Archive for Race Issues

Time for a Black Superman

So you may have heard the news that there’s a new Superman movie in pre-pre-pre-production, with J.J. Abrams producing and Te-Nehisi Coates writing the script.

Details remain sketchy — particularly as there’s no director yet, and Coates probably hasn’t even started writing — but there are rumors that the Man of Steel may be played by a Black actor.

So the usual suspects — the racist Comicsgate dimwits — reacted the way they usually do when there’s a chance for any diversity in comics, film, or any sort of geek-friendly media.

“B-But Superman’s white! Superman’s always been white! It’s a betrayal of the character if he’s not white! MY CHILDHOOD IS BEING DESTROYED!”

These people are so very tiresome.

So there are lots of reasons a movie with a Black actor playing Superman should be made. If it’s got a good script and good director and good actors, obviously, yes, it’d be a great movie, and that’s enough. Wouldn’t it be great to tell the story of the Man of Tomorrow and how he deals with the prejudices of yesterday?

But to be honest, I want them to make that movie with a Black actor because it will infuriate the racists.

I’m tired of Hollywood — and the entertainment industry in general — tiptoeing around these racist (and sexist and homophobic and transphobic) creeps like they’re actually an important audience. These dudes scream every time there’s gonna be a geeky or action movie starring women or Black people or any non-white, non-Christian non-male, and all too often, Hollywood acts like their backwards opinions need to be listened to.

It’s not so. They’ve been wrong about “Captain Marvel” and “Black Panther” and “Wonder Woman” and “Into the Spider-Verse” and more. Their opinions are shit. And Hollywood should relish it when racist dumbwads get angry at them. They’re angry, stupid, racist, and impotent, so fuck them and their backwards, moronic beliefs.

So yes, we need a Black Superman (and a Black Batman, Black Wonder Woman, Black Spider-Man, and Black Captain America) because Hollywood (and the comics industry) have been catering to racists for much too long — and because pissing off stupid racists is all the reason anyone should need.

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Good Trouble

This has been an overwhelmingly rotten year, and if we needed another reminder of that fact, it came Friday night when we learned that John Lewis, civil rights icon and one of the best damn people anywhere, had died at the age of 80.

I suspect y’all will remember that Lewis wrote his own graphic novel, “March,” co-written with Andrew Aydin and illustrated by Nate Powell. I’d previously reviewed Book One and Book Two, but I was surprised to realize I’d never reviewed Book Three — it was released after I’d mothballed the blog in 2016.

So there’s probably no better time to remedy that situation than right now. Let’s look at March, Book Three by John Lewis, Andrew Aydin, and Nate Powell.

In 1963, the civil rights struggles become more violent, largely because white supremacists were getting more and more frightened and angry. The book opens with the terrifying bombing of the 16th Street Baptist Church in Birmingham by the KKK that killed four girls. While much of the rest of the country is horrified, whites in the Deep South are largely ecstatic.

From here, Lewis recounts a lot of tough times for the Civil Rights Movement — attempts to register voters in the South that were obstructed by police, judges, and politicians; the death of John F. Kennedy, one of their major supporters; the murders of Mickey Schwerner, Andy Goodman, James Chaney, and far too many other activists; the futile struggle to seat the Mississippi Freedom Democratic Party delegates at the Atlantic City Democratic Convention.

And Selma. The campaign to register voters, opposed with fanatical rage by the police. The brutal Bloody Sunday at the Edmund Pettis Bridge, where Lewis was savagely beaten by police. And the march from Selma to Montgomery.

And finally, the Voting Rights Act of 1964. But the battle didn’t end there.

And the book isn’t a dry recounting of historical events. Lewis tells you the people he worked with, the disagreements, the small moments between friends, the events that mattered, the speeches that drove civil rights forward. Lewis shares meetings with Martin Luther King, Malcolm X, Fannie Lou Hamer, C.T. Vivian, also gone last week, and dozens more. It’s not textbook history — it’s human history, recreated before your eyes.

Verdict: Thumbs up. Lewis brings us the terrors and triumphs of the Civil Rights Movement on a fully human scale. You’re gonna see a lot of stuff in this book that will make you absolutely furious, from the various bigoted sheriffs committing assaults and murders at will (Golly, how the times do repeat themselves) to LBJ, who, though he may have signed the signature civil rights legislation, was still a racist douchebag.

Luckily, you’ll also see plenty of stuff to inspire you, too. Fannie Lou Hamer’s testimony, Lewis’ trip to Africa and meeting with Malcolm X, the march to Montgomery, all the people working together to bring about a more equitable world.

