Category Archives: Commentary

Amazon Isn’t Indie and Small Press’ Enemy, It’s Another Platform to Sell

If you read The Comics Journal, it might seem like one of the Four Horsemen of the Apocalypse was descending on Small Press Expo which takes place in Bethesda, Maryland this weekend. In an article entitled “A Plague Comes to SPX” RJ Casey makes the case that Amazon and comiXology‘s involvement in the show is an “affront” to those who attend and exhibit at the show.

comiXology is a digital platform that acts as a storefront for digital comics and was purchased by Amazon some years ago. Since then, the company has expanded allowing individual creators to upload their comics to sell through comiXology Submit and more recently launched a line of original comics called comiXology Originals.

Amazon and comiXology are bringing one of those originals, Hit Reblog, to SPX along with some of the creative team behind it and giving away printed copies to attendees. They’re also sponsoring portions of the convention.

Some feared when comiXology was acquired Amazon they would flex their market dominance putting pressure on publishers and brick and mortar stores. In the years since the focus has been more on experimentation and slowly integrating the service into the Amazon family such as Amazon Prime and Kindle. Even before Amazon, comiXology was the 800lb gorilla in the digital comics market and at any time could have easily become a tyrant with their exclusive contracts and market dominance. Though there were alternatives earlier and after, they remain the gold standard service by which all others will be measured. None have come close to matching what comiXology delivers.

While it is understandable to be nervous about Amazon’s entrance into the comics market and apprehensive due to their questionable treatment of employees, reality is their store had already been in the comic market for years selling individual comics and graphic novels and accounting for an unknown, but vital, amount of sales. Well before comiXology, Amazon had a section dedicated to comics with regular promotion and since the acquisition, those promotions have become better focused and better curated running appropriate sales during events such as San Diego Comic-Con and Small Press Expo raising awareness. ComiXology Originals are free to read for Amazon Prime a service millions are already paying for.

While the TCJ article spends a decent amount of time advocating for the rights of Amazon employees, its actual focus on the comics aspect seems to fall short in both facts and conclusions.

The fear seems to be, Amazon sponsorship of Small Press Expo is a trojan horse to take over independent comics as if there is one publisher by which that can be accomplished. The article and those concerned supporting it make indie and small press comics out to be both on the edge of collapse, easily broken, and also so lucrative that Amazon of course would want to snatch it up. It’s Schroedinger’s business. Both fragile and also immensely successful as is.

What the article fails to mention is that Amazon is already in the small press comic game and has been for years as both a platform and a publisher. Not only can creators self publish through their many services but the company also has Jet City Comics launched in 2013. They were already in the original comics publishing game well before the comiXology acquisition and that included distribution through comic stores. For a behemoth that is portrayed as so focused on closing brick and mortar stores, it’s strange that in their business model of their own comic line would include brick and mortar stores.

The article claims that Amazon wants to be “your printer, distributor, and most likely, publisher and editor.” As stated by Bedside Press‘ founder Hope Nicholson, Hit Reblog is published and owned by Bedside Press, not comiXology and not Amazon. An attack on the comic is an attack on a small press comic company. Similarly, Savage Game, the first comiXology Original comic to be printed, is owned by Cryptozoic.

Amazon and comiXology are the distributor and printer at most, very different than other comic publishers and more akin to a combination of Diamond Comic Distributors, the monopoly that currently is the major comic distribution service, and a possible printing company. Honestly in a way they’re like Image, a brand that comes with some benefits but in the end are creator owned. comiXology Originals sound more like paid for exclusives, a value added for comiXology and Amazon Prime customers and subscribers. They’re also willing to sink money into promoting comic projects featuring varied subjects and different creative voices that we don’t normally hear from other publishers.

The article also mentions a hit on “artistic freedom and intent” with a focus on the paper on which the comics are printed. While different printings can create a different reading experience, the focus on this, much as the article as a whole, screams of elitist gatekeeping as if there is one way to print a comic. ComiXology is providing these creators, and all of those that participate in comiXology Submit, a creator owned platform and the ability to do as they please with a possible visibility that can’t be replicated by any current comic publisher or distribution system. Amazon for years has provided print on demand services and it’s only natural that this be incorporated into this latest experiment of theirs.

As C. Spike Trotman emphasized in the comiXology Originals San Diego Comic-Con announcement panel, the ability to work with comiXology and Amazon is a value added and provides an opportunity to open doors. These are opportunities that might not exist to her as an already successful independent comic publisher (one who has been a regular at SPX for years). This is a comic creator who has raised over $1 million on Kickstarter. Trotman pointed out despite that success some doors are still closed to her. Amazon and comiXology are partners to possibly help open some and explore others neither have ever imagined.

With those incorrect conclusions and facts, the TCJ article warns of dire times when Amazon will force indie creators to print through them and undercuts creators through their platform. As if there’s not other on demand printing options and also downplays the do-it-youself nature of indie comics.

The reality is, a sale on Amazon because an individual saw the comic at a convention is still a sale. Yes, the creator will make less, but they’re still making money that most likely will have never been made otherwise. Conventions like SPX are as much about visibility and advertising as they’re about direct sales to the consumer. Conventions are about raising awareness and getting on attendees’ radars. That fee for the table, that’s the advertising fee. What you make there is some of which you make back immediately from that advertising. And Amazon’s cut of the sales through their platform? That’s no different than selling through Diamond or to comic shops directly or through Kickstarter or Etsy or Indiegogo which all take their piece of the pie. Amazon and comiXology are the technology platform through which these individuals can sell their wares globally and if done right get their creations before an audience that might not otherwise see them. That’s something TCJ’s parent Fantagraphics should be well aware as they use both Amazon and comiXology as two of their sales channels. It’s not an either or, it’s an all of the above to sell comics.

But where the article absolutely fails is its advocacy for attendees to throw copies of Hit Reblog in the trash. As if that comic is less worthy to be at the show than any other. TCJ seems to forget that the beauty of small press and indie comics is that anyone can make them. The paper it’s printed on, the format it comes in, and the ability of the creators are varied. Indie comics and small press are all an experiment. None of it is right, none of it is wrong. No one can “own” small press and indie comics because anyone can create them. Walk up and down the aisles at Small Press Expo and you can see that from the high quality books published by the likes of Fantagraphics, Drawn & Quarterly, and Top Shelf, to the comics xeroxed, stapled, and folded by the attendees themselves. RJ Casey, TCJ, and Fantagraphics has seem to have forgotten this and are becoming the gatekeepers they themselves would have decried years ago.

Valiant Deluxe Editions: Are They Worth The Price?

