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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

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


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

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.

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.

Black Panther / FEAR OF A BLACK PANTHER - NEW Redjack Speaks!
« on: April 17, 2017, 07:14:19 pm »

As you are no doubt aware there has been an increase inactivity here at the HEF due to the migration of many of those who post at CBR's Black Panther thread. This process was spearheaded by our very own Ezyo. As you are one of the primary architects of the modern Black Panther era, heads would very much appreciate hearing from you.

Since you have made it clear that you are not at liberty to comment on the writers of the Black Panther who came after you, how about elaborating on any ideas you had with T'Challa and Doom post the ambush; the plans you may have had for the evolution of Shuri; your next story line post Deadliest of the Species; any more tales of Wakanda's past etc...

Let's have a meet and greet. Maybe a little Q&A. New and old posters are looking forward to hearing from you.

« on: October 14, 2016, 06:37:03 am »

See the First Page of World of Wakanda from Roxane Gay, Ta-Nehisi Coates & Alitha Martinez
By Cameron Wade  |  October 13, 2016  |  6:58pm
Image via Marvel / Art by Alitha Martinez

Bad Feminist writer Roxane Gay made news in comics over the summer when it was announced that she and Black Panther writer Ta-Nehisi Coates would be collaborating on a new Black Panther title called World of Wakanda, making Gay the first black woman to write for Marvel in the publisher’s entire history.

Now we’re getting our first look at the historic book. Gay posted a sneak peek from artist Alitha Martinez to her Twitter today, presumably giving us our first look at the stars of the book, Ayo and Aneka, lovers and former warriors for the Black Panther. Speaking of her decision to write the book, Gay said, “The opportunity to write black women and queer black women into the Marvel universe, there’s no saying no to that.”

The first issue of World of Wakanda is expected to hit shelves in November.


 Reconciliation of a Double Consciousness

W. E. B. Du Bois used the term Double-Consciousness to describe how American Afrakans look at themselves through the eyes of others particularly European Americans aka white people. He spoke of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. The American Afrakan ever feels their two-ness,—an American, a Afrakn; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

This specific malady did not infect the Wakandan. No unreconciled strivings, no warring ideals, just one dark body perfected by an insular autonomy. The Black Panther being the living embodiment of this perfection.

As the new age of the Black Panther officially starts the architects of the forthcoming iterations should be mindful of the narrative that so defines the Black Panther and his nation of Wakanda. This will require an ever fading attention on slavery, racism, civil rights, cultural oppression, poverty, homosexuality, police brutality and inter racial pairings.

This epoch if to be taken serious must center on the continental and diasporac expressions of self liberation, ethnic unification, sovereign rights, traditional and contemporary cultural expressions, natural resources and their true wealth, the family institution, community development and the unicity of Afrakan women and men. These are the hallmarks that will chart the maturity of the architect and define how well evolved their sensibilities have become. 

Thus I speak of the Reparations and Revolution for the Damisa-Sarki... Ta-Nehisi Coates' New Black Panther.


Looks like we will be getting a Black Panther movie!!!

The Marvel film world  is also about to get a lot more diverse. For the first time an African American hero will headline a film with Black Panther which hits theaters November 3, 2017.

Feige says there should be an announcement soon about who will direct Captain Marvel. There are firmer plans in place for Black Panther. Chadwick Boseman, who played Jackie Robinson in 42, will play the superhero and today he appeared onstage with Robert Downey Jr., who plays Iron Man, and Chris Evan, who plays Captain America. Feige said fans should definitely read into that and understand that Black Panther will be a big part of the upcoming third Captain America film which will be called Civil War. He may also appear in the upcoming Avengers 2 which hits theaters May 2015. Feige said that fans should look for “Easter egg” in the Age of Ultron trailer.

Here’s what to look out for in phase 3.

