In my preview of Black Panther for the April issue, I talked some about what it was like collaborating with a great artist like Brian Stelfreeze. When I was kid, I paid very little attention to the names behind the art. I had this odd notion that the writer dictated what happened and the artist robotically followed it. As an adult fan, I came to understand how wrong that was. But it wasn’t until collaborating with Brian that I could really really see the error.
I’m hesitant to make a general declaration about all writer-artists teams. From what I can tell the process differs from team to team. In my case the best way I can explain our process is this: I am the screenwriter and Brian is the director. To get some sense of how this might work, I figured it’d might help to compare a page from the script and a page illustrated by Brian.
Here is my direction from the script:
Here is what Brian actually did:
The basic gist of the scene is here. But it’s much better dramatized. The usage of the spear, for instance, to bring T’Challa’s men back to attention is a big and important addition. The constant question with comic script writing is “How does it look?” I always offer an answer to that question because I think it’s easier to brainstorm from something bad, then from nothing at all. Still, sometimes the answer just isn’t very good. It takes a great artist not just to realize that T’Challa “waving and telling his forces to fall back” is insufficient, but to actually come up with something better.
There will be more notes later this week on Issue #1 of Black Panther, on working with Brian, and comics in general. Stay tuned.
Above we have a sketch of T’Challa dabbin’ on dem folks courtesy of Brian Stelfreeze. Obviously, I can’t really take much credit for this sketch. Brian has this great ability, not just to interpret script direction, but to actually add on and make something new and beautiful.
With that said I’d like to talk some about T’Challa’s major challenge in this first season of Black Panther. (Here’s hoping there will be more.) When I accepted the task of writing the new Black Panther comic, I was faced with an obvious question—Who is this guy? There was the obvious and the known—T’Challa is the ruler of the mythical African nation of Wakanda. But to write, I needed to develop a grounded theory of T’Challa’s great loves, small annoyances and everything in between. The grounding came from past depictions of T’Challa by writers like Don McGregor, Christopher Priest, Reginald Hudlin and Jonathan Hickman.
I also had to create some sort of working theory about Wakanda, and to the extent to which I came to one it is this: Wakanda is a contradiction. It is the most advanced nation on Earth, existing under one of the most primitive forms of governance on Earth. In the present telling, Wakanda’s technological superiority goes back centuries. Presumably it’s population is extremely well educated, and yet that population willingly accedes to rule by blood. T’Challa descends from an unbroken line of kings, all who’ve taken up the mantle of the Black Panther. But if you’ve ever studied monarchy, it becomes immediately apparent that the aptitude, or even the desire, to govern isn’t genetic.
Leaving aside the problems of reconciling absolute monarchy with ultra-modernism, there are the actual events in Wakanda which have happened under previous writers. In recent years Wakandans have endured a coup courtesy of the villainous Achebe, another courtesy Dr. Doom, the murder of two of T’Challa top lieutenants, a cataclysmic flood courtesy of Prince Namor, the subsequent dissolution of a royal marriage, and finally decimation and conquest at the hands of Thanos’ Black Order. Wakanda had always prided itself on having never been conquered. This is no longer true. What, then, is the country if it is as vulnerable as all others? And what happens to a state when its absolute monarch can no longer fulfill the base requirement of any government—securing the safety of their people?
It’s obviously not the case, but T’Challa—the Black Panther and mythical ruler of Wakanda—has always struck as the product of the black nationalist dream, a walking revocation of white supremacist myth. T’Challa isn’t just a superhero in the physical sense, he is one of the smartest people in the world, ruling the most advanced civilization on the planet. Wakanda’s status as ever-independent seems to eerily parallel Ethiopia’s history as well as its place in the broader black imagination. Maybe it’s only me, but I can’t read Jason Aaron’s superb “See Wakanda And Die” and not think of Adowa.
