“We’re here to negotiate your peaceful surrender” are some of the first words uttered to Dwayne Johnson’s Black Adam. Yet looking at the character’s mythology and current portrayal, Black Adam might have to put peace talks aside. It’s the terms of his existence that are at stake. From his 1945 inception till now, the fictional being of Black Adam is at best problematic entertainment and at worst a construct of a white imagination’s racist rubble. Whether drudging through the Orientalist cinematic adaptation or enduring one-dimensional writing in Christopher J. Priest’s concurrent comic run, Black Adam zaps his way from one demeaning trope to the next – all erasing what
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