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Good Readers, Bad Readers, Authorial Intent, and Subtext in Comic Books

 
  

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TimCallahan
19:31 / 11.07.07
I've been getting slammed by strangers for comments I made in a Comic Book Resources interview. After the responses started being posted on the Comic Geek Speak message board, I thought it was a fun internet dispute that might raise a debate about what makes a good reader, how much does authorial intent matter, and what is the "deeper meaning" of comic book stories.

The relevant part of the interview is here.

The furor over my grand sweeping statements is here.

and then it kind of trails off into nothingness...

But the points are still worthy of discussion, I think. Douglas Wolk and I (and maybe another writer) have decided to have an online discussion on the concepts of "authorial intent" and "subtext" in relation to the New Avengers issue that came out today.

What do you guys think about the controversy?

Is it totally inappropriate to say someone is a "bad reader"?

Is recognizing symbolism, metaphor, and subtext an essential part of reading a comic?

Does it matter what the author intends?
 
 
Jack Fear
19:41 / 11.07.07
Amazing. It's as if, for the comics reading audience, the last eighty years of literary theory never even happened.
 
 
MattShepherd: I WEDDED KALI!
19:47 / 11.07.07
Did Derridaman sacrifice himself for nothing?
 
 
Spaniel
19:52 / 11.07.07
Honestly, Tim, can you really be arsed to get into a debate with these imbeciles?
 
 
matthew.
19:53 / 11.07.07
Tim, I read your interview ignorant of the fact that you were a 'lither. I have two questions.
1) When are the other books coming out?
2) Is this thread designed for support from Barbelith, or did you actually want to discuss what you've talked about? I'm not being rude or anything, I want to know.
 
 
Jack Fear
19:54 / 11.07.07
(Also: Tim, in future it'd be helpful if you familiarized yourself with the proper HTML coding to make your links active. The "Preview Reply" button is your friend; the Wiki is your super-BFF who lets you borrow his pickup truck when you need to move house.)
 
 
matthew.
20:00 / 11.07.07
I mean, really, as a teacher you know full well that sometimes people suck and they don't know how to read a text. That's what school is. It gives you the tools and the skills to read and intrepret a text. Not necessarily deconstruct, but that and other tools. So, comic book fans don't know how to read a text? I'm not shocked. That's what I have Barbelith for.
 
 
MattShepherd: I WEDDED KALI!
20:52 / 11.07.07
I actually thought the signal-to-noise ratio of the linked thread was really high.* A good half of the posters were lucid, willing to converse, and advanced some points admirably. Frankly, I think Ben Jacobson hit it on the head way back in page two:

There is one big thing wrong with this statement and that is the comic might in fact be bad or more specifically confusing. If the comic is confusing and the reader doesn't want to figure it out (because perhaps it can't be figured out) does that make him a bad reader? Doing a further "close reading" on your statement we come to that word "bad." First of all I think poor would be a better adjective, but either way you are passing judgment on someone else's reading and not just their reading of this particular comic but of everything they've ever read. That's an ad hominem attack. It would be much better to say, "I think that in this case your reading of the material is poor because I have seen deeper meaning and it adds to the value of the work." However, if the reader responds that they don't want to look beyond the surface if the surface isn't interesting to them then that is their right as an audience.

In response to questions posed above:

What do you guys think about the controversy?

This isn't a "controversy." It barely qualifies as a "disagreement." You blanketed a bunch of people, including the co-host of a popular discussion site, as "bad readers" and now you're astounded when they reply non-positively? Horrors!

Is it totally inappropriate to say someone is a "bad reader"?

Individually, no. Collectively, saying that anyone that doesn't like the things you like or doesn't want to invest a lot of effort into deciphering something... "inappropriate" isn't the word I'd choose, but it's pretty damn condescending.

Is recognizing symbolism, metaphor, and subtext an essential part of reading a comic?

No. If the comic is infused with symbolism, metaphor and subtext and you choose not to engage with it, and then you don't like the comic, that's your business. But I don't think we should be administering "It Pays To Enrich Your Jung Power" tests before people are allowed to buy the newest issue of Archie.

Does it matter what the author intends?

See Jack Fear's link, above.

*Edit: By Internet-at-large standards. And at work, I browse the Web with images turned off. Revisiting that thread at home, the avatars and .sig images really up the "noise" quotient. Do people know how much harder it is to take them seriously when they plaster messages with goofy crap like that?
 