Captain America 3: Civil War – May 2016

Dr. Strange – November 2016

Guardians of the Galaxy 2 – May 5 2017

Thor: Ragnarok – July 2017

Black Panther – November 2017

The Avengers 3: Infinity War – May 2018

Captain Marvel – July  2018

Inhumans – November 2018

The Avengers 3: Infinity War Part 2 - May 2019

Black Panther / BP710: THE PROTOCOLS
« on: April 28, 2013, 07:58:23 pm »

Hickman's Black Panther as depicted in Fantastic Four #s 607 & 608 and New Avengers # 1-5  was a much needed redirecting of the Black Panther from the path of impotency and irreverence due to the  irrelevancies occurring in Defenders #7 and the debacle that was Avengers vs X-Men. Hickman posits a formidable Black Panther.

While Tchalla has been given a new title, a new power, a new base of operations and some new equipment, I don't see Hickman's Black Panther as new as much as I see the incorporation and expansion on some of Black Panther's existing themes and that is a good thing if they remain cannon and are unchanging in achievement or effect over a period of time.

Appointing Tchalla the King of the Dead (I assume only the Wakandan dead) is a dubious attempt at replacing his title as King of Wakanda. It  is not a failed effort and Hickman certainly has time to flesh it out...but the throne of Wakanda was something unique to Tchalla.

Crowning the Black Panther King of the Dead may be exciting but it supplants an essential and iconic element of the Black Panther; that being his inheritance of the throne, thus the political responsibilities and global ramifications of possessing such. It is akin to taking Superman's ability to fly and replacing it with teleportation.

Endowing him with the ability to access the accumulative knowledge of his ancestors is something Tchalla should have been able to do all along. Ancestral communication is an Afrakan trademark. Priest first demonstrated Tchalla's inseparable bond and ability to commune with his ancestors in issue six of his run.

I'm not sure if Hickman was demonstrating Tchalla as having hyper speed (something I imagined akin to Marvel's Ultimate Alliance 2 Black Panther) or not, but it looked good.

I hope Hickman can stabilize the Black Panther's place of residence, business, headquarters and secret base. Tchalla has been moving around a lot over the past few years. the Caves of Bast, the Nowhere Room, Hell's Kitchen and now the Necropolis at Wakanda. I thought the Royal Palace and the Techno Jungle were more than adequate if exploited to their full potential.

The force shield and teleportation device are both welcomed and logical additions to one who is a prep master. The cloaked phasing effect was long over due. I used to hate how the Hatut Zeraze were shown phasing but not the Black Panther. I  appreciate Hickman's inclusion of the morphing costume, energy dagger and vibranium as well.

Consistency has often been one of Tchalla's greatest opponents. During Hudlin's run Tchalla confronted Doom on two occasions. Once with an armor and once without. Nuff said. One time uses or editorial lapses delete Tchalla's credibility and lend themselves to the deus ex machina effect.

If Hickman wishes to avoid the faux pas of some of his predecessors he better up Tchalla's battle strategies. Having the Black Panther jump on the back of the cosmic powered Terrax only to be swatted off like a minor annoyance does not bode well. It would have been better played if Tchalla suggested everyone fall back (without the short lived obligatory fisticuffs) and let Black bolt do his thing.

In the future Hickman should demonstrate the Black Panther's genius in solo efforts comparable to or surpassing the other members of the Illuminati  Personally I think Stark's Dyson Sphere was more impressive than the reverse engineered bomb it took both Reed and Tchalla to construct. Subjective I know, however Starks presentation outclassed them both.

And I shall attempt to refrain from discussing the fact that the Illuminati has been and is primarily comprised of white men. I guess no women of any race qualified for an invitation. Tchalla should have had Shuri represent him, thus killing two “minority” birds with one stone.

If Tchalla has any problem with Black Swan it should be that she gave the order that resulted in the death of 3 Wakandan children... unnecessarily I might add. If you want the Black Panther to appear bad ass his force shield should have protected the “Makers.” Not to mention the fact that Hickman could have written it so that Tchalla could have successfully teleported the children to the safety of the city. Since he didn't do either, he would definitely hold her accountable. Last and probably least, how does Black Swan get away with sitting in the Black Panther's Bast throne seat?...  ??? and without so much as a curt glance from the King. She doesn't hold membership.

