Comic Crusaders Special – Black Comic Creators Spotlight

Celebrating the creativity, hustle, and superhero swagger of Black comic creators breaking barriers in the indie scene.

• Danny J Quick and his high-octane Aceblade #9: Prison Escape—a Kickstarter-fueled breakout you won’t wanna miss! (Support it: https://www.kickstarter.com/projects/dannyjquick/aceblade-9-prison-escape)
• Lloyd & Tasha Jones, the dynamic duo behind Midnight Comics, bringing late-night vibes and mystery to the page. Website: https://www.midnightcomics.org/
• Quintin Dorsey and his epic Knights of Abyss, a Wefunder-backed saga of darkness and valor. (Back it: https://wefunder.com/knightsofabyss)
• EA Brown of Skull Valley Comics, slicing through with Deathblade #1—a DIY legend in the making. (Grab it: Tinyurl.com/deathblade-1)

But that’s not all! They also take a dive into Black Comic Creator history sowcasing some amazing trailblazers in the game then and now! From crowdfunding hustle to Black excellence in storytelling, this episode is packed with action, insight, and a whole lotta love for the indie scene. Al Mega brings the hype, Alim drops the knowledge, and together, they’re celebrating a renaissance of heroes who look like us, fight like us, and create like no one else.

When it comes to the history we discussed follow along below:

Let’s begin in the 1930’s to the 1940’s with the earliest Pioneers starting with:

• Jackie Ormes was Widely recognized as the first Black woman cartoonist in the United States. She created the syndicated comic strips Torchy Brown (debut 1937) and Patty-Jo ‘n’ Ginger, which ran in Black newspapers. Ormes used her platform to address social issues like racism and environmental justice (in one Torchy storyline, the heroine battles pollution harming her community. Ormes was the First nationally distributed Black female-created strip; a fashion doll was made in the likeness of her character Patty-Jo in 1947 (one of the first Black dolls in America). Ormes portrayed Black women as stylish, intelligent protagonists at a time when such representation was scarce. Her work inspired later Black women in comics, and she was posthumously inducted into the Eisner Comic Hall of Fame in 2018.

• Matt Baker was A groundbreaking Golden Age comic book artist, often cited as the first successful Black comic book artist in the industry. Baker worked for the Iger studio in the 1940’s, illustrating titles like Sheena, Queen of the Jungle and Phantom Lady. He is credited with drawing “Voodah,” considered the first Black comic book. Baker’s 1940’s Phantom Lady cover art became iconic in pop culture and even figured into the 1950’s Senate hearings on comics. Some of his Accomplishments was that he was a Prolific artist in the 1940’s through the 50’s; he contributed to the first known Black hero in comics (Voodah); co-created one of the earliest graphic novels (It Rhymes with Lust, 1950). Baker’s Impact was due to his lush art style influenced the romance and adventure genres. More importantly, he paved the way for Black artists in a segregated industry – his success proved Black talent could flourish, even if he himself was often uncredited at the time. Fellow artists credit Baker and his peers with shaping the comic industry while improving African American visibility in comics.

• Orrin C. Evans was A former journalist who became the first Black comic book publisher. In 1947, Evans created All-Negro Comics #1, the first comic book written and drawn entirely by Black creators. It featured Black heroes like Lion Man and Ace Harlem, aiming to entertain Black readers and counter racist depictions in media. Evan’s Key Accomplishment was Publishing All-Negro Comics (1947) as a standalone venture; being the first African American to write for a mainstream (white-owned) newspaper in the 1930’s. Evans’ attempt was a bold assertion of Black creative independence in the 1940’s. Although a second issue was thwarted by systemic racism (suppliers refused him newsprint when they discovered he was Black), All-Negro Comics is remembered as a milestone that inspired later Black-owned imprints. Evans demonstrated that Black creators could produce high-quality comics starring Black characters, planting a seed that would bear fruit decades later.

• Elmer C. Stoner was One of the first African American comic book artists, active in the 1930’s through the 40’s. Stoner worked as a commercial illustrator (famously helping design the Mr. Peanut mascot) and then as a comics artist starting in 1939. He drew for publishers like Dell and Fox Features and contributed to titles including Blue Beetle. Stoner Broke into the all-white field of comic-book illustration early on; mentored or helped other Black artists find work. Stoner is often called a “conduit” who “opened the doors for all the rest” of Black comic artists. Later generations (including Matt Baker) credited Stoner with helping them get paid assignments. His behind-the-scenes influence was vital in an era when opportunities for Black artists were extremely limited.

Then we get in the 1950’s where it became about Breaking Barriers in a Challenging Era! Let’s start with:

• Alvin Hollingsworth was One of the first Black artists in comic books, Hollingsworth started drawing comics as a teenager in the 1940s and continued into the 1950’s. He freelanced on genres like crime, war, and horror comics for publishers such as Holyoke and Fiction House, at a time when Black creators were nearly invisible in mainstream comics. Hollingsworth Contributed artwork to titles during the late Golden Age, including illustrating horror stories. He later became a prominent fine artist and educator. Hollingsworth’s early presence in comic book studios helped chip away at industry color lines. Though lesser-known to fans, historians cite him as “one of the first African American artists to break into the comics…business”, working alongside white colleagues in the 1940’s–50’s. His career path (turning to fine art by the 1960’s) also highlights how limited the comic industry was for Black talent at the time.

