Tri-Wizarding Transphobic Triennial: Three Years of J.K. Rowling, TERF Cult Leader

“J.K. Rowling has become toxic to the [Harry Potter] brand…”—casual reference on NPR’s All Things Considered this afternoon, December 16, 2022 (3:26 into the story on video games).

Clarissa at #100

The Ms. Megaton Man™ Maxi-Series at the Two-Year Mark 

The Ms. Megaton Man™ Maxi-Series is fast coming upon episode #100, as well as the two-year mark of my posting of a 3000-4000-word chapter online every Friday. I’d like to take moment to reflect on what I’ve learned from the experience so far.

Unfrozen Caveman or Woke Neanderthal?

Or, Sorry, You’re Already Assimilated  to Capitalist Modernity

 [Warning: This essay employs such hateful buzzwords and terms (in alphabetical order) as authenticity, call out, cultural appropriation, hating on, imposter syndrome, looks like me, stay in your lane, virtue signaling, and woke, as well as such shopworn and problematic terms from yesteryear (that will surely date the author) as a priori, always already, consciousness raising, poseur, and that schoolyard grand-daddy, sellout. Enjoy.]

The Phantom Mommy: When Retcons Spoil Your Fanboy Escapism

There was a time when hoping for a comic book-turned-movie project to fail would be treasonous. Now the noxious far-right in comics openly disparages any creative alteration to an established property they disagree with, hoping for the downfall – and calling for boycotts – of whatever latest blockbuster. The ideology of this fringe is incoherent and confusing – and entirely selective. Impenetrable and completely irrational to outsiders, their world view makes perfect sense to them, however; everything they don’t happen to like in comics and pop culture at any given time can be blamed on some Phantom Mommy who wants to ruin their naughty-boy fun.

"How Much Do You Need?" Hate and Jealousy in Comics, 2019-Style

The recent spate of comics hate that has emanated from certain dethroned creators reminds me of the early Image Comics years. I happened to have had a front-row seat, thanks to Moondog's Comics in Chicago, who hosted the Chicago Comicon in 1992, and my friendship with Larry Tales of the Beanworld Marder and Chris Eb'nn Ecker. Both worked for Gary Colabuono in the Moondog's central office and along with Bevin Brown, masterminded the Image Tent.

Gorging at the Trump Trough: Editorial Cartooning Goes Belly-Up

It is a paradox that Donald Trump, the worst president in U.S. history, has been a boon to the Left in general and to late-night comedians in particular, but absolutely anathema to the dwindling number of local newspaper editorial cartoonists. Rather than a comic feast, cartoonists are gorging on Trump and going belly-up, like goldfish that have no better sense than to eat themselves to death.

The reasons for this phenomenon are no doubt complex and varied, but there are a few basic tendencies. For starters, the profession – and art form – has been in decline for a generation (it peaked some time around 1978; some might even say it peaked with Thomas Nast around 1878), even as the print newspaper industry itself has radically contracted. Most major cities that had two daily newspapers now only have one, and even one-newspaper markets have begun going less-than-daily or even completely paperless.

The remaining herd of staff editorial cartoonists (numbering in the hundreds a generation ago but now down to less than two dozen, with an average age inching up to around sixty) has thinned to the point that perhaps the gene pool is simply no longer robust or diverse enough to remain viable.

At the same time, less and less has been demanded of the profession. Mid-century newspaper editorial cartoonists once drew political cartoons on a daily basis, and even contributed spot illustrations and special features regularly (witness the herculean efforts of Billy Ireland, whose output for small-market Columbus, Ohio would match any five cartoonists practicing today). Since the 1980s, however, few editorial cartoonists have offered more than three daily cartoons plus Sunday, such have been the arduous demands of the political muse; the craft, for some inexplicable reason, became a part-time job.

It also became a phone-it-in line of work, literally. With the scanner and the modem, more and more cartoonists worked from suburban homes or gentrified urban neighborhoods, venturing into the downtown office only rarely. (The romantic picture of a cartoonist at a drawing board wielding a bottle of India ink and crowquill in the middle of a bustling newsroom probably wasn’t even true in 1910, let alone by end of the twentieth century.)

