Archives for posts with tag: democracy

froglonliness

When I was living in China, the internet was my primary tool for keeping up with life in the Western world. Internet censorship (or “harmonization” as the Chinese call it) limited my access to the Internet Movie Database, Facebook, and a number of other sites, but I was able to regularly access of a number of sites that might expect to be censored like one of my favorite art sites or this awesome oracle for insight into the lives of Chinese people. Living with such restrictions on my internet taught me to exercise caution on the net. One peculiar symptom is my resistance to engage in internet argument, a side effect that may be silencing my voice, but doing so in my best interest. I’m also not sure if credit belongs with the restrictive policies of the Chinese government or with the rise in general awareness of the consequences of web presence. Either way, I fucking hate censorship and that point will come into play further along in this report.

I found a cure for homesickness in the site 9gag which, while an international site, is primarily in English and dominated by Americans. This site introduced me to meme culture and kept me abreast of the stupid jokes Americans were telling to each other. Similarly my wife uses a Chinese site Qiu Shi Bai Ke to reconnect with the stupid humor of her homeland. Globalization enthusiasts will not be surprised to find out that the same material can often be found on both sites. I see a gif of somebody hitting their nuts on a Tuesday and my wife sees it on a Wednesday- one world, one dream. We can’t spread basic health education to all corners of the Earth with all the resources of the developed world, but fart jokes and nip slips travel at the speed of light. As is the case in most instances of intercultural exchange, the information can change meaning from culture to culture.

lazy college senior becomes depressed upon arrival in the middle kingdom

I kept following 9gag for a while. It served as a stupid enough distraction from whatever I was supposed to be doing, but like other sites in the same vein, it became overwhelmed by reposts, pictures of pets, products people bought or desired, and depressed people bragging about their infinite sadness. I eventually made the shift to HugeLOL, a site created by people from the 9gag community who were fed up with humor-lacking material and reposts clogging up the streets of 9gag. While HugeLOL definitely featured more joke-related images, the frequency of racist, misogynistic, and anti-gay imagery noticeably increased. This material wasn’t topical either- über-misguided patriotism condemning Islam or immigrants, but that kind of racism that’s almost too stupid to take seriously like “Black people love fried chicken” or “Women shouldn’t be allowed to drive because of their menses.” There was complaint from the HugeLOL community and the moderators made efforts to purge all racist content with minimal success until they hardened their community standard guidelines and policies and created an alternate site that would be free from moderation called HiddenLOL. At HiddenLOL, a person could post anything and the only thing (except perhaps a child porn post) that could cause the removal of content was the downvoting of the community.

As a free speech enthusiast, I eagerly explored the contents of HiddenLOL and followed it closely in the early days of its inception. I found some of the sexually graphic material disturbing, but mostly I found it pretty funny and some of it quite innovative. The flood and popularity of racist material shocked me. The site quickly became overrun with slavery and Holocaust humor. Hitler became a mascot, giving rise the unfortunate title for fans of HiddenLOL- “HidLers.”

As much as the appearance of desktop Klansmen-rapists-Nazis in my online community surprised me, I was much more taken aback at how these vulgar advocates for free speech often took positions staunchly against material that was sexual in nature. A web democracy of sorts was giving freedom to choose their content and with that freedom, they consciously chose and actively worked to make the platform about hate and then with equal enthusiasm, worked to remove sexual content. I won’t lie and say the sexual content can be equated with love. Some of it featured pretty violent imagery, usually towards women because the some of the community equated rape violence with slapstick. The objective of the sexual material was humor, not romance, but I would say the material was predominantly motivated by a love-driven laughter rather than spite (except in the cases of rape violence I mentioned early).

I’m pretty open-minded about content. I have a discerning taste to be certain, but I approach most content as an artifact of its time, given its the benefit of the doubt that it is has social value. Largely I feel pity for those whose opinions I oppose and I admittedly do feel anger towards them, but I cherish freedom of expression above most things and wouldn’t want to deny someone an outlet for their ideas. The idiotic memes of American rednecks or the “GAAAAAAAAAAAY!” comments on every youtube video and news article don’t scare me nearly as much as the consolidation of major media outlets, encroachments on net neutrality, or the influence of religious groups on education and public policy.  The most alarming conclusion I’ve drawn is that some people prefer Hitler to pornography. I like sex. I like sex in art, in movies, in literature, in real life. The truth is I like sex more than Batman and I like Batman a lot. I can’t imagine thinking about hating any race of people more than I think about sex. Every single citizen of France could take turns pooping on my doorstep for the rest of my life and I would still think about sex more than hating the French, so how much do these people hate?  Is there an equivalent to the orgasm in this depravity?