It is most important that Tchalla follow through on his threat to Namor. If he does not kill him, which is more than likely the case, the Black Panther should brutally demonstrate the severity of his threat by decisively beating Namor within an inch of his life. Remember the Red Skull's broken jaw. Remember the Skrulls who attempted to infiltrate and colonize Wakanda. If  Hickman really wants to show off the Black Panther: next issue show Tchalla humiliating Doom in some significant way. For example by having Victor burn in his armor via the nanites Tchalla infested Doom's castle with when the New Avengers were there. Revenge is a dish best served hot.

Hickman's success in writing the Black Panther lies in his subtly introducing what I term the Panther Effect. Originally introduced by Kirby, deftly mastered by Priest and often dismissed by too many writers; the  Panther Effect is demonstrating the intelligence, powers, resources, prowess and attitude of Tchalla the Black Panther in a consistent, organic manner that would logically manifest in a given situation

Hickman like Priest, Hudlin and all his predecessors should be given the necessary time for character development and engaging story telling. So far he has written an entertaining tale that has both super-heroics and depth. Hickman has sown strong seeds for an emblematic rendering of the Black Panther, true to his potential... again only time will tell.

Black Panther / Black Panther in FF #607- Superb Showing!!!
« on: June 13, 2012, 06:07:05 pm »
In a single issue Hickman has done more to establish the Black Panther post the events of Doomwar than Klaws of the Panther, Man Without Fear/Most Dangerous Man Alive and any other appearance of the Black Panther to date. David Liss gets a pass because he told a quality laden tale that was out of sync with what needed to be told, but Hickman knocked it out of the park first time at bat. Inside and out the art work was spot on. Just look at the cover.

Hickman's exposition of Wakanda and its people was contextually rich with the necessary cultural nuances that gave both breadth and scope to the character and his homeland. With just a few lines he gave Tchalla back his manhood. Hickman demonstrated with casual ease how Storm and her husband can interact with out jobbing one to the other. The FF were seamlessly interwoven (albeit their comic book) into a story that appears, so far, to warrant the attention and powers of all heroes concerned.

Since I neglected to include spoilers I will wait to see what responses are forth coming. I think Black Panther fans will be very satisfied with this issue.

David Liss first Black Panther story Urban Jungle was  a comparatively entertaining tale. As a novice comic book writer he is proficient enough to deliver a near audible maturity sans the superfluous levity sometimes found in Black Panther stories. Urban Jungle almost belies a superhero comic in favor of a crime novella.

The interior art of Francesco Francavilla gives consummation to Liss’ authorship, encapsulating a picturesque urban noir. Guest artist Jefte Palo and Jean Francois Beaulieu were able to capture those same sensibilities while maintaining their own unique signature.  An artistically seamless juxtaposition. The cover art by Simone Bianchi and Simone Peruzzi is simply beautiful. They are gorgeous renderings of art.

Liss writes a specious Black Panther. Tchalla's intellectual acumen and creative genius is more on par with Peter Parker than Reed Richards or Tony Stark. His physical prowess and combative skills are rudimentary. The Black Panther’s strategic and tactical abilities appear to have gone from three steps ahead of  his opponent to a base stimulus and response. These would not be serious flaws for a superhero new to the scene but for a seasoned veteran they can border on insulting. Liss’ Black Panther is supposedly the latter.

Some of the thoughts and words Liss has the Black Panther express are obvious attempts by the author to be factual. However Liss comes off more pedantic than accurate. Having Tchalla state, for example, that it is more difficult to protect a neighborhood (Hell’s Kitchen) than a nation (Wakanda) was glaringly inappropriate.   

