One could describe #ComicsGate as the Pacific front to #GamerGate’s Normandy Invasion. Both fighting the same culture war, but on different areas of culture. While #GamerGate initiated the mass movement against the feminist takeover of the video game industry (and was eventually the movement that launched a thousand ships of anti-feminism in general), #ComicsGate became the resistance against the feminist takeover of comics. Only, while the video games industry had enough variety to survive and resist a full-blown Social Justice takeover, the comics industry didn’t have the same luxury.
Despite there being several other comics publishers, the industry is unquestionably dominated by DC and Marvel comics. In other words, even if Social Justice infected the biggest video game publishers, the small publisher and indie publisher is big/robust enough to provide other options. Check the dismal failure that was Battlefield V. (When it comes to Social Justice, #WalkAway)
In the world of comics, things are far more dire, and you’ll soon see why.
#ComicsGate Season 1
#ComicsGate began as pushback against right-wing leaning creators, like Ethan Van Sciver and Chuck Dixon, being bullied out of the comics industry by a gaggle of far-left psychopaths. It was also a push back against the new line of comics that weren’t so much comics as they are propaganda pieces. Comics that read more like author masturbation sessions than story driven work. Imagine the worst fan-fiction garbage you’ve ever read, then imagine they were given a budget. That’s basically what Marvel has done. And, unsurprisingly, a lot of comics fans aren’t so eager to pay their hard-earned money to read someone else’s masturbation session. But because fans didn’t celebrate this “grand opportunity” – they got called Nazis by Marvel. #ComicsGate is often used by comics pros to label people taking part in a mass harassment campaign. What no one tells you, however, is their idea of harassment is complaining that Marvel’s product is terrible. Which brings us into the next phase.
#ComicsGate Season 2
#ComicsGate as a movement really started picking up speed when the channel Diversity and Comics started making videos where he critiqued works done by the Marvel Mafia. During each of his videos, he goes over the problems, mocks them, and explains why they’re wrong. (Now remember that little fact, because it’s going to become important later.) In response, Marvel creators brought down the hammer. They called him a racist, sexist, all the -phobics, etc. That’s what Social Justice losers do when someone confronts them on their tragic mediocrity, they hide behind their labels.
As Diversity&Comics informed his audience, the number of comics sold to stores and the number sold to customers were two different things. For example, a comic could sell 100,000 to stores, but only 10% would make it into a customer’s hands while 90% remained on the shelf. This made it difficult for creators to know what the comics buying populace spent money on. #MovetheNeedle was started to show comics creators what was actually being purchased. (specifically in physical copy form) The user would take a picture of their purchased comic, use #MovetheNeedle and tag the creators in a tweet.
This scared SJW Marvel. If companies stated seeing that people hated SJW comics, they’d have to start producing real work…with standards and everything. They might even have to start using spell check. They couldn’t have that, so they immediately pushed #MovetheNeedle as a bigoted hate campaign and reprimanded any creator who liked/retweeted anything with #MovetheNeedle in it.
When Marvel creators saw that their impotent attacks and intimidation tactics weren’t working, and they saw Diversity and Comics continue to grow in popularity, they started crossing one moral horizon after the other. Marvel creators released his real name. They released pictures. One even got a private investigator to dig up decades-old criminal records. They tried to push the false narrative that he was dishonorably discharged from the armed forces. They tried to lobby his honorable discharge be reversed. They plotted to ambush him at a convention to trigger his PTSD with the intention of legally assaulting him. They supported a stalker, Melissa Morgue, who D&C came close to taking legal steps against.
And it’s here I should remind you that Marvel creators tried to ruin a man’s life and physically assault him because…he critiqued their comics and explained why their terrible work was terrible.
#ComicsGate Season 3
#ComicsGate officially became a fully developed resistance with the announcement of the Jawbreakers – Lost Souls IndieGoGo campaign. D&C along with Brett Smith and Jon Malin (two other comics pros ousted from the industry) to create their own independent comic. This launch was significant for three reasons.
- Because it was the first major project produced by #ComicsGate aligned creators.
- It showed that #ComicsGate was not just a movement of complainers, that they were willing to create as well as critique.
- It showed to the world that #ComicsGate was a serious movement with serious momentum. It was just a fringe collection of trolls and man-babies.
Jawbreakers – Lost Souls hit it’s $10,000 mark within hours of launch. When it hit $50,000 it was already considered a colossal success. But support didn’t stop. Five months later it’s sitting at nearly $400,000 with more than 10,000 backers. Why? Because the Jawbreakers team promised a fun action adventure without the blatant political agenda. Instead of “the black guy,” “the gay guy,” and “the woman,” we have actual characters.
But, of course, Marvel creators weren’t sitting idly by. So, what did they do? Well, they couldn’t compete by producing better products or compete in talent, and they definitely couldn’t compete through providing superior customer interaction. #ComicsGate creators are better writers, better artists, and are far more charming than anyone at Marvel could ever hope to be. So, Marvel used the only trick they had left: sabotage.
