When comic book scholars chart the moment the medium shed its one-dimensional sensibilities and veered toward adulthood, they cite Alan Moore and Frank Miller as the duo that made it possible.

A recent dust up between the two shows that making comics more adult was all they had in common.  In response to Miller’s recent characterization of the Occupy Wall Street movement as “nothing but a pack of louts, thieves, and rapists, an unruly mob, fed by Woodstock-era nostalgia and putrid false righteousness,” Moore countered that the protesters represented a “completely justified howl of moral outrage” and have behaved “in a very intelligent, nonviolent way, which is probably another reason why Frank Miller would be less than pleased with it.”

Not content with attacking Miller the citizen, Moore went on to attack his works as well.  Surveying Miller’s twenty-plus years of output, Moore stated that these comic efforts showcased, “a rather unpleasant sensibility apparent in Frank Miller’s work for quite a long time.”

The comic fan community has been shocked that these two giants are disagreeing, but they shouldn’t be.

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What to make of this…? Something Alec Baldwin might enjoy…?

Via Comic Book Resources:

Rick Veitch wants you to think about things. Specifically, the writer/artist wants readers to think about the events of 9/11. Set to debut nearly 10 years after the tragic events of September 11th, 2001, “The Big Lie” from Image Comics features a physicist named Sandra who goes back in time to save her husband from perishing in the World Trade Center buildings. Veitch teamed with longtime collaborator Gary Erskine on inks as well as editors Thomas Yeates and Brian Romanoff who got the ball rolling on the project and saw it through to completion. CBR News spoke with Veitch about what he wants readers to come away thinking after reading the miniseries, how Uncle Sam comes into play and the problems Sandra encounters in her quest to save her husband. …

“If you are an American of my age, 9/11 was a major event; emotionally and politically” Veitch said. “How can an artist not want to explore it? ‘Can’t Get No’ was a flutterball about the emotional side of 9/11. ‘The Big Lie’ is a fastball aimed straight at the politics.”

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As they moved into the 70s the world of comic books began to change again.

Superheroes were no longer the perfect ubermen of the DC universe, they now struggled with real human foibles as they tried to do the right thing and use their powers for good. The other main change that Marvel introduced was heroes growing and aging. Peter Parker, the Amazing Spider-Man, went from high school to college and then moved into the real world, eventually marrying.

Under the covers though, there was an alternative comic industry. One aimed not at the kids of Middle America, but rebelling against the Comics Code and  unable to be sold in most stores. This underground comic scene grew out of the counterculture movement of the 60s. Many revolved around drugs and sex, but others addressed hot button social issues and music. Robert Crumb became the poster boy for this movement, along with his  Zap comics, joined by Gilbert Shelton’s Fabulous Furry Freak Brothers.

The major advent of the 70s was the start of specialty comic stores. Until then, the majority of comic books were sold in convenience stores and off magazine racks in super markets. Many alternative type characters joined the cannon of superheroes including anti-heroes like The Swamp Thing and the new Ghost Rider. Social issues were addressed openly in mainstream comics, including drug use and inner city tensions.  The other major arrival was the graphic novel. While there were certainly book length comics as far back as the turn of the century, it wasn’t until the mid-seventies that they started referring to themselves as such and the term entered the lexicon. Will Eisner’s “A Contract With God and other Tenement Stories” is credited with popularizing the term.

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Ed. Note: Part two of this excellent series runs tomorrow at the same time. — J.N.

I will come right out and admit it. I am a geek. I am a hardcore geek. I revel in many different realms of geekdom. Amongst the fields where I am most comfortable with my geekdom is in comic books. I’ve been reading comics books since, well, I could read. During my early childhood, comic books were just entertainment, something to do when waiting at the supermarket whilst my mother shopped or to pass the time in line at the barber. There were the piles of Archie and Richie Rich comics that my grandparents stocked up on for the times a dozen grandkids would descend upon their house for summer vacation. In the end, I didn’t really care about comics themselves, just the ten minutes it would take me to read through whichever one was at hand. There was no appreciation of story arcs or pacing, art work and coloring, dialogue and continuity, all of these things were foreign concepts.

