Spoilers for the latest issue of Red Robin.

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“It is what it is” is a phrase that signifies resignation or a grudging acceptance of a situation. It’s not admitting defeat, not exactly. Really, it means exactly what it says. Whatever situation you’re in is whatever situation you’re in. You can’t change the past and you can’t change the present. All you can do is live in it. Fantasy only goes so far, and “so far” in this equation is “nowhere.”

I read a story in a comics anthology a few weeks back that really surprised me. It’s short, just seven pages, but it bounced around in my head for days after I finished it. In it, a man named Tarlton is in charge of inspecting the robotic citizens of Cybrinia to see if they are ready to be accepted into the Galactic Republic.

He meets an orange robot soon after landing on the planet, and this robot serves as his guide around the planet. Tarlton is shown their factories, their system of government, their educational system, and their technology. He asks about the blue robots, and is told that they live on the south side of the city.

Tarlton learns that the citizens have self-segregated, with the orange robots living in relative opulence, while the blue robots must live a harder life. He visits a blue factory and notices that the blue robots have the same innards as the orange robots. His orange guide bristles at Tarlton’s anger. “You are lecturing me as though all this were my fault, Tarlton! This existed long before I was made! What can I do about it? I’m only one robot!”

Tarlton storms out of the factory and back to his ship. He explains that the robots are on their own until they learn to live together in harmony, and that they won’t see real progress until they do so. He climbs back inside his ship, bids his guide farewell, and lifts off. Inside the safe atmosphere of his ship, he removes his helmet, and the narration describes how the instrument lights make the “beads of perspiration on his dark skin twinkle like distant stars.”

Pretty simple, right? Maybe a little ham-fisted in its use of metaphor, but it has a good message at its heart. The thing is, Al Feldstein wrote it and Joe Orlando drew it in 1953 for EC Comics. They named it Judgment Day. Thirty years after that, Guy Bluford became the first black American in space. Twenty-five years after that, Barack Obama became the first black president.

What struck me was how similar the moral of Judgment Day is to the way race is treated in modern day superhero comics. Like the story set in the far-flung future, superheroes exist in a world where acceptance is the default. The X-Men, long-time stand-ins for various peoples, are indistinguishable from the population at large. They only encounter racism in stories specifically geared to show that racism is something bad people do.

Most black superheroes, the ones worth reading about, at least, pay lip service to the idea of race. They tend to have “Fight the power!” motivations, embody the “angry black man” stereotype, or both. They fight racists disproportionately often when compared to their white compatriots. Their motivations might not be as pure as their brethren.

Some black characters, like John Stewart or James Rhodes, are permanent sidekicks. They aren’t as popular as their white counterparts and never manage to rise above their sidekick status. If they weren’t fictional, you could say that they never manage to self-actualize, no matter how many times they fall out with their benefactors.

Others, like Luke Cage or Misty Knight, are their own characters, but that proves to be their doom. Without some kind of tie to another franchise, they can’t keep their head above water. They are guest stars and cameos, showing up when someone needs a crowd shot or a reference to a character’s friends.

There are a number of reasons why this tends to hold true for so many characters, but that’s not the point today. The point is that today, almost sixty years after Judgment Day told us that racial unity is the future, superhero comics are still singing that same song.

We don’t see the nuances or cultural traits that combine to define a race. We don’t see how the races interact and intersect. In superhero books, race, and everything to do with it, is a binary construct. Villains can be racist, heroes are not. Black characters are unquestionably accepted and called equals, even if the story or art suggests otherwise.

Race is not, and has never been, as simple as black and white. People aren’t that simple. That’s just not how it works.

There’re three bars from a Saul Williams song called “Coded Language” that are applicable here.

Your current frequencies of understanding outweigh that which as been given for you to understand.
The current standard is the equivalent of an adolescent restricted to the diet of an infant.
The rapidly changing body would acquire dysfunctional and deformative symptoms and could not properly mature on a diet of applesauce and crushed pears.

Judgment Day was controversial in 1954, when it was reprinted in Incredible Science Fiction #33. The Comics Code Authority wanted the race of the astronaut changed to white. William Gaines, publisher of EC Comics, stuck to his guns and defied the Code.

