Tag Archives: The Blaxis

YOU KNOW THE ANSWER

The question.

The eternal question.

It’s always asked. It never fails. It’s asked so frequently; you can set your watch to it. 

In the immortal words of Cherelle, “Let’s sing it together…”

IS THERE A BLACK COMIC BOOK INDUSTRY?

And, here is the short answer:

Yes, there is.

In just a few short years, Roye Okupe of YouNeek Studios has taken his characters from the comics to the big screen… Kudos!

How so, you may ask?

Well, let me school ya…

While this question is still being asked, many indie Black Comix creators were at NYCC supporting and big-upping each other. And, their tables were busy all weekend because people were buying their product left, right and center. On the same weekend, another group of Black Comix creators were in Algiers the same weekend sharing their talent with kids on the African continent.

From companies like Evoluzione Publishing to Webway Comics to Griot Enterprises to Stranger ComicsYouNeek Studios and others, to the larger independent companies like Image Comics publishing books like Bitter Root and Excellence, to the network of conventions that cater to fans of color like OnyxconMECCA ConECBAAC, Blerd ConBCAF and so many more, to crowdfunding platforms like Kickstarter, to printers like 133Art, distribution systems like Peep Game Comix and stores like Amalgam Comics and CoffeehouseFirst Aid Comics and Third Coast Comics, you damn right Black Comix exists not only as an industry, but a movement as well. 

The title of the book also denotes the quality of the product…

Hell, why do you think I created an anthology like 4 Pages 16 Bars: A Visual Mixtape?

We’ve got creators, publishers, digital distributors, a convention system, printers and brick and mortar stores…

Sounds like an industry to me. And, it looks like the reach of this industry is international.

Problem is, cats who continue to ask this question are too busy chasing the business model of the “Corporate Two” or work in a vacuum so tight that they don’t realize what’s happening around them. Flat out, these cats don’t even really interact with, or stay aware of, other creators and what they are making in a similar space…

In other words, they are either too arrogant or too scared to be a part of the community. 

…The hell did he just say?

The arrogance comes because they want to be at the top of the totem pole when it comes to what they think Black Comix are. They are looking for that ephemeral superstarstatus Wizard Magazine put into some of their heads with their Top 10 Artist and Writer lists (which were totally and arbitrarily manufactured). The fear comes into play as they know, deep down, that their product isn’t as up to snuff as someone else’s.

Yeah, I know I’m gonna catch mad flack for that last statement. It doesn’t mean that it isn’t any less true.

Now, there are many Black creators who are not asking this question. They are the ones getting recognition and finding success because their books meet the standards of the market. Why? Let me say this so the people in the back can hear:

COMIC BOOKS ARE AN EXERCISE IN GRAPHIC DESIGN

Everything needs to work in harmony (art, story, coloring, lettering, layout design and editing) in order to be considered a viable product by buying standards. Books like Bitter RootNiobe: She Is Death, Is’nana: The Were-SpiderCrescent City Monsters and others have audiences of diverse backgrounds gobbling up their books because they are good stories that are well-designed with great content from Black creators. If one’s book is lacking in any of these areas, that book is going to have problems. 

From the root to the fruit, Bitter Root hits all of the right notes…

This leads into point two of this particular rant:

COLOR IS NOT CONTENT

The aforementioned books also work because it doesn’t matter if the characters are Black…

Their creators are.

Crescent City Monsters is a great because it is a completed original package. The addition of Vodou and African American culture enhances the book, not the sole reason for its success…

Furthermore, they’re not trying to create a “Black version” of comics they’ve read before. They’re telling unique stories in different genres (because comics are more than superheroes) using their culture to enhance their stories and give unique points of view.

Here’s another point that you may or may not be aware of:

THE GAME DONE CHANGED AND BLACK WOMEN ARE AT THE FOREFRONT OF THIS CHANGE

I am not disrespecting the brothers who have paved the way at all. In fact, the brothers who haven’t been asking the question know exactly what I’m talking about. 

