Nolan wanted to rehire the cast of Inception so bad that he dropped the ball on race. They go straight for yelling, tweeting racist comments at the crew, generally acting as if it’s their right to be over-represented in comics and related media. I’m talking about these fans throwing fits. Nothing pisses comic fans off more than a historically white character being racebent and therefore turned into a character of color or when a character of color takes over a legacy title (Like Superman, Spider-Man, or Ms.
response to Adolf Hitler during and after World War II somewhat tempered the circulation of blatant anti-Black racist visuals, comic writers and publishers did not always respond by correcting such caricatures rather, they often took them out, leaving 1950s comics more "lily-white" than.Why are comic book fans so darn mad when a comic book character gets the racebending treatment?įor the most part, comic book fans are so very predictable when it comes to race. As Frances Gateward and John Jennings point out in their introduction to The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art, "he first images of Black people in comics were loosely based on the stereotypes generated in blackface minstrelsy, stereotypes mired in the notion of fixity" (5), and Jeet Heer notes that these early caricatures "took the existing racism of society and gave it vicious and virulent visual life." When African Americans resisted the "minstrel style" drawings and the U.
RACIST RAGE COMICS ARCHIVE
I contend, however, that Gill's project is significant beyond the capturing of such stories beyond widening the scope of historical persons through which African American history is understood, Gill employs the comics medium in formal and stylistic ways that confront racism and promote antiracist agency in his readership.Ĭomics provide a potent site for such an intervention into the historical archive and contemporary consciousness, not least because comics, as a medium, often relies on stereotype to convey character and thus represents a particularly fraught space for the dissemination of racist caricature (Eisner 11). Bessie Stringfield (1911-93), the subject of the second installment, was known as the "The Motorcycle Queen of Miami" and was the first Black woman to travel across the country by motorcycle-a feat she had accomplished eight times by her early twenties. Marshal and was likely the inspiration for the Lone Ranger. Bass Reeves (1838-1910), for instance, the main character of the first installment of Tales, who escaped slavery, became the first African American Deputy U. Gill speaks of his own intervention in the genre as foregrounding life stories that should resonate alongside what he refers to as the "greatest hits" of African American history ("Strange Fruit").
Du Bois's appellation for "exceptional men" (205) to whom the race might look for uplift, Gill joins a tradition of African American biographers whose work extends to a child audience and who place, according to Rudine Sims Bishop, a "strong emphasis on African American history functions both as a corrective to the historical neglect, distortion, or omission of that history in school curricula and a manifestation of the belief that knowledge of their history will function as anchor, compass, and sail for African American children" (249).
RACIST RAGE COMICS SERIES
Gill's own comic art works in concert with this activist hashtag: In his series Tales of the Talented Tenth-to date there are two installments, Bass Reeves (2014) and Bessie Stringfield (2016)-Gill creates biographical comics about lesser-known African American historical figures for audiences of all ages. Contemporary comic artist and writer Joel Christian Gill created the hash-tag #28DaysAreNotEnough, a social media rallying cry for the sharing of African American history beyond the boundaries of the February calendar.
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