 
ONLY NICE THINGS
20:56 / 11.07.07
First of all I think poor would be a better adjective, but either way you are passing judgment on someone else's reading and not just their reading of this particular comic but of everything they've ever read. That's an ad hominem attack.

The next person who uses that phrase without knowing what it means is getting kebabed like Skrullektra, I tell you.
 
 
MattShepherd: I WEDDED KALI!
20:58 / 11.07.07
I had a funny feeling somebody would pick up on that.
 
 
LDones
21:11 / 11.07.07
Intended or not, calling any reader a "bad" one, even a hypothetical one,in a public comics-related interview, is rather brazenly inviting internet ire.

It's not necessarily a bad statement, in part because it might invites discussion of literary criticism and theory as applied to comics (which is obviously and ridiculously still a novelty these days), but it does imply an elitist viewpoint that condescends to any who don't have the comics comprehension or inclination to appreciate things as you might.

Probably inappropriate unless the intent was to spark internet comics fandom to debate the topic. Which is a bit like dumping rats in a drainpipe hoping they'll clean it.

--
I wouldn't disagree with the notion that the quality of the experience reading Morrison's comics can be dependent a fair deal on exposure to his past body of work and even details of his life, feeling familiar with the shorthand of his particular pet themes.

Morrison's stories are often pretty complex, and issue-to-issue readers regularly feel the need to play fill-in-the-blank from sources outside the comics themselves just to make sense of them, and like many complex stories they seem to invite wild and baseless speculation from fans about the inherent meaning of events or the tiniest details. Failings of his as a writer? Of the readers? Totally normal to any popular serialized fiction?

--
Questions about the worth of measuring authorial intent in comics and how a reader can or should gauge their willingness to... invest themselves in the act of enjoying comics (and Grant Morrison's work in particular) could be well interesting in a moderated group; but on most any internet forum you're dealing with vastly differing levels of understanding and expectation for the quality/rhythm/tenor of a discussion like that.

Buying Douglas Wolk a beer and bullshitting for an evening on the topic would likely bear more fruit than hitting any given messageboard.
 
 
ONLY NICE THINGS
22:40 / 11.07.07
From Callaghan, that discussion:

If someone doesn't undertand metaphor, how do they function in life?

As we know, schizophrenics can't process metaphor, which is why Seaguy didn't sell as well as it should. Have we not already done this one?

There's some quality mouthbreathing in that thread, though.
 
 
This Sunday
22:45 / 11.07.07
Sweeping statements started this, so sweeping statements carry it: They're not 'bad readers,' they're 'non-academic readers.' And they can't process metaphor.

Jack's got it right; the last eighty years of Lit Crit did not happen for these people, in the same way the last eighty years of visual and communications (and other art-related theories) seem to have never happened.

Only in comics: No Impressionism, no New Criticism... straight on to the Remodernism with bigger guns and shoulder-pads!

The truth, of course, is that there's probably a good number of comics readers who'd rather post here, or nowhere, for trying to get a decent conversation going. Hold the Scary Sex Stuff or BatMorrison threads up to similar threads on CBR or any other comics board.
 
 
TimCallahan
23:36 / 11.07.07
I just wanted to point in out to everyone and see if these ideas were really even that debatable. I tend to take clear-cut positions with my opinions, especially when I proclaim them, often as a philosophical strategy to see how effectively people can make a counter-argument, which I listen to intently.

Dialectics, I guess. I'll say stuff like, "people who don't understand subtext are just BAD readers," which is pretty close to what I believe, but put more bluntly than I normally would, and, of course I expect a response, but not a list of insults. I'm optimistic that way. And some of the CGS posters did make some valid points, but it was impossible to interact with them without the sniping of others.

As I said in a blog post today, what's with the low self esteem of these readers who automatically lump themselves into the category of being "bad" at something? I don't understand that, though I guess I shouldn't be surprised, knowing the history of the medium. If I felt like I was bad at something that mattered to me, I would practice and learn more, until I became good at it. You'd think understanding a comic book matters to people who spend hours recording shows about comic books, and to the people who spend hours posting on message boards about them.

My newfound career as a writer is based on showing the average person just how much depth and significance can be found in this medium, so it was disheartening to see how readily those ideas were rejected and dismissed as "snobbery."

