This chapter focuses on the classical conceptions of justice and then examines the contemporary movements that arose to challenge these old concepts. It looks at Wakanda's record on justice. In the comics, the trial to become the Black Panther involves more than fighting, but ritual combat has always been the final and most glamorous test in Wakanda. The Wakandan philosopher Changamire quotes him in the 12‐issue run “A Nation Under Our Feet,” by Ta‐Nehisi Coates and Brian Stelfreeze. Changamire (...) gathers not just the powers that be (T'Challa the king and Aneka the rebel leader) but also ordinary citizens traumatized by the war, so that together they can navigate a path forward. Their interest is not retribution or reparation, but rather restorative justice. In the transformative justice movement, the work of justice is the work of building our capacity to take care of each other, as ordinary people in ordinary communities. (shrink)

In February 2018 numerous pundits and commentators rained on the collective parade of countless Black Panther fans, remarking that Wakanda was totally fictional and not a real African nation. Originally created by Stan Lee and Jack Kirby in 1966, Wakanda's utopian underpinnings are realized through the depiction of an idealistic vision of human society as a vibranium‐powered Afrofuturistic version of Plato's Republic. Rather than seeing Wakanda as a model of “racial utopianism,” Killmonger considers it as the basis (...) of a dystopian empire. the cinematic depiction of Wakanda in Black Panther remains a dilemma of sorts, laying bare the perils as well as promises of racial utopianism by asking the film's audience if it is possible to make Black excellence a reality, while also asking what Black excellence means. (shrink)

Eric Killmonger is a power‐hungry villain and the new world order he wants to set up would be no less oppressive than the one he'd replace. Killmonger foresees a "Wakandan Empire" in which people of African descent are "on top" and the formerly powerful are slaughtered, along with their children and "anyone else who takes their side." "Civilizing barbarians" meant introducing them to Roman technology, administrative and legal systems, and, as the Romans saw it, the superior Roman culture and way (...) of life. Imagine a Wakandan who knows only the worship of the cat‐goddess Bast and ape‐god Hanuman, trying to mediate disputes between Christians, Muslims, and Jews, with no understanding of their traditions. In his post‐credits speech to the United Nations, T'Challa sees Wakanda as having a moral duty to share its knowledge and resources with the outside world. (shrink)

This chapter examines the debate on how Wakanda should respond to global injustice, Black Panther illustrates various issues regarding the nature of justice and the types of injustices we can inflict upon one another. Perhaps bearing witness to colonial epistemicide around them stoked Wakandans' strong impulse to protect their knowledge at all costs. In African philosophy, scholars often analyze or draw from proverbs and language use as a way to explore moral and political principles within an oral tradition. Ifeanyi (...) Menkiti argues that proverbs and wisdom within African thought and tradition uphold mutuality and the sense of not holding one's self others. Yet, despite what T'Challa says in his speech to the United Nations at the end of the film, his decision to "no longer watch from the shadows" appears to be motivated by the need to help, not by a sense of oneness with all of humanity, as understood through African philosophy. (shrink)

This paper introduces a new hypothesis for the rise of the politically correct left via an analysis of Black America. Drawing on Žižekian and psychoanalytical theory, it explores the ideological role of ‘symptom’ within America’s cultural landscape - of that which states that society ‘doesn’t work’ - by way of examining prominent African American figures and how they relate to this ‘symptom’: Will Smith and the ‘hystericization of the symptom’; Barack Obama and the ‘identification with the symptom’; the PC left (...) and the ‘implementation of the symptom as law’; the far right and the ‘fear of loss of the symptom’; Kanye West, Candace Owens and the ‘rejection of clinging to the symptom’. Additionally, the 90s sit-com The Fresh Prince of Bel-Air and the film Black Panther are analyzed and juxtaposed in order to further illustrate the process by which the recent ideological shift in our cultural and political discourse towards political correctness and identity politics has occurred. (shrink)

