Free speech isn’t consequence free

Bill Purcell is a volunteer at Comic Con International, apparantly on the committee for San Diego Comic Con, which as you know Bob, is the largest comic con in the English language area and possibly the world. He’s also a racist asshole who’s been aggressively tweeting about the Ferguson verdict ever since the grand jury reached its decision not to prosecute yesterday. It’s the standard entitle white man obnoxiousness coming out in public, a reflex action he can’t help, with of course the usual threats against people taking offence at him. Bigot gotta bigot.

Disappointing but not unexpected is some of the response he’s had. Rich Johnson is jealous:

We don’t have the same freedom of speech laws like the US does, and I wish we did. Part of defending free speech tends to be defending the speech of people you find abhorrent – otherwise what value does it have? I’m reminded of the ridiculous attempt from Lawrence O’Donnell to censor the free speech of Comic-Con organiser Jackie Estrada‘s husband, Batton Lash.

While Mark Waid and Tom Spurgeon argue people shouldn’t call for Purcell to be fired:

The whole thing sounds dumb, right? It is! But this is also an interesting thing. I agree with Mark Waid when he suggests here that calling for Purcell’s position or volunteer job or whatever based on expressions of stomach-turning dumbassery isn’t something that communities should do as a general rule. One hundred percent. But there’s a growing element in comics culture that feels differently, and I think most institutions have to account for that in some way. I also think there’s a line to be drawn between staking out a position, no matter how loathsome or stupid, and engaging with your customer base in a way that’s carries even a hint of threat, or is simply so unpleasant and bothersome so as to disrupt and distract someone from the business of their day.

Now I do understand where they’re coming from; the US comics field has had a great many traumatic experiences with censorship, from the original Comics Code Authority to the Friendly Franks prosecutions in the eighties and the first reflex is always to defend the right to free speech, no matter the content. But free speech isn’t consequence free speech and it’s not censorship to point out that somebody like Purcell isn’t helping the San Diego Comic Con more friendly toward people of colour.

And lord knows comics don’t need more problems with white male entitlement and hostility towards people of colour; it’s history in this regard is just as troubling as its censorship troubles have been, but self imposed. To have somebody who has been quite open in his ties to San Diego be able to spout more of this hatred without consequences just reinforces the idea that people of colour are unwelcome in comix. It makes the convention that less safe to visit, knowing such an outspoken bigot is involved, somebody who has actually been threatening people with violence as well. And those are not idle threats in a country where lynching as a white people’s passtime is still within living memory, while on average two black people are killed by cops each week.

There’s a choice here that we have to make. Either we make it clear by deeds as well as words that hatred and threats like Purcell’s have no place in comix, or we sacrifice the safety of people of colour, of women, on the altar of free speech, which always seems to favour the incrowd, the already connected, the white. Because of what he said and the way he said it, Purcell should be removed from any involvement with the Comic Con unless the con thinks the rights of a bigot to have his free speech be consequence free outweights the rights of people of colour to be safe at their convention.

Whither back issues?

Tom Spurgeon asks what we think will happen with the comics back issues market in the next few years or decades:

So what do you think? Is this even a market 10, 15, 25 years from now? Is it all digital? Does it shift to newer comics as more of those children try to recapture their past? Will people buy from the original run of DC New 52 comics in 2028? Will Jack Kirby comic books still appeal? What happens?

I think a lot of it will depend on what happens to the comic book format in general. To say it’s not in the best of health is an understatement and I can see it dying quickly once digital comics become fully accepted and every important publishers offers them. If that tie between the weekly batch of new comics and the necessary trip to the comics store is broken, that will inevitably mean fewer opportunities for the stores to sell back issues too. Especially once there’s a generation of comic book readers who’ve never known anything but cheap and easy availability of digital comics and who are happy to buy their back issues that way too.

Which would mean that most back issues will only be bought by a slowly shrinking base of aging consumers who have grown up with that way of buying comics, as arguable is already the case for new comics anyway. Which in turn means fewer comics stores, with those that survive having to specialise in something that makes them desirable for consumers who can get their normal comics fix through the internet. This is not a new development of course; just ask your local independent bookseller.

The upper segment of back issue sales, selling Golden Age, Silver Age and key Bronze Age and more modern comics can go two ways. It may develop further into a sort of pseudo arts market, with speculators and collectors both wanting to get the rarer, more exclusive comics, driving up prices on the usual suspects, with perhaps a lowering of prices for your run of the mill Golden or Silver age comic. But it may also go the way of the “normal” back issue market, as newer and younger collectors no longer see the point and value in getting them when they can get the stories either digital or in nice, luxurious hardcover collections.

In either case, there will also be a new market for these sort of back issue: the institutional collector, working for e.g. a dedicated comics museum, an university with a comics and sequential art department or even more general musea and universities wanting comics not so much for their intrisic value but for what they can say about a given period’s zeitgeist. For all these parties having the original comic can be as important if not more so than having the stories they contained; rule of thumb in any sort of academic research is always to go to the sources after all.

This is something that has happened to other once popular mass media. Way back in 1992 or so a columnist in the Comics Buyers Guide of all place dropped the example of the dime novel, hugely popular in the early twentieth century, having a resurge in the twenties and thirties as people started buying back issues for nostalgic reasons and once that audience died off, largely only of interest to the type of institutional collector I described above.

The biggest worry in all this, if we ignore the economic turmoil these developments will wreak on the already fragile comics industry is one that Tom touched upon as well, that certain comics will become genuinely rare once the market collapses, that there won’t be anybody who saves them and hence that we’ll be in danger of losing parts of our history. This is an even greater worry with digital formats. Paper is much more durable than silicon: even if the hardware remains usable, the software might not be, while data formats in particular are incredibly vulnerable to bitrot. Paper comics also don’t have any nasty digital rights management build in that prevents you from reselling them. Worse with some formats, your comic exists as long as their publisher keeps them alive in “the cloud”. Ironically, it might be the comics pirates who are our best bests in keeping these comics available after their publisher has given the ghost…