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Did you know for the decade that Miles Morales has been a character in Marvel Comics, he hasn’t been written by a Black writer in his main title yet? He was co-created by Brian Michael Bendis, and Sara Pichelli, and after about a six-ish year run, it was handed over to Saladin Ahmed.
Now, Saladin Ahmed is most definitely that dude, and he’s been holding it down for Miles, but in all this time, it’s a shame that we haven’t had a Black or Afro-Latinx writer get to really flesh out who Miles is, and provide to the audience a well-rounded, believable character in the medium that birthed him.
Instead, we get this:
Please don’t scratch your eyes out. That’s not going to change the fact that this image exists, and you’ll just be in excruciating and debilitating pain. Unfortunately, this is just more proof that we live in one of the darkest timelines because seriously, this is… a lot.
If there was ever a doubt that Black people should have the opportunity to tell their own stories, that doubt has been yeeted into oblivion after the release of this comic book.
This opening page is part of Marvel’s What If…? Miles Morales series, where each issue tells the story of an alternate Miles who became another beloved Marvel hero instead of Spider-Man. In this one, as you can see, Miles becomes Thor who lives in an Asgardian version of Brooklyn. But by the end of the issue, instead of what if, we’re just wondering why?
Miles Morales is one of the most popular characters in comics today, and his stock continues to rise with appearances in comics, television, and movies. He’s an embodiment of the idea that anyone can be anything. For a character that’s only been in existence for the better part of a decade, the future is looking bright. But there are still some major pitfalls from those behind the scenes that continually disappoint us and often leave us infuriated.
How Did We Get Here?
Why am I asking that question? You know the answer by now. We got here because the person who wrote this issue, Yehudi Mercado, isn’t Black. That isn’t to say that a Black writer can’t make questionable decisions about a Black character, *stares hard at Falcon & The Winter Soldier*, but having a seat at the table in these instances will at the very least slow the rate that this type of thing happens.
To be fair, Miles is Black and Puerto Rican, and Mercado does bring Latinx representation, but everyone’s gripe is that this story so specifically highlights Miles’ Blackness, that everything else is secondary. Plus, Miles is Afro-Latinx, which Mercado is not so that just brings us back to square one.
While some of the decisions Mercado made for this character are questionable at best, the ultimate blame should really fall on the institution that allowed something like this to happen, and probably didn’t even realize it was an issue until the justified outcry on the internet.
I could get into the weeds about Marvel and those in charge there, but it’s really bigger than them, too. This is an instrumental problem that needs to be addressed. And it’s not just in this industry, it’s everywhere.
There needs to be deliberate and intentional dedication to finding the write voices to write and flesh out these characters, even in a fun side series like What If…? Because when it’s mishandled like this, we all feel disrespected. So yes, Mercado shoulders a lot of the blame, but there’s a team of people that approved this idea. It went through a pitch, most likely a few revisions, and a lettering pass or two before it was completed, and no one at any point thought that maybe this wasn’t a good idea.
It’s wild that the most authentic versions of Miles that we’ve gotten have been from Into the Spider-Verse, Miles Morales video game, and Miles Morales: Spider-Man, written by Jason Reynolds (who is Black). While I love that these iterations of Miles exist, and they undoubtedly add to his legitimacy, it sucks that other mediums are handling this character better than the one that gave him life.
Instead, we get Miles saying “Hammer Time” while holding Mjolnir.
Marvel’s Voices
I know Marvel knows that diversity and representation are important in this industry and to fans. Just look at their Voices series, born out of a podcast, which is an ongoing anthology book dedicated to giving platforms for diverse creators to tell the stories of characters that represent who they are.
They’ve got issues spotlighting Black, AAPI, Latinx, Indigenous, and Queer creators and characters, so it’s not like Marvel is oblivious to this issue. This is exactly what we need more of in this industry, but it has to go further than spotlights and eight-page stories. Diverse creators deserve to be handed the keys to a franchise, especially if their very being adds substance and depth to that character that will ultimately make them better.
