Although Young Romance was released by Prize comics, it should be noted that there was some resistance on the part of the publishers. Kirby tells, Evenier, “Mike [Bleiet] and Teddy [Epstein, the people who ran Prize] didn’t have much faith in Young Romance.” As a result, Simon and Kirby agreed to forgo upfront payment and were paid on the back end only if the book was a success. Of course, Simon was also able to negotiate for 50% of the profits from the book (and its follow up, Young Love). Simon explained to Evanier:
I think it’s fair to say that going into a major contract (other than marriage) with someone, such as buying property or a car, is a sign that things are pretty serious between you and your boo. The reason why contracts are such a big deal is that they’re generally much harder to get out of than they are to get into, so most people take care when signing on the dotted line and expect to be committed for a long time.
37As noted in the above analyses, this is hardly a subtle process. On the contrary, the category romance is very obvious in its material genre performance. This generic blatancy is, as Gelder has pointed out, another characteristic element of popular fiction, in which “generic identities are always visible. This is how it differs from Literature. Popular fiction announces those [generic] identities loudly and unambiguously” (42). Although it is precisely this very emphatic generic conventionality that gives rise to the stereotypical interpretation of genre literature in general and the category romance novel in particular as a kind of literature that is repetitive, formulaic and inferior to literary fiction, this is the price that the category romance novel is apparently willing to pay in order to achieve the generic transparency that is the commercial bread and butter of popular fiction.
Negative stimuli get processed by the amygdala; positive or neutral memories gets processed by the hippocampus. Sleep deprivation hits the hippocampus harder than the amygdala. The result is that sleep-deprived people fail to recall pleasant memories, yet recall gloomy memories just fine. In one experiment by Walker, sleep-deprived college students tried to memorize a list of words. They could remember 81% of the words with a negative connotation, like “cancer.” But they could remember only 31% of the words with a positive or neutral connotation, like “sunshine” or “basket.”
Self-denial for the sake of marriage was especially important where the woman’s career was concerned. Romance comic books discouraged women from entering the work force. Working women in the comic books remained unfulfilled and unhappy because their careers complicated relationships and jeopardized their prospects for marriage. . . . Another reason for women to stay out of the workplace, according to romance comic books, was that men were not attracted to ambitious women. . . . . Men, on the other hand, needed and deserved their independence.
All I can say is Wow! I absolutely couldn't put this book down. I have read all of Debora's books so far and I absolutely love the characters. The stories Debora writes are so enthralling, and she keeps you on the edge of her seat, wondering what will happen next. I laughed out loud at parts, and also cried at parts of the story. What a wonderful story, and of course, no surprise to me, since I didn't expect anything less! My only wish is that I could have these marvelous people in my neighborhood - or in my family!
Unfortunately, your brain cannot maintain this level of chemical production indefinitely. The hormones decrease and your brain chemistry gradually returns to normal. Once you lose this intense state of passion, or chemically-boosted love, you crave it again. When this happens, some people mistakenly believe that “love” has been lost and then turn away from their partners in search of a new partner who can provide this chemically-induced feeling of exuberance. But relationships progresses in stages.
14This distinction between public and reader plays a crucial role in the category romance’s materiality. As a book that circulates in a large number of widely varying cultural and commercial spaces – from the grocery store to the independent book store, from the gas station to the airport newsstand – its materiality is encountered and interpreted by a huge audience that entails both (potential) readers and (a majority of) non-readers. In order to communicate with these two types of consumers the category romance novel’s materiality adopts a double semiotic code : one targeted at the public and one aimed at the (romance) reader. As the analyses in this paper illustrate, these two codes contain two different messages about the book’s identity and its desired interpretation. The public code consistently suggests a uniformly generic interpretation of the text as a popular romance novel. This interpretative suggestion is created by the repeated invocation of a number of stereotypical images of and associations with the genre, which in turn perpetuate the public image of the romance genre as homogeneous, formulaic and clichéd. The reader code, by contrast, advocates a more specific and even idiosyncratic interpretation of the text that aims to distinguish the individual text from the generic group in which it is situated.
Some recent work in neuroscience as examined the brains of people in romantic love. They found that the brain areas involved with making judgments and with sense of self. What this means is that when we are in romantic love, out ability to make judgments about situations and the other person is actually impaired, and we lose our sense of individuality and over-identify with the other (Xu, et al, 2010).
Love comics were not only good for the wallets of comic companies. They also helped alleviate some of the growing public concern against comics. The January 31, 1949, edition of The New York Times pronounced that the anti-comics drive was waning and that romance comics (called “love” type comics in the article) were replacing crime comics on the newsstands.
Commitment is about being with another person in a relationship, but love is not always necessary. A person may want to be with someone else because they have affection for them, or it may just be a feeling of comfort that motivates them. Being at ease with another person is part of a relationship, and this may suffice for someone to remain with their partner. If formal vows have been taken by the couple, a person may feel responsible for staying together. This does not necessarily signify love or caring, but it does form the basis of their commitment.
A little secret : First time I came checking this vn out, I was a bit confused when see the name of "Lovelace", as the style of drawing reminded me to Harry Potter and the "Lovegood" family at that time and still puzzled over "is that typo of the name?" or "how the Heaven the witch become muggle, the programer moreover?" ... But then I remember "Lovelace" as "Ada Lovelace, the first programmer in real life" and now embarrased over my own hillarious misconception x'D
16The category romance’s front cover is visually dominated by an image that takes up a focal point in the cover composition (see figure 2). In the majority of cases this is an image of a (scantily clad) man and woman locked in a passionate embrace.9 This image, known in the romance jargon as the “clinch”, graces the front cover of an endless series of category romance novels in always changing but essentially similar variations. It appears to be a very apt visual representation of what the romance genre is all about. Depicting a man and a woman in an intimate and often explicitly passionate clinching embrace (hence the name), the image is made up of visual renderings of the nuclear elements of the conventional romance narrative : the hero, the heroine and their romantic (sexualized) interactions with each other. In a way it also offers a visual representation of what is arguably the core fantasy offered by the genre, namely that of an overwhelming and passionate romantic love focused absolutely on one other.
[T]he first thing we did, we agreed that we would do a whole issue; invest in a whole issue of Young Romance Comics before we peddled it to these gangsters that were publishing. (laughter) In this way, we would be protected. So we signed a contract; we were full partners in the thing. We were to pay for the art and editorial, they would pay for the publishing and do the publishing business. We thought we were pretty great with that contract–we were supposed to split the profits. We thought we were pretty damn smart to do that, but later I found out that these guys weren’t even putting their money into it. The distributors were giving them a 35% advance. So, they weren’t paying anything. We were the ones that were paying the money. The good part is that the thing sold out and that was really a bonanza. We were taking in tons of money.”
Simon and Kirby’s gamble paid off. Young Romance was a hit. In fact, the book sold almost a million copies, which would make it as successful as Captain America. As a result of the success of these books, it was estimated that each creator earned more than $1,000 per week from the books in 1950, which, when adjusted for inflation, is around $10,000 today.
Not only is it mentally stimulating (not to mention fun), but challenging yourself to learn a new skill can lead to greater happiness, experts say. That’s thanks to the feelings of accomplishment and self-confidence that often come along with gaining new expertise. Consider this your cue to sign up for those French lessons you’ve always wanted to take, or pick up the ukulele—choose something that genuinely interests you, and run with it!