As A Symbol: The New Rules Symbolized by the Code
The Comics Code Authority made comics a lower level medium that was looked down upon as being only for children. Horror, crime, science fiction, and other genres were cast away, never to be looked at again for decades. The rules of the code included such things as:
These rules caused significant changes in the appearance and stories of comic books, as even comic books printed before that time were reprinted in accordance with the code since most distributors refused to carry comics without the code's approval.
- Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals.
- If crime is depicted it shall be as a sordid and unpleasant activity.
- Policemen, judges, government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority.
- Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates a desire for emulation.
- In every instance good shall triumph over evil and the criminal punished for his misdeeds.
- Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gunplay, physical agony, gory and gruesome crime shall be eliminated.
- No comic magazine shall use the word horror or terror in its title.
- All scenes of horror, excessive bloodshed, gory or gruesome crimes, depravity, lust, sadism, masochism shall not be permitted.
- All lurid, unsavory, gruesome illustrations shall be eliminated.
- Inclusion of stories dealing with evil shall be used or shall be published only where the intent is to illustrate a moral issue and in no case shall evil be presented alluringly, nor so as to injure the sensibilities of the reader.
- Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited.
- Profanity, obscenity, smut, vulgarity, or words or symbols which have acquired undesirable meanings are forbidden.
- Nudity in any form is prohibited, as is indecent or undue exposure.
- Suggestive and salacious illustration or suggestive posture is unacceptable.
- Females shall be drawn realistically without exaggeration of any physical qualities.
- Illicit sex relations are neither to be hinted at nor portrayed. Rape scenes as well as sexual abnormalities are unacceptable.
- Seduction and rape shall never be shown or suggested.
- Sex perversion or any inference to same is strictly forbidden.
- Nudity with meretricious purpose and salacious postures shall not be permitted in the advertising of any product; clothed figures shall never be presented in such a way as to be offensive or contrary to good taste or morals.
These rules caused significant changes in the appearance and stories of comic books, as even comic books printed before that time were reprinted in accordance with the code since most distributors refused to carry comics without the code's approval.
A Whole New World: A Taste of the Code's Impact
Here, a illustration in a Captain America comic is made to look less scary and racially prejudiced, eliminating the scary, and racist, depiction of the "Orient," Fang with Captain America and his sidekick Bucky Barnes in his mouth.
Here, in another Captain America comic, the Red Skull has been made to look less scary and horrifying.
So...What Went Wrong THIS Time?
Author Marv Wolfman
In all fairness, there was nothing actually WRONG with the Comics Code Authority in respect to the idea that it would regulate the comics which were published. However, the code, as well as the impressions left by the Senate hearings on the public, did have unforeseen consequences, including:
Yet, major comic book companies obeyed these violations, abiding to the strict regulation of their industry for decades. But underground comics did emerge, which dealt with issues banned by the code and were distributed through channels that normally wouldn't distribute comics.
In the 1970s, comic writers began to have problems with the comics code. The main culprit was DC Comics Marv Wolfman, who wished to write a story narrated by a "Wolfman," but was prohibited to do so by the code because the reference to the wolfman would be a violation of the code. However, Wolfman's partner Gerry Conway explained to the Comics Code Authority that the narrator was only named wolfman, because the comic author's name was wolfman. The code relented, and allowed the narrator to be named wolfman on the condition that the writer was credited on the cover so that all would know the wolfman narrator referred to the author, and not the mythical creature.
- The lowering of social status of those who were involved in the comic book industry to a level that some considered on the same plane as pornography
- The firings of many cartoonists as different comics were put out of print and companies just went out of business (Comic book titles dropped from 650 titles to 250 in just two years after the hearings, and 800 creators lost their jobs as a result)
- Increased legislation by some states to censor and ban titles. Legislation which, if violated, could result in the violator getting a year of jail time, a $500 fine, or even both
Yet, major comic book companies obeyed these violations, abiding to the strict regulation of their industry for decades. But underground comics did emerge, which dealt with issues banned by the code and were distributed through channels that normally wouldn't distribute comics.
In the 1970s, comic writers began to have problems with the comics code. The main culprit was DC Comics Marv Wolfman, who wished to write a story narrated by a "Wolfman," but was prohibited to do so by the code because the reference to the wolfman would be a violation of the code. However, Wolfman's partner Gerry Conway explained to the Comics Code Authority that the narrator was only named wolfman, because the comic author's name was wolfman. The code relented, and allowed the narrator to be named wolfman on the condition that the writer was credited on the cover so that all would know the wolfman narrator referred to the author, and not the mythical creature.