Keep in mind the 1950’s were a tumultuous time for comics and Black creators. The Comics Code Authority, established in 1954, imposed strict content rules – and by unwritten practice, having a Black protagonist could get a comic denied Code approval. This effectively pushed Black characters and creators out of the mainstream in the mid-’50’s. Black cartoonists continued to work in Black-owned newspapers and magazines, but in the mass-market comic books, Black representation nearly vanished. Pioneers like Ormes retired by 1956, and others like Evans or Hollingsworth found few opportunities. This drought set the stage for the alternative paths Black creators would take in the 1960’s, turning to independent publications and the burgeoning fandom scene to tell their stories.

Now we get to the swingin’ 60’s a time that was all about Independent Voices and Early Inroads. Let’s begin with:

• Morrie Turner was the Creator of Wee Pals (which debuted in 1965), he became the first African American cartoonist with a nationally syndicated comic strip. Wee Pals featured a diverse cast of kids (“the Rainbow Gang”), presenting an integrated world of friendships during the Civil Rights era. Initially only picked up by a handful of newspapers, the strip gained wider syndication after the assassination of Dr. King in 1968, as audiences and editors sought more inclusive content. Among his Key Accomplishments he was the First Black syndicated cartoonist in mainstream press; Wee Pals ran for decades. Turner’s impact and success in syndication proved that comics with Black characters could appeal to broad audiences. He gently educated readers about tolerance and unity, paving the way for later Black comic strips and serving as a counterpoint to the era’s resistance (some papers had canceled strips rather than show a Black character before this). Turner’s achievement was a beacon for Black creators aspiring to reach national audiences.

• Bertram A. Fitzgerald was A pioneering Black publisher who founded Fitzgerald Publishing. In 1966 he launched “Golden Legacy,” a comic book series devoted to African-American history. Fitzgerald felt history books lacked Black heroes, so he used comics to educate and inspire. Golden Legacy produced 16 issues (1966 to 1976) retelling the lives of Black icons like Harriet Tubman and Frederick Douglass. He Sustained a Black-owned comic publishing venture through the 1960’s; reached schools and youth with educational comics. He also later published Fast Willie Jackson (in 1976), one of the first Black-focused humor comics. At a time when mainstream comics offered few positive Black images, Fitzgerald’s work filled an important gap. Golden Legacy proved the power of indie comics in Black storytelling – these comics were used in classrooms and praised for presenting Black history in an accessible format. Fitzgerald’s model would inspire later educators and publishers to use comics for social change.

• Richard “Grass” Green was A pioneering Black fan-artist and underground cartoonist, Green got his start in the comic book fan magazines (fanzines) of the 1960’s. He debuted in fanzines like Star-Studded Comics in 1964 at a time when Black characters were unwelcome in Code-approved comics. Green’s most famous creation was Xal-Kor the Human Cat, a sci-fi hero he introduced in fandom circles. In 1972, he published Super Soul Comix, an underground comic satirizing race and superhero tropes. He was the: First Black artist to gain prominence in comic fandom circles of the ’60’s; one of the earliest Black creators in the 1970’s underground comix movement. Green kept Black heroes alive in the margins during the 1960’s when the mainstream shut them out. By bypassing traditional publishers and using fanzines and underground presses, he set an example of DIY comics as a route for Black creators. His work – often humorous and biting – directly confronted racial issues. Super Soul Comix was “brazen” in flipping the bird to the Comics Code’s sensibilities, clearing a path for more Black voices in alternative comics.

• Larry Fuller is Another trailblazer of the late ’60’s/early ’70’s underground comix scene. In 1970, Fuller wrote and published Ebon, the first comic book to star a Black superhero created by a Black talent. This one-shot followed a Black hero named Ebon in a classic superhero tale – a landmark as the first of its kind. Fuller, working from San Francisco, also produced adult-themed underground comics like *Sex and the Single Sister and Geneva in the early ’70s, carving out space for Black creators in that subculture. He is Creator of Ebon #1 (1970), a historic first for Black superhero lead in comics; prolific contributor to 1970’s underground comix. Impact: Fuller’s Ebon proved that Black creators could independently publish superhero stories outside Marvel/DC’s domain – a significant feat at a time when even Black heroes like Black Panther were still mostly handled by white creators. Ebon’s existence as “a landmark in Black creative thought” showed the possibility of Black-owned superhero universes. Fuller’s success in underground comix also opened doors for more Black cartoonists (men and women) to tell uncensored stories reflective of Black life.

