It's been sixteen weeks since I wrote that other column. You know the one. And if you don't, go read it now. Go on. This won't make much sense without it. I'll still be here when you come back.

For those that have read it, but need a refresher; On the 1st of July I sent a letter to several of the comic industry's great and good calling for greater representation of homosexuals in comics. I wrote:

"What [gay] kids need is for someone to show them it's OK. What they need is positive representation. It gives them a sense of belonging in this world, and every incidence of positive representation helps chip away at homophobia. Positive representation can change lives, or even save them. We need more gay characters in comics."

But with that letter I made two mistakes. First of all, the letter was too long. There was too much to take in, and some people said they weren't clear what they were expected to respond to. It was also just ahead of the San Diego comic convention, and many creators simply didn't have the time. Several apologised to me at San Diego, saying they felt the letter deserved a more considered response than they had been able to give.

Secondly, I created a couple of mnemonics: ACTRESS, "A Commitment To Representing and Embracing Sidelined Sexualities", and BISHOP, "Blithely Ignoring Sexuality, Hoping it's Only a Phase". These aren't real organisations, but a few people didn't get the joke. They were just my glib way of trying to get my point to stick in the creators' heads, which is why I deliberately aped the name of the comic-pro retirement charity, ACTOR, "A Commitment To Our Roots". A couple of people didn't appreciate that joke, either. In future, I'll know to leave the jokes to the warm-up man.

My message got across anyway. But only to a very select number of people. Although I sent that first letter to over seventy people, less than ten replied.

The first reply came from Shannon Wheeler, the creator of TOO MUCH COFFEE MAN. In fact, he responded within an hour, with the very simple and gratifying message, "You have my full support." That was a good start. But aside from Shannon Wheeler, who for all he knows could be my cousin or uncle, almost everyone else that replied to my first letter was gay or bisexual. It makes sense that they would make the effort to reply, of course, but it was disappointing that so few others did.

Among those first respondents were Joe Phillips, the former SUPERBOY artist, who is currently working on the original graphic novel ARTHUR; Andy Mangels, the former editor of GAY COMIX, who runs the annual Gays In Comics panel in San Diego; and Howard Cruse, the creator of two of the most important gay works in comics, STUCK RUBBER BABY and WENDEL. "You're obviously preaching to the converted with me," wrote Cruse. "I enjoyed reading your essay and hope that it helps spur people who have the power to make needed changes to use their power in more courageous and enlightened ways."

Devin Grayson, who writes for both Marvel and DC on books like GOTHAM KNIGHTS and BLACK WIDOW, wrote one of the most extensive replies. She took issue with my claim that the comic industry, having a "young, modern audience", has room to take risks.

"Not only do the major comic publishing companies not feel that they are in the position to take risks," Grayson observed, "in many cases the publishers are actively striving for mediocrity, hoping not to attract too much notice from their parent corporations who might expect either bravura performances from them every time after a success (though why, exactly, this is perceived as a problem I've never been entirely sure), or, worse yet, evaluate the little 'R&D' department and decide that they're not worth the overhead. And all of this entirely apart from the issue of fear of loss of advertisers and lawsuits from overzealous, under-occupied Right Wing mothers in the Midwest."

She added, "I do think it's important to continue to push at these boundaries despite the road blocks (as I hope is apparent in my work and in my public statements), but you do need to understand the scale of the obstacles we're facing. They are, unfortunately, huge." She also noted that the representation of gays in other media is still markedly lacklustre; "There's a lot of work to do yet.

''Publishers don't feel they can take risks. Many are actively striving for mediocrity.'' "That by no means indicates that we should give up - to the contrary, I think it's all the more reason to keep fighting - but if we approach the problem too naively, we will become discouraged before we've even had time to let loose with our first real battle cries. And let's not become discouraged. I have never been more sure about anything in my life than that acknowledging the wide range of human sexuality - in the arts as well as in everyday life - is natural, positive, and necessary."

Donna Barr, the author of THE DESERT PEACH, the 29-volume story of Erwin Rommel's fictional gay younger brother, was also one of the first respondents. She wrote: "Right on, Andrew! THE DESERT PEACH has helped so many people, young and old, to accept their sexuality, to come out - even to realize and deal with their own homophobia. And that's only a fraction of the good it's done!" Barr's work is a first rate example of how representation really can change lives.