The two factors that worked in Liss’ favor have lost momentum; those being Tchalla’s less than stellar performance during Doomwar and the suspension of belief that this is not a year one for the Black Panther.

Liss proceeds from a false assumption founded in a grossly erroneous premise while trying to entice with a sobriquet that has yet to be demonstrated. He assumes the Black Panther is on a journey of self discovery necessitated by the removal of his powers, nation and wife. The epithet that the Black Panther is “the world’s most dangerous man” has yet to be convincing conveyed.

The Black Panther is stripped of the essential traits that so defined his character. His ethos has been removed for no good reason other than the penchant to make ethnicity and cultural distinctions appear obsolete. This heresy is analogous to a pope turning his back on the papacy, Catholicism, Rome and his people to become policeman in the Germantown section of Philadelphia and be respected for doing such.

If this is to be a new start for Tchalla then his learning curve and feats have to improve drastically. His natal connections to Wakanda, the Panther spirit and to his wife Ororo have to be reestablished. David Liss has written a potentially more compelling Black Panther than his predecessor Jonathan Maberry but is far from the contextually rich, definitive Black Panther written by Christopher Priest or the culturally relevant Black Panther written by Reginald Hudlin. The path of success for David Liss lies in his truly comprehending of who is the Black Panther. Thus far David Liss’ Black Panther: Man Without Fear is a tolerable comic book with a faux superhero.


The Arts and Aesthetics Collective has devoted an entire issue of Aesthetics 6250 A.U. to the art of the Black Panther.  Accompanying the art are essays discussing David Liss' Black Panther: Man Without Fear, Wakanda's historical significance, the temporal incongruity of the Black Panther and a little something about one of our favorite erstwhile writers of BP Mr. Hudlin. - Ture

Aesthetics 6250 A.U. is an art and fashion online magazine that promotes established and emerging artist and designers. Ture has been trying to get an issue dedicated to the Black Panther for quite a while. After viewing the artwork he had gathered we agreed that the Black Panther warranted the spotlight. There is truly some beautiful artwork out there about BP and we could never cover every creative depiction, so we do hope you appreciate this compilation. Let us know what you think. - Sekayi  

Here is the link, hope everyone enjoys.

Black Panther / The Passing of a Legend... Mr. Dwayne McDuffie
« on: February 22, 2011, 08:02:45 pm »
I was shocked to learn of the passing of one of comicdoms greatest sons. Dwayne McDuffie's talent and work will live on as the spirit of this creative genius manifests for generations to come. My sympathies to his family,friends and all those touched by his artistic endeavors.

Here is a link from CBR.

This was like watching a trailer in the movies. Excellent editing. This should definitely be made into alive action film. I hope Reg has a few autograph copies left. Here is the link. Panther fans rejoice.

Black Panther / The Illegitimacy of Black Panther
« on: September 21, 2010, 11:58:57 pm »
I have spent the last month or so pouring over the comments and reactions to Age of Heroes and the soon to be released Klaws of the Panther and the recently announced Black Panther: Man Without Fear. There really isn't much more to say that hasn't already been expertly articulated by Sinjection1 and Salustrade (He Who Holds Court at CBR. I see you post on Robot 6 as well. You are truly ubiquitous.) and many others of the H.E.F. I find myself having to agree with Umbra over at CBR on the one point that Marvel is pushing the Black Panther. That push however maybe in some ways a disservice to essential nature and core values of the Black Panther. It is as if all that made the Black Panther significant and unique in the Marvel Universe is being made illegitimate.

Marvel appears to have a penchant for courting celebrity writers when it comes to Black Panther. This in itself is not a bad thing but I think the weakness lies in Marvel allowing to much creative license which is leading to incorrect interpretations of the Black Panther.

