Black Panther: Then and Now

A visual analysis of sexism and racism in Black Panther, looking at closure and color as visual narrative tools.

[cmeyer01-blog]

An Introduction

The world was introduced to Marvel’s first black superhero, Black Panther, 53 years ago when he graced the pages of The Fantastic Four in July of 1966. Marvel’s newest hero was then finally given his first stand-alone issue six years later. There were many things that set this newcomer aside from the litany of other superheroes, starting with the fact that he was an African prince-turned-king who ruled the technologically advanced (fictional) nation known as Wakanda. However, the differences between Stan Lee Presents: The Black Panther: Panther’s Rage and Black Panther: A Nation Under Our Feet shows a shift in priorities between the breaking of certain stereotypes. The use of color in Black Panther and Black Panther: A Nation Under Our Feet helps illustrate Stan Lee and Jack Kirby’s desire to create an environment that paves the way for new, diverse heroes. However, unbeknownst to many people, the writers are now attempting to destroy more than just racial stereotypes, as evident in Black Panther: A Nation Under Our Feet.

Of course, T’Challa shatters many stereotypes held against black and African people during the 70’s. In her article, “A Cross Burning Darkly, Blackening the Night”: Reading Racialized Spectacles of Conflict and Bondage in Marvel’s Early Black Panther Comics, Anna Peppard put it best, writing, “Black Panther and the technological utopia of Wakanda provide distinct opportunities for imagining (and reimagining) black heroism,” (Peppard, 63).

[cmeyer01-blog]

Wakanda is a fantastic setting for Marvel to refute the many stereotypes regarding black people because of how technologically advanced it is. Due to its technological advances, T’Challa (the Black Panther) the now-king of Wakanda, must be seen as intelligent due to his ability to rule such an advanced civilization. The world of Wakanda becomes even more impressive as it is expanded on even more in Black Panther: A Nation Under Our Feet, with the reader being able to witness the futuristic technology the Wakandans have created by discovering the secrets of vibranium, allowing them to create technology more advanced than all other nations in the Marvel universe. One of the easiest examples of this technology is a touch-screen holographs as seen in Black Panther: A Nation Under Our Feet, but their technology goes far beyond holographs (12). It seems as though the white border around the hologram draws the reader’s eye to it, showing one of the many effective uses of color in the issue. Although, it is important to note that even in Black Panther: Panther’s Rage, it is briefly mentioned that “[T’Challa was] a wise and just leader in [his] early days — when first [he and the government] decided how to use [Wakanda’s] natural resources of vibranium.” Therefore, it is safe to assume that the intention behind Wakanda’s advancement is to portray its citizens, and ruler, as intelligent, even though they may not have been considered that way had they been subjected to society’s stereotypes. 

[cmeyer01-blog]

Another way Marvel uses the Black Panther to shatter stereotypes against black men is to show how dedicated T'Challa is to protecting and providing for Wakanda. In this is evident in Stan Lee Presents: The Black Panther: Panther’s Rage when T’Challa is deeply heartbroken after a Wakandan citizen is tortured and killed (3-4). Dan McGregor writes,

“As the panther steps out of the lush foliage into the sun-burnt dust surrounding the wood and straw huts, another disturbing thought claims him: He has been away too long. The knowledge of this and of the destroyed humanity he holds in his arms is reflected in his walk. A somber wake forms this silent procession, all mute with one emotion: mourning.”

This is a pivotal moment in characterizing T’Challa. Not only is he physically strong, but he has a strong morality behind him that causes him to want to protect and provide for his country, which debunks the stereotype of black men often abandoning their families or being unable to provide for them. T’Challa feels he has lost part of himself by being away from Wakanda for so long. This feeling of abandoning his country, and failing the citizens of Wakanda, fills him with a sense of deep sense mourning, so much so that it is evident in the way that he walks through the town, carrying the body of the dead citizen. The audience is clearly meant to feel just as broken as T’Challa, evident by the use of color on his face, hidden by his mask. The use of darkness over his face can mean that he feels lost from being away for so long, or even that he’s crestfallen after the death of a Wakandan. Either way, as a result of good writing and color as a visual narrative device, this entire sorrowful moment displays T’Challa as a noble, moral provider, unlike how black people were categorized in the world outside of comic books.

