The “Jeffrey Veregge: Of Gods and Heroes” murals depict an epic battle between aliens and superheroes in New York. The opening image (left), which resembles a comic book cover, and some panels in that mural (detail, above) show Salish phrases that emulate the sound of thunder.
months later, he drew the first cover for the “Red Wolf” comic book that Marvel reboot- ed in December 2015. Marvel editor Jake Thomas says, “The
job of a comic book cover is to capture a reader’s attention, to make them desperately curious to know what is inside. Jeffrey Veregge’s art on ‘Red Wolf ’ did that in spades. His use of bright colors contrast-ed with dark negative space, playful design sense and deceptively simple yet effective use of primary shapes draw the eye and spark the imagination.” Because, as Veregge says, “there are
things in our culture that don’t translate out of the reservation,” he also served as a content consultant for the book, advising how the American Indian characters and scenes were portrayed. “Jeffrey was an invaluable member of the team,” says Thomas. His experience and input helped “shape the narrative and build Red Wolf into a complex and relatable hero in the mighty Marvel tradition.”
This was a pivotal moment for Veregge
as well as for Marvel. Red Wolf was Marvel’s first American Indian character, premier- ing in the comic book “Avengers No. 80” in 1970. Although more than 100 American In- dian comic book characters have been created since the Golden Age of Comics began in the 1930s, comic book publisher and founder of Indigenous Comic Con Lee Francis (Laguna Pueblo) says that historically the comic book industry has been “more interested in the trappings of the Native identity rather than the realities of Native identity.” Today, he says a true representation of an American Indian superhero in the mainstream media “is still a long way off. But in the indie world, where Native folks are writing, creating and publish- ing their own stuff, it is awesome. It is there.” Veregge says while the comic book in-
dustry has made strides, he really wants to “see a Wakanda moment for Native Ameri- can comics.” The “Black Panther” movie, he says, “has mass appeal because it was shar-
ing a culture in a way that was honoring and respectful in a contemporary setting. Those characters are not shown as sidekicks or lesser heroes or villains. That world put them on the same level as Captain America or Thor, and in some cases, surpassed it.” “Once we create a character that honors
the values of Indian Country—we come clos- er with each comic book, each cover, each op- portunity—eventually we will have our own Black Panther, Superman, Wonder Woman and Captain Marvel,” he says. “It might not be my generation that does it. … But I do have faith that it is coming down the road.” Francis agrees the cure to portraying
American Indians as stereotypes in comic books will be “more of our creatives as writers and in positions as decision makers, editors and executives. We need to be able to work in the bull pen.” Francis says that Veregge’s unique work and ability to navigate the indus- try “is the tip of the sword. We have so many folks that are going to come behind him.”
SMITHSONIAN INSTITUTION 39
© 2018 MARVEL
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52
