By Sheena C. Howard, Ronald L. Jackson II
Winner of the 2014 Will Eisner Award for top Scholarly/Academic Work.
Bringing jointly members from a wide-range of severe views, Black Comics: Politics of Race and Representation is an analytic background of the various contributions of Black artists to the medium of comics. protecting comedian books, superhero comics, photograph novels and sketch strips from the early twentieth century to the current, the booklet explores the ways that Black comedian artists have grappled with such subject matters because the Black adventure, gender identification, politics and social media.
Black Comics: Politics of Race and Representation introduces scholars to such key texts as:
The paintings of Jackie Ormes
Black girls superheroes from Vixen to Black Panther
Aaron McGruder's strip The Boondocks
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Extra info for Black comics : politics of race and representation
Torchy was portrayed realistically, with the settings and interiors taken from real life and the storyline was earnest and thoughtful. And throughout the strip, almost all the characters were drawn and colored as Black persons, from mobsters to ship’s captains, villains to heroes, sly romantic rivals to trusted true loves. Torchy in Heartbeats tells the story of an independent-minded young woman who searches for love and finds adventures in a variety of colorful settings; she is a romantic character with whom readers would vicariously identify.
In this sense, humor functioned as a safety valve, as it facilitated a venting of anger and aggression while providing the community with a sense of solidarity. Humor within the African American tradition still serves this purpose today. Though slavery has long been abolished, racism still exists in various, yet more subtle, forms. Contemporary comic strips (such as Curtis, The Boondocks, Jumpstart) and others mentioned throughout this chapter have dealt with and illumined race relations through parodies and satire, alchemizing inequality, economic disparity and various other social/political issues into a humorous narrative.
According to Ebony (“Crusaders with pen and ink” 1993: 42) magazine: After 15 years as art director of a Madison Avenue advertising agency, [Ted Shearer] quit his job to create the daily comic strip, “Quincy,” which for 16 years was syndicated by King Features in the United States and abroad. It has been said that Ted Shearer has been vastly overlooked in the history of comic strips. Herb and Jamaal (Stephen Bentley) has appeared in more than 60 newspapers including the Chicago Tribune and the Seattle Times.
Black comics : politics of race and representation by Sheena C. Howard, Ronald L. Jackson II