It’s 2010. What was controversial then is par for the course today. Interracial relationships are more common than black-on-black relationships in mainstream comics. Captain America’s history bears the specter of experimentation on black men. Luke Cage has been leading the Avengers for a few years. We are standing on the shoulders of giants, looking out at the future, but we’re still eating applesauce.

Of course, applesauce isn’t all we have. There’s a lot to appreciate and a lot to love. I spent a lot of time thinking about BHM10. Several months, in fact. When I sat down to really plan what I wanted to talk about, and how I wanted to talk about it, I was faced with a choice. I can either continue to mourn and wish things were different, or I can accept that it is what it is and move on to the next one. I chose to move on.

Moving on doesn’t mean ignoring the past. Far from it, I think. A few of the essays may cover ground I’ve stomped on before, but hopefully from a fresh angle. I’m gonna talk to people creating the new hotness. I’m gonna talk about black heroes, and yeah, about black superheroes, too. I’m gonna talk about stuff you should be reading and creators you should be watching. I’m looking at three a week, Tuesday-Thursday-Saturday, though that may alter as the month goes on.

This is Black Future Month ’10. I hope you like it.

starts tomorrow.

In the meantime, check out Ron Wimberly’s Weekly Inspiration this week, which comes with a Black History theme. Look at the crazy design sense on those issues of The Black Panther.

Weird trivia- the guy who founded the Black Panther Party chapter in Brooklyn in the ’60s? David Brothers.

BHM10 is tomorrow.

-Gavin provides a quickie bio for who he is and how he came to be. But… who ate his Rice Krispie Treats?
-6th Sense’s 4a.m. Instrumental for the theme music
-Oh. It was Esther. This probably means war.
-Do you know what sounds interesting? Listening to David and Esther page through a full run of Who’s Who in the DC Universe!
-Thrill! to the sound of pages being turned!
-Listen! to the audible disbelief and scorn!
-Wonder! about the background music that wafted over from my neighbor’s apartment while we were recording!
-Discover! our misplaced disdain for the past as we make fun of Yellow Peri for being a crappy version of “yellow peril!” Turns out she’s based on peris, fallen angels from Persian mythology. Sorry, dudes from the past who created Yellow Peri! She’s still basically a crappy version of I Dream of Jeanie!
-Ponder! why we make sitcom/TGIF jokes on every show.
-Accept! our apologies for accidentally biting MGK’s gimmick!
-Click! these links for some visual aides:

-Peace! We’ll be more coherent next week.

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A fine set of comics this week. Ah, it’s good to have Batman & Robin and Frankencastle Punisher around.

Batman and Robin #7
Grant Morrison and Cameron Stewart

Captain America Reborn #6
Ed Brubaker and Bryan Hitch

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Tonight is the WWE Royal Rumble. Here’s hoping someone other than Triple H or Cena wins this one. Come on, Kofi Kingston or CM Punk!

What better timing than for me to find this gem that I’ve been looking for for 13 years? In my Royal Rumble Week articles, I made mention of an ECW Rumble match I saw back in the mid-90’s. It was actually my very first ECW experience, so it stuck with me. Finally, I found it.

It’s called the King of the Hill Battle Royal, which is like a Royal Rumble, except for two differences. One, pinfalls and submissions count. Two, tag teams can enter together, as long as they’re willing to split the winner’s purse. The contestants:

Balls Mahoney
The Blue World Order (Stevie Richards, Blue Meanie and Nova)
Bubba Ray Dudley
Chris Candido
D-Von Dudley
The Eliminators (Perry Saturn and John Kronus)
“The Franchise” Shane Douglas
The Gangstas (New Jack and Mustafa)
Little Guido
Louie Spicolli
“Prime Time” Brian Lee
Rob Van Dam
Sabu
The Sandman
Spike Dudley
Tommy Dreamer

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Andy Diggle and Jock’s The Losers has probably the best last line of any comic ever (if you’ve ever read it, you know it) and the movie drops later this year. MSN has the hookup on a full length trailer, presented here with a tip of the hat to iFanboy, where I watched the footage.

I like it. It looks great, it feels like the book, it’s well-cast, and it has a good sense of humor, something that The Losers definitely had when it was appropriate. Another thing I really like: they aren’t afraid to step away from the source material to make the movie work. There were a few scenes I didn’t recognize (Aisha in the tub, the Blagyver stuff, Aisha being fairly talky talk) along with a lot that I did (Chris Evans dancing in the elevator, Aisha blowing up the tank). A good comic book movie, even when adapting a specific story (such as 300 or Sin City), includes something new, rather than just being comics turned storyboards turned script turned movie.