Diversity and Comics is a big supporter of comics and physical copies in particular. So, he and the other members of the Jawbreakers team turned to Antarctic Press to help get physical copies of the comic in stores. This sent Marvel creators into a whirling rampage. They were literally raging at the dying of the light. They couldn’t let Jawbreakers hit stories. So Mark Waid, a.k.a. King Baby, stepped in. SJW Marvel supporters barraged the smaller publisher with a giant harassment campaign. Like imagine Saurman’s Uruk-Hai army from The Two Towers, and then imagine those vicious Uruk-Hai using keyboards instead of swords and you’ll get the idea.
Already, stores were pressured into refusing the comic. They told it was racist and it preached hate – even though it was marketed as a fun action adventure where cool mercenaries fight evil, and despite the book not being out yet. Antarctic Press’ owner informed D&C that Mark Waid put pressure on his company. So much pressure in fact that they were forced to drop the comic. And when people started throwing around tortious interference, Waid bribed the Antarctic Press PR guy into putting out an official statement that Waid had nothing to do with their dropping of Jawbreakers. The owner of AP told us that this was a lie, and that the employee responsible did so without his consent.
After that Waid retreated from Social Media, probably to cover his tracks. The threat for SJW Marvel was over. Or was it?
#ComicsGate Season 4
After Waid’s little stunt, D&C started up his own brand called Splatto Comics. Due to Marvel’s freak-out, support for #ComicsGate was bigger than ever. There were people who had no idea what was going on, but after seeing what Marvel creators did, it was easy enough for them to pick out who the real villains were. Soon, other #ComicsGate works started to emerge like Ethan Van Sciver’s Cyber Frog and Chuck Dixon’s Kill All Men!
So far #ComicGate works have, within four months, pulled in nearly $2 Million and can compete with Marvel in earned revenue on a comic vs comic basis. #ComicsGate was hitting success after success. But they influence SJW Marvel had over the normal (non-mentally disturbed) comics world continued to grow.
Soon, comics creators as big as Neil Gaiman were virtue signaling about how they too managed to be published by DC or Marvel on their first go. (with zero other works under their belt) Neil Gaiman, specifically, cited his Black Orchid run for DC. This was easily outed untrue. He actually published his first comic in a British Science Fiction anthology called 2000 A. D. So, the real title of Neil Gaiman’s first published comic was NOT Black Orchid…it was “You’re Never Alone With A Phone.”
Similar boasts by other top creators were also revealed to be lies. Of course, as D&C was told by industry insiders, this was a coordinated effort to justify and legitimize Marvel’s hiring of talentless hacks because they have the right skin tone or the right haircut (that’s not even an exaggeration).
Next, they came for another small comics publisher called Alterna Comics that has the interesting style of printing comics on newsprint. Peter Simeti, the owner of Alterna Comics, had the audacity to be kind to customers and support comics in general – even if they were associated with #ComicsGate or came from right-leaning creators. But his most grievous offense was to publish a guideline of behavior for Alternae creators and forbid the use of block chains.
Blockchains are programs that have been adopted by several comics creators to preemptively block social media accounts based on who they follow and who they associate with.
And for his sin, Peter Simeti underwent a vicious SJW lead harassment campaign. Imagine an army of shrill feminists and whiny soy boys all screeching nonsense in their ear at the same time and you’ll understand why Simeti was on the verge of a nervous breakdown. But #ComicsGate came to the rescue.
Suddenly Simeti was greeted with oceans of praise, love, and support…from #ComicsGate. And hate Alterna Comics turned #ComicsGate? No. The company remained neutral. It remained devoted to comics instead of petty crybaby politics. In the end, Alterna Comics and Peter Simeti didn’t cave like Antarctic Press did. Now Simeti is back, and ready to do business.
Now we’re on the verge of having the first wave of #ComicsGate works being released to the public. SJW Marvel is busy finding Diversity&Comics’ first Jawbreakers comic (as well as other fun little works funded through Patreon) And they’re making fun of them. NOT critiquing. Remember when I asked you to remember that D&C went over works produced by SJW Marvel and told WHY they were terrible? Well, SJW comics creators didn’t do that. They simply mock the works on social media. They laugh and say everything is bad. But they don’t really offer how to fix it, probably because they could do any better if they literally fucked a muse.
But why do this now?
Because this is the end of #ComicsGate season 4. The first wave of #ComicsGate works are either at the presses or will be soon, and SJW comic creators are shaking in their boots. Their very cheap, ratty old boots. They can’t even eat their IndiGoGo funded sandwiches. Because they know they can’t stop this one. There’s nothing they can do. Soon, #ComicsGate works will reach the public and as we’re ramping up for a very exciting #Comicsgate Season 5, we’re left wondering…will #ComicsGate works flop or succeed? And what vile move is SJW Marvel planning to make if they do?
We’ve already seen that they’re willing to lie, threaten, intimidate, bribe, bully, and physically assault people. How far are they truly willing to go?
Stay tuned boys and girls…
#ComicsGate Season 5 coming soon!