Comic Book Masculinity and the New Black Superhero (1999)

Following in the footsteps of feminist scholarship there have, in recent years, been a number of studies which have begun to consider masculinity, particularly heterosexual masculinity, as a social construction. Masculinity, always regarded as a natural, stable gender identity, is in the process of being deconstructed on a variety of levels from social politics to pop psychology. Moreover, the masculinity of our media-generated heroes is increasingly recognized in much the same way that femininity has been understood, not as a real and unified subject position, but as a carefully orchestrated performance - or, in other words, as a masquerade. But if the heterosexual male is the site of gender and sexual privilege in North American culture, as he is perceived to be, then we might ask just what the masculine masquerade disguises? And how might black masculinity fit into the equation? It is feasible that a clue to these questions lies in the very notion of the masquerade and the implication of an underlying, unstable level of gender identity. Indeed, the split personality implied by the concept of a masquerade seems to be one of the most archetypal metaphors for the masculine condition in Western culture. Whether in Jungian psychology or low-budget horror films, great literary works or modern comic books, masculinity has often explored its own duality. The male identity in the twentieth century is perceived in extremes: man or mouse, He-man or 98-pound weakling. At the one end is the hyper-masculine ideal with muscles, sex appeal, and social competence; at the other is the skinny, socially inept failure. But these two male extremes are not so far removed as they might seem. Warrior and wimp exist side by side, each defining the other in mutual opposition. On the following pages I want to explore this concept of duality in masculinity - and more specifically black masculinity - as it is currently presented in one of Western culture's most rudimentary and instructional forms, the superhero comic book. At its most obvious and symbolic level, comic book masculinity characterizes for young readers a model of gender behavior that has traditionally struggled to incorporate both sides of the masquerade, yet has recently slipped into the domain of the almost exclusively hypermasculine. My particular interest in the comic book depiction of masculinity has developed in relation to an ongoing ethnographic project dealing with the emergence of Milestone Media Inc., a black-owned and controlled comic book publishing company launched in 1993, and the readers of its comics. An innovative twist on the almost uniformly white-bread universe of comic book characters, the Milestone line of comics offers a small variety of well-defined African American superheroes. Milestone is the brainchild and the legal property of three young black men who are experienced comic book and publishing veterans: Dwayne McDuffie, Denys Cowan, and Derek T. Dingle. As a creator-owned publishing company with a multicultural approach to comic book characters, Milestone occupies a unique position within the comic book industry. Other African American comics publishers exist, but as true independents the quality and distribution of their books are often limited by financial restrictions. Milestone, on the other hand, was able to strike a groundbreaking deal with industry giant DC Comics whereby DC would print and distribute the Milestone titles without interfering with content or ownership rights. This unique relationship allows Milestone to reach a much larger audience than any other African American comic book publisher has ever been able to(1). Currently Milestone publishes three core series: Icon [ILLUSTRATION FOR FIGURE 1 OMITTED], featuring a super-powered brother from another planet who is also a staunch republican and fights injustice alongside his partner Rocket, a single, teenaged mother and Toni Morrison fan from the projects; Hardware, starring the character of Curtis Metcalf, a scientific super-genius who builds an incredible suit of armor to confront his racist employer and to fight crime; and Static, which tells the story of the slightly geeky but fun-loving teenager Virgil Hawkins, who battles supervillains and school yard bullies after he accidentally gains the power to control electricity. …