No, that’s not the total truth. The truth is that so many of the things have happened in the past almost-year I’ve written about before…
“But what about Hidden Figures? What about Get Out? What about the #45thRegime? What about Wonder Woman…”
Yo, there have been so many think pieces about all of that, and more, I felt that I would just be adding noise to the ether, especially when so many of those pieces touched on themes I would touch on but in, some cases, a more eloquent way.
Then, Friday happened.
Here’s my response to that. Art and words by yours truly…
I will be giving you more of what (I hope) you remember me for soon and frequently. For the New Jacks checking this out for the first time, welcome.
Straight up, this is the Black nerd’s Lemonade right now.
For the first time in history, a comic book featuring an African superhero, written and illustrated by African Americans, is the highest-selling title from the Corporate Two. Yeah, having the character steal the show in the best comic-book related movie this year and a major marketing push definitely helped, but this is what happens when you #BetOnBlack…
The Black Panther marketing plan should be taught in schools. It’s actually a pretty textbook marketing strategy. They got the right team, did the proper product placement and marketing and got a winner on their hands.
Furthermore, they respect the importance of the character that is in their stable, a character, which encapsulates the hopes and dreams of a marginalized demographic. They actually heard this fan base and gave the character its due respect, steeped this character in its culture (fictional, but based on an amalgam of existing cultures from the marginalized demographic) and gave this character the necessary agency this character, and the marginalized demographic it represents, deserves. Because of this, Marvel produced yet another profitable situation that they, and their parent company, will benefit from greatly. This bit of good will is, in fact, good business.
In short, Marvel created the climate in which the Black Panther could be Columbused. We are seeing the effects of this as I write these words.
This should be a call to arms of what happens when you produce a fantastic product and market a great property.
Too bad DC Entertainment wasn’t in class that day… If you’re in the minority that DC has kept it on point cinematically, read this article written by Verge Entertainment bigwig and former Milestone and Batman editor Joe Illidge:
This information puts to bed a lot of superfluous “explanations” of why product featuring and created by people of color doesn’t sell. Independent creators should use this fact to push our products to the forefront…
Some people want to bring up Spawn as a counter to my statements. To that I say…
I am way more excited about this development than I ever was with the introduction of Spawn in the early 90s. In fact, if you wanna be real Image about it, I will always hype Tribe way more than Spawn as it was the first comic book featuring characters, and created by people of color, Todd Johnson and Larry Stroman, that sold over a million copies, which adjusted for inflation is on par with BP’s sales.
In other words, I’d rather celebrate the whole cake rather than just the frosting…
This should be inspiring to a lot of us independent creators of color and we need to capitalize on the climate. In fact, a number of us are.
We have seen an increase in coverage concerning independent properties dealing with the discussion of diversity (i.e. Black, The Legend of the Mantamaji, Niobe: She Is Life, Watson and Holmes, Exo: The Legend of Wale Williams, Solarman, etc.) exactly because these cats had their marketing game down and went beyond the perceived market to find their audience.
Of course, it doesn’t hurt that these projects are expertly created (i.e. writing, art, etc.), but creating is the easy part. Marketing is where the work comes into play.
This is the kind of work we should continue to push and purchase in addition to showing love to the “Corporate Two” when they “get it right.” Way more than being a DC or Marvel fan, I’m a fan and practitioner of the art form.
Interesting times indeed.
So, let me know if you are interested in more than just enjoying this historic moment in representation. Let’s keep it going. Let this be more than just a moment. Let’s make this a fact of life.
Speaking of, I’m going to be teaching a course on this exact subject through the International School of Comics starting in July. Granted, this class will be in Chicago, but if there is enough interest, I would possibly take this bad smoker into the remote teaching realm.
P.S. Personal note to the brothers Johnson and Stroman, c’mon fellas. We need to do a Tribe trade so that people can experience the loveliness that book was and can be again. Get at me.
