Literature Review

My goal for my project is to discuss representation of various Indigenous people and groups in graphic novels and comics. I’ve gathered multiple sources ranging from books which are anthologies of smaller comics, graphic novels that focus on Indigenous, and single issues comics. I’ve also gathered articles that discuss the importance, relevance, and forms of representation that can be found in comic that feature Indigenous characters, were written or drawn by Indigenous people, or both. I think these sources will all be helpful while I’m writing my essay and provide crucial examples to help support my arguments.

Aaron, Jason., Guéra, R.M. Scalped: Dead Mothers. New York, Vertigo/DC Comics, 2007.

Aaron, Jason., Guéra, R.M. Scalped: Indian Country. New York, Vertigo/DC Comics, 2007.

• The two issues of Scalped provide another way of viewing Indigenous comics in a critical way. These two graphic novels (they truly are graphic) veer drastically away from Marvel 1602 and Justice League Canada: United as the writers and illustrators are depicting life on a modern-day reservation and bring up issues that would not be typically discussed in your average Marvel or DC comic book which are predominantly littered with superhumans. By having the contrast between two very different types of Indigenous representation within graphic novels a great discussion can be discussed about stereotypes, roles, and expectations.

Barbour, Chad. “When Captain America Was an Indian: Heroic Masculinity, National Identity, and Appropriation.” The Journal of Popular Culture, vol. 48, no. 2, 22 Apr. 2015, pp 269-284., doi:10.1111/jpcu.12256

• This article works with the comic Marvel 1602 and helps to better explain the graphic novel. It analyzes the fine detail of the comic and discusses the issues revolving around depicting Captain America as an Indigenous person. This will help to clarify points that I may find confusing or help to inspire new arguments I can make in regards to the graphic novel.

CBC Arts. “Gord Downie’s The Secret Path.” YouTube, CBC Arts, 23 Oct. 2016

• This is the animated accompaniment that goes along with the graphic novel Secret Path and it is shown with the music that was written and recorded for the project. Watching the animations from the graphic novel come to life was one of the most gut-wrenching and heartbreaking things I’ve watched because when the songs are playing in synchronicity with the panels another layer of understanding is added to the already moving images from the graphic novel.

Chavarria, Tony. “Indigenous Comics in the United States.” World Literature Today, vol. 83, no.3, 1 May 2009, pp. 47-49. JSTOR

• This article focused on how comics, both Indigenous or otherwise, are perceived by the general public as something that can be disposable. The writer also talks about how Indigenous comics can be used on various platforms ranging from dime comic strips to publications that deal with topics like identity and politics. I think this will be helpful because examples are available that will help destigmatize Indigenous comics.

Downie, Gordon., Lemire, Jeff. Secret Path. Toronto, Ontatio, Simon & Schuster Canada. 2016.

• Secret Path tells the story of a little boy named Chanie Wenjack who tried to walk over 400 km to get back home after he had escaped residential school. He didn’t make it and died at the age of twelve in 1966. This particular graphic novel is so important because none of the panels contain any words or description and relies solely on imagery to tell a story with the help of songs to convey what is happening. By doing away with text it forces the reader to focus on the subtleties of the illustrations and create the world within their mind allowing them to relate and empathies with a struggle so many Indigenous children went through. This will be helpful because it is different form of graphic novel people don’t normally expect while also telling a story that holds a true story.

Edmondson, Nathan. Red Wolf #1. New York, Marvel, 6 June 2016

• The character Red Wold was Marvels first Indigenous character and has recently been revamped in 2016. Him being brought back into circulation is so important because he is the titular character in a series of comics being produced under one the most recognizable names in the industry. This means there is more of a chance of his stories being read than those characters belonging to smaller names. This comic and this character is so important for my project because I can use him as a comparison to Captain America in 1602 as an example of who could have been an alternative character.

Gaiman, Neil., Isanove, Richard., Kubert, Andy. Marvel 1602. New York, Marvel, 2010

• I think that this source will benefit my project because it provides examples of how Indigenous culture can be used and abused to the benefit of a story without any concern towards the culture itself. I think I’ll use the original drawing of Rojhaz to support my essay because in the original drawing, Rojhaz was actually an Indigenous person and not Captain America dressed up in Indigenous garb.

Hansen, Kathryn Strong. “In Defense of Graphic Novels.” The English Journal, vol. 102, no. 2, Nov. 2012, pp. 57-63. JSTOR

• This article went into detail about how graphic novels are perceived in the classroom and how they are used. It may seem like a strange piece of evidence but the author brings up valuable points in regards to how graphic novels can teach people and can range widely in content. This will be helpful as the points made can be argued from both positive and negative standpoints which will provide more chance at expansion for ideas

Henzi, Sarah. “‘A Necessary Antidote’: Graphic Novels, Comics, and Indigenous Writing.” Canadian Review of Comparative Literature, vol. 43, no. 1, pp. 23-38., doi: https://doi.org/10.1353/crc.2016.0005

• This article discusses how comics are an emerging force in storytelling and focuses on colonialism and the abuse of Indigenous women. By bringing in these examples it allows for a discussion to start about how Indigenous comics and representation can be more than stereotypes exploited by the majority of the comic book universe.