I love Voices, and I think it’s some of the best stuff Marvel is putting out there, but why can’t we do books like this, and write Miles Morales? Continuing to not provide us with opportunities on big named books just tells us that you either are afraid to invest in us or aren’t making it a priority, and both of those reasons are disappointing.
BrookGard
Why did this book have a hybrid of Brooklyn and Asgard? What was the purpose of that?
Maybe the point was to drop Miles into the fantastical world of Norse mythology. But if that was the case, why did there have to be a blend between that and Brooklyn street life? There can be Black people in Asgard.
To me, this is one of the things that really does a disservice to the story. It’s so concerned with trying to combine these two elements that everything else falls to the wayside. I think it would have been stronger if Miles was just straight-up Asgardian, or if he was just his normal self from Brooklyn.
It would make more sense if Miles was a regular kid that somehow became worthy of Thor’s hammer. That probably wouldn’t have gotten rid of the ill-advised references in the dialogue, but at least it would have been able to avoid the meshing of two otherwise completely different cultures that really don’t fit together. You could also focus on the unfamiliarity of that object and its background as it’s juxtaposed with Miles and the neighborhood that he comes from. The version of Miles we got isn’t Thor in the way Jane Foster is Thor, he’s literally Thor Odinson, so it makes you come in with a certain level of expectations.
*Sighs in Black*
Reading this issue, it just seemed like there was no attempt to make this version of Miles a well-fleshed-out character, and in turn, he becomes a soundboard full of outdated and corny catchphrases that scream that he wasn’t written by someone who talks like this, let alone someone who is actually representative of our culture.
Twenty-two pages is not a lot of real estate to develop a new character, and it’s got to be even harder to do so in a book like What If…?, where you have to subvert the audience’s knowledge and create something new. With that being said, this is the multiverse we’re dealing with, and just because that means you can do whatever you want, doesn’t mean that you should.
To make matters worse, it seemed intentional to make Miles as “Black” as possible by using visual identifiers to try and sell what this version of the character was all about. The first few images of the book show Miles with a blonde fade and a lightning bolt buzzed into his haircut, shoes hanging from the powerlines in the streets, and some Jordan-esque sneakers in a poor attempt at a reference to Into the Spider-Verse, while managing to lack all of the substance.
I think the thing that really took me out was the ’80s era rapping that Mercado tried to add into Miles’ dialogue. It felt like trying to write in the style of Run DMC, Slick Rick, or Kurtis Blow.
As I write that out, that idea doesn’t inherently sound horrible. Scott Snyder has borrowed from the aesthetics of the Heavy Metal genre for a lot of his stories, and it works; however, adapting the aesthetics and lifestyle of hip-hop for something like this requires a lived-in experience, not just a reverence for the genre.
Keep the Pressure
It’s bleak out here, but as annoying as this has all been for us Black nerds, we definitely know how to get these jokes off, and we more than know how to let our voices be heard. Since all this uproar, Mercado has released an acknowledgment and apology for the issue, as well as promised to donate the money he made from this issue to the Brooklyn Book Bodega.
That’s all because we spoke up. So with that, I’ll say let’s keep it up. Keep our foot on their necks until this type of thing happens less often, and we can continue to celebrate a character instead of screaming into the void for people to make better choices.
Miles deserves more. We as fans deserve more. And unfortunately, it’s ultimately up to those in power to ensure we get opportunities to tell our stories but until then we’re applying pressure.
We are tired, and at this point, we want more than a seat at the table.
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The post What If… Miles Morales had a Black Writer? appeared first on Black Nerd Problems.
Did you know for the decade that Miles Morales has been a character in Marvel Comics, he hasn’t been written by a Black writer in his main title yet? He was co-created by Brian Michael Bendis, and Sara Pichelli, and after about a six-ish year run, it was handed over to Saladin Ahmed.
Now, Saladin Ahmed is most definitely that dude, and he’s been holding it down for Miles, but in all this time, it’s a shame that we haven’t had a Black or Afro-Latinx writer get to really flesh out who Miles is, and provide to the audience a well-rounded, believable character in the medium that birthed him.
Instead, we get this:
Please don’t scratch your eyes out. That’s not going to change the fact that this image exists, and you’ll just be in excruciating and debilitating pain. Unfortunately, this is just more proof that we live in one of the darkest timelines because seriously, this is… a lot.