Updating the Code: 1971
In 1971, the comics code was updated multiple times. These reforms allowed for:
- Sympathetic representation of criminal actions and corruption of public officials (But only as an irregularity) so long as they evildoer was punished in the end
- The killing of law-enforcement in comics
- The suggestion of seduction (But NOT the outright portrayal of it)
- The use of "Vampires, ghouls, and werewolves," as long as they were portrayed in the classic tradition of such characters in works like Frankenstein, and other respected authors
Spider-Man v. The Comic Code Authority
An Image from Spider-Man 96
After the code update, the United States Department of Health, Education, and Welfare asked Stan Lee, Marvel Comics editor-in-chief, to write a story about the dangers of drug abuse. Lee decided to create a three part story on the subject using the popular superhero Spider-Man to portray the dangerous and lowly consequences of drug abuse.
This put Lee on a crash course with the code. Though the code didn't forbid the representation of drugs in comics, a broad clause in the code banned "All elements...not specifically mentioned herein, but which are contrary to the spirit and intent of the code, and are considered violations of good taste or decency." Because of this, acting Code administrator John Goldwater refused to approve the Spider-Man story due to its depiction of drugs being used.
Yet, with the confidence that the government's requesting of the story gave it validity, Marvel publisher Martin Goodman approved the story and Lee ran it without the code's approval. Upon its release, the story was well received, and made the public see the comic code as somewhat counterproductive, since it was trying to stop an anti-drug story from being released under the mindset that they were protecting readers at the same time.
This fiasco eventually led the comics code to be updated again to allow the depiction of "Narcotics or drug addiction," if it was presented as a bad thing to do.
This put Lee on a crash course with the code. Though the code didn't forbid the representation of drugs in comics, a broad clause in the code banned "All elements...not specifically mentioned herein, but which are contrary to the spirit and intent of the code, and are considered violations of good taste or decency." Because of this, acting Code administrator John Goldwater refused to approve the Spider-Man story due to its depiction of drugs being used.
Yet, with the confidence that the government's requesting of the story gave it validity, Marvel publisher Martin Goodman approved the story and Lee ran it without the code's approval. Upon its release, the story was well received, and made the public see the comic code as somewhat counterproductive, since it was trying to stop an anti-drug story from being released under the mindset that they were protecting readers at the same time.
This fiasco eventually led the comics code to be updated again to allow the depiction of "Narcotics or drug addiction," if it was presented as a bad thing to do.
And It Just Kept Going Downhill
A Comic Book Legal Defense Fund Poster
Ultimately incidents like this made the code look foolish, and forced it to consistently be updated. By the 1980s, the code allowed for a greater depiction of violence, including decapitation, and in one case masturbation. In addition to different incidents, the code was also forced to be updated in accordance with the changing views of society on subjects like homosexuality, which was banned in the original comics code.
Soon, the authority of the code began to diminish, and publishers began to reduce the prominence of the seal of approval from the comics code authority on their covers and there was an increase in distributors which would sell comics without the seal.
However, the straw that broke the camel's back was the fact that in the 2000s, companies stopped deciding whether to advertise in a comic book based on whether or not it was approved by the comics code. Once this happened, upstart comic companies began to refrain from joining the Comics Code Authority, and major publishers like DC and Marvel began to publish adult comics without the comics code seal. In 2001, Marvel left the Comics Code Authority altogether, creating its own rating system. Smaller companies would quietly and slowly follow up until 2001, when DC Comics officially announced that it was leaving the Comics Code Authority as well. Only a day later, the final comic company involved in the code, Archie Comics, discontinued its participation in it, leaving the Code defunct and void.
Finally, on September 29th, 2011, the Comic Book Legal Defense fund, an organization that works to defend the first amendment rights of comic book writers and publishers, gained the rights to the Comics Code seal from the Comics Magazine Association of America.
Soon, the authority of the code began to diminish, and publishers began to reduce the prominence of the seal of approval from the comics code authority on their covers and there was an increase in distributors which would sell comics without the seal.
However, the straw that broke the camel's back was the fact that in the 2000s, companies stopped deciding whether to advertise in a comic book based on whether or not it was approved by the comics code. Once this happened, upstart comic companies began to refrain from joining the Comics Code Authority, and major publishers like DC and Marvel began to publish adult comics without the comics code seal. In 2001, Marvel left the Comics Code Authority altogether, creating its own rating system. Smaller companies would quietly and slowly follow up until 2001, when DC Comics officially announced that it was leaving the Comics Code Authority as well. Only a day later, the final comic company involved in the code, Archie Comics, discontinued its participation in it, leaving the Code defunct and void.
Finally, on September 29th, 2011, the Comic Book Legal Defense fund, an organization that works to defend the first amendment rights of comic book writers and publishers, gained the rights to the Comics Code seal from the Comics Magazine Association of America.