Hernandez, Gilbert. Blood of Palomar. Seattle, WA, Fantagraphics Books, 1989.

• This book is a culmination of multiple comic publications all set in the fictional place of Palomar. It deals with topics of infidelity, sexuality, self respect and mental health. Palomar is a Latin American village whose communities could be compared to other communities of Indigenous people in Canada represented in various comics.

Hernandez, Gilbert (w). “Luba in America.” Luba #1, Feb. 1998. Fantagraphics Books Inc.

• “Luba in America” is a comic book written by an Indigenous author of Mexican heritage and has risen to cult fame due to his use of gender bending, punk rock themes, and multiracial characters. I think the comparison of characters will be interesting as the comic takes place in the US with non-Canadian Indigenous characters as the main focus. I think it will be interesting to see the differences and similarities between the representation of people from to very different locations.

Hernandez, Gilbert, and Jaime Hernandez. Duck Feet. Seattle, WA, Fantagraphics Books, 1995.

• This book is also an anthology of comics set in Palomar and deals with masculinity, femininity, stereotypes, and sexuality. Again, I think this can be used as comparisons to how Canadian Indigenous people are represented in graphic novels

Jung, Carrie. “Native American Superheroes Take Comic Books by Storm.” Al Jazeera America, Al Jazeera America. 28 June 2015.

• This article talks about various new graphic novels and how the genre of writing and producing stories is growing in popularity amongst Indigenous creators. It showcases the diversity and accuracy that can be achieved when Indigenous culture is embraced in a true and authentic way and how Indigenous creators can produce stories of the same caliber as any other big name comic book brand.

King, C.R. “Alter/Native Heroes: Native Americans, Comic Books, and the Struggle for Self-  Definition.” Cultural Studies ó Critical Methodologies, vol. 9, no. 2, 2008, pp. 214-223.,             doi:10.1177/1532709608330259

• R. King offers a great perspective on how Indigenous culture is used in Graphic novels and the ways in which ‘Indianness’ is used, but only to an extent. He brings into focus the fact that many comics will take parts of Indigenous culture and use it to benefit a story without giving credit to which culture it came from.

Lemire, Jeff., Mckone, Mike. Justice League United, vol.1. New York, NY, DC Comics, 2015

• This comic has a wide range of DC characters and the most relevant one for my project is the character named Miiyahbin. She’s a young girl who has inherited the power to transform inot a superhero when she says the word ‘keewahtin’. Her power allows her to fight the monster terrorizing her community while also helping the Justice League. She’s a great character example belonging to a big-name book brand almost all of the panels she is in focus on her and her development as a character. Her heritage plays a large role regarding her superpowers as her powers derive from a long line of heroes all belonging to her nation. Her culture is also never mocked and she isn’t represented in a stereotypical way.

Lewis, Rennee. “Marvel Comics Brings Back Native American Superhero.” Al Jazeera America, Al Jazeera America, 9 Sept. 2015.

• This article focuses on the rebirth of Marvels only character to ever have their own comic series: Red Wolf. He is such an important historical figure in the comic universe because he is the only character with Indigenous heritage to have his own comic which is problematic in an of itself as there are multiple characters that are just as deserving of their own book as Red Wing. However, like may attempts Marvel has made to represent Indigenous people there are a fare share of issues. The most glaring issue seems to be not giving Red Wing a specific nation and instead using him as a person to represent all Indigenous culture. Although the intention was good and was intended to unify Indigenous people, all it’s done erase all the different and diverse traditions that fall under the umbrella of indigeneity and put all indigenous people into a melting pot of stereotypes.

Royal, Derek Parker. “Native Noir: Genre and the Politics of Indigenous Representation in Recent American Comics.” ImageTexT: Interdisciplinary Comics Studies. 5.3 (2010). Dept. of English, University of Florida.

• This article has a section that focuses on Scalped and explains undertones of the novel that are hard to pick up or that you may not understand. It also provides insight on another genre of graphic novel that is quite graphic and helps to better relate it to everyday lives of Indigenous people on reservations. The comics have a Soprano’esque vibe about them which is and interesting twist.

Sheyahshe, Michael A. Native Americans in Comic Books: a Critical Study. Jefferson, NC, McFarland & Company, 2016.

• This book discusses the representation of Indigenous characters in publications ranging from dime comics to graphic novels. It also discusses why Indigenous characters are represented in the ways that they are and why it’s important for accurate, non-offensive characters to be created for children searching for a little of themselves in comics. This will be extremely helpful to my project as my project shares a lot in common to what is being said in the publication.

Tabachnick, Stephen E. “Introduction.” Studies in the Novel, vol. 47, no. 3, 2015, pp. 285-290., doi:10.1353/sdn.2015.0041

• “Introduction” gives an overview of Studies in the Novel, but despite it only being an overview, provides plenty of information in regards to what a graphic novel is, its history, and techniques used to create the works of art. This will help me better evaluate the graphic novels I’ve chosen and provide an aid for me when I’m explaining the significance of certain parts of a comic in my essay.