Barbelith IS so much more understanding...
 
 
matthew.
00:42 / 12.07.07
But Tim, you're still not digging yourself out of that. You're saying that bad readers should try harder so they can get better at it. It's not about being a "bad" reader, it's about being a different reader. You can read a comic book about men in capes fighting each other, and you can enjoy it. You can also enjoy in a different way if those capes were symbols for America, or industrialization or consumerism. It's a different kind of reading the text. It's not my style of reading... I like to take it down to the subatomic level of meaning if I can, but for many other readers, a good portion of the population, they just want to see some capes and punches. It's no worse or better. It just is.
 
 
This Sunday
01:15 / 12.07.07
I kinda agree with matt, there. Let people enjoy the way they enjoy. They're not stopping you from enjoying the way you do, they aren't entering some psychogeographic realm and ripping the subtext off the walls to flush down the toilet. It's one thing to point something out, to propose a new perspective, but once that's done, if someone prefers their old view, and it's not impinging in a social way, there's no real need to keep on it.

The refusal to 'get it' doesn't bother me so much as (a) an insistence they don't 'get it' when they clearly do, at least to a degree, and (b) an insistence that there isn't anything there to get. That's just wilfull ignorance, self-perpetuated and everything. But if it's how they make the world and entertainment work for them, so be it.
 
 
Jack Fear
02:07 / 12.07.07
I don't necessarily think it's inherent to comics. I see the resistance to looking for deeper meaning in the way that people discuss film, too—when people say they just want to turn their brains off and "just enjoy the movie" (as if leaving their critical faculties engaged would somehow impede their enjoyment), or that they don't like movies that make them "work too hard"—many American viewers, I know, shun films with subtitles because they just don't want to engage the movie with the decoding/interpretive part of their minds; they just want an absorptive entertainment experience.

I think that part of that attitude as it relates to both comics and film is because they're both media that combine words and images, and so are less necessarily interpretive than, say, prose or radio drama. Visual arts, I think, fail to provoke the interpretive impulse in many people because they seem to obviate the need for interpretation; that is, the hard work of reading—the work of making pictures inside our heads—has already been done for us, so further interpretation may seem superfluous or overreaching.

I mean, when someone requests a full explanation, we may say in exasperation, "Do I have to draw you a picture?" with comics (and with film) the picture is already there; all the information you could possibly need is right there in the surface of the picture, right? So what more could you need?

Also, frankly, I think a lot of it stems from the way that (and especially the age at which) people come to a particular medium. Most of us become comics-readers or movie-watchers when we are very young—in part because comics and film are so easily-approached, so complete in themselves—we may not be ready for War & Peace, but we can handle Tom & Jerry, because the makers of Tom & Jerry have done the hard work of visualization for us already. We're being spoon-fed; and what is on our spoons is pretty tasty, and not at all challenging.

And I think that a lot of people stay with certain kinds of comics, or with certain kinds of movies, precisely for that reason; they press certain pleasurable buttons reliably, and without much effort on the part of the viewer/reader.

So yeah, not "bad" readers. Just untrained, and with a certain learned helplessness that masks a deep fear of change and a deplorable lazines.
 
 
xenosss
02:19 / 12.07.07
Although I think this is certainly a good discussion to have, it might not be too meaty. All of the reasonable opinions (as I see it) have been put forth in that other forum.

citizenDave: I understand his frustration. It's one thing to state that you cannot see the secondary, underlying meanings, it's another thing to simply refuse they exist and accuse others of "reading too much into it".

Sime: I feel that if I can't get what the author is trying to tell me at that pace then I think they have failed. Finding layers of meaning is all good and well but I'd prefer it didn't come at the cost of stunting the pace at which the story is read. I like hearing what people get out of Animal Man etc but there are many books that I have read that were powerful, exciting, poignant etc and did it all without me having to crack open an encyclopedia or delve into the authors mind set. Some people like doing that, personally I will stick with the stuff that delivers its message at my level and listen to podcasts for the stuff that goes over my head.

Fnord Serious: I can see where Callahan is coming from, as he is a professional reader, in a way. I think it would have been more politic to say that Bryan is a "non-academic reader" rather than a "bad reader". Bryan is reading for enjoyment. Callahan may be reading for enjoyment, but he is reading with a whole arsenal of tools that enable him to read a book in a different way, and most likely analyzing it out of habit. Neither way of reading is objectively "good" or "bad", just different.

ctowner1: It's not that he's the arbiter - the point he's making is that his individual interpretation (just like YOUR individual interpretation) is just as valid as the author's interpretation. Once the author has created the work, it stands alone in the owlrd to be interpreted by any who experience it. No one's experience/interpretation is superior to any others. (it's just that some are more illuminating and interesting and more likely to invoke insight and discussion).