If there was ever a doubt that Black people should have the opportunity to tell their own stories, that doubt has been yeeted into oblivion after the release of this comic book.
This opening page is part of Marvel’s What If…? Miles Morales series, where each issue tells the story of an alternate Miles who became another beloved Marvel hero instead of Spider-Man. In this one, as you can see, Miles becomes Thor who lives in an Asgardian version of Brooklyn. But by the end of the issue, instead of what if, we’re just wondering why?
Miles Morales is one of the most popular characters in comics today, and his stock continues to rise with appearances in comics, television, and movies. He’s an embodiment of the idea that anyone can be anything. For a character that’s only been in existence for the better part of a decade, the future is looking bright. But there are still some major pitfalls from those behind the scenes that continually disappoint us and often leave us infuriated.
How Did We Get Here?
Why am I asking that question? You know the answer by now. We got here because the person who wrote this issue, Yehudi Mercado, isn’t Black. That isn’t to say that a Black writer can’t make questionable decisions about a Black character, *stares hard at Falcon & The Winter Soldier*, but having a seat at the table in these instances will at the very least slow the rate that this type of thing happens.
To be fair, Miles is Black and Puerto Rican, and Mercado does bring Latinx representation, but everyone’s gripe is that this story so specifically highlights Miles’ Blackness, that everything else is secondary. Plus, Miles is Afro-Latinx, which Mercado is not so that just brings us back to square one.
While some of the decisions Mercado made for this character are questionable at best, the ultimate blame should really fall on the institution that allowed something like this to happen, and probably didn’t even realize it was an issue until the justified outcry on the internet.
I could get into the weeds about Marvel and those in charge there, but it’s really bigger than them, too. This is an instrumental problem that needs to be addressed. And it’s not just in this industry, it’s everywhere.
There needs to be deliberate and intentional dedication to finding the write voices to write and flesh out these characters, even in a fun side series like What If…? Because when it’s mishandled like this, we all feel disrespected. So yes, Mercado shoulders a lot of the blame, but there’s a team of people that approved this idea. It went through a pitch, most likely a few revisions, and a lettering pass or two before it was completed, and no one at any point thought that maybe this wasn’t a good idea.
It’s wild that the most authentic versions of Miles that we’ve gotten have been from Into the Spider-Verse, Miles Morales video game, and Miles Morales: Spider-Man, written by Jason Reynolds (who is Black). While I love that these iterations of Miles exist, and they undoubtedly add to his legitimacy, it sucks that other mediums are handling this character better than the one that gave him life.
Instead, we get Miles saying “Hammer Time” while holding Mjolnir.
Marvel’s Voices
I know Marvel knows that diversity and representation are important in this industry and to fans. Just look at their Voices series, born out of a podcast, which is an ongoing anthology book dedicated to giving platforms for diverse creators to tell the stories of characters that represent who they are.
They’ve got issues spotlighting Black, AAPI, Latinx, Indigenous, and Queer creators and characters, so it’s not like Marvel is oblivious to this issue. This is exactly what we need more of in this industry, but it has to go further than spotlights and eight-page stories. Diverse creators deserve to be handed the keys to a franchise, especially if their very being adds substance and depth to that character that will ultimately make them better.
I love Voices, and I think it’s some of the best stuff Marvel is putting out there, but why can’t we do books like this, and write Miles Morales? Continuing to not provide us with opportunities on big named books just tells us that you either are afraid to invest in us or aren’t making it a priority, and both of those reasons are disappointing.
BrookGard
Why did this book have a hybrid of Brooklyn and Asgard? What was the purpose of that?
Maybe the point was to drop Miles into the fantastical world of Norse mythology. But if that was the case, why did there have to be a blend between that and Brooklyn street life? There can be Black people in Asgard.
To me, this is one of the things that really does a disservice to the story. It’s so concerned with trying to combine these two elements that everything else falls to the wayside. I think it would have been stronger if Miles was just straight-up Asgardian, or if he was just his normal self from Brooklyn.