Lewis decided he wanted to write this because he wanted to educate young people about the struggle for equality and the right to vote — but parents should be aware that the book is full strong language and violence. It’s not gratuitous — this is the language white racists used. And the violence is not gory, but the smudged and shadowy depictions of assaults and fires and bombings are their own kind of nightmare fuel.

But even if you’re worried about showing it to your kids, you shouldn’t be afraid of reading it yourself. When I was growing up, my history classes always petered out not long after World War II. The Civil Rights Movement was glossed over, at best. So reading this is a valuable education for adults as well as kids.

This one is highly recommended. Go read it. Go read all three books of this series.

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The New Scum

What a week. What a week, filled with disillusionment and disappointment and absolutely justified rage.

There are a lot of skeletons getting pulled out of closets and a lot of assholes and creeps taken to task.

Charles Brownstein is out at the Comic Book Legal Defense Fund — but he was allowed to resign, instead of being fired. And he got to stick around for 14 years after he’d been accused of abuse. And the CBLDF’s statement is pitifully weak.

Dark Horse Comics has finally given Scott Allie the heave-ho, over 20 years after multiple reports of his abusive behavior. But Dark Horse was only pushed to action after Mike Mignola — no angel himself — threw his support behind Allie’s victims. And there are way too many similar accusations directed at Dark Horse president Mike Richardson.

Warren Ellis, Cameron Stewart, and Jason Latour have been accused by multiple people of various creeper behaviors. Same goes for genre writers Sam Sykes and Myke Cole.

Max Temkin of Cards Against Humanity is out, and the entire company stands accused of widespread sexism and racism.

And to add additional insult to the pile of injuries, it was revealed that Mairghread Scott, who wrote the “Batgirl” series just a few years ago, was purposely excluded from planning meetings for the Bat books, with her plans for the book derailed from on high by the men who ran the meetings.

Our nerdy, fun hobbies have been infested with abusers for years — and it’s not a recent phenomenon, judging from all we know about Isaac Asimov, Harlan Ellison, and Forrest J. Ackerman. We’ve known all this for years, and so many people have been yelling about the ongoing problems with racism and sexism in comics for decades. And the same damn shit keeps happening over and over and over.

I don’t think I have any solutions to offer. I mean, I’ve got my ideas for what should be done — the CBLDF, Dark Horse, and Cards Against Humanity should cease to exist, for one thing. All three organizations are tainted to their core and have swept abuse under the rug for far too many years. I don’t think they’re worth preserving. But we also know that won’t happen, and there’s unlikely to be any significant improvement at any of them. They’ve been built on abuse, and they’ll continue to abuse.

If Ellis, Stewart, Latour, Sykes, and Cole want to work toward redemption, that’s on them, and good luck to ’em. But I don’t plan to support them for a good long while, until they’ve been able to show they’ve improved their behavior in concrete, unquestionable ways.

And right now, I kinda feel like sci-fi and comics conventions were a mistake almost from the beginning, and I kinda wish they wouldn’t come back in the post-COVID world. Yes, I know lots of creators make a decent sum of money from making appearances at conventions, and I wouldn’t want anyone to give that up. But it sure seems like conventions have turned into creeper-fests. And the cons themselves rarely do enough work to keep the creeps under control.

Solutions more solid than that? I wish I knew. Keep supporting creators who aren’t abusers would be the obvious thing — if only we knew which ones they were. And support people who’ve been victimized by abusers. Many of them were forced out of jobs by abusers, and they deserve better than they’ve got.

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The Trafficking in Black Lives

I had some other stuff thought up to review today. And in fact, I’d planned on reviewing this particular book a bit closer to Halloween. But when the time’s right, the time’s right. So we’re going to look at The Ballad of Black Tom by Victor LaValle.

This is a novella written just four years ago, and it’s basically a rewrite of H.P. Lovecraft’s notoriously racist short story “The Horror at Red Hook.” And that means, before we get to LaValle’s book, we’re going to need to talk about Lovecraft, his books, and his legacy first.

It’s the 21st century, and after decades of critical neglect, Lovecraft has become accepted in the last few years as one of the most influential horror and fantasy writers in history. The mainstream critics are a long way behind horror fans, who have been fanatically loyal to Lovecraft’s Cthulhu Mythos almost from the moment HPL died.

Lovecraft’s extensive correspondence with other writers, including Robert E. Howard, Robert Bloch, August Derleth, Clark Ashton Smith, and dozens of others, influenced the development of horror fiction in the first half of the 20th century, and the popularity of the Lovecraft Circle has influenced fans and creators ever since. You will be hard pressed to locate a horror writer who hasn’t been inspired by Lovecraft’s stories — and who hasn’t written his or her own pastiche of his works.

