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I found this article two days ago.

The Black Panther(s), the Coal Tiger, and US
Posted by Ron Edwards

BONUS POST: Thanks to Larry Lade and his March pledge at the Doctor Xaos Patreon! All you comics nuts probably already know how Lee and Kirby were developing an African black character called the Coal Tiger in early 1966, then changed the name to the Black Panther.



You might not know that the original name Coal Tiger wasn’t neutral by a long shot, as at the time, it was the media term for post-colonial African nations. The relevant name here is Patrice Lumumba, leader of resistance against the Belgian colonial government, author of Dawn in the Heart of Africa, important participant at the All-African People’s Conference in 1958, advocate for nationalizing the resources of the Congo Basin, then briefly the first prime minister of the Republic of the Congo in 1961. He was soon ousted in a military coup backed by the USA and Belgium, imprisoned, and executed. The nation – called Zaire from 1971 to 1997 – was brutalized for thirty years thereafter by a right-wing military dictatorship presided over (and thieved shamelessly) by Robert Mobutu, who makes a nice matched set with Ferdinand Marcos, Augusto Pinochet, and Francois “Papa Doc” Duvalier.



There’s considerably more of Lumumba in T’Challa than anyone has ever mentioned, particularly his erudition and the idea of a resource-rich African nation entirely free from colonialism, which controls and develops its own technologies. Lumumba’s legacy spoke directly to both African heritage and economic national empowerment. This is Third Way, Non-Aligned Movement material again: the most frightening thing the U.S. political establishment had ever seen, outside the comfortable bipolar framework that had been cemented in 1948-1952.



An American organization you might not have heard of was US, or the US Organization, written in capitals but not an acronym, founded in southern Calfornia in 1965 by Ron Everett, who changed his name to Ron Karenga, with the title “Maulana.” It was a pan-African movement seeking to recover and re-synthesize African traditions, using Greek-American or Italian-American pride as a model (that’s my example; these were not explicitly named by US). Although sometimes called “separatist,” and directly inspired by many African nationalist leaders’ writings, the idea was to conduct traditions and community activities in an ethnically-rich way, not to move away. The group is also the originator of Kwanzaa and a number of other cultural terms, some widely adopted.

You might have noticed that in the original Star Trek, Lt. Uhura speaks Swahili (“The Man Trap”). That was the language promoted in the U.S. by US, and thus most linked to the concept of black pride and African heritage in the public eye. The episode was filmed in that same summer of 1966. The character’s name is almost certainly based on another US holiday, Uhuru Day, first celebrated early that same year by US.



The political term “black panther” originated with the Lowndes County Freedom Organization, which emerged from the Student Non-Violent Coordinating Committee in late 1965 and was associated with founding member Stokely Carmichael’s book Black Power (1966). The Mississippi group used the black panther as its logo, but the image and term was swiftly picked up by the media in 1966 and was then co-opted by a number of organizations, including two in California, one in Chicago, and one in New York City. But before that, the comics character was introduced: Lee or someone there picked it up from the LCFO logo and media labeling just like others did, assigned it to the Coal Tiger design, and the character appeared in The Fantastic Four a few months before the Oakland organization went public. Considering that Mobutu named himself president-for-life at that time and embarked on a notorious, ongoing reign of butchery, and also that Lumumba’s name was a rallying cry for militant, anti-colonial revolt throughout Africa, it strikes me that in mid-1966, “Black Panther” might even have been chosen as the less threatening name over Coal Tiger.

For some perspective on the timing, Donald Warden founded the Afro-American Association in 1962; Malcolm X broke with the Nation of Islam in March 1964; the first and rather weak Civil Rights Act was passed in July 1964; Malcolm X was shot and killed in February 1965; the Selma-to-Montgomery marches took place in March 1965; the Voting Rights Act and the Watts Riots were almost simultaneous in August 1965; * the events I’m talking about occur here *; Martin Luther King was shot and killed in April, 1968, not long after allying with Robert F. Kennedy against the Vietnam War; Kennedy was shot and killed in June, 1968; Fred Hampton, leader of the Chicago Panthers and linchpin organizer among working-class white, black, and Puerto Rican grassroots groups, was shot and killed by police in 1969.



The Black Panther Party for Self-Defense, founded by Huey Newton in Oakland, became the most nationally prominent and formed alliances with the other groups using the name; when Eldridge Cleaver was released from prison in 1968 he accepted Newton’s offer of the position of Minister of Information and took leadership of the New York group. (At the time of this writing, the LCFO Wikipedia entry wrongly calls it the BPP’s “predecessor.”)