It would make more sense if Miles was a regular kid that somehow became worthy of Thor’s hammer. That probably wouldn’t have gotten rid of the ill-advised references in the dialogue, but at least it would have been able to avoid the meshing of two otherwise completely different cultures that really don’t fit together. You could also focus on the unfamiliarity of that object and its background as it’s juxtaposed with Miles and the neighborhood that he comes from. The version of Miles we got isn’t Thor in the way Jane Foster is Thor, he’s literally Thor Odinson, so it makes you come in with a certain level of expectations.
*Sighs in Black*
Reading this issue, it just seemed like there was no attempt to make this version of Miles a well-fleshed-out character, and in turn, he becomes a soundboard full of outdated and corny catchphrases that scream that he wasn’t written by someone who talks like this, let alone someone who is actually representative of our culture.
Twenty-two pages is not a lot of real estate to develop a new character, and it’s got to be even harder to do so in a book like What If…?, where you have to subvert the audience’s knowledge and create something new. With that being said, this is the multiverse we’re dealing with, and just because that means you can do whatever you want, doesn’t mean that you should.
To make matters worse, it seemed intentional to make Miles as “Black” as possible by using visual identifiers to try and sell what this version of the character was all about. The first few images of the book show Miles with a blonde fade and a lightning bolt buzzed into his haircut, shoes hanging from the powerlines in the streets, and some Jordan-esque sneakers in a poor attempt at a reference to Into the Spider-Verse, while managing to lack all of the substance.
I think the thing that really took me out was the ’80s era rapping that Mercado tried to add into Miles’ dialogue. It felt like trying to write in the style of Run DMC, Slick Rick, or Kurtis Blow.
As I write that out, that idea doesn’t inherently sound horrible. Scott Snyder has borrowed from the aesthetics of the Heavy Metal genre for a lot of his stories, and it works; however, adapting the aesthetics and lifestyle of hip-hop for something like this requires a lived-in experience, not just a reverence for the genre.
Keep the Pressure
It’s bleak out here, but as annoying as this has all been for us Black nerds, we definitely know how to get these jokes off, and we more than know how to let our voices be heard. Since all this uproar, Mercado has released an acknowledgment and apology for the issue, as well as promised to donate the money he made from this issue to the Brooklyn Book Bodega.
That’s all because we spoke up. So with that, I’ll say let’s keep it up. Keep our foot on their necks until this type of thing happens less often, and we can continue to celebrate a character instead of screaming into the void for people to make better choices.
Miles deserves more. We as fans deserve more. And unfortunately, it’s ultimately up to those in power to ensure we get opportunities to tell our stories but until then we’re applying pressure.
We are tired, and at this point, we want more than a seat at the table.
Want to get Black Nerd Problems updates sent directly to you? Sign up here! Follow us on Twitter, Facebook, Youtube, and Instagram!
The post What If… Miles Morales had a Black Writer? appeared first on Black Nerd Problems.
Hopefully without coming off as snobbish, I want you to know that coming of age is one of my favorite genres. In cinema, yes, but also a genre of manga that I feel is severely underappreciated. There has always been something fascinating about the stories and lessons learned in manga, one of my favorite mediums that have a coming of age lean of young people growing up, maturing and learning about the world. Because you wanted another manga list, here I am delivering the good word!
Here’s a list that includes manga series with up to six volumes in total. It is not a bunch of twenty plus volume runs that may overwhelm you. This list is meant for manga readers new and old who are looking for shorter series to get into that are acclaimed, coming-of-age feels being talked about in enough circles that can be your signal to finally start reading. Note: the manga on this list lean to the teen and older teen audiences to my last pick that has a Mature rating for readers 18 and up.
Boys Run the Riot
Shout-out to one of the best manga debuts of 2021! A trans coming of age tale with a lot of heart mixed with a love for street fashion and that age old pursuit of wanting to express and prove yourself! Rounding out at just four short volumes, Boys Run the Riot was created by Keito Gaku, and this English version was brought to life with the help of translation by Leo McDonagh. The creative team includes lettering by Ashley Caswell, editing by TIFF Joshua TJ Ferentini, and this edition’s book cover is designed by Phil Balsman. Street fashion becomes the escape that trans teen Ryo uses to escape the pressures, expectations, and disappointments of his everyday life.
