Black Panther #2: Dancing in the Dark

Black Panther #2 – written by Eve L. Ewing with pencils by Chris Allen, inks from Craig Yeung, colors by Jesus Aburtov, and letters from VC’s Joe Sabino – continues to establish the new status quo for T’Challa, expanding on his role as exiled king and vigilante. T’Challa has taken on a new civilian identity, Ize, who works as a dishwasher in a restaurant in Birnin T’Chaka and gives the hero a human perspective into the city. Shuri contacts T’Challa to let him know the politics of the royal city will keep her from contacting him and that she’s sent Nightshade to provide a last round of gadgets. 

Between his new day job and brooding in the dark, as Shuri points out, T’Challa also discovers a new antagonist in Beisa. The thief is garbed in a high-tech suit and steals from the rich of the city, but the end of the issue indicates there’s more than just financial gain as a motive. She proves resourceful and gives T’Challa’s attempt at justice the slip. Meanwhile, the Deathlok, under the control of Birnin’s secret ruling families, is brought online to help upset the balance of power in the city. 

Ewing continues to build up this new version of Black Panther, grounding him while keeping the fish out of water characterization. It’s a great dynamic to explore as T’Challa tries to figure out his role in a Wakanda that no longer wants a king. Ewing also gets to flesh out the nation and the insight into the cities outside the capital. There’s a rhythm to the town that feels more aligned with the general ethos of Marvel, delivering on the promise of a “world outside your window” while staying true to the utopian society of Wakanda. 

The corrupt and unequal distribution of wealth makes for a rich parallel and builds immediate tension into the dynamic between Black Panther and Beisa. Ewing employs a dueling narration from both characters to emphasize the gap between their histories and the clash in ideals. The audience gets flashes of this in the interaction between the two on the mansion’s roof. It is the issue’s cliffhanger, emphasizing character and theme over pure spectacle. 

That doesn’t mean the look lacks visually, as Allen’s pencils showcase a vibrant and pulsating Wakanda. The brief, explosive action is just as apparent when T’Challa meets Beisa for the first time. To be cliché, the beat plays more like a dance than a traditional fight, as the two characters find themselves in the orbit of each other. Allen lays out a captivating double-page splash to give the moment the right real estate page, selling the instant connection between the two. 

The page is filled with panels in all shapes and sizes, so it’s easy to read and flows with little delay. The layout says dance, with multiple small steps that chain together to make one smooth movement. It’s also a great reflection of how Allen brings Birnin to life, which is compact and built layer by layer but every pipe and building feels distinct. It’s the best of both worlds and reveals in detail to illustrate simple ideas. 

Yeung’s inking is vital to the clarity of Allen’s sprawling pencils, ensuring nothing is lost on the page. The linework is clean and concise, ensuring the flow is not disrupted in action or dialogue sequences. A thicker line is used for specific figures, like when the Panther or Beisa are running through the city, which visually links the two while ensuring they draw the eye on the page. It gives the figures a different look that speaks to their nature as people of action versus the average citizen doing through life. 

The palettes used by Aburtov help to strike a balance between street-level action and the Wakandan setting. Pastel purples and warm oranges feel different than the usual colors associated with Hell’s Kitchen or the more comprehensive New York. That distinction makes the book feel wholly Wakandian while adapting those narrative conventions from the other Marvel street-level books. The book also shies away from overwhelming shadow, a known element of the noir pulp of those stories. Instead, everything feels brighter and more vibrant, reflecting the difference in Wakandian culture.