Apple under fire for "homophobic" comic censorship, but it's Comixology who's to blame

SAGA 12 is not for sale due to gay sex. Earlier issues, with explicit hetero sex, are still available.

Apple is under fire for blocking the sale of a comic book which features two "postage stamp-sized" images of gay sex, after previous issues of the comic, featuring larger issues of heterosexual orgies, were allowed through its censors.

The comic in question is Brian K Vaughan and Fiona Staples' SAGA, one of the New Statesman's best graphic novels of last autumn. Issue twelve of the series opens with one of the characters, Prince Robot IV, injured on a battlefield. On his TV-screen head (look, it's a thing in the series) images of gay porn are visible, as the damage takes its toll. You can take a look at the pages in question here and here, and while the small visible images are certainly explicit, they're far from erotic. They work in humorous juxtaposition to the chaos of the battleground, and underline the artificial nature of the character in question.

Vaughan, writing on fellow comics author Matt Fraction's tumblr, announced the ban, saying:

As has hopefully been clear from the first page of our first issue, SAGA is a series for the proverbial “mature reader.” Unfortunately, because of two postage stamp-sized images of gay sex, Apple is banning tomorrow’s SAGA #12 from being sold through any iOS apps. This is a drag, especially because our book has featured what I would consider much more graphic imagery in the past, but there you go. Fiona and I could always edit the images in question, but everything we put into the book is there to advance our story, not (just) to shock or titillate, so we’re not changing shit.

As a result of the images, Apple has banned SAGA #12 from being sold through any iOS app. That includes Comixology, fast becoming the monopolist in the digital comics space (as well as its own branded comics app, Comixology provides the back-end to Marvel and DC's apps). This is not the first time the company's over-zealous censorship has hit artistic works. It's refused to allow a comic version of Joyce's Ulysses, and famously rejected an app by a Pulitzer-prize-winning political cartoonist because it "ridiculed public figures".

But the censorship of SAGA #12 has a darker edge because of the content of previous issues which have been allowed through. In issue four of the series, a character visits "Sextillion", a sex-resort planet, where he ends up rescuing a child from prostitution. Needless to say, his initial wonder around the planet is far from safe-for-work, so I'll just link to the most explicit part, which features on-panel penetration and a champagne bottle where a champagne bottle shouldn't be.

It's hard not to conclude that the rejection is homophobic. Even if it doesn't come from explicitly homophobic guidelines on Apple's part – and the company is notoriously opaque about how its App Store approval process works, so we can't know that for certain – the outcome must be judged on its own merits. Gay sex has been treated as worse than straight sex, and unless Apple admits that its reviewers made a mistake (in either of the situations), that is a homophobic standard to impose.

If you're interested in reading SAGA digitally - and it's a fantastic series, so you should be – the best work around is to buy it from Comixology's website directly. That will then sync over to any account on an app linked with it, because Apple can only censor payments which have been made on an iOS device.

As digital markets become increasingly concentrated, the line between private companies exercising their right to not host content they disagree with and outright censorship is blurred. If this is the precedent set, we should be worried what happens if Apple's authority increases further.

Update

There's more to the story than we thought. Comixology has broken its silence and released a statement revealing that it, not Apple, was responsible for blocking the publication of SAGA #12. The company's CEO writes:

In the last 24 hours there has been a lot of chatter about Apple banning Saga #12 from our Comics App on the Apple App Store due to depictions of gay sex. This is simply not true, and we’d like to clarify.

As a partner of Apple, we have an obligation to respect its policies for apps and the books offered in apps.  Based on our understanding of those policies, we believed that Saga #12 could not be made available in our app, and so we did not release it today.

 

We did not interpret the content in question as involving any particular sexual orientation, and frankly that would have been a completely irrelevant consideration under any circumstance.

Given this, it should be clear that Apple did not reject Saga #12.

After hearing from Apple this morning, we can say that our interpretation of its policies was mistaken. You’ll be glad to know that Saga #12 will be available on our App Store app soon.

We apologize to Saga creator Brian K. Vaughan, Fiona Staples and Image Comics for any confusion this may have caused.

Comixology is trying to wash its hands of the "chatter", but as David Brothers writes, the company has played this appallingly:

1. Brian K Vaughan releases a statement that Apple has banned Saga #12, specifically citing “two postage stamp-sized images of gay sex.” Fiona Staples cosigns it. They stand behind their comic, which is the only sane choice.

2. These statements are later cosigned by Image Comics and ComiXology via retweets, tweets, and reblogs on Tumblr.

3. People urge others to boycott Apple and to buy Saga from ComiXology or Image Comics directly. ComiXology implicitly supports these actions by spreading word that the comic will be on the website, not the app.

4. Twitter goes ham, understandably, because it looks like Apple is back rejecting gay content for vague or unstated reasons.

5. Websites follow suit, and a widespread discussion about Apple’s past practices follow.

6. This morning, 24 hours later, ComiXology CEO David Steinberger releases a statement that basically says “oh it was us ha ha sorry!”

Apple does not remain entirely blameless. The company's "we'll know it when we see it" approach to explicit content is presumably what led to comixology deciding to not submit the issue in the first place, and the whole experience makes clear the need for strong, reliable guidelines as to what will and won't be allowed through the censors. It also shows the benefit of having a press office which actually talks to the press: a simple "it wasn't us" would have killed the story much earlier.

