![]() Fans and fellow creators chimed in with support, while others hijacked the tag to crow about Mockingbird’s cancellation, claiming it as proof that women “don’t buy comics.” For a short time, Cain became a symbol of the erupting culture wars in geek spaces-the kind that have since yielded the amorphous, anti-diversity harassment campaign known as “Comicsgate.”Īt the time, however, the campaign against Cain had no name. “I’m amazed at the cruelty comics brings out in people.” #IStandWithChelseaCain trended in her absence. ![]() ![]() “I’m just done here,” she tweeted shortly before going dark. Within a week of the issue’s release, Cain deactivated her Twitter account. ![]() It had been Cain and her creative team’s farewell middle finger to the low-level din of trolls that had accompanied every issue: the heroine, S.H.I.E.L.D super-agent Bobbi Morse, holding a lemonade on a beach in a T-shirt that read, “Ask me about my feminist agenda.” Two years ago, the bestselling novelist and first-time comic-book writer became the pet target of a wave of online harassment and misogyny sparked by a single image: artist Joëlle Jones’ cover to the final issue of Cain’s Marvel series Mockingbird. Chelsea Cain used to be afraid-of the internet, of Marvel Comics, of what she might lose if she broke the unspoken rules of an industry-wide “culture of silence.” But she isn’t afraid anymore. ![]()
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