Freshen it up some. I loved Sin City, but it is faithful to the point of being annoying. I knew all the twists, I knew all the lines, and while I liked it, it wasn’t as dope as it should have been.

But yeah, back to the point: The Losers. Dope.

But I love this page with my whole heart.

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The Apple iPad is out, as you can see on this post here from Engadget. It’s five hundred bucks for the lower end version, which has 16 gigs of space and supports only WiFi. It looks a lot like a giant, novelty iPhone, but hey- it’s new. Check out apple.com/ipad if you want to order one- the WiFi revs ship in late March, 3G in April.

On the other hand, if you’ve got the money laying around for an iPad… you should be copping Jim Rugg and Brian Maruca’s Afrodisiac. You can read my review on it here, if you’re unfamiliar with the work. The official site has an extended PDF preview and trailer, too.

It hits comics stores today. If your local shop doesn’t have it (we’re going to assume that you go to one of those shops who orders good books like this, and that they simply ran out before you made it in), you can order Afrodisiac from Amazon, where it’ll run you about ten bucks. Amazon’s site says that it’ll be in stock on 02/01, but there’s probably a chance it’ll ship late this week.

Really, get this book.

I remember when this poster first came out.  It was entitled “The Real Power of the DC Universe.” 

I hated it.  Absolutely hated it.  Oh, the women are the real power in the DCU, are they?  Sure they’re not headlining books or saving the day in stories.  Their emotional arcs don’t form the backbone of continuity, and there are no movies about them, and mostly they seem as decorative and unnecessary in the comics as they do in that poster, but they’re the real power in the DCU.

It reminded me of all the condescending crap that women have been tossed for a long time – that they have all the power because they can be sexy.  They have all the power because they can be feminine.  Just because all that power depends on pleasing other people, and all that power can be taken away in a heartbeat, that doesn’t mean that women aren’t the real power.

When David posted about Benes doing the art for Birds of Prey earlier this month, I felt some flickerings of that old irritation.  Rather than festering, though, as much of my irritation does; it passed away pretty quickly.

Here’s why:

I can go to the shelf and buy Detective Comics, which have a grittiness that, in my opinion, often clashes with the almost surreal artwork of JH Williams.  And there will be a Renee Montoya back-up, with an art style that matches up better, but a more conventional story.

Or I can buy that confection of a comic book, Power Girl, and laugh at the stories and try to find the cat in every issue.

Or I can buy Wonder Woman, although I can only read it when I’m not feeling depressed because, come on, can’t Wondy chalk up *one* in the win column?  She and everyone else in the comic have been kicked down and down and down since the third issue.

Or I can buy Batgirl, because it has two characters I love in a relatively by-the-numbers coming-of-age superhero story, and one character I despise making things interesting.

Or I can buy Supergirl, although its embroiled in a massive crossover continuity nightmare.  I liked the kids mini-series of it much better.

Pretty soon I’ll be able to buy Birds of Prey, the funny, soapy, wildly varied team book.

I could even buy that abomination, Gotham City Sirens, although I never will.  Ever.

And of course, if I have a few extra dollars I’m willing to throw away, I can buy the Streets of Gotham series, rip out the first 22 pages, and find Kate Spencer in a kind of Law & Order: Superheroes Unit comic.

I can find funny books starring women, and sexy books starring women, and dark books starring women, and kid’s books starring women.  I can like some of the books for the story, and some for the tone, and some for the characters, and some for the writer.

There are a bunch of books about women out there.  If I’m reading DC I can choose, out of that bunch of books, the ones the ones that suit my taste at the moment.  It was not always so.  I like, very much, that it has changed.

Which is not to say that there can’t be improvements.  There are a lot of books that are lead by female characters, but the percentage isn’t half.  Yet.  Almost all the characters are white, straight, young, and are drawn so that they are exceptionally easy on the eyes first, and characters second.  And if there is never again a story that mentions, contains, threatens, or even alludes to a rape, it will be too soon.  However, being able to pick and choose, not having to search the shelves for female characters, not feeling like I have to support that one book that has a female lead, having a selection presented to me and comparing, contrasting, and finally choosing what I like; I enjoy this feeling.   It feels like real power.