Downloaded from YTS.MX
Official YIFY movies site: YTS.MX
JOE QUESADA: The idea of dual identity became...
really clear to me when I started at Marvel full-time.
It stemmed from a conversation I was having with Stan Lee.
I facetiously asked him a question
that I didn't think there was an answer for.
I said, "Stan, how do you create the perfect Marvel character?"
He's, like, "Joey, I'm gonna tell ya."
He said, "Imagine Spider-Man
"is standing at the precipice of a building.
"He's just overlooking the city.
"And he takes it all in,
"and he whups his web, and he jumps off.
(SWISHING AND WHOOSHING)
"Awesome scene.
"But tell me who he is?
"Tell me who he loves.
"Tell me who loves him. Tell me what his problems are.
"And now, when he flies off that building,
"our hearts clutch because we're in that suit.
"Outside of that, it's just a red and blue suit jumping off a building."
And that really struck a chord with me
in understanding the alter ego
is the most important part of the superhero.
BRIAN BENDIS: As old a tradition as telling of stories,
there's always been a story about
a human with other powers teaching us something.
CHRISTOPHER PRIEST: It's the power of fantasy. I was hoping
that the hero would show up and rescue me.
In real life that rarely happens,
but in comics it happens every 30 days.
DAVID WALKER: Comic book superheroes,
they serve as our moral compasses,
they allow us to make sense of the world that we live in.
ROY THOMAS: Every comic book generation gets the comics it deserves.
You can't expect today's Spider-Man
to be exactly what it was 20 years ago.
Things change.
Who puts that mask on?
That's really what inspires me about superhero stories.
They are fundamentally about figuring out who you are.
QUESADA: You look at any great Marvel story,
I don't care who the character is,
what the team is,
it's always a great story about the person behind the mask.
NARRATOR: In this 1941 edition of Captain America,
the Captain was up against a Nazi villain called the Red Skull
and the dialogue went like this,
"This nation was founded by dissidents, by people who wanted something better."
I think superheroes have always been there in American culture,
at least since the concept was first introduced in the late 1930s.
Superheroes got us through the tail end of The Depression,
through World War Two, through the '50s, the '60s, the '70s, the '80s.
Every moment along the way, the superhero has offered us
a language to think about our political, civic, and personal identities.
Comics, as a medium, speak very symbolically.
I think because they're so larger than life and are so allegorical.
You have this opportunity to build interesting social narratives.
JENKINS: At the core, are fundamentally civic questions.
Questions about how we govern our society.
Is it a vigilante? Is it someone in the service of the police?
Is it a man? Is it a woman? Is he Black? Is she white?
All of those questions are fundamentally questions about identity.
And Marvel's universe is right smack in the middle of those questions.
PETER SANDERSON: Marvel from the very beginning,
was radically different as a comic book company.
You had characters who sort of foreshadow
what the classic Marvel hero in the '60s became.
First of all, you had the original Human Torch.
Not to be confused with the later version in the Fantastic Four.
Despite the original Human Torch's name, he wasn't human.
He was an Android, an artificially created being,
who tried to pass as human and, in fact, did.
But you already have the idea of what became Marvel tradition
of the hero who is an outsider,
who is in some way alienated from the rest of the human race,
who, nonetheless, tries to fit in.
Who tries to help a society that, at times, was afraid of him.
SANA AMANAT: What Marvel does really well
is play with secret identities
and plays with the concept of what an identity is.
And what that really means is about
the dualities that we all encompass, right?
At work, we're one person, when we're at home, we're another person.
And I think, specifically, within the Marvel landscape,
it's not necessarily about hiding yourself,
it's about uncovering yourself.
SANDERSON: Characters donning masks to become superheroes.
This is the guise in which they can exercise their higher power.
The concept didn't originate in comics.
Before the rise of superheroes, you had Zorro.
The idea of a person who takes on
another heroic identity that's unknown to the general public.
If a man must die, it's up to the law to decide that.
SANDERSON: It's not just a disguise.
A mask, the costume, enable a person
to express a side of himself that is not visible in his ordinary identity.
JENNINGS: One of the reasons the idea of a secret or dual identity
is so powerful is 'cause we all have
these multiple notions about ourselves, right?
And, so, someone like Spider-Man kind of becomes every man.
This notion that, in our mundane world,
we're also capable of something far greater.
That's the thing, especially with Marvel characters,
where so many of them were mundane people.
And I think that double consciousness
allowed these larger-than-life characters to also be very relatable
on a personal, human level.
We try to, just, ask the reader to accept one thing.
That a person has a superhuman power.
He can scale a wall or has the strength of 10 men or whatever.
But once accepting that, we then try to write it as realistically as possible.
The mere fact that he has superhuman power
doesn't mean that he may not have acne,
or he may not have trouble with his girlfriend,
or get a sinus attack in the middle of a fight,
or perhaps have money troubles, you see?
We don't just make them big and powerful
and they always win the case and everything is fine.
WALKER: You look at a lot of the creators in the '30s,'40s and '50s,
many were Jewish immigrants, either born in America
first generation or some of them came over from parts of Europe.
And, you know, when you're an immigrant,
they lived, to a certain extent, a dual identity.
WEINSTEIN: I think it's no coincidence that Stan Lee was born Stanley Lieber
or Jack Kirby was born, you know, Jacob Kurtzberg,
and they themselves create characters who have double identity.
One identity at home and another identity in the workplace.
NEAL KIRBY: My father, uh... Growing up, it was a rough life.
Street gangs back then were... You had a Jewish street gang,
an Irish street gang, an Italian street gang,
and it just depended which block you lived on,
and comic books in the late '30s were just coming out,
and he saw that as an avenue to escape the Lower East Side.
The late 1930s were a particularly anti-Semitic period.
Jews were barred from many Ivy League schools,
country clubs, even entire neighborhoods.
So I think...
