Speech is not one thing
Offensive language appears in narration, dialogue, quotation, found material, jokes, parody and direct address. The first analytic task is therefore attribution: who is speaking, in what container, to whom, and with what consequences? Speaker, narrator, quoted source and author should not be mechanically collapsed.
But attribution is not absolution
The distinction above is basic reading hygiene, not a moral escape hatch. A reader can object to a slur in character dialogue, to the decision to reproduce it, to its frequency, to its comic placement or to the social reality the work chooses to preserve. See Critical Objections.
Strong cases
Richard explicitly announces its own local contract before entering offensive adolescent speech, school cruelty and domestic violence. ɘPISODI 1.1 lets the Kid’s predatory rationalizations and slurs remain part of his charisma and ugliness. SPACE FLYING TIGER uses locker-room obscenity as group rhythm. Fuck You Three Times makes antagonistic address itself the event.
Available modes of expression
The corpus does not operate under a general rule that every offensive utterance must be converted into an explicit lesson about offense. People in these worlds may speak badly because bad speech exists. That ordinary availability is itself one reason the work can feel inappropriate: it often refuses to install a clean editorial caption between the reader and the voice.