The BPP and US began with some accord (they celebrated Uhuru Day together in 1967), but had little in common. Newton’s view was refined Leftist to the core. He applied Franz Fanon’s The Wretched of the Earth to the disenfranchised under-class (Marx’s lumpenproletariat), to which most American black people were relegated – he considered it all to be a form of colonization and emphasized combating discrimination – especially police harassment – as a form of modern class struggle. Contrary to popular belief, blackness as a cultural identity was not a Panther priority, and they built alliances across ethnic lines and within community structures (e.g. food programs at schools). So ideologically, the BPP and US differed greatly, and as it turned out, the FBI’s CoIntelPro was on the job, sabotaging communications between the leaders and according to some, were the real instigators of a Panthers-US gunfight on the UCLA campus in 1969.

The story moves on from there and although US may seem minor compared to the political impact and media presence of the Panthers, quite a lot of its ideas have persisted in black activism and community efforts nationwide. My kids celebrate Kwanzaa in school. Karenga is a university professor and an influential voice, as are many US alumni.



So to recap, well before the above-mentioned conflicts. the political context for the character’s creation is not the BPP at all, but the coal tiger nations and the US Organization, which in mid-1966 was the most visible new black activist group. It must have been visible to Lee or Kirby or both. T’Challa, Prince of Wakanda, is so spot-on with US ideals of Africa’s heroic past and potential, it’s amazing they hadn’t already started a comic book of their own starring a guy like him. That another group soon used the name “Black Panther” and became more publicly visible is history’s little joke to obscure the content in retrospect.




Again, my take is that this is Lee’s admirable eye for genuinely trenchant politics, and Kirby’s lightning-bolt insight that comics are journalism, all of which deserves more appreciation. The content is more spot-on than anything Life Magazine was portraying, much more challenging to the white mainstream. T’Challa could have been another “Willie” or “Robbie,” the other first named black characters at Marvel, probably because Willie Mays and Jackie Robinson were the two most famous non-threatening but non-servile black people known to white Americans (to be fair, they did threaten a lot of people, heroically so, but not like King or Malcolm X did; also to be fair, Joe/”Robbie” Robertson, introduced a bit later, turned out to be a pretty good character). Or he could have been a waif “rescued” from the colonial stereotype of unspeakably primitive life In Darkest Africa and fully assimilated into Europe or the U.S. Or he could have been a cosmic whackadoo like Galactus or the Watcher, good enough to check off the “black character” box but without any difficulties pertaining to his possible human presence.

The modern accounts I’m reading describe Lee as merely tapping into hip memes with his political content, and as playing right and left against one another, but I don’t think so – you can’t get the 1966 T’Challa without being tuned in better than that, and finding ideals of justifiable pride and existing power to portray that were decidedly not mainstream or soft/centrist liberal white. In foreign policy, the “coal tiger” phenomenon was swiftly cast as creeping global communism, and Mobutu and the government of South Africa were our bold heroes of freedom (if a bit “authoritarian” … you do realize this is sarcasm, I hope). Domestically, the term Black Power was flatly radical in both North and South, as it explicitly broke with the northern-white-friendly “non-violent” terminology from the SNCC. US, like the BPP and the Deacons for Defense, went armed (more accurately, without pretending otherwise). Don’t let all the pretty legislation fool you – this is post-Watts, and the LBJ administration’s support for civil rights stopped with the northern white vote. It had blood in its eye toward any but the most mild and white-led effort. Black Power, for black people, meant being spied on, being beaten, going to prison, and getting murdered. Invoking it in pop media, just a hair short of naming it outright, wasn’t appropriation; it was solidarity.

Was the Black Panther a token? And here I mean the term not as a sole nonwhite face, which he couldn’t help but be, but a fake inclusion intended to smooth things over. Not to be too polite about it, was he a Tom? I don’t think so. The LCFO, US Organization, and BPP had something important in common: neither asking for favors nor settling for a weak win by conceding first. T’Challa wasn’t doing any of that either. He didn’t need redeeming, rescuing, salvaging, uplifting, or educating. This was not a nice-and-comfy center statement in 1966; if you put a black guy as a national leader, a mysterious presence, a sophisticated African, and a decided ass-kicker in there, it wasn’t playing to the gallery. One may make the case that Wakanda is Latveria without the villainy, and arguably, therefore scarier to the reading audience. It means relevance, not in the shallow sense, but being actually relevant.

The question then becomes, how black was T’Challa going to be? The Coal Tiger seems like a remarkably strong, gutsy start. On the published pages, though, there was apparently some early stuttering, maybe that’s why there were two covers, one which displayed his skin color and one which didn’t, and see also this contrast:


To my eyes, the face-reveal at the end of #52 shows signs of last-minute revisions and is a bit hard to interpret.


But in #53, his look is bold, individual, and uncompromised.

Marvel’s history with the issue started strong, but is also full of steps and missteps. In 1969, they stumbled hard with the Falcon who even had a pet hawk if you didn’t grasp the whole Indian-sidekick thing on the first try. Thomas – widely perceived as more political than Lee – was embarrassingly ham-fisted in writing the Panther as a token in the Avengers. Fortunately, not too much later, the Panther’s Rage would come along, as well as another fellow to address the American urban black hero issue. Bet on some posting about these in days to come.

A link:

Some thoughts on more recent affairs at the Hudline Entertainment forum


https://adeptpress.wordpress.com/2015/03/31/the-black-panthers-the-coal-tiger-and-us/









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As I continue to research all things Black Panther I came across some interesting articles. I thought not only would they make interesting reading but needed archival preservation here at the HEF.

EDITS and EXERTS taken from

The Black Panther: A Comic Book History
By Vernon Mitchell, Jr., Curator of Popular American Arts on 23 May 2018 in Dowd Modern Graphic History Library, Special Collections, What's New

The late 1960s was a tumultuous time for America both domestically and abroad. President Lyndon Johnson signed the Voting Rights Act into law on August 6, 1965, which banned discriminating voting policies, just five days later, riots broke out in Watts, a section of Los Angeles, centered around police brutality toward African Americans. Times were indeed tense, and the issues of race were at the forefront. The fires that burned in Southern California were not solely about one incident per se, but a response to continued systematic oppression.

The larger implications of socio-economic inequality were now part of a larger critique of what America was and was not. This was the backdrop that Marvel Comics’ Stan Lee and Jack Kirby used to create their new character, Black Panther. The character’s alter ego, King T’Challa, was ruler of the fictional African kingdom of Wakanda. He was the first black superhero to debut in American comic books.

Originally conceived of as the “Coal Tiger,” Black Panther cannot be separated from the times in which he burst onto the comic book scene in Fantastic Four #52 in July of 1966.  Prior to the release of the comic, Lee and Kirby, according to writer Sean Howe, were very much aware and influenced by an article in The New York Times that discussed the formation of the Lowndes Country Freedom Organization (LCFO), which had as their emblem a black panther. Howe attributed that article as the impetus for changing the name of the character that Lee and Kirby had been working on for months.

The media referred to the LCFO as “The Black Panther Party,” after its formation in 1965 under the direction of Student Nonviolent Coordinating Committee (SNCC) field secretary, Stokely Carmichael (Kwame Ture).  Carmichael believed that African Americans’ political power resided in the will and political self determination of local people.


full article
https://library.wustl.edu/the-black-panther-a-comic-book-history/


First Serial: Marvel Comics, The Untold Story
Drugs, feminism, and blaxploitation superheroes — the moment when Marvel changed forever

by SEAN HOWE ON OCTOBER 4, 2012

In the issue of The Fantastic Four #119, Marvel briefly tried to put distance between the Black Panther and his politically charged namesakes by renaming him Black Leopard. “I neither condemn nor condone those who have taken up the name,” T’Challa told the Thing, in a carefully measured bit of expository dialogue.

full article
https://grantland.com/features/an-excerpt-sean-howe-marvel-comics-untold-story/



EDITS and EXERTS taken from

How ‘Coal Tiger’ Became ‘Black Panther’
The newest addition to the Marvel Cinematic Universe has always been tied to Black Arts Movement.
BY JONITA DAVIS / FEBRUARY 12, 2018

The energy and imagery of the mid-1960s saturated the creative minds looking for inspiration, including Marvel artist and art editor Jack Kirby.

Sean Howe’s book Marvel Comics: The Untold Story details that time leading up to Black Panther’s creation. Stan Lee was managing the team of artists and writers, who were actively competing with DC comics for comics sales. According to Howe, Stan Lee heard of the upcoming release of a line of comics that was a gamechanger for DC. Marvel had nothing new to compete. Howe quoted Kirby, “I came in one day,” said Kirby, “and Stan said, ‘Martin says we have to add more books.’ They were afraid Al Harvey, who had pretty good distribution, was going to crowd them off the stands.” Kirby and the rest of the team went to work looking for new lines and characters.

They tapped a little history by researching ancient cultures of Mexico and Africa. They also dug deeper into the sci-fi lore that was becoming popular at the time. The atmosphere of the time greatly influenced the Marvel creatives as well. The result of their hard work was a few new characters are still famous today—The Inhumans—and a black superhero, who lead an uncolonized African nation, and used the cutting edge of futuristic weaponry was born. His name was…Coal Tiger.

Kirby presented the character to Lee, and Lee decided not to push the black hero or the Inhumans at that time. They waited to introduce their new black character with an already popular line of white characters, the Fantastic Four, in issue #52, which hit stands July 1966. The renamed the Coal Tiger, Black Panther, and gave him a makeover for the gig. It would be another 8 years before Lee launched a solo Black Panther comic series Jungle Action.

Meanwhile, the Black Arts Movement, which was started in 1965 by poet Imamu Amiri Baraka, was creating a national interest in black culture. BAM also stimulated a pride in the black community that was manifest in hair (afros and braids), clothing (dashikis and Afrocentric prints), beauty. James Brown’s “Say It Loud—I’m Black and I’m Proud” was like an anthem. This pride carried the community forward.

