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.

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Why Chris Grayling is Jeremy Corbyn's secret weapon

The housing crisis is Labour's best asset - and Chris Grayling is making it worse. 

It feels like the classic Conservative story: wait until the election is over, then cancel spending in areas that have the temerity to vote Labour. The electrification of rail routes from Cardiff to Swansea – scrapped. So too is the electrification of the Leeds to Manchester route – and of the Midland main line.

But Crossrail 2, which runs from north to south across London and deep into the capital's outer satellites, including that of Transport Secretary Chris Grayling, will go ahead as planned.

It would be grim but effective politics if the Conservatives were pouring money into the seats they won or lost narrowly. There are 25 seats that the Conservatives can take with a swing of 1 per cent from Labour to Tory, and 30 seats that they would lose with a swing of 1 per cent from Tory to Labour.

It wouldn’t be at all surprising if the Conservatives were making spending decisions with an eye on what you might call the frontline 55. But what they’re actually doing is taking money away from north-west marginal constituencies – and lavishing cash on increasingly Labour London. In doing that, they’re actually making their electoral headache worse.

How so? As I’ve written before, the biggest problem for the Conservatives in the long term is simply that not enough people are getting on the housing ladder. That is hurting them in two ways. The first is straightforward: economically-driven voters are not turning blue when they turn 30 because they are not either on or about to mount the first rungs of the housing ladder. More than half of 30-year-olds were mortgage-payers in 1992, when John Major won an unexpected Conservative majority, while under a third were in 2017, when Theresa May unexpectedly lost hers.

But it is also hurting them because culturally-driven voters are getting on the housing ladder, but by moving out of areas where Labour’s socially-concerned core vote congregates in great numbers, and into formerly safe or at least marginal Conservative seats. That effect has reached what might be its final, and for the Conservatives, deadly form in Brighton. All three of the Brighton constituencies – Hove, Brighton Kemptown and Brighton Pavilion – were Conservative-held in 1992. Now none of them are. In Pavilion they are third, and the smallest majority they have to overcome is 9,868, in Kemptown. The same effect helped reduce Amber Rudd’s majority in Hastings, also in East Sussex, to 346.

The bad news for the Conservatives is that the constituencies of Crawley, Reading, Swindon and in the longer-term, Bracknell, all look like Brightons in the making: although only Reading East fell to Labour this time, all saw swings bigger than the national average and all are seeing increasing migration by culturally-driven left-wing voters away from safe Labour seats. All are seeing what you might call “Hackneyfication”: commuters moving from inner city seats but taking their politics with them.

Add to that forced migration from inner London to seats like Iain Duncan Smith’s in Chingford – once a Conservative fortress, now a razor-thin marginal – and even before you add in the appeal of Jeremy Corbyn’s person and platform, the electoral picture for the Conservatives looks bleak.

(It should go without saying that voters are driven by both economics and culture. The binary I’ve used here is simplistic but helpful to understand the growing demographic pressures on the Conservatives.)

There is actually a solution here for the Tories. It’s both to build more housing but also to rebalance the British economy, because the housing crisis in London and the south is driven by the jobs and connectivity crisis in the rest of the United Kingdom.

Or, instead, they could have a number of measures designed to make London’s economy stride still further ahead of the rest, serviced by 5 per cent mortgages and growing numbers of commuter rail services to facilitate a growing volume of consumers from London’s satellite towns, all of which only increase the electoral pressures on their party. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to domestic and global politics.