Megaton Man almost meets The Donald in Megaton Man #10 (Kitchen Sink Press, July 1986). ™ and © Don Simpson 2018, all rights reserved.

By the same token, more and more cartoonists won the right to start their own websites, widening their audiences by increasing easy access, but at the same time no longer motivating readers to pick up a printed newspaper. This perk no doubt kept cartoonists happy while compensating for fewer raises and even cuts to their newspaper paychecks, but it also exacerbated the erosion of loyalty between home newspapers and their respective cartoonists.

Syndicates provided newspapers with easy and cheap (and often a better selection of) cartoons on national issues; at the same time, local cartoonists, eyeing potential syndication revenue, sought to maximize their income by devoting more and more of their energy to national issues, and less and less to local themes. A cartoon devoted to city politics or regional issues came to be viewed as anathema to the current generation – a wasted drawing.

One recently-discharged editorial cartoonist characterized his fellow practitioners of this dying art form as "canaries in the coal mines," apparently oblivious to the fact that graphic art staff jobs have been disappearing by the hundreds of thousands for several decades. In fact, editorial cartoonists have been the last of a dying breed of analog artists to make steady paychecks while sitting at drawing boards. Most illustrators, designers, and cartoonists have been part-time freelancers - at best - for years, while other skilled jobs - from layout to type spec'ing to plate burning - have been wiped out by a toxic combination of digital technology and brute economics. Even in a journalistic sense, editorial cartoonists have hardly been "canaries"; rounds of buyouts and early retirements, not to mention shutdowns, have been a regular newsroom occurrence for years.

Thus local practitioners of editorial cartooning became at the same time cut off from the city newsrooms yet even more remote from nation’s capital and other power centers, the ostensible source of their inspiration. Editorial cartooning was reduced to an almost inaudible vibration in the media echo chamber, part of a nationalized feedback loop whose contributors were paradoxically marooned in irrelevant localities outside the beltway. Anyone with access to a few magazine subscriptions and NPR had the same sources of information (and inspiration) as the most clever editorial cartoonist working from the suburb across town, and had they sufficient drawing skills to produce the fashionable off-handed scrawl most contemporary cartoonists favor, could probably have come up with just as good or better observations.

Into this perfect storm strode Donald J. Trump, perhaps the most perfect foil for a political cartoonist since Richard M. Nixon. Cartoonists already instinctively driven to low-hanging fruit and the easy pot-shot have found such a trove of material in Trump and his cronies they couldn’t resist. But at the same time, they were dealing with a political phenomenon that made editorial cartooning irrelevant. Trump has been so polarizing, no thinking person has needed a cartoon to help them make up their mind.

Yet cartoonists have effectively gorged themselves to death at the Trump trough. Staff positions that haven’t dematerialized for purely economic reasons have succumbed to the “broken record” syndrome: drawings that are ugly, depressing, and utterly monotonous in their dead-horse-beating humorlessness. What rationale does a local newspaper have to keep a one-note, one-issue “voice” that only wants to speak about one thing to a national audience outside the reach of its local or regional distribution, especially when that voice is only screeching at one unmodulated pitch all the time?

While Stephen Colbert can summarize the latest Trump atrocities in a daily five-minute monologue before moving onto other entertainments, the poor editorial cartoonist could fill an entire newspaper page every day and still not scratch the surface of the trove of Trump material – and could cover reams of Bristol board before finding anything funny - let alone uplifting - about any of it. On top of which, carefully hand-crafting three or four anti-Trump cartoons per week has come to seem an almost absurdly painstaking and paltry response to a buffoon who generates three or four national emergencies per hour.

The paradox of 2019 may well be that we will witness the final demise of a once-proud art form, one that hasn’t probably hasn’t been vital or viable in more than a generation, in what - on paper - should have been a Renaissance or Golden Age. Future historians will ponder the precise reasons while those of us alive today will hardly have noticed.