But Comixology played it particularly badly. It perpetuated, implicitly and explicitly, an entirely false narrative for 24 hours, and will undoubtedly have profited from it (sales on the company's website don't give Apple a 30% cut, and there was a mass campaign to buy the issue from there). It clammed up just like Apple, but without the excuse of being the biggest company in the world dealing with an issue that was only on the fringe of its core business. And, whether it did it because it was projecting concerns Apple didn't have or not, it still must face the same charges of enabling a homophobic outcome.

Again: if censorship is done on an ad-hoc basis, there is always the risk that unconscious biases will affect the outcome. It's not immediately clear whether on-panel ejaculation is worse or better than on-panel penetration; but it is immediately clear that the one presented in a homosexual context is the one that didn't make it through. Simply saying "we did not interpret the content in question as involving any particular sexual orientation" is not enough to explain the differing treatments, and runs the risk of a chilling effect for creators in the future.

 

Photograph: Image Comics/Brian K Vaughan and Fiona Staples

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

Photo: Getty
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No, the battle in Momentum isn't about young against old

Jon Lansman and his allies' narrative doesn't add up, argues Rida Vaquas.

If you examined the recent coverage around Momentum, you’d be forgiven for thinking that it was headed towards an acrimonious split, judging by the vitriol, paranoia and lurid accusations that have appeared online in the last couple days. You’d also be forgiven for thinking that this divide was between a Trotskyist old guard who can’t countenance new ways of working, and hip youngsters who are filled with idealism and better at memes. You might then be incredibly bemused as to how the Trotskyists Momentum was keen to deny existed over the summer have suddenly come to the brink of launching a ‘takeover bid’.

However these accounts, whatever intentions or frustrations that they are driven by, largely misrepresent the dispute within Momentum and what transpired at the now infamous National Committee meeting last Saturday.

In the first instance, ‘young people’ are by no means universally on the side of e-democracy as embodied by the MxV online platform, nor did all young people at the National Committee vote for Jon Lansman’s proposal which would make this platform the essential method of deciding Momentum policy.

Being on National Committee as the representative from Red Labour, I spoke in favour of a conference with delegates from local groups, believing this is the best way to ensure local groups are at the forefront of what we do as an organisation.

I was nineteen years old then. Unfortunately speaking and voting in favour of a delegates based conference has morphed me into a Trotskyist sectarian from the 1970s, aging me by over thirty years.

Moreover I was by no means the only young person in favour of this, Josie Runswick (LGBT+ representative) and the Scottish delegates Martyn Cook and Lauren Gilmour are all under thirty and all voted for a delegates based national conference. I say this to highlight that the caricature of an intergenerational war between the old and the new is precisely that: a caricature bearing little relation to a much more nuanced reality.

Furthermore, I believe that many people who voted for a delegates-based conference would be rather astounded to find themselves described as Trotskyists. I do not deny that there are Trotskyists on National Committee, nor do I deny that Trotskyists supported a delegates-based conference – that is an open position of theirs. What I do object is a characterisation of the 32 delegates who voted for a delegates-based conference as Trotskyists, or at best, gullible fools who’ve been taken in.  Many regional delegates were mandated by the people to whom they are accountable to support a national conference based on this democratic model, following broad and free political discussion within their regions. As thrilling as it might be to fantasise about a sinister plot driven by the shadow emperors of the hard Left against all that it is sensible and moderate in Momentum, the truth is rather more mundane. Jon Lansman and his supporters failed to convince people in local groups of the merits of his e-democracy proposal, and as a result lost the vote.

I do not think that Momentum is doomed to fail on account of the particular details of our internal structures, providing that there is democracy, accountability and grassroots participation embedded into it. I do not think Momentum is doomed to fail the moment Jon Lansman, however much respect I have for him, loses a vote. I do not even think Momentum is doomed to fail if Trotskyists are involved, or even win sometimes, if they make their case openly and convince others of their ideas in the structures available.

The existential threat that Momentum faces is none of these things, it is the propagation of a toxic and polarised political culture based on cliques and personal loyalties as opposed to genuine political discussion on how we can transform labour movement and transform society. It is a political culture in which those opposed to you in the organisation are treated as alien invaders hell-bent on destroying it, even when we’ve worked together to build it up, and we worked together before the Corbyn moment even happened. It is a political culture where members drag others through the mud, using the rhetoric of the Right that’s been used to attack all of us, on social and national media and lend their tacit support to witch hunts that saw thousands of Labour members and supporters barred from voting in the summer. It is ultimately a political culture in which our trust in each other and capacity to work together on is irreparably eroded.

We have a tremendous task facing us: to fight for a socialist alternative in a global context where far right populism is rapidly accruing victories; to fight for the Labour Party to win governmental power; to fight for a world in which working class people have the power to collectively change their lives and change the societies we live in. In short: there is an urgent need to get our act together. This will not be accomplished by sniping about ‘saboteurs’ but by debating the kind of politics we want clearly and openly, and then coming together to campaign from a grassroots level upwards.

Rida Vaquas is Red Labour Representative on Momentum National Committee.