When the character of Black Panther first appeared in Fantastic Four no. 52 in July 1966, legendary creators Stan Lee and Jack Kirby didn't just write a story about another hero with extraordinary powers, they birthed the first Black superhero. For Lee, "it was a very normal thing," because "A good many of our people here in America are not white. You've got to recognize that and you've got to include them whatever you do." While it might've seemed normal to (...) Lee, Black Panther's (and Wakanda's) significance cannot be overstated. After all, the first Black superhero isn't just a Black superhero, he's the King of an African nation endowed with otherworldly powers, and Wakanda isn't just an African nation, it's the most advanced civilization the Earth has ever seen. Indeed, it shouldn't be lost on us that when Black Panther was introduced (during the Civil Rights era of the 1960s) the thought of a Black President-or an advanced, futuristic African society-would have been, well, unthinkable for too many people. (shrink)

The history of Wakanda began thousands of years ago when five African tribes fought over a meteorite containing vibranium. In the world of Black Panther, Killmonger's plan to arm African descendants across the globe represents the beginning stages of the Pan‐African ideal, where Blacks all over the world fight for liberation by any means necessary. Pan‐Africanism represents the expression of shared values and common interests of Africans across the diaspora. In a departure from liberalism toward a more realist theoretical (...) approach, African Americans realized with frustration that the expectation that emancipation would end exploitation of Blacks and restore their dignity was mistaken. Whereas Killmonger wants Wakanda to free oppressed Black communities all over the world, T'Challa wants to work through global institutions and the international community. (shrink)

Propelled by his own vengeance, N'Jadaka transforms into Erik Killmonger, CIA operative: a master of the weapons wielded by a colonial global empire, who wields these weapons himself in a quest to destroy the system that has oppressed people of color since ships set sail for the Caribbean over 500 years ago. Lorde, a Black lesbian feminist, was critiquing white feminism, suggesting that it failed to dismantle white supremacy (and she was doing this in the 1970s). Yet, her famous words (...) – “For the master's tools will never dismantle the master's house” – get reinterpreted through Killmonger, who has mastered the art of global colonial capitalism. Even Wakanda, whose power is greater than all the tools of the master's house put together, doesn't dismantle it. Wakanda sits on the world council but does nothing about colonial oppression. (shrink)

The origin of Black Panther 's charismatic villain, Killmonger, is the same as that of the historic Black Panther Party: Oakland, California. Director Ryan Coogler begins the film here, in a housing project where N'Jobu, a prince from Wakanda, has been living undercover. Black Panther first appeared in Marvel Comics in the summer of 1966, a few months before the official founding of the Black Panther Party. Killmonger's grudge against Wakanda for ignoring and rejecting him is one that (...) nearly every Black citizen could fairly hold against the United States. Wakanda abandons its traditional separatist position to follow the historical Black Panther Party's lead, pivoting from using the tools of modern warfare to protect Wakandans to channel its energy into uplifting social programs around the world, starting with the neighborhood in Oakland where the orphaned Killmonger grew up. (shrink)

Members of marginalized communities experience a lack of representation of their unique life experience in popular fictional media – and if they do see themselves represented, it is often as a stereotype, caricature, or minor character. Black Panther broke this mold by offering abundant, nuanced, and non‐stereotypical representation of Black experience. Black Panther offers a way of interpreting the real world through its fictional representations of Black people and Black society. Fictional works such as Black Panther offer viewers a unique (...) type of what Gaile Pohlhaus calls an epistemic resource : a resource that individuals draw upon in order to know. The hypothetical nation of Wakanda gives audience members of other racial groups a different or new perspective on Black identity, which can aid their interpretations of the real world. Quite the contrary, Black Panther is a film that can elucidate a multitude of Black peoples' experiences and perspectives. (shrink)

