Rejuvenile

Once upon a time, boys and girls grew up and set aside childish things. Nowadays, moms and dads skateboard alongside their kids and download the latest pop-song ringtones. Captains of industry pose for the cover of BusinessWeek holding Super Soakers. The average age of video game players is twenty-nine and rising. Top chefs develop recipes for Easy-Bake Ovens. Disney World is the world’s top adult vacation destination (that’s adults without kids). And young people delay marriage and childbirth longer than ever in part to keep family obligations from interfering with their fun fun fun.

Christopher Noxon has coined a word for this new breed of grown-up: rejuveniles. And as a self-confessed rejuvenile, he’s a sympathetic yet critical guide to this bright and shiny world of people who see growing up as “winding down”—exchanging a life of playful flexibility for anxious days tending lawns and mutual funds.

In Rejuvenile, Noxon explores the historical roots of today’s rejuveniles (hint: all roads lead to Peter Pan), the “toyification” of practical devices (car cuteness is at an all-time high), and the new gospel of play. He talks to parents who love cartoons more than their children do, twenty-somethings who live happily with their parents, and grown-ups who evangelize on behalf of all-ages tag and Legos. And he takes on the “Harrumphing Codgers,” who see the rejuvenile as a threat to the social order.

Noxon tempers stories of his and others’ rejuvenile tendencies with cautionary notes about “lost souls whose taste for childish things is creepy at best.” (Exhibit A: Michael Jackson.) On balance, though, he sees rejuveniles as optimists and capital-R Romantics, people driven by a desire “to hold on to the part of ourselves that feels the most genuinely human. We believe in play, in make believe, in learning, in naps. And in a time of deep uncertainty, we trust that this deeper, more adaptable part of ourselves is our best tool of survival.”

Fresh and delightfully contrarian, Rejuvenile makes hilarious sense of this seismic culture change. It’s essential reading not only for grown-ups who refuse to “act their age,” but for those who wish they would just grow up.

Standard and Primary covers are widely available through general retailers. They often have higher print runs and can be cheaper, especially during sales.

In contrast, Direct Market (DM) and variant covers are primarily sold in comic shops. DM editions tend to have more limited availability and may be more valuable to collectors.

The main differences lie in artwork style, availability, price, and collector appeal. Ultimately, the choice between standard and variant covers depends on personal preference, budget, and individual collecting goals.

Comic book enthusiasts have various formats to choose from when collecting their favorite stories.
Here's a brief overview of the main types:

Omnibus

• Large, hardcover collections
• Usually contain complete runs or extensive story arcs
• Typically 800-1000+ pages
• Higher price point, often €100-€150

Oversized Hardcover (OHC)

• Similar dimensions to omnibus, but thinner
• Collect shorter runs or story arcs
• Usually 300-600 pages
• Priced between €30-€50

Hardcover (HC)

• Standard-sized hardcover books
• Collect 6-12 issues typically
• Similar dimensions to single issues, but with a hard cover
• Priced around €25-€35

Trade Paperback (TP)

• Softcover collections
• Standard comic book size
• Usually collect 4-6 issues
• Most affordable option, typically €15-€25

Other Formats

• Absolute Editions: Oversized, deluxe hardcovers (mainly DC Comics)
• Compendiums: Massive paperback collections
• Graphic Novels (OGN/GN): Original stories not previously released as single issues

The choice between these formats often depends on personal preference, budget, and collecting goals. Omnibus and OHC editions offer larger artwork and more content but at a higher price, while TPs provide a more affordable way to collect complete story arcs