In the 1970’s we saw a rise in the Integration of Black Mainstream Superheroes which brought about Blazing New Trails

• Billy Graham was A comic artist (no relation to the evangelist) who became one of Marvel’s first Black artists. He is famed for his work on Luke Cage, Hero for Hire in 1972 and Marvel’s Jungle Action (1973 to 75), where he teamed with writer Don McGregor on the critically acclaimed Black Panther series. Graham co-plotted and drew many of T’Challa’s early solo adventures, helping redefine Black Panther as a complex hero. He was Co-creator of Marvel’s first Black solo superhero comic (Luke Cage – Graham drew early issues and designed characters); signature artist on Black Panther’s 1970’s revival. Also one of the first Black art directors in comics (at Warren Publishing in the late ’70’s). Impact: Graham brought a new level of representation and artistry to mainstream comics. His detailed, expressive art on Black Panther lent authenticity and respect to an African hero originally created by white creators. Colleagues consider him a modern pioneer whose breakthroughs opened the door for Black creators at Marvel. The characters he helped shape (Luke Cage, Panther) became cultural icons, and his legacy is seen in how later Black artists were welcomed onto those titles.

• Arvell Jones is One of the earliest Black artists at Marvel Comics, Jones began working for Marvel in the mid-1970’s. He is best known as the co-creator of Misty Knight, a groundbreaking Black female superhero introduced in 1975. As an artist on titles like Iron Fist and Thor, Jones stood out in an industry just beginning to embrace diversity. He later drew for DC and was involved with Milestone Media in the ’90’s. He Co-created Misty Knight (a bionic-armed Black heroine who remains popular); contributed art to major superhero books in the ’70’s. By helping introduce one of Marvel’s first Black women heroes, Jones directly expanded representation on the page. Internally, his presence at Marvel was trailblazing – he was “one of the first Black artists at Marvel Comics”. Jones’ success showed that Black creators could thrive in superhero comics beyond just drawing Black characters (he drew many iconic white heroes too). Misty Knight’s lasting popularity, including appearing in Netflix’s Luke Cage series, is part of his artistic legacy.

• Trevor Von Eeden is Hired by DC Comics at age 16, Von Eeden became the first Black artist at DC and one of the youngest artists in mainstream comics. He co-created Black Lightning (1977) with writer Tony Isabella, designing the look of DC’s first headlining Black superhero. Von Eeden later drew Batman, Green Arrow, and co-created the graphic novel The Original Johnson. He was Co-creator and original artist of Black Lightning; broke new ground as a Black teenager in DC’s talent pool. Von Eeden’s debut was a milestone – “the first Black artist DC Comics had ever hired”, as he notes, and at an extremely young age. His dynamic style on Black Lightning and other books proved his chops, and he inspired subsequent Black artists to enter mainstream comics. The character Black Lightning has become a pillar of DC’s universe (even starring in his own TV show decades later), underscoring the significance of Von Eeden’s contribution. His very hiring signaled DC’s slow turn toward inclusivity in the late ’70’s.

Throughout the 1970’s, mainstream comics introduced more Black characters (e.g. Luke Cage, Black Panther’s solo, the Falcon, Storm, Black Lightning), but these heroes were almost all conceived by white creators. Black creators were typically the artists bringing them to life visually (as seen with Graham, Jones, Von Eeden) rather than the writers. This imbalance led to some stereotypical portrayals – for example, early Luke Cage stories leaned into blaxploitation tropes. It also galvanized the next generation of Black writers to enter comics in the 1980’s to tell more authentic stories. Meanwhile, the 1970’s underground and indie scene continued to flourish for Black creators: beyond Fuller and Green, Black-owned publications like Orbiter Comics and later Pacific Comics gave a platform to talent who couldn’t yet get in at Marvel/DC.

And then came the 1980’s with a bunch of Rising Stars in the Industry such as:

• Christopher Priest (real name Jim Owsley) – In 1979, Jim Owsley (who later adopted the name Christopher Priest) was hired at Marvel Comics, and by 1984 he became the first Black editor at Marvel. He later transitioned to writing and built a reputation for smart, boundary-pushing stories. Priest wrote notable series like Power Man and Iron Fist, Conan, and Spider-Man vs. Wolverine in the ’80’s, before going on to a celebrated run on Black Panther in 1998. Owsley wsa the First African American Marvel Comics editor; prolific writer across major titles; created influential runs (e.g. his 1990’s Black Panther defined the character for a new era). Priest opened doors on the editorial side and proved a Black writer could helm flagship characters (not just Black characters, but Spider-Man, Deadpool, etc.). He is known for complex storytelling and introducing nuanced Black perspectives into superhero comics. His success in the ’80s set the stage for more Black writers at mainstream companies, even though progress remained slow.

• Denys Cowan is A leading Black comic book artist of the 1980’s, Cowan gained notice for his gritty art on DC’s The Question (1987 to 89) and Batman. Earlier, he had drawn Power Man and Iron Fist for Marvel. Cowan Became a go-to artist for critically acclaimed series (The Question won awards for its mature approach); co-created the character Hardware (at Milestone Comics) later on. Cowan’s style brought a harder-edged, urban aesthetic that meshed well with streetwise or socially conscious stories. By the end of the ’80’s, he was one of the most prominent artists of color in mainstream comics, showing that Black artists could excel on top-tier books. In 1993, Cowan parlayed this credibility into co-founding Milestone Media, a major milestone (no pun intended) for Black creators (rewind back to 1990’s). His mentorship of other artists has also been influential.

