| rdfs:comment | - Ah, the ghettos of fiction. We're all familiar with them: Cartoons are for kids, (and Comic Books are for slightly older kids,) SpecFic is for nerds, Romance novels (and Soaps) are for single women and Desperate Housewives, Rap is for Gangstas, Classical Music is for Snobs, New Media, especially Video Games, are for unproductive deviants, Printed works are for people with one foot in the grave, etc. Contrast It's Popular, Now It Sucks, wherein a work/creator who previously challenged established conventions accepts them to grow its fanbase or pocketbook. Examples of Out of the Ghetto include:
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| abstract | - Ah, the ghettos of fiction. We're all familiar with them: Cartoons are for kids, (and Comic Books are for slightly older kids,) SpecFic is for nerds, Romance novels (and Soaps) are for single women and Desperate Housewives, Rap is for Gangstas, Classical Music is for Snobs, New Media, especially Video Games, are for unproductive deviants, Printed works are for people with one foot in the grave, etc. In short, the medium, and to a lesser extent the genre, define the target audience. Entire clases of works are "pigeonholed" into "target" demographics, and woe unto any fan who happens to fall one day, dollar, chromosome, or lateral inch outside of these appointed bounds. Some works surrender and even embrace these holes, falling into unoriginality and Flanderization, so long as the money keeps rolling in. Then, you get something which blows away the conventional notions. A work that dares to challenge a genre's or medium's natural order, or even, dare we say it, threatens to expand its demographic! (Even if it's to retain viewers it already had.) If it changes perceptions of the genre as a whole, then it could even be a Genre Turning Point. Often a work that breaks out of the ghetto (and its fans) will attract its own hatedom due to outsiders rigidly holding the ghetto lines while upholding their personal "defintions" of "True Art"; along with the genre's/medium's "normal" target audience saying that the work makes their (ghetto-compliant/sustaining) favorites "look bad" and/or employing No True Scotsman. In the case of a deviation to a long-running franchise, They Changed It, Now It Sucks often comes into play. Contrast It's Popular, Now It Sucks, wherein a work/creator who previously challenged established conventions accepts them to grow its fanbase or pocketbook. Examples of Out of the Ghetto include:
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