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It’s all over the novella. It’s in Julius Metzenberger claiming to identify with Thunderman before shunning the comic as anything other than “a story” when some unfortunate implications are brought up. It’s in the tragic, self-destructive fall of Dick Duckley, who believed every story everyone told him, right up until it killed him. It’s in the ascension of Worsley Porlock into the upper echelons of comics publishing (with all the grandeur and monstrosity that entails) and the daydreams of Satanic Sam Blatz. And it’s in the most cutting of Moore’s critiques of the superhero:

In any case, everybody’s doing self-publishing. I’m doing Bizarre Heroes, and it had been a goal of mine to incorporate the Anton characters in some way, to establish that they were in the same universe. With Frankenstein, that was very easy; all you have to do is put clothes on Frankenstein, and he’s just Frankenstein. He’s no longer Forbidden, he’s just Frankenstein. One of the last issues of Bizarre Heroes, the 16th issue, was called “Megaton Man vs. Forbidden Frankenstein No. 1,” and nobody was bothered by that. There’s Frankenstein and he’s got clothes on, and it’s a PG comic. Nobody’s pausing to think, “This is a XXX IP!” But by that point, I was kind of giving up on the Bizarre Heroes brand. I managed to do it for two and a half years [1994-96], but the self-publishing thing was proving as short-lived as the black & white boom. Books were dropping in sales, and then the industry—I should say the distribution system as we knew it—collapsed.

Some aspects of Convention Tension may have found their way into “What We Can Know About Thunderman,” a novella that appears in Moore’s 2022 prose collection Illuminations. “Thunderman” has thematic parallels with what Simpson describes here, and it also has a large section that takes place at a hotel-based comic convention. Moore has said “Thunderman” represents his last word on the comics industry. -Jolly Jason

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