• Kyle Baker is A versatile cartoonist and graphic novelist, Baker emerged in the mid-1980’s. He started at Marvel (inking The Shadow) and soon earned acclaim for his innovative graphic novels and humor comics. His book Why I Hate Saturn (1990) won multiple Eisner Awards, and he later created the celebrated graphic novel Nat Turner about the 1831 slave rebellion. He is a Multiple Eisner and Harvey Award winner; one of the first Black creators to find success in the alternative/graphic novel market. Worked in both superhero comics (revamping Plastic Man) and original projects. Baker’s work pushed the boundaries of visual storytelling – he blended satire, social commentary, and experimental art. As a Black creator in the indie comics scene, he demonstrated that Black voices could thrive beyond the capes-and-tights genre. His graphic novel Nat Turner (2008) brought a powerful Black historical narrative to comics, influencing how the medium can tackle Black history.

• Larry Stroman is A Black artist who broke into mainstream comics in the late ’80’s, Stroman is best known for his dynamic artwork on Marvel’s Alien Legion and later the superhero team book X-Factor (in the early ’90’s). He is one of the first Black artists to draw a long-running X-Men title (his X-Factor run in 1992 to 93 is fan-favorite); co-creator of the creator-owned comic Tribe. Stroman’s distinctive style showed that fans embraced art from Black creators on big franchises. In 1993, he and writer Todd Johnson launched Tribe at Image Comics – it became the best-selling comic ever by Black creators (over one million copies sold of issue #1). Tribe’s success was short-lived, but it proved a point about the commercial viability of Black-led projects. Stroman’s career inspired other artists of color to pursue work on high-profile superhero books.

• Barbara Brandon-Croft – While primarily a cartoonist (comic strip creator), she merits mention as a breakthrough Black woman in comics during the ’80’s/’90’s. The daughter of cartoonist Brumsic Brandon Jr., Barbara started contributing to Luther (her father’s strip) and in 1989 launched Where I’m Coming From, a witty comic strip featuring Black female characters. In 1991, she became the first Black woman with a nationally syndicated comic strip. She was the First Black female syndicated cartoonist (1990’s); her strip ran in major newspapers and addressed issues from dating to racism with humor. Brandon-Croft extended the path that Jackie Ormes blazed, bringing Black women’s voices to the funny pages. Her success in syndication during the early ’90’s paralleled the strides Black creators were making in comic books, and she highlighted the double challenges of being Black and female in the industry. Her work opened doors for more Black women in both strips and comic books in years to come.

In the 1990’s we hit Milestones and Beyond with A New Wave of Heroes especially in DC Comics masterminded by

• Dwayne McDuffie was A towering figure in this decade, McDuffie was a writer and editor who co-founded Milestone Media in 1993. Frustrated with underrepresentation, he and partners (Denys Cowan, Michael Davis, Derek T. Dingle) created Milestone to publish comics by Black creators about characters of color. McDuffie was the architect behind titles like Static, Icon, and Hardware, writing or co-writing many of them. He earlier had made a mark at Marvel with the satirical series Damage Control. Milestone’s driving creative force – launched a universe of Black superheroes in the early ’90’s; wrote Static Shock (which became an award-winning animated series). Also wrote for DC (Justice League) and animation (co-produced Justice League Unlimited). McDuffie’s Milestone line was revolutionary: it introduced a wave of authentically Black heroes in an era dominated by white creators. Characters like Static and Icon were “authentically” Black, thanks to McDuffie’s artisanship, which brought real-life nuance to their personalities and struggles. Milestone proved that Black creators could succeed in a shared universe model – their comics earned critical acclaim and lasting fan devotion. McDuffie’s influence extended into animation, bringing Black heroes to TV. He showed an entire generation that comics could be diverse and commercially viable. (DC revived Milestone in 2021, cementing his legacy.)

The Milestone Media Founders Collectively are Denys Cowan, Michael Davis, Derek T. Dingle, and McDuffie – these four men made history by forming the first major Black-owned comic imprint in partnership with DC Comics. Published series like Static, Icon, Hardware, Blood Syndicate (1993 to 1997) featuring predominantly Black and minority heroes. They employed many artists and writers of color and created a pipeline for new talent. Milestone’s creation was a watershed moment. It confronted the industry’s diversity gaps head-on and achieved success on its own terms. By the mid-’90’s, Milestone comics were showing up on comic racks everywhere, giving young Black readers heroes that looked like them and creators a chance to tell stories free of the “filter” of a mostly white editorial system. Even after Milestone’s initial run ended, its characters (like Static) and its alumni (Cowan, writer Ivan Velez Jr., artist John Paul Leon, etc.) continued to influence comics and animation. Milestone’s bold move in the ’90’s laid groundwork for today’s diversity initiatives.

