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.
The mistakes of the past are fast creating a crisis for younger Americans.
The Baby Boomers ruined America. That sounds like a hyperbolic claim, but it’s one way to state what I found as I tried to solve a riddle. American society is going through a strange set of shifts: Even as cultural values are in rapid flux, political institutions seem frozen in time. The average U.S. state constitution is more than 100 years old. We are in the third-longest period without a constitutional amendment in American history: The longest such period ended in the Civil War. So what’s to blame for this institutional aging?
One possibility is simply that Americans got older. The average American was 32 years old in 2000, and 37 in 2018. The retiree share of the population is booming, while birth rates are plummeting. When a society gets older, its politics change. Older voters have different interests than younger voters: Cuts to retiree-focused benefits are scarier, while long-term problems such as excessive student debt, climate change, and low birth rates are more easily ignored.
Five years ago, the flight vanished into the Indian Ocean. Officials on land know more about why than they dare to say.
1. The Disappearance
At 12:42 a.m. on the quiet, moonlit night of March 8, 2014, a Boeing 777-200ER operated by Malaysia Airlines took off from Kuala Lumpur and turned toward Beijing, climbing to its assigned cruising altitude of 35,000 feet. The designator for Malaysia Airlines is MH. The flight number was 370. Fariq Hamid, the first officer, was flying the airplane. He was 27 years old. This was a training flight for him, the last one; he would soon be fully certified. His trainer was the pilot in command, a man named Zaharie Ahmad Shah, who at 53 was one of the most senior captains at Malaysia Airlines. In Malaysian style, he was known by his first name, Zaharie. He was married and had three adult children. He lived in a gated development. He owned two houses. In his first house he had installed an elaborate Microsoft flight simulator.
He declared his intention to vote Trump in 2020—even though he thinks Trump surrounded himself with awful people.
Former New Jersey Governor Chris Christie wants to be clear: He supports Donald J. Trump. But don’t you dare presume that he supports what Trump says or does.
Sure, he voted for Trump in 2016, but only reluctantly. And okay, he plans to vote for Trump again in 2020. But he’s adamantlyopposed to many of the most consequential actions Trump has taken as president. He’ll even say so in public. Doesn’t that make him a good guy?
Christie did his damnedest Monday to convince a crowd at the Aspen Ideas Festival and his interviewer, the Atlantic editor in chief Jeffrey Goldberg, that his support for the president of the United States is morally and logically defensible.
It was tough in part because of his scathing, multi-count indictment of Trump. In 2016, Christie recounted, Jared Kushner called to say that Trump was “off the rails” in his attacks on Khizr Khan, whose son was killed in Iraq. Christie claimed credit for getting Trump to finally stop going after the gold-star father.
These words came from an elderly woman sitting behind me on a late-night flight from Los Angeles to Washington, D.C. The plane was dark and quiet. A man I assumed to be her husband murmured almost inaudibly in response, something to the effect of “I wish I was dead.”
I didn’t mean to eavesdrop, but couldn’t help it. I listened with morbid fascination, forming an image of the man in my head as they talked. I imagined someone who had worked hard all his life in relative obscurity, someone with unfulfilled dreams—perhaps of the degree he never attained, the career he never pursued, the company he never started.
The president, in attempting to downplay E. Jean Carroll’s rape allegation against him, isn’t talking about attraction. He’s talking about protection.
“I’ll say it with great respect. Number one, she’s not my type. Number two, it never happened. It never happened, okay?”
That was Donald Trump, speaking yesterday with reporters from The Hill. The president was addressing, in part, the latest allegation of sexual assault to be brought against him, this time from the advice columnist and author E. Jean Carroll: In the mid-1990s, Carroll alleged in a recent essay, Trump, cornering her in a dressing room of the department store Bergdorf Goodman, raped her.