[cmeyer01-blog]

Re-writing History: The Story of Wakanda and How It Relates to Racism as Told By Nama

One of the most powerful ways T’Challa’s character is used to shatter stereotypes lies in the history of Wakanda. In his book, Super Black: American Pop Culture and Black Superheroes, Adilifu Nama makes the case that “the Black Panther’s original tale—fending off the invasion of an African nation by white mercenaries—clearly signals a student critique of African colonial and postcolonial politics,” (43). As a result, he writes,

“Consequently, the Black Panther not only symbolized a politically proactive and wildly imaginative convergence of African tradition with advanced technology, but he also stood as a progressive racial symbol and anti-colonialist critique of the economic exploitation of Africa,” (Nama, 43). 

This story of Wakanda is integral in understanding the way that Black Panther tackles the social justice issue that is racism. Black Panther making a stance against the expansion into Africa rewrites history in a way that shows Africans in a new light. The singular narrative of Africans being savages, as pushed forth by the invaders of Africa (more simply: not Africans) was heavily believed by much of the world. Therefore, due to their skin color, many black people were seen as uncivilized, subhuman creatures who did not deserve the same rights as white people. However, with this part of history being rewritten in the Marvel universe, Wakandas violently push back against that stereotype, displaying many strong African warriors with T’Challa chief among them. As a result, T’Challa, and the rest of Wakanda, shatters the once-held belief that black people are inherently different than white people, so much so that they cannot be governed by the same laws that affect white people.

[cmeyer01-blog]

While Black Panther effectively pushed back against many of the stereotypes that were affecting black people, Black Panther’s focus did change over the course of time. This becomes evident in Black Panther: A Nation Under Our Feet. To understand this shift, there needs to be a firm understanding of the origin story of Black Panther as a stand-alone comic. In Stan Lee Presents: The Black Panther: Panther’s Rage, T’Challa’s love interest, Monica Lynne, is categorized as a “minor grade Aretha Franklin” (5). Not only is this incredibly demeaning, but since it is the only descriptor of her in the entire issue, it does not show her as a valuable or smart character. In fact, the only time Monica is paid any attention is when she is speaking to T’Challa. She is seen as an outsider, especially because no one else speaks directly to her (5). When T’Challa seeks comfort in Monica after the death of the Wakandan citizen (6), he needs her for comfort places her in almost a “motherly” role, insulating she has no true value apart from when T’Challa needs emotional support. 

In her article, “Mammy, Sapphire, and Jezebel: Historical Images of Black Women and Their Implications for Psychotherapy,” Carolyn West writes, “throughout history, culture, and media, Black women have most often been portrayed in some combination of three images: (1) as highly maternal, family oriented, and self-sacrificing Mammies; (2) as threatening and argumentative Sapphires; and (3) as seductive, sexually irresponsible, promiscuous Jezebels,” (459). It is clear that in Black Panther: Panther’s Rage, Monica is portrayed as what West would call a Jezebel, due to the way Monica’s role is to comfort T’Challa as he grieves the loss of the Wakandan citizen. 

The only other time Monica is paid any other sort of attention outside of a motherly role is in the next issue, Jungle Action: Featuring the Black Panther, when she disrobes to bathe in a lake, which T’Challa ultimately falls in to (3). This scene centering on her disrobing supports the assumption that her value is determined only by her beauty. In contrast to the goal of 1973’s Black Panther, 2016’s Black Panther: A Nation Under Our Feet, creators Stan Lee and Jack Kirby do not only seek to destroy the stereotypes facing black men, but also attempt to uplift women in their comic by showcasing many powerful women. This is really when color comes in to play. Within the first few pages of Black Panther: A Nation Under Our Feet T’Challa’s step-mother, Ramonda, can be seen making the decision whether to spare or punish a criminal (9-10). Even when making this decision, her face is shrouded in darkness, making her features sharp. The use of darkness over her face in this panel shows how color is used in the comic to portray strength. Therefore, this scene suggests that not only are black people capable of running an entire nation, but so are women–more specifically, in this case, black women. This is suggestion is solidified when Suri is described as the former queen of Wakanda (59).