It is very hard… very hard for me to give this kind of assessment. I’m tighter with ratings than The Source used to be. With that being said, this is a 5-mic film. Any criticism would be some extreme nit-pickiness bull-caca. Anyone fronting on this movie is a hater, plain and simple…
I feel those fans who find criticism complain about the what-iffery of certain elements in the film, great elements that bring color to the narrative, not coming to fruition even though they weren’t supposed to. A few points (SPOILER-ALERT):
1.) I appreciate that at the end of the day, the “Civil War” was a very personal conflict that dealt with the loss of families (Zemo’s, Stark’s & T’Challa’s)
2.) That Zemo, basically Bin Laden-style, did to the Avengers that Loki, Ultron and Hydra couldn’t do… Destroy them.
3.) Because of the personal nature of the story, we didn’t need to see those other Winter Soldiers in action against our titular heroes. Then, it would have been Universal Soldier: Regeneration wasting the emotional currency, which drives the film.
4.) Storytelling was on point. Things followed through logically and I felt that all of the important elements in the film had organic conclusions. Even with Spider-Man’s inclusion at the eleventh hour didn’t feel tacked on and yes, just like Jon Bernthal made the Punisher his character, Tom Holland IS Peter Parker. And, I am a big fan of Marisa Tomei as a modern Aunt May. There were no plot holes.
5.) CW was a sequel for two movies, Captain America: Winter Soldier and the Avengers: Age of Ultron, and a fine one for both.
6.) Everything made sense. Everyone was true to character. Every character had their moment to shine. The battles were top-notch with each character’s physical language as unique as the character themselves.
7.) CW is the rare instance that the film was better than the mini-series… Yeah, I said it. Also, remember that Thor and the Hulk weren’t around during the mini-series either.
8.) Just the hint of the Dora Milaje, along with the taste of Wakanda was enough for me. I’m gonna get all that goodness in the Black Panther solo film.
9.) According to Dwayne McDuffie’sRule of Three, this is the MCU’s Blackest movie to date… And it was so on point with the diversity and agency of Black folks from Alfre Woodard’s brief, but crucial scene, to War Machine, the Falcon and, of course… This is the rare movie I would pay full price to see again in the theatre… Immediately.
10.) The secret sauce in making this delicious meal is Nate Moore as Executive Producer for the MCU. Yes, the characters would have been there eventually, but having a brother as an exec. producer helped to ensure that said characters did not come off as stereotypical ciphers, but rather fully realized people making their ethnicity natural, yet crucial in the MCU.
Realize, there is no one representation of “Blackness” in the MCU, nor do we just add color to the background. From War Machine to the Falcon to BP to Nick Fury, etc., each character is unique, each character has agency, each character is authentically Black in their own way.
Brother Moore has made sure that we haven’t been seen as a monolith, but in a rich tapestry more in line with how we really are as opposed to how the Other often portrays us.
These reasons, and more which I’ve mentioned in previous posts, is why not only is Captain America: Civil War a more satisfying film-going experience than Batman Vs. Superman: Dawn of Justice, but also why Marvel has all but decimated the DCCU.
Quite simply, Marvel trusts and cares about their properties, DC does not. Marvel has been playing chess in unfolding their universe, taking time to craft their cinematic universe so that it has the same resonance as the comic book universe.
DC has been playing checkers, rushing product and blowing their wad repeatedly on half-baked measures which treat their properties as cash-grab ciphers rather than respecting the history and mythology of the characters to craft tales which speak to the human condition using the superhero as an analogy to inspire and make us seek out our better selves.
Here’s something to chew on: when people start writing think pieces on your film discussing the deeper ramifications of what your heroes represent in the larger world context rather than judging success or failure of your project based on how much money it makes, you’ve made a better film. When you respect not only your hard-core fanbase, but also can make your properties resonate with the casual viewer, you’ve made a better film. When you focus on storytelling rather than spectacle, you’ve made a better film. And, said film is steadily going to make a lot of money rather than suffering a near-90% drop in viewership the second week of release.
