On Nintendo, comics, bigotry and love.
Further to a conversation with Ben about stuff that’s been rolling around in my head recently, and the ongoing turmoil in geekdom in general. Too lazy to link SRY.
I’ve developed a real appreciation for the genius of Nintendo. It’s not that an unusual number of people have a DS – it’s that the DS doesn’t “belong” to any particular demographic. Your average basement-dwelling geek has a DS, but that balding City businessman also has a DS, and so does the middle-aged mom killing time on the bus to Catford, and the grey-haired lady who wants to train her brain, and you get my drift. And not only does Nintendo cater to all demographics, they back it up with innovation. My co-workers, none of whom are the least bit nerdy, are crazy for Wii Sports, because let’s face it, the Wiimote is just plain cool. Boxing! Tennis! In your living room!
Western comics fans will occasionally quit ogling their collector’s-edition Mary Jane statuettes long enough to wring their hands and wondering what it is with the kids and that manga stuff nowadays. For the uninitiate, this is because Japanese (and, to a lesser extent, Korean) comics are kicking Western comics’ ass all over the place. Whatever could be the reason?
Well, as we’ve learned from Nintendo, in the long run – hell, in the short run – making new cool shit that appeals to everyone is going to pay off better than milking your existing fanbase. You can try to wow the jaded Penny Arcade crowd, or you can adopt the philosophy that videogames are for everyone and set about putting that into practice.
The thing about manga is that it’s for everyone. If you’re a high schooler who wants fluffy romance stories, or a pervy twentysomething who likes to read about cute boys making out, or a boy obsessed with giant robots, or a horror fan, or a Buddhist philosopher, or a passionate foodie, there’s entire industries churning out series just for you. There are many long-running series that you can’t just jump into, but with the sheer volume of stuff coming out of Japan, there’s always new series starting up or ones that work as standalones or…on and on.
Superhero comics, on the other hand, are relatively inaccessible. I’m not a fan and never will be, simply because a) they’re too hard to get into and b) superhero stories don’t really appeal to me. Why do you need to know decades’ worth of continuity to really “get” every single issue on the shelves? Why can’t they have a goddamn standalone series? Why, for the love of God, is everyone dressed in fucking technicolor Spandex? Just gimme my Dragon Head and let me read about Japanese schoolchildren running away from a fifty foot tidal wave.
(Oh yeah, and c) the format’s a bitch, too. Issues suck. Trades and tankobon rock. Enough said.)
When fans call the superhero comics industry on its misogyny, homophobia, racism, and general asshattery, snotty-nosed geekboys will commonly leap to its defence with excuses like “But it’s a business decision! That stuff sells!” Sure, kids, and guess what? Feminism, queer-positivity, and tolerance sell too. Catering to diverse demographics sells. Alienating your potential fanbase — that’s the bad business decision.
Are comics for you and your straight white male buddies? Or are comics for everybody? Do you love your boys’ club with the NO GURLZ ALLOWED GO READ MANGA sign? Or do you love comics?
In the end, it comes down to what you love.
Come for the rock, stay for the klezmer.


