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Artists like Aabid Surti and Toms created their own characters (Toms even published his own strip eventually) and thus rose to fame through their work. None of them had an overtly educational objective as in the case of ACK or Tinkle however, they were also able to achieve reasonable success with the Indian superhero characters. A lot of these were superhero-style characters loosely based on familiar figures like Superman.

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Other publishing houses such as Diamond Comics, Jaico, Raj Comics and Dreamland Comics launched their own comic series with Indian characters such as Nagaraj, Mahabali Shaka, Chacha Chaudhary, and Fauladi Singh. Meanwhile, the success of ACK had spawned other initiatives. In fact, the series was so successful that its publisher, India Book House, later launched the childrenвЂ™s magazine Tinkle, in the 1980s, which used the comics format to present subjects like science and history, and also to add entertainment value, all in a bid to strengthen the bond that comics had with education.

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Since the content was considered instructional, and was related to mythology and history, it managed to avoid any discomfort of the sort that plagued American comics in the 1960s (where the mainstream stuck with a clean, superhero image to cater to the Comics Code Authotiry, and more realistic, darker writing and art was forced underground).ДЄmar Chitra Katha gave the Indian comic magazine respectability, and made the genre acceptable in the eyes of the reading public. But, they all knew who the Greek god of Mount Olympus was! Thus, when the home-grown Indian comic magazine did make an appearance, it was as an educational and instructional medium, and was seen to be serving the interests of children. I was saddened by the fact that none of the participants knew what was the name of Lord RamвЂ™s mother.

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Anant Pai, the editor of the ACK series, narrates how the idea for the series was born (Singh, 2009): In June 1967, I was in Delhi, watching a TV quiz on Doordarshan. Indian comics were truly born when Amar Chitra Katha (ACK) was launched by India Book House, in 1967, with the intention of making mythological and religious texts, as well as stories about historical events and figures, more accessible to children. But the truly indigenous Indian publications only appeared later. Indrajal Comics, published between 19 by Bennett, Coleman and Co., brought to India American characters such as вЂThe PhantomвЂ™, вЂMandrakeвЂ™, вЂFlash GordonвЂ™ and вЂRip KirbyвЂ™. This was true of both strips published in newspapers and magazines and full-length stories that appeared in dedicated comic magazines. Thus, when comics appeared in India, in the mid-20th century, they had no native precedent to fall back on, and were essentially reprints of comics from abroad. Sequential art in India never really got to a point where text was used together with images on a large-scale (with rare exceptions), and as oral narratives began to die out, visual narratives also became marginalized.

But, in keeping with the larger oral tradition of the country, a lot of these visual narratives were used as aids for oral narratives (like the Phad-bachanas, explained in the previous section) written text was hardly used. However, while there may be no longstanding tradition of comic books in India, the sequential pictorial narrative has long been a part of Indian culture, from temple murals to textile designs (as we have seen in the previous section). As Murthy (2009) says: In Indian comics, one can see an aesthetic struggle to adapt and adopt a Western form to tell Indian storiesвЂ¦There is no tradition to follow. And when they did, a lot of them seemed imitations of their Western counterparts, as they chose to follow existing models rather than develop their own style.

While political cartoons closely followed the appearance of their European versions, in the 19th century (for example, the Urdu magazine Oudh Punch was based on the British publication Punch, and featured political cartoons similar to the original), modern comic magazines came into wider circulation later than their European, American, or even Japanese and Chinese counterparts. In India, modern comics travelled along a slightly different path than their Western counterparts.