It wasn’t until I was about thirteen that a classmate of mine showed me that comic books were a world of their own. He had boxes and boxes of carefully stored books, each one in an individual bag with a cardboard backing to keep the spines straight. He was able to tell me about which stories were worth following, why Marvel characters were better than DC, and showed me where to go to get the best deals. I was hooked. From then on, I spent every spare penny of pocket money and any other money I earned on comic books. Throughout my high school years, I bought thousands of books, all still in their individual bags with cardboard backs, alphabetized, and organized by publisher.

The genre has changed dramatically since I started following it back in the 80s. It is, to some extent, still dominated by the two major players, Marvel and DC, each of which has its own diehard adherents, but there is now a plethora of thriving independent publishers, each one pushing the envelope in both art and with storytelling. More importantly the consumers have evolved. The geeks who grew up in the 80s, downtrodden and ridiculed by the jocks are the engine that drove the technological revolution of the 90s. They now find themselves hitting middle age flush with success at being the new arbiters of cool and that cool is the geekdom that they grew up loving; comics.

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When times get tough, the unsettled among us turn to fictionalized superheroes to vicariously battle the world’s uncertainties. They can even provide an example for turning the lemons in our personal lives into lemonade just as Bruce Wayne (Batman) and Tony Stark (Iron Man) did by turning to crime fighting careers after the deaths of their parents. Because however impotent we may be against reality, we can project our helplessness into an all powerful avatar for a temporary feeling of control or revenge.

During the 1930s and early 40s, the likes of Superman, Batman, Wonder Woman and Captain America where on the comic pages defending honest working stiffs against common crime in the streets, corporate crime in the suites and crimes of political corruption.

Superman even foiled a plot by greedy Wall Streeters and cash-craved Capital Hillers to crash the stock market a second time to cast America into a another depression they could exploit. (more…)

You can probably date yourself by remembering how much comic books cost when you were a kid. Was it a dime, a quarter, a dollar? Can you believe they cost $4 now?

As the greenies would say, that’s unsustainable. Comic books used to be common. If you went in any kids house in the 50s or early 60s you would probably find some. Not so much anymore. Comics once sold everywhere magazines were sold. You could buy them in drug stores, supermarkets, seven-elevens, newsstands, even some liquor stores. But the so called “newsstand market” was a hostile place to comics publishers, and a shrinking one.

These days, it’s hard to find comics anywhere outside of the comic book store. That means that comics have become a “destination product.” It’s something you need to know where it’s sold, you have to physically go there and if you’re lucky, they might have what you’re looking for. However, most comics retailers order to sell out. So the odds are, you may be unlucky if you don’t come on “comics day,” the day the books come in from the distributor.

And that’s another problem with comics these days. There is only one distributor. When I got in the business in the mid 80s, there were around ten distributors. But over the years they all went under leaving Diamond Comics as the sole place publishers can distribute through to the “Direct Market,” as we call it. It’s like government run health care, if there’s only one place to go for your needs, you have to like their terms. (more…)

Editor: This is the second part of a two-part series. You can read part one here.

The 1970s showed the once-invincible comic book super-heroes to be losers, in attitude and sales. Watergate had disillusioned the super-patriot Captain America with a storyline implying Nixon was the head of a terrorist group. The Captain trashes his outfit and becomes Nomad, The Man without a Country. My 11-year-old mind thought this was ridiculous, as Cap was originally a Depression-era 98-pound weakling until given a Super Soldier serum to bulk up and fight Nazis. It was unlikely that one of the “Greatest Generation” would bail on his country so readily. Even then I realized that this development merely mirrored a hippie writer’s attitude more than staying true to a character’s origins. 