"Lets Me Do My Thing!": The Mystery of Alyssa G. and Her (Un)Broken English

It's been obvious for a long time that the internet and social media in particular has brought out every form of kook, conspiracy theorist, and beyond-the-fringe nutjob with their own idiotic take on the world. On my Facebook page, for example, fans are thrilled to have located the creator of Megaton Man, a comic book series they enjoyed as a teenager, but their very next post is how I'm a libtard for not caring about John Podesta's emails.

But I wasn't quite aware how far this mass insanity has spread until last week, when I came across one self-styled social commentator bold enough and ignorant enough to have made up his own grammatical rules to fit his conspiratorial world view, one in which evil corporations are not only taking over his personal Matrix but trying to staff fast-food restaurants with grammar-challenged immigrants.

What sparked his ire was a particular job recruitment poster he saw at McDonald's somewhere in the northeastern corridor of the United States. In it, a young girl, presumably of Latino ethnicity named "Alyssa G." and clearly enjoying her day off in a pink tanktop and blue yoga pants (and presumably listening to an NPR podcast on her device), declares, "Today my job let me do my thing."

"Today my job let me do my thing." It's called the past tense. But to Our Social Commentator, it's a conspiracy not only to recruit and exploit minorities, but also a sinister plot to spread "broken English." (Also Spanish, since this version of the poster is bilingual; so much for McDonald's secret scheme to appeal to Latinos, which Our Social Commentator is convinced he has single-handedly uncovered!)

Our social commentator created a video of this, with a very creative three-minute handheld shot of the poster affixed inside the glass door of a busy McDonald's. While we get seasick watching this cinema verite image, he reads the tagline from the poster over and over again, slowly, in a mock-Hispanic cadence, convincing himself that "my job LET me do my thing" is "broken English." Not only is McDonald's Corporation, in his view, intentionally appealing to Latinos from "down south" to come north and work for them for less than a liveable wage (and take away gainful employment from "legal" American citizens, as he repeatedly asserts), but they are also encouraging bad grammar.

Of course, "Today my job let me do my thing" is perfectly correct written English, grammatically speaking. It's called the past tense. "Today my boss let me have the day off; I went for a jog and listened to itunes; I did my thing rather than salt french fries or stand for eight hours at the take-out window. Today my job let me do my thing."

(One could, arguably, insert a comma after "Today." "Today, my job let me do my thing." But why quibble?)

Not only is Our Social Commentator an illiterate stooge, he's also an inept cameraman with no sense of artistic composition. Technology enables such mental mediocrities to seem reasonable and "part of the conversation."

Presumably her job didn't let her do her thing yesterday; maybe tomorrow it won't either. Maybe she'll have to go in to work tonight and perform oral sex on her (white male) boss to get the day off she wants next week (the comments on Our Social Commentator's video posting make even worse misogynistic, racist, and hateful remarks about "Alyssa G.," believe me). But today, her job let her do her thing.

Our social commentator, however, insists that his willful misreading of the phrase amounts to "broken English," and demands for the sake of Civilization that the word "let" be corrected with an "s" on the end, so as to read "lets." "Today my job lets me do my thing" would be his amended phrase.

However, "Today my job lets me do my thing" makes no grammatical sense whatsoever. In the simple present tense, which is what "lets" is, her job would have to let her do her thing every day, not just today. "My job lets me do my thing everyday." In fact, McDonald's already has a variation of this recruitment poster that reads, "My McJob lets me do my thing."

"My McJob lets me do my thing." Since the letting isn't confined to just today, it's also perfectly correct grammar. It's called the simple present tense.

Presumably this applies not only to today but everyday.

The only way "Today my job lets me do my thing" would make grammatical sense is if the person speaking were a senior citizen. "Fifty years ago, I had to work sixteen hours a day in a coal mine. But today my job lets me do my thing. That's because I'm basically retired and sit around all day sipping coffee in a McDonald's." In other words, "today" would have to mean "nowadays." And it is hard to imagine how a young woman going for a job on her day off would be using the word "today" in that sense.

