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We told you about the rock'n'roll and nobody fuckin' listened...
Ian Astbury, Reading, August 26, 2001
It's been a long time since the last comic revolution. To be more precise, 15 years.
It was in fact in September 1986 that DC Comics started publishing the first issue of the maxiseries Watchmen. Nothing has ever been the same since then.
Timing was excellent: after years of dull superhero adventures, U.S. comics, pushed by a new wave of artists committed to innovating a medium still full of old clichés, were finally starting to lose their naiveté. The so-called
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"American Renaissance" was about to kick in.
The names are famous: the usual suspects that come to mind are Miller, Claremont, Matt Wagner, Chaykin. And obviously Alan Moore.
The English writer had already built an impressive resume, with his acclaimed runs on the awesome MiracleMan and the seminal Swamp Thing (the latter being considered by many the best ongoing comic of all time), but itŐs with Watchmen that Moore becomes incomparable, and, albeit unwillingly, the model to follow.
Incidentally, according to the influential Comics Journal (I totally agree with this thesis, by the way), from that moment on, the success of Moore has provoked his
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madness: the writer, in fact, too worried about the influence of his charisma on
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