While some are still asking questions, C. Spike Trotman quietly redefined the industry…

In my opinion, C. Spike Trotman and Iron Circus Comics is the new publishing model one would want to follow. This woman has fundamentally changed the game building a successful publishing company with her savvy use of crowdfunding, marketing and content while cats are looking elsewhere for answers. She understands the market she’s built and has an extremely loyal fan/economic base.

The “Queen of Detroit” stays holding it down for five years and counting…

In Detroit, Maia Crown Williams has created a cultural powerhouse with her MECCA Con which brings creators from all over the country to the Motor City, sets them up with book signings and makes sure that they sample the finest cuisine my hometown has to offer. In addition, she brings top-notch Black creators to Detroit as educational ambassadors who show young brothers and sisters the craft of bringing their visions to life.

Oh, you don’t know about Niobe? Where have YOU been?

Also, Sebastian Jones’ Stranger Comics and World of Asunda brand featuring Niobe has a huge female fan base in part due to Amandla Stenburg’s involvement in the creation of the character as well as Ashley Woods being a part of the creative team. By putting the creative team front and center (something the “Corporate Two” used to do), Stranger Comics built up that fan base, in part, because the marketing of the creative team Black women gave added legitimacy to the brand.

I missed the opportunity to go to her store when I was in Philadelphia earlier this year. Next time, I won’t make the same mistake…

And, of course, not enough can be said of Ariell Johnson and her success with Amalgam Bookstore and Coffeehouse.

Black women, straight-up, buy comics. Black women, straight-up, make comics. In addition to sci-fi author, creator of Dark Horse Comics’s LaGuardia and writer of Marvel’s Shuri series Nnedi Okarafor, we’ve got Ironheart writer Eve Ewing, artist Afua Richardson, writer and creator of the Women In Comics collective Regine Sawyer, illustrator Micheline Hess, indie writer Dorphese Jean, the badasses Ashley WoodsAlithea A. Martinez and so many more putting in that work on the daily and having a large fanbase that includes Black women.

This leads me to my final point:

CHANGE YOUR DEFINITION OF SUCCESS 

People who want to get into comics nowadays don’t want floppies (though the 24-32-page pamphlet is still useful in getting people interested in your brand), they want books. They want graphic novels. These aren’t the people who go to the store every Wednesday for their X-Men or Justice League fix. They want books that represent them. They want to know that the creators of these books look like them, way more than the characters. They want the new and the creative. They want something different. They want a product that they don’t have to necessarily pick up every single month to follow the story. This is a new audience that people who keep asking the question are completely ignoring…

And, leaving money on the table.

While some people are trying to mimic the model of a corporation, books like this are racking up best-seller list accolades…

Too many cats think way too small when it comes to their subject matter and its potential reach in other markets because they’ve locked into a model that, though successful for some, makes absolutely no sense for others. It amazes me how many cats don’t look at libraries or bookstores (online and mortar) as viable markets when those markets are killing it in terms of graphic novel sales. 

it’s all about mindset. If you’re long-range goal is myopic, you’re not gonna find much traction. Straight-up, the model has changed. It’s been changed since, at the extreme least, 2010. 

If you’re just going for a success model that only benefits the “Corporate Two” (i.e. built-in fan base from over 80 years of market saturation, Diamond as distribution, etc.) YOU ARE GOING TO FAIL. Simple as that.

The idea that Black Comix aren’t making an impact is bullshit. People who say that simply aren’t really checking out what’s happening in Black Comix. They’re too busy wishing for the “Corporate Two” to appease them while Milestone happened, while the whole con structure for Black Comics was built while Bitter Root and World of Asunda get picked up by Legendary and HBO respectively while Raising Dion and Cannon Busters appeared on Netflix.

But again, too many of aren’t aware of what’s happening in front of them. People really need to open their eyes to see what’s really going down. The machine has been created. More people just need to plug in by going to the cons, interacting with and being truly aware of what’s happening with other creators. That’s called being a part of the community…

And, maybe we’ll finally stop asking this question.