[cmeyer01-blog]

Even T’Challa’s birth mother is mentioned briefly, despite the mention of her being short-lived, her sacrifice also illustrates the decimation of yet another stereotype (11). In Black Panther: A Nation Under Our Feet, T’Challa states, “for the life of her son, my mother gave up her own,” (11). Obviously, this means that his mother died during childbirth. However, the essential part of that statement is the way that T’Challa describes this sacrifice. It is apparent that his mother’s sacrifice is regarded as a noble deed because he says she “gave her life”, instead of saying she simply died, or even that she was lost. Therefore, this asserts that a black woman is able to do something that can be seen as noble. Remember in 1973’s Black Panther: Panther’s Rage, the focus was to show that T’Challa was capable of being noble. Now, in 2016’s Black Panther: A Nation Under Our Feet, the focus is on the nobility of black women, shifting away from the focus on T’Challa. Considering the racism of the ‘70’s, these assertions about black people as a whole, both men and women, are lofty statements. Unsurprisingly, these assertions were not easily digested. However, perhaps time allowed Kirby and Lee to feel more comfortable about shifting their focus to the stereotypes of black women and homosexuality, rather than the stereotypes regarding black men. Therefore, considering the passage of time, it is concerning that Marvel decided to shift Black Panther’s focus from racism to sexism and homophobia. Police brutality, as a result of racism in law enforcement, is still running rampant in society, yet in 2016’s Black Panther: A Nation Under Our Feet, the focus of the comic seems to be more on sexism and homophobia, rather than racism.

[cmeyer01-blog]

This is becomes more clear upon looking at Black Panther: A Nation Under Our Feet in comparison to Black Panther: Panther’s Rage. In 2016’s Black Panther: A Nation Under Our Feet, within the first twenty pages, the audience is quickly introduced to a homosexual relationship between two female vigilantes in Wakanda (19-20). This is an exceptionally special display of dismantling stereotypes because not only are these two women strong, as demonstrated by their vigilantism, but they also share a romantic relationship. Their faces are completely dark, which shows that the illustrators are trying to focus solely on the words exchanged between the two. This use of color highlights the importance of the relationship unfolding in front of the reader’s eyes. One of the first acts from these two vigilantes is an attempt to save a group of women from sexual harassment from a group of men (29-30). The Black Panther does not show up to help the women, leaving the two vigilantes to appear to the group of women they save as heroes. Therefore, not only does Black Panther: A Nation Under Our Feet seek to empower people of color and women in general, but they also set out to normalize homosexual relationships. Again, considering the time period, these concepts are not as earth-shattering as they would have been in the ‘70’s, perhaps allowing Lee and Kirby to feel more comfortable making these assertions in their comic. As many know, one of the plethora of stereotypes regarding women is that they are too emotional in order to be powerful. This stereotype does not escape lesbian women, who are often portrayed stereotypically as clingy. Here, in Black Panther: A Nation Under Our Feet, however, the two women in the relationship seem to make little emotionally-charged decisions, aside from when one breaks the other out of prison (19-20). 

[cmeyer01-blog]

The (Maybe Not Epic) Conclusion

Therefore, with all these stereotypes being broken with the first few pages, it is clear that Black Panther: A Nation Under Our Feet sets out to create a new environment for superheroes. However, with this shifting focus between 1973’s Stan Lee Presents: The Black Panther: Panther’s Rage by Don McGregor and 2016’s Black Panther: A Nation Under Our Feet by Ta-Nehisi Coates, one cannot help but wonder if the writers are abandoning their mission to reshape the perception of black men. While it is important to focus on women, the stereotypes regarding black men still exist, especially during this time of intense police brutality. It is troublesome to consider that during this political tension, Black Panther is shifting its focus when perhaps the original subject matter of Black Panther could matter now more than ever. The writers can use their comic to destroy a multitude of stereotypes, but the original purpose of their comic should not, and did not have to be, abandoned.

[cmeyer01-blog]

Works Cited

Coates, Ta-Nehisi. Black Panther: A Nation Under Our Feet; book 1. Illus. Brian Stelfreeze, Marvel Characters, Aug. 31 2016, pp. 3 - 59, Comixology. 

McCloud, Scott. Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. New York: Harper, 2006.

McGregor, Dan, et al. “Marvel Masterworks”, The Black Panther; vol. 1: The Panther’s Rage. Illus. Rich Buckler, Marvel Characters, May 26 2010, pp. 6-23, Comixology. 

