DC's New VP Wants Its Comics to Reflect a Diverse Readership—But It'll Take Some Work

The cover of The Other History of the DC Universe.
The cover of The Other History of the DC Universe.
Image: Alex Dos Diaz

In John Ridley’s upcoming DC Black Label series The Other History of the DC Universe, a number of key moments from throughout DC’s comics canon are set to be reexamined from the perspectives of the non-white characters who, traditionally, have taken the back seat to white characters that the publisher’s spent decades elevating to iconic status.


When you look at the flagship books set in DC’s core continuity from the past few years—your Batman, Wonder Woman, and Justice League series come to mind—it’s often been blindingly obvious how those series have only done but so much to make DC’s larger universe feel like a place where superheroes and supervillains of color alike are an integral part of the stories being told. Odd developments like Cyborg becoming a new member of the League while John Stewart’s largely nowhere to be found have made it appear as if, when thinking about character lineups, DC’s fallen into the trap of checking off boxes in pursuit of corporate-approved diversity that really only reads well on paper.

In the ongoing conversations about what work needs to be done to make comics as a whole more inclusive, one of the more important things that tends to get lost in the sauce is people’s understanding of how important it is for publishers to take the time to properly cultivate non-white characters and then put them positions of narrative prominence within books that are actively promoted. All of this similarly applies to the creative teams of artists, writers, and editors bringing these stories, and while the comics space has gotten marginally better at hiring creators from marginalized backgrounds, to say that comics have become properly open and accessible to all people would be a gross overstatement. DC Comics’ newly-minted senior vice president Daniel Cherry III seems to understand all of this, and he would like to do something about it.

In a recent LinkedIn post, Cherry took a moment to express his excitement over coming to DC amid the publisher’s recent upheaval and share a bit about his past as a lifelong lover of comics. But he also took a moment to very diplomatically touch on a number of points that have been the subject of many a heated conversation about the industry.

“While always respecting the past, I also think it’s our responsibility to leverage the cultural power of DC Comics and our characters to entertain and inspire an increasingly diverse global fan base,” Cherry says. “Comics have the unique power to create resonant imagery and narratives that can move the world toward a better, more inclusive version of itself.”


In mentioning respecting the past, Cherry touches on the oft-used argument made against the creation and inclusion of new versions of characters (often people of color) by people who insist that comics and characters can only change but so much lest the publisher somehow “tarnish” their legacy. But it’s Cherry’s point about how the readership for comics is continuously growing and changing that’s important to focus on, because it touches on the future of the larger comics landscape beyond just DC. For years now, it’s been clear that while people’s ideas about the average comic book reader (white, male, young-to-middle aged) have remain somewhat fixed, the reality is that more and more women and young people represent substantial readership growth areas.

Putting more energy into all-age, middle grade, and YA series that feature a diverse array of characters is something DC’s been bullish about in recent years, and the company’s consistently bolstered the presences of its big name women characters like Wonder Woman and Harley Quinn. But on the comics front in particular, it’s been very curious to watch new, Black characters like Naomi and Duke Thomas pop up and then gradually fade into the background of other series in a way that doesn’t exactly engender all that much excitement around them. This is the sort of issue that’s a bit more complicated than it seems, as the common thought here is that a character’s prominence is determined purely by their popularity. But in reality, a character’s resonance with an audience is also the product of how a company handles them in terms of presentation, promotion, and attention.


On the other side of the aisle over at Marvel, characters like Kamala Khan and Miles Morales didn’t become immediate hits overnight; it took the sort of time and resources that a comics publisher has access to, but has to make decisions as to how it wants to dole out those resources out from brand to brand. With the revival of the Dakotaverse finally on the horizon, DC’s actually in an excellent position to follow through on Cherry’s ideas about how the company can push itself into a new era of storytelling that better reflects the lives and experiences of a larger pool of potential readers. The question now is whether DC will properly seize the opportunity and capitalize on its potential in a meaningful way beyond hopeful ideaton and lip service.


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Charles Pulliam-Moore is an NYC-based culture critic whose work centers on fandom, pop culture, politics, race, and sexuality. He still thinks Cyclops made a few valid points.



DC’s fallen into the trap of checking off boxes in pursuit of corporate-approved diversity that really only reads well on paper.

This is absolutely true, but I think the bigger issue that they keep running into is the way in which they bring in new characters.

They love to fall back on the trope of killing an existing hero and then attempting to fill their diversity quota with a replacement. The readership always feels like something is being taken away, and then they reject the new character*. This happened with Hal Jordan and Kyle Rayner, and diversity wasn’t even an issue there. Meanwhile Batman’s going through Robins like K-Cups and nobody has an issue because for the most part the old character still has something to do.

For a line of books that is all about generations and legacy, it should be really easy to bring in a diverse line up. Move all the 2nd gen characters to JLA, and slowly start repopulating their titles with a more diverse line up of 4th or 5th gen characters. I haven’t read in a while, but last I checked, there were four living Flashes and at least five Earth based Green Lanterns. It wasn’t hard to follow and all of them had a place in some title.

It just kills me that DC wasn’t able to do this ages ago. But the last ten years have felt like they were overly obsessed with restoring the all white Silver Age line up... but that also feeds into my point because any replacement character always comes across like they’re just a placeholder until the real (read white) character makes a comeback. DC Rebirth’s big hook was: “Look, white Wally is back!”

DC editorial basically brings characters in to satisfy their diversity check box, but even they reject the new characters so they can bring back the original that they grew up with.

I’m a little all over the place, but it’s the end of the day on a Friday. So please forgive any rambling.

*All the toxicity comes out at this point too. Which is disgusting, I just don’t want to go off on a rant about incels and I’m trying to stay positive. Happy to after this first post, though.