VALIANT_LOGOValiant Entertainment will usually publish deluxe edition hardcover collections of their comics, usually with anywhere between 4 to 16 related issues inside (and I say related as in parts One through Three of a series of miniseries, or a chunk of an ongoing series or whatever. I’m sure you get the picture). The first of these wonderful collections I picked up was  Book Of Death from a friend who was selling his copy – he had never opened it, and seeing as how I had just reread the single issues not a week before buying the hardcover, I still haven’t opened it. But I love it.

In all honesty, they are a great way to read the equivalent of three of four trades worth of material in one sitting, but are they as cost effective as reading single issues or trade paper backs?

That’s the question I wanted to answer today, and to do so I am going to use the US cover prices (and not the sale prices that you may get from your LCS or from Amazon) sourced from the back of the hardcover or from Amazon if I don’t own that specific book. This is also strictly a comparison between print comics and the physical deluxe hardcover, and so will ignore any digital options as well. The additional content provided in the hardcovers won’t be counted here – only the comics themselves.

image1 (1).jpeg

In all honesty, they are a great way to read the equivalent of three of four trades worth of material in one sitting, but are they as cost effective as reading single issues or trade paper backs?

That’s the question I wanted to answer today, and to do so I am going to use the US cover prices (and not the sale prices that you may get from your LCS or from Amazon). This is also strictly a comparison between print comics and the physical deluxe hardcover, and so will ignore any digital options as well. The additional content provided in the hardcovers won’t be counted here – only the comics themselves.

HC Snip

This isn’t a comprehensive list of the hardcovers available, but rather a semi random selection.

For the most part, assuming you’re paying cover price for each, it would seem there’s a little savings to be had by only buying the hardcovers. Of course, if you can get them cheaper, say on an online discount, then you’re going to be saving a bit more than the few pennies you’ll save at cover price.

Does that make them worth waiting for? Well that’s entirely up to you. I have been using them to read the 2012 X-O Manowar  series because they seemed to be the most cost effective way of reading the series  in print, and the hardcovers were certainly more convenient to locate with each one containing around thirteen comics verses finding the individual issues in the wild. But there’s no guarantee that Valiant will actually publish everything in a hardcover format (Imperium, for example, is still waiting for a deluxe edition). One would also be remiss in mentioning the 20 odd pages of bonus extras in each deluxe edition that you also get with the hardcovers, though for the purposes of this comparison I was strictly focusing on the comics within the and not any bonuses. But those additional pages of bonus material do make for a lovely addition to the book.

But what about the trade paperbacks? How do they stack up with the deluxe hardcovers and single issues?

tpb snip

Well, let’s go back to the research board using the same series used with hardcovers above, once again only factoring in the comics themselves and not any additional value provided by any bonus material. Pricing information is again based on cover prices (sourced from Amazon). What I found interesting from the second chart is that unless you’re paying either $9.99 for a trade that collects four or more comics you’re really not saving anything significant based on cover prices. Which surprises me; I had always thought that the savings one would realize from buying trades from would be more significant than those shown in the chart here. What I see instead, is that patience may save you about $15 over the course of a two year comic run if you wait for trades or the deluxe hard covers. (Using Bloodshot Reborn as an example, trades verses hardcovers will save you just under $3).

Obviously this is a very specific data point from one publisher, and whether it’s indicative of the industry in general is a question that won’t be answered today in this post. However, one can see that although generally there are savings to be made from buying either the trades or deluxe hardcovers that Valiant offers, they’re not actually as significant as you would come to expect. Indeed, with the series I researched, I noticed that for the most part the savings were higher on the initial trade than any other book, with all but one showing a $9.96 savings verses single issues.

Interestingly, my initial question of whether the hardcovers are “worth it” depends entirely on what you want to get out of your purchase.

  • If you want to read the story as it comes out, then maybe you don’t want to wait for a potential hardcover release.
  • If you want to store your books on a shelf and don’t care for bonus content, maybe you’d be happier with a trade.
  • If you’re okay with waiting, you like the bonus content and you’re happy to wait then the hardcovers do look very nice.
  • Maybe you’re a collector and want them regardless of value, in which case you knew the answer to the question before you started reading this post (and if you’re still here, thank you).

However you choose to read your comics, ultimately only you can answer whether the deluxe hard covers are worth it to you. For me, they’re worth every penny (especially when you can get them for around half of cover price), but I’m also playing catch up with a lot of series and love the look of hardcovers on the shelf.

But at least now you have a little more information to help you make the decision.

When the Anti-Harassment Bodyguard is the Harasser

One of the most omnipresent images of this year’s San Diego Comic Con (SDCC) wasn’t a big comic book announcement or a still from a movie trailer. It was the fact that Eisner Award winning Batman writer Tom King needed a bodyguard because of death threats about his handling of the wedding between Batman and Catwoman in the recently published Batman #50. This bodyguard was David Wray, who has provided security for Stan Lee in the past. Wray became somewhat of an Internet darling during SDCC posing for pictures with King and other creators, and some fans even wanted his autograph or for him to have a cameo in Batman or another Tom King comic.

Wray has been a managing partner at the Cincinnati Comic Expo since 2013. According to Expo administrator, Matt Bredestege, he also has had the position of Comics Guest liaison and travels to conventions to personally invite guests to Cincinnati Comic Expo. This role gives him a good deal of authority in choosing guests for the Expo.

However, Wray has exhibited behavior towards women online that could be considered harassment and allegedly refused to invite a prominent female comic book creator to the Cincinnati Comic Expo because she was a “feminist.” He has also made a homophobic joke about Tom Hiddleston at an Expo executive committee meeting implying that he was gay because of the way he looked.

I spoke with Megan Goodier on the phone about David Wray’s actions and her interactions with him both online and offline. Goodier was a volunteer at Cincinnati Comic Expo from 2011-2015 and a member of its executive committee in 2015 until she stepped down because of health reasons. She has known Wray since 2013 and worked closely with him on the executive committee.

At an executive committee meeting, Goodier brought up the fact that the Expo had not invited many female comics creators as guests. Guests are paid an appearance fee and have their travel and lodging covered by the Expo whereas artist alley creators pay for their tables/exhibition space at the convention. She brought up writer Gail Simone (Batgirl, Wonder Woman) as a possible guest, but this was immediately shot down because she talked about being a feminist a lot. Goodier mentioned that she self-identified as a feminist, and Wray responded by saying, “I will never book her for my show.”

In response to the claim of not booking Gail Simone because she self-identifies as a feminist, Matt Bredestege stated that:

We have never disqualified any guest for their personal beliefs or ideals… No one’s thoughts and opinions on sexuality, religion, politics, science, or whatever has ever been a factor in having them appear or not appear at the Cincinnati Comic Expo.

