By the way the best book on Howard, besides Dark Valley Destiny, is One Who Walked Alone by
Novalyne Price Ellis (born Novalyne Price) (March 9, 1908 – March 30, 1999) was a Texas-born schoolteacher and writer who became close friends with and occasionally dated famed pulp fiction writer Robert E. Howard.
The only woman and perhaps the closet person he ever knew. The movie the Whole Wide World censors some interesting details about race and racism at that time from this remarkable protrait of a young woman. There is a profound moment in the book on the terror of racial fear and violence in it that would've made the film a masterpiece if it could've been shot. Yet the filmmakers avoided the topic like a hot potatoe. Even though it is a serious art film and a good one, it censors difficult or troubling matter when the original source doesn't. I'm sure they must've read her work. "One Who Walked Alone" needs another film adaptation, a remake. Of course Howard's escapist fans hate any psychological assessment of Howard's mental health or character and how it related to his work and Conan. Howard's life also reveals how the creators of escapism are often people who have suffered some form of trauma. Tolkien, too, might've created Middle Earth as well because of his childhood experiences and his war experiences. Jack Kirby is another such figure, given his World War II combat experience as a scout and being a child of the violent ethnic slums of New York. The Journal of anti-escapism would've been my attempt to explore escapism from the creators point of view as well. Why do people write escapism and need to. Why do we need to escape? Is it really normal? Has it become a right, a privelege to escape from reality etc.etc? Not a very popular subject, as you can see. People don't want you to ask questions about something that everyone takes for granted.
I was also going to show how there could be anti-escapist superhero movies, Iron Man etc. Anti-escapist versions of these Marvel characters would attack and challenge the viewers need or desire for such figures. They would frame them as anti-human rather than make them acceptable fantasies--you'd want to get the viewer to think critically about such men, such powers. Now some of these movies touch on delicate matters and skirt them quickly for the happy ending and the identification with the heroes. Iron Man is the good rich man, inventor anti-militaralist but it's all ahistorical just like how the Whole Wide World censored race from Howard's life. Was it the filmmaker's blindness? Briefly dragging race in would've been costly at the box office? Nobody was interested? Typical like many films that avoid realities, It flatters the audience's wish or need to feel good about the hero or themselves and avoids current unpleasant realites. The whole push for A.I. and robots is another anti-human development that is little explored realistically in films. How it will hurt working people most of all. Again, it amounts to good robots versus bad robots saving the day and so on. Yes, the debate is in some of them, but it is lost in the fun stuff. The Iron Man films are very clever works of art, no doubt about it. But should art also have moral purposes or values besides the status quo, bottomline ones? Another topic to explore in the Journal. How can you make anti-esapist work entertaining? It's a Catch 22. Entertainment by default seems to require avoidence of reality. But figuring it was a losing battle like the futility you described, and since I'd rather create stories than write essays, I gave up on it.
I forgot to mention Edgar Rice Burroughs, his trauma or failure also led to the creation and the success of the unrealistic Tarzan. All of this is decribed well in "Houdini, Tarzan, and the Perfect Man: The White Male Body and the Challenge of Modernity in America" by John F. Kasson, the chapter on Tarzan. Burrough's is another example of how the whole escapist industry evolved from "weak" men who created fictional strong men for themselves and others to bask in. I'm waiting for the Tarzan remake movie in which Tarzan is raised by African Tribesmen who teach him to survive in the wilderness and he joins them in defending their homeland against the white, arab, and black slavers! I think the use of apes in Burroughs was the obvious avoiding of who would actually in reality have raised a white infant lost in the jungle. The apes are a substitutes for blacks and yet reflect the stereotype of the savage black.