Nama, Adilifu. Super Black. University of Texas Press, 2011.

Peppard, Anna F. “‘A Cross Burning Darkly, Blackening the Night’: Reading Racialized Spectacles of Conflict and Bondage in Marvel’s Early Black Panther Comics.” Studies in Comics, vol. 9, no. 1, 2018, pp. 59–85.

West, Carolyn M. "Mammy, Sapphire, and Jezebel: Historical images of Black women and their implications for psychotherapy." Psychotherapy: Theory, Research, Practice, Training 32.3 (1995): 458.

[cmeyer01-blog]

The (Maybe Not Epic) Conclusion

Therefore, with all these stereotypes being broken with the first few pages, it is clear that Black Panther: A Nation Under Our Feet sets out to create a new environment for superheroes. However, with this shifting focus between 1973’s Stan Lee Presents: The Black Panther: Panther’s Rage by Don McGregor and 2016’s Black Panther: A Nation Under Our Feet by Ta-Nehisi Coates, one cannot help but wonder if the writers are abandoning their mission to reshape the perception of black men. While it is important to focus on women, the stereotypes regarding black men still exist, especially during this time of intense police brutality. It is troublesome to consider that during this political tension, Black Panther is shifting its focus when perhaps the original subject matter of Black Panther could matter now more than ever. The writers can use their comic to destroy a multitude of stereotypes, but the original purpose of their comic should not, and did not have to be, abandoned.

[cmeyer01-blog]

This is becomes more clear upon looking at Black Panther: A Nation Under Our Feet in comparison to Black Panther: Panther’s Rage. In 2016’s Black Panther: A Nation Under Our Feet, within the first twenty pages, the audience is quickly introduced to a homosexual relationship between two female vigilantes in Wakanda (19-20). This is an exceptionally special display of dismantling stereotypes because not only are these two women strong, as demonstrated by their vigilantism, but they also share a romantic relationship. Their faces are completely dark, which shows that the illustrators are trying to focus solely on the words exchanged between the two. This use of color highlights the importance of the relationship unfolding in front of the reader’s eyes. One of the first acts from these two vigilantes is an attempt to save a group of women from sexual harassment from a group of men (29-30). The Black Panther does not show up to help the women, leaving the two vigilantes to appear to the group of women they save as heroes. Therefore, not only does Black Panther: A Nation Under Our Feet seek to empower people of color and women in general, but they also set out to normalize homosexual relationships. Again, considering the time period, these concepts are not as earth-shattering as they would have been in the ‘70’s, perhaps allowing Lee and Kirby to feel more comfortable making these assertions in their comic. As many know, one of the plethora of stereotypes regarding women is that they are too emotional in order to be powerful. This stereotype does not escape lesbian women, who are often portrayed stereotypically as clingy. Here, in Black Panther: A Nation Under Our Feet, however, the two women in the relationship seem to make little emotionally-charged decisions, aside from when one breaks the other out of prison (19-20). 

[cmeyer01-blog]

Even T’Challa’s birth mother is mentioned briefly, despite the mention of her being short-lived, her sacrifice also illustrates the decimation of yet another stereotype (11). In Black Panther: A Nation Under Our Feet, T’Challa states, “for the life of her son, my mother gave up her own,” (11). Obviously, this means that his mother died during childbirth. However, the essential part of that statement is the way that T’Challa describes this sacrifice. It is apparent that his mother’s sacrifice is regarded as a noble deed because he says she “gave her life”, instead of saying she simply died, or even that she was lost. Therefore, this asserts that a black woman is able to do something that can be seen as noble. Remember in 1973’s Black Panther: Panther’s Rage, the focus was to show that T’Challa was capable of being noble. Now, in 2016’s Black Panther: A Nation Under Our Feet, the focus is on the nobility of black women, shifting away from the focus on T’Challa. Considering the racism of the ‘70’s, these assertions about black people as a whole, both men and women, are lofty statements. Unsurprisingly, these assertions were not easily digested. However, perhaps time allowed Kirby and Lee to feel more comfortable about shifting their focus to the stereotypes of black women and homosexuality, rather than the stereotypes regarding black men. Therefore, considering the passage of time, it is concerning that Marvel decided to shift Black Panther’s focus from racism to sexism and homophobia. Police brutality, as a result of racism in law enforcement, is still running rampant in society, yet in 2016’s Black Panther: A Nation Under Our Feet, the focus of the comic seems to be more on sexism and homophobia, rather than racism.