• Christopher Priest – (who was mentioned earlier under the 1980’s part by his real name Jim Owsley, Priest truly came into his own as a writer in the 1990’s). In this decade he wrote popular runs on Steel for DC and in 1998 launched a seminal run on Black Panther at Marvel. Priest’s Black Panther (the Marvel Knights series) was the first solo title for T’Challa written by a Black author, and it redefined the character with political intrigue, wit, and depth. His Black Panther (1998 to 2003) became the definitive modern take and influenced the later film; co-created characters like Okoye (Dora Milaje) during that run. Also co-created the comic Quantum and Woody (1997) – an interracial buddy-superhero comedy that won acclaim. Priest in the ’90’s demonstrated how a Black writer could revolutionize a legacy Black character. He brought an authenticity and satirical edge that made Black Panther “cool” and relevant again. Many credit his run with paving the way for the Black Panther film’s tone. Priest’s success also proved that Black writers could handle flagship titles (he later wrote Green Lantern, Captain America, etc.). He remained one of the relatively few high-profile Black writers in mainstream comics through the ’90’s, often advocating for more diversity behind the scenes.

• Aaron McGruder – In the realm of comic strips (and later animation), McGruder became a prominent voice with The Boondocks. Debuting in 1996 on the internet and quickly syndicated to newspapers by 1999, The Boondocks follows two Black children from Chicago living in a white suburban neighborhood, serving up razor-sharp political satire. By his early 20’s, McGruder had one of the hottest comic strips in the country; The Boondocks was adapted into a Peabody Award-winning animated TV series (2005 to 2014). McGruder was unapologetic in tackling race, politics, and pop culture – bringing Black perspective and protest into daily comics in a way few had. He was part of a 1990’s wave of young Black creators who used both traditional and new media (like online) to bypass old gatekeepers. His work showed the breadth of what Black “comics” could be: not just superheroes but biting social commentary that reached millions. McGruder’s boldness influenced other Black creators to be outspoken and use comics as a platform for activism and truth-telling.

• Larry Stroman & Todd Johnson – ( this creator duo launched Tribe in 1993.) Tribe #1 sold over one million copies, making it the highest-selling single issue ever by Black creators. Though Tribe the series was short-lived, its record-setting sales during the speculator boom showed that Black-created comics could attain mass-market success. It also hinted at the untapped audience for stories featuring majority-Black teams (the heroes of Tribe were mostly Black). Tribe’s achievement remains a point of pride and a challenge to the industry – it proved that if marketed right, Black comics can be best-sellers.

• Ho Che Anderson is A Black Canadian comics creator known for the graphic novel King (published from 1993 until 2002), a biography of Dr. Martin Luther King Jr. in comics form. King is considered a classic of graphic journalism/biography, lauded for its unflinching look at the Civil Rights Movement. Anderson’s work in the ’90’s broadened the scope of what stories Black creators could tell. He brought a literary and artistic sensibility to historical subject matter, demonstrating that comics can handle serious Black history with sophistication. King and other indie projects by Black creators in this era (such as Kyle Baker’s later Nat Turner) have helped establish the graphic novel as a medium for Black historical and political narratives.

The 2000s brought Mainstream Breakthroughs and New Audiences to the comic book world.

• Reginald Hudlin is An acclaimed filmmaker (House Party, Boomerang) who crossed into comics, Hudlin took over Marvel’s Black Panther series in 2005. He brought a high profile and a fresh perspective, reimagining T’Challa for the 21st century and introducing concepts like Shuri (T’Challa’s sister). He Wrote Black Panther (from 2005 to 2008), including the popular “Bride of Black Panther” arc marrying T’Challa to Storm. Became the first Black writer to helm Panther in a long-term capacity after Priest. Later, Hudlin was a driving force behind the 2010 Black Panther animated series on BET. Impact: Hudlin’s run boosted Black Panther’s visibility – under his pen, the comic became a top-seller, even “the bestselling comic of the year” in 2005 when relaunched. His Hollywood clout and fan enthusiasm helped solidify Black Panther’s place in pop culture, paving the way for the blockbuster film. Hudlin later co-produced Milestone’s revival (2010’s) and wrote Static Shock. His success signaled that marquee Black creatives could thrive at the big publishers, and he opened the door for other media figures (like Ta-Nehisi Coates) to write comics.

• Ta-Nehisi Coates is A journalist and author known for his memoir and essays (Between the World and Me), Coates made a splash in comics when he was invited to write Marvel’s Black Panther in 2016. Although late in the 2010’s, the planning and announcement happened in 2015, so including him here as his influence spans late 2010’s into 2020’s. His Black Panther run (2016 to 2021) was a critical and commercial hit – issue #1 sold over 300,000 copies in pre-orders, unprecedented for the character, and the series consistently topped charts. Coates also penned Captain America (2018 to 2021). Coates brought literary prestige and a probing political voice to superhero comics. He explored themes of leadership, colonialism, and identity in Black Panther, effectively blending Afrocentric futurism with Marvel action. His presence at Marvel was also symbolic: for a period, he was one of only two Black writers at Marvel, highlighting the lingering diversity gap. Coates’ success has been a beacon encouraging publishers to seek out more Black voices. He demonstrated that when given control of a major Black icon, a Black writer can take it to new heights (his run directly influenced the Black Panther film’s tone and world-building).