Their creations, in many ways, paralleled their own lives
and what was happening in the world at that time.
(INAUDIBLE)
JENKINS: For those groups that had been excluded from the political mainstream,
those metaphors of ripping your coat off and being a superhero,
putting on a mask and going out into the night.
Those metaphors are incredibly powerful ways of thinking
what you could contribute to a society that's in turmoil.
WEINSTEIN: It's no coincidence
that the front cover of Captain America #1 sees, you know,
Captain America smashing Hitler across the face.
What a powerful image.
I think that's one of the most important images of American pop culture history.
And who better to be commenting than assimilated Jewish immigrants.
KIRBY: A lot of people were looking at them like, "Wait a minute."
We have an American character punching a foreign head of state in the face.
We weren't at war with them yet.
But if there's one thing my father did not like, it was bullies.
And Steve Rogers became a, you know, like, the vehicle for that.
"Punch me as many times as you like and I'm still getting up."
So, that was my father.
ALL: One nation, indivisible,
with liberty and justice for all.
WEINSTEIN: I think, you know, the superhero
can be looked at as an assimilation archetype.
It's wanting to belong.
I mean, you know, like, look at Captain America.
He's the flag embellished as costume.
You know, he's Rockwell, he's apple pie.
But, really, he's the wish fulfillment of assimilated Jewish artists
who wanted to be accepted as All-American.
I think it's interesting that if you look at
a lot of early characters, they fit in.
But if you look at those particular characters
that actually couldn't hide their mutation,
that were created after the Golden Age of Comics...
To me, that actually starts to map itself onto other notions of otherness.
Then we're talking about, like,
"Well, you get isolated because of what you look like."
WALKER: The way I grew up, I always felt like the odd one out.
Someone who didn't quite fit in, no matter how hard he wanted to.
Judged a lot by the way he looks, that...
You know, the clothes that I wore, you know?
And just wanting to be yourself.
Dwayne McDuffie and I had a conversation many years ago.
"Who's your favorite Black superhero?"
My favorite, you know, Black superhero is The Thing,
and he was, like, "Okay. Why?"
And I said, because he's the one that always stands out in a room,
no matter where he's at.
And he's always going to be judged by how he looks
before he's judged by who he is.
And, to me, that's something that's very universal
to my experience as a Black man.
You know, The Thing was my father.
Ben Grimm kind of acted the same way my father would act.
Or my father would act the way Ben Grimm would.
You could interchange the two.
I think, in some ways, my father almost envisioned himself.
This humanoid, tough guy creature that could protect people.
You know, you have the story of the golem.
A mythical creature from the mud
that would somehow save the Jews of Eastern Europe.
I think it's very simple that writers write about what they know about.
And many of these themes in superhero narrative are rooted in Biblical story.
For example, The Hulk.
The Hulk was originally gray.
Gray being the golem, which actually formed the blueprint of Frankenstein.
And many characters in pop culture...
The golem figure...
He's not really a bad guy.
He's just... He looks different, and because he looks different,
you know, he's feared, he's misunderstood,
he's the rootless wanderer.
So, I think there is a particularly Jewish worldview.
JENNINGS: To me, Hulk is a man of color, to a certain degree. (CHUCKLES)
And, so, when you look at constructions around The Hulk and Monstrosity
and how Black men are kind of put into that particular box,
I can't help but think of the James Baldwin quote,
"To be Black and conscious in America is to live in a constant state of rage."
GREG PAK: Well, Bruce Banner has this terror of The Hulk.
He sees The Hulk as a monster.
But The Hulk is part of him, and Banner himself is a hero.
You've got this very simple kernel,
which is that anger triggers you turning into a monster.
But what if this part of him is the only part that's out there
and is thrust into a situation
where his anger and his strength are seen as virtues?
And that very simple thing allows you to look at this
monstrous version of ourselves and see how the thing that we look in ourselves
and call a monster, actually is redeemable.
I love that element of superheroes.
When you have a simple rule, a very simple set-up like that,
it allows you to dig deep and just do a lot with subtext
and with the emotional story.
PETER: Uncle Ben is dead and, in a sense, it's really I who killed him
because I didn't realize in time...
REGINALD HUDLIN: When you look at the Marvel characters
created in the '60s and '70s,
versus the DC characters that were created in the '40s,
the big difference is the introduction of psychology.
You have Spider-Man. He's a superhero, but he's neurotic.
You have The Fantastic Four who's this dysfunctional family.
So you get a new angle on things
that you didn't see in those archetypes created in the '40s.
TOM BREVOORT: The thing that Stan and Jack kind of brought, at least initially,
was they made the characters, at the least, two-dimensional.
Which is to say, they were more focused on them
as the people inside the costumes and their problems
than they were in the overriding tropes of superhero comics.
QUESADA: Batman. Young Bruce Wayne walks out of the movie theater,
a criminal comes in, shoots his parents dead.
From that moment on, literally from that moment on,
little Bruce Wayne is dead.
Batman then becomes Batman
and as his life goes on, he uses Bruce Wayne
in order to facilitate what Batman does.
Bruce Wayne is the mask. Batman is the real character.
What Marvel did in the '60s was they switched the paradigm.
It's Peter Parker who's really important,
and when he puts on the mask, that becomes the facade.
He becomes somebody completely different.
He's able to quip. He's no more the shy kid from school.
He's able to do all these different things
that he's not able to do in his regular world.
RALPH MACCHIO: With Spider-Man, for example,
you were really interested in Peter Parker.
You were more interested in his life than what he did as Spider-Man.
It was "What was going to happen with Aunt May?
"Was he gonna be able to pay the bills?
"What was his romantic life going to be like?"
You had Flash Thompson who is this high school jock
and he despised Peter Parker and he mercilessly picked on him.
But Flash Thompson was a huge fan of Spider-Man.
So, that was great.