The anthology celebrating the true diversity in comics returns… Cover art by Julie Anderson

Speaking of community:

Dedication, Vol.05 of 4 Pages 16 Bars: A Visual Mixtape is available now in print ($24.95) and digital ($9.95) formats. Click here to grab the print copy, here for the digital.

Witness the birth of a new creative multiverse… Cover designed by Jiba Molei Anderson

Also, 4 Pages 16 Bars: A Visual Mixtape presents The Union is on sale in digital format ($3.99) with a print format coming at the end of October. What is The Union? The Union is an 8-bit video game that brings properties from independent Black Comix creators like Dorphise JeanRobert Garrett(RIP), Quinn McGowanWilliam SatterwhiteTerance BakerTyrell White and Jiba Molei Anderson together for the first time to battle an enemy that threatens the very fabric of the multiverse we like to call The Blaxis. You can grab that bad boy here.

This is the community I’m talking about. This is Black Comix.

Get on board.

www.griotenterprises.com

Trailblazers

The African American presence has been evident in comics since the inception of the medium. Granted, for most of the medium’s history, the portrayal of African American culture has, at its best been skewed and, at its worst, offensive. But it cannot be denied that the African American character has always had a place in comic strips and comic books, and the African American comics’ creator has had a hand in developing the art form.

We have been here from the beginning and every day, there is another person of color, with nothing more than a pencil and imaginations, creating sepia-toned superheroes to right wrongs and provide inspiration to future comic book fans.

This is a celebration of the African American contribution to a uniquely American art movement, one, that at over 100 years and counting, has lasted longer than any modern artistic movement in history.

Here now are some of the trailblazers who paved the way for all of us from Milestone to Ania to Gettosake to Griot Enterprises, Black, Tuskegee Heirs, Niobe and so many more of us making comics today.

We salute you.

KrazyKat
Krazy Kat by George Herriman

KRAZY KAT

George Herriman’s premise of the series goes a little something like this: Krazy Kat is in love with Ignatz Mouse. Ignatz Mouse rebuffs Krazy Kat’s affections by throwing bricks at Krazy’s head. Krazy takes the brick throwing as a sign of affection from Ignatz Mouse and continues the pursuit. In this abusive situation comes Offissa Pupp, who is love with Krazy Kat, locks Ignatz Mouse up in order to show his feelings for the Kat who is totally oblivious to the good Offissa’s intentions.

Krazy Kat is, unmistakably, a Black comic strip. Through Herriman’s cultural chameleon-like way approaching life and work, he was able to bring his African American viewpoint on life and love to the masses…and the masses ate it up.

Torchy02
Torchy by Jackie Ormes

TORCHY

Created by Jackie Ormes, Torchy Brown in Dixie to Harlem, starring Torchy Brown, was a humorous depiction of a Mississippi teen who found fame and fortune singing and dancing in the Cotton Club. Ormes became the first African-American woman to produce a syndicated comic strip.

Torchy presented an image of a black woman who, in contrast to the contemporary stereotypical media portrayals, was confident, intelligent, and brave.

ZootComics
Zoot Comics by Matt Baker

MATT BAKER

Clarence Matthew Baker is the first known African-American artist to find success in the comic-book industry. He entered comics through the Jerry Iger Studio, one of the 1930s to 1940s “packagers” that provided outsourced comics to publishers entering the new medium. Baker’s first confirmed comics work is penciling and inking the women in the 12-page Sheena, Queen of the Jungle #69.

His other artwork for comic books includes the light-humor military title Canteen Kate, Tiger Girl; Flamingo, South Sea Girl, Glory Forbes, Kayo Kirby; and Risks Unlimited. Baker illustrated Lorna Doone for Classic Comics in December 1946, and others.

Baker was inducted into the Will Eisner Comic Book Hall of Fame in 2009.