He followed up by saying that Simone had been invited as a guest to the Expo on “several occasions” and that would he “would provide copies of the communications of the communications between (them).” However, when I asked for these emails, my request for comment was not returned. We followed up with Gail Simone’s agent, Ari Lubet, and asked if she had ever attended or been invited to Cincinnati Comic Expo, but did not get a response.

In 2016, the Cincinnati Comic Expo booked actor Adam Baldwin (Firefly, Chuck) as a media guest even after, in 2014, he helped popularize the phrase and Twitter hashtag “Gamergate” and participated in the harassment of female game developers Zoe Quinn and Brianna Wu and journalist Anita Sarkeesian. Baldwin’s actions and the mobilization of his large Twitter following to attack these women definitely went against the Cincinnati Comic Expo’s conduct policy of “providing a safe and harassment-free experience for everyone regardless of gender, sexual orientation, disability, physical appearance, body size, race, age, or religion“.

According to Matt Bredestege, the Cincinnati Comic Expo organizers were “not aware” of Adam Baldwin’s connection to Gamergate and booked him in “late 2015/early 2016” because fans wanted actors from the popular 2002 science fiction show Firefly to attend the show. After the announcement, a fan did bring “the allegations to [the Expo organizers’] attention” online, but they “….already had a binding legal agreement with [Baldwin] and his agency” and kept him as a guest.

As well as booking a known enabler of online harassment towards women and saying he would not book a prominent comics creator because she was too feminist, David Wray has also made unwanted advances toward multiple women over Facebook Messenger. (See below image gallery.) In a 2015 Facebook conversation, Wray told Megan Goodier that he “would do everything I can” to get comics creators Matt Fraction (Hawkeye) and Chip Zdarsky (Jughead) to attend Cincinnati Comic Expo if she got him a date with a woman on her Facebook friends list that was much younger than him.

Goodier said that she had not contacted the woman in years and told Wray to back off, but he still messaged the woman even though he admitted that it made Goodier “uncomfortable.” He even mentioned Goodier to the woman although they hadn’t talked in a while. Along with admitting he messaged the woman after Goodier told him not to, Wray threw in some additional creepy comments about the “crazy/hot scale” and turning down strippers.

Following this up, Wray contacted another woman on Goodier’s friends list, who she had volunteered with at Free Comic Book Day and whose picture he had found on her Facebook profile. Again, Goodier told him to back off and even mentioned that “she is even more feminist than me”. This led to a rant a rant criticizing “radicals” and “shit stirrers”, including those who protested Rafael Albuquerque’s 2015 Batgirl variant cover, which was an homage to Alan Moore and Brian Bolland’s The Killing Joke where Barbara Gordon was crippled and sexually assaulted by the Joker. Albuquerque later requested that the cover be cancelled because those protested it were getting “threats of violence and harassment”.

Even though Cincinnati Comic Expo has a strict anti-harassment policy, its own managing partner David Wray harasses women online. Megan Goodier also states:

There are other women in the area who have had bad experiences with him, who have chosen not to step forward or say anything. I don’t have receipts. These women don’t want to publicly step out  about what happened to them. I know of them, but I cannot prove it. You mention the name David Wray to women who have worked, especially in the convention industry or even in the comics shops in town, they know exactly who you mean. And he does not have a good reputation.

Matt Bredestege, an administrator at Cincinnati Comic Expo, responded to these accusations towards David Wray via email by saying:

We have no comment on these allegations at this time. The allegations are new to our attention. We have reached out to see the alleged messages and no copies have been provided to us.

However, Megan Goodier provided another Facebook Messenger conversation from July 26, 2018 where Cincinnati Comic Expo founder and director Andrew Satterfield and “marketing partner” Jackie Reau offered to talk with her either in person or over the phone about David Wray’s actions. Goodier said she was “not comfortable having any meeting that would create further my word against his situations…” and offered to send screenshots of her chats with Wray that are in this article. Both Satterfield and Reau read her message and didn’t respond.

Bad News for Geeks: The Oscar for Achievement in Popular Film

And the Award for the Worst Idea for Awards Shows 2018 goes to. . .  The Academy of Motion Picture Arts and Sciences announcing an award for “outstanding achievement in popular film.”

It’s stupid, it’s pandering, it’s condescending, and also potentially racist.

On first glance, geeks might rejoice! “Finally, a category that will reward the movies I love — Star Wars, Marvel, DC, Harry Potter, Jurassic Park!”

Well yes. And no.

The Academy is correct in identifying that fewer and fewer people are watching The Oscars every year. But this won’t help with that– at all. Yes, please, add more categories and ones that will represent the best in pop geek cinema. In fact, I identified five such ideas earlier this year. I quote myself:

“Most of the Best Picture nominations have made less than $100 million. NONE of the top 10 grossing movies of 2017 are nominated for Best Picture or Best Director. While we should in no way conflate box office with artistic merit, … it’s no wonder the public tunes out– because the Oscars celebrate what Hollywood likes in its movies, but not necessarily the rest of the country. In fact, of the top twenty best performing films of 2017, you only have two that received Best Picture / Best Director nominations — Dunkirk (16th) and Get Out (18th).”

My personal favorites of 2017 included blockbusters and artsy movies. While I would never expect to see Atomic Blonde nominated for Best Picture (it was also only a minor box office success), I am surprised that amazing films like Coco and Your Name are not. (Note: I am talking about the time-travel-starcrossed lovers anime Your Name and not Call Me By Your Name). But why are they not nominated as Best Picture?

Because they are animated films, and animation has its own separate category. Films like Zootopia, Inside Out, and The Incredibles deserve Oscar buzz. But they will never get it because they are stuck in the same situation we are about to put “popular” films in. This is the same problem documentaries have– films like Man on Wire, The Act of Killing, Cave of Forgotten Dreams, or 13th should all be considered amongst the best films of their respective years. Ditto for foreign language films.

The Academy should be asking, “Is how we choose Best Picture, Director, Writer and Actor nominees maybe not considering a whole slew of great films because our voting population is mainly old, white men who are susceptible to lobbying/bribery/marketing from the major studios and bullies/abusers like the Weinsteins?” Instead they’re saying, “Maybe if we nominate one of these superhero movies it will get these rubes off their tractors and turnip trucks.”

In the wake of controversies like #OscarsSoWhite, they are trying to increase the diversity of what films they consider, but this will ultimately backfire. Let’s be 100% real — if this category had existed last year, Get Out would’ve been in it. How do we know this? Because at the Golden Globes, it was nominated in the “Musicals and Comedy” slate.

