Vishavjit Singh, a turbaned Sikh, proudly donned a Captain America suit, but a young child remarked, “Captain America doesn’t wear a beard and a turban, and he’s white.” Singh, unfazed, understood that his portrayal as a Sikh Captain America would leave a lasting impression on the child and ignite conversations about the true meaning of being American.
In mainstream comics, representation of non-Abrahamic religions is scant. Even when these religions appear, their portrayals can often be inauthentic or negative. However, a transformation is occurring. Writers and scholars focusing on religion and comics have noted a narrative shift, where people with genuine connections to these faiths are conveying stories with authenticity, appealing to broader audiences.
Singh’s journey stemmed from anti-Sikh sentiment post the 9/11 attacks. Witnessing hatred and exclusion throughout his life, he chose to combat it with kindness and inclusion using the power of comics, where Sikh representation was nearly nonexistent. In 2013, shortly after a tragic shooting at a Sikh temple in Wisconsin, Singh took to Manhattan dressed as Captain Sikh America. The response from New Yorkers was overwhelmingly positive, with many embracing him.
By 2016, Singh dedicated himself to traveling across the United States to share his culture and faith, emphasizing Sikhism’s core values—equality, justice, and universal light—rather than delving directly into religious specifics.
In a similar vein, Marvel’s Black Panther has been a catalyst for better representation of Africana religions. Yvonne Chireau, a professor specializing in this area, highlights how comics like Black Panther integrate African cultural and religious elements, such as the Orishas from the Yoruba faith, as well as other African deities, enhancing their visibility. These comics are becoming authentically representative as those telling the stories are deeply connected to the traditions.
Comic book writer Greg Anderson Elysée reflects this authenticity in his narratives. A Brooklyn-born Haitian American, he writes about Is’nana, the offspring of an Akan god, emphasizing Black mythology’s richness and diversity. He challenges the colonial portrayal of African spirituality as malevolent, advocating its rightful place alongside other mythologies.
For over 30 years, John Porcellino has explored Zen Buddhism through his self-published comics, King-Cat Comics and Stories. Porcellino, drawn to Zen in a time of personal turmoil, likens punk rock’s essence with Zen, both seeking authenticity beyond appearances. With his comics, he embraces life’s simple yet profound moments, seeing them as essential parts of his spiritual practice.
Representation matters immensely, particularly for children. Author Teresa Robeson, despite not practicing Buddhism or Catholicism, was thrilled to chronicle the Dalai Lama’s life during a critical period when he fled to India. Her work highlights the universality of stories, offering both mirrors and windows for children to understand diverse cultures and beliefs.
In India, Amar Chitra Katha’s comics have aimed to educate children about mythology and religion since 1967. Starting with Hindu gods, the company expanded to encompass stories from other faiths, promoting cultural understanding. While earlier faced with criticism for portraying gods and antagonists with distinct racial imagery, the company is now committed to correcting these biases.
British writer Mike Carey, an atheist, has explored religious themes via his series “Lucifer” and “My Faith in Frankie.” Through his comics, Carey investigates ethical and moral dimensions without subscribing to organized religion. He emphasizes exploring moral quandaries that resonate personally, seeing them as distinct from religious doctrines.
Through these varied narratives, comics offer a rich tapestry of cultural and religious diversity, breaking stereotypes and fostering dialogue on spirituality, morality, and identity.