McDonald's also has a recruitment poster with two other imaginary employees. "Join our team," it announces. One employee, a woman in a blazer, chirps, "Today my job got me promoted to general manager." A second, a hardworking student, says, "Today my job got me two credits closer to my degree." The third, our lovely Alyssa G., repeats her familiar tagline, "Today my job let me do my thing."

Which phrase is in broken English? That's a trick question, because all are perfectly grammatically correct. "Today my job past tense." Written communication never ceases to amaze!

Which of those phrases are "broken English"? Answer: none of them! They are all perfectly grammatically correct. It's called the past tense.

I commented on Our Social Commentator's handheld video clip. I wrote, "You're quite the grammarian. The phrase is perfectly correct as is."

His response was, "No it wasn't, asshole."

Now, a phrase is either grammatically correct or it isn't; it's not a question of is or wasn't.

Which leads me to think not only that Our Social Commentator (who is a self-professed Right-Wing bigot, I should mention, in case that wasn't already clear) is inventing "broken English" in commercial messages where none exists to suit his conspiratorial world view; he also seems to have a serious learning disability (possibly dyslexia), which prevents him from recognizing and distinguishing verb tenses in written English.

No doubt, McDonald's knows who they want to appeal to with their recruitment posters. And maybe they do want to staff their counters and drive-through windows with underpaid illegal immigrants just to fuck up my man Commentator's Extra Value Meal order. But I think it's safe to say that McDonald's Corporation, or its advertising creators, at least know the correct usage of present and past tenses.

In a world of ignoramuses with smart phones, subscriber channels, and silo thinking that is impervious even to objective Standard English usage, that is some reassurance at least.

Time was when hate-mongers, crazies, and other morons who shouldn't be let out on their own recognizance had to resort to cutting letters out of magazines (to compose ransom notes), or had to type out their ramblings (chain letters and other documents of their delusion) on portable typewriters, replete with misaligned text and worn-out ribbons. Such communication, on its face, looked amateurish; it was invalidated and dismissed by minds of average intelligence a priori.

Nowadays, slick technology comes with designer fonts, automatic alignments, and reasonably professional results, even if the operator doesn't know how to hold their smartphone still long enough to make their ignorant assertions. To discern the lies and insanity from legitimate communication requires of us, more than ever, critical thinking. That, and a sharp eye for detail. Luckily, the shitheads still give themselves away because the elements of basic grammar will always elude them.

"Leaves me alone and lets me do my thing!" Okay, pal.

Comics Bait: Why Hate Has Erupted in the Superhero Mainstream

Certainly one of the most unwelcome developments in the world of cartooning in 2018 has been the emergence of a fascistic Far-Right Wing among comic book creators – calling for not only that certain well-known corporate-own trademarks be “restored” to their original straight-white-male secret identity orientation (this will surely make America great again – but don’t call me Shirley) – but also for boycotts and even acts of violence against those they see as corrupting their “hobby” by fighting for social justice (usually hapless editors and publishers with the thankless task of trying to widen comics readership in a dwindling digital age).

Elsewhere I have discussed the many ways the Comics Haters’ “reasoning” makes little sense, and how their political attributions are merely misplaced frustration at having been through the mainstream fuck mill and dumped out, obsolete and useless, on the other side.

What has gone unremarked, as far as I can tell – and perhaps isn’t even all that remarkable – is that these reactionary hate-mongers (one hesitates to use the term “creators”) were all work-for-hire labor (again, one hesitates to use the term “talent”) employed by big mainstream superhero publishers in the 90s and 2000s.

When you think about it, it’s not all that surprising that a Far-Right Comics Hate movement would emerge among work-for-hire superhero has-beens. After all, as freelancers, their minds have necessarily been preoccupied with decades of continuity in the two major superhero universes – not to mention pockets of comics and pop-culture history like Fiction House's Jungle Comics, Lev Gleason-Charles Biro Crime Does Not Pay comics, hardboiled detective fiction, pulps, and the like – leaving little room for nuanced thought.

