The Mighty and Adored

Editor’s Note: This article previously appeared in a different format as part of The Atlantic’s Notes section, retired in 2021.

Ladies and gentlemen, Brian Stelfreeze…

When I took on Black Panther last year, one Wakandan institution that really interested me was the Dora Milajae—the all-female troop of bodyguards to the King and potential wives. My misgivings about them and their portrayal are a matter of record. But you can’t just walk into a comic book and disregard everything you have misgivings about without really violating the soul of the book itself. You can however look at those things from another perspective.

What we really tried to do is depict the Dora Milajae—as much as possible—from their own perspective, and not from T’Challa’s. When writing and drawing them, we tried not to think so much about what T’Challa sees—or what the average male comic fan wants to see—but to imagine what the characters, themselves, would see. We really wanted them to have their own interior lives and motives, independent of T’Challa.

Costuming is so important in comics and while Brian hit early on with a cool Midnight Angel costume, we didn’t really think as much about the broader order of the Dora Milajae. But last week Brian sent in a fantastic cover sketch that forced us to start thinking harder about it. Basically the cover featured the Doras in their old school uniforms and we both wanted something that better reflected their own self-regard, their own form and function as warriors. I had no idea what this might look like. I sent some vague notes about “something that mirrors the Midnight Angels—but maybe lighter.” I wanted to be as if the Midnight Angels are wearing plate-mail, I imagine the Doras in some sort of chain-mail. If the Midnight Angels were paladins, then the Doras were our rangers.

The image above—which I think is just incredible—is Brian’s breathtaking response. There are all sorts of opportunities for weaponry and defense in these suits that we will be employing. I have to say that working with both Brian and Black Panter’s colorist, Laura Martin, has just been incredible. It’s never been the case for me, as a storyteller, that I had two people who could take a notion I had in my head, run with it, remix it, clarify it, color it and then make it their own.

It’s an amazing thing to be a part of.