Boys Run the Riot has strong coming of age vibes, and those who love series set in high school will appreciate the narrative of Ryo coming into his own. The series created by a trans manga creator centers a trans teen looking to escape the frustrations and anxieties that comes with his circumstances. It is with his clothes that he feels freedom to express himself and be comfortable in his own skin. When he meets Jin, a new kid at school, they find that they have the same taste in clothing and boom: their budding fashion brand is born!
We are in a time where we’re seeing more and more manga with and about trans, nonbinary and genderqueer characters getting their due and not in the background. I love the ripples Ryo and Jin make to where their efforts reach others like some of their classmates and even older folks like established professionals and parents. These teens’ struggles and triumphs really moved me; they were inspiring others to be more courageous and stand up for themselves and others in a world that often punishes individuals for standing out. Boys Run the Riot never loses focus on Ryo and his struggles and pulls readers into this beautifully heart wrenching and hopeful story about finding your true self and the unexpected allies and truths you find along the way. I really liked the narrative threads that included social media and the art of visibility, especially the volumes that leaned into the story of the LGBT+ friendly blogger and how exposure can often hurt more than help.
I love all the care that went into the English release of this manga: Kodansha not only hired an all-transgender localization team to edit and translate the manga but also released the first chapter of Boys Run the Riot free to read online on March 31, 2021, in honor of International Transgender Day of Visibility. Boys Run the Riot found its way to many eyeballs and many lists including being nominated for a Harvey Award in the Best Manga category in 2021. The first volume of the series was listed as one of the top 10 manga of 2021 by The School Library Journal and YALSA even listed the first three volumes in its 2022 Great Graphic Novels for Teens Top Ten list. Included in the fourth and final volume is the one shot story that inspired this series that also features a trans character centered dealing with identity and school.
Recommended for: For fans of LGBTQIA characters, School Life, Drama, Fashion
Satoko and Nada
Home is Where Your Friend Is! Satoko and Nada is a short but sweet manga series about a pair of foreign exchange student roommates who meet in America: Satoko from Japan and Nada from Saudi Arabia. Created by Yupechika, this slice of life manga series’ script advisor is Marie Nishimori with Jenny McKeon credited as translator for helping to bring this English version to life. The creative team includes Lianne Sentar credited with adaptation duties, lettering and retouching by Karis Page, and book design by KC Fabellon. This endearing four volume manga series published through Seven Seas Entertainment about how friendship is precious and can be found and nurtured anywhere leans in with comedic approach with its 4-Koma format.
As a series, Satoko and Nada celebrates friendship between women: our titular characters are young women who at first don’t think that they have anything in common. Satoko is from Japan, Nada is from Saudi Arabia. While they do in fact come from vastly different places, the joy is getting to see them on the page learn about each other. These two go from new roommates tiptoeing around each other to the best of friends who take the time to learn about each other’s cultures and protect each other. I love that they are college students as I feel that I don’t read enough manga set in college.
As foreign exchange students centered in a narrative, I feel this adds another layer to their diverse story that’s not often seen much in manga. As an ode to friendships between women, I love that this manga places Satoko and Nada as individuals who see each other as precious. Food is a great common denominator between the two and the pages of them discovering the best dishes from each other’s home countries and sharing new faves togethers are always some of my favorite pages of the manga. If you’re looking for a manga series with coming-of-age energy focusing on a diverse friendship that honors differences with great humor, you’ve found Satoko and Nada, a worthy choice.
Recommended for: Fans of 4koma, Comedy, Slice of Life, works by female mangaka
The Golden Sheep
Growing up means being impatient with the world. Growing up means learning how to reinvent yourself. Growing up means finding your way and hopefully becoming someone you are proud of. The Golden Sheep created by Kaori Ozaki is a three volume manga series that takes to a set of childhood friends when reunited as teens who find that nothing is as easy as it all once was. Published by Vertical, an imprint of Kodansha, this English version was brought to life with help from Daniel Komen with translation duties, with Risa Cho and Lorina Mapa credited with production duties. When rock and roll loving Tsugu moves back to the small town she was born to attend high school she’s reunited with the three childhood friends she loved dearly and soon finds trouble.
