but less experienced readers were upset when national news media featured the story: "Superman's death was in every paper and magazine, on every news broadcast, and included as part of every comedian's monologue" ( Daniels 1995, 218). The public seemed to lose something vital, as it had when Robin was killed in the Eighties. Six million copies of the comic book were sold. Of course, he came back, more muscular and tousled than ever, in October 1993.
Devoted readers of comic books still love the X-Men series, debuted by Marvel in the Sixties and revitalized in the Nineties. Marvel, too, has led the way in stories featuring black super heroes, beginning in the Seventies. The early Nineties showed an increase in such characters; Brotherman, Ebony Warrior, Horus, Meteor Man, Shadowhawk, Sustahgirl, and Night Thrasher are a few. These super heroes have grown more complex in their kinds of powers, in their employment, and in their interactions with families ( Davenport 1997, 27). Unfortunately, they may also be disappearing because many independent comics producers have been bought out. The "commitment of comic book publishers to diversity was and is of secondary importance" to economics ( 1997, 27), and such characters will have to appeal to a wider audience with solid storylines and artwork if they are to survive. DC's Milestone series has tried to create such audiences through an increasing pool of multicultural artists and writers.
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