse Presents,” “The Sandman,” “Sandman Mystery Theatre,” “Animal Man,” “Swamp Thing,” “JLA,” “The Flash,” “Doom Patrol,” “The Invisibles,” “Preacher,” “Hellblazer,” and “Shade the Changing Man,” among others. These stories were captivating, despite not always selling as well as Marvel’s offerings, with stalwarts like Superman and Batman titles helping to keep DC afloat. The company’s entire line was brimming with quality comics – “Legion of Superheroes,” “Legionnaires,” “JLA,” “The Flash,” “Chase,” “Hourman,” “JSA,” “Green Lantern” (and more I forget to mention) – offering readers compelling superhero tales. Alan Moore, a prominent figure in the ’90s comics scene, was prolific during this period, with his work on titles like “WildC.A.T.s” and “Supreme” demonstrating that even seemingly unpromising characters could be transformed into masterpieces by skilled writers. The ’90s were not just a time of terrible comics; it was also an era filled with more incredible comic books than one might imagine.

A Tale of Two Comic Industries

In the ’90s, I found myself in the midst of an intense battle between style and substance within the comic book industry. Compared to the previous decades where there was a harmonious blend of both, the ’80s being a shining example, the ’90s took this balance and flipped it on its head. The comic industry almost reached its breaking point as these two opposing concepts clashed.

When people reminisce about the extravagances of the ’90s, they often think of Marvel and Image books, their gimmick covers, and over-ordered first issues. What they rarely consider is the incredible quality of comics that the decade produced. Each visit to the comic store in the ’90s (and those hallowed spinner racks of yesteryear) was filled with anticipation. I could pick up an issue of Youngblood, devoid of any recognizable feet or background, and then turn around and grab From Hell. I could get Uncanny X-Men, the epitome of ’90s Marvel, and an issue of Preacher. It was a stark contrast, a wild dichotomy that defined the era.

In the ’90s, there were essentially two main sectors within the comic industry: Marvel and Image, which primarily focused on style for most of the decade. However, towards the end of the ’90s, both publishers attempted to focus on good writing, but it came too late. The remaining part of the industry, including DC, Dark Horse, and smaller indies, produced some exceptional narratives during this time. The ’90s were not just about holographic covers and aesthetically pleasing images; they offered valuable lessons that we can learn from if we acknowledge their complexity.

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2025-07-20 21:41