Should I really be surprised? Kids see a lot more guns than genitals and that’s how somebody (a wicked cabal? the silent majority? everybody) wants it. For a species so obsessed with both sex and violence, we’re incredibly resistant to understanding their consequences.

As someone who prefers pornography to Hitler, I struggle to understand the mindset of people for whom the opposite is true.

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rorshachsexy

As its very essence, democracy is institutionalized civil war. This doesn’t simply apply to political states, but to wherever democracy flourishes and spirited debate ensues. Contesting for authenticity, for sovereignty, for status among the masses- this quest to be deemed legitimate by the standards of the arena compels the democratic imperative. Comic books are one of the most democratic artistic fields, largely because of its ties to the capitalist system. People buy more Animal Man than Frankenstein Agent of S.H.A.D.E. so Frankenstein is cancelled and Animal Man lives on. Every comic book convention is a market research orgy for publishers. Consumers voluntarily mail, email, and blog their votes/marketing information to allow the producers easy access to their opinions. The democratic elements on the production side are quite similar to rap music- you don’t need much more than a pencil and some paper to get started. Comics, like political democracies, have established seats of power, factions, propaganda departments, dirty tricks, and giant fucking egos. Here I’d like to touch on a comic book icon that reminds me a little bit of the recording artist Prince, Alan Moore.

alanmooreandtherevolution

Certain pop culture figures and moments in their public life can stay with you. Many of my first impressions of celebrity came from the actions of Prince Rogers Nelson a.k.a. Prince. I can clearly remember watching Weird Al Yankovic as a young child and hearing him explain that Prince refused to let me parody his songs, which may have been the first time I ever heard of Prince. One of the favorite Prince stories is the bit about how he demanded youtube remove a fan-shot recording of a live performance of Radiohead’s “Creep” that he had performed at Coachella and Thom Yorke, hearing of this, defended the fan and told youtube to unblock the recordings. Whatever your opinion of Prince, you must admit that a central component to his public persona is active paranoia regarding his music and his money. You could hate Prince for it and consider him a mega-crybaby,  but he deserves credit for committing to his own insanity.

With the release of the TPBs of the recent Before Watchmen series approaching, I’ve been thinking about comic book icon Alan Moore. Many consider Moore to be the greatest comic book writer of all time. Is it wise to criticize this legend so early in my foray into the medium? Well, it worked for Grant Morrisson. My problem is not so much with Moore’s work, which I really enjoy, but with his personality and contradictions in it as it relates to how his work is used.

Moore has been vocal in his protests of the film adaptation of Watchmen and the Before Watchmen series. He was also pretty vocal about the film adaptations of V for Vendetta and League of Extraordinary Gentlemen. I sympathize with his commitment to the characters he “created.” Many fans align themselves loyally and somewhat blindly with Moore. Regarding the films, a lot of material was cut, changed,and thematically distorted. Of the three films, Watchmen is by far the most loyal to the source material, but Moore and fans alike have grumbled loudly about the film. I really enjoyed the V for Vendetta and Watchmen films and generally think it’s great when artists try to interpret other artists’ work- like Prince covering Radiohead’s “Creep,” for example. I enjoy mash-ups, film adaptations, fan art, plays, homages, cosplay, and other instances where people contribute the larger essence of a work, giving it new life and killing the author is Barthesian fashion. In this way, I’m like Voltaire and would die for Jessica Simpson’s right to slaughter Nancy Sinatra’s “These Boots Are Made For Walkin’ ” because art progresses with mistakes and the freedom to make them, good with the bad, bad with the good, equality with your neighbor and enemy alike and all that.