But Lovecraft had some very significant problems of his own that hinder attempts to spread his fandom more broadly — namely, that he was a racist. And not in that “Oh, everyone was racist back then” sort of way that you can kinda ignore. He was a full-on racist, at a level that even his friends thought was much too extreme.

And this wasn’t racism that he kept private — he was very public about his racism, and it showed up prominently in several of his stories. He’d probably always been a bit racist — you might expect it from a sheltered, slightly snobbish man from New England who idolized an archaic British society he hadn’t even been born into.

But that changed in 1924, when Lovecraft got married and moved from Providence, Rhode Island to New York City. He was not very successful at finding work, at least partly because he had a bad attitude about job-hunting and seems to have believed that he was entitled to good jobs, just because he was an educated, quasi-aristocratic white man. But his wife had a successful hat shop and was able to pay all the bills.

But when the shop failed, and she moved out of the city for a job, Lovecraft continued to be unsuccessful at job-hunting. He had very few marketable job skills, and he really felt that as an intellectual and “aged antiquarian” (he was just 34 years old at the time), most jobs were beneath him.

Pictured: Racist Motherfucker

So he had no money and no job, and he lived in the racially mixed Red Hook neighborhood in Brooklyn among black people, Puerto Ricans, Italians, Irish, Polish people — none of them the noble English aristocracy he aspired to be, and all of them managing life better than he was.

So his low-level racism, fueled by his fear of poverty and his resentment of not living his preferred lifestyle, blossomed into high-level racism and bigotry — not merely against African-Americans but against white people he didn’t feel were pure enough.

The direct result of this period of Lovecraft’s life was “The Horror at Red Hook,” which was published in Weird Tales in 1927. This may be the most disliked Lovecraft story — it’s a poorly written story, and even Lovecraft was dismissive of its quality — and the level of xenophobia is absolutely noxious.

Lovecraft’s racism showed itself in other ways, too — the protagonist’s cat in “The Rats in the Walls” is named after a racial epithet, and one chapter of the multi-part “Herbert West, Re-Animator” is devoted to a monstrously racist depiction of a black boxer.

Most significantly, Lovecraft’s racial attitudes became a major theme of his fiction — the fear of horrific sub-humans interbreeding with pure human stock can be seen in “The Shadow Over Innsmouth,” “Arthur Jermyn,” “The Dunwich Horror,” and others.

Ultimately, that may be what makes Lovecraft’s horror tales so powerful. He managed to take his own fears — unfounded though they may have been — and used them to create fiction that has influenced generations of creators and fans.

Nevertheless, even though many fans enjoy Lovecraft’s work — including a not-insignificant percentage of people of color — the depths of Lovecraft’s racism have become more difficult for people to stomach, particularly in a time of increasing diversity. More writers and fans are talking about how to address the fact that the most influential horror writer since Poe has stories you’d be ashamed to show your non-white friends.

And now — finally — we return to LaValle’s novella.

LaValle is an African-American writer who loves Lovecraft’s stories, even knowing that HPL was a racist. In fact, he dedicated the book “To H.P. Lovecraft, with all my conflicted feelings.” As he says in an interview with Dirge Magazine:

He feared non-white people. He feared poor white people. He feared women. He damn sure feared New York City. And yet, to his credit, he actually transferred that sense of horror to the page. He couldn’t filter it out and that’s one of the things that made him great. If I lost that I’d lose the thing that makes him a singular artist.

So rather than completely reject Lovecraft and the Cthulhu Mythos, LaValle decided to subvert it.

And so in LaValle’s book, we meet Charles Thomas Tester, 20-year-old black man living with his slowly-dying father Otis in an apartment on 144th Street in New York City. Otis is a fantastic musician, but Tommy is really pretty bad. He knows only a few songs on the guitar, and his singing voice is not at all good.

Still, Tommy roams the city wearing a nice but carefully threadbare suit and carrying a guitar case, because black musicians on their way to gigs get less harassment in white parts of town. The guitar case is empty so he can carry illicit merchandise inside — Tommy is a smuggler of unusual artifacts, and he’s been hired to obtain and deliver a small book called The Supreme Alphabet to a rich white woman in Queens called Ma Att. She pays him well for the book, but doesn’t realize that he’s secretly removed the last page of the book to keep her from causing too much magical mischief.

