Chapter Sixty-Three: An Unfathomable Scheme

It’s impossible to say that no one cares about William White’s moves; the Hollywood giants are keeping a close watch. Naturally, William White’s comic company has entered their sights. There is quite a history between Hollywood and comic companies—not just Warner Brothers, who hold DC, but Marvel has also had much interaction with Hollywood, and then there’s the behemoth Disney, which built its empire on comics and cartoons.

What’s truly baffling is the theory that comics are harmful—even Disney hasn’t been spared. One can hardly see how Mickey Mouse or Donald Duck could be dangerous, yet somehow they’re dragged into discussions about race. You can’t claim that Mickey, being darker, represents African Americans, nor that Donald Duck is somehow a symbol of certain sexual orientations.

America’s literary censorship is utterly absurd. After the experts’ interpretations, parents across the country burned every comic they could find.

It’s easy to understand why William White is interested in the comic industry. Now, it’s clear that CCA is relaxing its regulations; werewolves and vampires are allowed to appear, though you still can’t depict a corrupt government—but bad cops are permissible. Even sensitive topics like drug use can be included, as long as it’s the villains who indulge.

It’s incomprehensible—doesn’t America read? Why leave all educational responsibilities to comics? Isn’t that the work of schools?

Comics sold in the US must bear the CCA seal; otherwise, they’re considered underground publications. The underground market is huge, practically the antithesis of CCA: whatever you forbid, they support.

It’s chaos, and it’s true that it affected the moral compass of many young people. The generation later dubbed “the wasted generation” had some justification.

Frederic Wertham is indeed responsible. His intentions might have been good—an idealist, whose motives and integrity were never in doubt. But unfortunately, as a psychologist, he forgot the iron law of rebellion. If saying he’s entirely to blame is too harsh, then asserting he bears some responsibility is beyond dispute.

Idealists are dangerous; such people are best suited to academic pursuits. They must never be given power, lest disaster ensue.

William White chose to register his comic company overseas, clearly to avoid these risks. Setting up headquarters in Australia is puzzling.

Australia’s population is tiny. After all, entertainment needs a strong population base—no matter how good the economy, you need enough consumers.

The major players mulled over it and set it aside; comics are already a sunset industry. Even Marvel, the leader, is barely holding on. Could William White possibly surpass Marvel?

Marvel, naturally, was unconcerned. They were the sole dominator, crushing DC beneath them. In fact, a few years later Warner Brothers wanted to dump DC; the movies weren’t profitable enough to fill the holes. No one would watch another Superman film. If the price was right, they’d gladly sell to Marvel.

This was the only historical chance for a merger: Justice League versus Avengers—the possible acquisition. Sadly, Marvel dismissed DC’s value, calling the one hundred million dollar asking price a fantasy. Even ten million seemed expensive.

The irony is that DC struggled on, while Marvel kept digging its own grave. When Marvel was eventually forced to sell, the price was only eighty million dollars.

What an ironic figure, especially considering Disney’s acquisition price—nearly five billion dollars.

At that time, Marvel had lost Fantastic Four, X-Men, Spider-Man, and Blade. Yet even this diminished Marvel sold for five billion dollars, hinting at the immense value of those IPs.

Is five billion expensive? Later facts proved Disney’s foresight; Marvel was a bargain. People said five billion was a steal, underscoring Marvel’s previous self-destructive behavior.

If you want to invest in Hollywood films, even the taxi drivers will tell you to put your money in superheroes—there’s no chance of losing. But that’s a story for another time.

Viking Pirates was a new company, but their compensation was generous. America never lacks for artists; years of sluggish comics meant that when a wealthy newcomer appeared, hiring was no problem.

The comic industry was bewildered—so many staff at a Los Angeles studio? Was this a challenge to Marvel? Headquarters in Australia’s backwater—was this an attempt at underground comics?

That idea was quickly abandoned. William White was a respectable individual; he wouldn’t touch legal taboos.

To evade taxes?

Don’t be silly. America taxes globally; even the IRS is armed. Presidents can end up in jail for not paying taxes, so what hope does an overseas company have?

Tax evasion is impossible, but deferring payment is doable—a method that’s been used to death. Overseas companies always report massive losses; profitable ones never repatriate earnings, always reinvesting instead.

American taxes are laughable—the middle class bears the heaviest burden, while the wealthy always find ways to dodge taxes.

Estate tax?

Unless death comes unexpectedly, it’s hard to collect. Their charitable foundations are a joke. Did you really think Bill Gates and Warren Buffett donated all their assets?

Look closely—it’s their own charitable foundations; they decide how every cent is used.

What do the rich desire most?

Longevity. Living to a hundred.

Are research projects for humanity?

Don’t kid yourself.

Will Smith’s “I Am Legend” depicts this very idea—that so-called virus is the result of the wealthy’s research, hoping to achieve immortality, or at the very least, extend their lives by decades.

How many years did the old Rockefeller live? His body parts have long since been replaced.

“The Island” tells this story.

A very good film—but what happened to it? Under deliberate suppression, it crashed and burned. That was already fortunate—it nearly didn’t make it to theaters, with the most grandiose of justifications.

Many films satirizing these old men have vanished into history, and that’s even harder to fight than censorship.

Capital’s power is terrifying. A flop isn’t the worst; the screenwriter is essentially unemployable, the director likely suffers the same fate, and the film company faces targeted suppression, closing down almost inevitably—unless forgiveness from the old men is granted.

William White is a beneficiary; he wouldn’t dare touch these taboos. After all, there are plenty of people unafraid of death who’ll stir up trouble for those old men.

Isn’t there a scene in “Underworld,” where the old man rises from his coffin, looking just like those undying elders? William White doesn’t understand—is living like that really worthwhile?

They should be handed the secrets of alchemy; medical resources ought to be used for those in need. Such abuse of healthcare is simply unjustifiable.