Stories of extraterrestrial emigration to our beautiful blue planet are nothing new, particularly in recent years when the question of alien identity has become such a hot-button issue. Comics like Port of Earth and Border Town address the varying degrees of xenophobia that continue to simmer forth, putting our preservation and admiration of diversity ever more on the defensive.
The first issue of LaGuardia, by Nnedi Okorafor with art by Tana Ford and James Devlin, immediately sets itself apart from any sci-fi allegories of immigration. In this near-future world, Nigeria was the site of extraterrestrial first contact, and Lagos now operates the most important interstellar airport on the planet. The country, furthermore, has benefited greatly from its early communion with otherworldly species, and advancements in science and technology are ever-present.
But controversy is inescapable, and secessionists recalling the Nigerian Civil War amass, violently opposed to the influx of alien races and influence. Nigerian-American physician Future Nwafor Chukwuebuka arrives in New York City via LaGuardia, now the only interplanetary port in North America, pregnant and intent on smuggling in a mysterious little plant-based alien lifeform who adopts the rather loaded appellation of Letme Live.
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We’re coming up on the six-month mark of Marvel Comics’s “Fresh Start,” an informal publishing initiative that began with the release of Jason Aaron and Ed McGuinness’s new volume of The Avengers back in May. The initial flurry of #1 issues solicited under new EIC C.B. Cebulski’s direction, however, seemed anything but fresh. His promise of a creative shake-up that would include “new creative teams, new titles, new directions, and new beginnings,” appeared as empty bluster at best and, at worst, a tragic concession to a closed-minded segment of Marvel’s fanbase that preferred the same-old to diversity and true creativity.
Artists and writers were merely shuffled to different titles; series were rebooted (again); new directions were just old scenarios that were being repurposed and repackaged. It seemed as if all the truly progressive storylines and interesting creators that had been a hallmark of Axel Alonso’s final years at Marvel were going to be swept aside in favor of bland mediocrity. I half-suspect that the same Russian bots that tried to torpedo The Last Jedi were likewise targeting any superhero comic featuring a strong female character.
As I soon discovered, however, diversity and creativity had not been stymied completely. And if malcontents were looking for another minority superhero to spotlight their ignorance, Shuri #1 provides a fantastic foil.
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