I recently sang the praises of the new Spider-Gwen series, but the illustrious Ms. Stacy is not the only spider-broad to get her own series coming out of the Edge of Spider-verse event. I meant to pick up the first issue of Silk when it came out last month, but my shop was sold out by the time I got there. I finally got my hands on the second printing of Silk #1 the other day, along with the first printing of the second issue, and I’m pleased to report that it’s a tremendously enjoyable read.
Virtually any time that something happens at the intersection of Black people and comics, I get a message on Facebook. That’s because my friends love me, I’m sure, but it occasionally leads me to be inundated with eight or nine messages about the same thing. Take, for example, this video of Michelle Rodriguez, which was sent to me by about twelve people a month ago:
In the video, Michelle offers a few choice words on diversity in casting: “Stop stealing white superheroes.” It caused a bit of an uproar in some circles, and Michelle made a video clarifying her statements. But first, let’s address the premise itself. Are all of these superheroes, “originally” white, whose races are being changed, being stolen? First, a superhero is functionally a mythological entity (yes, they are—I will fight you), and cannot be stolen. They can, however, be appropriated, and this may be closer to what Rodriguez meant. My initial reaction was confusion, both personal and academic. As an individual, I was confused at why another person of color objects to the practice of diversifying white characters, especially Green Lantern who has already seen a Latino character—Kyle Rayner—in a print run.
Academically, I was confused because the notion that white characters can be “stolen” or “appropriated” when they are primarily what’s made available to young people of all races, while even our fantasies are “regulated by white believability” is troubling. Even more than that, myths are shaped, stolen, borrowed, passed around, and stripped for parts regularly. That’s their nature and cannot be separated from their purpose. It’s what they do. If you don’t believe me, on the left is a picture of Chinese Jesus.
There’s no universe in which I’m sad that Thor is a woman in the newest print run, and I don’t feel that men have lost anything; Thor was a man for all comic print runs beforehand (except for that time he was a frog). A little turnabout is fair play. Similarly, I’m not upset that Heimdall was played by Idris Elba or that Johnny Storm is being played Michael B. Jordan. I’m not even upset that Donald Glover keeps teasing us with this Spider-Man thing, or that Tyrese Gibson keeps telling us how ready he is to play Green Lantern (although I wish they’d stop teasing us, I’m getting chafed over here).
In the highly unlikely event that anyone has forgotten the incredibly compromised position our hero found emself in at the end of Agent of Asgard #11, allow me to recap in brief:
- No friends
- Mostly naked
- Tied to a chair
Up to speed? Good. With things looking unusually grim even by Loki’s standards, Evil Future Loki takes the opportunity to regale his captive audience with the story of why he—in all his evil, bitter old man-ness—is Current Loki’s only possible fate. Of course Evil Future Loki is a vicious madman, but under the circumstances, it’s becoming hard to disbelieve him.
For the sake of clarity, I find it prudent to point out that while Current Loki is genderqueer and is referred to using the neutral pronouns ey/em on this blog, Future Loki seems to reject, and even mock, this facet of his past self’s identity, so Future Loki is referred to as he/him.
Okay, if you’re a comics fan, or a sci-fi/fantasy fan in general, you’re probably pretty comfortable with time being less of a straight line, and more a mixed-up ball of timey-wimey… stuff. That said, it probably threw you a little bit to see All-New Hawkeye launch negative six weeks after the conclusion of its predecessor, Matt Fraction’s beloved Hawkeye. Oh well; Book One’s use of flashbacks helps you take the odd ordering in stride.
In any case, the adventures of Clint & Kate are now in the hands of Jeff Lemire and Ramon Perez, under the editorial guidance of superstar Sana Amanat. Amanat—now Marvel’s Director of Content & Character Development—headed up Fraction’s Hawkeye, and her portfolio includes Kelly Sue DeConnick’s Captain Marvel, Daredevil, and of course, Marvel’s emerging flagship, Ms. Marvel herself, Kamala Khan.
The soul-crushing downward spiral into madness and despair continues this month in Agent of Asgard #11, both for the reader and for our dashing anti-hero(ine). As if being constantly consumed with guilt and distrusted by most wasn’t stressful enough, Loki’s Big Dark Secret is now public knowledge in Asgard, and if there was ever hope for reconciliation, it’s likely long since gone. Over the course of #11, Loki finds emself completely friendless, then virtually homeless, then mostly naked, gagged, and tied to a chair. It’s a wild ride.
After years of public begging from all corners, Marvel Studios and Sony Entertainment have come to an agreement on the rights to Spider-Man. Spider-Man has been a part of almost every major Marvel crossover storyline, going back years, and much of the anticipation over this deal has been about his inclusion in a film version of the “Civil War” storyline. It’ll be great to see Spidey out there as part of the MCU. While I’m not entirely thrilled about many of the implications, it does give me the opportunity to talk about Captain America: Civil War and Spidey.
As one of the few comics folks on this blog, I feel I’ve been remiss in my duties. Yes, friends, four issues’ worth of the new lady-led Thor comic have gone out into the world, and here I haven’t written a damn word about them.
Let’s fix that. (Spoilers below for issues #1–4.)