By 1973, the movement was in full swing and black culture was dominating pop culture, and even film. Blaxploitation movies that centered black characters with black problems were available. Despite their campiness and stereotyping fails, the films were the first time the nation saw black people onscreen and in the forefront of the narrative.

The celebration of black culture that the Black Panther character’s solo comic debuted it did not last, but it didn’t fade away either. The door was open just a bit for black creatives, who would push it open in the decades to come, leading to the Black Panther film.

the movie about Black Panther went through some false starts just as the comic did. In addition, both character debuts were attempted using the popular Marvel characters at the time. The solo release came later, after the “soft launch” of the black superhero standing alongside his beloved white counterparts. Also, like his debut timeline, the film version launches amidst a mainstream appreciation of black culture, with an underlying struggle with racism. That struggle is fueling activism and feeding the Black community’s resurgence of Black pride.

The soft launch before the solo debut is one curiosity to note. Although the elapsed time differed, they did occur. The black superhero had to be introduced by beloved white characters before he could come out alone. There may have been causing for such a thing in the 1960s when there had been little to no marketing of blackness to the public. Then, a black character was a significant risk, especially one that shares the name of a group that media and government were characterizing as militant and anti-White. Lee may not have wanted to gamble. This reason only holds until you considered the list of the many superheroes that Lee debuted solo without a soft launch. Even the Marvel film franchise released Spiderman, Hulk, and a few other superheroes in solo films without a soft launch. Both times, they took a gamble on the white superhero, but not Black Panther.

These and other curiosities lead to the conclusion that the Lee and Marvel, and also the Marvel studios today were priming the public for the black hero. They saw that the possibilities when Black culture started seeping into the mainstream. A soft launch would “test the waters” and see if the public could handle such a character. This seems plausible until you consider that prior to the solo debut of the character both times, the black community was calling for representation in pop culture. In the past few decades, the outcry for more representation in the film has been a topic of discussion and studies. They started well before the current film iteration was conceived.

In fact, when Black Panther’s solo comic appeared in 1973, it was so popular that Luke Cage followed. Similarly, the soft launch of Black Panther was followed by a Luke Cage series on the small screen that was a hit for Netflix streaming service. Once the public was given the Black Superhero, they eagerly sought out more, making the next one a hit out of the gate.

It’s obvious that the problem is not the public. It’s the industries. Both Marvel Comics back then and the MCU now are run by white men who do not want to gamble on blackness until they are sure that they can profit. They wait until the movement is starting, the pride is forming, and the creativity is arising in other areas before “dipping a toe in” for a soft launch. Once that happens, once the profitability of the character is recognized, then they ride in like abolitionists with bolt cutters to open the gates to creative works and opportunities. Everyone is too swept up in the chaos to see that the ones holding the bolt cutters were also the ones holding the gates closed before.





This was taken from a thread I started two years ago.

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Gentle Giant's 'Black Panther' Mini-Bust Pays Homage to the Beloved Character [Exclusive]
The King of Wakanda demands your attention.
BY MARCO VITO ODDO



Collider is excited to exclusively reveal Gentle Giant's new Black Panther collectible figurine featuring the bust of T’challa, the King of Wakanda. Sculpted by Joe Menna, the mini-bust is inspired by the last appearance of Chadwick Boseman as the hero Black Panther in Marvel Cinematic Universe’s Avengers: Endgame.

Made in a 1/6 scale, the Black Panther mini-bust height measures approximately 6 inches. Featuring a detailed sculpting and paint application, the bust is being produced in a super-limited edition of only 2000 copies. Marvel fans willing to add the statue of King T’challa to their collection will receive the figurine in a full-color box with a numbered certificate of authenticity that ensures the value of their acquisition. With a retail price set at $90, the Black Panther bust will be distributed this winter.

Originally a fan-favorite Marvel Comics character, Black Panther became internationally recognized after Boseman wore the super feline suit for Captain America: Civil War. Boseman would appear again as King T’challa for Avengers: Infinity War, Endgame, and his own solo film. Black Panther quickly became a box office monster, hauling more than $1.34 million globally. More than a commercial success, Black Panther was universally acclaimed for creating a version of the futurist nation of Wakanda that truly pays homage to the African heritage of the character.



Due to its commercial and critical success, Black Panther was bound to become a franchise in the MCU, with the King of Wakanda set to become one of the main heroes protecting Earth against all kinds of menaces. But unfortunately, Boseman’s met a tragic death at 43 years old, after losing a four-year battle against colon cancer. The star's shocking demise deeply affected family, colleagues, and fans, making Disney promise that Boseman’s role would never be recast.

Even though Boseman is no longer with us, director Ryan Coogler kept working on a sequel for Black Panther, officially named Wakanda Forever. The sequel will deal with the death of King T’challa and the impact it has on the nation of Wakanda. While we still know very little about Wakanda Forever’s plot, the film wrapped production last March and is now undergoing post-production before its November release. There’s also an untitled spinoff series coming to Disney+, which will bring Danai Gurira back as the warrior Okoye.