Soon enough, Tommy is on the radar of a wealthy, occult-loving man named Robert Suydam, who invites him to play music at a party he’s giving at his home. Immediately afterwards, he gets acquainted with a corrupt private detective called Mr. Howard and a weak-willed, occult-loving police detective named Thomas Malone, who are tailing Suydam. Otis fears for his son’s life — it’s not smart for a young black man to be seen in certain neighborhoods after dark — but the lure of easy money is too much for Tommy to resist.

He meets Suydam once in his home prior to the gathering and learns some of his host’s occult powers — Suydam shows him visions of the Sleeping King under the sea, which is more than enough to convince Tommy to skip the party the next night.

But when he gets home, he learns that Mr. Howard killed his father while trying to find the last page of the Supreme Alphabet for Ma Att. Alone in a racist society that considers him barely above an animal, Tommy sees no better solution than to return to Suydam and his gospel of overthrowing the world to benefit the downtrodden. But when he learns that Suydam’s guests are the criminal dregs of the world, he realizes that the problem is not a hateful, racist political regime — the problem is mankind itself. And Charles Thomas Tester makes a dangerous, fateful choice.

Days later, Robert Suydam has an army of followers, a new headquarters in Red Hook, and a new lieutenant — Black Tom, a grim black man wearing a natty suit and carrying a bloodstained guitar. But is Black Tom merely the assistant? Or is he calling the shots for something much more terrible than anyone expects?

Verdict: Thumbs up. This book packs a lot of horror in its 150 pages — not just cosmic horror, but the terrors facing black men from Harlem in the 1920s. It changes the Robert Suydam from “The Horror at Red Hook” from a garden variety sorcerer villain to a more three-dimensional — and more pitiful — character. And Det. Thomas Malone, the weirdly poetic and sensitive NYC cop from “Red Hook” stays fairly sensitive but gets to be more active and more interesting.

But the best flip of all — Lovecraft’s most racist story gets a new star, a black man who serves as both hero and villain. We see New York through his eyes, see the violent cops, see the dangers of the subways and the new neighborhoods and the white kids who follow him looking for fights. We see his own prejudices, his friends, the difficulties in finding honest work when everyone is allowed to cheat you. We watch him make the terrible decisions that happen in horror stories — and in the end, you realize that for Tommy, those decisions were actually the right ones.

He ends up as a murderous supernatural destroyer — because why shouldn’t he? When the whole world is against you, is working to grind you down, to destroy your family and friends, whether or not they obey the laws, to disregard you as a worthless, ignorant beast — well, why not just pull the curtain down on the human race? Yes, of course, to the reader, we can think of more socially acceptable solutions. But consider if Lovecraft had written this story — Tommy Tester would’ve been the villain solely because he was a monstrous, deformed, black-skinned cartoon. LaValle gives us a smart, ruthless, terribly powerful African-American man with extreme but logical motives.

Let’s say it one more time for the kids in the back row: When you live in a world that utterly devalues a large segment of the population, that demands absolute subservience from those people, that demands the right to debase them, humiliate them, steal from them, and kill them, punishes them when they defend themselves, and bars them from protesting that abuse, even if done peacefully — and if you then decry them when they take stronger ways to say “NO MORE” — you should strongly consider that you are not the hero of the story, and are very likely to be the inhuman beast at the heart of the tale.

Lovecraft might have deplored LaValle and his story, with its more enlightened view of black people, of New York, of a society geared to crush people just because they have the wrong skin color. I suppose we’ll just have to live with phantom Lovecraft’s disappointment. Because it’s a great story, and you’d love reading it. Go pick it up.

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History Under the Mask

Cap-Truth

Truth: Red, White & Black

I’ve had a mind to review this one for ages, and African American History Month seems like a great time to do it. This was a seven-issue series published by Marvel back in 2003. It was written by the late Robert Morales and illustrated by Kyle Baker. It made a lot of racist douchegoblins really mad back in the day, so I figure it’s certainly worth reading.

Our setup here is that, after Steve Rogers becomes Captain America and Professor Erskine, the secretive creator of the Super-Soldier formula, is killed, the military is desperate to recreate the formula. And since they have almost no idea what was in the formula, they have to experiment with a lot of different concoctions, and they have to experiment on people they don’t give a damn about. So a bunch of black soldiers get recruited into the program, injected with variations of the formula, and die by the score.

“Why, that’s ridiculous! Black people would never be experimented on like that! All lives matter!”

To which, all you really have to say is Tuskegee. Which went on for 40 years, primarily for the sake of plain ol’ meanness.

Anyway, of the 300 men inducted into the new Super-Soldier program, only six survive, and are gifted with increased strength, stamina — and often, significant disfiguring mutations. They’re sent on dangerous missions against the Nazis, and over time, a combination of battlefield casualties and deaths from the unstable Super-Soldier formulas whittles their number down to just one — Isaiah Bradley. Frustrated by the military’s racist treatment and the inconsequential and foolish missions he’s been sent on, Bradley steals a spare Captain America uniform and takes the fight to the Nazis by himself — and he gets captured.