Super-heroes became bleaker and even homicidal in the 1980s. The Punisher, a murderous vigilante, has become a top Marvel character. The Dark Knight Returns, a re-imagining of Batman, introduced an elderly caped crusader fighting the corrupt U.S. government represented by a stoogish Superman. Watchmen was set in a dystopic alternate reality where Nixon is still president and the super-group is made up of, among other miscreants, a rapist and mass murderer. It was a transmutation of established super-heroes from the 60s with Steve Ditko’s Objectivist hero The Question recast as the psychotic Rorschach.  (more…)

What does Voltron, Gumby, “Gods of War III” and Bone have in common? Nothing and everything. This is the great cultural collision that occurs at the San Diego Comic-con. I moved into my booth as all of the exhibitors to the world’s most popular cultural event prepares to overwhelm, nay, smother an unsuspecting public when the doors open.

The last ten or so years has seen a deliberate migration of Hollywood into what used to be a convention to celebrate just comics. A general sense of grumbling can be heard from the true comic fans who resent the beautiful rich crowd carpet-bagging onto Will Eisner’s turf. But what many don’t realize is that this has contributed to the mainstreaming of comics into the rest of culture. With entertainment’s money comes stability of the comics medium, a broadening of a market, more books sold, artists, writers, publishers and bookstores able to stay alive a little longer this is good for our tribe. (more…)

It’s hard for me to believe that the San Diego Comic Con International is now close to 40 years old. I’ve been going to them since 1975. Since 1981 I have only missed 2 Cons. Over the years I’ve seen it grow from a small local convention for comic book collectors and fans of geek culture, into a vast industry unto itself. Something that rivals Cannes for cultural significance.

In many respects, Comic Con International (aka the San Diego Comic Con to us attendees), is America’s Cannes Film Festival. But it’s much, much more.

Cannes is basically for film industry people only and the press. Comic Con is for everyone, and it’s becoming more relevant to the entertainment business as the years go by.

When I went to my first convention, I was in high school. I lived in San Diego at the time. I attended Point Loma High, so it was local for me. Only a couple thousand people attended. It was held at the El Cortez hotel which once dominated the San Diego skyline downtown. Now the El Cortez is a converted condo complex, dwarfed by the surrounding super condos. (more…)

Captain America was born to fight America’s real world enemies. He was first seen punching out Hitler on the cover of Captain America Comics #1, a year before the attacks on Pearl Harbor. But nearly 8 years after the attacks of 9/11, Cap is yet to be unleashed on Jihad. Not long after 9/11, likely feeling they had no choice, Marvel Comics made a half-assed attempt to pit Cap against what seemed to be an al Qaeda type group, but it was forgettable, with the terrorist leader having his ‘reasons’ and with Cap apologizing for us. It’s a sign of the times that there was not a Captain America movie on the fast track in Hollywood right after 9/11.

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I’m told that it would be considered ‘controversial’ for such a pop icon to take on today’s jihadists, but the controversy to me is that the most patriotic superhero of all time is still MIA against Jihad. For a time after 9/11, I was naive enough to believe I could write and draw a Captain America story where the jihadist’s get what’s coming to them, with no apology and with full fury. I stopped cold when I realized there’d be no chance in hell of Marvel Comics allowing Cap to say and do what had to be said and done against this enemy. I wised up and created the perfect enemy against Jihad. For more on that, please visit my blog. (more…)

Pigman, from ProPiganda: Drawing the Line Against Jihad

Part One:

In 2006, I had a minor low pressure area in my brain and conceived a P.R. campaign directed against Islamo-fascism which I posted on Nate Tabor’s “The Conservative Voice.”  The results were swift and devastating.  Like any other branch of the entertainment industry, liberalism is the default position of most comic book creators and fans.

Liberalism has a long and honorable history in comics, nowhere more apparent than in the groundbreaking Green Lantern/Green Arrow comics by Denny O’Neil and Neal Adams which dealt with drug addiction, the trial of the Chicago Seven, corporate pollution and overpopulation. In “Death Be My Destiny,” O’Neil posited a planet called Maltus where over-population was out of control. Denny was channeling the Reverend Thomas Malthus, a nineteenth-century Brit who predicted a Paul Erlich-like doom. In “The Population Bomb” Erlich predicted: “In the 1970s and 1980s . . . hundreds of millions of people are going to starve to death in spite of any crash programs embarked upon now.” (more…)