T'Challa, seemingly risen from the dead after having suffered grievous wounds and a fall from a high cliff, openly challenges Erik Killmonger's right to be called King of Wakanda. With T'Challa's return, Killmonger orders W'Kabi to "kill this clown," but Okoye decides to follow tradition, not Killmonger, saying to her husband W'Kabi that "the challenge is not complete." The same principle is at work when, earlier in the film, T'Challa engages in ritual combat against M'Baku, leader of the Jabari (...) Tribe. T'Challa, occupying the most privileged position, can smile bemusedly and shake his head at Shuri's outburst, and a child in the crowd can innocently slap his hand to his forehead in disbelief; but the adults present are not amused at Shuri's transgressions. Shuri may be the most visible gadfly, but the harshest – and, ultimately, most effective – critics of Wakanda's kings are Killmonger, Nakia, and T'Challa himself. (shrink)

One of the issues for T'Challa is how to respond to the refugees from broken African states while maintaining the isolationist interests of Wakanda. By the end of the film, T'Challa embraces a more complex form of responsibility that is closer to what Hannah Arendt envisions. In the throne room Eric Killmonger says, "It's about two billion people all over the world that looks like us, but their lives are a lot harder." With Killmonger's death, T'Challa begins to direct (...) Wakandan resources and technologies towards international social outreach to rectify the failures of generations of his ancestors. The argument between T'Challa and Killmonger is unusual within the superhero genre; the villain wins and compels the hero to take a dramatic turn. Killmonger seems to advocate killing millions of people, presumably white people, so that the world can start over with the Black people "on top.". (shrink)

T'Challa, the Black Panther, wears many hats, both at home and abroad. He is the chieftain of the Panther Tribe, which makes him the spiritual leader of his people as well as the king of Wakanda and its head of state. One key aspect that separates virtue ethics from its rival moral theories, consequentialism and deontology, is its focus on character. Judgment, or what Aristotle called "practical wisdom", is the ability to decide how best to act on one's virtues (...) in a particular situation. When T'Challa believed that agents within the US government were helping to overthrow his own, he and the Dora Milaje drove a truck into a building and abducted a businessman involved in the operation. T'Challa's duties as an Avenger come into conflict with his role as king of Wakanda, but other conflicts result from his role as a spiritual leader, which he regards as more important. (shrink)

Black Panther presents an African cultural tapestry. The wide breadth of the African elements fit Black Panther well within Afrofuturism, a genre defined by its use and placement of people of African descent in the past, present, and future of society. Beyond these cultural elements, Black Panther 's Afrofuturism employs water imagery and spinal cord injury as potent symbols of disconnection and reconnection. Black Panther draws from a long tradition of Afrofuturist literature that is influenced by a desire to remedy (...) the injuries of the past and reconnect people of African descent with the continent from which they've been severed. Black Panther 's Afrofuturism reimagines antebellum slavery society's flight fantasy as a powerful science fiction, T'Challa's Royal Talon Flyer. The narratives of T'Challa, Shuri, and Wakanda have been continuously remolded and expanded upon since the 1960s by artists who have been inspired by other Afrofuturist works. (shrink)

The museum of the colonial moment fused the expansion of knowledge and global contact of North Atlantic powers with the aggressive nationalist pride of their hegemonic positions, building national, cultural, and racial identity through framing. How does Black Panther use the museum scene to illustrate a fear of Black museums and the problems of existence observed through the philosophies of Black existentialism and Africana phenomenology? Killmonger's questioning of Wakanda reveals the truth and effect of Wakanda's isolationist history. Yet, (...) Wakanda is nevertheless shown as a representation of African history, not just in the tribal nature of Wakanda's social structure or in the clothing and physical adornments and jewelry, but also in the rituals and spirituality. (shrink)