The story doesn’t take place entirely in the past — in the present day, Steve Rogers learns about the alternate Super-Soldier program for the first time and begins his own investigation of what happened to Isaiah Bradley. While he shuts down a number of racists who’d profited from exploiting black soldiers decades ago, he also discovers that Bradley’s ultimate legacy was perhaps even more amazing than his wartime career.

Verdict: Thumbs up. It’s a great story, with outstanding action, characterization, empathy, and unpredictability. There are several points where you think the story is going to go one way, but it completely surprises you and goes the other.

It’s an intensely emotional book, too — not merely because the lead characters have strong emotions, but because the emotions are so realistic and raw. Early in the Super-Soldier testing process, the families of all the inductees are told that they’ve been killed — and many other black soldiers are actually murdered to cover up the crimes — and the toll on the families is covered extensively. The anguish that comes from these unexpected deaths is rendered amazingly well, and their pain is felt by the reader, too. It’s not just the writing here — Kyle Baker’s art really brings it home. Sometimes the sorrow is visible and unmistakable, and sometimes it’s hidden below the surface, but it all feels real.

Baker’s art is often very cartoony, which is initially a shock when you start reading. It’s very far from the Marvel standard, but for the most part, it’s something you get used to quickly. Baker is a cartoonist’s cartoonist, and it’s a thrill to see him work. His vision here is intensely important, too — you can tell the characters mean a lot to him, and he works hard to make everyone unique and interesting. His work is, like I said before, emotionally resonant, from the faces to the eyes to the body language.

The comic is obviously fiction, but Morales’ appendix at the end of the book is definitely worth reading. He details some of his research and outlines how some of the scenes in the story were inspired. For history buffs, it’s a good read and includes suggestions for other books worth checking out.

It’s a sad comic in a lot of ways. But it’s got its unique glories, too, in moments both crashing and quiet. It’s also not at all easy to find — you can’t get it from Amazon without paying $50 or more. But I found my copy a couple years ago in one of the local comic shops for a normal price, so do some digging around. You should also be able to find it digitally. If you can find it, you’ll be very glad you got the opportunity to read it, so go pick it up.

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Marching for Equality

March-Book2

March, Book Two

We’ve already reviewed Book One — check out the review over here.

I trust you know the general background of this one — it’s the autobiography of civil rights leader and Congressman John Lewis, told as a graphic novel. It’s cowritten by one of his staffers, a comics fan named Andrew Aydin, with art by Nate Powell.

This second chapter of the series gets us deeper into the weeds of the civil rights movement, just as it begins to get a lot more violent for the participants. They’re attacked at movie theaters, someone locks them in a diner, then fills it full of poison bug spray, their buses are run off the road and set on fire, they’re beaten by local thugs, the Klan, and the police, they’re attacked at churches, they’re thrown in jail.

But all of this is getting a lot of interest from the public all across the nation and the world. Some of the people who are also being attacked are members of the press, and members of President Kennedy’s staff. The violence of the segregated South was getting more and more attention and attracting more and more people who felt it was time for everyone to be equal. Thugs like Bull Connor were making things even worse for the status quo, upping the savagery of his attacks on innocent people until just about everyone in the country was disgusted.

The last quarter of the book focuses on the March on Washington — not just the videos you’ve seen on YouTube, but the behind-the-scenes negotiations that made it possible. One of the organizers was gay and was outed by Strom Thurmond in an attempt to discredit the march. Lewis’s speech had to go through extensive rewrites to keep it from sounding like an outright call for revolution. It’s a triumphant note — but the struggle was far from over. Less than a month after the march, the Sixteenth Street Baptist Church in Birmingham, Alabama was bombed, killing four little girls.

Verdict: Thumbs up. This book is going to make you unbelievably furious. It has good reason to do so, and we should all be furious about the massive injustices of this period in our national history. Yes, the March on Washington is genuinely inspiring, but most of the book is a recounting of injustice after injustice after injustice, and anyone who doesn’t get mad about that just isn’t paying attention. And people who want us to forget this should be ashamed of themselves.

There’s another reason I get angry when I read this book. You already know there are a lot of people who want to restrict voting rights and invent barriers to keep non-white people from voting. They always tell you they’re not racist, they’re just worried about illegal voting. That’s bull. These people are racist scum, and that’s all there is to it.