Personal point of order… A few years ago, I got caught up in a what-iffery tread about a potential (at the time) Black Panther movie in which I broke down how I felt Wakandan self-image should be portrayed.
Then, Captain America: Civil War.
It’s like the Russo Brothers read my mind. For about 35 seconds, I thought: “Man, I may not have to do The Horsemen anymore…”
Then, I got out of my fanboy phase and became even more inspired to make more work.
Trust, that is the highest of praise.
So, I’ve never fallen into one camp when it came to the “Corporate Two.” I loved DC’s icons and Marvel’s B-list. But, after Daredevil: Season Two, Jessica Jones, Captain America: Civil War and the upcoming Luke Cage…
The Black heroes are coming, y’all… I SAID THE BLACK HEROES ARE A’COMIN!
Right now, some would feel that American society is under attack. The heroes they would normally turn to have been compromised, captured, and in some cases, systematically destroyed as their way of life is going through a fundamental shift. To those feeling this pressure, I would like to say one thing:
Get over it.
In the past couple of weeks, amidst the heart-breaking tragedies, amidst the ongoing home-grown terrorism that people of color, women and other communities that are not Cis-gendered, White men have been subjected to, amidst the blustering of would-be demagogues and the corruption of elected officials who would rather save their own skin than bring the gross abuse of injustice to light, something else has happened:
Diversity has come to heroism.
I’m going to concentrate on what has happened, what has been revealed on the television, digital and widescreens. I am going to celebrate what is already here and what is to come…
And yes, I’m going to give the Corporate Two their props.
First off, let’s talk briefly about Creed. Let’s talk about a little film that at once is an amazing addition to a beloved film mythology, yet can stand on its own while creating a completely new franchise. Let us praise Ryan Coogler’s vision of a Black hero, Adonis Johnson (Creed) the son of fallen hero Apollo Creed once rival then mentor then brother-in-arms to the lovable underdog Rocky Balboa. Let us praise Michael B. Jordan’s performance of a young man saved by Creed’s wife, had a good job, but gave it all up to pursue his passion, his father’s passion, for boxing. Let us celebrate the portrayal of a determined young man finding his way, forming his family and taking control of his own destiny.
Second, let us give thanks to the appearance of Luke Cage in Marvel’s Netflix series Jessica Jones. Let us take note of how a character that once epitomized the stereotype of the hyper sexualized angry Black male became an emotional center of perhaps the most mature depiction of superheroics on the screen. Mike Colter’s portrayal of the future Hero for Hire showed a true depth of strength, honor and heart. From the casual use of his super strength to his almost casual boredom when an assailant tried to pierce his unbreakable skin to his interaction with Krysten Ritter’sJessica Jones in probably the most honest portrayal of interracial relationships even seen on film, his Luke Cage may have had steel-hard skin, but his heart was all gold…
And, left viewers wanting more. With his series coming in 2016, we will probably see the Blackest, make that honestly Black, superhero series since the first Blade movie make it to the screen. Furthermore, we will see the first Black heroine, Daughter of the Dragon Misty Knight on camera as well…
And no, Halle Berry’sStorm does not count. As marginalized and as tepid as Ms. Berry’s performance was in those films, in addition to the fact that she never once captured the majesty of the Wind Rider, I cannot in good faith count that a strong representation of the Black heroine. The abysmal Catwoman only further validates my stance.
Speaking of cats…
I have to say, and I’m sure the majority of my fellow Nerds of Color will agree, that the absolute best elements of the upcoming Captain America: Civil War trailer was the inclusion of the King of Wakanda. Yes, we finally, finally, saw T’Challa, The Black Panther on the screen… For five seconds. But, damn, those were some of the best five seconds ever. Here he was, our hero, the Jackie Robinson of comics, being that hero. Dusting Captain America in pursuit, Capoeria-kicking the Winter Soldier clear across the screen, leading not following. About 20 seconds after the release, memes and gifs flooded my Facebook page featuring our hero (shoot, I made one myself).
