And once more, SJW art is proven to be shallow, valueless and incompetent. This is why they constantly yell at companies to do things for them, because no one wants what they are peddling. Normal people don't care about virtue signaling. They are too concerned with going about their everyday lives. I don't know when companies are going to get this through their thick fucking skulls that 90% of the people consuming this shit don't want it.
Marvel's "Distinguished Competition" has been avoiding it for the most part and been doing as well as can be expected in an industry in decline as the only titles DC is cancelling are
Superwoman and
Cyborg. From what I have observed, DC has been taking a fair chunk of the non-SJW talent and even got Christopher Priest back into the industry. Why? Because DC offered him
Deathstroke. He was sick of being effectively forced to write black characters on the basis he was black and
Deathstroke has been very solid so far.
It comes to "tell" vs "sell" for me.
DC appears to have learned their lesson from the shortcomings of the New 52 ad DC You, and are attempting to win back their audience by telling stories they want (i.e. no ham-fisted social commentary or deconstructionist crap.) DC Rebirth has been doing quite well with "hope vs. cynicism" theme and the mystery surrounding Dr. Manhattan's machinations. Hell, I'm surprised by what Geoff Johns is doing with
Doomsday Clock. He is now Alan Moore, but he is taking the project seriously and putting in the effort with collaborators Gary Frank and Brad Anderson.
Meanwhile, Marvel is trying to sell characters and stories to an audience that is either non-existent or simply does not buy the books while putting incompetent writers on them. Most of these titles are boring at best or downright incomprehensible as the case is for Gabby Riveria's
America, which was one of the worst titles I have ever read and read like the fever dream of a raving lunatic (though you would see why if you've seen Riveria's twitter feed.) Despite all the fanfare Marvel gave for Legacy, it was ultimately another cynical attempt to sell the largely-disliked legacy characters. Looks like that has failed as many of those titles are getting the axe.
There is no unifying theme guiding Marvel's titles and there has not been any for years now. It goes beyond the legacy characters. The deluge of annual crossovers since 2005's
House of M has disrupted the narrative flow of the individual titles. This effectively kneecapped
All-New, All-Different Marvel because
Civil War II upended the status quo yet again and again with the despised
Secret Empire, which was a depressing read. They believe that crossovers and legacy characters will sell more titles. Unfortunately, Marvel may be shipping more issues with every crossover, but many of these titles remain unsold on retailers' shelves. The retailers are pissed because they are the ones who are paying for Marvel's antics and can you blame them?