With technology beyond the comprehension of any other country (thanks to their supply of vibranium), Wakanda has enough power to rival any nation on Earth. T'Challa oversees this power with wisdom, leading his kingdom with benevolence. Despite Wakanda's isolationism, T'Challa views outsiders positively, and ultimately he comes to see humanity as one tribe. Killmonger's perspective is different. One way to look at Black Panther is through the lens of the Civil Rights Movement, comparing T'Challa to Dr. Martin Luther (...) King, Jr. and comparing Killmonger to Malcolm X. Like T'Challa, Dr. King was an inspirational leader, beloved by those who followed him. King wanted to build bridges and establish an open line of communication between the African American community and the Caucasian community. (shrink)

The original comic version of T'Challa is a traditional monarch, whose actions demonstrate his concern for maintaining power and securing his nation. In fact, with his strategic use of violence, his demonstrations of empathy and humanity, and his embrace of religious symbolism, T'Challa was classically “Machiavellian” in the comics. "Panther's Rage" chronicles T'Challa's return to Wakanda after an extended stay in the United States as a costumed superhero, most notably with the Avengers. Machiavelli would approve of T'Challa's embrace of (...) violence. Machiavelli was keenly aware of how a ruler should be perceived by his subjects, suggesting that a successful ruler will appear to possess five key qualities that meet with the approval of his subjects: mercy, faith, honesty, humanity, and religion. T'Challa is never as cruel as some of Machiavelli's models, but he does preserve his divinely ordained kingdom by employing fear and religion to stay in power. (shrink)

Agent Ross's interrogation of Ulysses Klaue doesn't just explain the significance of vibranium, it frames vibranium as “the most valuable metal known to man,” which, in turn, establishes what ends up being a moral dilemma for T'Challa – when Agent Ross gets shot and, later, when T'Challa learns the truth about his father's past. The scene also adds to the fabled mystery that the larger Marvel Cinematic Universe (MCU) narrative weaves throughout the other films. Although the metal's uses are fictional, (...) the concept and presence of vibranium in Black Panther and the depiction of Wakanda in the larger MCU narrative present some philosophical issues with regard to vibranium's value. While vibranium's use value is important to Wakandans and its exchange value is important to villains like Klaue, another way to understand the value of vibranium is to examine its cultural value. (shrink)

1. IntroductionIn February 2019, the film Black Panther was awarded three Oscars in Los Angeles. Some reviewers embraced it for its anti-racist message against the resurgence of racism under U.S. president Donald Trump.1 It tells the story of a black hero who tries to steer the development of an ethnically pure, isolationist hereditary monarchy in Africa. The imaginary state of Wakanda, which presents itself to the rest of the world as a third-world country, has highly developed technologies at its (...) disposal–at the same time, one recalls archaic African myths there.2. (shrink)

The film's rousing opening is a unifying creation myth every Wakandan child surely knows by heart. The characters in Black Panther are not contemplating justice from behind a veil of ignorance, nor applying ideal principles of justice to govern a nascent Wakandan society. Different approaches to achieving justice given that injustice has already happened vie for our consideration. The case for restitutive justice at the museum is pretty strong, but Eric Killmonger does a poor job of it: like his brief (...) reign as king, his corrective justice begets further injustice. Killmonger is not the only character in Black Panther for whom retribution as corrective justice resonates. In Black Panther, T'Challa, Killmonger, and Nakia offer radically different visions for Wakanda after injustice, visions for our hero – and for us – to reckon with. Killmonger insists on what T'Challa wants to ignore, that the people within Wakanda's borders exist in relation to the people outside them. (shrink)

The paradoxes at the heart of Wakandan society as well as its highly desirable resources mean that it is often the subject of attacks, invasions by outsiders, and attempted political revolutions. At first it might seem a bit dubious to think that Edmund Burke can have anything to say about Wakandan politics. The reason for Burke's opposition to revolution lies in how he thought that societies ought to grow and change. Instead of revolution – which tears down society as it (...) is and erects something entirely new in its place – Burke preferred gradual, organic change that builds upon the parts of a society that already work well. Feminists might argue that patriarchy is poisonous for society and that Wakanda needs more women in power. After Eric Killmonger throws T'Challa over the waterfall during their ritual combat and assumes power, Wakandan society finds itself torn in two. (shrink)

