Pop culture does matter, only if you try: The importance of good, constructive effort in Comics and Games
Written by MigsDC
It’s been said, notably by the late Andrew Breitbart, that “pop culture matters." Although variations of this were intended to get the American Right active during his time, as opposed to sitting it out and complaining, it’s not hard to see how its applicability transcends ideological lines. I see shades of this unfolding nowadays with independent games and comics being supported, if not made, by those objecting to censorship and unwanted politicization.
*All images are owned by their respective copyright holders and are used under fair use guidelines
It’s been said, notably by the late Andrew Breitbart, that “pop culture matters." Although variations of this were intended to get the American Right active during his time, as opposed to sitting it out and complaining, it’s not hard to see how its applicability transcends ideological lines. I see shades of this unfolding nowadays with independent games and comics being supported, if not made, by those objecting to censorship and unwanted politicization.
However,
for this constructive push to mean something the end results would
have to be good at what they are, first and foremost. I need only
look at laughably bad “Christian” media, such as the infamous
Left Behind,
to see what happens when hackneyed moralism takes precedence over
quality, especially when “old guard” Religious Right rhetoric is
about as appealing to contemporary conservatives as “How do you do,
fellow kids?” Likewise, progressive virtue-signaling and
out-of-place political grandstanding, as seen in the IDW run of Judge Dredd or
the average Marvel Comics issue in the 2010s alone don’t make up
for poor writing or art. This isn't to say that those who believe in
the notion that "The Medium is the Message" or just
something different necessarily have to compromise their views. Nor
to dismiss generally religious-themed works outright, especially when
Judeo-Christian films like The Prince of Egypt and Hacksaw Ridge
still manage to be solid works in their own right without patronizing
their audiences. Rather, the point here’s that the last thing
people would like to see out of their entertainment or fiction is
even more glorified propaganda at the expense of quality.
This
seems to be something that many who sympathize with Comicsgate, in
one form or another, have learned. One notable example is Jawbreakers
– Lost Souls, written by
Richard C. Meyer. Despite efforts from both SJWs and elements from
the Western comics industry itself to ensure it’d never see the
light of day, not only did this crowdfunded project manage to pull
through defiantly, but it also turned out to be a more than decent comic in its own right.
This is by no means the only case in point, with other independent
and fan-backed projects meeting similar success, from Trent Luther
and Brian Ball’s military black humor series Rags
being taken up by Antarctic Press to Doug TenNapel’s Earthworm
Jim comic managing to get over $100,000 on IndieGoGo within 24 hours.
One doesn’t have to agree with the authors’ political views or
ideas when their works are solid and popular enough to be enjoyed
regardless.
Much of
the same could be said for gaming. Apart from Warhorse Studios’
Kingdom Come: Deliverance,
the success of which has arguably become legend as an example of
crowdfunded games done right, one of the most anticipated titles is
FOW Studios’ Subverse.
Inspired by the likes of the Mass
Effect games, this
ambitious, erotic title defied naysayers and skeptics by becoming one of the biggest Kickstarters ever, breaking the $2 Million mark.
Which isn’t even getting to the soon-to-release Bloodstained:
Ritual of the Night,
brainchild of ex-Castlevania
producer Koji Igarashi, which has not only garnered over $5.5 Million by May 2019,
but has also earned more than enough to thoroughly revamp the game
and have post-launch content. While these generally have no real
“political” statements to make outside of the developers wanting
to make the kind of content they and/or gamers want, to call their
success impressive is understating it.
Granted,
there are myriad pitfalls: fear of disappointment, the tendency of
some projects to be failures and scams, the threat of censorship and
coercion, even the risk of another Star
Citizen or Phoenix Point-style
fiasco. Given how Patreon’s reputation as a fair monetary platform
has been put into heavy suspicion in light of controversial decisions,
among others, I can see why some would be wary, if not outright
dismiss those notions. Whether out of cynicism or despair, there’s
always that temptation to slide into a nigh-constant siege mentality
and lament what’s lost. Or be a voice in the wilderness, detached
from a world seemingly “tainted” beyond hope.
It’s
not like I would blame such people, though, especially when there are
enough old games and comics to make the proverbial seclusion more
tolerable. Nonetheless, pop culture does matter. There’s an
opportunity here to help leave a more lasting impact, whether as a
long-term way to “win” the culture war or to just see even more
of what fans and gamers want. As another saying goes, “Nothing
ventured, nothing gained.” As always. feel free to comment, like, share, tweet, or whatever other thing you kids do on your social media these days.
*All images are owned by their respective copyright holders and are used under fair use guidelines
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