Shortly after the Kickstarter campaign launched, Wired released a follow-up article which explained the project's funding goals and strategy: What do we want? How will we get it?
With the end of Prohibition duringbootlegging was quite clearly no longer an economically sustainable endeavour. Printing paper, numbering among the shortages of the Depression, was apparently still readily available to the criminal interests who had until then seen publishing as nothing more than a convenient cloak for smuggling alcohol.
The prurient spicy pulps, predictably immensely popular, were seen as a potential means of partly filling the financial gap left by the inconvenient demise of the illicit liquor trade. Their profitable pages swollen by occasional moonlighting Weird Tales alumni such as Lovecraft confederates E.
Hoffman Price and R. Art by Jon Mayes. The controlling influence behind the Spicy titles was the colourful and somewhat shady printer Harry Donenfeld. Reputedly a former bootlegger and rumoured to be active in the publishing and circulating of the aforementioned Tijuana Bibles, it might well be thought that Donenfeld was excellently situated in a printing industry that had apparently by then become dependent on its good relations with the criminal fraternity, a necessary factor in acquiring a reliable supply of paper.
Though they did not have access to acclaimed newspaper characters like those in Famous Funnies, it was obviously possible to generate generic copies: Harry Donenfeld, in partnership with former union accountant, the immensely shrewd Jack Liebowitz, seized eagerly upon the comic book as his next venture on the more disreputable lower rungs of publishing.
To further these ambitions, the erstwhile alleged rum-runner and pornographer first instituted the new company that would in time be known as D. Actor George Reeves as Superman in the U. United States Treasury Department.
However, given the predominance that Superman and the entire genre which followed him would in the end achieve, a closer look at the initial presentation would seem to be called for. Almost certainly by instinct rather than by psycho-social analysis, two Cleveland teenagers had crafted a near-perfect and iconic fantasy which spoke to something deeply rooted in the psyche of working America: Historic March 1, Detective Comics, Inc.
At his inception, Superman seems very much a representative of the downtrodden working classes his creators hailed from, and a wonderful embodiment of all the dreams and aspirations of the powerless.
Dressed in bright primaries where most of his Depression-era readers were confined to threadbare black, or brown or grey, here was a character that in a single bound could leap above the worn-out city streets which his impoverished countrymen were forced to trudge in search of work.
Clearly, it was seen as more appropriate for these new U. According to Craig Yoe in his bookSecret Identity: One of the more despicable of these constructions has it that Siegel and Shuster should have been more shrewd in signing contracts, which appears to be a variant on the well-known American proverbial advice regarding suckers and the inadvisability of giving them an even break.
Alternatively, those not found in the preceding factions might question the wisdom of erecting such an important commercial and ideological endeavour on foundations so blatantly rotten and so lacking in the necessary load-bearing integrity. Despite the fact that the array of publishers and editors who steered the comic industry did not themselves appear to possess any noticeable talents save for cheating the more gifted out of their creations, hustling, and otherwise accumulating money; and despite the fact that lacking an exploitable parade of artists, writers, and just generally creative individuals the entire industry, the superhero, and the new house that the publisher just bought would not exist; despite these things the comics business would continue to routinely bully, cheatabuse, and alienate the very people on whom it depended.
Comic book concerns and businesses, gangster initiated, casually applied the values and techniques of their illustrious founders, treating their creators with a breathtaking contempt as if they saw the men and women who had made their fortunes as plantation slaves or some variety of fuel-rod, endlessly replaceable and therefore instantly disposable.
Amidst the vast multitude of cowed, intimated workers on the comic book assembly line, only those rare creators with a sense of their own worth have ever actively defied or walked away from their tormentors.
Unsurprisingly, these turn out to be by and large the same creators who have done most to enrich the comic world. Siegel and Shuster, from a very early stage, were public in their anger over having been deceived and cheated out of Superman and its related properties, though it was not until the groundswell of publicity surrounding the first Superman film in the s that, largely through the tireless work of, arguably, the real Batman co-creator Jerry Robinson, D.
It is safe to say that many of D. By the middle-to-lates both Steve Ditko and Jack Kirby, tired of being kicked around by Marvel after all that those two legends had done to create the company, jumped ship and went instead to work at Charlton or eventually D. Given that no-one at Marvel Comics wants to contemplate what all its movie franchises would look like with the Kirby characters removed, it may well be imagined that the full might of their law department has been marshalled to prevent this nightmarish scenario from occurring.
She can be heard regularly on the More To Come Podcast. She likes coffee, cats and noble struggle.Occupy Comics: Art & Stories Inspired by Occupy Wall Street is a currently-in-production, [when?] deluxe comic book anthology funded on Kickstarter and seeking to articulate themes of the Occupy Wall Street movement through comics as well as to fund-raise on behalf of the protesters.
Alan Moore Comes to the Rescue of Occupy Wall Street comments Writer and artist Frank Miller’s harsh, anti-OWS voice does not boom in comic book shops and the halls of the Internet alone.
How Is the World Worse Off Now Than It Was in Watchmen? Alan Moore’s Essay for the Activist Occupy Comics Anthology.
Wired Staff Wired Staff. Moore responded to Frank Alan moore occupy comics essay’s attack on the Occupy movement — series is set in the H. Mainly due to the left, in Moore contributed to the comic anthology 24 Panels. Occupy Comics has inspired, shocked, enlightened, and provoked with its chorus of diverse voices.
smart works sprinkled throughout the book and a historical essay by the one and only Alan Moore documenting the role of comics in the counterculture.
A few years after the fact, this document feels dated, but may serve as a powerful reminder. Jul 07, · Alan Moore (Wikimedia/Matt Biddulph) Alan Moore: The revolution will be crowd-funded The “Watchmen” creator talks about his new Kickstarter-funded film .