The clumsy way superhero comic books of the post-Civil Rights 1970s explicitly address race can provide a site for imagining productive racial consciousness for black characters, while also highlighting the limits of that kind of resistant reading.
Exploring the limits of diversity in a white supremacist framework through a five-in-one look at 1978’s Marvel Two-in-One.
An overview of posts in need of revisiting.
The fourth in a series of posts about black superheroes. Marvel Comics’ Brother Voodoo—a character to feel really conflicted about.
For a movie set in Detroit, it seems awful white.
In this story, Spider-Man and Daredevil demonstrate a hegemonic framework for understanding urban crime (part of SUPER BLOG TEAM-UP #4).
Images for an essay published in the June 2014 issue of Apex
Poor black and brown people in the West joined by music and their relation to power.
Jefferson Pierce’s “blackness” is explored in relation to his superheroic identity, but doesn’t get anywhere.
Miles Morales or Trayvon Martin are more likely to be victim of a “heroic” vigilante than to be one.
The generic “human” these robots want to be is a white human.
Rhodey’s armor allows him to literally don the guise of a successful white man, to “pass” in the world of (mostly) white superheroes.
Reed Richards is not so fantastic when it comes to understanding race in America.
Spider-man is Black. Or at least, he could be. . .