That was just another way of Stan playing with the idea of secret identities again.
What lonely kid, and if you're not a lonely kid
you have no business reading comic books.
What lonely kid has not loved the idea of...
"Oh, if they only knew who I really was"?
Peter Parker, classic example, you know?
The kid everybody bullies and picks on and takes lightly.
And he puts on the mask, he's not just this great athlete and a superhero,
he's a smart aleck.
JENKINS: I love that Peter Parker is tongue-tied
and Spider-Man zings one-liners right and left.
It's circling the villain and just making total nonsense
of his ability to even think as he's trying to do his grandiose monologue.
But that gap between the tongue-tied Peter Parker
and the zinger-slinging Spider-Man
sort of captures something of the ways we see ourselves.
The person we see ourselves as being and the person we'd like to be
are both brought together around the same figure.
When I would pick up a Marvel comic book,
it taught me to, in life, describe yourself with an adjective
and tell the world who you are.
For instance, The Amazing Spider-Man,
The Incredible Hulk, The Invincible Iron Man.
And I remembered the description of those characters always stuck in me,
you know, to the point where, sometimes,
when I would have to walk from my house to school,
I would say, "Today I'ma be The Invincible Iron Man,"
and if these bullies come mess with me or, you know...
"I'ma be stealth today. I'ma be like Spider-Man."
So when hip-hop came over, well, to me it was like,
"Oh, my God, you can tell stories about yourself over music?"
So my whole career, I was just pretending to be
"the most powerful entity in the hip-hop universe."
And that imaginative creation of character and identity
was all because of comic books.
When I get on that mic,
I'm no longer mild-mannered, Catholic school kid
wearing glasses, nerdy, comic-book-reading, straight-A student.
I transform into the mighty...
DMC doesn't mean Darryl McDaniels anymore.
Now it means "The Devastating, Mic-Controlling," DMC.
McDANIELS: (RAPPING) A superhero like D when it comes to war
I come in like The Hulk and The Mighty Thor
The most powerful in the hip-hop universe
BREVOORT: The one choice that got made very early on
was Stan and Jack put The Fantastic Four and then Spider-Man
and then The Hulk and then Iron Man, and so forth in the real world.
"Well, what's the big deal about that?"
Up to that point, superheroes existed in sort of fantasy worlds.
Superman lived in Metropolis, which was not a real city.
It was an idealized version of whatever New York was,
but not a real place.
It blew my mind when Peter Parker really lived in Queens.
Stan Lee was a genius because the superheroes was really in New York City.
So, it wasn't pretend to me. It was real.
(CROWD CLAMORING)
QUESADA: Stan was so ahead of the curve.
And to me, that was ultimately the hope of Marvel comics.
'Cause if you're growing up in the '60s, in those incredibly turbulent times.
The civil rights movement, the women's lib movement.
Everything was just bubbling.
And Stan and Jack and everyone that was there,
they present a world in which it just is.
BREVOORT: Stuff is going on everywhere. It's in the news.
And both Stan and Jack, in their own ways, are aware of it and respond to it.
Steve Ditko, he would just start sticking characters of color into crowd scenes.
There'd be a bunch of kids at Peter Parker's high school
and there'd be Black kids.
He would just draw them that way and there they were.
And there would be no comment about it, you know?
Nobody would address it or anything. They were just there.
There's an issue of Spider-Man
where Spider-Man has been trapped by the Green Goblin and the Crime Master
and these, like, two or three beat cops
come to help him out and one of them is African-American.
Has the comic book industry been pressured much by Black people
to get more Blacks into the comics or does that have anything to do with it?
Again, I can't really talk to the whole comic book industry,
but as far as we're concerned, it didn't require any pressure.
We were doing it before there was talk of the Black Movement.
Ten years ago we had a book called Sgt. Fury and His Howling Commandos.
We billed it as the war magazine for people who hate war magazines.
We didn't try to play up Black people particularly,
but we tried to make it realistic.
And Sgt. Fury's platoon had a Jewish boy named Izzy Cohen,
an Italian named Dino Manelli, a Black soldier named Gabe Jones,
and we've been doing it ever since.
Just about every one of our books has Black people in it
and people of all types.
And not in a token way
but, my God, there are people of all types in the world we live in.
(INAUDIBLE)
And the one that sort of changed the game in terms of,
yeah, bringing characters of color into the superhero world is the Black Panther.
He was debuted in Fantastic Four, and Fantastic Four was, at the time,
Marvel's best-selling comic.
And in that first issue, Panther is treated like any other character.
In a sense, surprisingly well.
The fact that he is an African hero is almost secondary.
He shows up. At first, he's a mysterious player,
he invites the Fantastic Four to his country.
He immediately jumps them and spends 20 pages beating the hell out of them.
It turns out, by the end of the thing, he's not a villain,
he's actually a good guy, and he's doing this to test himself,
you know, which is kind of a crappy thing to do to the Fantastic Four,
but they're superheroes.
It's all part of the job, and by the end of the issue,
he takes off his cowl in front of the Fantastic Four
and they're all like, "It's the King of Wakanda,"
and nobody says a word about the fact that he's a Black man.
QUESADA: For the readers, you know, when T'Challa takes off his mask,
the readers go, "Oh, my God. It's a Black superhero."
But the Fantastic Four, they don't say that.
The beauty of it was that it just was.
So if you're in the middle of all this strife,
in the middle of all this upheaval,
you read those books and you go, "That's the world I want to live in.
"That's where I want to be."
SANDERSON: The Black Panther, T'Challa, is a king.
I think this was a conscious choice to make,
that the Black Panther is very impressive.
That is, in effect, the point of the first story.
I think it is meant to bowl the readers over, to impress them with this guy.
What's amazing about a lot of the early superheroes
is that sometimes those early characters came out perfect, right?
It's like, normally, the first pancake isn't so good,
but Superman, perfect.