Before the advent of celebrity writers Priest wrote arguably the best Black Panther. The definitive Black Panther. Priest adhered to a foundational continuity and correctly interpreted  many of the nuances needed to make the Black Panther relevant. This provided an ideal template upon which all others should have built upon. Priest was innovative, properly gauging the Black Panther's power scale, personal armament, personality and interaction with others especially those of the superhero community. His Wakanda had its politics, technology and culture fleshed out. He made the Panther's villains respectable and had the Panther interact with a diverse array of characters.These interactions lacked the feel of plot devices or sales gimmicks. Though he tried to squeeze in white characters where they didn't need to be (an error many white writers do with black characters) he did it masterfully. Priest's creative input added to much to Black Panther lore.

Reg the first of the three celebrity writers (and the only one thus far who has demonstrated any true love for BP) gave us two different reinterpretations of the Black Panther. The first was an original theatrical (movie) version. As evidenced by his first story arc Who is the Black Panther? which read like a screenplay, it is clear that Reg writes to his strengths. To see the validity of this point just view Black Panther The Animated Series as a stand alone feature. It works better as an animated feature than it does in comic book form. It was well done. I believe the comic book version would have received fewer criticisms if Reg could have fleshed it out as he did the cartoon. The second reinterpretations of the Black Panther Reg gave was a hybrid of the theatrical and the Priest version. Here we view a Black Panther that has a stability that make him feel comfortable in his own skin. There is a support structure that only a wife and family could provide. Again I believe Reg plays to his strengths. The cultural components Reg brought to the game (much to the chagrin of some Caucasians comic book readers) reminded many Afrakan people what they should look for in a comic book. I know some believe we live in a post racial era but the reality is that we should never have to apologize for being Afrakan or seek another group's or people's permission to act as such. Proud of his culture and its people, Reg single handedly gave the Black Panther greater exposure during his tenure than any other writer. He sold more comics, produced the first animated BP cartoon and pulled of the marriage of the century. Reg wrote the Black Panther as a fan would.

Post the exemplary contributions of the above (and honorable mention to Jason Aaron and Dwayne McDuffie) The Illegitimacy of Black Panther begins with Jonathan Maberry. He begins by deconstructing Tchalla the Black Panther. Some decry it was Reg who started Tchalla's downward spiral. Reg is responsible for Tchalla getting severely injured (perhaps the worst injury in Black Panther history) and for him being replaced by Shuri as the Black Panther. Neither of which were deconstructive as the former was poor execution and the latter was an incomplete plot devices. It is Maberry's Power, Doomwar, Honor and the soon to be released Klaws of the Panther that have and will deconstruct the Black Panther to the point of illegitimacy. Jonathan Maberry has and continues to go beyond deconstructing the Black Panther as evident in the travesty that was Doomwar, he intends to make illegitimate anything viable to the myth, legacy and culture of the Black Panther. I cite the following examples: Wakanda supposed conquering even though no one but Wakandans stayed in power. Tchalla not conferring with Ororo and her capture and imprisonment  making Tchalla appear callous and incapable of protecting his wife who by the way doesn't need protecting. Curious to note the deconstruction of Storm in the mythos of Black Panther starts in Worlds Apart and then in Maberry's Power arc. Syan's (a former Black Panther) feebleness and eventual murder by assailants he should be able to defeat blindfolded. The Panther God handing over the vibranium because this god shares Doom's vision of the future. Shuri bombing Wakanda back to the stone age for lack of a better idea, say for example Tchalla creating nanites to counter Doom's. Tchalla indirectly seeking help while looking pathetic and vulnerable. After all the insults and atrocities committed by Doom Tchalla humbly asking Doom to surrender followed by that weak ass speech of lessons learned. All this and no retribution was permitted. Why? Because Maberry views the Black Panther void of possessing the essential rectitude to chastise and punish Doom.  Maberry has decreed the Black Panther illegitimate.