Black Panther: Wakanda Forever is due to be released this November 11. You can pre-order the Black Panther collectible mini-bust starting this Friday through the Diamond Select Toys official website. Check out more images below:






https://collider.com/black-panther-gentle-giant-mini-bust-images/



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Quote
"A control freak and a borderline dictator."

"Case in point, the possible exposure of a sleeper assassin program he built in secret has motivated T'Challa to step down as chairman of the Avengers as he desperately tries to cover it up."

"It's ultimately a good thing that Black Panther is no longer in charge."


https://screenrant.com/black-panther-avengers-leave-biggest-flaw-control/

Wow, they are really trying to re-deconstruct T'Challa the Black Panther.

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Captain America's Newest Villain Is Corrupting Black Panther's MCU Catchphrase
By TIMOTHY ADAMS

Black Panther's catchphrase from the Marvel Cinematic Universe is being corrupted by a returning Marvel villain. Captain America: Symbol of Truth #1 features Sam Wilson's first solo series as Cap since he starred in 2015's Captain America: Sam Wilson. Sam and Steve Rogers are sharing the Captain America mantle, with Steve's Captain America: Sentinel of Liberty debuting in June. While Sam is on the hunt for a train transporting super-soldier serum, a villain with ties to Black Panther appears to be stepping up to be Symbol of Truth's main villain.

WARNING: Spoilers for Captain America: Symbol of Truth #1 are below. Continue at your own risk!

In an earlier flashback scene in Captain America: Symbol of Truth #1 from Tochi Onyebuchi, R.B. Silva, VC's Joe Caramagna, and Jesus Aburtov took readers to Harlem, where Sam Wilson and Misty Knight were having a diner date. Misty was a supporting character in Captain America: Sam Wilson, and a short-lived romance blossomed between the two characters. After debating who has the best fried chicken, they go on a walk to wear off some of the food they just ate. During their walk, they come across a gathering of "Wakanda Forever" protestors, who are calling out America for its treatment of Black people. Sam takes it as a sign that he isn't doing his job as Captain America. One of the members of the movement even has a "Wakanda Forever" sign with them.



Of course, "Wakanda Forever" is the chant that the late Chadwick Boseman made famous in 2018's Black Panther movie. The catchphrase became a rallying cry for fans around the world, who would greet the Black Panther actors with the saying during all of their promotional appearances for the Marvel film. Along with saying "Wakanda Forever," characters would put their arms across their chests in the form of an "X." Also, the sequel to 2018's Black Panther is titled Black Panther: Wakanda Forever. The "Wakanda Forever" movement appears on the surface to be harmless; however, the person who may be secretly manipulating events from the shadows makes their presence known near the end of Captain America: Symbol of Truth #1 when they free Crossbones from jail.

White Wolf, who readers saw in Captain America #0, has plans to free and recruit Crossbones to help him kill Captain America, and also overthrow some counties. White Wolf is the adopted brother of T'Challa, with King T'Chaka taking him in as a child when his parents died in a plane crash. Hunter would go on to lead Wakanda's secret police force, the Hatut Zeraze, before eventually adopting the codename of White Wolf.



It's very likely that White Wolf is behind the "Wakanda Forever" movement, helping to grow tensions between America and Wakanda. If the two countries are in conflict with each other, it makes White Wolf's job easier to overthrow each government. Of course, Captain America and Black Panther would be his two biggest obstacles in completing his evil plan, which is why Crossbones is being brought in to take care of Cap.

Do you think White Wolf is behind the "Wakanda Forever" movement in Captain America: Symbol of Truth? Let us know your thoughts in the comments!

https://comicbook.com/marvel/news/captain-america-white-wolf-black-panther-mcu-catchphrase/


Here they go with that Wakandan "blacks" vs American "blacks" nonsense. Even after the Black Panther solo film bought together Afrakans males and females, Afrakans from the continent and throughout diaspora together in appreciation of a Afrakan (so called black) male superhero, his family and Afrakan nation. They got Snap Wilson (a derogatory reference given to the former pimp turned America's second favorite son) speaking somewhat divisively about Wakanda.

The House of Ideas is truly no more.

To add further insult to injury Sam Cap borrows one of the Black Panther's original villains to be one of his antagonist. The White Wolf should be about to be revealed in Ridley's Black Panther comic book as the mastermind behind the attack on T'Challa and his network of spies not some guest villain in a Cap spinoff. If that weren't enough, they're using "Wakanda Forever" as a slogan out of context. Way to show T'Challa the Black Panther and the actor who portrayed him and made those words famous around the world their proper respect.





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This is the kind of research and strategic planning that should have been alluded to in Legends.