Y’all have heard me rant before about liberals who’ve decided the only way to solve the problem of racism in the South is to expel the South from the United States. The thing these supposedly good liberals don’t realize is that when they say things like that, they’re also spitting in the faces of the great civil rights leaders and openly siding with the Bull Connors.

Liberals who want to expel the South would be giving Southern racists free rein to turn the clock back as far as they wanted, essentially abandoning millions of African Americans, Hispanics, women, gays, trans people, atheists, and even other liberals to people who would gleefully enslave, imprison, oppress, and execute them. Liberals who want to expel the South are signaling their willingness to do the KKK’s bidding, to give the wingnuts the victory they’ve always dreamed of. They’re siding with Jefferson Davis over Abraham Lincoln. They’re looking at the hard work and sacrifices of John Lewis, Martin Luther King, Rosa Parks, and thousands of others, and declaring they don’t care, it was all a failure, and let’s just let injustice rule again.

That’s a lot of the reason this book makes me angry. We’ve come so far — but still not far enough — and too many people are willing to abandon all that progress because they’re bored. And because they know they won’t suffer any of the consequences.

March, Book Two is a great book. You should definitely go pick it up.

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For Freedom

NatTurnerTPB

Nat Turner

I’ve been meaning to review this for the last few years, always planning on posting about it during Black History Month in February, and every year, I get distracted and forget. Not this year — here’s Kyle Baker’s amazing graphic novel biography of Nat Turner, the leader of the bloodiest slave rebellion in the United States.

Turner was a slave living in Virginia. He’d taught himself to read, because it was illegal to teach slaves to read — slaveowners didn’t want educated slaves because they were more likely to rebel. Turner’s interest in reading was mainly so he could study the Bible, and his knowledge and high moral character had many fellow slaves referring to him as a prophet — he also had periodic visions which he believed came to him from God. And one of his visions, combined with a few convenient solar eclipses, eventually convinced him that God wanted him to lead a battle against the forces of evil. And in the American South of the 1830s, evil was definitely well-represented among white slaveowners.

When Turner and his accomplices began their rebellion, they initially stuck with quiet weapons — knives, axes, farming implements — rather than guns, and they didn’t just kill slaveowners — they killed women and children, too. They spared poor whites who they felt were as downtrodden as slaves, but they still ended up killing 60 people and amassing a force of 70 slaves and free blacks. Turner himself is believed to have killed only one person — he was extremely smart, but he was a lousy fighter. The rebellion was put down after two days, but Turner was able to hide out for several months. When he was finally captured, he was tried and sentenced to be hanged. He was also beheaded, and his body was buried in an unmarked grave.

Kyle Baker’s book takes most of its text from Thomas Ruffin Gray’s book, “The Confessions of Nat Turner,” which included extensive interviews with Turner during his trial and before his execution. His art illustrates passages from the book, or interprets common episodes in the lives of slaves. There is very little dialogue or word balloons, and the art is entirely black, white, and sepia-toned brown.

Verdict: Thumbs up. Turner’s story is an amazing one — I’m really surprised that Hollywood has never made a major movie about him. Maybe his character and personality are too complex for film — he’s not a pure hero or villain — yes, he fought against terrific injustice, but he committed widespread murders. Baker depicts Turner warts and all — but I think it’s clear he sympathizes with him and his cause. (As do I — knowing what we know about the horrors and monstrous injustices of slavery, I don’t blame anyone for rising up against it.)

It’s a stark and brutal story, frequently very violent. Turner and his rebels massacre families, ambush people in their homes, behead children — their actions shock us, and I think, rightfully so. But it’s still very hard not to sympathize — Turner’s actions aren’t sugarcoated, but it’s also made very clear that he’s living in a terribly unjust world, where slaves were subjected to horrible punishments for crimes like reading and playing drums. Slaveowners were said to be terrified of slave rebellions — and a lot of that terror may have been because they knew they deserved whatever the slaves would do to them.

If you only know Baker’s work from his wonderful “Plastic Man” series from a few years ago, this story will probably knock you out of your socks. His cartoonish style on DC’s comedic series is nowhere to be seen here. The art is, at turns, rough-hewn and furious, and then lushly rendered and gloriously lit, sometimes crudely emotional, sometimes shockingly beautiful, and sometimes both at once.

It’s a fantastic story about an unsung American freedom fighter, beautifully illustrated by one of our great graphic storytellers. You bet you should go pick it up.

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This Week in Comic Book Diversity

NewMsMarvel

It’s been a weirdly excellent week for diversity in the comic book world.