That's just from the first page.

Basically, I am agreeing with everyone who says there and here that how you choose to read is your own decision, and one way is no better than the other. At times, one may be more appropriate, but that is not the same as better.

Of course, it should be acknowledged that comic books are capable of (and deserve) analysis. They are generally sources of entertainment, but so are novels and films, and the historical intent of the medium has never stopped creators (or audiences) from injecting new meaning or invoking new intent for their works. But it is absolutely reasonable for someone to dislike a comic because it does not hold their attention, regardless of how "interesting" or "deeply layered" it may be.

So yes, a closer reading of any text may result in a greater appreciation of the work (or maybe even an appreciation where before there was none at all), but it is just as important for a text to be enjoyed at its surface. You gotta give some incentive to care enough.
 
 
LDones
03:02 / 12.07.07
There's a worthy time and place for the "Diff'rent Strokes for Diff'rent Folks" argument, but I have to say that I've seen it become increasingly tiresome and even desperate from comics fans who want to feel defended but have no position on the subject. It's a cop-out. It's opting out of the conversation. Taking the ball and going home.

The idea that no opinion can be wrong is... well, wrong. Some opinions are wrong, and while almost any position is justifiable with the right rhetoric, some are less tenable than others.


Look, most comics are bad. I don't think there's much arguing it. It isn't any problem with the medium, it's the history of the medium and the practices of the companies who hold and have always held the biggest market share of the business. It's the talent they seek and attract. It has never been financially feasible to focus on literate works of high artistic integrity.

Most comics are superhero comics - an overwhelmingly vast majority. Most of those are superhero comics that don't have much to offer beyond adolescent male power fantasies.

Which brings me to the point where I say that it seems to me that the vast majority of the weekly comics-buying / pirating / reading audience are well out of adolescence. They're the only ones who can afford the 'hobby'.

Mindless entertainments, trash entertainments, are a wonderful part of being human. Without them we wouldn't have John Waters, or the Weekly World News, or H.P. Lovecraft, or Spider-Man, or God help us, pornography.

I think there is a problem, however, with using the "not worse, just different" argument to defend modern shallow entertainments in a medium when that medium pumps out a stunning preponderance of these shallow adolescent male power fantasies targeted directly at men around the age of 30 and their overwhelming senses of nostalgia.

Jack Fear puts it more eloquently than I have.

As a medium, comics should grow up. Comics readers should expect more from their comics. Neither of these things is likely to happen at any noticable speed.

Some comics are amazing, and even some of the ones that suck are wonderful examples of unrestrained imagining in a way that lays the beauty of putting mind to page stunningly bare. Which I guess would make them not suck in the end.

But I wanna call that position out, that stance, the lack of one that says:

"Some people only watch porno, and their appreciation of film is perfectly developed, just different, and they should not be criticized when they speak out against other examples of the medium."

or

"Some people only read Romance novels and they're just as literate as anyone else."

Those things aren't true. It's fine if you don't read James Joyce. It's fine if you don't like Ingmar Bergman. It's fine if you don't like Grant Morrison. I don't think that's the issue. Laziness is more the issue.

The quality of comics criticism is generally very poor, and the willingness of the comics audience to invest energy in interpreting and critically regarding comic book stories is strikingly limited.

That's bad if it's important to you for comics to grow as a medium. Otherwise, I suppose it's... lamentable. I'll still enjoy the few wonderful or genuinely exhilarating and affecting stories that use the medium here and there.
 
 
Alex's Grandma
03:05 / 12.07.07
You can read a comic book about men in capes fighting each other, and you can enjoy it. You can also enjoy in a different way if those capes were symbols for America, or industrialization or consumerism.

Doesn't this depend a bit on the writer's intentions? I suppose it would be possible to read something like 'Miracleman' as simply a bunch of cool shit to do with a super-powered guy smacking the crap out of his enemies, because after all, on one level that's what it is. But wouldn't anyone who honestly saw it as that and nothing else be rather missing the point? And also missing out, really? In much the same as they might be if they took one look at 'Guernica' (by Picasso) and decided it was just a weird, nonsensical and oversized newspaper cartoon? Again, in a way it is, but to look at it that way would be to skip over what the artist intended to be an enriching, or at least interesting experience, in terms of trying to get to the bottom of what it all might mean. Which is not to say that 'Miracleman' is anything like as difficult - the ideas, references and philosophy behind it are pretty much spelled out on the page. And even if you have no idea who, say, Martin Heidegger is, which, aged about fourteen when I originally read this I certainly didn't, it's surely clear enough what sort of character he might have been.