It’s not hard to posit that the following conversation took place:

A: “They’re going to call us racist if Black Panther isn’t nominated for Best Picture.”
B: “Well, what if we designed a new category it can be sure to win, so we don’t have to worry about it?”
C: “Yes! A separate, but equal, award for. . . best popular movie or something.”

Or maybe the answer is just make sure the people voting are given the option to, you know, vote for Black Panther. And maybe extend your voting to enough people to make sure it can happen. And you don’t have to pander. You don’t have to condescend. But that, of course, would require you to make Hollywood less of an old-boys-club run by suits looking at spreadsheets. The key is having a younger, more racially diverse, more equal in terms of gender ratios group of voters, which means having more of those people making the films we love. But nah, let’s just make a popularity award.

This is not at all to poo-poo “popular” movies. I will fight you why Captain America: Civil War was the best movie of 2016 (and Captain America: Winter Soldier the best of 2014). Of the 100+ films I’ve seen and reviewed this year here on Graphic Policy and elsewhere, Black Panther has so far received my highest score. It shouldn’t be nominated for an award because it’s “popular”– it should be nominated because it’s a damn fine movie. Again, I will fight anyone who says differently. I love nothing more than sit down and obsessively talk about the minutae of Ryan Coogler or Rian Johnson’s work.

Do I want The Last Jedi to be nominated for Best Picture? Sure! The original Star Wars was nominated for Best Picture and should’ve won against Annie Hall, and Rian Johnson’s masterpiece is in that same echelon of great Star Wars movies. (Yes, @ me if you must, because I will die on this hill and am happy to block tons of trolls on Twitter)

But what I don’t want is every year or so for a Star Wars film to get a participation trophy because it made so much money. It doesn’t need a popularity award– it just made a billion dollars! It’s @#$%ing Star Wars — one of the most culturally ubiquitous things on the planet. That’s enough. If you’re going to reward it for its cinematic achievement, then do so. But don’t do it because you think it will get more eyes on a tv broadcast. (SPOILER ALERT: It won’t.) That path leads to the Dark Side. . . and the Star Wars Holiday Special.

What it will do is ghettoize great films just because they are popular.

Let’s play this out. This year’s nominees will likely include Black Panther, Avengers: Infinity War, Incredibles 2, Mary Poppins Returns. . . yes, those are all Disney films. Add in Deadpool 2 as a soon-to-be-Disney property. Anyone see a problem with this? First, if you’re literally any other film, why even bother? Second, remember that the Oscars telecast is on ABC. If this category — even just for this year — is just an extended commercial for Disney’s corporate holdings, then, again, why even bother?

The biggest tragedy will be if groundbreaking genre films like Sorry to Bother You, Hereditary, or A Quiet Place get relegated to this category.  Again — 100%– Get Out would have been in this category last year. So would Logan and likely Wonder Woman. We shouldn’t be content with this, but instead demand that real artistic work be taken seriously and not dismissed out of hand as though “Best” and “Popular” are largely mutually exclusive categories. Both James Mangold and Patty Jenkins deserved to be nominated as Best Director and their films nominated for Best Picture. Instead, we get Three Billboards Outside Ebbing, Missouri and Darkest Hour. 

It’s precisely that kind of bullshit that makes people not tune in. Another movie about Dunkirk? (and the absolute worst of the three released in 2017!) And a misguided discussion about forgiveness that completely misses the mark, especially when it comes to issues of race? Yeah, no. Ain’t nobody got time for that. Ghettoizing Get Out, Logan, The Last Jedi, and Wonder Woman into a “popular movies” category wouldn’t fix that.

Apologies for using the word ghettoize. I do not do so lightly. I do so in the literal sense of segregating people based on outward characteristics in order to provide them with substandard services.

While The Academy would like to be more diverse, this category will serve as a “runner up” category to keep films like Black Panther, Sorry to Bother You, A Wrinkle in Time, Crazy Rich Asians AND their filmmakers away from the podium.

That’s not fair, and it’s not ok. I made a joke earlier about a “separate, but equal, category.” That’s what this is. As long as it exists as a consolation prize while “real” art gets nominated for Best Picture, it will serve to “other” deserving filmmakers.

While this will be good news that early next year we can stop remembering that the only recent movie based on a comic book to win an Oscar is Suicide Squad (executive produced by supervillain Treasury Secretary and therefore fifth in line for the presidency Steve Mnuchin!) that is likely the only good thing about this situation. Sure, Ryan Coogler might get to accept an Oscar, but he deserves to be in the same category as Spielberg and Scorcese.

On Chris Hardwick, Comic Conventions, and the Presumption of Innocence

(Trigger Warning for discussions of rape, abuse, sexual assault,etc)

In this article I’m going to attempt to deconstruct what’s happening around allegations of sexual harassment and abuse in various areas of nerddom. Rather than try to prosecute the facts of each individual case, I want to talk about systems and how we got to this point, and what we can do about it.

“Innocent until proven guilty.”
“There are two sides and we can’t know.”
“Rush to judgment.”
Chris Hardwick. FanX Salt Lake Comic Convention#metoo

It is as predictable as the sun rising in the east that whenever there is an allegation of harassment, rape, abuse, or other predatory behavior that these are the responses we’ll hear first. So let’s talk about these ideas and where they fit in with our current cultural conversation.

First (and this may surprise you I’m starting here) these are good standards. They have served us well in western civilization because they are standards with specific intents.

For instance, it’s ENTIRELY VITAL that in the criminal justice system, a person have a complete presumption of innocence. It is the government’s job to prove beyond a reasonable doubt to a jury of your peers that you committed a crime in order for you to be deprived of your freedom or property by being put in jail or having to pay a fine. In the case of the law, innocent until proven guilty is sacrosanct. Hence, the legal proceedings against Bill Cosby, Harvey Weinstein, etc.

But then there’s the court of public opinion. Who says that in this case a person must be given the presumption of innocence? Does literally anything else get this same standard? Does science? (I wish, right?)

No. Because that’s not how it works. So why should what is appropriate for due process in a criminal case be applied in the case of a victim coming forward? Do we apply other similar legalisms in our daily lives?

And so then a lot of people will say, when all the evidence comes out, it comes down to a “he said / she said” situation (or another variation based on the genders of the people involved– as abuse and harassment occur among all people — but in this case I’ll keep with the colloquial “he said / she said” because we’re talking about specific instances of alleged abuse).

