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The Patron Saint of Superheroes

“Chris Gavaler Explores the Multiverse of Comics, Pop Culture, and Politics”

December 5, 2022 Reprinting Race: Black and White in black and white

This is the unintended fourth part of my two-part post on the KKK-like Sons of the Serpents’ second appearance in The Avengers #73-74 (February-March 1970).

I was initially using Essential Avengers Vol. 4, a black and white reprint collection of The Avengers #69-97 published in 2004. I figured it would be sufficient but then discovered that the line art created some unexpected ambiguities. I’d started looking at the issues as part of my examination of Marvel’s portrayal of White supremacy, which is part of a larger project about whiteness in the comics medium, so I shouldn’t have been surprised by the odd overlaps of whiteness and Whiteness.

First consider these panels.

Scripter Roy Thomas and penciller Frank Giacoia created Monica Lynne for the Avengers story, and I assumed she was limited to it, though I later realized that she became a recurring Marvel character through the 70s (though I don’t think she’ll ever make it into the MCU Wakanda cast). She is introduced here by Dan Dunn on his late night show. Afterwards she talks to the other guest, Montague Hale, a Black activist who tries to enlist her help. When she refuses, I was surprised when Hale objects:

“You can’t mean that, girl! After what the establishment’s done to our people!”

I hadn’t realized Lynne was Black.

Here are three possible reasons why:

Giacoia’s drawings reflect the norms of simplified naturalism in superhero comics c. 1970, and since those norms construct feminine beauty as essentially White feminine beauty, he renders Lynne’s facial features in a way that I registered as generically White.

Alternatively, I am working with an implicit bias that a character is White unless drawn with a contradicting non-White racial marker.

Or maybe the off-white paper visible within the contour lines defining Lynne’s body influenced me to perceive White skin?

Giacioa’s hair design adds to the ambiguity, since the flipped bob could be worn be either a White or Black woman, and any distinguishing hair qualities are lost in the simplified rendering style.

I had pictured something like this:

But not this:

After I saw the color version I imagined Lynne’s hair differently:

I believe the uncredited colorist assigned Lynne’s skin solid yellow, 50% magenta, and 25% cyan (“YR3B2” in printer speak), and the areas of her hair that are not opaque black in the line art are blue (solid cyan I think, though I need to check on that too). Those seem to be the race-denoting colors of Black people in Marvel comic books c. 1970. Since Giacoia knew that a colorist would be adding them, I wonder if he felt less need to render Lynne in a way that would suggest her race. If so, the line art is still influenced by the color art—even when the color art is absent in reprint.

I missed another Black character in the black and white version, a police officer identified as “Captain” in Thomas’s dialogue.

Here it’s unclear at what stage race was assigned. Lynne would have been identified as Black in Thomas’s script, and even earlier if he and Stan Lee had discussed the plot in advance. But Thomas could have left the police captain racially unspecified, leaving the decision to Giacoia while penciling. As with the black and white Lynne, I didn’t register the captain’s face as Black until looking at the color art. Again, that could just be my own implicit bias, but it’s also possible that Giacoia did not intend the captain to be Black and that the uncredited colorist, experiencing the facial features as racially ambiguous, chose Black skin. That decision could also have been Lee’s, especially since placing a Black character in a position of authority is significant in a story about racial politics. If so, Lee as editor could have inserted the detail at any stage of production, though I suspect it would have only come to his attention after Giacoia completed his pencils.

Note also that the hand of the officer reporting to the captain is White and so wholly a product of the color art. A Black hand would alter the connotative meaning of the image, with only Black police officers present in an investigation of the bombing of New York’s Equal Opportunity Bureau.  

I actively wondered about the race of one other character when viewing the line art. When Dunn and Hale are arguing during a live telecast, two men in the control booth have opposite reactions.

The character whom Sal Buscema (he took over line art in the second issue of the two-issue story arc) draws with White-suggesting hair supports Dunn, but the second character Buscema draws from behind, leaving his race ambiguous. Buscema gives the character hair that could be Black, and perhaps is meant to be Black, but I still experienced the image ambiguously.  

Thomas and Giacoia depict a similar moment earlier, with the opinions of two cameraman dividing the same way. But in that case, both cameramen appear White in Giacoia’s line art, and accordingly are colored White by the colorist. That earlier moment made me less likely to assume the race of the control-board character supporting Hale.

I was surprised that the colorist avoided the issue in the original publication by selecting colors that do not denote skin color.

Understood naturalistically, the blue and gray denote that the control room is unlit and so both men are obscured by shadows. Buscema’s line art, however, does not suggest this, and so the effect is a producet of the color art alone. It seems possible that the colorist (either acting under Lee’s instructions or not) was avoiding the implications of representing the second man’s race: if he is Black, the image shows a widening racial divide; if he is White, the image shows a political divide within White culture.

If the goal is ambiguity, it’s undermined by an earlier color decision. I missed this detail, but Guy Lawley pointed it out to me in an email: “we see the two guys in page 5 panel 1, coloured unambiguously.”

Each is placed in the background nearest the character they later support. Their heads are so small that Buscema’s art suggests nothing about race, but the colorist makes it explicit.

Again, it’s impossible to determine who made these decisions. Perhaps Lee wanted to obscure race and so had the colorist use shadowy blue and gray in the second image, but didn’t notice the race-denoting colors in the first panel.

The rest of the two issues, however, does not avoid representing race, usually because the line art designates it.

Page two includes Giacoia’s impression of “Africa” as Black Panther’s “airship” departs after a previous adventure and Thomas scripts Black Panther declaring: “They call it the dark continent … but now it blazes with the pulsing light of knowledge … of self-awareness!” Giacoia’s rendering of two figures, however, repeats absurd Tarzan-esque visual tropes of the 1930s. Unlike with Monica Lynne and the police captain, I instantly understood that both were intended to represent Black characters without the need of Black-denoting skin color.

Representations of contemporary Black characters rely on reductive visual markers too. Buscema draws a Black man on a New York sidewalk wearing a head band in contrast to an older White man wearing a fedora and glasses.

The young White man between them has an “A” on his jacket, suggesting a college jacket (despite the colorist later rendering it in greens), which may have been understood as distinguishingly White as is his parted hair. Thomas scripts the Black and White characters responding similarly to Vision, who passes through the street because: “I prefer not to walk among them!” The Black and White characters then are paradoxically unified by their shared othering of an android who has no race: “He ain’t White … and he sure ain’t Black!”

Yellowjacket must avoid a crowd too.

In this case, it seems that the colorist selected one child to be Black despite Buscema rendering what appears to be White hair. The three hands in the second panel are instead ambiguous, and the colorist chose the middle hand to be Black. And in the third panel, Buscema may have intended two of the children to be Black based on their hair, which the colorist followed, though the child in the foreground still appears to have White hair as rendered by Buscema though later colored Black-denoting blue.

Where line art can more easily leave race ambiguous through the absence of details understood to denote race, it is a requirement of color art (except when using shadow colors that may contradict an image’s naturalistic rendering) to make racial designations explicit. This is so despite actual skin color having no such properties, since the range of Black and White skin colors overlaps. It is the paradoxically non-naturalistic nature of color art — in contrast to the seemingly non-naturalistic nature of black and white line art — that produces the artificial visual impression of distinct racial categories.

Color art defines the stark lines of race in the comics medium.

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