Malcolm-10: Black Age of Comics
Created by: Turtel Onli
Debuted: 1993
Onli Studios
Run: Limited to the debut and one other appearance
Turtel Onli’s Malcolm-10 “was created by the genius of Imhotep to eliminate the destructive Aversions of the Lost New Afrikans,” according to the book’s introduction. As the story opens, a mad scientist constructs a superhero built to combat inner-city problems. “You have been programmed with data, instincts, and vision,” says the creator. “Your physical properties are great and will adapt to your needs!!” Malcolm-10’s arms are derived from John Henry and his legs from Jesse Owens. He has the quickness of Wilma Rudolph. Adversaries describe him as “some dude with a mean hair-do” who looks like he’s on steroids.
In the inaugural installment titled The Cleansing of New Afrika, the superhero greatly accelerated the movement known as the Black Age of Comics, which Onli says has its origins in the 1970s.
The book debuted in 1993 at the inaugural Black Age of Comics convention at the Southside Community Arts Center in Chicago, where it was held for three consecutive years before broadening its scope to other major American cities. Other recent Black Age of Comics conventions were held in Chicago’s Bridgeport Arts Center and Kenwood Academy.
Onli, who co-wrote Malcolm-10 with Punkin X, drew the main character based on his experiences growing up in Hyde Park, living in Englewood and Pullman as a young man, and working in the Robert Taylor Holmes and Cabrini Green. Much of the story’s landscape is a composite of Onli’s Chicago, though there are more overt depictions, such as St. Sabina Church in the pre-Father Mike era. (The drive-by scene in the comic book is based on Onli’s memory of a similar episode involving his then- classmates, which left a young girl dead).
Prior to Onli’s involvement in the Black Age of Comics movement, he worked as a major market free-lance illustrator, and had already written his first comic book, NOG. He found not just resistance to black artists in his profession, but ignorance that most often resulted in sweeping dismissals. “The idea was to have a genre,” Onli said. “The movement is to grow the genre so that it becomes a nexus of creativity, culture, and commerce. So that people can make money doing it.” Having come of age during the counter-culture 60s, Onli said he knew that a successful movement had to have a commercial component.
In much the same way, Malcolm-10 preaches commerce, to go along with education, respect, and a general adherence to proper behavior. Onli has been a public school teacher and an art therapist; he’s founded art centers and art guilds; he is a successful business owner and top-tier artist. All that informed the story of Malcolm-10, as well as its philosophical underpinnings. “My relatives were highly gang-connected,” he said. “As a little child, I saw the madness from the inside. The problems are internal, not external. This is not what I call a tribute to the oppressor that most stories are; this is about internal issues that need to get resolved.”
The character Malcolm-10 appears again in Team BLANGA, an episode in which he goes after Nazis spreading diseased thought throughout Africa.
“We’re the reason you’re seeing the mainstream promote all these black characters,” Onli said. “They’ve watched the expansion of Black Age of Comics from where I started it to where it is now. They’re like, ‘Okay, let’s see if we can jump on it.’”
Hey everyone! If you've been searching for more on Turtel Onli, you've landed in the right spot! I've been diving deeper into his work, and it's truly inspiring. We all know him as the brilliant mind behind 'Malcolm-10,' that striking muscular Black superhero in the red suit and yellow goggles, prominently featured on the 'No. 1' cover that proudly declared 'Welcome to the Black Age of Comics.' But his impact goes so much further than just one character. Onli's vision for the Black Age of Comics wasn't just about creating a few new heroes; it was about building an entire ecosystem. He didn't just want recognition for Black artists; he aimed for what he called a "nexus of creativity, culture, and commerce." Imagine a space where Black creators could not only express themselves but also thrive economically, making a living from their art. Having come of age during the counter-culture 60s, Onli understood that for any movement to truly succeed and sustain itself, it needed that commercial underpinning. It’s a powerful idea, fostering not just artistic expression but also economic empowerment within the community. Malcolm-10 himself is a profound reflection of Onli's philosophy. The character, with his distinctive unique hairstyle and powerful stance, is not just a fighter of external foes. As Onli states, 'The problems are internal, not external.' Malcolm-10 is programmed to address 'destructive Aversions of the Lost New Afrikans,' a mission rooted in education, respect, and proper behavior. This focus on internal transformation, rather than just brute force, is what makes Malcolm-10 so unique and resonant. It's about self-improvement and community upliftment, drawing on the strengths of figures like John Henry, Jesse Owens, and Wilma Rudolph for his physical attributes. What truly struck me is how much of Onli's personal journey is woven into the fabric of Malcolm-10's world. Growing up in Hyde Park, living in Englewood and Pullman, and working in places like the Robert Taylor Homes and Cabrini Green – these weren't just backdrops; they were the very landscape of his stories. He even drew on a traumatic memory of a drive-by incident from his youth for a scene in the comic. This deeply personal connection gives his work an authenticity and raw power that you don't often find. It’s not a 'tribute to the oppressor,' as he put it, but an honest look at the challenges within the community and a call for internal resolution. Through Onli Studios, Turtel Onli wasn't just publishing comics; he was charting a course for artistic independence and cultural impact. The first Black Age of Comics convention in Chicago, where Malcolm-10 debuted, wasn't just an event; it was a declaration. It gathered creators, fans, and dreamers, laying the groundwork for what has now become a significant and undeniable presence in mainstream comics. When Onli says, 'We’re the reason you’re seeing the mainstream promote all these black characters,' it’s not an exaggeration. He truly opened doors and proved the commercial and cultural viability of Black comic book narratives. So, when you see that iconic 'Malcolm-10' comic book cover, remember it's more than just a superhero story. It's a testament to Turtel Onli's lifelong dedication to fostering Black creativity, addressing internal community issues, and building a powerful, self-sustaining movement that continues to inspire. His legacy is a vibrant tapestry of art, activism, and entrepreneurship.