Sorry, Falcon. No disrespect, War Machine. But, our hero has finally arrived and Marvel is about to get all of that Black Geek Money… Hell, Disney is about to get all that Black Geek Money (I ain’t forgot you, Finn).
I would remiss to ignore what DC has done to bring Black heroes and other heroes of diversity to the small screen week after week. If you truly pay attention to Arrow, what they have done on that show is create a team that is predominately female and people of color. Think about it, we have the Black Canary, Speedy and John Diggle finally in costume (though the helmet is still so problematic that some in my community have taken to call him “MagNegro”) fighting alongside the newly christened Green Arrow with Felicity as their information hub.
Over in the world of The Flash, we were introduced to the new half of the Firestorm matrix, a young Black man (though not Jason Rusch) and the Latina Hawkgirl. Both characters will be featured to the upcoming Legends of Tomorrow series.
Finally, the fledgling Supergirl series gave us a real treat. In a fascinating bit of race-bending and character merging, the mysterious leader of the DEO Hank Henshaw (played by David Harewood) was revealed not to be the Cyborg Superman (which I expected), but instead J’onn J’onzz AKA the Martian Manhunter.
I call this an interesting case of race-bending, as J’onn himself is a shapeshifter. Before the Justice League cartoon series, J’onn J’onzz would transform into a white detective calling himself John Jones. However, in the cartoon, actor Carl Lumby, an African American, would voice J’onn. As a result, from the Smallville television show to now Supergirl, the human identity of J’onn J’onzz would be played by and African American first, by Phil Morris and now Mr. Harewood. With a simple choice of voice actor, the Martian Manhunter would now forever be associated with a true sense of what it is like to be a person on the fringes of what is considered normal society.
Mythology is crucial to the development of a society. We need heroes. This is a fact of life. Heroes reflect the best of us. They are the models of perfection that we aspire to achieve. The heroes that a society creates represent the dreams, the goals, and the psychology of that society…
Yes, American society is under attack. American mythology is under attack. In fact, I would go so far to say that the destruction is irreversible. Everything that you thought was true isn’t. The lie has been exposed. The Wiz is just Richard Pryor in a bathrobe and the Emperor has no clothes. What is this, this thing you thought to be a fundamental truth now ripped to shreds and thrown around like so much confetti into the air? What is this security blanket, Linus, that used to wrap you tight now shredded and discarded on the ground and trampled into the mud? The lie exposed is this:
The White man is the only model of heroism.
The Black heroes have come and there is nothing that you can do about it. We need them. America needs them. This is only the beginning…
Just reached out to Mr. Reginald Hudlin today congratulating him for the announcement made at the San Diego Comic Con this past weekend and, hopefully, put a little bug in his ear…
“Hello, Mr. Hudlin!
As a huge fan of both your film and comic book work as well as a fan of Milestone, I would first like to congratulate you and the rest of the team in bringing Milestone back to the comic book landscape. You were sorely missed and I’m looking forward to the new adventures featuring the heroes of Earth-M.
As a comic book creator of color, Milestone was influential at beginning of my career and the inspiration for me to create my own property, The Horsemen, as well as my company, Griot Enterprises.
I would love to work with Milestone in the near future. Moreover, I would love to, at some point, have the opportunity for our characters to interact in some form or fashion. A “Fan turned Professional” wish to be sure, but this is a time for all us (Creators of Color) to make the enduring mark on the industry through a sense of unity, something that deferred the dream back in the 1990s.
In any event, I hope this message finds you well and deservedly resting from the event that was SDCC. Please take a look at my website at your earliest convenience and I look forward to the day when we would meet in person.