Comic book creators, like all story-tellers, get great mileage out of myth and history. But given the society we live in, some people’s myths are privileged over others. Some of that is changing, no doubt. In the more recent incarnations of T’Challa you can see Christopher Priest invoking the language of the Hausa or Reginald Hudlin employing the legacy of colonialism. These were shrewd artistic decisions, rooted in the fact that anyone writing Black Panther enjoys an immediate, if paradoxical, advantage: the black diaspora is terra incognita for much of the world. What does the broader world really know of Adowa? Of Nanny and Cudjoe? Of the Maji-Maji rebellion? Of Legba and Oshun? Of Shine? Of High John The Conqueror? T’Challa’s writers have always enjoyed access to a rich and under-utilized pool of allusion and invocation.
I would not have always considered this an advantage. When I first started writing, I was anxious that I would be pigeon-holed into the “race-beat.” Eventually I realized that the “race beat” was actually the “humanity beat,” and that questions about “racism” are really questions about the exercise of power. Perhaps more importantly I realized that “race” was an essential thread of American society, and questions about race were questions about the very nature of the Western world. I wasn’t pigeon-holed, I’d fallen into a gold-mine. America is the most powerful country in the world. You simply can’t understand how it got that way without understanding “race.”
And beneath that political conversation about “race,” swirling around it, sometimes directly related, and sometimes tangentially related, are the incredible myths and world-views of black people and the black diaspora at large.To the extent that this society has not been able to engage with those myths, with that world-view, it has not only lied to itself, but it has also robbed itself of some beautiful art. Racism isn’t just morally wrong, it makes for poor story-telling.
Incidentally, so does didacticism. T’Challa won’t be yelling, “Hands Up! Don’t Shoot!” There will be no policy papers on the slave trade, nor any overly-earnest, sepia-tinged “Black History Month” style of story-telling. The culture and politics can’t be on top; they have to baked in. So yeah, you might see some Walter Rodney in the royal library, or a sample from Robert Hayden. Or you might get a variant cover that pulls from our present moment. But there’s no need to over do it. The facts are in: T’Challa is black. This is not a declaration. It’s an opportunity.
“Ta-Nehisi, Brian, colorist Laura Martin, letterer Joe Sabino, assistant editor Chris Robinson, and I have been working on this series for months already, so we’re happy to have a launch date as we’re all anxious to start getting this book out in front of people,” series editor Wil Moss told Marvel.com. “We may be biased, but we think it's something pretty special!”
A few months ago, I was fortunate enough to be contracted to work on Marvel’s Black Panther. I didn’t want to say too much before I got started, but now, with a few scripts in, having gotten comfortable with my editors, and having been blown away by Brian Stelfreeze’s art (early sketches of which you see here), I’m feeling a little better. With that in mind, my hope is, from time to time, to update you guys on the process of making the thing.
I guess I should start by saying I’ve never done this before. I expect that there will be stumbles and screw-ups on my part. My nightmare basically involves this turning into some sort of stunt or vanity project. I did not take this on to look pretty, or add a line to my CV. I took it on for the same reason I take on new stories—to grow intellectually and artistically. In this case it’s another genre—fictional, serial story-telling—one a good distance away from journalism, memoir, and essays.
Still I find myself falling back on old principles. I’m a writer who really values organization. I value it even more when saddled with the relatively high probability of failure. In that regard, my basic approach has been as follows:
1.) Read a ton of back issues and try to think about what I find interesting (Ramonda) and what I find less interessting (M’Baku.) 2.) Get a detailed outline done of all the issues I was contracted to write. 3.) Write those scripts early in order to give Brian, and my editors, a chance to tell me what I am doing wrong. 4.) Revise the outline regularly, as events (and finished scripts) dictate a need to change. That has been the plan. Having a plan doesn’t guarantee success. But not having a plan probably guarantees failure.
One thing I did not count on was the extent to which the art would shape the story. Brian’s thoughts on T’Challa, and his supporting cast, have been invaluable. You can see the fruits of collaboration in the image above. After talking back and forth we came up with some new ideas for how T’Challa’s famed Vibranium-weave suit might work—in this case, absorbing kinetic energy and allowing him to fire that energy back out in short energy bursts. “Energy bursts” almost gets it wrong—think “force-push” not “optic blast.” All the old powers are there—enhanced senses, agility, peak-human strength, etc. But this idea (and others) really came out of Brian’s thoughts—not just on the suit—but on the properties of Vibranium itself.