I suppose on a different level one could speculate about Stan Lee's 'The Incredible Hulk', and whether he was meant to be a metaphor for the nuclear bomb, as opposed to just it's victim; similarly, going deeper into sub-text, are the 'Roadrunner' cartoons essentially about the war between the ego and the id (Wile E Coyote schemes constantly, but he can never get anywhere, whereas the Roadrunner just 'is')? This sort of thing is fun, and worth talking about, pretty much regardless of what the writer originally meant, but it's often not essential to appreciating the story. On the other hand, presumably only a deep fool would think of 'Miracleman', or 'The Enigma' or even 'The Ultimates' as comics purely about men and women in spandex, getting into fghts.
 
 
TimCallahan
03:10 / 12.07.07
CGS is apparently the top-rated comics podcast, and according to people who visit their store, these guys actually charge like $15 for people to sit in the "audience" and watch them record it.

And here's Bryan Deemer, the founder of Comic Geek Speak, and the guy I indirectly insulted (I didn't know his name at the time of the CBR interview), talking about Animal Man on a "Book of the Month" podcast:

“[Animal Man #5] is a completely worthless issue...that was a complete waste of paper.”
“Why did anybody reading these [issues] make it through all nine of them.”
“[‘The Coyote Gospel’ is] one of the most worthless comics I’ve ever read in my life.”

He doesn't defend any of these critiques, other than by saying he "didn't get it." Now, he's certainly entitled not to like Animal Man. That's up to him. But I would argue that he qualifies as a bad reader, not because he didn't like it, but because he literally could not understand it. He goes on to say in the podcast that he didn't know why Crafty came to Earth to begin with, even though Morrison provides the whole exposition sequence showing Crafty sent to Earth by "God/The Animator" as a sacrifice.

The captions in Animal Man # 5, where God is talking to Crafty, read, "'Then you must spend eternity in the hell above,' said God. 'While you live and bear the suffering of the world, I will make peace among the beasts...so God sent Crafty forth from heaven and earth...And Crafty was given new flesh and new blood.'"

When guest Geoff Klock points out these exact captions to Bryan, he says that he didn't understand that stuff at all.

So, I'm not saying a "bad reader" is someone who fails to meet some lofty standard of post-graduate academic insight. I'm saying a bad reader fails to understand the meaning of a text at a fundamental level.

In that podcast, Bryan goes on to justify his inability to understand Morrison by saying, "I don’t believe in reading between the lines," "I judge literature the same exact way: surface value. That’s why there are words on the page,” and "I just read the words, and I look at the pictures, and I go, ‘what happens next?’” But the truth is, he didn't even understand what the words and pictures meant.

And this is the person I got flamed for indirectly grouping into the "bad reader" category. Just so you have more context on the situation.
 
 
This Sunday
03:22 / 12.07.07
See, the problems with being overly classist or specialist in our criticism of a preference is that things like: "Most comics are superhero comics - an overwhelmingly vast majority." are verifiably untrue and demonstrate a willed ignorance of their own. Worldwide or even in terms of english-language publications, it's untrue that the vast majority of comics, or even the vast majority of comics most people see regularly are superhero-related. Translated comics from Japan are published and made available heads and shoulders above anything from the Big Two, and beyond that, more people get their comics from a newspaper than from a comics shop.

Without getting into whether or not superheroes are a genre (that has its own thread, and boy did we fill it up with stuff - and maybe should fill it up with some more), the argument that "Some people only read Romance novels and they're just as literate as anyone else." or whatever subsection or genre you want to use is not at all the same as saying it's alright to let people, in general, enjoy things in their own way. It also doesn't mean someone who reads only books descended from 19th Cent. realism is very qualified to comment on, or analyse with any accuracy, an Atwood novel or even a Russ Meyer flick. Isolation of any sort devalues (or, re-values? revalorizes?) the position, especially if it's a willed isolating. I'm increasingly concerned that the creator of Cannon God Exaxxion intends us to read things like an un-rape machine and necessary genocidal actions perhaps at more face value than I am, but that isn't my reading of it, and without proof... but I can't really fault people who are reading it that way, taking it absolutely straight.

One of the few bits of New Criticism that I really agree with, or even like, is the distancing of the author from the work. And if we agree to distance the author at all, on some level, we have to distance other readers and other reads.
 