Jonathan Maberry has proven himself unqualified to write anything concerning King Tchalla the Black Panther, Queen Ororo aka Storm, or the nation of Wakanda. Being ever consistent he now proves in exemplary fashion that he is not qualified to write Princess Shuri the Black Panther. Maberry has her ass out in a pool with Caucasians followed by a trite slugfest of Honor. He intends to go full throttle making Shuri the Lindsay Lohan of Wakanda, full of rage issues and resentment towards Storm.The disqualifying factors I refer to are the following: 1) ignorant of the motivations of the characters resulting in a lack of vision and a loss of perspective and 2) poorly researched and thus failing to comprehend the vast power and resources available to the Black Panther. Hopefully Maberry will conclude his assult with his fourth and hopefully final writing.

The  Illegitimacy of Black Panther will apparently continue with David Liss' Black Panther The Man Without Fear. Since I've yet to read a page of this new series I will comment on the authors own words.

"The other aspect of "Black Panther: The Man Without Fear" that Liss finds intriguing is the chance to drop T'Challa, the former king of the fictional African nation known as Wakanda, into the middle of the crime ridden wasteland that the Kitchen has become post "Shadowland." "We're taking somebody who has always been royalty - his father was a king and he's been a powered superhero and a monarch for a large portion of his life. We're stripping all of that away from him. He has no powers. He has no Wakandan tech. This series is about somebody trying to figure out what he's made of and who he is. He's coming to this environment, which is so dangerous and troubled, to test himself," Liss explained.
T'Challa has abandoned more than just the Black Panther identity - he's also discarded all of the high tech weaponry and gadgets that have come to be associated with it. In "Black Panther: The Man Without Fear," his main armaments will be his cunning, intellect and wealth of combat skills. "We decided going into this that he was not going to be able to use anything that he can't build or buy himself," Liss remarked. "He doesn't have access to his wealth either, as he's walked away from everything in his former life."

But he hasn't just left behind the ceremonial, technological, and income aspects of his former life: T'Challa has also stepped away from his friends and familial ties as well. "The Black Panther is one of the most well connected people in the Marvel Universe, but for this series he's decided he needs to tackle the dangers of Hell's Kitchen by himself. T'Challa is there to test himself, and that quest becomes meaningless if he calls on the Avengers or the Fantastic Four every time he faces a new challenge," Liss said

The previous three paragraphs clearly illustrate the ongoing process to make Tchalla the Black Panther illegitimate. Look at the language Liss used. I took the liberty to bolden some of it. After Reg there has been a constant destabilization of the Black Panther. Taking the Black Panther out of Wakanda is akin to taking Spider-man out of New York. There are plenty of cities in Afraka where Tchalla could have adventures. Look at the Unknown Soldier. Why not drop Tchalla off on Planet Hulk for a real test. Doom can conquer a planet in a week, Tchalla should be able to clean up Hell's Kitchen in an hour. What challenge could there possibly be for even a stripped down Black Panther in Hell's Kitchen?

Tchalla not being the Black Panther is analogous to Kit Walker not being the Phantom. Being Black Panther should be a sacred responsibility never forsaken by anything short of death. Removing Tchalla's high tech is analogous to removing Doom's high tech. Technology based on their respective genius is intrinsic and organic to both characters. It is in their very origin. Tchalla and Ororo if given story and panel time could be comparable to Reed and Sue, instead post Reg they spent most of their time apart.

The Black Panther should never be required to forfeit  his wife, nation, family, technology, or vast resources. The writer carries the responsibility to not have the Black Panther  disavow his connectedness to history, culture or racial politics. This umbilical between reality and fantasy is the core strand in the lattice that not only makes the Black Panther unique but pertinent to its readership.

Is there a developing penchant for making Caucasian (White) characters Afrakan (Black)?

Just to name a few, Eddie Murphy had two franchises with The Nutty Professor and Dr. Doolittle. Denzel Washington did it as The Manchurian Candidate and Will Smith did it with the commercially unsuccessful Wild Wild West. Keeping the trend alive in the Smith family is son Jaden, with his new release The Karate Kid. This of course is not a new occurrence. There was Blackula and The Wiz in the '70s and some others that preceded them.

