Alternative comics usually show about anything you cannot find in mainstream comics, and if you think this means few subjects, you are wrong. Also, alternative comics show the same stuff presented in mainstream comics, but in a different, particular way of view. In mainstream comics you may found the main super heroes of our times, comics version of literature classics, maybe some science fiction & fantasy, and some more genre based comics (romance, kids stories, etc.). In alternative comics there's a good chance of not meeting super heroes, fantasy, or scapism in a general way. You may find the adventures of a unemployed writer looking for job, odds in the life of a small city citizens or... a relate to a misconduct holiday trip.

As hard to define what alternative comics are when they begun to be done. Always come to mind the comics Robert Crumb did in late 60's, but before him there already were Harvey Kurtzman parodies in Mad magazine, that satirized the most famous characters of his time, super heroes comics and the american way of life. But with Crumb begins the tradition of hand made comics, with a strong authorial touch, creator owned characters. We can list in this line Gilbert Shelton's Freak Bros., Victor Moscoso and S. Clay Wilson, who influenced creators since then. The main difference their work had when compared with the mainstream one was the presence of themes so far absent, like drug abuse, sex, violence in a higher degree, social comment. Also, their way of drawing had more freedom, rough like, unpolished one, apart from the main tone found in mainstream comics.

The impact of the gang, Crumb ahead, was nothing less than a revolution on the way of telling stories, picturing characters, creating breakdowns in the comic book medium that influenced even mainstream comics -- actually, on the seventies, super heroes comics introduced themes considered taboo. In a 1969's  Spiderman tale, Harry Osborn, a friend of Peter Parker (secret identity of web-slinger) was caught using LSD. In 1972 Green Arrow discover that his pupil, Speedy, was using injectable drugs. Both issues came without the Comics Code Authority stamp, which was beginning to loose influence over the publishers.
 
 The direct sales market was another huge change, because it opened space to alternative comics as age oriented comics. The focus on creator owned magazines increased, and many titles were born, though the market for comics was not so good in late 70's. But we can list, since 1980: American Flagg, by Howard Chaykin, Jon Sable Freelance, by Mike Grell, Flaming Carrot Comics, By Bob Burden, Love and Rockets, by Jaime & Gilbert Hernandez, Maus, by Art Spiegelman, Cerebus, by Dave Sim, Concrete, by Paul Chadwick, Teenage Mutant Ninja Turtles, by Kevin Eastman and Peter Laird. Many of them worked also doing mainstream comics, and choose to do their own stories due to the possibility of show more personnel points of view, and have more freedom to do this.
 

In the nineties the alternative comics face the challenge of comic books' lack of audience, being pointed as solution in the quest for new readers. Alternative comics would have the necessary characteristics to grab potential readers, because of their unique way of telling stories that has no similarity in movies, literature or theater. Authors choose to do their own comics, self- publishing their magazines, trying to be financially successful: Mark Oakley (Thieves & Kings), David Mazzuchelli (Rubber Blanket), Jeff Smith (Bone), Mike Allred (Madman), Daniel Clowes (Eightball), Eddie Campbell (Bacchus), Rick Veitch (Rare Bit Fiends), David Lapham (Stray Bullets), Frank Miller (Sin City), Peter Bagge (Hate). That's what we call now "indies" (as we named "underground" Crumb's comics before). Again, the medium got a new strength to follow in its long and far way.
 

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