Why don’t you write and publish that story if that’s what you personally want to see? I imagine you’re not the only one. But criticising the exiting publishers for not following your wants in a story is silly if people are buying the content that they are making.
Stories that reflect truth is a different set (with some intersection) as stories that are popular, which is a different set than the stories that are produced and promoted. We can see from the gutting of Firefly and the post-release market of Inception how Hollywood management kills stories they don’t like despite their popularity. (It’s also why we only have 2.x seasons of Star Trek TOS).
As someone with only a fraction of the skillset and no resource that give me inroads into the publishing industry, I’d have a snowflake’s chance in Hell of creating something that could be released. I suppose, I could self-publish but that would still require more resources than I have.
None of this changes the assumptions made in the Marvel and DC diegeses, that police are inherently well-behaved and reserved, despite what we see IRL (as I mentioned elsewhere, the Gotham City PD is less corrupt and more concerned about public interest than _any IRL precinct in the United States, or the DHS and its subdivisions, but also Gotham has a crime rate that is outrageously higher than any municipality in the US – the Cabot Cove problem) None of this changes that these differences inform people how they see the US legal system much the way that true-crime fiction and police procedurals serve as pro-law-enforcement propaganda.
These also fuel the great man myth, that it is singular powerful individuals that affect change in the world, and not collectives of ordinary folk among the public.
Why don’t you write and publish that story if that’s what you personally want to see? I imagine you’re not the only one. But criticising the exiting publishers for not following your wants in a story is silly if people are buying the content that they are making.
Stories that reflect truth is a different set (with some intersection) as stories that are popular, which is a different set than the stories that are produced and promoted. We can see from the gutting of Firefly and the post-release market of Inception how Hollywood management kills stories they don’t like despite their popularity. (It’s also why we only have 2.x seasons of Star Trek TOS).
As someone with only a fraction of the skillset and no resource that give me inroads into the publishing industry, I’d have a snowflake’s chance in Hell of creating something that could be released. I suppose, I could self-publish but that would still require more resources than I have.
None of this changes the assumptions made in the Marvel and DC diegeses, that police are inherently well-behaved and reserved, despite what we see IRL (as I mentioned elsewhere, the Gotham City PD is less corrupt and more concerned about public interest than _any IRL precinct in the United States, or the DHS and its subdivisions, but also Gotham has a crime rate that is outrageously higher than any municipality in the US – the Cabot Cove problem) None of this changes that these differences inform people how they see the US legal system much the way that true-crime fiction and police procedurals serve as pro-law-enforcement propaganda.
These also fuel the great man myth, that it is singular powerful individuals that affect change in the world, and not collectives of ordinary folk among the public.