The biggest news has been the announcement that Marvel was introducing a new Ms. Marvel, a shapeshifting Muslim teenager who idolized the current Captain Marvel, Carol Danvers. Kamala Khan made a very brief debut in this week’s issue of “Captain Marvel” and will be appearing in her own comic book in February. She isn’t the first Muslim female character in a comic book, but it’s very likely she’s the first to grab her own starring role in a comic from the Big Two.

As was pointed out to me by a friend, while this is good news, it would be even better news if Marvel hadn’t even felt the need to publicize this — that woulda meant that having characters who were not white straight male Christians was no longer considered shocking or surprising or uncommon — that there was no longer an “other,” just people who had interesting stories we could tell.

Nevertheless, a lot of the excitement about this is because readers are excited that there are new interesting characters to read about and who are happy that the comics world is becoming a more open, less exclusionary place.

Outside of the printed page, there’s a lot of other news about TV shows. DC announced that the CW would bring a new superhero to the screen. No, not Wonder Woman — she’s still considered too weird and obscure and non-penis-endowed for TV. Instead, they’re going with Hourman. Yeah, a little-known Golden Age character who only has powers for an hour at a time after taking a pill. That’s so much more mainstream and cool and sensible than Wonder Woman, isn’t it?

On the other hand, the CW also announced that they’d be producing a new TV show based on Chris Roberson and Michael Allred’s “iZombie,” which of course stars a female character. This sounds like it may be a bit more interesting — the CW’s superhero shows (Well, “Arrow” — more are planned, of course) seem to be oriented around brooding shirtless hunks being angsty. A zombie who solves crimes by snacking on brains sounds like a meatier premise, though still probably pretty angsty, too.

Perhaps more encouraging on the TV front is that Netflix is going to make a number of shows based on Marvel characters, including Daredevil, Jessica Jones, Luke Cage and Iron Fist, and the Defenders. This is pretty exciting news — Marvel has been a lot more successful with superheroes in the mass media, and it means that Marvel stands a very good chance of beating DC to getting a female superhero into a starring role on TV. If there’s anything that could push DC into taking Wonder Woman seriously as a media property, it might be Marvel stealing their thunder again.

(Though on a semi-related note, what’s up with Marvel still not starting up a Black Widow movie? You’ve got one of the most famous, most marketable movie stars on the planet playing backup roles in other people’s movies, guys. For the sake of Croesus, make a Black Widow movie and put Scarlett Johansson’s name above the title.)

And finally, dropping back to comics, former Lubbock artist Rachael Anderson was just spotlighted in Comics Alliance’s new “Hire this Woman” feature! We have our fingers crossed that this will help draw more attention to a really outstanding artist. We’d love to see her name on big-name comics soon.

Does all this big pro-diversity news mean the struggle is over, or even close to over? Obviously not. For one thing, DC Comics still exists, and it’ll be years before they let go of the “Comics are only for white male geeks” paradigm. But any progress forward is good news, and if television success can drag the comics industry a bit closer to the 21st century, I’m all for it.

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Marching for Justice

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March: Book One

When I heard about this one, I knew I’d have to get it.

It’s basically the autobiography of civil rights leader and Congressman John Lewis, in graphic-novel format. The project came about because some of his staff were making jokes about staffer Andrew Aydin, who was a comics fan, but Lewis pointed out that a comic book about Martin Luther King, Jr. helped inspire him to get involved in the civil rights movement. Soon, Aydin was co-writing this book with Lewis, while Nate Powell put the art together.

Though the book starts out with what’s probably the most horrifying incident of Lewis’ life — when state troopers attacked peaceful marchers and fractured his skull on the Edmund Pettus Bridge in Selma, Alabama — we soon settle into a more straightforward biography. We visit Lewis as a child, obsessed with being a preacher and delivering passionate sermons to the family’s chickens as practice. We watch him growing up, going to college, becoming more socially aware, meeting Martin Luther King, becoming an activist…

Approximately the last half of the book focuses on the lunch counter sit-ins in Nashville, following them from the organizing and planning stages through the actual sit-ins and through the trials and aftermath. It’s simultaneously exhilarating and terrifying.

Verdict: Thumbs up. It’s an amazing work of art, exciting, scary, beautiful, inspiring, and informative all at once. Part memoir, part history.

Like I said, a big chunk of the book is devoted to the sit-ins, and they’re probably the most interesting parts of the story, especially for those of us who were too young to have heard about these while they were happening.

I never knew that participants had to go through training sessions to make sure they were really willing to abide by the principles of non-violence — there was a lot of roleplaying involved, with everyone calling each other names, heaping abuse on each other, blowing cigarette smoke in their faces and dousing them with water — because that’s what they knew would happen at protests, and they had to make sure that everyone could handle the pressure without snapping and punching some Nashville cop in the neck.

