The Politics of Marvel’s Black Panther

The Politics of Marvel's Black Panther

Marvel’s most important black superhero has evolved a lot over 50 years. The Black Panther has gone from being an under-utilized figure in the background of Avengers group shots to arguably being the most fearsome strategist in the Marvel Universe. His elevation to Marvel’s top tier is a fascinating meta-story.

To me, the core dynamic that makes the Black Panther work comes from a set of paradoxes churned up by the collision of real world and fictional tropes and stereotypes. That tension shows up in the first panel of the first page of Fantastic Four #52, the 1966 issue where Stan Lee and Jack Kirby introduced the character.

The Politics of Marvel's Black Panther

As three members of Marvel’s First Family fly in an advanced aircraft provided by the Panther, Ben Grimm wonders aloud, “But how does a refugee from a Tarzan movie lay his hands on this kinda gizmo?” Let’s count the assumptions in that sentence:

• that the Africans in a Tarzan movie are a reference point or even representative of anything

• “lay hands on” strongly implies that the Thing thinks that there’s no way an aircraft this advanced could come from Africa. He had to have come across it from some other, more sophisticated individual or culture.

A later panel hits the same note of incredulity, this time voiced by the Human Torch.

The Politics of Marvel's Black Panther

Now, it should be noted Lee and KIrby were doing their job as storytellers here, crafting a set of expectations for the reader that they’d upend for a surprise later in the issue. It would turn out that T’Challa is in fact a genius on par with Reed Richards and cunning enough to trap and nearly defeat the Fantastic Four in battle.

The Politics of Marvel's Black Panther
Talk shit? Get hit.

But the raw material for those expectations was drawn from the real world. The Tarzan movies Lee references were only the most recent version of the idea that Africa was a wild Dark Continent populated by uncivilized “savages”. That belief was taken as a given for centuries by that point and still persists today. So it’s laudable that two middle-aged Jewish men working in 1966 New York City dreamed up an African superhero king who rules over an technologically advanced nation. But the way they did that simultaneously reinforces the very same stereotypes and value judgements the Black Panther was supposed to dispel.

The Politics of Marvel's Black Panther

From the first time the reader sees and hears Wakanda, the fictional country is a mix of paradoxes. It’s super-advanced, has never been colonized and hides from the rest of the world. It’s almost as if Lee and Kirby knew they had to temper the idea of a black super-society with the element of making it hidden and doubling down on nativism. While Wakanda is shown as being ahead of much of the world with regard to technology, the rest of its culture gets portrayed with outdated stereotypes.

The first two stories featuring T’Challa beg the question: what were Stan and Jack trying to accomplish when they created the Black Panther? As is often the case in many instances from Marvel’s early days, debate swirls around exactly who did what insofar as initially conceiving characters. Whether it was Lee or Kirby who first came up with T’Challa, whoever did so with the aim to come up with a superhero who didn’t look or act like the other characters in their stable. There was likely a mix of altruistic and business-minded inspiration at play. The Panther’s first appearance happened during the Civil Rights Movement of the 1960s, and Marvel’s editorial staff were probably watching the newscasts that showed black Americans getting brutalized by police as they sought to change the prejudicial law of the land. Given the times that he was created in, it’s very plausible that The Black Panther was Lee and/or Kirby’s way of saying that a black person was as capable of being a hero as their white characters. Even more daring, the Panther seemed to be more cunning and intelligent than some other heroes. Yet, making him African gave Marvel license to call on the exoticization of non-American black people. T’Challa wasn’t like the black folk American readers were used to and this notional distance kept the Panther away from the marches, murders and discrimination in the United States. In the early part of his publishing history, he’d be a character that funneled escapism more than commentary.

The debut storyline for the Black Panther created a template for many subsequent turns in the spotlight. Many of his most significant spotlights were pegged to social justice issues. He was central to these plots insofar as he was one of very few black characters through which racial tensions could be channeled. Ultimately, however, it was mostly the white personas in these adventures who experienced character growth. The Panther remained safe, stoic and a little hollow.

The Politics of Marvel's Black Panther

Fantastic Four #119 is an example of this paradigm. Written by Roy Thomas with art by John Buscema, Joe Sinnott and Artie Simek, the one-off story used the Panther was used to address the racial politics of the day. T’Challa is trapped in the fictional country of Rudyarda, which is a clearly a stand-in for South Africa. (The country’s name is a reference to Rudyard Kipling, author of The Jungle Book and, relatedly, the poem “The White Man’s Burden.”)

The Politics of Marvel's Black Panther

On their way to help T’Challa, Johnny Storm and Ben Grimm stop a skyjacking. A frequent occurrence in the 70s, these airborne crimes were often politically motivated. The sequence serves a thematic underpinning to the Fantastic Four members’ rescue mission, showing them opposing people who’d commit violence in the name of politics.

The Politics of Marvel's Black Panther
The Politics of Marvel's Black Panther

Roy Thomas uses T’Challa to comment on the racist evils of real-world apartheid, but it comes during a time when Marvel changed the character’s superhero name to the Black Leopard to avoid any associations with the Black Panther Party. Once again, seemingly noble intent collides with business calculus.

The Politics of Marvel's Black Panther
The Politics of Marvel's Black Panther
The Politics of Marvel's Black Panther

 Click to Continue Click to Continue

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: