Interview with Bleeding Fool website

I define cultural entryism as individuals entering a creative field with the intention of using art as a social tool. The newcomers (and their supporters, sometimes long-time professionals) are convinced of their correctness and they see the world as divided between good people and bad people. They are driven by moral indignation and they see dedicated fans and casual readers who ask for their cultural area to be left alone as supporting a status quo which perpetuates bigotry and marginalization. The entryists say “Everything is political”, which means nothing is private and every area becomes a political battlefield. Craft, canon, characters and continuity are all sacrificed for political objectives.

“I’ve seen this happening in the fine-art field (I am an artist and art critic), where art collectives have used the venues, funding and status of art to promote social activism. When I saw this situation in US superhero comics, I recognised the similarities….”
Read the full interview between AA and Jamison Ashley in Bleeding Fool website here: https://bleedingfool.com/interviews/on-comicsgate-and-the-ongoing-culture-war/
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Superheroes vs identity politics

“In November, there was a change in the senior management team of Marvel Comics, marking the latest stage in a bitter fight between creators and fans of one of the world’s most famous brands. To those who had been observing the conflict, this new development was easy to see coming.

Marvel’s survival gamble

In their postwar heyday, comics were a limited range of low-cost items widely stocked in general stores and sold to casual readers; nowadays, comics are a broad range of slightly more expensive items stocked in few specialist stores (and online) and sold to dedicated followers, often for the collector market. Despite shrinkage, the comics market in North America is worth annually about $500million in individual comic-book sales, excluding online and book sales. Although sales in 2011 were healthy, executives in comic-book production were nervous about their readership. The typical superhero-comic purchaser was a 40-year-old white male – a demographically shrinking and ageing profile not being replenished by new young buyers. Economic recession (which started in 2008) hastened the closure of many bricks-and-mortar outlets. Digital versions were cheap to distribute but did not satisfy the strong collecting-reselling-trading culture of comic-book fandom.

Anticipating a consumer crisis – and undermined by poor business decisions (including sale of film rights to leading characters, such as the X-Men) – Marvel looked for solutions…”

Read the full article online on Spiked, 29 December 2017 here: http://www.spiked-online.com/newsite/article/comic-fans-take-on-identity-politics/20675#.WkZ9kVVl_IU