Batman, perfect.
(CHUCKLES) Wonder Woman, perfect. Captain America, perfect.
So the first Black superhero, Black Panther, comes out perfect.
He's this cool, elegant, handsome guy who's just got it on locked.
I love it! This is the guy who has it all.
And one by one, he beats each member of the Fantastic Four.
Now, a few issues ago, they beat Galactus, who eats planets.
So Black Panther beats the guys who beat Galactus.
Ergo, Black Panther is the baddest cat in the Marvel Universe. The end.
BREVOORT: Now, by '66, it was pretty clear
that the Marvel approach to doing comics was working.
Stan and Jack and Steve, everybody realized,
like, "Something's going on here. We're selling really well
"and proportionately selling better than everybody else."
And, in fact, it would be 10 years
before rival companies had any ongoing Black characters in a lot of cases.
ARCHIE GOODWIN: These are character sketches I had John Romita work on for us.
Great. Now this is the way he really is.
-This is it in real life. -Yeah.
And this is how Johnny's tried to glamorize it a bit.
LEE: I like the pilot very much, yeah. She's a Black girl. That's good.
MAGGIE THOMPSON: One of the problems with diversity in comics
is that though the creators may seek to have diverse characters in their stories
and diverse storylines
for years and years and years, the primary writers and artists
were white guys in their 20s, 30s, and 40s.
PRIEST: I'm the first African-American editor,
and to my knowledge, the first African-American writer
in, what we consider, modern superhero comics.
I was 17 years old when I started working there.
I had no idea that I was the first Black guy in the front office.
I remember one morning, I came out of subway
and I was skipping down Madison Avenue.
I was skipping to work, 'cause I couldn't wait to get there.
At some point, a couple blocks, I realized I was skipping
and I said, "Black people don't skip."
DENYS COWAN: Rich offered to take me to DC Comics
and introduce me to editors there to show my work,
and the first person he took me in to was the art director at DC.
I went and showed this guy my work.
It was a white guy. Everyone was white.
Nodded at me and he looked at it, put it all together, handed it back,
and he said, "This is really great, kid,
"but we already got a colored artist working here."
Shortly after that, I was up at Marvel and I met the editor at the time.
I think it was Jim Shooter. And he didn't call me a colored artist.
He just said, "Go see this editor and they'll see what they can do for you."
NOCENTI: People always say, "Was there sexism?"
There was kind of the opposite of sexism.
Even though there weren't many female fans yet,
and, probably, the percentage of the office was mostly guys,
everybody was a mentor.
On any typical day at Marvel Comic, there was an open door policy,
any kid could come in with his portfolio and annoy us long enough
'til somebody would pick it up and go,
"Okay. Well, here's a sample page. Try inking that."
And then as the day went on, you'd get the bottle of whiskey out of the drawer
and, you know, and then (BLEEP) happens.
Story ideas come up.
PRIEST: I can't express enough how much fun these lunatics were who worked there.
Everybody was just a lunatic at Marvel.
It was completely unpolitically correct.
Yes, there were Black jokes,
but there were Polish jokes, there were Italian jokes, there were Jewish jokes.
So I had no sense, when I started writing Black characters,
of changing a paradigm or making a statement.
BREVOORT: Moving into the '70s,
as there was more of an interest in developing further superheroes of color,
I don't know how much anybody was thinking that hard
about a lot of the choices that were made.
A lot of the writers and artists were very young.
So, even the amount of life experience that a number of these people had
probably colored the way they depicted things.
They absorbed the culture that was around them like everybody else,
and it filtered through the work that they did.
So there are definitely instances where people didn't present characters
as well as they could have.
You know, Luke Cage in particular, he was intended to be, effectively,
a blaxploitation character.
Luke Cage was created because of Shaft.
That's what led to that blaxploitation period.
PRIEST: Marvel went through a blaxploitation phase
with Brother VooDoo and Luke Cage, you know, "Sweet Christmas."
TONY ISABELLA: I was very drawn to characters of color.
And this stems from my growing up in Cleveland,
which was a very segregated town,
and my first Black friends were comic book fans,
and I thought it was really unfair
that there weren't more Black characters for them.
WALKER: Luke Cage, as a child, was one of my most favorite books at Marvel.
My cousin and I discovered Luke Cage together
at a 7-Eleven in the '70s when we were kids.
We read that comic until it fell apart.
DUFFY: I think it's because he was one of the first African-American superheroes
that they didn't wanna mask him.
It's like, they were so doing the right thing,
finally having heroes of color, it was, like, yeah, they wanted people to see
this strong, handsome champion of justice who was also a man of color.
If you read the Luke Cage comics,
there's nothing about Luke Cage that is actually a Black person, right?
The way he talks, the way he acts,
there's this bizarre notion of what "Blackness" is supposed to be.
PRIEST: A lot of artists, when they approach Black characters,
they give them this sort of slang. And it's not real slang.
It's like what white people think slang is.
WALKER: A lot of times you square with, what I call, the lack of humanity
in some of these characters the same way you reconcile
your childhood love of a James Bond movie and then watch it as an adult and go,
"Ooh, wait a sec. James Bond is hugely problematic, right?"
ISABELLA: When I was writing Luke Cage in the '70s,
I wasn't, as they say, as woke as I am now.
I tried to tell good stories that respected the character,
that treated him not as something special but just a great hero.
This was a growth process for all of us.
You don't suddenly wake up to the world around you and go,
"This is how it should be." You work your way towards there.
PRIEST: It's rare for me to craft a story
from the perspective of being a Black writer,
because I don't consider myself a "Black writer."
I'm a writer. I can write anything.
I wrote Luke Cage for a long time.
Eventually I said, "Well, on demerits,
"how should this person present themselves?"
I didn't have him using the King's speech, but some of that stuff had to go.