Comics Haters who decry mainstream comics’ “sudden lurch to the Left” appear blithely ignorant of the rich Leftist orientation of mainstream comics, including this masterpiece: Bernie Krigstein and Al Feldstein’s “Master Race,” from Impact #1 (EC Comics, April 1955).

Much of this material may be viewed as socially regressive (I’ve long maintained it requires a generous sense of humor if not a bit of Philip José Farmer-esque schizophrenia to properly enjoy it), but that’s not my point. Rather, these freelancers have had no choice but to study this material religiously, since making pitches to the Big Publishers for new spins over well-trod ground depends on being knowledgeable about which kinds of soles belong on which boots in which multiverse.

Being immersed in such continuity trivia means these Comics Haters have had little time to read The Nation or The New York Review of Books, let alone listen to NPR or watch the PBS Newshour. By the same token, their lucrative employment allows them to subscribe to cable, and mainstream creators can be forgiven for confusing leggy blondes on Roger Ailes’ Fox News with actual journalists. (Alternative cartoonists, as I can attest, can only afford free, and therefore liberal, broadcast media.)

It also goes without saying that none of the Comics Haters seems to have come from the ranks of alternative comics. The comic book Left – if I can employ such an over-simplified term – traces its lineage back to EC Comics (perhaps the most left-leaning, socially progressive comic book imprint in the history of newsstand comics) and blatantly counter-cultural1960s Undergrounds.

Significantly, neither EC nor the Undergrounds ever generated much in the way of identifiable trademarks to rival the major corporate-owned superhero properties, or for that matter ongoing comic book series or continuing characters. Rather, the Left has always seemed to specialize in one-off short stories (particularly in the case of EC, Harvey Kurtzman's anti-war Frontline Combat and irreverent Mad, and Ray Bradbury adaptations and proto-Rod Serling Twilight Zone black-outs in Shock SuspenStories), and only sporadically-recurring characters such as Robert Crumb’s Mr. Natural or Frank Stack’s New Adventures of Jesus. The most notable exception would be Mad Magazine itself, which has since devolved into more of a brand than a property, and Gilbert Shelton’s Fabulous Furry Freak Brothers, the closest thing the Underground ever came to launching a licensable commodity.

[Crumb himself, so paranoid about selling out and so revolted by Ralph Bakshi’s animated adaptation, famously killed off Fritz the Cat, just as the character was on the brink of becoming a household word.]

That’s not to say that Comics Haters are completely ignorant of EC or the UGs; it just that this rich tradition of Leftist comics and comix material has never been on the mainstream freelancer’s required reading list. That’s because the bread and butter of your average hapless freelancer consists of putting together pitches to revamp forgotten Silver Age superheroes and hoping to convince Big Company editors to hire them for the script and art chores. Who would you pitch a spin-off to Bernie Krigstein’s Master Race to, anyway?

As I’ve said before, the “social justice warriors” that Comics Haters see as having taken over mainstream comics have always existed; indeed, nearly all of the characters that are the subject of contention and condemnation for being rebooted as female, LGBTQ, African-American, or asexual by Comics Hate were created by a generation of Left-leaning, socially conscious, and – mostly – Jewish creators, who, if alive today and aware of the controversy, would steadfastly condemn the Comics Haters as the regressive, white-supremacist, Apartheid-mongering pigs that they are.

If the Far Right Comics Hate is more or less ignorant of or willfully oblivious to the Leftist origins of the American comic book and the history of the frankly Leftist EC-UG-Alternative comix lineage, Leftists often display an equivalent ignorance and/or bias against the superhero genre. Those who work in the Leftist tradition tend to have an innate abhorrence for mainstream superheroes (one thinks of Daniel Clowes’ Dan Pussey stories, the constant use of pejoratives like “muscle-boy comics” by Alternative cartoonists, or the bias comics scholars demonstrate for autobiographical, nominally “realist” memoir comics over other genres). Too often, this has resulted in drawing that appears completely ignorant of human anatomy and art history and writing that seldom if ever rises above Beatnik nihilism.

