UNION, NJ — Black superheroes began showing up in comic strips and comic books as early as the mid-1930s. However, in mainstream comic publishing the depictions of Black people were inaccurate.
Recently, at Vauxhall Library, the community gathered to watch the film “White Scripts and Black Supermen: Black Masculinities in American Comic Books” (2012), directed by Jonathan Gayles. The 54-minute documentary examined 40 years of changing representations of Black masculinity in American comic books, focusing on characters from the late 1960s to the late 1970s. The movie featured scholars, artists and cultural critics analyzing how Black superheroes have been burdened by stereotypes and how these images shifted to reflect changing times.
Vauxhall Library branch manager Gabriel Ramos decided on the film when a library patron was talking about comic books.
In the 54-minute film. Gayles began by saying that there were two types of Black characters – Sidney Poitier, who maintained dignity no matter what; or Shaft, who was bad-ass.
Lobo starred in Dell Comics’ little known two-issue series Lobo – December 1965 and September 1966 – and was created by Don “D.J.” Arneson and Tony Tallarico.
In the film, Tallarico said, “Black kids read comics. Why shouldn’t they have a hero to read?”
As the second issue was being published, Tallarico said he got a call to hold everything because the books were not selling. It was discovered that, as they were sending out bundles of comics to the distributors, they were being returned unopened. Tallarico couldn’t figure out why. After scouting around, they learned that many sellers were opposed to Lobo, who was the first Black Western hero.
Black Panther made his Marvel debut in 1966 and Gayles said he saw himself reflected as a hero. “Everyone in the comic book was Black,” he said in the film.
John Stewart was DC’s first Black superhero, introduced in the 1970s.
Dr. William H. Foster III is a renowned comic book historian, scholar and collector. He’s recognized as a leading authority on the portrayal of African Americans and minorities in American comic books and comic strips. In the film he said, “John Stewart came in with heavy attitude. He caused the death of a planet. He dated aliens. He was the first Black superhero who stepped out of a small town and into the universe.”
John Stewart, known as the Black Green Lantern, however, was written as a stereotypical angry Black man.
Luke Cage, Hero for Hire, was a Marvel superhero in 1972. He wore a yellow disco shirt, a metal headband and a chain around his waist. He goes to jail for crimes he didn’t commit and a racist guard tries to kill him. Luke was supposed to be urban, but came across as corny. His sayings didn’t reflect real Black language.
Tyroc was a minor DC Comics character in 1976 and showed how diversity was handled badly. He was a character 1,000 years in the future, where Black people were escaped slaves living on an island.
The film notes that, for a long time, white writers and artists primarily created these characters; depiction often originated from a white perspective.
A key takeaway from the film is that white heroes such as Spider-Man were portrayed as normal and relatable. Black heroes were hyper-masculine and spectacularly different, therefore hindering identification for Black readers.
However, a bonus feature on the DVD, “The Black Age of Comics,” which is also by Gayles, introduces independent Black creators who make their own characters and universes.
To learn more about the Union Public Library, including the Vauxhall Branch, visit: https://uplnj.org/.
Photos by Maryanne Christiano-Mistretta
