Alan Moore

I remember reading Watchmen as a kid, and being blown away by how mature and complex this superhero story was. I realized eventually that the man behind this creative take on the superhero, was Alan Moore, one of the best comic book authors of the 20th century. What's striking about his work are his very serious approach to handling some of the most silliest looking characters. The juxtaposition of such adult content being applied to colorful heroes that fight crime, is something that film and video games are doing today with these characters. But it's hard to look at where superheroes are today, without paying tribute to Alan Moore. He seems like someone who would despise these types of stories, so reading his work is very interesting. Thanks to Alan Moore and Frank Miller, the characters that I enjoyed growing up, I am still able to enjoy far into adulthood.

Underground Comics

Comics that emerged during the 60s and 70s through independent publishers contained new material. I enjoy the focus and purpose of these stories, with its depictions of counter culture, and questioning of societal norms. My favorite stories from this era are from Harvey Pekar's American Splendor. He's so blunt and to the point, that there's a rhythm to his words. I find Pekar's outlook on life very interesting, and entertaining to say the least. This movement gave new life to comics, where most adults found comics to be childish and simple, these new stories were very adult, and complex in ways. Though this style wasn't considered mainstream at first, its elements have trickled down into mainstream media, and even into popular comics and action and superhero stories of today.

Manga

Manga is a form of comics that originated in Japan. Though the stories can be very unique, the characteristics of the medium are also interesting. Unlike many forms of comics from around the world, manga is almost always black and white. This is an aesthetically pleasing format in some ways, but it also alludes to the fact that many people create manga and stories of their own in Japan, and black and white helps to keep opportunities open for aspiring creators. Manga also features many methods of story telling that is unique and exclusive to itself. From symbols and chibi faces, to action lines and over the top exaggerations, these elements help to set manga apart from other forms of comics and sequential art.

European Comics

Comics from Europe can be very different from American comics. The flow and storytelling differs in subtle ways. Where American comics often strive to be cinematic, European comics embrace their medium. Blacksad for instance, and anthropomorphic crime noir comic, uses each panel to show movement, environment, and action. However, the frames are set up in a way that can't be completely translated for film or animation. Tintin is also treated this way, with even less angles and a more pedestrian view. British comic artists that have done american work have brought this approach to the medium, which gives a fresh look to the standard American aesthetic. Brian Bolland, Frank Quitley, and Dave Gibbons are just a few examples.

The Authority, Question Responses

1. One important theme from The Authority, seems to be modern society and how its cities and urban environments effect us. Violence and destruction is always terrible, but in a metropolis it becomes a catastrophe. The name of this Super Team seems to symbolize their response to the devastation that can occur. In this case, there are super human killing machines that are wiping out many large urban areas, but in reality, this represents what humans, specifically those with authority, do to ourselves and our homes. Authority is always something that should be questioned, so its interesting that this team dons this name, to battle what is constantly trying to hold us down.

2. The Authority is basically a revamped Justice League, set in a less romanticized reality. While the world of many superheroes can be campy and theatrical, where taboo subjects are ignored, this story embraces those ideas, and responds to them in its own way. I find it interesting, how these characters are more personal, and feel like real people who have to go on these missions to try and help out the best they can, as opposed to the parent like, or god like characters from Marvel, and especially DC. Death, alcohol and drug use, and even topics like homosexuality are addressed, which can be refreshing when you're accustomed to only reading stories from the typical American superhero comic.  

3. If I were to adapt The Authority, I would do it by means of film. Of course changes would have to be made, and the most obvious would be the redesigns of costumes, clothing, and sets, just to keep the aesthetics more current, and to make them more pleasing. I would also however add to the grunginess by incorporating even more props and set pieces that show that these characters are real people in real, yet fictional places. The characters that smoke would have ash trays lying around, and their work spaces would be smokey and stained yellow. Sets would look lived in, with wear and tear, and cities would be grimy.

Race and Comics

Like many forms of entertainment, especially in America, comics have featured a long history of social stereotypes that have portrayed ethnic characters in often offensive ways. Whether it be the fanged and bucktoothed depictions of the Japanese in comics from the WWII era, or the slow and stuttering black characters used for comic relief, like Ebony White, from The Spirit. Like other methods of entertainment, I don't think comics were intended to be racist, or that it was a secret goal for them to be. But society and people were different in these times. The world was a much more ignorant place, and Americans had little interest in learning about other cultures. Its great that African American superheroes started to appear on page after a while, but its sad that their depictions and their approach was so narrow minded. Comics today however, are becoming more and more progressive, and I think that this began with the creation of Jon Stewart, the 3rd Green Lantern. He's the most loyal and determined and purest soul in the DC universe, not a stuttering sidekick. He's a superhero who happens to be black, as opposed to him being black as a selling point. Its a relief that in today's comics, people of all races and backgrounds can be heroes, even gay and lesbian characters.

Golden Age Comics and the Superhero

I guess the best way to decide when the Golden Age of comics began, you'd have to look at the introduction of the modern superhero. There had been a handful of masked vigilantes, but Superman lifting a car from the 1st issue of Action Comics, in 1938, brought a whole new mindset to comics. I think its interesting, because comics were not a superhero medium, or even an action genre based medium exclusively throughout its early beginnings. Superman, Batman, Wonder Woman, Green Lantern, The Flash, as well as Captain America, The Human Torch, and The Submariner brought a fresh and unique element to the industry. Nowadays when someone mentions comics, its almost impossible to not see images of Batman or The Avengers fly through your head. A sub-genre that dominates blockbuster films today, was given birth to, and nurtured by the comic book. People don't even refer to these films as Superhero movies, as much as Comic Book movies. Though it is a narrow perspective to only read Superhero stories, it is one of the most unique sub-genres out there, and its sudden gain in popularity can all be traced back to 1938 America.