Alternative Visions
Alternative Visions |
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Page 25 of 29  Page from 'The Pyjama Girl', Taboo (Spiderbaby Graphics, 1988). Art/script: Eddie Campbell. Another true story. The contribution of one-shot comics was particularly significant, acting as concentrated bursts of agit-prop. Of the many examples, some were outstanding: Strip AIDS (Last Gasp/Willyprods, 1987) was the best of many titles protesting against government apathy towards the AIDS epidemic, while at the same time seeking to raise awareness; Aargh! (Mad Love, 1988) was an acronym for Artists Against Rampant Government Homophobia, and was brought out to protest new anti-gay legislation in Britain; El Salvador: a House Divided (Eclipse, 1989) chronicled the savage conflict in that country, and exposed American backing of the military regime there; Brought to Light (Eclipse, 1989) focused on the Irangate scandal, and featured some powerful graphics from Bill Sienkiewicz. Continuing titles, too, made an impact. The best included World War} Illustrated (self-published, 1980), which lived up to its subtitle of'Confrontational Comics' with some hard-hitting punk-influenced work by unknown names such as Peter Kuper, Seth Tobocman and others; Real War Stories (Eclipse, 1987), which looked deceptively like conventional adventure comics but which in fact carried anti-war messages in the form of documentary-style 'real' accounts; and Palestine (Fantagraphics, 1993), a frightening, moving and even-handed piece of reportage by Joe Sacco from the troubles in the Arab Israeli Occupied Territories. Finally, there were a number of feminist examples, including Girlfrenzy (self-published, 1992), which amusingly reflected the angry attitude of the British 'riot grrl' scene; and the 'Fanny' line, an imprint of Knockabout Comics, which included individual angry rants against women's place in organized religion (Immaculate Deception, 1992), and issues of sexism surrounding sex (Voyeuse, 1991).  Cover to Superfly (self-published, 1993). Art: Mike Diana. One of many comics at the 'transgressive' end of the horror spectrum: the creator later became the first ever cartoonist to be jailed in America for their work.  Omaha the Cat Dancer (Kitchen Sink, 1994). Art: Reed Waller. An anthropomorphic saga that included explicit scenes as a matter of course.  Black Kiss (Vertex, 1388). Art: Howard Chaykin. A porn title that set new standards in misogyny. These relatively restrained examples were followed by a 'smut glut' in the mid-1990s - and by an increasingly orchestrated censorship backlash. |