The end point of this, though, is that a person is supposed to throw up their hands and just say “Well, I guess we can’t know. There’s two sides to this story and the only people who know are the two of them.” It’s the societal equivalent of a hung jury– we just don’t know — OR an acquittal where we say the victim never proved their claim beyond some standard of reasonable doubt.

So, what happens? The net effect of “innocent until proven guilty” and “two sides” is that the accused is always advantaged. There is a seriously high bar to overcome to be able to prove an allegation– and the more prominent and powerful a person is, the higher that bar gets.

And so we wonder why victims are afraid to come forward? BECAUSE OF THIS. Because prima facie we are conditioned to not believe them. Because it’s important to understand that “innocent until proven guilty” and “two sides” are systems created by western patriarchal order specifically for the judicial system — which have served us well in terms of balancing government tyranny vs law and order — but which do NOT protect victims and were never created for society at large. Using legal standards in place of a broader sense of morality and justice is not only foolhardy– it’s why Jesus hated lawyers. (Apologies to my friends in the legal profession. Jesus loves you very much.)

We face an epidemic of rape and sexual assault– 1 in 4 women will be assaulted. That is sickening and MUST change. But rape cases are unlikely to be prosecuted because we have to convince a jury of 12 individuals a rapist is guilty beyond a reasonable doubt. Get ONE person on that jury who holds sexist attitudes about “She was leading him on.” “She was wearing the wrong clothing.” etc, etc, etc and the accused will not be punished. Get a judge who believes we shouldn’t ruin a person’s life over one mistake, and the person will not be punished. Innocent until proven guilty is a high bar. And is it intentionally so, because the basis of our law is “It is better for 1,000 guilty men to go free than one innocent man be punished.” Emphasis on “men.”

It is the systems of presumption of innocence and hearing both sides that have created the situation we are in. They were tools of a patriarchal western culture which, intentionally or not, have always advantaged men over women. They are the petri dish in which rape culture flourished and grew. And we will not, to paraphrase Audre Lorde, be able to tear down the master’s house using the master’s tools. And so “presumed innocent” and “both sides” will never get us the justice we need.

JFK wrote “Those who make peaceful revolution impossible will make violent revolution inevitable.” We have made solving these cases nearly impossible through our criminal justice system. And so instead we have to turn to the callout, the public shaming– the vague article on Medium that doesn’t directly name your accuser but we all know who you’re talking about. These are also imperfect systems, but they’re basically all we have.

Government is supposed to have a monopoly on the use of violence in society. And shunning, isolation, shaming– those are acts of violence. It’s why we should react so viscerally to The Scarlet Letter, The Handmaid’s Tale, to women being beheaded for adultery or acid thrown in their faces– BECAUSE extra-governmental forces (in these cases, religion masquerading as law or individuals acting under a faux religious mandate) are enacting violence. Also, government is not acting as it should with the necessary due process. And the violence is horrific. But even in the more subtle violence of these– the shame circles, the public labeling — we see what we don’t like about callout culture. Because it is a form of mob justice, and one which does not have norms or rules around it.

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And because they can be misused, people are skeptical, and begin trying to rationalize against it. And we retreat back to “innocent until proven guilty” and “he said / she said”– all of which serve to protect the accused and indict the victim. And, it should be noted, the closer you are to a person who is accused, the more you might depend on them for something, the less likely you are to believe they are capable of this. And so we say, “we don’t want to harm someone over unfounded allegations.”

Some have even called this “the internet lynch mob.” Let’s unpack that for one second. Thousands (perhaps tens of thousands) of people, mostly African Americans, were lynched in the US. People were murdered. It was done to incite terror and uphold white supremacy. For me, it rings just as hollow to talk about women working to stop sexual violence — especially when it is women of color (and queer women of color) who are the largest victims of sexual violence and harassment in the US — as a “lynch mob” as it does for Richard Paul Evans to talk about being a white male being like a Jew during Nazi Germany. It rings hollow because it destroys the historical paradigm of oppressor and victim and flips it on its head– now the historical victims of oppression are suddenly the bad guys? And to talk about someone being called out for bad behavior as being morally equivalent to taking someone’s life? Spare me.

Because it harms literally no one to believe a victim when they come forward. What will the consequences be for Chris Hardwick? At most, it will be a loss of reputation which will almost certainly be temporary.

Chris Brown is still making albums. So is Dr. Luke. It’s unlikely that even if they lose their civil suits they will be living on the streets, having lost everything. Devin Faraci, who was accused of assault, got a job with Alamo Drafthouse/ Fantastic Fest less than a year after the allegations came out against him — and he would have continued in that role if it had not been exposed. Even Bill O’Reilly is mounting a comeback tour. So let’s not pretend that people are going to be ruined.

For those not following the controversy around sexual assault and harassment at Salt Lake FanX (previously Salt Lake Comic Con– the third largest con in the country by attendance after San Diego and New York) here is a primer. But it’s bad. If the con’s owners, Dan Farr and Bryan Brandenberg, were to sell Salt Lake FanX or convert it into a non-profit (as many of their critics are calling for, pointing to toxic behavior on their part as well), they stand to gain more than can be imagined– and more than they stand to lose if they continue to let this drip drip drip continue about the harassment and abuse they have covered up. If we choose too believe the victims who have stepped forward, they will still be millionaires no matter what. Same with Hardwick.

So, again, it DOES NOTHING to simply believe victims when they come forward. In fact, every argument of “innocent until proven guilty” and “hear both sides” insulates abusers and harassers. It prevents victims from coming forward because they know the people around the accused will rally around them and prosecute the victim– call her unreliable, question her motives, ask why she didn’t just leave the situation in the first place (obviously you have no idea how abusers operate and can’t see the pathological ways they all work).

In the case of gaslightng or calling into question the accuracy or motives of victims, above all others, there is actual harm perpetrated against people who have already been victimized when we choose to hide behind “we can’t know” or “innocent until proven guilty” or “the internet lynch mob.”

There is a massive change trying to happen in our culture right now. There are people who have been oppressed in order for us to make the progress we’ve made. There are people who are still disadvantaged by the status quo. Our choice is whether we decide to side with the status quo as “good enough” or whether we want to break down systems of oppression and side with the disadvantaged. And if you’ve decided to stay neutral in this fight, or ignore it and pretend it isn’t happening, you’ve already chosen a side.

Believe victims. It doesn’t harm anyone, except the patriarchy.

About that [Spoiler] at the end of Solo: A Star Wars Story

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NOTE: This article contains spoilers. Don’t read unless you have already seen the movie! 

I really liked Solo: A Star Wars Story. I pretty much word-for-word agree with my colleague Brett in his review here, which you should also go read.

But several of my friends asked me the same question. . .  “What the heck? Darth Maul?”