The Hill prefaced the headline of its published interview with an all-caps “EXCLUSIVE,” which is technically true but not fully: Trump, after all, has deployed the logic of “She’s not my type” many times before, in attempting to defend himself from charges of sexual misconduct. He used a similar dismissal as a presidential candidate in October 2016, after the former People magazine journalist Natasha Stoynoff accused him of attacking her—“He was pushing me against the wall and forcing his tongue down my throat,” she said—during an interview she had conducted with him at Mar-a-Lago, in 2005:
In the 1990s, Subaru’s unique selling point was that the company increasingly made all-wheel drive standard on all its cars. When the company’s marketers went searching for people willing to pay a premium for all-wheel drive, they identified four core groups who were responsible for half of the company’s American sales: teachers and educators, health-care professionals, IT professionals, and outdoorsy types.
His tariffs are contributing to a “generational shift” in which companies make their products.
At a G20 summit in Osaka, Japan, this week, Donald Trump and Xi Jinping are set to have a one-on-one meeting, and hopes are high that a good conversation will restart stalled trade negotiations and convince the White House to hold off on further tariffs against China.
For Alfred LaSpina, the outcome may not matter very much, though. When LaSpina, the new vice president of eLumigen, based in Troy, Michigan, began thinking about a supply chain for the startup’s industrial lighting products, China automatically came to mind: LaSpina—an old friend of mine—has had experience with manufacturing in China before, and knew he could find reliable, experienced suppliers there. Then came Trump’s unexpected tariff hike on Chinese imports in May. LaSpina and his colleagues began to think twice, and they are now looking into alternative options in Southeast Asia. With so much uncertainty in the relationship between Beijing and Washington, he believes that’s just the smart thing to do.
These days, it seems, just about all organizations are asking their employees to do more with less. Is that actually a good idea?
In the faint predawn light, the ship doesn’t look unusual. It is one more silhouette looming pier-side at Naval Base San Diego, a home port of the U.S. Pacific Fleet. And the scene playing out in its forward compartment, as the crew members ready themselves for departure, is as old as the Navy itself. Three sailors in blue coveralls heave on a massive rope. “Avast!” a fourth shouts. A percussive thwack announces the pull of a tugboat—and 3,000 tons of warship are under way.
But now the sun is up, and the differences start to show.
Most obvious is the ship’s lower contour. Built in 2014 from 30 million cans’ worth of Alcoa aluminum, Littoral Combat Ship 10, the USS Gabrielle Giffords, rides high in the water on three separate hulls and is powered like a jet ski—that is, by water-breathing jets instead of propellers. This lets it move swiftly in the coastal shallows (or “littorals,” in seagoing parlance), where it’s meant to dominate. Unlike the older ships now gliding past—guided-missile cruisers, destroyers, amphibious transports—the littoral combat ship was built on the concept of “modularity.” There’s a voluminous hollow in the ship’s belly, and its insides can be swapped out in port, allowing it to set sail as a submarine hunter, minesweeper, or surface combatant, depending on the mission.
The psychology professor Laurie Santos delivers the “shortest possible crash-course version” of the university’s most popular course ever.
The most popular class in the history of Yale University was inspired by a paradox: Even when people, conventionally speaking, succeed—get into a top college, make lots of money, or accumulate prestige and accolades—they are often left feeling unsatisfied.
It’s a problem that may be particularly acute at a place like Yale, but the lessons of the class, called “Psychology and the Good Life,” are widely applicable—they address fundamental features of the human mind that make it difficult to appreciate things that seem like they’d be great. “Our minds are filled with a ton of little glitches that make it hard to enjoy the great things that we have,” as Laurie Santos, the psychology professor who teaches the course, puts it.
An immigration attorney describes what she witnessed at the border.
Over the past week, reportshave emerged of hundreds of migrant children being held in unbelievably harsh conditions at government facilities on and near the southern U.S. border. The stories have shocked many Americans, and led to deep division on the part of House Democrats over how to fund an emergency humanitarian-aid package.
To understand more about this crisis, I called Elora Mukherjee, a professor at Columbia Law School and the director of the school’s Immigrants’ Rights Clinic. She has been working on the Flores settlement, an agreement that outlines how the U.S. government must care for unaccompanied migrant children, since 2007. Mukherjee has represented and interviewed multiple children and families. She was at the Clint detention facility in Texas last week, along with a group of lawyers and doctors, to interview the children held there. This interview has been edited and condensed for clarity.