BlackPhantom
Black Phantom by Steve Perrin & Ronn Foss

THE BLACK PHANTOM

Published in 1964, created by Steve Perrin and Ronn Foss for Mask and Cape #4, The Black Phantom pre-dates Jack Kirby’s Black Panther appearance in the Fantastic Four by two years. This fact makes the Black Phantom the first Black costumed superhero.

The Black Phantom was Lafayette Jefferson, an engineer and soldier who worked with the N.A.A.C.P. to address racial injustice in the southern United States. While traveling, he meets a young white man and orphan named Joey Trager. Together, they become the Black Phantom and the Wraith to battle the likes of the Ku Klux Klan and other opponents of tolerance and change.

DatelineDanger
Dateline Danger by Saunders & Williams

DATELINE: DANGER!

Inspired by the television series I Spy, the first TV dramatic show to co-star an African-American in a lead role, writer John Saunders and artist Al McWilliams created the adventure comic strip Dateline: Danger! for the Publishers-Hall Syndicate. Introduced as both a daily and a color Sunday strip in November 1968, it similarly was the first in this medium with an African-American lead character, Danny Raven. As in the TV show, the two protagonists were American secret agents who globe-trotted to trouble spots under the cover of another profession.

FridayFoster
Friday Foster by Lawrence & Longaron

FRIDAY FOSTER

Friday Foster was an American newspaper comic strip, created and written by Jim Lawrence and later continued by Jorge Longarón. It ran from 1970 to 1974 and was notable for featuring the first African American woman as the titular character in a comic strip.

Early on, Lawrence’s story lines had a harder edge showing the contrast of Friday’s family with her street-wise brother trying to accept her newfound success in the world of magazine publishing. But soon its episodes changed focus to showcase more soap-opera thrills of romance and travel for the gorgeous African-American.

Friday Foster made her way to film in 1975 with the incomparable Pam Grier playing the action-seeking photographer.  Friday Foster is arguably, the first African American comic strip character as a lead brought to the cinema.

Powerman
Powerman by Avenall, Gibbons & Bolland

POWERMAN

Powerman was a British comic book series written by Don Avenall (aka Donne Avenell) and Norman Worker, and illustrated by Dave Gibbons and Brian Bolland that was initially distributed in Nigeria in the early 1970s. The series starred a superhero named Powerman. When the comics were re-published in the United Kingdom the character’s name
became Powerbolt.

An executive from a Nigerian advertising agency approached Bardon Press Features to discuss the idea of making a series with a black superhero; the man and his wife saw that in Nigeria, the comics available were imported and had White protagonists. Gibbons said that he remembered asking why Africans did not work on the strips and hearing that the African artists would likely emerge once comics become popular in Africa.

4 PAGES Volume Three Cover(Facebook)
4 Page 16 Bars: A Visual Mixtape Vol. 03 – Doin’ Our Own Thang

This is where we came from. Now, check out where we’re going. Grab Volume 3 of 4 Pages 16 Bars: A Visual Mixtape – Doin’ Our Own Thang available now on Amazon, Kindle and DriveThruComics. Support diversity in Indie Comics!

#BlackFutureMonth

http://www.griotenterprises.com

Fear of the Black Hero Pt. 2 – The New Universe

BlackPantherYellow
The mantra for the year…

Hello, 2016.

You definitely started off with a bang. You have come out of the gate with events that have shaken this world up. You have called some of our most influential elders back to the celestial plane. You have also put the comic book world on notice. You have literally changed a universe:

The Marvel Universe.

Secret Wars #9 was finally released, the climax to an event that has set the tone and direction of this venerable creative playground for the foreseeable future.

Actually, Secret Wars is the culmination of Jonathan Hickman’s vision of the Marvel Universe, which began with New Avengers #1. To see this extremely ambitious meta-story unfold, in hindsight, is pretty amazing, especially when you consider the ever-increasing corporate nature of DC and Marvel coming to the fore. What’s truly interesting, if you really think about it, was that the hero of this meta-tale, which truly changed the Marvel Universe, is not Doctor Doom nor is it Reed Richards.

