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‘Monsterkind': Fear, resentment and lots of blushing

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The best-known comic book allegory about prejudice is X-Men, who are feared and despised by a society that doesn’t understand them. The allegory doesn’t stand up to much scrutiny, however, as attempting to differentiate between mutants who were born with powers and the beloved Marvel Universe heroes who gained theirs through accident or scientific experimentation is senseless.

And then there’s bigotry and how it relates to economic disparity. It rarely comes up. The X-Men are generally upper-middle class; at least one of them was worshiped as a goddess. I don’t think mutants, as a whole, are portrayed as poor, and are in a desperate situation where they contribute to the crime rate or are relegated to the slums. (Morlocks, maybe.)

Taylor C.’s Monsterkind tackles the latter. There’s a gap between rich and poor, and in falls along racial lines — in this case, the humans and the monsters. The humans live in District A, which everyone assumes is for the wealthy and well-off. The monsters typically live in District C, full of rundown tenement buildings and rampant poverty. There is fear and resentment.
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