In the superhero genre Daredevil has Michael Clarke Duncan playing the Kingpin. Samuel L. Jackson plays Nick Fury in Ironman (although he is first converted in the Ultimates comic book) and most recently Idris Elba has been cast to play Heimdall in the upcoming Thor movie.

In comics  such conversions have occurred with Firestorm and the Spectre. Rumor has it that a new Aqualad will be converted. I acknowledge certain adaptations are organic like those of Green Lantern John Stewart or War Machine James Rhodes.

In a strange twist Black Panther has felt the inverse of this phenomenon. The waters were tested in Ultimates 3 and prior to that with Kasper Cole during Priest's run. I am also aware that white characters are being changed to other ethnicities and genders as evident with the Atom and Doctor Light but my intent is stated in the title of this post.

Has this age of heroes  become so destitute that it is now necessary to commandeer  existing identities rather than create new ones. Has ethnicity and cultural integrity been replaced with a generic composite of Caucasian cultures to be accepted as universal?

This all started from a discussion I was having with some associates of mine. The point was being made that an ”Afrakan American” should be cast as the new Spider-Man. Their reasoning being centered around the concept that unlike most “Black” superheroes, Spider-Man was not defined by “race.”

Before I countered, I stated I was never a fan of the “black” substituting for a “white” in regards to superheroes. Spider-man is a white male. Superman is a white male. They were created that way with intent of purpose. There is a reason why Milestone created Static and Icon.

My counter went something like this. 
I am of the opinion that those who do the transposing of Caucasian (White) characters into Afrakan (Black) characters are inflicted with a disease I term the Wiz Complex. Though symptoms vary the disorder is consistent.

The term is derived from the fact that a white man named L. Frank Baum created a fantasy about a white girl named Dorothy and her magical trip to a wonderful place. There she befriended a scarecrow without a brain, a tin man lacking a heart and a lion in need of some courage. She encountered a wicked witch, Munchkins and flying monkeys. She also met a fake wizard who was not only able to show the scarecrow, tin man and  lion that they already possessed what they thought they lacked, he was able to take Dorothy home.

Decades later a remake was made. Here is where the complex takes affect. The remake was colorized. Dorothy was re-imaged as an Afrakan, the scarecrow was made of garbage, the tin man was carnival hustler made of a hodgepodge of cans and the cowardly lion was not only mangy but effeminate in high heels. All possessing the same flaws as the originals. The wicked witch was obese and perched on a throne that resembled a toilet. The Munchkins were graffiti. The flying monkey smelled horribly and were made to look like some throw back caricature. The Wiz (slang for wizard) was incapable of offering any insight to Dorothy's companions and powerless to take Dorothy home.

The Wiz Complex takes a Caucasian (white) person's fantasy and remakes it with stereotypes and caricatures of Afrakan (black) people. For those who suffer from this malady I suggest researching, reintroducing and creating fantasies from an Afrakan perspective. Instead of doing a “black” interpretation of the Wizard of Oz do a story about Anazi. One does not need to argue the legitimacy of making Spider-Man an Afrakan if one focuses on the Black Panther.

So why all the fuss about making White heroes Black. Maybe some commentary from Emperorjones will help to enlighten us.

<<The feeling I get from some of the sighing about black history is that black people should just forget about it. Some white people might say or think that blacks should be happy they are here. Because our pain isn't as worthy as others, our experiences are valued less, as have been our lives.>>
                                                                                                         (Bold and red print mine)

Our conversation went on for a couple of hours. It was inconclusive with 3 of the 5 holding on to the point that Superman or Spider-man could be done with an Afrakan, Hispanic, Indian or Asian. One of them even remarked “Of course they can they're fictional.” His compatriot stated that race is an outdated concept. He said we are going to wind up living in a world that is like Star Trek. Tiring of the conversation I decided to ignore the obvious and bowed out gracefully. Upon arriving home I remembered another post by Emperorjones.