You see, while this mini-series signaled the end of the old world and its symbolic parents the Fantastic Four (much like Crisis On Infinite Earths put to bed the Silver Age of the DCU with the death of Barry Allen), the architect of the new world was another Jack Kirby creation; perhaps his most important creation depending on who you’re speaking to:

The Black Panther.

BlackInfinityGauntlet
Creator of a new universe…

Yes, T’Challa is the real hero of Secret Wars. I would argue that for the past few years, we were seeing what the Marvel Universe had become through T’Challa’s lens. Understand I know that I am reaching here. There is nothing to back-up my thoughts. However, what is unmistakable is that the King of Wakanda was instrumental in creating the new Marvel Universe. Thanks to the Infinity Gauntlet, T’Challa dismantled Doom’s Battleworld and created something that merged universes as opposed to having them tear each other apart. He created something more inclusive, more “colorful,” something better than what was before. Here is an article that promotes a very ballsy theory, but quite valid: http://graphicpolicy.com/2016/01/15/the-new-marvel-universe-born-out-of-africa-and-afrofuturism/

Now, don’t get it twisted. I don’t think that Hickman created a more diverse, more inclusive Marvel Universe out of some notion of social responsibility. I don’t think that Marvel signed off on this direction out of any sense of social justice or any dedication to representation. This was a smart business move, pure and simple.

46.7% of comic readers are women. One in five comic book readers are Black or Latino. Diversity was the buzzword in 2015 and it’s only getting louder as we begin 2016. In other words, the world outside of the fantasy world of comics has changed. And, Marvel wants to get as much of that money as possible.

So, of course in the new Marvel Universe that T’Challa created, you are going to see more characters that reflect the real world the reader lives in. That has always been the strength of Marvel. That’s what makes Marvel different from DC. That’s what makes Marvel more accessible than DC. They have played to the strength of their creative business model’s core philosophy, and it’s paid off handsomely.

Black-Comic-Book-Festival-2016
BCAF in full effect…

On the flip side, this weekend marked the 4th annual Black Comic Book Festival at the Schomberg Center in Harlem. From everything that I saw posted, it was and extremely successful affair which showcased the diversity and evolution of the African American presence in the independent and mainstream comic book industry. All of the attendants, professional and fan, remarked how amazing the festival was. Lines were around the corner. Creators were selling work left and right. I, of course, was very disappointed that I couldn’t attend this year. It is my goal for 2017 to be at this event. In case you missed it, here are some of the panels that occurred thanks to our comrade Karama Horne AKA The Blerd Gurl:http://theblerdgurl.com/media/panel-replay-from-black-comic-book-fest/#more-6703

Simultaneously, the 2016 Black Comix Arts Festival is happening on the West Coast of our nation in San Francisco. I guarantee that this event will be just as successful as the BCBF.

BLACKCOMIXARTSFESTIVAL
The Brotherman makes his official return at BCAF…

In the first two weeks of this New Year, the presence of the Black Hero is being felt throughout the country. And, it’s going to just get Blacker as the year moves forward. From Firestorm and Hawkgirl’s appearance in Legends of Tomorrow to the continued presence of… Oh hell, let’s just call Diggle Spartan in Arrow (thanks, Felicity) and J’onn Jonzz in Supergirl, to Falcon and War Machine in Captain America: Civil War with the cinematic introduction of the aforementioned Black Panther, to the Luke Cage series which will bring Misty Knight to the world of Netflix, the Black hero (as well as the Brown hero) is going to play front and center in this brave new world.

TuskegeeHeirs
The Heirs of a grand tradition are coming…

What’s even more important and celebratory is that we are going to see more work from creators of color in this landscape. Again, with Marvel leading the charge in the mainstream, we are going to have the pleasure of enjoying David Walker and Sanford Greene’s Power Man and Iron Fist as well as Ta-Nehisi Coates and Brain Stelfreeze’s Black Panther alongside the minority dominant Ultimates, Squadron Supreme, Avengers, Ms. Marvel, Red Wolf, Spider Man, Captain Marvel and more. We’re going to see Afua Richardson and Ashley A. Woods get down and become trailblazers for women of color… Black women… Working for the Corporate Two. Of course, the Corporate Two need to do much more in this regard to their hiring practices, but this is a small step in the right direction.