• Kevin Grevioux is A Black writer/actor with a background in microbiology, Grevioux co-created the hit film Underworld and also entered comics. At Marvel, he created the character Blue Marvel (Adam Brashear) in 2008’s Adam: Legend of the Blue Marvel. He Introduced Blue Marvel, a powerful Black superhero retconned into Marvel history, whose series examined the 1960’s racial climate (why a hero had to hide his race). Also wrote New Warriors. Grevioux’s Blue Marvel added a layered Black hero to Marvel’s roster – a Superman-level powerhouse who had been hidden due to racism. The character resonated and was later integrated into the Avengers. Grevioux’s unique sci-fi/horror sensibilities (from Underworld) showed the benefit of bringing in Black creators from other media. He demonstrated that even as a newcomer to comics, strong ideas could find a place, enriching the universe with Black lore.

• Brian Stelfreeze is A Black artist who, by the 2000’s, was one of the industry’s top cover illustrators. He painted covers for dozens of titles (notably a long run on Batman: Shadow of the Bat in the ’90s) and eventually returned to interiors as the artist for Coates’ Black Panther (2016). He is a Renowned cover artist (he was a founding member of DC’s artist collective Gaijin Studios); artist on the high-profile 2016 Black Panther relaunch. Stelfreeze’s stylish artwork on Black Panther helped define the visual aesthetic of Wakanda for a new generation, complementing Coates’ writing. Having a Black artist of his caliber on that book underscored Marvel’s commitment to authenticity in that relaunch. Stelfreeze has also mentored younger artists and is a key figure in showing that Black artists can flourish in all aspects of comics (not just on Black characters). His longevity and prominence in the field are an inspiration to many.

• Nilah Magruder – In 2016, Magruder became the first Black woman to write a Marvel comic (with A Year of Marvels: Wolverine one-shot), a milestone that reflects how late the big two were in hiring Black women. Earlier in the 2000s she gained fame for her webcomic M.F.K., winning the Dwayne McDuffie Award for diversity in comics. Breaking the barrier for Black female writers at Marvel; successful Kickstarter and webcomic projects; later wrote for Marvel Rising and children’s books. Magruder’s entry into Marvel, alongside Roxane Gay and Yona Harvey around the same time, signaled belated progress in inclusion of Black women on the creative side. Her generation of creators is reaching audiences through both traditional comics and online platforms. Magruder and her peers illustrate the importance of webcomics and independent publishing in nurturing diverse talent that eventually catches Marvel’s/DC’s attention.

(The 2000’s also had the rise of graphic novels for young readers. This included Black creators like Jerry Craft – who started with a comic strip in the ’90’s – publishing New Kid in 2019, which in 2020 became the first graphic novel to win the Newbery Medal.)

With the 2010’s came much more Diverse Storytellers and Genre Expansion

• Roxane Gay is A prominent Black feminist author (Bad Feminist), Gay became in 2016 the first Black woman to be a lead writer at Marvel Comics when she penned Black Panther: World of Wakanda. That series, co-written with poet Yona Harvey, focused on the Dora Milaje and spotlighted Black queer women – breaking new ground in superhero comics. Gay is the First Black female Marvel writer (celebrated by media); brought literary acclaim to comics; has continued to champion diversity in storytelling across media. Gay’s involvement signaled a turning point for representation behind the scenes. She used her platform to tell intersectional Black stories rarely seen in superhero books (e.g. love between two Black women warriors in Wakanda). Her success and visibility proved that audiences and publishers were ready for more Black women creatives. This opened the door wider for others (e.g. Nnedi Okorafor, N.K. Jemisin) to enter comic writing. It also emphasized the value of authentic voices – the Dora Milaje story Gay told could only have been done justice by creators who understood the intersection of race and gender.

• Nnedi Okorafor is A Nigerian American science fiction novelist who brought Afrofuturism to comics. Okorafor wrote the Marvel mini-series Black Panther: Long Live the King (2018) and the standalone Shuri series (from 2018 to 2019) featuring T’Challa’s genius sister. She also penned indie graphic novels like LaGuardia (a sci-fi immigration allegory that won an Eisner). Okorafor Introduced fresh Afrofuturist concepts into the Black Panther mythos; won the Hugo and Eisner Awards in sci-fi and comics. Okorafor’s work blends African culture, speculative fiction, and social commentary, exemplifying the rich possibilities when Black creators shape genres like sci-fi/fantasy. In Shuri, she expanded a beloved Black female character’s role, pleasing fans of the movie who hungered for more of her. Internationally, Okorafor is one of the notable voices connecting African diaspora storytelling to mainstream comics, inspiring more creators from Africa or of African descent to contribute unique perspectives.

