I would rather eat glass than directly engage with people who think it’s necessary or at all useful to police the content of artistic work for political respectability as determined by the least generous contextual interpretation of that work and a similarly magnanimous assessment of the intentions of the people who created it.
I shit from a very great height indeed on the notion that craft-based criticism is worth much when it comes from people who call themselves artists but whose main contribution to comics as a medium takes the form of horny Twitter selfies.
Sex comics are a really odd form of art that has mostly fallen out of vogue but a lot of astonishing artists, notably Robert Crumb, did them on their way to creating some of the most beautiful visual art of the 20th and 21st centuries. Straight American and European men illustrating their most depraved sexual fantasies make for queasy reading for a lot of people; that’s fine. Nobody has to like anything, just as nobody has to make art anyone else likes. These comics really help other people, believe it or not! Whatever you may think about them, the act of making a drawing from memory is not an act of violence, as I keep seeing it described. You can call it violence, but you will be completely wrong and incapable of having a discussion about art with anyone because you don’t know what words mean.
It’s really telling how many people who have a problem with Crumb, with Manara, and with their American and European contemporaries, luuurve manga and preach it generally as gospel to everyone who will listen without for an instant considering manga’s regressive and sexist qualities. Crumb drew a lot of gross stuff but he never drew tentacle rape. Either it’s okay or immoral to depict the extremely weird sex stuff that bugs you or turns you on or whatever in your work. I’m going with the former, thanks.
People can be tarred as sexual predators when there is an accuser and not before. If all you have as evidence are interviews featuring a bunch of old guys hee-hawing about their almost certainly embroidered sexual exploits, please jam a sock in it.
I keep seeing comics twitter types say some variation on “I know five people who are just as talented as R Crumb and they’re not personally shitty!” Actually, you do not know five people who are as talented as Robert Crumb. There are probably not five people alive who are as talented as Robert Crumb. An entire industry of confessional alt-comix came into being ex nihilo because of Crumb and multiple successive generations of artists have learned from him, in good ways and bad. You may like your friend Saffron’s stippling or whateverthefuck better than Crumb’s but Crumb’s influence on comics is not simply that the guy is good at crosshatching. This is one of those weird cases where an artist’s obvious technical supercompetence obscures his actual contribution to art and I sort of sympathize but seriously, when you say this shit you sound like one of those boors in the 20th century wing of an art museum who looks at a Joan Miro painting and says “I coulda done that!” No, you could not have, because then you would have done so.
As the nauseating spectacle of #comicsgate winds down due to a number of its partisans realizing that they’ve been hilariously grifted out of roughly a million dollars–no kidding–collectively, I was very annoyed to see a bunch of people tweeting incredulously that they were surprised Frank Cho wasn’t a part of the comicsgate bandwagon and had in fact gone out of his way to dump on the whole clownshow. This is what happens when you are so incredibly invested in seeing people who disagree with you as irreducibly evil and corrupt that you pay no attention at all to what they’re saying. If you deliberately misunderstand people, you will find them hard to predict! Frank Cho is a person of color rose to prominence by writing a humor strip about a pretty woman constantly disappointed by lunkheaded men. He likes drawing cheesecakey pinups and doesn’t like being picked on by silly prudes on social media, which is different from being a frothing misogynist.
Guys, a lot of comics are extremely grim and unpleasant, in terms of the material they explore and originate. That is their nature, largely because of the way they evolved over the 20th century and as a response to that period’s excesses. I find that response to those excesses to be energizing and encouraging and even somewhat optimistic because of the way it resists sanitization and exportation into the larger monoculture, a gelatinous mass of contract law and 1950’s cultural mores mostly owned by the Disney and Warner Bros corporations that I personally consider hugely offensive and disturbing in a way that I absolutely do not find Crumb’s sex fantasies or Alan Moore’s horror comics. If you prefer to carefully dictate the terms on which you consider works of art acceptable for publication and distribution to the artists and publishers by means of boycotts and public pressure campaigns, congratulations on being an evangelical Christian, I guess.
So there you go. I can’t stop people from saying really ignorant and foolish things and of course I wouldn’t if I could but my god, it makes me tired and discouraged about the future to see it in such an unending flood.