Is'nanaTheWereSpider
A truly All-new, All-different Spider Man…

Most important, we are going to see the continued growth of creators of color in the independent scene rising up to the challenge and creating fascinating, interesting and financially successful concepts. From Marcus WilliamsTuskegee Heirs to Greg Anderson-Elysse’s Is’nana The Were-Spider and Jason Pearson’s return to Body Bags (all successfully funded via Kickstarter), the landscape has truly changed.

We have our own convention network now, and it covers the major areas in these United States. From the BCBF to BCAF, from ONYXCON to ECBACC, from SOL-CON to M.E.C.C.A. CON, our network is solid and it’s expanding…

And don’t get me going on Social Media… We got that joint on lock.

The world has changed. They are no longer the standard. They are no longer the example to follow. We no longer want to be like them. Their fantasy world is no longer theirs and they are afraid. They are desperately trying to turn back the clock, to impede progress. They tried to halt evolution. Because of that, they now face revolution. If you are offended by this paragraph, you are They and I apologize that I am not here to comfort you in your time of fear and grief.

BodyBagsKickstarter
Welcome back, Clownface and Panda… It’s about to get bloody…

Representation matters and here we are representing to the fullest.

So, no more talk of whether or not independent comics by creators of color are viable. No more questioning whether there is an audience for this kind of work by this type of creator. No more asking, “Where is the next Milestone.” No more asking, “Why doesn’t DC or Marvel have more Black characters.” As we have seen, and will continue to see, this aspect of the industry is here in full force, firmly entrenched. Our heels are dug in. We have built the foundation on which this new nation has, and will continue, to emerge.

David Bowie famously sang, “We can be heroes.” Well, here we are, on the page and behind the scenes… We are the real Black Heroes…

Fear us… Better than that, celebrate us. We were a village. We have become a nation. Ubuntu.

http://www.griotenterprises.com

 

The Complexion of Comics: The Business of Representation

This has been an interesting past couple of weeks…

On a personal level, I have been doing a lot of interviews, some in print, some for online radio, and the topic has been the same…

The Complexion of Comics.

MECCA Con 2015
MECCA Con 2015

Now, this phrase came about as I was speaking with MECCA Con founder Maia “Crown” Williams and I were working to title a panel I was going to moderate at the event. We didn’t want the panel to be the same old “bitch session” concerning the state of representation on the printed page and behind the scenes of the two largest publishers in the comic book sphere. Rather, we wanted to steer the conversation towards independent publishers and creators of color working on the fringe, navigating this space and creating new streams of access that DC or Marvel don’t care, or are too large of an entity, to navigate.

No more complaining. No more hoping, wishing and praying. This panel was to be about celebrating and forming alliances. You know how I get down.

It was a great panel, a true cross-section of publishers, artists and distribution with Bill Campbell, publisher of Rosarium Publishing, Daniel Zarazua, publisher of Pochino Press, Imani Lateef, owner of online distributor of comics by African American creators Peep Game Comix and Anthony Piper, creator of Trill League. We broke it down, we came correct, chopped it up and learned from each other…

Oh, yeah… The audience dug it as well. You can check out the panel right here:

I also had the extreme pleasure of meeting Sheena C. Howard and swapped a copy of ‪#‎4Pages16Bars‬ for her award-winning book, Black Comics: Politics of Race and Representation. It’s a meaty read and an extremely necessary discourse concerning the history of Black comics and their creators. If you want to get your academia concerning comics on, this is the book to read… It won the Eisner for a reason…

Sheena C. Howard flipped the script... Congratulations, sister!
Sheena C. Howard flipped the script… Congratulations, sister!

Oh, and Ms. Howard will be contributing to 4 Pages 16 Bars: A Visual Mixtape… That’s how you build…

So, all in all, it was a great experience for everyone involved and something that I hope more of us, creators and fans can and will experience.

