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Exploring Black Female Identities in Comics and Fandom Culture By

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The Power of a Black Superheroine: Exploring Black Female Identities in Comics and Fandom Culture by Grace Deneice Gipson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Chiyuma Elliott, Co-Chair Professor Abigail DeKosnik, Co-Chair Professor Ula Taylor Professor Keith Feldman Summer 2019 Copyright © 2019 Abstract The Power of a Black Superheroine: Exploring Black Female Identities in Comics and Fandom Culture By Grace Deneice Gipson Doctor of Philosophy in African American Studies Designated Emphasis in New Media University of California, Berkeley Professors Chiyuma Elliott and Abigail DeKosnik, Co-Chairs 2018 begins on very promising note for comic book fans, as the long-awaited Marvel Comics Black Panther film premieres in February. While Black Panther is the first black superhero comic character to appear in American comics in July 1966, and his stories are plentiful, the adventures of America’s first black superheroine are few and disparate. The appearance of “The Butterfly,”1 America’s first black superheroine is not as well-known and documented along with many other noteworthy black female superheroines in comic books. The black female superheroine’s narrative, a diverse and complex one, is slowly building traction and worthy of scholarly attention. Her narrative is crucial and significant to the overall story of American comics. Thus, examining various Black female superheroine stories offers an opportunity to (re)explore new identities and territories in comics, reframe our understanding of certain terminology and concepts, and most notably to empower the black female voice. 1 Despite Marvel Comics “X-Men’s Storm” being considered the first black female superhero in comics, “The Black Butterfly” makes her debut in August 1971 in the first issue of Hell-Rider #1; whereas Storm does not first appear until May 1975 in the Giant-Size X-Men #1. However, Storm was one of the first black comic book characters, and the first black female, to play either a major or supporting role in the big two comic book houses, Marvel Comics and DC Comics. 1 Table of Contents Abstract Dedication Acknowledgements List of Tables List of Figures Introduction: The Visual AfroFuture A Black Feminist Framing Utilizing a Black Future Framework Investing in Black Futures Critiques & Advantages of Afrofuturism Project Overview An Academic Social Experiment Dissertation Overview Historical Background of Black Characters in Comics and Comic Books Bringing the African Diaspora into Comics Reclaiming a Black Comic Identity Entering the Mainstream: Black Firsts in Comics Queering Their Stories Speculative Blackness in Comics Finding a New Normal: Race and Disability To Be Young, Gifted, Black and in Comics Space and Place in Comics Creating Future Black Female Narratives Chapter One: Stepping into the Spotlight- Introducing the Dora Milaje A new crew is in town It all started in 1998… Character Profile Complicating tradition Encounters outside of Wakanda Creating a Journey that challenges Stereotypical Representations Transforming looks Queering the ‘adored ones’ Introducing Aneka and Ayo’s love story Romantic Anticipation Just ‘friends’ Behind the Scenes Challenging the Black female tropes in cinema Real-life influences that continue a diasporic legacy ‘Move or you will be moved’: Not just another Black woman i Dora Milaje cinematic encounter Making sudden moves Respect my presence: Challenging the ‘angry Black woman’ trope Challenging colorism in Hollywood ‘I am not my hair’: Black Hair versatility Remixing the ‘Black is Beautiful’ moniker “Unapologetically feminine and ferocious…” ~Danai Gurira It’s her time to shine Chapter Two: Examining a ‘New Normal’ in Marvel Comics Misty Knight Race, Gender, and Disability in the Literature Disability, Disability Studies and Language Disability and Gender Disability and Blackness Disability and Popular Media Depictions & Portrayals Disability Personified in a Digital Space Character Profile A Look at Misty Knight Daughters of the Dragon Secret Love: Misty and Danny Forever Self-Image/Body Conscious A Desire for Intimacy Misty Knight in Netflix’s Luke Cage series From Trauma to Acceptance Treated as ‘other’ Embracing change…Moving Forward Able-Bodies as Disabled Chapter Three: The Smartest Person in the Marvel Universe-#BlackGirlMagic and STEM in Moon Girl & Devil Dinosaur STEM and Popular Culture “I Have Big Ideas!”: Black Girls Creating Change Lunella’s Game Plan Black Girl Experiences What is Black girlhood? What does it mean to be a young Black girl? Changing the Look in STEM and Comics Character Profile What does it mean to be a learner of STEM as a young Black girl? Why should we care about Black girls and STEM? Bias and Disparities in STEM fields Some Sobering Facts Building Confidence Channeling the Ancestors Shapeshifting To Be Young, Gifted, Nerdy, and Black ii Celebrating Black Girl Intelligence through #BlackGirlMagic Building Diverse, Global Partnerships While Making #BlackGirlMagic Visible Chapter Four: Digital Storytelling in Comics and Fandom Culture Social Media & The Internet The Art of Blogging Podcasting Creating an online legacy voiced through Black women Black Girl Nerds (BGN) BGN Con Report- “East Coast Black Age of Comics: ECBACC Rocks the Block” BGN Podcast #95- New York Comic Con-Women of Color (WOC) In Comics BGN Spotlight- Black Women in Comics – The Gibbs Sisters BGN Impact outside of the site Misty Knight’s Uninformed Afro (MKUA) MKUA goes beyond the surface of the characters “Monica Rambeau Or Spectrum...If Ya Nasty” (2017) Determination Leadership Hair Politics-“Multiple Naturals” “The Wall You Won’t Try” (2017) Media Representations and Depictions of Amanda Waller over time Hair Politics-“Classic Lady” Representation Matters! Conclusion: The Comic Book Future is Black and Female-Directions for Future Research on Comics and Black Futurity The “Personal as Political” Reaching beyond the Comic Book Pages Overdue Recognition and Acknowledgement Re-Writing and Reclaiming Future Black Female Narratives The Future of Future Feminism Directions for Future Research on Comics and Black Futurity References Comic Book and Film References Appendix: Definition of Terms iii Dedication This dissertation is dedicated to those ancestors who came before me who gave their life and paved the way so that I could take this very personal and intellectual journey. --- To my personal Black Women Superheroes: Mama this is as much yours as it is mine! Your endless love and support is your greatest superpower! The true ‘Quiet Storm’! Grandma (Susie Gipson), my partner-in-crime and the reason I have a love for comics…the ultimate superhero! I know you are looking down on me smiling! Miss and Love You! iv Acknowledgements “If you want to go quickly, go alone. If you want to go far, go together.” – African Proverb “I always think about the next generation and creating a different blueprint for them. That's my goal: to let them know there's another way.” ~Janelle Monae I would like to express my deepest gratitude to my committee. For their continued mentoring, creative guidance, support, and inspiration, I deeply appreciate each and everyone of you! Dr. Chiyuma Elliott, thank you for kind and creative spirit. Your innovative ideas helped to push my own thoughts and take them to the next level. Dr. Abigail De Kosnik, our initial meeting truly sparked a long-lasting relationship. Thank you for guiding my research so that I my voice becomes stronger and more fine-tuned. I hope to continue our television and film chat sessions in the future. Dr. Ula Taylor, I am grateful for you hanging in there with me and taking this novel, off the beaten path journey. An imprint of your insight and expertise of Black Feminism will always be present in my work. Also, the generosity of spirit and time from Dr. Keith Feldman. Each of the abovementioned members have provided me extensive personal and professional guidance and taught me a great deal about both my research and life in general. Additionally, I am forever grateful to all those of with whom I have had the pleasure to work with during this and other related projects. A great deal of thanks should also go to Lindsey Herbert for your kindness, motivating words, and valuable advice. Being a part of the Department of African American & African Diaspora Studies Doctoral program has been a challenging and fulfilling experience over the course of my tenure here at the University of California Berkeley. I am also grateful for the professional and financial support from the Berkeley Center for New Media (BCNM). Thank you for believing in my work and giving me the opportunity to showcase it nationally and internationally. I must also thank my content/developmental editor and colleague Dr. Kaniqua Robinson, for your assistance with the final stages of preparation. Who says there are no real-life superheroes?! To my Georgia State University family, thank you Dr. Akinyele Umoja for allowing me the opportunity to serve in the department of African American Studies as not only a student but a visiting lecturer. The experience has been invaluable, and I will be forever appreciative. To Dr. Jonathan Gayles and Dr. Sarita Davis your advisement, leadership, guidance, words of encouragement, and constant listening ear played a significant role in the completion of this doctoral journey. To Dr. Makungu Akinyela and Dr. Maurice Hobson for your immeasurable candid humor and advice. Thank you, Dr. Charles E. Jones (University of Cincinnati) for creating a space to gain new experiences and knowledge for enriching my scholarly journey. I must also thank Dr. RoSusan Bartee for believing in me since I was a high school student and continuing your mentorship whether near or far; and Dr. Keisha Blain for nurturing my research, while giving me practical leadership experience through Black Perspectives/African American Intellectual History Society (AAIHS).
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