Whether the superhero genre is latently conservative, regressive, or fascistic – as Leftist cartoonists have always feared – even in its most liberal manifestations (one thinks of Denny O’Neil and Neal Adams “finding America” riff on Stirling Silliphant’s Route 66 in Green Lantern-Green Arrow), it is curious that mainstream comics have tended to favor continuing series and marketable trademarks while the Left has tended to concentrate on self-contained short stories (come to think of it, Route 66 – in which Buz Murdock and and Tod Stiles tooled across the country in a silver Corvette – has been described as an anthology TV series masquerading as an episodic continuity). Perhaps there is something fractured and discontuous in the Leftist worldview that mitigates against serialized (and therefore capitalist) entertainment.

To finish this essay by making it all about myself – and to place myself as morally superior to all sides in the current controversy – let me just point out that I have always occupied a no-man’s land, thanks to Megaton Man. Ostensibly a parody of Silver Age superhero clichés but initially published by a legacy Underground publisher (Kitchen Sink Press), Megaton Man was neither a mainstream success nor a critical darling; both the Left and the Right found something to hate in it. For the Fantagraphics snobs (for whom I would later make a tidy sum of money with King Kong and the Anton Drek Eros Comix), Megaton Man was obviously a “muscle-boy” comic; for the mainstream, or at least a large swath of those employed by the Big Companies in the 1980s and 1990s, it was a frontal assault on the precious trademarks that represented their livelihoods.

No doubt this is why raising a child out of wedlock, a female-and-black incarnation of the title character (Ms. Megaton Man), an obviously-but-never-outed gay character (Preston Percy), and other “Social Justice Warrior” transgressions in my 1980s storylines flew under the radar.

Neither tribe was paying particular attention.

The Lies of Comicsgash!

The Culture Wars Comes to Funnybooks

One of the more insane trends to take place in recent years is a "movement" started by a small, irrelevant coterie of has-been comic book creators dubbed Comicsgate (which makes little associative sense to someone of my generation, unless its leaders are trying to lay claim to Nixonian paranoia - not exactly the most admirable moment in our Nation's history). But the present moment isn't particularly admirable, either.

Among their specious claims is a convoluted theory that various retcons and rebootings affecting entirely make-believe storylines involving stupid corporate-owned trademarks has something to do with the fact that these fairly lackluster and mediocre creators no longer are as actively employed on the superhero assembly line as they want to be. The result is these disgruntled hacks have taken to the internet (what else?) and started calling people hateful names, ordered bans and boycotts of particular creators, titles, and companies, and threatened violence against a number of innocent bystanders who by all accounts seem only to be doing their jobs.

Trying to give an account of their hopelessly muddled ideology end-to-end is impossible, so it's best to take their incompatible lies one by one:

Lie #1: The movement is a "consumer-led revolt." This is clearly false; it's a small number of vocal (which is to say, whiny) writers and artists who for a brief time drew prominent titles in the Marvel and/or DC pantheon, and now find themselves without gigs. They thought they were essential to the perpetuation of certain namby-pamby, vacuous and hollow franchises, but they found out this was not the case, and they resent it.

Lie #2: The talent brought in to replace the Whiners is inferior because the selecting criteria of editors and publishers was ideological and/or identity-based. False; there is little evidence that comics are any more or less hacked-out, mindless, and unoriginal as ever, or that the level of work is any more less inspired or insipid as it's been since the early 1970s.

Megaton Man visits the pretentious hacks on the superhero assembly line in Return of Megaton Man #2 (Kitchen Sink Press, August 1988). In those days, the Culture Wars was only a gleam in the eye of Morton Downey Jr. ...