[/b][/size]
Marvel Anatomy: A Study of the Superhuman

Fans and enthusiasts of the Black Panther can only wait for the forthcoming renaissance that will put T'Challa the Black Panther in his proper context.




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Black Panther / Re: BP710: THE PROTOCOLS - REQUIEM IMMATURA...
« on: May 10, 2022, 06:44:19 pm »
Marvel Anatomy: A Scientific Study of the Superhuman should have had T'Challa the Black Panther and Shuri on the cover along with some Wakandan glyphs.



I appreciate it being said "in-depth commentary from the Black Panther and Shuri!" This clearly defines who is not the Black Panther.

This was good also - "How does the country of Wakanda remain unconquerable, and how does the most brilliant minds of King T'Challa aka Black Panther and Shuri improve the future for all Wakandans? Through meticulous documentation and research, of course." Here they even word it T'Challa aka Black Panther although Shuri gets the distinction of being called brilliant.

This work proceeds from a very logical premise concerning how T'Challa would stay 3 steps ahead of the rest of the world. I just commented on such a few days ago.

Quote
There have been no technical manuals written about T'Challa's scientific and technological achievements. Shuri got the Wakanda files, The Dora Milaje got a training manual, there is even a Wakandan cook book but nothing on or about T'Challa. I wonder why over all these decades, with all his accomplishments, there continues to be a consistent stratagem to focus everywhere but on T'Challa.
May 5, 2022 at 12:19

I hope this reads like a Black Panther who is a polymath with genius level tactical and strategic insight wrote it.




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Black Panther / Re: BP710: THE PROTOCOLS - REQUIEM IMMATURA...
« on: May 10, 2022, 06:16:53 pm »
See Super Heroes in a New Light by Dissecting Their Physiology with 'Marvel Anatomy: A Scientific Study of the Superhuman'
Discover the secrets behind the powers of Marvel’s greatest characters through stunning anatomical cutaway illustrations and in-depth commentary from the Black Panther and Shuri!
BY CHRISTINE DINH

How does the country of Wakanda remain unconquerable, and how does the most brilliant minds of King T'Challa aka Black Panther and Shuri improve the future for all Wakandans? Through meticulous documentation and research, of course.

This fall, further expand your mind on what you think you know of Marvel Super Heroes and Super Villains with Marvel Anatomy: A Scientific Study of the Superhuman, as collected by Black Panther and Shuri themselves.

Released by Insight Editions, Marvel Anatomy: A Scientific Study of the Superhuman, a deluxe book showcasing a visually stunning journey into the powers of the Marvel Universe's greatest characters, arrives everywhere books are sold on September 27, 2022. Pre-order the book now!



When Skrull forces use their shape-shifting powers to infiltrate Earth’s defenses, King T’Challa must delve into Wakanda’s scientific archives to determine which Super Heroes and Super Villains might be most at risk. With assistance from his brilliant sister, Shuri, the Black Panther explores the unique anatomical makeup of a vast range of super-powered individuals, unlocking the secrets behind their abilities.

Marvel Anatomy: A Scientific Study of the Superhuman features exquisitely-detailed anatomic cutaway illustrations created by concept artist Jonah Lobe (Skyrim, Fallout) and writing by Marc Sumerak (MARVEL Future Revolution) and Daniel Wallace (The Jedi Path), exploring the secrets of super-powered heroes, as well as mutants, extra-terrestrial lifeforms, and technically enhanced individuals.

This collection boasts 100+ unique illustrations — beautifully illustrated cross sections combined with fascinating insights capture each Super Hero’s and Super Villain’s unique set of powers — revealing the anatomy of 60+ fan-favorite Marvel characters, including Spider-Man, Hulk, Thanos, Mystique, Thing, Squirrel Girl, Venom, and Groot.

Thanks to our friends over at Insight Editions, we get a glimpse of what Marvel Anatomy: A Scientific Study of the Superhuman offers below!


https://www.marvel.com/articles/culture-lifestyle/dissecting-marvel-anatomy-scientific-study-of-superhuman


courtesy of Storm's #1 fan CBR's butterflykyss

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Black Panther / Re: BP710: THE PROTOCOLS - REQUIEM IMMATURA...
« on: May 07, 2022, 08:37:24 pm »
I've always thought the death of T'Chaka was unsophisticated. How he died in both comic and cinema showed a lack of understanding for who he was and should have been. Hudlin delivered the most logical and arguably the best rendition. Outside of him most writers chose to focus on T'Challa feeling inadequate with regards to his father instead of being inspired.

T'Chaka's murder would have been a true defining moment in T'Challa's young life. For example T'Chaka was killed in his Black Panther habit.





It would be satisfying to see how that motivated T'Challa to make the habit more conducive to combat and protection.









There have been no technical manuals written about T'Challa's scientific and technological achievements. Shuri got the Wakanda files, The Dora Milaje got a training manual, there is even a Wakandan cook book but nothing on or about T'Challa. I wonder why over all these decades, with all his accomplishments, there continues to be a consistent stratagem to focus everywhere but on T'Challa.