Now as a teenager, Tsugu finds that Sora, Yuushin, and Asari aren’t the sweet kids she remembered having so many adventures with long ago. In fact, they have all become people she doesn’t even recognize! A few big intense moments serve as the catalyst for change, temporarily separating them as they all search for answers in this emotional ride about friendship, maturity, and figuring out who and what needs reinvention and redemption. What this series really, really gets well is the messiness of relationships and the recklessness that comes with youth. This is the pick on this list that is my problematic fave. While I think the story is worth reading, I acknowledge the content is trigger warning happy and includes very intense moments like bullying and a suicide attempt that is stopped by a friend.
I’ve been following Ozaki’s more recent work that has been translated into English and while this series might not be my favorite, it is still a worthy read that is as thought-provoking as it is heartfelt–totally her brand of manga. Even if the ending might cut it too close with not enough closure for some or some readers think certain characters don’t deserve forgiveness, The Golden Sheep still strikes me as a true, messy tale of being a teenager. I think there’s enough commentary in the series about the failures of parents, self-loathing, indecisiveness, and how our actions affect more than just us.
The Golden Sheep was one of twelve manga series to make the 2021 Young Adult Library Services Association’s top 126 graphic novels for teenagers list which make sense as it is a narrative about the lives of teens. A cool bonus: included in the third and final volume is one of Ozaki’s one-shot stories, Love Letter about a soul who chooses to constantly be reincarnated to interact with the mother in its first and brief life that just emotionally devastated me.
Recommended for: Slice of Life, Romance, School Life, Drama
Our Dreams at Dusk
Simply put: Our Dreams at Dusk is a manga about community, safe places, and the people who fight to make those places available for those who need them. Created by Yuhki Kamatani, this English version was brought to life with help from Jocelyne Allenwith translation duties. The creative team includes Ysabet MacFarlane who aided with adapting this edition of the manga, lettering and retouching by Kaitlyn Wiley, and KC Fabellion with cover design of this book. Published by Seven Seas Entertainment, this queer coming of age tale with magical realism sprinkled in every volume illustrates that everyone is looking to be loved and looking to figure out who they are in a world that is unkind.
This short four volume manga series revolves around Tasuku Kaname, a gay teenager who meets other LGBT people at a drop-in center/small community building after being involuntarily outed at school. This place becomes a sort of haven for him, and he meets other folks who are just looking for peace and acceptance in the world. It also becomes a place where he constantly finds himself challenged by views he’s always had of others in the world. At times poetic, other times heartbreaking and always illuminating, Our Dreams At Dusk about coming out and coming into the light with those who love and support you.
Nominated for a Harvey Award in the Best Manga category in 2019, this series features a broad LGBT+ community that certainly isn’t a one size fits all with members of all ages and different backgrounds. It all makes the series one to behold. In a world where rejection abounds, Tasuku finds a place where no one is rejected, and it is one that saves his life. His new found family include: Someone-san, a mysterious person comes and goes at her pace, middle school student, Misora, and an older man who loves classical music, Tchaiko. Harujo, Saki, and Utsumi are other members of the drop-in center that become a part of his new found family and also have challenges of their own.
For a narrative that explores coming out for a closeted teen, this manga includes others in different stages of their lives figuring out what gender, sexuality, and self-expression mean to them. Another tale of self-discovery while finding your people, your community, this is a manga that I can never not recommend simply not just for the dreamy artwork but the beautiful story about creating bonds that hopefully last a lifetime. This series was included in a selection of “outstanding works that tackle diversity and inclusion issues” by The Japan Media Arts Festival in their 2020 online exhibit: Manga, diversity, and inclusion. Created by a manga creator who identifies as X-gender and created this amazing manga with thoughts of their turbulent teenage years dealing with their own identity struggles, I’m so grateful such a queer masterpiece exists and can be reread again and again.
