As times goes on, creative properties can only survive by adapting to the ideas and values of modern times. Increasingly, this means reflecting the diversity of the world that has long been ignored.

This has caused Marvel to launch its “All-New, All-Different” comic line, which has created a new universe for its characters that has allowed many of them to be reinvented with new races and genders.

The line includes already well-established alternate versions of characters, like the half-Black, half-Puerto Rican Spider-Man, Miles Morales, and new characters such as a Korean-American Hulk, and a Muslim Ms. Marvel. But by far, the most marquee move of this overhaul was hiring acclaimed correspondent for The Atlantic, Ta-Nehisi Coates to write the new Black Panther comic.

Marvel has gotten off to a great start with this initiative, but still walks a fine line. Any overhaul like this runs the risk of becoming patronizing instead of progressive. The best way to ensure that does not happen is to continue to add singular talents like Coates who will ensure deep, nuanced takes on the material.

Coates is one of the most well-known and respected journalists in the United States. Whether through his heavily researched, incredibly penetrating articles on the history of race in America, or in his National Book Award nominated “Between the World and Me,” he has gained a reputation for creating works that go behind simple ideas and take on big topics.

Reading “Between the World and Me,” I was struck by its sheer practical pessimism. It is structured as a letter to his son and while many personal non-fiction works conclude with an uplifting message of how something has been learned that will allow change and improvement, his book says “no.”

With his trademark style, he makes an ironclad argument that things have been, are, and will continue to be worse for African Americans. This approach has often caused Coates to be criticized by more populist African-American writers, but even they admit his talent is great.

It is crucial that Marvel bring in people as uncompromising as Coates. The best way to ensure the new stories aren’t told in generic or overly sentimental ways is to bring original, wholly unsentimental writers.  Marvel’s new stories need to be meaningful because they’ve walked this tightrope before.

One of Marvel’s earliest African-American characters was Luke Cage. He was originally heavily modeled on the Blaxploitation films of the ‘70s and there are some who believe he was just as offensive as some of those films. However, elaborations on his origin set up a clear reflection of the controversial Tuskegee experiments and he is now one of Marvel’s most popular, complex characters with a TV show about him planned for Netflix.

Marvel must ensure characters end up as fully realized as Luke Cage became and are not merely gimmicky props. The ABC comedy “Black-ish” faced similar worries of being counterproductive when it was first announced, but under the direction of brilliant show runner Larry Wilmore, it was turned into a critically acclaimed and popular show.

It is easy to look at measures like Marvel’s “All-New, All-Different” as merely creative affirmative action done more for publicity than with the goal of creating great stories. And while the company must generate sales, it is the work of the writers to make sure these new stories not only live up to society’s expectations, but surpass them.

Mark DiBona is a senior television, radio and film major. His column appears weekly. He can be reached at mdibona@syr.edu and followed on Twitter @NoPartyNoDisco.

Published on October 6, 2015 at 12:28 am