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To the surprise of very few who know us from HEF, I agree with you so completely, Brother Ture, that the murder of T'Chaka is actually the most central plot and main thread in my fanfic DAMISA SARKA KUELEZA: BLACK PANTHER EXPLANATIONS

It starts with this exchange between T'Challa and Killmonger, in front of the Kifalme Mashujaa ya Heshima [ KMH ]..."Royal Heroes/Warriors/Heroic Warriors of Honor" ]:

“Then you come about your blinding arrogance honestly, TChalla…likely the only honest thing you have done. For you inherited your cowardice and arrogance from your father, as Klaw slew him for failing to grasp the threat that Klaw himself represented!”

“Wrong again, Njadaka. Klaw didn’t murder my father.”

“WHAT!” Not only Njadaka but the entire KMH shouted in thunderstruck shock.


There is no way. Zero. That Klaue or any of those fools would have been able to murder T'Chaka. I absolutely do agree that Hudlin by far. FAR. Crafted the much more reasonable, sensible story regarding the murder of T'Chaka, and it's the acceptance of his version BP that has allowed me to have the "fictional credibility" to build upon his framework of Invincible Wakanda and rework the very notion that Klaw is even remotely capable of killing T'Chaka.


To add further insult to injury...


10
Black Panther / Re: BP710: THE PROTOCOLS - REQUIEM IMMATURA...
« on: May 05, 2022, 09:19:30 am »
I've always thought the death of T'Chaka was unsophisticated. How he died in both comic and cinema showed a lack of understanding for who he was and should have been. Hudlin delivered the most logical and arguably the best rendition. Outside of him most writers chose to focus on T'Challa feeling inadequate with regards to his father instead of being inspired.

T'Chaka's murder would have been a true defining moment in T'Challa's young life. For example T'Chaka was killed in his Black Panther habit.





It would be satisfying to see how that motivated T'Challa to make the habit more conducive to combat and protection.









There have been no technical manuals written about T'Challa's scientific and technological achievements. Shuri got the Wakanda files, The Dora Milaje got a training manual, there is even a Wakandan cook book but nothing on or about T'Challa. I wonder why over all these decades, with all his accomplishments, there continues to be a consistent stratagem to focus everywhere but on T'Challa.






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I don't think Shuris costume is the reason he beat FF. He didn't act surprised when he redirected Ben's punch like he did with Klaws' sound monster.

I think this showed his martial and strategic skills better than the original. In the original he had time to plan and prep to fight the FF. Here he had to do it on the fly.

I think he did show he was Reeds' peer, just not a science geek like he is.

In the original T'Challa defeated the FF, in Legends he didn't beat the FF as they were all standing while he was running toward them before Shuri's intervention. It was Shuri's costume's ability to absorb kinectic energy that used Grimm's strength against him and knocked down the Invisible Woman. By on panel evidence it was Shuri's suit that was fire proof thus allowing T'Challa to grab Johnny Storm.

On the fly?!? The FF had whatever you want to call that national security response by the short hairs from jump.



The original showed T'Challa the Black Panther's martial and strategic skills by having him dodging Reed's punch and out maneuvering the Human Torch. He went blow for blow with the Thing and was able to track Sue by her scent and was fast enough to to get inside her personal forcefield before she could seal it.

On the fly?!? T'Challa steamed up Reed by redirecting the Torch's flame throw. Repelling the Thing was a definite result of Shuri's new suit. The same holds true for his knocking down Sue. T'Challa's action with them was an entire page while the original dedicated several.

Taking the time to plan and prep for a fight are the defining traits of the Black Panther. This was evident from his very first introduction by Lee and Kirby, why be satisfied by its removal?

Reeds' peer?!? T'Challa read a paper on what Reed discovered and what Shuri was able to put to practical use.

12
The mini series could have been a classic if they only remembered to center on T'Challa and keep him grounded in his comic book history.

13
The first page was almost celebratory for T'Challa the Black Panther, the second was an attempt at narrative consistency by having T'Challa and Hunter discuss their differences. The third page... I was distracted by S'Yan's hair. Fourth page emphasizes T'Challa's naivete. From here on the historical rewrite begins.

Shuri can't stand on her own and Tochi Onyebuchi proves such by unnecessarily shoehorning into the Black Panther's epic origin. She designs a new BP costume. Shuri invites the Fantastic Four?!? She single handedly eliminated T'Challa's strategic and tactical prowess, not to mention martial and combative skills.

T'Challa takes down Ben and Sue only because he's wearing the new Shuri Stelfreeze habit. He tackles Johnny and redirects a flame blast at Reed. Wakanda was taken completely unaware and looked feeble.  T'Challa isn't shown as being Reed's scientific peer. Klaw's attack would have been closer to accurate but Onyebuchi had to force Okoye into the mix.