<<What I noticed about some responses to Sisko was that him being proud to be black was considered racist, and him being cognizant of his racial heritage as being unnecessary, something to get over,>>

                                                                                                                         (Bold print mine)

Black Panther / Marvel Ultimate Alliance 2 Black Panther DLC
« on: June 02, 2010, 07:24:12 am »
I was wondering if anyone has the Black Panther DLC for Marvel Ultimate Alliance 2, if so can you tell me how to get it. I know it was a limited time offer and is no longer available at the Xbox360 store.

Flags of our Fathers is an apt epithet for a tale that encompasses two iconic characters generations old. The challenge to writing a story such as this lies in the accurate contextualization of fictional characters in factual historical continuity. This is a facile task for Reg. His penchant for such is obvious through out his tenure as writer of BP. Particular stories that illustrate this are Bride of the Panther pt. 1 in which Reg deftly incorporates Malcolm X into Storm's backstory. Gangsta Lean infuses the Black Panther Party, Martin Luther King Jr. and Malcolm X in a sci-fi yarn about freedom and oppression. A perennial favorite was Black to the Future which depicted Wakanda's reaction to the captivity of other Afrakans during the European/American slave trade. Reg did not shy away from contemporary events as evident in the timely Black Steel in the Hour of Chaos in which T'challa and Luke Cage deal with the Katrina tragedy.  

Flags of our Fathers continues this trend. World War 2 is the historical canvas upon which Reg illustrates segregation in the armed services, overt racism and some of the attitudes and opinions held about Afraka. Not one to hedge his bet, Reg includes Jesse Owens' victory at the Berlin Olympics and allusions to Ralph Ellison's Invisible Man (or arguably Sam Greenlee's The Spook Who Sat by the Door).Though handled in a palpable manner Reg is mindful not to gloss over or ignore the inequities of the time.

Flags of our Fathers is a good read. The kind of comicbook I enjoyed reading on Saturday afternoons or after school. The classic premise of the two heroes battling it out before teaming up to defeat the villain. Reg chose not to show the conclusion of the skirmish between Black Panther and Captain America, thus avoiding an inevitable detraction that was sure to follow. He did rather cleverly acknowledge that the Black Panther had indeed won the fight with a nod to those who were fortunate enough to have seen the animated series."Well, you have to respect a guy with a kick like that. My Head is still ringing." - Captain America.

Flags of our Fathers is an important read as it informs young readers about a period perhaps too distant for them to have any sentimental connection with. I found a sense of satiety in the vaunted autonomy displayed by the Wakandans. Multifaceted, unifocal and badass. A nation of unconquered Afrakans fighting to maintain their sovereignty. This is the milieu young readers will find themselves immersed. An environ too often not readily available in history texts, modern fiction, movies or television. This is what true art provides.

Denys Cowan's images give mood and density to Reggie's concise dialogue. He delivers intense portraits of a bellicose Black Panther. Klaus Janson who has been inking Black Panther tales as far back as Panther's Rage, engages in a synergistic relationship with Cowan resulting in pungent graphics.  

Memorable scenes permeate the story. The destruction of the Panzer tanks by that…device (a cool name would be nice). Azzuri in the battlefield with his bloodied battle axes. The machine gun toting Dora Milajes. The spear hurling Panther.  The characterizations are distinct . Steve the young and charming soldier with a hint of naiveté being schooled by the wise and esteemed warrior statesman that is Azzuri. The plotting, evil, imperialist  Red Skull accompanied by the churlish, diseased, racist  Baron Strucker.

I have heard nothing but good things in regards to this comicbook. The second issue as well as the first was comic of the week at my LCS. The book is selling very well at my LCS. The comic boards' reviews are positive and I'm back to buying multiple issues again.

In this time where "mistakes" are being corrected, I am glad you stayed true to the integrity of the Black Panther. I am glad too that the Flags of our Fathers yet wave in this time of war and doom.

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