Lie #3: Beloved characters and franchises are being ruined by inorganic, top-down imposed makeovers to conform to said ideology and/or identity-based criteria. False; no intelligent human being could possibly care less that Scuba Man used to be straight, WASP newspaper reporter Kyle Kildare and now is involuntarily celibate, ambidextrous, undocumented Dreamer and lesbian activist Fortuna Primigenia, or that his (her) mutant robot sidekick Willy has been replaced by a self-levitating smartphone that sounds like a Burbank voice actor doing a bad impression of Lin-Manuel Miranda doing a wisecracking, hip-hop Bugs Bunny. (Besides, Scuba Man has always been stupid, no matter what his/her/its creators have tried, and nobody really cares.)

Lie #4: The comic book industry is being taken over by Left-Wing Ideologues. False: the comic industry was started by left-leaning liberals and always run by them; read one of Stan Lee's Soap Boxes circa 1972, for Christ'ssakes. People with imagination and talent have always tended towards social compassion, inclusion, and just plain hanging out with other social misfits like gay people, free-thinkers, and other mild-mannered types. Some of these people actually embody understated Judao-Christian ideals without voting for billionaire rapists. It's called Art, not Fox News.

(If anything, the industry has been taken over by humorless haptics who stopped developing before the concrete operational stage, are severely repressed closet cases who get hardons from back issues of Soldier of Fortune magazine, and can't draw a woman who's more true to life than a mid-sixties Barbie doll.)

Lie #5: The Whiner's short-lived careers are the result of an engineered conspiracy by said Ideologues. False: writing and/or penciling corporate superheroes has been a career with the life expectancy of a gnat since the days since Kirby, Kane, Romita and Buscema. Gene Colan was famously fired by Jim Shooter while arguably at the height of his creative abilities; I attend comic book conventions with creators from the 1990s who could still be happily churning out monthly comics for Marvel and/or DC and still aren't even old enough to join AARP. The Comicsgate generation has been put out to pasture too soon? Sign up for food stamps and stand in line; it's a long one. If you want job security, next time become J.K. Rowling or George Lucas; i.e., originate something, don't just learn to cut out cookie cutter capes and cowls for a Big Company paycheck, then complain when your particular cookie shape is no longer in vogue.

The labor dispute metastasizes into an all-out assault on creative liberty! From Return of Megaton Man #2.

Lie #6: Having someone to blame for your plight will make things better. False; try reading some of the characters you helped perpetuate for the past few years. Did they gang up and pick on people and threaten violence? No, they were heroes - albeit make-believe; if they had to punch someone, it was out of self-defense or to right an actual wrong, not because Life dealt them a crummy hand this time. Conspiracy theories may be comforting (and make for entertaining storylines in fantasy material), but to actually believe them is to become unhinged, pathological, and dangerously disturbed. Grow up and create something that reflects positive human values, and stop hating.

Lie #7: Sales would be great again if companies would just go back to the classic formulas, i.e. manly (white) men and curvaceous babes. False: the print medium is dying, in case you hadn't noticed; and sales figures are bound to decline regardless. Marvel and DC would have gone out of business in 1983 if it wasn't for their media and licensing revenues; for decades, print comics have been a loss-leader and farm system for ideas for much bigger movie and TV series tie-ins, a break-even proposition at best. And they ran out of ideas well before 1974; if you think the cosmetic monkeying with identity politics has any more substance than mutants, robots, and the cloned Gwen Stacy, you have seriously lost touch with reality. Besides, editors and publishers have a fiduciary responsibility to throw everything at the wall to see what sticks; or have you lost your faith in the Free Market?!

Like everything else, at the bottom of every creative complaint is ... wait for it ... MONEY! From Return of Megaton Man #2.

Why doesn't everybody just sit back down and draw their little Men in Tights and fight their Culture Wars on paper (and in their ring-bound sketchbooks, if Marvel and DC won't send you their custom blue-lined Bristol board anymore)? And if nobody wants to pay you for the works of your imagination anymore, let alone cares, at least you've done something personally therapeutic and kept your poisonous hatred to yourself.

Morons.

___________
Update: See if you pass the Ms. Megaton Man Social Justice Warrior Litmus Test!