His inclusion is brilliant. A theme of Solo is that everyone has a boss, everyone answers to someone. And so Han’s motivation almost the entire film is just to get a ship and fly away from it all — to be free. It’s a very interesting parallel to Maul, who continually flees from his would-be Sith masters/oppressors and trying to be his own man. However, Han Solo truly just wants freedom. Maul wants revenge.

It’s a masterful inclusion that not only works as perfect nerd candy, but also goes directly to the heart of the theme of the film.

A word on spoilers (looking sideways at you, Variety, and other mainstream outlets whose headlines scream DARTH MAUL!!!! without a thought of spoiling the movie. Of course, none of my friends are terrible enough to spoil the movie in the open– we’re asking in private messages, spoiler-devoted Facebook groups, and so on. Please be like them. Let people enjoy this, because, for me, it was one of the most beautiful reveals in the film. (The others were cameos by both Warwick Davis and Clint Howard and a mention of Teräs Käsi, a reference to the second worst Star Wars video game of all time.)

But back to Darth Maul. Most fans — even big fans — will go into this and say, “Wait. . .  isn’t he dead?”

I will admit, this was my first thought as well, since Maul met his final end on Tatooine in a beautiful duel with Obi-Wan Kenobi in Season 3 of Star Wars Rebels.

But then you remember, Rebels is taking place only a few years before the events of Star Wars: A New Hope (or, in uber-nerdy in-canon parlance, Before the Battle of Yavin [BBY] or After the Battle of Yavin [ABY]). Maul died approximately 2-3 years BBY, and the events of Solo take place anywhere from 10-13 years BBY.

But, wait, how is Maul still alive after getting chopped in half by Obi-Wan Kenobi at the end of The Phantom Menace? 

To that, we need to go to to the Star Wars comics and The Clone Wars cartoon, which have a bunch of great Maul-centric episodes and arcs. Let me lay some of them out, and then you can use these handy links to watch them on Netflix. (Really, you should just watch all of Clone Wars. The first season is a bit uneven, but it gets REALLY good.)

Backstory:

Season 3, Episodes 12-14: Count Dooku has a secret apprentice, Asaaj Ventress (again, you should really watch the whole show!), and he is ordered to eliminate her and goes to replace her. His replacement is Savage Oppress, who bears a striking resemblance to Darth Maul (except he’s yellow instead of red).

Darth Maul Returns:

Season 4, Episodes 21-22: Brothers / Revenge: Savage Oppress goes on a quest to find his long-lost brother, who he feels is alive. He finds him — insane — on the junk planet of Lotho Minor, where he has built himself crazy spider legs out of junk and has somehow managed to stay alive. The one thing Maul clings to is revenge against Obi-Wan Kenobi, and he and Oppress leave on a mission to take it. They end up fighting Kenobi and Ventress, who only barely escape. This leads to. . .

Season 5, Episode 1: Revival:  Maul and Oppress rampage across the Outer Rim, beginning to put together an underworld gang of pirates. This is the first time Maul refers to himself as a “Crime Lord.” When the face off against notorious pirate Hondo Onaka teamed up with Obi-Wan, they escape again, only barely alive.

Season 5, Episodes 14-16: Maul and Oppress put together a crime syndicate backed by Black Sun, the Hutts, the Pykes (who are also namechecked in Solo as a rival gang to Crimson Dawn), and rogue Mandalore clan Death Watch. (Of note: Pre Vizsla, the leader of Death Watch, is voiced by none other than Jon Favreau, who also voices Rio Durant in Solo)

Together, under the name of  The Shadow Collective, they take over Mandalore, drawing in the Jedi and exacting a personal price on Kenobi. I maintain that the episode “The Lawless” is better than a lot of the prequel trilogy in its stakes, emotions, and cinematic achievement. Worth a watch, for this scene only:

At the end of “The Lawless,” we see Maul and Oppress defeated and in retreat and then facing off against a very angry Darth Sidious / Emperor Palpatine. At the end, he says, “Don’t worry. I’m not going to kill you. I have other uses for you.”

And then The Clone Wars was cancelled.

Luckily, some of the unproduced scripts outlined what Palpatine’s plans were for Maul, which were then published in the comic series Son of DathomirDuring this, we see Maul go to war against General Grevious and Dooku, and his Shadow Collective in ruins.

Apparently, from this, Maul has been working in the intervening years to form Crimson Dawn, the criminal group that Qi’ra and Dryden Vos work for.

Wait, but is all this canon, you might ask?

Yes. 100% it is.

Back when Lucasfilm hit the reset button on their Extended Universe and turned all of that content into “Legends,” they kept all six of the produced films as canon, along with The Clone Wars, and then all comics and books from thereafter would be officially canonized.

So, that’s how Darth Maul makes sense being included in Solo. One of the best things I can say about Solo is it makes me want a sequel. I’d love to see what happens next as the stories of Han Solo, the Hutts, Lando, Qi’ra, and Darth Maul all are destined to intertwine some more.

For more of my thoughts on Solo in podcast form, check out the Bored as Hell Podcast

Why Does Rise of The Teenage Mutant Ninja Turtles Dip Into Racist Asian Stereotypes?

Nickelodeon‘s new Teenage Mutant Ninja Turtles animated series Rise of The Teenage Mutant Ninja Turtles has come under criticism for numerous reasons; changes to the dynamic of the Turtles, the stylized look of the series, and drastic difference in the Turtles’ depictions. I have no opinion, no really care about all of that. Beyond all of that, the thing that stood out to me about the brand new trailer is the use of the Fu Manchu/Yellow Peril stereotype in the character of Splinter.

In the first official teaser released Friday, we get a look at what we can expect from the series and a better idea of the characters. We also get a look at Splinter who with his “slanted/slit” eyes, buck teeth, and delivery of lines, is hard to not see a racist Asian stereotype. There’s even a top knot!

This ethnic stereotype (which has no place in a kids show let alone modern society) has its roots in “Yellow Peril,” Western imperialism, racism, and led to exclusionary laws enacted against immigrants here in the United States. In entertainment it’s common and popularized in characters such as Fu Manchu and Charlie Chan both of which tread in stereotypical looks that persist to today. One scratches their head why the creators of this show thought it’s appropriate in 2018.

While there’s movements and individuals fighting for better representation of Asians in entertainment, to see a kids’ animated show perpetuate this hurtful imagery for a new generation is not only misguided it’s downright regressive and has no place on television let alone Nickelodeon which has had a history of excellent children’s programming.

You can watch the video below and see the problematic speech patterns at the 44 second mark and 53 second mark.