Coates... Stelfreeze... T'Challa... Indeed...
Coates… Stelfreeze… T’Challa… Indeed…

Now, coming back from MECCA Con, I was pleasantly greeted with this news:

http://www.nytimes.com/2015/09/23/books/ta-nehisi-coates-to-write-black-panther-comic-for-marvel.html?_r=4

Huzzah…

I am excited by this news not because T’Challa is heading a solo book again (I called that when they announced that the Black Panther movie was green lighted; just good business), not because Ta-Nehisi Coates, a crucial voice in racial discourse, a voice who I listen to is writing the book, but also because Brian Stelfreeze, one of the greatest artists in the game, an influence on my work and an African American is drawing the book as well.

Peep game: A major African character from the “Corporate Two” has a writer/artist team that is representative of that character’s ethnic background.

Now, you may be saying: “Well, we’ve seen this before, haven’t we?” And, I would say yes… Almost 20 years ago. I can cite Steel towards the end of its run when Christopher Priest handled the writing duties and Denys Cowan handled the art circa 1997. Before then, Marcus McLaurin and Dwayne Turner working on the Cage book in the early 90s…

Since then? Nope… Until the recent news development.

A family of African descent with extraordinary abilities at Marvel... Somebody might have read The Horsemen...
A family of African descent with extraordinary abilities at Marvel… Somebody might have read The Horsemen…

On the flip side, this article popped up yesterday in the Huffington Post:

http://www.huffingtonpost.com/ebonycom/the-black-family-in-comic_b_8196644.html?ncid=fcbklnkushpmg00000047

Now, I posted this and called it a revolutionary story and I stand behind those words. Never in comics coming from the “Corporate Two” have you seen a story focused around a family with extraordinary abilities of African descent… Never. Steel doesn’t count because John Henry and Natasha Irons never wore their respective armors at the same time. Black Lightning, pre-New52, never shared a book with his super powered daughters Thunder and Lightning. This is the first time, though only a mini-series, that you have seen this type of dynamic on the comic book page. It is revolutionary… Marvel should be patting its back on this book…

However, neither the writer nor artist of Infinity Gauntlet is of African descent. So, revolutionary in the sense we haven’t seen this from the “Corporate Two.” However, still problematic as there are no people of color writing nor drawing the book…

And, unfortunately, since Infinity Gauntlet is a mini-series, which is part of the Secret Wars event with no signs of becoming an ongoing title, by this time next year folks will complain about proper representation at the “Corporate Two”.

That’s the ongoing problem. People are so content with representation on the printed page, but aren’t nearly as concerned about the voice writing it. When that happens, things tend to get disingenuous. That’s why the upcoming Black Panther is so important. With the team of Coates and Stelfreeze, those are two brothers guiding the King of Wakanda. The only thing that would make that book more authentic is if one of the creators hailed directly from the continent.

C'mon with it, Ms. Richardson...
C’mon with it, Ms. Richardson…

So, Ta-Nehisi Coates on Black Panther is coming along with Brian Stefreeze drawing the book. They also just signed my girl Ashley Woods along with ally Afua Richardson as the first African American women working as an artists at Marvel as well as Sanford Greene finishing Runaways, Jason Pearson, Olivier Copiel, and more doing those Hip-Hop variant covers. I have to admit, this is kind of cool. It seems as if the “Corporate Two,” in some form, is paying attention to their buying audience and making some inroads to representation behind the printed page…

But, you know how I roll in this business and, you know I am one of the biggest critics when it comes to the “Corporate Two’s” practices. My side-eye is permanent.

Sol-Con: The Brown + Black Comix Expo
Sol-Con: The Brown + Black Comix Expo

This coming weekend is the inaugural Sol-Con: The Brown + Black Comix Expo held at Ohio State University’s Hale Hall from October 2-4. I hope that some of you will be able to attend and experience the true Complexion of Comics… Cheers.

http://www.griotenterprises.com