 
LDones
03:33 / 12.07.07
Thinking back to that superhero genre thread, my definition is rather broad, including The New Testament as a superhero story if that gives any clarification.

I also admit to thinking of "most comics" as excluding manga and non-English work, which I should've clarified, and I think is a different beast from what we're discussing here.

Am I mistaken in thinking that the vast majority of the English-language-originated comics market share is taken up by DC/Marvel? The information I glean and my personal experience tells me that independent non-super work is still a much smaller chunk of the market, but I'm certainly not aggressively reviewing anyone's books.
 
 
alas
03:39 / 12.07.07
I admit that haven't read the whole CGS discussion. As a result, I'm reading this comment--

The refusal to 'get it' doesn't bother me so much as (a) an insistence they don't 'get it' when they clearly do, at least to a degree, and (b) an insistence that there isn't anything there to get. That's just wilfull ignorance, self-perpetuated and everything. But if it's how they make the world and entertainment work for them, so be it.

in dialogue with this portion of TC's interview--

TC: And there was this whole debate about whether or not comics have a deeper meaning; whether something like “Casanova” has a deeper meaning, and this guy who hosted the Comic Geek Speak show really believes that there is no deeper meaning. He just says “no.”

“No” to “Casanova” in particular?

TC: To any comic books. His defense was, “Well, whenever you guys play up the deeper meaning of anything, I just don't think that stuff's there. I think you're reading too much into it.”


More confessions--I don't know that website and don't know much about comics generally, especially ones directed primarily at the standard American male comics reader, which I'm guessing dominates those threads. And, finally, I obviously didn't go seeking out the podcast that Tim''s referencing there.

So, with that mass of confessed ignorance as our collective grain of salt, my impression is that a big part of Tim's frustration with the CGS readers who say "you're reading too much into this!!" is that, contrary to the points being made in the two posts by matt and Decadent nightfalling above (here), those CGS readers also want to police other people's reading.

If Tim's redaction of the podcast is basically accurate,* then the guy who hosts this show seems to imply that anyone who sees complexity in comics, and especially those who are willing to make an argument pointing out the evidence for that complexity, should just "shut up."

To me, Tim has every right to say: "I won't shut up; the complexity is there--here's the evidence."

In fact, I think it is not coincidental that the argument seems to parallel the course of most discussions of racism and sexism:

1. Someone who has been trained (whether by direct life experience or by the work of overcoming race- or gender- based privilege) to see racism or sexism or class-bias or whatever points it out. "That's a sexist comment/TV show/Mary Jane statuette/argument."

2. Inevitably someone who has not been so trained says: "you're being too sensitive" or "you're making too much of this," or "you're reading too much into it."

Refusal to "read" is a kind of anti-intellectualism, and it is a powerful cultural force that is at work in the protection of various kinds of privilege, particularly in the US, and is vital to consumer culture: an ignorant consumer is one who is more readily controlled. And this anti-intellectualism is often, but not always, intertwined with other sorts of privileges--often with simple financial power and race privilege. It is oppressive, and it is dangerous.

Now this is where it starts to get tricky, because advanced literary/analytical education is, quite simply, expensive. When the costs of education (esp. lost work time but also tuition, etc.) are almost wholly privatized, as they increasingly are in the US, rather than being publicly paid for, that advanced education is efffectively limited to an economic elite. Thus the charges of "snobbery" might at some level be legitimate, because there is a connection to simple socioeconomic reality.

But I think it's more complex than that, and that the similarity I'm sensing between anti-intellectualism and sexism and racism is not coincidental. At base, this represents a refusal to explore the complexity of texts beyond their "common sense" meaning--and "common sense" is a powerful way to reify the status quo.

When computer-using, English-speaking, comic book readers--i.e., people who have access to the time and resources necessary to devote to an extended, online debate about comics--resist seeing complexity in the material they purpost to like, and in fact do not want anyone else to explore meaning beyond what they perceive to be "common sense," I tend to suspect them of being self-serving. I suspect that, for most of these readers, theirs is the false innocence of a privileged position in our world.

In this case, I suspect that most of them are policing a particular form of white, middle-class, masculine identity that feminizes and demonizes critical thinking, using a kind of class-tinged rhetoric (snobbery, elitism) as camoflage. [Think of blue-blooded, Connecticut-raised, private-schooled George W. Bush's "Texas" accent, and faux-folksy-isms for a different version of this.] This often harms them, e.g., by making them more susceptible to slick ad campaigns and demagogery, but it actively oppresses others along familiar gender, orientation, and race lines.

