He always felt culturally like family to me. His peaks—the biting humor about corporate absurdity, the writing on systems thinking and compounding habits, the clarity about the gap between what organizations say and what they do—unquestionably made me healthier, happier, and wealthier. If you worked in tech in the 90s and 2000s, Dilbert was a shared language for everything broken about corporate life.
His views, always unapologetic, became more strident over time and pushed everyone away. That also felt like family.
You don’t choose family, and you don’t get to edit out the parts that shaped you before you understood what was happening. The racism and the provocations were always there, maybe, just quieter. The 2023 comments that ended Dilbert’s newspaper run were unambiguous.
For Scott, like family, I’m a better person for the contribution. I hope I can represent the good things: the humor, the clarity of thought, the compounding good habits with health and money. I can avoid the ugliness—the racism, the grievance, the need to be right at any cost.
Taking inventory is harder than eulogizing or denouncing. But it’s more honest.
Same to me when it comes his comics. There is an ugly part I did not like about Scott Adams but, that doesn't mean I will like his work (Dilbert) less. I have to admit it felt disappointing to find out about his vitriol online. Best wishes to his family and rest in peace for Scott. alway
There are a few artists whose output I can't even enjoy any more because their vitriol became so out of control that I couldn't see their work without thinking of their awfulness, though. (Note: I'm not talking about Scott Adams. I'm honestly not that familiar with his later life social media)
I would, for instance, watch The Ninth Gate a couple times a year if Polanski hadn’t directed it, or had directed it post jail instead of hiding from justice for 25 years. Instead I watch it about twice a decade. Luke Beson is almost as problematic, and I have a hard time reconciling just how brilliant Gary Oldman is as Stansfield with how creepy the overall tone is, especially the European cut. I enjoyed that movie when I was young and had seen the American version. Trying to show it to other people (especially the Leon version) and seeing their less enthusiastic reactions made me see the balance of that story less affectionately. As well as seeing it through the lens of an adult responsible for children instead of being the child. Now I watch The Fifth Element and that’s about it.
It's less revealing than a bikini. It was tame enough for the 1970s and from today's viewpoint it's practically stodgy.