• David F. Walker – A Black writer who emerged strongly in the 2010’s, Walker has written across genres: blaxploitation homage (Shaft comics), superheroes (Cyborg for DC, Power Man and Iron Fist for Marvel), and creator-owned Afrocentric sci-fi (Number 13). He co-created Bitter Root (2018) with Sanford Greene and Chuck Brown – a supernatural comic about a Black family of monster-hunters during the Harlem Renaissance. Walker is a Eisner Award winner for Bitter Root (Best Continuing Series 2020) revitalized classic characters (his Shaft graphic novel won a Glyph Award). Walker has been at the forefront of blending Black history, culture, and genre fiction. Bitter Root’s success (multiple Eisners and a film option) demonstrates the appetite for stories that mix horror, action, and real historical context (like the trauma of racism) through a Black lens. By succeeding in both mainstream capes and independent projects, Walker shows that Black creators can shape all corners of comics – from reinventing Marvel heroes to creating entirely new mythologies. He’s also been active in mentoring and uplifting other creators of color.

• Sanford Greene & Chuck Brown – (Partners with Walker on Bitter Root). Greene’s kinetic art on Bitter Root and Marvel titles like Power Man and Iron Fist; Brown’s writing on Bitter Root and other indie comics. Impact: Along with Walker, they form a team that has shaped the horror genre in comics through an unapologetically Black lens. Bitter Root tackles monsters as metaphors for bigotry, a concept only creators with their background might have conceived. Its critical acclaim and awards underline how Black creators are reinvigorating genres like horror and fantasy in comics, not just contributing to superhero stories. Greene and Brown have become role models for working collaboratively and succeeding outside the Big Two system.

• Jerry Craft – A veteran cartoonist turned children’s graphic novelist, Craft made history with New Kid (2019), a middle-grade graphic novel about an African American boy at a private school. New Kid became the first graphic novel to win the Newbery Medal (2020), one of literature’s highest honors for children’s books. Craft received a Newbery Medal and Coretta Scott King Award for New Kid; its sequel Class Act also became a bestseller. Earlier, Craft created the comic strip Mama’s Boyz (running 1990’s–2000’s) featuring a Black family. Craft’s triumph in youth comics underscores how Black creators are expanding comics into new audiences – notably young readers – with authentic stories. By winning major literary awards, he elevated the stature of graphic novels in education and proved that stories with Black protagonists (told by Black creators) resonate broadly. Craft also addresses the unique experiences of Black kids in his work, helping young readers of color see themselves and prompting meaningful discussions on race among all readers. His success is encouraging publishers to invest in diverse voices for younger demographics.

• Spike Trotman is A key figure in independent publishing, Spike is a Black woman cartoonist who in the 2010’s became a powerhouse publisher through crowdfunding. She founded Iron Circus Comics, which has published numerous graphic novels (often queer- and POC-focused) and has raised over $1 million via Kickstarter. Spike Pioneered Kickstarter as a platform for comics with her anthology Smut Peddler (2012); published acclaimed works like Banned Book Club and The Girl Who Married a Skull (African folklore comics). Spike Trotman’s entrepreneurial success has proven the viability of indie comics by and about people of color. She built a sustainable company outside the traditional system, giving many marginalized creators their first break. Her model has influenced how comics reach niche audiences and showed that Black women can lead as publishers, not just creators. Through Iron Circus, Spike has expanded the diversity of stories available in comics – from erotica to horror to memoir – and has been a vocal advocate for creators’ rights and fair pay.

Now in the 2020s we have Contemporary Innovators and Global Influencers such as

• John Ridley is An Oscar-winning screenwriter (12 Years a Slave) who has turned to comics in recent years, Ridley has been writing high-profile projects that re-examine superhero universes. He authored The Other History of the DC Universe (2021), an award-winning miniseries retelling DC’s history through the eyes of its marginalized heroes (like Black Lightning and Mal Duncan). He also wrote Black Panther (2021–22) for Marvel and introduced a new Black Batman (Tim Fox) in Future State: The Next Batman. The Other History of DC won the 2022 Eisner for Best Limited Series; Ridley is one of the few Black writers to tackle A-list characters across both DC and Marvel. Impact: Ridley’s approach actively centers race in superhero narratives, asking how characters of color experience events differently – a perspective rarely explored in decades past. By doing so within DC’s canon, he’s effectively diversifying the narrative mythology. His prominence as a Hollywood writer also signals that comics are attracting top Black talent from other media. Ridley’s work in the

2020’s reflects a broader trend of “reclamation” – Black creators reclaiming classic universes to tell new, inclusive stories.