Writing, for me, is a lonely exercise. I pitch an idea to my editors and then I disappear for awhile. There are a few regular check-ins, but generally the next thing they see from me is a draft. Black Panther has been different. There’s a lot more collaboration and conversation. Barely three days go by in which I don’t talk to Brian or my editor, Wilson Moss.
I’ll have more to say about that process as the days go on. For now, enjoy some of Brian’s (awesome) concept art. I’ve seen some of his penciled pages already. They’re glorious. I’m trying to keep up.
“James’s performance, I’m sure, is causing grief for an accountant somewhere.”
Ken Jennings rose to fame after an unprecedented run on Jeopardy 15 years ago: Over the course of 74 episodes, he won a total of roughly $2.5 million.
Recently, a contestant named James Holzhauer has been working toward Jennings’s record at an astonishing pace. After the Friday-evening broadcast of the quiz program, Holzhauer had won about $850,000 over just 12 episodes. If he keeps up that rate, he’ll reach $2.5 million in less than half the time it took Jennings to do so.
It’s much less scientific—and more prone to gratuitous procedures—than you may think.
In the early 2000s Terry Mitchell’s dentist retired. For a while, Mitchell, an electrician in his 50s, stopped seeking dental care altogether. But when one of his wisdom teeth began to ache, he started looking for someone new. An acquaintance recommended John Roger Lund, whose practice was a convenient 10-minute walk from Mitchell’s home, in San Jose, California. Lund’s practice was situated in a one-story building with clay roof tiles that housed several dental offices. The interior was a little dated, but not dingy. The waiting room was small and the decor minimal: some plants and photos, no fish. Lund was a good-looking middle-aged guy with arched eyebrows, round glasses, and graying hair that framed a youthful face. He was charming, chatty, and upbeat. At the time, Mitchell and Lund both owned Chevrolet Chevelles, and they bonded over their mutual love of classic cars.
A lot of software developers, according to an unprecedented new analysis.
Updated on April 19 at 1:28 p.m. ET.
There has never been a town like the one San Francisco is becoming, a place where a single industry composed almost entirely of rich people thoroughly dominates the local economy. Much of the money that’s been squished out of the rest of the world gets funneled by the internet pipes to this little sliver of land on the Pacific Ocean, jutting out into the glory of the bay. The city now sits atop a geyser of cash created from what the scholar Shoshana Zuboff calls “behavioral surplus”—the natural resource created from your behavior, which is to say your mind.
Gérard Araud says that Trump is right about trade. Kushner is “extremely smart” but has “no guts.” And John Bolton’s not so bad, actually.
Gérard Araud, the charmingly blunt French ambassador to the United States, is famous for two things: the lavish parties he hosts at his Kalorama mansion, and his willingness to say (and tweet) things that other ambassadors might not even think, much less state in public.
Araud ends his nearly five-year tenure in Washington today, and when I spoke with him last week, he was, even by his usual standards, direct to the point of discomfort. He told me his view of the U.S. (“The role of the United States as a policeman of the world, it’s over”) and Donald Trump (“brutal, a bit primitive, but in a sense he’s right” on free trade), and he shared his opinions of John Bolton (he’s a “real professional,” even though “he hates international organizations”) and Jared Kushner (“extremely smart, but he has no guts”).
What the life of Richard Holbrooke tells us about the decay of Pax Americana
What’s called the American century was really just a little more than half a century, and that was the span of Richard Holbrooke’s life. It began with the Second World War and the creative burst that followed—the United Nations, the Atlantic alliance, containment, the free world—and it went through dizzying lows and highs, until it expired the day before yesterday. The thing that brings on doom to great powers—is it simple hubris, or decadence and squander, a kind of inattention, loss of faith, or just the passage of years? At some point that thing set in, and so we are talking about an age gone by. It wasn’t a golden age—there was plenty of folly and wrong—but I already miss it. The best about us was inseparable from the worst. Our feeling that we could do anything gave us the Marshall Plan and Vietnam, the peace at Dayton and the endless Afghan War. Our confidence and energy, our reach and grasp, our excess and blindness—they were not so different from Holbrooke’s. He was our man. That’s the reason to tell you this story.