Milestone officially back in the game is intimidating… Extremely intimidating. People have been hoping, wishing and praying that these brothers and their properties come back in full force. For nearly 20 years since Milestone stopped regular publication, two questions have been asked on a daily basis:
“When is Milestone coming back?”
“Who is gonna be the next Milestone?”
Personally, I’m more concerned that we Indie cats don’t go all Ania and front on Milestone because they had the ability to link with DC from jump.
This is the company that inspired a great many of us creators of color to step into the arena. Milestone Media has truly iconic characters in their stable. Icon, Hardware and especially Static are household names. They have the financial, marketing and distribution power of the “Rabbit” behind them. They are the Silverbacks, the 800lb elephant in the room.
“I feel terrible about this…I like Milestone. And I don’t want to be that fiery indie guy who doesn’t like anything but his own books…but Earth-M? Geoff Johns and Jim Lee? It scares me. I have concerns. Or maybe my worst fears have come true and I am that paranoid black writer who believes nothing is what it appears to be on the surface…”
He’s got a right to be concerned about Milestone’s future developments. They are the giants whose shoulders we stand on.
I don’t know about you, but that makes me sweat a little.
I’ve been rocking Griot Enterprises since 1999. The Horsemen has been in the landscape since 2002. That’s 16 years of being in the game…
And I’m just now getting a little bit of shine.
With Milestone officially back in the game, DC once again has “Diversity” on lock. In this respect, they crushed Marvel as it comes to representation. Yeah, Marvel may have, what, 10 – 16 books featuring characters of color, but only one writer of color working on them…
DC has Milestone… A company owned by four men of color, featuring characters of differing cultures, genders and orientation. They just landed verbal agreements from rising stars/veterans Ken Lashley and David Walker. DC Co-Publisher Geoff Johns is all on their jock and going to write a Milestone project. The artistic demigod that is DC Co-Publisher Jim Lee has been slated to draw a Milestone project.
That, my brothers and sisters, is the ultimate trump card.
My man Al “Sugar” Cayne writes:
“There’s no reason why all the major ‘Urban’ and ‘Hip Hop’ websites shouldn’t be posting your works. But more importantly that support needs to be reciprocated. Only then can you create a real infrastructure to create the foundation for growth. In this day in age of “All Things Indie” the support can’t be one sided.”
He’s absolutely correct. Especially for creators and properties of color, trying garner attention from Comic Book Resources, Newsarama or Comics Alliance is not nearly enough; especially because of the stigma of being the other. In addition, many fans of color simply do not check for independent comics.
Sorry to beat a dead horse, but that BGSS is a real condition.
That’s why I approached sites like Afropunk to promote my work. In that respect, comic books become more of a cultural artifact, and art piece that people, who normally don’t read comics, become aware of and are attracted to. We become special. We become unique.
Concrete Park co-creator, Tony Puryear puts it all into perspective with this statement:
“I’ve said this here before and I guess I’m gonna say it again: Isn’t this a time? Isn’t this a time to be making comics that reflect our experience, our sadness, and our beauty? I think it’s a helluva time and I think it’s about time. Let’s go!”
That is the realest of talk right there.
Mr. Puryear is absolutely correct. Despite whatever “Doom and Gloom” I hear about the state of representation in the comic book industry, despite whatever reservations or insecurities I, as an independent creator of color, may feel about the return of Milestone, this truly is a new Golden Age of diversity. The Indie game is strong. It’s powerful. Fans are tired of the same old, same old and aren’t taking any shorts.
Think about this:
At SDCC, Congressman John Lewis, civil rights activist and creator of the autobiographical graphic novel trilogy March, cosplayed himself… recreating the march to Selma with young children on the convention’s floors.
Ronald Wimberly(Prince of Cats) announced not one, but two projects: Sunset Park and the highly anticipated Slave Punk: White Coal, which will be published through Image Comics.
