- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- The Cartoon on the Comics Page: A Phenomenology
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Radical Graphics: Australian Second-Phase Comics
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Drawing, Redrawing, and Undrawing
Abstract and Keywords
This chapter examines the comic-book adaptations of television series produced by Dell and Gold Key Comics from 1966 to 1973. These comic books often contained diverse casts, especially with African-American characters, yet they are little discussed in relation to racial representations in the medium. The chapter explores these comic books in terms of the visual style used to depict these minority characters and the way the content addresses social issues related to racism and diversity. Finally, it compares the television adaptations to the more popular superhero comics that were also introducing racially diverse casts at the time, and it raises questions about why these comic books are neglected in comics studies.
Department of English, University of South Carolina Sumter
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