JENNINGS: I think that it does start out as this exploitative piece,
but through, like, reappropriation, we can actually start to sample
and remix these things and make them our own.
To go from, say, like this kind of jive-talkin',
steel-hard skin-having character
to this really complex father figure and leader
who resonates with a lot of people who live in this country.
I love Luke Cage, you know?
NICOLE GEORGES: I think identity in comics is huge.
'Cause when you're a kid, those are the people you look up to,
'cause they represent good.
On the page, it's like, "This person's good, this person's evil."
I think everyone deserves to see themselves
reflected in the media they consume,
and it is crazy to think
that people would spend so much money on entertainment
that does not at all reflect back their body type,
their class background, their race, their sexuality, their gender.
It's wild that people have been entertained solely by products
that didn't reflect any of those things back to them,
or did in like a real homogeneous way, for years and years.
(SINGING) Rubbley-ub-dub,
Oh, how she'll get ya with her Rubbley-ub-dub
She'll really throw ya with her Rubbley-ub-dub,
Hear them yelling...
JENNINGS: Comics in particular, they utilize stereotypes to tell stories.
That's one of the reasons why you have so many problematic constructions
around race in comics because they're generally borrowing from social norms.
For instance, at the end of the heyday of the Golden Age of comics,
you have these really, really horrific racial stereotypes.
A lot of the propaganda around Asian people during the Second World War.
PAK: There was a time when Asian people in comics were colored yellow.
They literally used yellow.
Larry Hama talks about this.
I would just say, "Hey, maybe we should stop coloring Asian people bright yellow."
"Well, why do we do that?" "Oh, well, we've always done that."
"Well, uh, maybe it's time we stopped doing that." (CHUCKLES)
BREVOORT: The very first issue of Sgt. Fury and His Howling Commandos,
Gabe Jones is colored Caucasian.
And he's colored Caucasian because essentially up to that point,
there really had not been, in comic books, a character of color.
There were no Black people
apart from Amos 'n Andy, stereotypical, bug-eyed, big-lipped,
Stepin Fetchit kind of caricatures.
And so, the book was sent to the printer and the color separator,
and the color separator went, "This must be a mistake,"
colored him Caucasian like everybody else.
And Stan had to call him up and kind of ream them out over it
and get it corrected for future issues.
And, in fact, in those early issues and in those early years,
they don't even quite have a skin tone that works.
Gabe Jones ends up looking more gray and more like stone in a lot of issues
than he does a true, rich African-American brown,
because literally they just couldn't figure out what's the combination
of red, yellow, blue to get a skin tone that works.
HAMA: You can yell and pound the desk all you want.
What that type of aggression does is it steels people against you.
It's more lasting and it has more meaning if you become part of what it is
and change it internally.
When I went to work at Marvel on staff,
they were reprinting stories from the 1950s,
and one of the books was Jungle Action.
And in those books,
they were reprinting a lot of these really racist
jungle blonde Gods and Goddesses
saving the natives stories.
(CHUCKLES) I would say to editorial,
"I can't believe Marvel is publishing this stuff in 1973.
"What are you guys, crazy?"
And I know I must have said something like,
"Can't you at least have an African character be the hero?" (CHUCKLES)
They came and said,
"We're gonna put the Black Panther into Jungle Action."
I don't think editorial had really thought what that meant.
Since everybody in the cast was Wakandan,
it was going to be an all-Black cast of characters.
This has never been done in an American comic book series before.
SANDERSON: Don McGregor, his Black Panther was a cutting-edge series at the time.
He's the one who really created
this incredibly futuristic, super-scientific society.
The world, the civilization of Wakanda.
DOUGLAS WOLK: One thing that Marvel did a lot that's fantastic
is they loved to play with tropes and they loved to turn them upside down.
So the Black Panther, he's in Africa. It's deep, dark Africa.
This unexplored place. Trope, trope, tropety-trope.
And Wakanda is a technological paradise and the most wealthy country in the world.
Wait a second. This is not a trope anymore.
JENNINGS: The most interesting thing I think about the Black Panther story
is this idea of an untouched Black space.
It's a space of power and it's a space of celebration.
Seeing this open, technologically advanced, beautiful society,
it brought me to tears almost instantaneously.
DON McGREGOR: There was a resurgence of the Ku Klux Klan at the time...
and that's how the Panther versus the Klan came about.
T'Challa is with Monica Lynne,
who's the woman he is with at that timeframe.
And they start talking about an uncle she had during the Reconstruction period,
after the Civil War, in the United States.
And when the mother tells the story,
she's telling what historically happened to her Uncle Caleb.
And in alternate pages, we have Monica thinking of it the way,
if T'Challa existed back in 1868 Reconstruction America.
This goes right to the heart of,
"Why do people love costume and superheroes in comics?"
'Cause T'Challa makes it come out right.
And in the real world, Caleb gets hung.
As the books went along, it became more and more apparent
that they did not want an all-Black cast of characters.
They wanted the Avengers to be brought in
to help the Black Panther out.
I said, "No, this is not that book.
"I don't want it to be a book where the white guys come in
"and help the Black guy 'cause he can't do it.
"T'Challa can take care of it.
"He doesn't need anybody else to be coming in there.
"And he'll take care of the important issues."
ISABELLA: There was a time when The Black Panther became The Black Leopard
because Marvel was afraid
that he'd be associated with the Black Panther party.
There was a time when T'Challa became a school teacher in America,
and that seemed to me not quite right for an African king.
Everybody makes mistakes.
The question is what you do from those mistakes.
Do you learn from them?
Stay quiet!
CONWAY: There was a tendency under Stan, and whatever his strengths were,
writing strong female characters were not among them.
He tended to treat all of the female characters
as the lady scientist in bad 1950s horror movies.
Beautiful, but not too bright. A female character has to be rescued.