Meanwhile, Mark Waid and J.G. Jones’ Strange Fruit published through Boom Studios, falls under an eye of scrutiny. The mini-series, which feels like the “Ultimate” version of Icon, is criticized for well-tread tropes and a lack of authenticity.
Interestingly, if Strange Fruit were published in, say 2000, it would be considered groundbreaking…
Oh, and Marvel’s Hip Hop Variant Cover month coming in October gets fronted on as another case of Columbusing rather than seen as an earnest homage to the musical and cultural art form.
That’s why I came up with the #4Pages16Bars concept… It’s the best of the best in a “Heavy Metal” format where fans can sample the great work out there… Not to toot a horn, but if I could get half the cats that complain about representation promoting and buying a project like this, things will change.
Fact is: there are those of us in the indie game that go toe to toe with what the Corporate Two puts out. The only thing we don’t have are the funds for big marketing campaigns. What we do have is passion, drive and chutzpah. What we need are the fans who do dig us riding hard to bring awareness to those who still sip the Kool-Aid.
Don’t get me wrong; we do a lot… A whole lot. But, we need the people who keep bitching to get their heads out of the sand, put their money where their mouth is, do a little research (we’re everywhere on social media for Heaven’s sake), and spread the word.
If all y’all do is complain and don’t contribute, shut up and continue to give them your money… #VoteWithYourDollars
No, that’s incorrect. 2014 was a year of great revelation.
2014 was the year that we witnessed a man thought to be the definition of fatherhood brought low by indiscretions and heresy proclaimed guilty by the court of public opinion.
2014 was the year that we saw injustice happen every 28 hours, the year that African American lives were terminated with extreme prejudice and that their murderers saw no repercussions for their actions.
2014 was the year that those who were charged with protecting and serving their public committing the greatest sign of disrespect by literally turning their backs to the ones that they must answer to.
2014 was the year that we, as a country, had our rose-colored glasses severely smudged, that the fallacy of superiority was just that, a straight-up fabrication; the ultimate marketing tool if you will.
2014 was a year of great denial in the overwhelming face of truth; a year where many people willfully shoved their heads into the sand clinging desperately to an ideal that never was.
2014 was the year that the majority realized that they were not the cool kids anymore.
2014 was the year that, despite complaints to the contrary, diversity reared its glorious head.
2014 was the year of Captain Marvel, She-Hulk, a Muslim Ms. Marvel and Storm taking the comic world and turning it on its ear.
2014 was the year we saw Sam Wilson flying high in The Winter Soldier and taking the shield as Captain America.
2014 was the year that we would cheer for a talking raccoon and his walking tree.
2014 was the year that a woman held the hammer of Thor.
2014 was the year they announcement that in 2017 the King of Wakanda will arrive on the big screen and our Hero for Hire will have bullets bouncing off of his chest on Netflix.
2014 was the year that the Multiversity of the DCU showed the potential for diversity in the DCU.
2014 was the year we would see that Barry Allen was raised in a male single-parent African American household with strong moral values to help him on his journey to become the fastest man alive and that Oliver Queen would depend upon and support a brother in his time of need who’s only secret identity is that he has a good job, good credit and a gym membership.
2014 was the year that the history of Gotham City became a little more interesting with the introduction of mob boss Fish Mooney.
2014 was the year that another vision of Milestone Media would be realized with the announcement of a live-action Static Shock project.
2014 was the year of the independents taking real chances with books like Low, Black Science, Velvet, Lazarus, Ragnarok, Sirens, Day Men and East of West.
2014 was the year of the creator of color flourishing beyond the Corporate Two. Writers and artists of color produced amazing, groundbreaking work beyond the sphere of the mainstream.
2014 was the year of Genius, Concrete Park, Midnight Tiger, Rat Queens, Cannon Busters, Watson & Holmes and the Legend of the Mantamaji.
2014 was the year that a sister would win the Eisner Awards for her book Black Comics: Politics of Race and Representation.