Okoye even saves T'Challa and he returns the favor courtesy of the new Shuri Stelfreeze habit. A habit composed of vibranium and Reed Richards' patent pending unstable molecules. It ends with where it began, with T'Challa running behind Hunter.

One of the few things Coates did that had some potential for use was giving Shuri a potential skill and power set that could be distinguished from those of T'Challa. The editors and writers need to focuson that and leave T'Challa the Black Panther's history alone.



Watch this to cleanse your palate.





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14
Black Panther / Re: BP710: THE PROTOCOLS - REQUIEM IMMATURA...
« on: May 03, 2022, 09:43:50 am »
T'Challa the Black Panther, like real life Afrakan people, has been the victim of revisionist history far too often. Marvel’s Protectors of Wakanda may be another example of such as it reveals the origins of the Black Panther’s Dora Milaje. Author Karama Horne’s history of the Dora Milaje is also a guide through Wakanda’s past which too could bee a historical detour.



The Black Panther has always had a rich historical and cultural context in which to work with. This gives space to add to the narrative as well as fill in gaps. The daunting task is that it must rest well within existing continuity and service the main character T'Challa. 



The page above weeps of a plight that Wakandan women should not have suffered. The same trite women are treated unfairly and the over indulged palatial intrigue speaks of a writer more engaged in her own body politics than those that should be present in Wakanda. The Dora Milaje were not an army until T'Challa made them so, particularly if we're talking in book continuity. See BP #7 2009.



Again this would be a great storyline to work with given T'Challa's feelings concerning the Dora Milaje and his love for Storm.

As far as the King of Wakanda was concerned there were only two Dora Milaje.


T'Challa had two Dora Milaje


Azzari the Wise had two.


Even S'Yan had a couple.


As did his MCU brother T'Chaka.

Coogler's Black Panther movie went in the right direction by borrowing from both Hudlin and Priest. The former gave the best depiction and is now their signature look.

Here is both symmetry and dichotomy as Hudlin's Dora Milaje fit the futuristic Afrakan nation that is Wakanda and Priest's Doras, as well as their king, are attired just for their urban mission.





The story of the Dora Milaje should have been fleshed out around its original premise. Two women chosen to be the potential wives of the king and thus made queen. Their fighting prowess martial skills should be as incidental as those of the king, particularly since they exist in a martial society. Two women to yield the most important component of royalty... lineage its posterity. When there is a queen there should be the Doro Milaje, the male compliment to the Dora Milaje. This would provide the queen with the best potential mate.



In an alternate universe, say the 710 universe, T'Challa the Black Panther is intimate and romantic with Storm, they are as close as a couple could be but he does not marry her.



This keeps the betrothal to the Dora Milaje valid.





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Black Panther / Re: BP710: THE PROTOCOLS - REQUIEM IMMATURA...
« on: May 03, 2022, 06:15:56 am »
What I find so underwhelming in some of these novels is the  preference to minimize T'Challa the Black Panther's powers and skills and thus those of Wakanda. In addition to that there is a penchant to contextualize the narrative in either a slave allegory or the struggle for equality. If the latter is so necessary and this being fiction, we should get the Black Panther fighting racist leaders; winning arguments against human trafficking before the UN; celebrating Afrakan excellence and being an inspiration to the Afrakan world. Wakanda should be depicted liberating nations; supporting uprisings, offering land and resources and be seen by the world as the most advanced nation on earth having eliminated disease, poverty and exploitation.

Before a comment about having to stay in the context of the real world is written lets preempt that with a fictional account of historical Black Panthers involvement with Afrakan people fighting and winning against imperialism and colonialism in Algeria, Ethiopia and Namibia. How about a Black Panther being involved in Tacky's rebellion in 1760s Jamaica, the Haitian Revolution in 1789, Fedon's 1790s revolution in Grenada, the 1816 Barbados slave revolt led by Bussa, and the major 1831 slave revolt in Jamaica led by Sam Sharpe.

There were 485 recorded uprising of Afrakans revolting on board slave ships. Some ships were taken over by these Afrakans. You mean to tell me we couldn't fit in a story of a Wakandan submarine sinking these ship and taking the captured Afrakans back to their native lands? A Wakandan couldn't have been involved in Gabriel Prosser revolt in Virginia in 1800; Denmark Vesey planned uprising in Charleston, South Carolina in 1822; how about Nat Turner's Rebellion in Southampton County, Virginia, in 1831.

Couldn't we have a conversation between T'Challa and Shuri in the Techno Jungle (the former invented) where we read T'Challa telling Shuri about the Quilombos and Maroon societies and how they could possibly train American Afrakans (so called black Americans) and Shuri saying “just like the ones in that American movie Baba used to watch.” and T'Challa replies yes, just like in The Spook Who Sat by the Door.

Don't let me take it to all those UFO sightings being Wakandan air and space crafts.

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