Better to run than to have your liver squeezed out.
The great white shark—a fast, powerful, 16-foot-long torpedo that’s armed to the teeth with teeth—has little to fear except fear itself. But also: killer whales.
For almost 15 years, Salvador Jorgensen from the Monterey Bay Aquarium has been studying great white sharks off the coast of California. He and his colleagues would lure the predators to their boats using bits of old carpet that they had cut in the shape of a seal. When the sharks approached, the team would shoot them with electronic tags that periodically emit ultrasonic signals. Underwater receivers, moored throughout Californian waters, detected these signals as the sharks swam by, allowing the team to track their whereabouts over time.
More and more Americans are reporting near-constant cannabis use, as legalization forges ahead.
The proliferation of retail boutiques in California did not really bother him, Evan told me, but the billboards did. Advertisements for delivery, advertisements promoting the substance for relaxation, for fun, for health. “Shop. It’s legal.” “Hello marijuana, goodbye hangover.” “It’s not a trigger,” he told me. “But it is in your face.”
When we spoke, he had been sober for a hard-fought seven weeks: seven weeks of sleepless nights, intermittent nausea, irritability, trouble focusing, and psychological turmoil. There were upsides, he said, in terms of reduced mental fog, a fatter wallet, and a growing sense of confidence that he could quit. “I don’t think it’s a ‘can’ as much as a ‘must,’” he said.
Why don’t the two holidays always coincide? It is, to some degree, the moon’s fault.
Let’s get some things straight.
Passover is a springtime Jewish festival celebrating the early Israelites’ exodus from Egypt and freedom from slavery. Jews observe it by hosting a ritual dinner, called a seder, and then by abstaining from eating all leavened bread for about a week. (Some of us abstain from someother stuff, too.) Instead, we eat matzo, a thin, unleavened cracker.
Easter is a springtime Christian holiday celebrating the resurrection of Jesus Christ and freedom from sin and death. It is preceded by a series of holidays commemorating Jesus’s path to the cross. One of these holidays is Maundy Thursday, which, aside from being a great name for a holiday, is a remembrance of the Last Supper, which was a seder. In the United States, many Christians observe Easter by attending a ritual meal between breakfast and lunch, called a brunch.
It only took five minutes for Gavin Schmidt to out-speculate me.
Schmidt is the director of NASA’s Goddard Institute for Space Studies (a.k.a. GISS) a world-class climate-science facility. One day last year, I came to GISS with a far-out proposal. In my work as an astrophysicist, I’d begun researching global warming from an “astrobiological perspective.” That meant asking whether any industrial civilization that rises on any planet will, through their own activity, trigger their own version of a climate shift. I was visiting GISS that day hoping to gain some climate science insights and, perhaps, collaborators. That’s how I ended up in Gavin’s office.
Just as I was revving up my pitch, Gavin stopped me in my tracks.
Sixty-nine years ago, a new geological era may have begun on Earth.
Here is the hypothesis: Not so long ago, the very nature of planet Earth suffered a devastating rupture. The break was sudden, global, and irreversible. It happened on a Sunday within living memory. Mick Jagger, Meryl Streep, and Caitlyn Jenner were all born before this crack in time. Vladimir Putin, Liam Neeson, and Mr. T were all born after it.
That idea might soon carry the weight of scientific fact. Later this month, a committee of researchers from around the world will decide whether the Earth sprang into the Anthropocene, a new chapter of its history, in the year 1950. If accepted, this delineation will signal a new reality, that human activities, not natural processes, are now the dominant driver of change on Earth’s surface—that carbon pollution, climate change, deforestation, factory farms, mass die-offs, and enormous road networks have made a greater imprint on the planet than any other force in the past 12,000 years.