(SCREAMS)
WOLK: So one really interesting thing about Marvel's history
is that at the same time
as their superhero line was starting in the early '60s,
the other half of the line that they were publishing
was comics about young women.
They were doing Patsy Walker and Patsy and Hedy.
They were doing Linda Carter, Student Nurse,
the comedy romance medical adventures of a student nurse.
And there's a way in which those got integrated
into the superhero stories.
SANDERSON: The heroines tend to have lesser powers.
The Wasp got to shrink down and sting people and fly around.
Sue Storm was sort of like the housewife at the Fantastic Four.
Originally, her power was basically to hide.
She turns invisible.
Male characters were given the very physical powers,
and female characters have these sort of point and pose powers.
So these powers where
you just stand and look nice, and you point,
and you can do something with your mind.
The power where you can look good while affecting those around you.
Every time that gender and sexuality has been addressed in Marvel comics,
it's very representative of popular thinking at the time.
And strides have been made with every subsequent generation.
WOMAN: What do we want? CROWD: E-R-A!
-When do we want it? -Now!
Stan wanted me to create a female superhero
that would have the Marvel name in her character name,
and I brought together elements from other books that were pre-existing,
such as Carol Danvers,
and gave her an origin story that tied her into the Captain Marvel series
and tried to create a feminist superheroine.
When the strip was started in 1976, like most of the things Marvel did in '76,
it was an attempt to tap into whatever was going on in the zeitgeist.
Women's lib was big. We'll do a female super.
She'll be Ms. Marvel. That will be current.
The first issue cover had a blurb like, "This female fights back."
My goal was to write a feminist superhero.
In fact, in the first issue,
there's a moment where, there's a girl with her mom, she says,
"I wanna be like her when I grow up."
And I thought that was an important thing to try to create,
was a strong-willed powerful female character
who was independent and not the object of a romantic liaison.
The book was a feminist book,
much more heavy-handed than anything I ever did.
She's got the Gloria Steinem glasses and part down the middle.
And he makes her an editor of Woman Magazine.
But the Marvel Universe heroes are ground level heroes.
They are people who have problems
and things go poorly for them personally, often.
That makes sense to me, but that also makes Carol a hard fit
because Carol is this overpowered beautiful blonde.
Like, there's a record scratch there.
Our characters are fundamentally about who they are behind the mask, right?
But then, anything that anyone knows about Carol Danvers is the costume.
It's the first thing they look.
It's a bathing suit with thigh-high boots and a sash,
which I think is the most ineffective way to beat up bad guys.
And very cold when you're flying at really high altitudes.
But it was a different time, and the male gaze was at the forefront.
The way a woman is drawn in a comic where she has a super skinny waist
and huge bullet boobs.
It's like a different version of womanhood, and femininity,
and a different version of toughness because when women are drawn by men,
and trying to show they're tough,
they're often givin' them male marks of toughness.
Being a woman and being tough sometimes is different than that,
or more nuanced than that.
JEANINE SCHAEFER: It's not that we need women to be badasses,
or that we need women to be strong in some, uh...
socially acceptable way,
but when you have women who aren't allowed to be flawed,
or they can only look like this, and they can only do these things,
and they can't make bad choices, that's boring. You know?
That's nobody's favorite character.
CHRIS CLAREMONT: My mom, when she was in college, ended up joining the RAF
because she wanted to be a fighter pilot.
They wouldn't let her be one
because women aren't allowed to fly Spitfires.
So she ended up serving on a radar station on the south coast of Britain in 1940,
which was an extremely adventurous time to be in that place, doing that job.
So I figure if I know people who do this for real,
why can't I put their equivalent on paper?
Why should women in comics just be girlfriends?
Why can't there be boyfriends?
Why can't you create
idiosyncratic individuals and then put them through hell?
No one else was doing it, I figured,
"The heck? I'll take a shot and see what happens."
BREVOORT: It's what we think of as The All-New, All-Different X-Men
that came in around 1975.
They took a group of characters
who originally were five white American kids
and replaced them with an international team.
IVAN VELEZ JR.: When I became a teenager, the Uncanny X-Men came out
and something just took it to another level for us.
Maybe it was the time, maybe it was coming off of the civil rights era
but it just seemed like brown skin
and not even brown skin, like that Black skin,
and their attempts to do Asian skin, which was still too yellow for my taste,
but it was just like a beautiful thing just to see.
The X-Men of the '70s is totally fascinating,
because it's such an aggressive attempt
at the idea of a representational diversity.
If we look at the X-Men of the early '60s,
they were supposed to be different than ordinary humans
by virtue of being mutants,
but they were essentially a group of white, privileged teenage kids.
And, so, in many ways, it didn't live up to its own promise.
The X-Men of the 1970s reinvigorates the imagined category of the mutant,
and it says, "What if there were lots of mutants,
"but they all were radically different from each other?"
And then they had to create common cause.
CLAREMONT: The whole point for me of the X-Men has been,
they are the outsiders, summed up by the phrase,
"Serve and protect the world that hates them."
And the idea was that they can never get away from that.
BREVOORT: The X-Men were the first superheroes who were the same,
whether they were in the costumes or not.
With Wolverine,
it didn't matter whether he was wearing a plaid shirt and a cowboy hat
or the yellow and blue superhero outfit,
he was the same dude and he reacted to people exactly the same way.
There wasn't any artifice of not being the person that you were.
CLAREMONT: The idea of wearing masks, it just didn't fit.
If I was a normal kid and I woke up on my 13th birthday
and I'd turned into Nightcrawler, I'd be pissed.
But if I'm born this way,
if this is what I look like coming out of the box,
what kind of a person am I?
And then I thought, "Okay. I might as well make the best of it
"because I can cling to walls, I can teleport,
"I have a tail that's articulate.
"I'm cool. I am just so cool."
If you're that far on the outskirts of norm,
it's either an asset or it's a liability,
and why would you want it to be a liability?