2014 was the year that our Stan Lee, Dwayne McDuffie, would have an award named in his honor.
2014 was the year of DMC.
2014 was the year of Shaft.
2014 was the year of Griot Enterprises, Action Lab, Lion Forge, and the operative.net.
2014 was the year that the world of comic books became way more interesting.
So, what does that mean for 2015?
It means that the gloves are off. It means that we will not be held back. It means that our voices will not be silenced. It means that we are once again realizing our power…
Brothers and sisters rejoice… The Jackie Robinson of Black superheroes is coming to the big screen…
And, he will be played by Jackie Robinson…
If you’ve been living under a rock with no Wi-Fi, the comic book industry was pleasantly rocked by the news from Marvel Studios. Not only has Benedict Cumberbatch has been tapped to play Doctor Strange on the big screen, not only will Marvel give us the first comic book movie with a female lead in the upcoming Captain Marvel film, but…
Wait for it…
The Black Panther is coming to the big screen in 2017, and Chadwick Bosemen (42, Get on Up) will be the King of Wakanda.
This news, on top of DC’s announcement of a live-action Static series is the equivalent of Christmas and Kwanzaa coming early to comic geekdom, in general, but Black geekdom in particular. This is the news that the brothers and sisters have been waiting for. This is the comic book version of Barack Obama being elected as president of the United States. We are happy…
We are dancing in the streets, we are patting each other on the back, and we are acting like we have finally reached the Promised Land.
Quick sidebar: remember that the evolution of the comic book movie began with a little film called Blade.
Don’t get it twisted.
Blade is the template for the modern comic book film. Without the success of Blade, Marvel wouldn’t have made Spider Man, the X-Men and Fantastic Four. Marvel Studios would not have the balls to release Iron Man, The Hulk, Thor, Captain America, The Avengers and Guardians of the Galaxy to the big screen…
A comic book film with an African American lead, with an African American viewpoint, got the ball rolling.
As much as Black fandom has to celebrate, as much money as we are about to throw to corporations that already got our dough, a couple of questions should be raised:
Does this news mean that the “Corporate Two” will now increasingly diversify their talent pool by hiring not only more artists, but also more writers of color?
More important, what happens to the independent Black comic book scene?
Yes, the one-two punch of the Static TV series and the Black Panther movie is huge news… huge. But, does that mean that the Black comic book community is satisfied? That we independent creators of color are gonna get lost in the shuffle?
As independents, we’ve got to stop thinking like creators and start thinking, and acting, like businesspeople. We’ve got to go hard in the paint, study our competition in all arenas, and become truly ready for combat. With all that is at our disposal, social media, Print on Demand, the democratized distribution landscape, we must evolve. We must be prolific, we must market, we must grind. We must make our voices so loud that they can’t ignore us. And, our product has to be so on point that they cannot refute us.
In fact, what should happen… What will happen is that we must, and will, capitalize on this good news. We will use the momentum generated by these announcements to further our cause. We will piggyback with the notion of:
“Y’all about that Black Panther?”
“Y’all about that Static?”
“Well, check out Concrete Park, check out Midnight Tiger, and check out Ajala, One Nation, Wildfire, Witchdoctor, Genius, Miranda Mercury, E.P.I.C., T.A.S.K., Millennia War, DMC, The Almighty Street Team, The Horsemen…”
“We are that next shit.”
It’s already been done. We have our template. Brotherman, T.R.I.B.E. and the almighty Milestone Media showed us how it’s done.
Let’s rock this funky joint.
In other monumental moments in Black Comics History: Griot Enterprises, home of The Horsemen, will be distributing their graphic novels and art books through the biggest distributor in the United States, Ingram, Baker and Taylor. You can pre-order The Horsemen: Divine Intervention at your local bookstore or comic book store today.
The ISBN is: 9781941958001.
We are beyond Diamond. We are beyond the comic book store. We are officially everywhere. Griot Enterprises is global, baby.