So I'd say it's legit to call that "bad reading."

* as his further elucidation, posted while I was typing, suggests.

[edited to try to catch up!]
 
 
alas
03:46 / 12.07.07
(Holy crap, my last was cross-posted with a whole lot of other entries. Can you tell I'm used to slow forums like headshop and books?)
 
 
This Sunday
03:53 / 12.07.07
My point isn't that Marvel and DC don't put out a whole host of superbooks, but that, market-wise - in terms of items published per year, likelihood of being seen/read by general reader, or in terms of sales - manga and daily/weekly strips have anything resembling Green Lantern beat. You can dismiss that on a creative side, if you choose to artificially isolate parts of the market, but it's, artificial isolation. More people still experience Peanuts or something like One Piece or Ranma 1/2, in english-dominant countries, every day than come across a superhero comics story. Even though we all know that little red-headed girl is totally a superheroine and Charlie Brown's her silver age Lucy Lane.

If they can't be allowed their artificial isolation-practices to enhance their enjoyment, then nobody ought to. And, really, we're not talking about who's making the things, but who is reading them. So, to my mind, anything published in english qualifies as something intended to be read by people reading in english. Those who choose to isolate themselves to superheroes, well, it still doesn't make the industry or the interpretive side of things become predicated on superheroes.

Again, it's the desire of any side to invalidate or isolate unnecessarily that bothers me. If they don't want to read well, or read in X way, so be it, but for someone to take that stance and insist it's the only way, as many on the linked thread are doing, that sort of read-regulation isn't helpful to anybody.
 
 
TimCallahan
04:00 / 12.07.07
Alas,

I think your points are incredibly perceptive. In my face-to-face encounters with such "literal minded" people, they do tend to be white, middle-class men who dismiss any commentary of a sexist or racist subtext as "over-analyzing" or "reading too much into it." And I'm not talking about just American comic book fans.

I would love to see how comments like yours would be responded to by the people on the CGS message board. My biased opinion is that they would dismiss it entirely as "ridiculous," or insult you.
 
 
alas
04:03 / 12.07.07
I think your points are incredibly perceptive. . . . My biased opinion is that they would dismiss it entirely as "ridiculous," or insult you

That's not bias! That's just good reading! Obviously!
 
 
LDones
04:25 / 12.07.07
Is that what we're talking about, though, Decadent? I agree with you that comics as a full-fledged narrative medium include those things, Calvin & Hobbes, Death Note, etc, which I tend to subjectively think of as "something else" in the market with a different demographic taking them in and spending money on them. Different from those who buy Grant Morrison stories, anyway, which is where that simplification in my statements comes from I think, since that's where the topic started.

I don't want to burden the thread with "Whut Arr Comicks, Rully" discussions, but I am aware that some of us might be talking about different things when we say the word "comics". When I say "most comics are bad" or "most comics are superhero comics", I'm referring to weekly pamphlet comics - which I know is a subconscious bias & oversimplification on my part as they're only one method of delivery preferred by companies with a specific audience in mind - but I think they're the mode under discussion, with the audience we're talking about. And they're easily the types of comics most often discussed here, for better or worse.


To Tim and alas, the very special place the white middle class occupies in superhero comics fandom is sort of fascinating, but not too different from the sort of fandoms other... entertainment fetishes have cultivated. I think this kind of debate, and I use the term loosely to mean the back-and-forth vilification of one another's tastes and defense/offense from same, is regularly used on all sides as a front for a sort of culture/class war - under the pretense of protecting/defending traditions in the face of them being maligned/violated by unworthy interlopers/slanderers.

I don't know that I'd call it anti-intellectualism exactly, but the impetus is certainly the same.
 
 
Alex's Grandma
05:11 / 12.07.07
When computer-using, English-speaking, comic book readers--i.e., people who have access to the time and resources necessary to devote to an extended, online debate about comics--resist seeing complexity in the material they purpost to like, and in fact do not want anyone else to explore meaning beyond what they perceive to be "common sense," I tend to suspect them of being self-serving. I suspect that, for most of these readers, theirs is the false innocence of a privileged position in our world.