Embrace it and see where it leads.
NOCENTI: Chris was pretty ahead of the curve
with the diversity and the female empowerment,
like no one else was.
When you really look back on it,
the female characters have the best storylines in Chris' X-Men.
He was also doing the early versions
of having people play around with switching genders
like you have all the time now.
And I remember at one point he wanted somebody to brainwash Professor Xavier
and have him in a dress with heels, and I was like, "Chris, that's too far."
FAWAZ: What is so fascinating about the X-Men in this period,
is that it is very much invested
in the cultures of women's and gay liberation in the '70s,
even though the series would never mention
any of those terms in the actual comic book.
Gay liberation, that social movement is saying,
"We wanna be able to perform our identities
"visually in the way we dress, the way we dance,
"in the way we make love,"
and that comic book said what does it look like to transform those ideals
into the way that mutants look on the page?
The characters look like they're dressed in drag,
their costumes are extraordinarily flamboyant,
and there are all of these epic scenes where they go off into space
and they really look like they're a menagerie of disco divas.
Seeing that joy, it really spoke to me.
Like, "Oh, you can revel in this thing that makes you different."
The question is just, "Who am I? Who am I in the world?
"Who am I to the people around me? Who am I to myself?"
So, sure, the superpowers were fun
'cause you've got big spectacles and people flying through space
and punching each other.
But really it was all dressing for the really intimate discovery
of who you were and who the people around you were.
If you found the X-Men, you suddenly found a community of people who knew you.
I was raised in the Bronx and it was a rough time.
Comics were a great place to hide,
especially if you have stuff to hide about yourself.
So, the queer part of me always loved the isolation,
and loved the parallels
between being a gay youth and being a X-Man.
For the first time, we felt like we were part of the story,
and that was really important because before that it was like nothing.
CROWD: I turn my back on AIDS.
I turn my back on AIDS.
VELEZ: There was a movement going on because of the AIDS crisis,
I think Marvel missed an opportunity to have gay characters there.
FAWAZ: There are different ways
of representing the experience of human beings.
One way that comics have been really successful at,
is to produce elaborate fictional metaphors.
So, you say being a mutant is like being a racial minority in the United States.
Or you say being a mutant is like being gay.
At the same time, there comes a point in which real people say,
"I need to see myself in these texts.
"I can't always be a fictional metaphor because I'm a living human. "
So another way of representing the lived experience of human beings
is to actually just represent people.
I mean, they tried. They really did try.
They had that thing when Northstar came out.
ALLAN HEINBERG: Northstar was the first out gay Marvel character
and huge for the gay community in terms of representation.
But the focus was never on his personal life or his relationship life.
It was always sort of a "I'm gay" and that was it.
BREVOORT: But the writer of the series
wanted him to go through a journey where he got AIDS.
And he started that story and Marvel got skittish about it.
(CHUCKLES) And so that story got changed in the telling,
and instead it became this really bizarre thing
where it was actually that Northstar was half...
And I swear this is true. Half fairy.
It was nobody's intention, but it's a really bad set of comics.
PAK: If the only characters you see are the stereotypes,
that's when they become stereotypes. That's almost the definition of it.
If that's the only image you see of an entire group of people,
then that's a little bogus.
But you let a character live and breathe in multiple dimensions, it's a person.
And it's not a stand in for a community.
At the end of the day, what creators must do
is to simply pay attention to the world more closely.
To introduce characters who come from different walks of life,
and then take their own creative license to take it somewhere else.
So ultimately, the purpose of the creator
is to take what we already know about the world,
which is that it is diverse,
and to represent it to us in new and exciting ways.
It's like run 'em through the mill.
Run 'em through the mill that we run every Marvel character through
no matter who they are.
Go from hero to villain,
die, get resurrected, get seriously injured,
come back from the injury, join the Avengers,
get thrown out of the Avengers.
Anything and everything that's happened to Spider-Man,
Captain America, or Iron Man over these years,
I want to happen to that character.
Because what it means then,
is that writers want to write that character,
artists want to draw that character,
and that character now is included into the fabric of the Marvel Universe.
A lot of people wanna say it's diversity. I wanna say it's inclusion.
BENDIS: We were sitting around at lunch. We weren't having a meeting.
We're sitting, talking about what we'd do differently
with certain things we've done,
and with Ultimate Spider-Man, it was working fine. It worked great.
It was a hit book for many years.
And we were talking about if you unpack the origin of Spider-Man,
a New York kid, and he lives with his aunt, he's a science nerd,
there's really nothing there that says Caucasian.
There's a lot of things there that say, just from location
and other things that he may be a kid with a different kind of background.
And then, once that idea is in your head, it's hard to let go of it.
Like, if we did this again, we would have made this kid a kid of color
and developed a completely new voice.
And we were like, "Yeah." I'm like, "Hmm. Why don't we do that?"
Peter Parker passed away in a very heroic way
of saving Aunt May's life in the way he couldn't save Uncle Ben's,
but he didn't know that another young man
had also been bitten by a spider and his name is Miles Morales.
As everyone dealt with the shocking death of Spider-Man,
Miles pulls off his mask just to get some air
and that's when we see who he is.
George Lucas said, the easiest thing a writer could do is kill a puppy
'cause everyone's gonna go, "Oh!"
So by killing Peter Parker, I had killed the puppy.
That wasn't a good enough story.
But when it became that Peter Parker dying
inspired Miles the way Uncle Ben inspired Peter,
I knew this story had elevated beyond dead puppies.
Miles was looking at the theme
of "With great power comes great responsibility"
from a completely different point of view than the way Peter Parker did.
The idea of these roles being taken over by other characters
is something we've seen before.
The difference in this round of the stories that we're seeing,
it is more a cast that reflects the world that we actually live in.
So, with Carol, I go back to what is at the center of her identity?
Where does her pain come from?
How can I make her not just aspirational but relatable?