But, as I say, the number of responses I received to my first letter was underwhelming. I had expected that, to be honest. I never imagined this would be easy. I'd wanted a slightly better response than I got, but like I said, it was a busy time for everyone in the industry.

I sent a second letter in August. This letter was only a brief reminder, pointing the recipients back to the original column and asking, simply and directly: "Do you think there should be greater representation of homosexual characters in comics? And if so, is there anything you're doing - or could be doing - to make this happen?"

This letter got a much stronger response, and many of the replies were both rewarding and enlightening. Included here, then, are some edited highlights, all reprinted with permission.

The one thing almost everyone said was that the story should come first. Noted industry columnist Steven Grant, the creator of WHISPER, put it thus: "Yes, I think there probably should be more representations of homosexual characters in comics. ... [But] I'm not sure anyone should specifically set out to 'do' anything about it. Where it's germane to the story being told, talk about sexual orientation. Where it isn't, don't. I don't often write stories where sexual orientation is particularly important one way or the other."

SAVAGE DRAGON creator Erik Larsen concurred; "The majority of characters in comics have no stated sexual preferences one way or the other. ... [O]f the characters whose preferences have been established, I'd imagine that I have a higher ratio of gays to straight [in my books] than there is in reality, so I'm certainly not shirking my duty. I'll do my part, but I'm not going to make SAVAGE DRAGON a book focused on the gay lifestyle. It will be there when it's there."

ELFQUEST's Richard Pini noted, "If a writer or artist wants to explore sexuality - of any stripe - then that is his/her mandate. Anything else is playing to a perceived audience or, in other words, allowing that audience to call the tune. And that isn't honest storytelling."

Image president Jim Valentino put it another way; "A person's sexuality should never be the issue. Only the person. That is the message that must get through to all peoples regardless their age or orientation."

OUTLAW NATION writer Jamie Delano pointed out that gays are not the only under-represented minority in comics. "There probably should be more homosexual characters in comics - in reflection of the general population," he said, "But then there should be more blacks, Latinos, Muslims and people over thirty, too. We live in a racist, homophobic, ageist world. What can we do but keep telling the truth... and pray that bigots of all persuasions find themselves in the minority one day, so the rest of us can persecute them?"

Delano is one writer who has never shied from including gay characters in his comic - in both positive and negative lights. "Quite a lot of the comics I have written since 1987 have had gay or lesbian characters ... Generally - in terms of dramatic function - their sexuality has been less important than their character. Some have been 'sympathetic', others, like Evelyn 'Kid Gloves' Johnson - the vicious, albino, misogynist queer villain of OUTLAW NATION - are blatant ironic stereotypes."

Like Delano, 2000AD legend Pat Mills believes we have to take the good with the bad. "I think the inference of your letter is that there should be more coverage of homosexuals in comics. And that it should be positive. I would agree with both these points.

"However, if you have more positive, you must also have more negative. Otherwise this section of society becomes as loathsome as the Vatican - above reproach. The only thing I abhor more is political correctness where unfashionable views cannot be expressed.

Mills says he recently wrote a story that he says "could still be seen as portraying homosexuals in a negative way". He adds, "I wrote it because that's my experience and observation of life. I wish it was otherwise, and really it's for writers who have observed or experienced positive aspects of homosexuality to write about them.

''Many readers are struggling to understand and come to terms with their sexuality.'' Dylan Horrocks, creator of HICKSVILLE and ATLAS, is one writer who does exactly this. "There are characters in just about every story I do ... who happen to be gay. ... This just reflects my own social circle and experiences (various friends and members of my immediate family being gay).

"Usually I don't consider it a big deal - it's just part of the landscape. But your note reminded me that it is worth thinking about this stuff a bit more consciously now and then. I'm aware that the main demographic in comics readership (early adolescence to early adulthood) coincides with a time in many people's lives when they are struggling to understand and come to terms with their own sexuality (whatever that may be) - often a very difficult time.

"So I agree that we have a responsibility to not make it any more difficult! We don't do our readers (gay or straight) any favours with dreadful stereotypes, dire clichés or - perhaps worst of all - total silence."

FINDER creator Carla Speed McNeill would seem to agree; "I think people tend to make too much of role models. ... On the other hand, if Alison Bechdel's stuff had been around when I was a teenager, it would have been a revelation."