Why I’m Relieved Ta-Nehisi Coates Is Writing Captain America

Although it’s been widely rumored for months, Marvel only lately announced that the next writer of Captain America will be Ta-Nehisi Coates. This is excellent news for a couple reasons: first, because after Nick Spencer’s disastrous run where Captain America became a Nazi, the book and the character badly need not so much a “Fresh Start” as a bold new direction – and Ta-Nehisi Coates is a writer who is not afraid of taking established characters in bold new directions, as readers of his continuing run on Black Panther can attest to. Second, more than almost any hero, Captain America is a character who is about political ideas, and as a top-flight political essayist, Coates is better suited than most comics writers to do just that.

Read more

For Conscious Nerds: When the Television Revolution is Not Enough (or My Review/Love Letter to Black Panther)

WAKANDA FOREVER!!!!!!!!!!!!!!!!!

This was the battle cry that has been heard around the world since Black Panther debuted in theaters and the world has not been the same since. This is what fans all over the globe have come to realize that we now see the “normalization” of the superhero genre, that all of us can be heroes, and it is not quite monochromatic as Hollywood would make us believe.

As nerds of color, much like our brothers and sisters, we have yet to see a hero that feels like they belong to us, until NOW.

In the past year, the rise of Black Lives Matter due to the rise of hate crimes, unjust police killings, and devaluation of black bodies has been felt everywhere, so as good art does, it starts to reflect what has happened in the world. This reality has been seen in docu-series such as Time: The Kalief Browder Story and Strong Island. Then, shows like Shots Fired and the recently released Netflix series Seven Seconds has further enforced why people of color feel like they are the target as their lives are constantly prescribed to their surroundings. This is where children of color, like other kids, had to find superheroes who they could identify with and for the longest time, most of us has had to find the altruistic values which echo who we are.

For me, it has been, Batman, who I saw on Superfriends, as I fancied myself smart and I wanted to be rich, maybe one day, but life made sure to let me know that I am not white, and I will never have the same privileges. This finding of heroes like me changed when my Dad introduced me to comics, which is when I found the world to not be so monochromatic, but a kaleidoscope of funk, as I found Power Man, Black Panther, Black Lightning, Turok The Dinosaur Hunter, and many more which are still part of my cherished pull boxes and of course, it became even more blessed when Milestone Comics came on the scene . As I grew older, there were variations on the Black superhero no television and in the movies, but none that any of us would love to dress up as, until Blade made a splash back in the 1990s. Since then, it has become quite monochromatic once again, with the sprinklings here and there, like Falcon or War Machine in The Avengers movies, but not one with them headlining.

Television has been more progressive in that sense, showing prominent storylines and featuring regular characters occupied by actors in shows like Arrow, Runaways, The Flash, Legends of Tomorrow, Smallville, and Agents of S.H.I.E.L.D. That is why shows like Luke Cage and Black Lightning are so important, both shows very different than every other genre show from their respective studios, and each embodying the culture from which their character is from, from the music, the sights and their villains, as the days of making the black version of something, has for the most part come to a close and these characters silver screen portrayals showcase superheroes that feel and look like us.

This is why when it was first announced that Black Panther was going to have his own movie, I had my doubts since John Singleton and Wesley Snipes tried to travel this road back in the 1990s but when I heard they were getting Ryan Coogler, who directed one of my favorite movies Fruitvale Station, I had a feeling it was in good hands. The main thing I wanted to know is how they will bring Wakanda to life, so when the trailers started to hit the internet, as this rendering (below) is what felt the nation would look like, but the vision that Coogler ended up putting on the screen, exceeded my expectations

Which reminded of a book I read about Timbuktu and its king, Mansa Musa who was thought of be the richest man in the world. Then there is the look of the costumes:

Each costume pulled from tribes across the continent of Africa: Zulu, Masai, Himba, Mursi, Surma, Igbo, Basotho, Yoruba, Ndebeleh, and Touareg tribes. The filmmakers did not only stop there they infused the Wakandan language with two different mother tongues, Xhosa is a Nguni Bantu language with click consonants and one of the official languages of South Africa, which was the spoken Wakandan language but the written Wakandan language was Nsibidi which were used by the Igbo peoples, and all the actors made it sound cool. This leads me to the stars of the movie, primarily, the women, who are the strength of the movie.

The character of Nakia, as played by Lupita Nyongo, whose character became the villain known as Malice in the comics as her advances to T’Challa proved to be unsuccessful, but in the movie she still has his heart. Then there is Okoye, as acted by Danai Gurira, who proves to be T’Challa’s right hand which is equal to what she is in the comic books. The character of Ayo as played by Florence Kasumba made her presence known in Captain America: Civil War. Here she still caries gravitas but I am one of those disappointed comic book fans who had hoped her storyline form World of Wakanda would have carried over. The legendary Angela Bassett of course plays Ramonda who is T’Challa and Shuri’s mother in the movie. In the comic books she was a stepmother to T’Challa and T’Chaka’s third wife. Lastly, clearly the breakout star of the movie, Letitia Wright who plays Shuri is not only T’Challa’s sister, but she acts as Q to T’Challa’s James Bond. in the comics she eventually takes over the mantle of Black Panther.

Now let us get to the men, let me start with Ulysses Klaue, who doesn’t resemble his character at all, as played by Andy Serkis. His arm cannon comes close what he has in the comics and feels like a nod. Then there is Agent Ross, as played by the brilliant Martin Freeman. In an average movie his character would have played the “white savior”, but as can be seen throughout the movie, he was the one needing saving. M’Baku silenced him in his court but he did end up using pilot skills to shoot down the plans carrying weapons. The character of T’Chaka, as played by John Kani and Attandwa Kani (yes they are father and son) although dead , looms large throughout the film, for a reason I will get to in a minute Then there is the character of N’Jobu as played by Sterling K Brown, brother of T’Chaka , probably replacing Siya in the comics, who held the title after T’Chaka. This version betrays Wakanda as he sees their seclusion as overprotective and his death drives Killmonger to his returning to Wakanda. The character of W’Kabi as played by Daniel Kaluya serves as T’Challa’s best friend and in charge of National Defense, much like in the comics. Zuri, played by Forrest Whittaker serves the same purpose in the comics but looks vastly different than he does in canon., and plays a huge part to the plot. M’Baku as played by Winston Duke is largely different from how he is portrayed in the comics, as most fans know his “Man-Ape”, which is racially insensitive and connected to ethnic slurs, but his portrayal here is probably one of the most balanced in the film.