And the specifics of the sit-ins were pretty interesting, too — all the detail and planning that went into them, what actually happened during the sit-ins, how people reacted, they’re all extremely informative. All of this got glazed over in school, so we never learned any of this. The history makes it worth reading.

Is there rude language? Yes, there is — racial epithets are used, just as they were used in real life. Is it still kid-friendly? I think it is. Again, this is historical info, and it’s important for kids and adults to know what happened. There’s nothing explicit — there’s no gore, no sex, no over-the-top swearing — but the difficulty of life in the South for African-Americans, and what it was like to attend protests and marches — none of this is sugar-coated, and none of it should be.

It’s a great story, it’s all true, and it’s the first graphic novel written by a member of Congress! I’d consider that a must-read. Go pick it up.

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Mighty Guys

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Mighty Avengers #1

The Avengers are all off in outer space dealing with some intergalactic threat, which makes Thanos figure he can invade Earth ’cause the Avengers aren’t around to stop him. Of course, there are plenty of other heroes running around the joint. Which brings us to the newest incarnation of the Heroes for Hire — Luke Cage, White Tiger, and Power Man (who’s a completely different guy — a smartass teenager nowadays). But that team only lasts ’til the Superior Spider-Man shows up, talks some smack, and convinces White Tiger to take a hike.

Elsewhere, Monica Rambeau is back in town, now wearing a new costume and calling herself Spectrum. She has a mysterious, shadowy benefactor, too. Aaaaanyway, Thanos’ minions finally attack New York City — does this ragtag band of do-gooders stand a chance?

Verdict: Thumbs up. Fun dialogue, action, humor, and drama. Excellent characterization, too. This is a darned interesting group, and I’d really like to read more about them as quickly as possible.

Oh, but I do have some serious quibbles. First, the art. Hey, it’s by Greg Land, who is infamous for tracing other people’s art and photos. Looks like he’s up to the same gig here, with lots of weirdly awkward facial expressions and poses that you just know look like that because he copied them somewhere else. Why does Marvel still employ this guy? Does he have some serious blackmail photos of Joe Quesada?

Another thing that bugs me is the way Monica Rambeau looks in this. I’m not a big fan of the new costume — I actually liked the look of the jacket she wore in her previous appearances. But new costumes show up all the time for B-list characters, and really, this costume isn’t all that bad. But I do think her hair is a more serious problem.

Look, “Mighty Avengers” is pretty much getting marketed as Marvel’s “Black Avengers” comic, much like Brian Wood’s new “X-Men” book was billed as the “Female X-Men” book. It’s got more African-American characters than any mainstream superhero book has had since Milestone’s glory days.

Among the female characters we know of, Spectrum is black, White Tiger is Hispanic, and She-Hulk is, regardless of her skin color, Caucasian. And all three of them have straight hair. I might be able to excuse it if Monica had ever been depicted with straight hair, but in her most recent appearances, she had cornrows. And taking your only African-American woman and giving her chemically-straightened hair isn’t really the most enlightened thing to do. I’ve got to assume Monica’s hair has been straightened because the women Land traced had straight hair, but that’s just another reason not to use Land as your artist.

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The True Lives of the Fabulous Killjoys #4

Red and Blue, the porno droids on the run from BLI, are trying to make it out of Battery City. Their power will shut off once they pass the city limits, but they figure they’ll be able to die together. Elsewhere, Korse’s secret — he’s fallen in love — is revealed, and his lover has been killed. Now he’ll be taken away to be reprogrammed. And the Girl is stuck in the desert, forced to hang out with the rotten Val Velocity as he barrels down the road into paranoid psychosis and self-destruction. Can any of them survive BLI’s crackdown?

Verdict: Thumbs up. All the storylines are really picking up and turning seriously enjoyable. Great art, great storytelling, great characters — excellent pop/sci-fi comics, and it’s worth picking up.

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Red Sonja #3

Sonja is wandering the wilderness, burning with fever as the plague begins to overwhelm her. Forced to surrender to an enemy in the last issue to protect innocent villagers, she’s been cast out and humiliated — and she’s beginning to hallucinate as the plague starts to destroy her mind. She sees her long-deceased father and relives the nightmare of her childhood when sadistic raiders destroyed her family and village. Will the hopelessness of her past predict her own doom?

Verdict: Thumbs up. More excellent storytelling and art. Sonja’s childhood is simultaneously incredibly grim and grandly badass, and the latest cliffhanger is very nice, though I’m pretty sure we know how it’s going to turn out…

Today’s Cool Links:

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