McNeill also remarked, "[It's] important for a writer or artist to do what feels natural, not force things or put them in according to social pressure or a sense of obligation. ... That having been said - if all people in comics do write and draw what they know, there'll be plenty of homosexuality in comics!"

For those creators who don't feel they have anything to say about homosexuality specifically, there are still ways to tell stories that can help, as NOCTURNALS creator Dan Brereton has discovered. "Most of my work revolves around monster characters, and it could be argued they are the perfect general example of a minority," says Brereton. "I'm more interested in stories about the outsider than I am about any specific group or minority."

It's questionable whether a new publisher is in the best or worst position to take risks. For London-based Com.x, the issue seems to have been resolved. Director and senior designer Eddie Deighton said, "We do have one of our own characters (which shall remain nameless at present) who has definitely been created with an s+m/camp angle, but this won't be immediately obvious until later in his/her series. The character wasn't created to be automatically recognisable as a homosexual 'figurehead' in our comic; it's just developed in that direction."

ULTIMATE X-MEN writer Mark Millar believes we are seeing signs of progress, even though "it's been causing huge waves both inside the business and the general media when homosexuals are portrayed in skintight leotards."

Speaking of his own experiences writing THE AUTHORITY, which features Apollo and the Midnighter, the most high-profile gay couple in comics, Millar says, "I couldn't believe the outrage I received in the British press (making a full page in every national newspaper) just for writing a comic where two male super-heroes are, er, 'going out'.

"Obviously, this means there's still some way to go in terms of general acceptance of the characters (and the art-form as an adult medium), but it's looking good. Just as long as we all do it naturally; as in without resorting to that absurd sit-com tokenism." In response to the question of what he is or could be doing to increase representation of homosexuality in comics, Millar responded; "What do you mean? All my characters are gay!"

Two of the most significant responses I received came from two of the industry's most respected and pre-eminent editors - one from Marvel and one from DC. AVENGERS, THUNDERBOLTS and CAPTAIN MARVEL editor Tom Brevoort wrote, "I think there should be greater representation of all sorts of groups in comics. But I also think that creating characters simply to fill a perceived gender/ethnic/religious/whatever void tends to result in a lot of lousy, stereotypical characters.

"So for myself, I'm completely open to having homosexual characters in my titles, but I'm not actively soliciting for it particularly - if either somebody working on the books already or somebody who walks in the door has a great idea worth doing, we'll do it. But this is primarily an entertainment medium, so that's where my main focus is - on making sure the books are gripping, intriguing and exciting, regardless of the make-up of the casts."

''There should be a great deal more diversity in the types of stories being told.'' Bob Schreck, the editor of DC's Batman line of books, had a similar response: "I have always been a great believer in making sure that the comics I work on reflect as many aspects, points of view, and walks of life that life itself has to offer. Sociological issues and diverse ethnic backgrounds and sexual orientations are often discussed with the writer and/or artist, especially if they are overtly omitted or, conversely, obviously forced into any given story.

"The story should come first, and all else will follow and therefore, ring true to the reader. I feel there should be a great deal more diversity in the types of comic book stories being told in today's market, which would allow for a broader base of characters to act them out."

If senior editors at Marvel and DC will go on record to say they are comfortable to have real life reflected in their comics, then there are less obstacles to fair representation than one might have expected. But as Devin Grayson observed, there's still those who hold the purse strings to worry about.

The saying goes, of course, that as goes Marvel, so goes the industry. So what did Marvel editor-in-chief Joe Quesada have to say on the matter? His response was short and to the point. "I don't see any reason right now that Marvel would shy way from the subject matter."

I don't see why any of us should. Now it's up to the creators - at least, those who feel they have something to say - to step up to bat and take a swing. THE AUTHORITY was a start, but it's been two years since Apollo and the Midnighter came out, and in terms of the industry at large, those characters really are beginning to look like tokens.

We've seen that this industry can be heroic in exceptional circumstances. I'm not looking for exceptions. I'm looking for inclusion. And I'll keep looking.

We're not done yet.

If you have anything you'd like to add to this debate, or any stories to tell, please drop me a mail using the link below. I'd love to hear from you.

Andrew Wheeler is a London-based entertainment journalist.

This article is Ideological Freeware. The author grants permission for its reproduction and redistribution by private individuals on condition that the author and source of the article are clearly shown, no charge is made, and the whole article is reproduced intact, including this notice.