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).
