Dr. Vincent Haddad examines both an issue of the brilliant new The Other History of the DC Universe series and O’Neil and Cowyn’s classic 1980s run on The Question, considering both the limits and promise of revision.
Using Teen Titans #41 to think through token characters and slavery as a narrative trope.
The ninth installment of reading both versions of Omega the Unknown (from 1976 and 2007 respectively) against each other.
Exploring the intersection of legacy and race in superhero comics through Kurt Busiek’s Astro City
When Black Lightning rejects the Justice League he is rejecting white supremacy.
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.
The second in our on-going series of interviews with comics scholars.
The role of race in reconstructing the Bronze Age.
Exploring the limits of diversity in a white supremacist framework through a five-in-one look at 1978’s Marvel Two-in-One.
Because you can’t trust even the best-intentioned white Captain America to know what’s up.
Putting Fear the Walking Dead’s allusion to national zeitgeist regarding police brutality into context.
The ways fans of color engage with characters and stories can re-circuit and re-interpret those stories in ways that provide the kind of productive identification that challenges that tired old repetitive and thoughtless representation.
Could Cyborg be the comic book superhero representation of white supremacy’s effect on the black body? To have a black person transformed from a metaphorical machine to an actual one?
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).
Identity is a constant retcon.
This is Part Two of a two-part series of posts on the classic X-Men comics arc, “Days of Future Past.”
An overview of all the posts I planned to write or started writing but that never quite came together.
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 Middle Spaces 