Yeah, but for the most part it seems to be an unconscious self-serving innocence, which I dare say for a lot of these guys was paradoxically hard fought-for, and bitterly won. I don't suppose anyone sitting at home alone with a Mary-Jane statuette of a Saturday evening feels that good about it, really, bluster on the internet aside. Even playing 'Bueno Vista Social Club' on the stereo must just seem like at best a weak link to a less, socially or sexually, alienated culture, and one which'll inevitably disappoint, should a two-week holiday in Cuba/Thailand/wherever be bought, in pursuit of romance.

And then it's back to the work cubicle, afterwards.

I'm not at all saying this is a good thing, but as a thought experiment, alas, imagine yourself in the position of Trey, the character above. For a long time he's been troubled, but he can't admit it, because that sort of attitude would get him canned at the office, where he's being paid to be positive about the company, after all. Isn't our man Trey just as much of a victim of the US voter, for all he's obviously a lot more comfortable, alone in his flat, than anyone in harsher regions of the world? Perhaps not. But Trey, our guy, nevertheless has to be engaged if the world is to avoid some sort of terrible disaster, don't you feel?

Sadly, it doesn't seem as if 'Minority' politics (Gender stuff, green issues, and so on) are going to do the trick.
 
 
xenosss
05:39 / 12.07.07
I think it is somewhat hasty to say that the medium is not growing at any noticeable speed. Indie comics, which have been generally more mature, are becoming surprisingly popular, and mainstream comics are quickly incorporating their "tricks" (mainly, character-driven rather than action-driven stories). Image and Vertigo are, in my mind, clearly leading this trend away from superficial superhero comics, but I think both Marvel and DC have been releasing pretty great stories within the superhero world (Astonishing X-Men comes to mind). Even critical analysis of comic books seems to be growing, assumedly parallel to the emerging collection of comics worth analyzing.

As for Bryan Deemer, he seems to be an obviously "bad reader", in that he refuses to acknowledge any deeper meaning or put even the tiniest of necessary effort into understanding a story. But are there many readers like him? I can imagine there to be many readers who choose not to put much effort into reading, sticking to very light fare, but that's not the same as what Bryan Deemer is doing. Are we disparaging people who only consume stuff like Harry Potter and Live Free, Die Hard? Some things lend themselves to analysis, and were created with certain intended meanings, but where do we draw the line? Am I a bad reader for not getting Animal Man? The Invisibles? Ghost World? Superman #658?

I agree that Bryan Deemer sounds like a stubborn asshole, and the comics world could do without readers who refuse to put effort into their reading, but the discussion brings up a good point: A comic should be enjoyable on its surface level first and foremost. Watchmen, Maus, Animal Man, etc. would be nothing if all the same meanings were there but the writing and art was shit. Same with other mediums. Who would care about The Great Gatsby if the prose wasn't so wonderful?

(As an aside, Animal Man #5 really is not difficult at all to grasp, and Deemer not "getting it" makes him a stubborn asshole, since he wouldn't give the comic even an eensy weensy bit of effort.)
 
 
Alex's Grandma
06:18 / 12.07.07
Oh balls to Bryan Deemer; he doesn't seem to have a basic grasp on anything more challenging than 'Hello Kitty'; the t-shirt, that is, as opposed to the (actually quite more) disturbing novelisation.
 
 
Spaniel
08:04 / 12.07.07
Thank.

God.

For.

Alas.

You've managed, in one post, to condense an inchoate cloud of thoughts swirling around my head. Put simply, I feel strongly that the world could do with MORE critical analysis and not less, and that the folks most likely to respond negatively to Tim's comments are almost certainly benefitting from rejecting any readings other than those that they're cosy with. It fucks me off, and I'm slightly appalled that it doesn't visibly fuck off more of you.

It was only a few months ago that we were all posting gasps of horror to this thread . Well, I'm gonna go out on a limb and say that defending reading that lacks depth is to contribute to the kind of culture that permits (encourages?) the awful shit that happened to that poor woman.
 
 
Jack Fear
10:47 / 12.07.07
Alas nails it in one; one word, that is.

As further grist for the mill: past threads on anti-intellectualism hither and thither.
 
 
MattShepherd: I WEDDED KALI!
12:24 / 12.07.07
Can somebody summarize in one sentence what we are calling a "bad reader" here? Without using the words "Bryan Deemer?"

It doesn't seem to have anything to do with the person's actual reading but rather their tendency to loudly disparage other people when they read things differently. (See Alas: in fact do not want anyone else to explore meaning, most of them are policing, and futher posts below his).

Are we all just agreeing that people who are obnoxiously anti-intellectual are "bad readers"?
 
  

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