This chapter scrutinizes two genres that seem closer to the world of comic books than to graphic novels, but that have nevertheless proven extremely influential in the development of the latter. It opens with a definition of both science fiction and fantasy, contrasted genres yet with many shared tropes, and it acknowledges the difficulties of summarizing the specific features of each category. The chapter addresses the most important forerunners of both genres, such as Little Nemo in Slumberland, Buck Rogers, Flash Gordon, or Prince Valiant, whose relevance for the graphic novel is now fully recognized. It aptly analyzes the birth of Action Comics in 1938 as a turning point and the start of the superhero genre with the Superman character, in whom science fiction and fantasy converge (although later forms of both genres also bear the strong influence of crime comics). The chapter also compares the Marvel and DC production and examines the development of franchises, which prove perfectly compatible with the creation of author-oriented graphic novels. Examples of such affinity are The Swamp Thing, The Sandman, Saga, and The Walking Dead.

Chapter 5 chronicles the national panic against comic books that raged between 1948 and 1955.Led by prominent intellectuals, like Dr. Fredric Wertham and his book Seduction of the Innocent, the movement was marked by comic book burnings across the country, and resulted in congressional hearings designed to put pressure on the comic book industry. The movement did not lead to a change in the law, however, as First Amendment doctrine had progressed to the point that local ordinances were struck down when cases came before courts. Nevertheless, the political pressure led the industry to adopt a “voluntary” code enforced by the Comics Magazine Association of America that, for a time, devastated the comic book industry. Wertham’s scholarship eventually was discredited, and the comic book made a comeback as both an art form and a cultural influence.