Eric Killmonger as portrayed by Michael B. Jordan looks vastly different from his character in the comics but is probably the best villain the Marvel Cinematic Universe has ever seen as the reasons why he is so good because he was complicated. His intentions were not of his own self-interests but to empower indigenous peoples around the world, in New York, Hong Kong, London, which incidentally are the same places Doctor Strange has sanctums. Therefore, I feel he really is an antagonist, one who likes to see better results but takes extreme measures to get there, which underscores the rise of oligarchs around the world, one where their extreme measures cause power shifts.

Lastly, there is T’Challa as portrayed by Chadwick Boseman whose nonverbal acting and poise made him the perfect actor to take on the mantle and undergoes the hero’s journey as he leaned on the end of T’Chaka about keeping their borders as he says in the end scene” the wise build bridges, the foolish build barriers”.

Now let’s get to the major themes, as the plotline is tied to one lie, one which T’Chaka, Zuri and N’Jobu are all tied to, one in which one of them dies, and this is the reason Killmonger comes to Wakanda to take the throne, shows that lies have long lasting effects. This film also talk of the differences between Africans and African Americans, as no line speaks volumes to difference in ideologies , when he said “bury me in the ocean with my ancestors that jumped ship, because they knew death was better than bondage”, as the difference between Eric and T’Challa, is one watching black lives being diminished by the lack of access to power, money and technology like herein America while some parts of Africa have flourished better. This movie more than proves to the world that movies having most people of color can make money if it is good. The other thing about the movie is this is one the few MCU movies which are self-contained, as you don’t see another character, except for Bucky, in the final post-credits scene. Lastly, the reception the movie got before audiences even watched the movie was powerful, as either they cosplayed or dressed in African Dashikis or other African clothing, to express their love for the movie, as can be seen below:

The movie was simply fantastic, the best movie I have seen this year, and best movie to come out of the Marvel Cinematic Universe and one I will watch again. Until then I am booking my flight to Wakanda.

An Encomium to the Black Experience: Why I am excited to see Black Panther

Colonized, broken, subservient, destitute, poor and reliant on aid. These are the common motifs that typically come to mind  when some give an errant thought to the continent of Africa. There is a deep history, explaining aspects of these considerations, mostly colonial but they are not the whole picture. Africa has a rich legacy, a cultural tapestry that stretches back to the dawn of time, achievements that have been unsung or even suppressed. I have been doing a lot of reading lately, mostly on literature that have undertaken a bold and honest look at the history of humankind. I have been studying how the legacies of colonization persist in modern day vestiges of prejudice and systematic disenfranchisement. I have also been looking at how language and narrative can exhibit and perpetuate invented divisions. Two books come to mind here and I would love to suggest them to you, They are Sapiens: A Brief History of Humankind by Yuval Noah Harrari and Dialogical Self Theory by Hubert Hermans, and Agnieszka Hermans-Konopka.  

The former is an exquisite exploration of the journey of humankind, showing the many paths we have taken, niches we have settled in. It is exhaustive and holistic account of the different cultures that have been weaved, as well as how our tools, worldview, philosophy, most importantly how empire has shaped both the earth and ourselves. The latter takes a look at how language and narrative can either build bridges and understanding of the “other” or perpetuate divisions we have come to know. The book does an amazing job at explaining the source and drivers of threat perception upon the globalized stage. Critical to this is the examination and distinction between Monological and Dialogical communication. Monological being a top down and rigid form of discourse that limits the bandwidth of communication. Dialogical communications opens all possible channels, is inclusive and seeks to holistically deal with misperceptions, born from countering positions. 

Racism and prejudice are sterling examples of monological communication. Communication that serves to assuage a perceived grievance or rationalizations oriented towards a particular end, typically division, suppression dominance or protectionist impulse. Think here of the Trump White House’s worldview on immigration, or the attitude of noblesse oblige that continues to plunder African through the Charitable Humanitarian Complex” I count myself very fortunate to have lived in a country where my personal encounter with racism has never gone beyond the threshold of mere offence. My life has never been threatened, nor my personal or professional pursuits limited due to my race. Nevertheless I recognize that a system of suppression and oppression are firmly in place with various degrees of manifestation. As a black male in Canada, I cannot discount the full and complete legacy of  dispossession and disenfranchisement that continues to be the plight of my aboriginal brothers and sisters. Nor the strained relations between law enforcement and many people of colour as well as other vulnerable minorities. There is a system and it persists.

Black Panther, a story of the technologically superior and unconquered super power of Wakanda, is a welcome opportunity to buck the exaggerated and monological narrative surrounding Africa and perhaps other culture served the same treatment in history.

I do not know as much as I should about my deep ancestry, but my Grandmother has told my family she is descended from the Maroons. A group of West African slaves taken to the greater and lesser Antilles to fill the void left by the indigenous genocide that took place there. I am very proud to know that the Maroons were among some of the first slaves to revolt against their cruel masters in Jamaica. Knowing that I have that blood in my veins has been everything for me. For years I have pondered at the level of cultural and spiritual dispossession that European colonialism has dealt to my people, I have wondered about the cultural traditions I was torn from as a result and the Gods I have not had the opportunity to worship. My orientation towards Africa has always been a curious wonder, deep longing and pain that I do not know it as well as I should.  When I think about achievements like the Library of Alexandria, and the strength and monuments built by many on the continent I wonder about the real life Wakanda’s that have evaded modern western history’s record, narrative and respect.

Will there be some who are put off by this film? Of course, the symbol of the Black Panther and Black Panthers has always been controversial and weary by those determined to subvert and twist it for some of the reasons listed above, none of that will detract from the beauty and majesty of this re-presentation of black culture.

What I am most excited for is the generation of black boys and girls who will look to the big screen and see towering and talented heroes who look just like them. I look forward to those seeking reconnection and a homecoming, I look forward for the dialogical discourse that this film will no doubt launch. I look forward for the raising of a voice so often distorted or muted in the media.  I look forward to the day when parents no longer have to warn their children about walking at certain hours or wearing hoodies….they can wear capes….they can learn science. They can clothe themselves in vibranium, be bulletproof and achieve epic feats.

Whether in Marvel’s Wakanda, or DC’s Vathlo Island (Krypton), Afrofuturism is a welcome balm for those seeking reconnection with their motherland, inspiration and an invitation to a deeper understanding of race relations.

If we can confront historical grievance and misunderstanding in an inclusive and dialogical way, without suppression, there is no limit to what we as a human species can achieve or heal. I am proud of this opportunity, and it moves me deeply. Wakanda Forever!

I wrote this after watching Kendrick Lamar‘s video All the Stars, featured on the Black Panther original soundtrack. It almost brought me to tears. Take a look, a beautiful tribute to African dress and culture.

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