[cmeyer01-blog]

While Black Panther effectively pushed back against many of the stereotypes that were affecting black people, Black Panther’s focus did change over the course of time. This becomes evident in Black Panther: A Nation Under Our Feet. To understand this shift, there needs to be a firm understanding of the origin story of Black Panther as a stand-alone comic. In Stan Lee Presents: The Black Panther: Panther’s Rage, T’Challa’s love interest, Monica Lynne, is categorized as a “minor grade Aretha Franklin” (5). Not only is this incredibly demeaning, but since it is the only descriptor of her in the entire issue, it does not show her as a valuable or smart character. In fact, the only time Monica is paid any attention is when she is speaking to T’Challa. She is seen as an outsider, especially because no one else speaks directly to her (5). When T’Challa seeks comfort in Monica after the death of the Wakandan citizen (6), he needs her for comfort places her in almost a “motherly” role, insulating she has no true value apart from when T’Challa needs emotional support. 

In her article, “Mammy, Sapphire, and Jezebel: Historical Images of Black Women and Their Implications for Psychotherapy,” Carolyn West writes, “throughout history, culture, and media, Black women have most often been portrayed in some combination of three images: (1) as highly maternal, family oriented, and self-sacrificing Mammies; (2) as threatening and argumentative Sapphires; and (3) as seductive, sexually irresponsible, promiscuous Jezebels,” (459). It is clear that in Black Panther: Panther’s Rage, Monica is portrayed as what West would call a Jezebel, due to the way Monica’s role is to comfort T’Challa as he grieves the loss of the Wakandan citizen. 

The only other time Monica is paid any other sort of attention outside of a motherly role is in the next issue, Jungle Action: Featuring the Black Panther, when she disrobes to bathe in a lake, which T’Challa ultimately falls in to (3). This scene centering on her disrobing supports the assumption that her value is determined only by her beauty. In contrast to the goal of 1973’s Black Panther, 2016’s Black Panther: A Nation Under Our Feet, creators Stan Lee and Jack Kirby do not only seek to destroy the stereotypes facing black men, but also attempt to uplift women in their comic by showcasing many powerful women. This is really when color comes in to play. Within the first few pages of Black Panther: A Nation Under Our Feet T’Challa’s step-mother, Ramonda, can be seen making the decision whether to spare or punish a criminal (9-10). Even when making this decision, her face is shrouded in darkness, making her features sharp. The use of darkness over her face in this panel shows how color is used in the comic to portray strength. Therefore, this scene suggests that not only are black people capable of running an entire nation, but so are women--more specifically, in this case, black women. This is suggestion is solidified when Suri is described as the former queen of Wakanda (59).

[cmeyer01-blog]

Re-writing History: The Story of Wakanda and How It Relates to Racism as Told By Nama

One of the most powerful ways T’Challa’s character is used to shatter stereotypes lies in the history of Wakanda. In his book, Super Black: American Pop Culture and Black Superheroes, Adilifu Nama makes the case that “the Black Panther’s original tale—fending off the invasion of an African nation by white mercenaries—clearly signals a student critique of African colonial and postcolonial politics,” (43). As a result, he writes,

“Consequently, the Black Panther not only symbolized a politically proactive and wildly imaginative convergence of African tradition with advanced technology, but he also stood as a progressive racial symbol and anti-colonialist critique of the economic exploitation of Africa,” (Nama, 43). 

This story of Wakanda is integral in understanding the way that Black Panther tackles the social justice issue that is racism. Black Panther making a stance against the expansion into Africa rewrites history in a way that shows Africans in a new light. The singular narrative of Africans being savages, as pushed forth by the invaders of Africa (more simply: not Africans) was heavily believed by much of the world. Therefore, due to their skin color, many black people were seen as uncivilized, subhuman creatures who did not deserve the same rights as white people. However, with this part of history being rewritten in the Marvel universe, Wakandas violently push back against that stereotype, displaying many strong African warriors with T’Challa chief among them. As a result, T’Challa, and the rest of Wakanda, shatters the once-held belief that black people are inherently different than white people, so much so that they cannot be governed by the same laws that affect white people.