She has to (BLEEP) up.
She has to fall down, she has to get back up,
she has to have her ass handed to her.
So I go back, I read as much as I can about her biography,
and I find that her father who she loves and adores has two boys and a girl,
and he can't afford to send everybody to school, and he's gonna send the boys.
So Carol enlists in the Air Force to pay for her education
and spends the rest of her life trying to prove to her father
that she is just as good as the boys.
And that is a thing that is human and relatable.
And even though she's beautiful, and even though she's powerful,
like, she has a very real, very human pain,
and that's how you make a character you can root for.
When I started writing Black Panther,
I said I'm gonna make the comic book equivalent of a Public Enemy record.
When they make Bring the Noise,
when they make Party for Your Right to Fight, It Takes a Nation of Millions,
they're just like, "This is for us
"and our friends, and we're gonna super satisfy us."
When Hurricane Katrina happened
and it's this incredible tragedy in a very Black city,
I thought, "Here's a situation
"where we could do a test run of an idea I really wanted to do
"which is Black Avengers."
Let's get Black Panther, Luke Cage, Blade, Photon,
put together basically, a Black super team to come solve this problem.
It's the wish fulfillment
that I've been wanting to see my whole life
and that's what happened.
PAK: I remember thinking about Marvel Universe
and realizing that there were very few Asian American characters
and very few, in particular, young Asian American male characters,
and I was like, "That's a niche I'd like to fill."
And, so, Amadeus Cho, this brilliant kid, he has a close encounter with The Hulk.
He's like, "Okay. Bruce, you've had enough tragedy in your life.
"I'm gonna cure you of being The Hulk,
"since I'm a cocky kid who knows everything,
"I'll take the power of The Hulk.
"I'm gonna be the best Hulk.
"The Totally Awesome Hulk."
And that was the book, The Totally Awesome Hulk.
I was actually in middle school. I was around 12 years old
when I realized that people had a perception
of Muslims that was antagonistic or misunderstood.
Marvel really welcomed me
and encouraged me to use my voice to tell a different kind of Marvel story.
Kamala Khan, the all new Ms. Marvel, she is a young, newly discovered inhuman.
She's South Asian, a Muslim girl from Jersey City,
and Captain Marvel, Carol Danvers happens to be her most favorite superhero ever.
She is tall, she's blonde, she has blue eyes,
she's everything that Kamala Khan is not.
First thing that happens when she gets her powers
is that her body morphs and she subconsciously decides
that she wants to look like Carol Danvers.
So, her kind of finding a way back to herself
and her sense of balance within her power is the beginning of her journey.
From a purely thematic point of view, the idea of the masked superhero,
the person who is afraid to reveal themselves,
that doesn't have as much power as it once did.
I think we're actually seeing a broadening of acceptance of differences,
and of uniqueness of each individual,
and under those circumstances, you don't need a dual identity.
You can be yourself. You don't need to hide who you are.
AMANAT: When we look at Captain America, we look at Thor,
we look at these big name characters,
we look at them through those ideals that they represent.
These ideals can really be encompassed by anybody.
The metaphor of putting on a mask, and taking off your mask,
and trying to figure out if you're a superhero or just a regular person.
You can be both. And we should be both.
We have to live in that space in between,
so that's really where our power comes from,
and I think that's what makes the Marvel Universe
all the more interesting.
We got Captain Marvel #6, legacy 140.
It's The War of Realms tie-in.
JENKINS: So what happens next, none of us know.
I think, though, the possibility is really exciting
as we try to find our way through a demographic transition,
where, by the end of the next decade,
America will be a majority minority culture.
And how do we live in that world?
How do we live with each other, I think, is shaped by the stories we consume.
I always tell fans of these comic books, a lot of us think that these heroes,
and these characters, and these villains was made for you.
I said, "No, they're made because you exist, they exist."
QUESADA: The real world is our canvas.
If we stop looking out our window and noticing what the real world is doing,
then inevitably our books fail, and our stories fail.
HUDLIN: I don't think comics have an obligation for representation.
I just think you're a damn fool
if you don't have representation as a piece of business,
as a piece of storytelling. There's every reason to do it.
COWAN: It has potential of being pretty wonderful
what's happened to Black Panther, and Hollywood's awareness of inclusion
and what diversity means.
I look at it in wonderment and amazement and I'm like,
"Oh, this is great."
The other half of me looks at it with a squinty eye.
Because I've been through this before.
And the door shut almost as fast as it had opened up.
But no matter what, we'll still do what we do.
We'll still keep doing these kinda characters
and telling these kinda stories,
because it's too important not to.
AMANAT: With comic book stories in general and superhero stories specifically,
there is something so aspirational and amazing about what the human spirit is
and what it can become,
it's that it encourages us to look within ourselves
and find what is great.
We'll dig through all that grit and that uncertainty,
and find what it is that makes us unique,
and what it is that makes us powerful, and bring that to the forefront.
In a lot of these superhero stories, the aspiration is the hero. You know?
And what always spoke to me about Marvel was that the aspiration was the human.
And that's what's really exciting to me, where we are right now.
Who are you? Who do you want yourself to be?
NARRATOR: Open bulletins, Stan's Soapbox, February, 1980.
"Bear with me, gang. It's philosophy time again!
"Human nature doesn't change. It's the environment.
"What's happened to us is, the world has been wildly changing,
"producing new sets of rules each time you blink your eye.
"None of us is different from each other.
"We all want essentially the same things out of life.
"A measure of security, some fun, some romance, friendship,
"and respect of our contemporaries.
"That goes for Indians, Chinese, Russians,
"Jews, Arabs, Catholics, Protestants,
"Blacks, Browns, whites, and green-skinned Hulks.
"So why don't we all stop wasting time hating the other guys?
"Just look in the mirror, mister. That other guy is you.
"Excelsior! Stan."