Wakandan women can play stereotypically male roles because of the political construction of Wakandan identity. Wakandan women emerge, for starters, in a radically different cultural context than women of color in other countries and cultures. Despite their tacit representation of feminist ideals, Wakandan women resist the full‐throated feminism we associate with the modern era: the no‐husband, no‐children feminism championed by the French philosopher Simone de Beauvoir. In 1966 Black Panther, the Marvel comic superhero, made his debut during the height of (...) second‐wave feminism. Back in Wakanda, M'Baku's renouncement of Shuri's non‐domestic activities makes an implicit appeal to the feminine mystique. Recognizing feminist and womanist elements within Wakanda helps explain the masculine and feminine performances of Wakandan women. Demystifying Wakanda requires us to recognize and reckon with The Panther Mystique : uncoerced appropriations of masculine and feminine norms for the sake of collective, communal freedom. (shrink)

Technology clearly plays a central role in Black Panther. Black Panther tries to make us think about the benefits and risks of employing vibranium – and by extension any advanced technology – to different ends. Through the blend of traditional cultures and technology, the Black Panther movie works as a powerfully imaginative thought experiment that explores the technological and cultural ramifications of an enlightened technologically advanced Afrofuturistic civilization. Wakanda's depiction as an independent African technological utopia where people live in (...) harmony with nature and among themselves offers a celebration both of the fruits of technology and of traditional African cultures. By imagining what an African techno‐utopia might look like, the movie tries to reimagine the relations between technology and culture. Vibranium has a cultural and spiritual role that is more prominent than its strictly technological properties. (shrink)

The Coates–Coogler expansion of the Wakandan afterlife in name, membership, and deed toward West African and transatlantic African diasporic ideas, concerns, and sentiments puts Erik Killmonger's last words in Black Panther into a different light. There are different metaphysical problems confronting Killmonger's postmortem existence in the Wakandan afterlife. Killmonger would have sought out theoretical alternatives less destabilizing to the prospect of continuing his existence postmortem. Wiredu's theory, quasi‐physicalism, would have alleviated some of Killmonger's substance abuse problems. Killmonger in Coates's comics (...) would recognize ori‐inu in part from when he defeated Bast, an orisha, at Orisha Gate, home of Wakanda's pantheon. Cast in Yoruba philosophical terms, the subjectivity that Killmonger wants to persist after death takes on new unconventional meaning. Killmonger chose "death over bondage." He apparently wants to join the ancestors. The very least a man called "Killmonger" would demand from such philosophy is that it help him fight for his destiny. (shrink)

Here I want to examine two different ways of viewing/reading Black Panther. I will call the first reading the Standard Morality Reading (SMR). I will call the second reading the Liberation Morality Reading (LMR). I argue that these two readings, and the forms of morality that influence them, are in tension with each other throughout the movie. They also produce a tension or moral struggle in King T’Challa and the citizens of Wakanda in general.

One particularly interesting example can be found in the character M'Baku, a mountain warrior whose abstention from meat runs afoul of stereotypes about what a vegetarian looks like and, in so doing, challenges racist iconographies of Black masculinity. As Carol Adams argued in her landmark work, The Sexual Politics of Meat, in the United States, meat‐eating is a highly visible reminder and reinforcer of patriarchal dominance. Erik Killmonger comes to Wakanda as a conqueror, taking up his late father's mission (...) to end the country's isolationist foreign policy and stage armed insurgencies the world over. The irony of Killmonger's plan, wielding the master's tools to dismantle the master's house, is palpable. Killmonger's violence is similarly deliberate and, in its own way, is meant to honor the rage, yearnings, and aspirations of all those subjugated to, and displaced and discarded by, colonialism. (shrink)