Adaptations are one thing. The Before Watchmen prequels are something else entirely because they’re not recreating Moore’s narrative in a parallel medium, but adding to Moore’s narrative in the same medium. Of course, they only add to the narrative if the reader allows it or enough readers allow it to justify the prequels entering the public perception of what Watchmen as a sequential art narrative entails, what constitutes its entirety. As an artist, I can understand how Moore feels threatened. It’s like Nickelback saying they want to add a few verses to “Stairway to Heaven,” but not as frightening. (That Nickelback thing might actually offend the gods in the volcano in my attempt to use hyperbole- I’m just trying to take the concept to its absurd conclusion, so forgive me.) Moore and fans also see the Before Watchmen series for what it is at its essence, a capitalist enterprise. Alan Moore is really mad, but the co-creator of Watchmen Dave Gibbons has given the project his blessing, which only complicates the validity of Moore’s assertion that DC Comics should not have pursued Before Watchmen.

What is Moore’s problem? Is it that he doesn’t like a comic book character being written by someone other than the creator? That would be absurd. Moore wrote Superman comics and he didn’t create Superman. Moore built his reputation on his run on Swamp Thing, which is a character created by Len Wein, the editor of the original Watchmen series and writer for the Ozymandias storyline of the Before Watchmen series. The greatest flaw of this argument lies in the original conception of Watchmen to be based on characters from Charlton Comics that Moore didn’t create, but also in the premise of Moore’s other acclaimed serieses League of Extraordinary Gentlemen, Marvelman, From Hell, and Lost GirlsLOEG being the guiltiest party by featuring nearly two hundred characters that Moore did not create. Alan Moore has taken broad strokes with character he didn’t create, such broad and extreme strokes as shooting them, paralyzing, and taking naked photographs of them with the intent of driving their father insane. Moore has demonstrated a fondness for sexualizing, often violently, characters he didn’t create as seen graphically in LOEG and Lost Girls. A somewhat simplistic reading of LOEG will see it as merely common sexual fantasies manifested through the actions of Mina Murray- her sexual liberation through sexual assault at the hands of Dracula, the Invisible Man, and many others, her eternal youth, her bisexuality, a lover who can change genders (Orlando), the affections of multiple monsters, free love, incest (Quartmainn’s reincarnations), and on and on. The text itself is a sexual act and Lost Girls? That book’s even dirtier than LOEG, so if Alan Moore can take such sexual liberties with beloved characters from children’s stories, why should he be so upset by a couple of prequels for one twelve-issue graphic novel?

Is Moore’s problem with the capitalist enterprise of milking a story past its expiration date for financial reward? Isn’t that what comic books are all about? Such a large component of comics is the recurrence of characters, which is distinctly not a Nietzschean eternal recurrence but rather a more broad exponentially eternal recurrence as evidenced by the ever-expanding continuity organism that thrives on disruptions like the New 52 or Ultimates. Also, I love What If and Elseworlds imprints. In the case of Moore, didn’t he just release the LOEG: Century and Nemo books to cash in on the previous success of LOEG? Look at how those books were sold, Century is sold as three skinny books 1910, 1969, and 2009 even though they should be sold as a single graphic novel. Nemo has been released in hardcover despite being a mere 56 pages- $14.95 for 56 pages? Seriously? On this point, I’ll admit I’ve enjoyed every bit of LOEG and regard the additional material as worthwhile, but its nowhere near as good as the original first two volumes of the series, which probably stand better independent of the Black Dossier, the Century books, and Nemo. Mary Poppins might be worth it though.

I haven’t read Before Watchmen as I don’t read single issues and am waiting for the trades to come out. I’ve heard good things from people who read them and bad things, mostly from people who haven’t read them. I’m excited by the creative teams that worked on them- Darwyn Cooke, Amanda Conner, Jae Lee, Brian Azzarello, et al. are some of the most talented people working in comics. Stuff like Superman: Earth One by J. Michael Straczynski, who wrote the Nite Owl storyline of Before Watchmen, is one of my favorite Superman storylines and the current Wonder Woman is one of the best titles being published, written by Brian Azzarello, who wrote the Comedian storyline of Before Watchmen. I’ll wait to see the final product before I judge and I’ll be amused and impressed, but not swayed, by Alan Moore’s commitment to his creations, despite obvious contradictions in his behavior- same with Prince.

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