Recommended for: For fans of LGBTQIA+ characters, School Life, Drama, Found Family
Sex Ed 120%
I love a good gag manga! I also have been loving being able to ride the wave of more sex positive manga that’s being translated and published nowadays. Sex Ed 120% is such a series that I adore brought to us by the creative team of writer Kikiki Tataki and illustrated by Hotomura. Published by Yen Press, this manga was brought to life with Amanda Haley translating and Sara Kinsley’s lettering duties. The series follows the enthusiastic efforts of Gym teacher Tsuji-sensei in her mission to modernize sex education in the health class she teaches at an all girl’s high school. She believes that Japan is terribly lacking in the sexual education department, and she wants to ramp things up to be inclusive and helpful. She’s hyped to make a difference, and she knows exactly where to start: the classroom!
Luckily for Tsuji-sensei, she has curious students who aren’t put off by her approach nor are they ever not asking questions. The group of girls that end up coming to her the most are three friends: the school’s biggest BL lover, a girl who only cares about cats, and a girl who has a girlfriend but who hasn’t come out yet. In the school, this teacher also has an ally in the school nurse, Nakazawa-Sensei, who tries her best to bring her back down to reality when she senses the lessons are veering too far off topic. It’s such a fun dynamic between the friends and the two adults–learning about the lives of the students is fun, but the adults steal the show again and again! There’s a lot of laughs to be had, dirty jokes, and random trivia to be found, but what I love the most are these students finding that their school is a safe place. For the girls: Tsuji-sensei and Nakazawa-Sensei are adults who can be trusted, and that’s way more than most young people have in real life, to be honest.
At only three volumes, the Sex Ed 120% covers a wide range of topics including LGBT-friendly couples (and the prejudices they face), the pressure media puts on girls’ appearances, consent, and so much more. While I think readers of any gender could appreciate reading this series, I am delightfully happy with the woman-leaning narrative as girls and women are so often left out of educational texts, especially sex education material. The humorous approach is really just a breath of fresh air. I didn’t think I’d learn how many vaginas female sugar gliders have or how to pick up a love hotel in Japan’s most popular areas, but I know now!
In just a few short volumes, I’m pretty sure I learned more than I picked up in my middle school and high school health lessons which is a shame. I can totally see this manga series being very educational and instrumental in a young person’s coming-of-age into adulthood which makes the publisher’s decision to print with a Mature rating unfortunate. Regardless, Sex Ed 120% is charming and another great addition to more manga that’s sex positive and more in the realm of comics available that educate on topics that are still very much taboo.
Recommended for: Fans of Humor, Sex Positive Manga, School Life, Yuri/GL
And that’s it for this list of manga, folks! Next time we are focusing on a Josei lineup of manga with some messy, messy titles that I love rereading!
The manga series featured here can be found both digitally and physically where comics and manga can be found.
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The post 5 Coming-of-Age Manga Series You’ll Want To Read and Collect appeared first on Black Nerd Problems.
“In its short history, AEW has put on some absolutely incredible matches that have captured the hearts and the imagination of the wrestling community, creating some real wrestling history in the process” – Sports Obsessive
Five Powerful Champions from the Massively Popular Franchise Hit the Convention Floor for the First Time
WHAT: Join some of the biggest stars of TBS’ AEW: Dynamite and TNT’s AEW:
Rampage at their San Diego Comic Con debut, giving a ringside view of the wrestling promotion which draws 4 million viewers each week. CM Punk, Jade Cargill, Darby Allin, Orange Cassidy and Bryan Danielson will be available for daytime interview opportunities, followed by an evening panel moderated by AEW commentator Excalibur. This discussion will dig into the heroes, villains, and championship quests through the eyes of the biggest names in wrestling.
AEW: Dynamite airs every Wednesday from 8-10 p.m. ET on TNT and attracts the youngest wrestling audience on television; the fight-forward show AEW: Rampage airs every Friday from 10-11 p.m. ET. Follow the fandom on Twitter and Instagram at @AEW and @AEWonTV.
WHO:
WHEN & WHERE: Saturday, July 23
Panel Begins at 6:30p PT / Room 6BCF at the Convention Center
The post AEW DESCENDS UPON SDCC 2022 appeared first on The Nerd Element.