[cmeyer01-blog]

Another way Marvel uses the Black Panther to shatter stereotypes against black men is to show how dedicated T'Challa is to protecting and providing for Wakanda. In this is evident in Stan Lee Presents: The Black Panther: Panther’s Rage when T’Challa is deeply heartbroken after a Wakandan citizen is tortured and killed (3-4). Dan McGregor writes,

“As the panther steps out of the lush foliage into the sun-burnt dust surrounding the wood and straw huts, another disturbing thought claims him: He has been away too long. The knowledge of this and of the destroyed humanity he holds in his arms is reflected in his walk. A somber wake forms this silent procession, all mute with one emotion: mourning.”

This is a pivotal moment in characterizing T’Challa. Not only is he physically strong, but he has a strong morality behind him that causes him to want to protect and provide for his country, which debunks the stereotype of black men often abandoning their families or being unable to provide for them. T’Challa feels he has lost part of himself by being away from Wakanda for so long. This feeling of abandoning his country, and failing the citizens of Wakanda, fills him with a sense of deep sense mourning, so much so that it is evident in the way that he walks through the town, carrying the body of the dead citizen. The audience is clearly meant to feel just as broken as T’Challa, evident by the use of color on his face, hidden by his mask. The use of darkness over his face can mean that he feels lost from being away for so long, or even that he’s crestfallen after the death of a Wakandan. Either way, as a result of good writing and color as a visual narrative device, this entire sorrowful moment displays T’Challa as a noble, moral provider, unlike how black people were categorized in the world outside of comic books.

[cmeyer01-blog]

Wakanda is a fantastic setting for Marvel to refute the many stereotypes regarding black people because of how technologically advanced it is. Due to its technological advances, T’Challa (the Black Panther) the now-king of Wakanda, must be seen as intelligent due to his ability to rule such an advanced civilization. The world of Wakanda becomes even more impressive as it is expanded on even more in Black Panther: A Nation Under Our Feet, with the reader being able to witness the futuristic technology the Wakandans have created by discovering the secrets of vibranium, allowing them to create technology more advanced than all other nations in the Marvel universe. One of the easiest examples of this technology is a touch-screen holographs as seen in Black Panther: A Nation Under Our Feet, but their technology goes far beyond holographs (12). It seems as though the white border around the hologram draws the reader’s eye to it, showing one of the many effective uses of color in the issue. Although, it is important to note that even in Black Panther: Panther’s Rage, it is briefly mentioned that “[T’Challa was] a wise and just leader in [his] early days — when first [he and the government] decided how to use [Wakanda’s] natural resources of vibranium.” Therefore, it is safe to assume that the intention behind Wakanda’s advancement is to portray its citizens, and ruler, as intelligent, even though they may not have been considered that way had they been subjected to society’s stereotypes. 

[cmeyer01-blog]

An Introduction

The world was introduced to Marvel’s first black superhero, Black Panther, 53 years ago when he graced the pages of The Fantastic Four in July of 1966. Marvel’s newest hero was then finally given his first stand-alone issue six years later. There were many things that set this newcomer aside from the litany of other superheroes, starting with the fact that he was an African prince-turned-king who ruled the technologically advanced (fictional) nation known as Wakanda. However, the differences between Stan Lee Presents: The Black Panther: Panther’s Rage and Black Panther: A Nation Under Our Feet shows a shift in priorities between the breaking of certain stereotypes. The use of color in Black Panther and Black Panther: A Nation Under Our Feet helps illustrate Stan Lee and Jack Kirby’s desire to create an environment that paves the way for new, diverse heroes. However, unbeknownst to many people, the writers are now attempting to destroy more than just racial stereotypes, as evident in Black Panther: A Nation Under Our Feet.

Of course, T’Challa shatters many stereotypes held against black and African people during the 70’s. In her article, “A Cross Burning Darkly, Blackening the Night”: Reading Racialized Spectacles of Conflict and Bondage in Marvel’s Early Black Panther Comics, Anna Peppard put it best, writing, “Black Panther and the technological utopia of Wakanda provide distinct opportunities for imagining (and reimagining) black heroism,” (Peppard, 63).