• Vita Ayala – Ayala is a significant modern writer who gained prominence in the late 2010’s and into the 2020’s. They have written for DC (Static: Season One – rebooting Milestone’s Static in 2021, and Nubia) and Marvel (Morbius, Children of the Atom). Vita was a Co-writer of the revival of Static Shock (bringing a classic Black teen hero to a new generation); writer on Livewire for Valiant, one of the first series to star a Black woman in that universe. As a queer non-binary Black creator, Ayala represents the growing intersectional diversity in comics today. They often incorporate themes of identity, community, and social justice in their stories. By taking on legacy characters like Static and Nubia (Wonder Woman’s Black twin sister), Ayala is helping to update and refresh them for modern audiences. Their presence also highlights the role of Black women and non-binary creators shaping comics’ future – voices that were virtually unheard in earlier decades.

• Reggie Hudlin & Milestone 2.0 ( in 2021) – Reginald Hudlin (from the 2000’s entry) partnered with Dennis Cowan and DC to relaunch Milestone Media in 2021. They brought back heroes like Static, Icon, and Hardware for a new era, with new talent such as Vita Ayala, writer Evan Narcisse, and artist Nikolas Draper-Ivey (a young Black artist who drew Static). He successfully reintroduced the Milestone universe after two decades, updating the stories for contemporary issues (police violence, for example, in Static: Season One). The Milestone revival is bridging the legacy of 1990s Black comics with the present day. It’s providing mentorship – veteran creators working alongside rising Black creators. The renewed series have been critically well-received, proving that the demand for diverse heroes is ongoing. It also shows how Black creators are now often in the driver’s seat when resurrecting their own properties (a significant shift from the characters languishing in limbo). This initiative reinforces the importance of Black-owned narratives in the mainstream and continues Milestone’s impact on a new generation.

• Roye Okupe is A Nigerian writer/creator who founded YouNeek Studios, Roye represents the international wave of Black comics creators influencing the global scene. He self-published graphic novels in Nigeria/US featuring African superheroes (such as Malika: Warrior Queen and E.X.O.: The Legend of Wale Williams). By 2021, Okupe secured a groundbreaking deal with Dark Horse Comics to publish the “YouNeek YouNiverse” line globally. Roye Built a connected African superhero universe from scratch; leveraged Kickstarter to fund his projects; Dark Horse partnership to distribute his books widely, making him one of the first African creators with such reach. Impact: Roye is shining a light on Africa’s contribution to comics. “It’s also going to shine a light on the African continent and what it has to offer…when it comes to comic books,” Okupe said of his Dark Horse deal . He proves that there is a market for African-inspired stories told by African creators, and his success encourages major publishers to seek more original content from Black creators worldwide. Okupe’s work often infuses Nigerian history and folklore into superhero tropes, enriching the genre with new cultural depth and appealing to readers in Africa, the diaspora, and beyond.

• Marguerite Abouet is An Ivorian-French writer whose graphic novel series Aya put African daily life on the comics map. Starting in 2005, Aya of Yopougon (drawn by Clément Oubrerie) told warm, witty stories about a young woman in 1970s Ivory Coast. It won the Angoulême Prize for Best First Album (2006) and became an international hit, even adapted into an animated film. One of the most successful Francophone African comic creators; Aya series won awards and sold widely, opening doors for more African narratives in European comics. Impact: Abouet’s work offered a counter-narrative to usual Western depictions of Africa by focusing on relatable, everyday experiences rather than war or trauma. Her success has inspired other African creators to use the medium to share authentic stories. Internationally, she’s a prominent example of a Black woman conquering the graphic novel scene, influencing global readers and showing that Black creators can excel in any comic tradition (not just American superheroes). She helped normalize African settings in comics, which is part of a broader diversification of the medium’s geography.

• Bobby Joseph – A Black British comic writer known for the 1990’s urban satire comic Skank and characters like Black superhero AAMan, Joseph made history in 2023 by becoming the UK’s Comics Laureate, the first person of color appointed to the role. Key Accomplishments: Pioneered Black British independent comics addressing Black UK life; editor of Skank magazine; now an official ambassador for comics in the UK. Impact: Joseph’s work and recognition highlight the presence and contribution of Black creators in the UK comics scene. His humor comic Skank, which ran in the ’90’s, gave a voice to the Black British youth and tackled issues like racism in Britain with biting comedy. As Comics Laureate, he advocates for comics in education and diversity in storytelling. His appointment signals a growing acknowledgement of Black creators in global comics industries. Joseph has influenced a new generation of Black British artists and writers who are now creating works that resonate both locally and internationally.

With this timeline of amazing and talented creators, we see a rich tapestry of Black comic book creators emerging across the decades – from the lone trailblazers who fought to be published in the 1930’s through the 1960’s, to the vanguard who integrated the mainstream in the 1970’s through the 80’s, to the innovators and entrepreneurs of the 1990’s through the 2000’s who opened new frontiers, and finally to the global, genre-spanning voices of the 2010’s to present day. Each era built on the sacrifices and triumphs of the previous, leading to an increasingly diverse comics landscape.

Author Profile

Al Mega

I'm Al Mega the CEO of Comic Crusaders, CEO of the Undercover Capes Podcast Network, CEO of Geekery Magazine & Owner of Splintered Press (coming soon). I'm a fan of comics, cartoons and old school video games. Make sure to check out our podcasts/vidcasts and more!

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