I feel one reason why X-Men is more popular than say The Boondocks is that it’s far more palatable to white audiences in how it handles prejudice, especially if it’s conveyed through able-bodied white cartoon characters, combined with bouts of anti-black and anti-East Asian racism every now and then. The way The Boondocks handles racism, especially anti-black racism, is kind of realistic in the sense that even when you have well-intentioned characters like Cindy around, they still resort to racist preconceptions every now and then. It’s like knowing a lot about black people personally, but still resorting to racist ideas of them at the same time (it’s like this before). Or that white people may not be able to completely relate to what black people go through, especially in the western world, which explains Cindy’s cluelessness towards Jazmine’s feelings.
Characters like Jazmine and Riley struggle with internalised racism, but in their own respective ways, where the former denies her blackness and the one struggles to live up to such stereotypes from time to time himself. I don’t think the X-Men stories deal with this a lot, from my experience, but most X-Men writers like Chris Claremont are white. Add to that Claremont admitted he can’t relate to black people that much, to the point where it does explain why black characters are written the way they are in the X-Men canon, especially whenever he’s at the helm. Also in the X-Men canon you have characters like Emma Frost lashing out at South Asians for not understanding her, that and recurring themes of eugenics, where you have a guy named Mister Sinister doing a lot to engineer the perfect mutant. To the extent that X-Men could easily invite a white supremacist reading at any point.
With Storm being the good black woman who barely questions the white people she often hangs out with, Cheryl Lynn Eaton went on saying that she’s so disconnected from blackness that she should’ve been written as a weird black woman or something like this, though she’d eventually write a story featuring her as well. I’d say that she’s a good example of an exotic black person as written by a white person, where seems to be a kind of Orientalism aimed at black Africans that treats them as the antipode of white westerners. Albeit a black Africa that’s forever stuck in the past, whilst the west appears to be oh-so progressive (read civilised). Part of it has to do with that white westerners (until recently in Europe) aren’t really that constantly exposed to African media, let alone for a sustained period of time, as to truly know what else is going on in Africa itself.
White Americans’ exposure to African media is generally far more limited than in Europe, due to the latter’s closer association to Africa by prior colonisation. That’s why things like Afrobeats are popular in Britain, whereas this would be replaced by hip-hop and soul in America’s case. To think if Aaron McGruder had been British, the Freemans would’ve been from somewhere in the Caribbean, with Riley being really obsessed with grime and Jazmine would most likely have a posher name instead. And her father Tom DuBois would most likely be a recent African immigrant or at least the scion of one, someone who’d look down upon the unapologetically Caribbean Freemans to boot. But even then a British Boondocks wouldn’t be that massively palatable to white Britons the way the X-Men canon would for them just he same, despite the prominence of bands like Massive Attack and Lighthouse Family.
Ditto Shirley Bassey, Goldie, Morcheeba, Benjamin Zephaniah and the like. British or not, I guess black people can only succeed in the white mind if they’re into sports or music. But not truly relating to them as people, the way superpowered white cartoon characters do. Looking back more than a decade ago, I went about seeking nonstereotypical African representation in comics. Things might be better now in many ways, but it’s mostly not much different at DC and Marvel. There’s yet to be a Kenyan writer writing the adventures of Storm, the way there’s a Vietnamese American writer for a story featuring Karma. The Shujaaz magazines actually have comics in them, many Kenyans are bilingual in English and Swahili, one of them could’ve been hired to write a Storm story themself. But there are still no actual Africans at X-Men, much less writers, even if a Nigerian got to write a Black Panther story. Ditto making Kenyans write Storm stories themselves, even if they share her cultural background and experiences more.
Whilst The Boondocks might not be without its own faults at times, it does a better job at understanding antiblack racism. Cindy may not seem outright hateful towards black people, but that’s because she’s racist in another way. Meanwhile an X-Men story had a white woman like Emma Frost lash out at South Asians for not understanding her or something, where there are like only five actual Africans in the X-Men canon (Temper, Storm, Maggott and arguably both Apocalypse and his wife, Genesis, as they’re both Egyptians, Egypt is also an African country by the way) and stuff. Temper’s from Nigeria, Storm’s from Kenya, Maggott’s from South Africa and both Apocalypse and Genesis are from Egypt, whereas X-Men has a lot of white characters from actual western countries.
The Wolverines and Northstar are from Canada; the original five members plus the Guthrie family, Emma Frost, Kitty Pryde, Dazzler, arguably Professor Xavier and Sage, Rogue, Gambit, the rest of the Summers family, Elixir, Mercury, the rest of the Hellfire Club, Firestar, Hellion, Cypher, Lorna Dane and Multiple Man are from the US. Moving onto Europe, characters like Rahne Sinclair, the Braddocks, Pete Wisdom, Quentin Spire and Chamber are from Britain, the Cassidys are from Ireland, both Nightcrawler and Mystique are from Germany, Pyro’s from Australia and if one argues, characters like the Rasputins, Omega Red and arguably Darkstar are from Russia. There’s a viral tweet stating that the most prevalent X-Men characters are white, able-bodied people. It’s kind of telling that white North Americans, white Europeans and white Russians significantly outnumber those from real African countries by a lot.
You’d really have to look in vain to find prominent Senegalese, Moroccan, Algerian, Ethiopian, Namibian, Rwandan, Tanzanian, Eritrean, Cameroonian, Ivorian, Malian, Ghanaian and Libyan mutants in the X-Men canon, because there are practically none at all and still none to this day. There’s really only one African Caribbean mutant that I think of and she’s Cecilia Reyes, a doctor and X-Men’s African Caribbean representation is also lacking, much less those from actual Caribbean countries to boot. So the tweet’s point still stands that white people from real white-majority countries significantly outnumber those from both real African countries and from the Caribbean, which means the search for more African representation is going to be hard unless if people turn to African media more instead.
But African media will feature African characters and mindsets by default, because they are made for African audiences in mind. The same thing can be said of Caribbean media, but African Americans are stuck between a rock and a hard place. They are highly influential in America, but they’re also marginalised and ostracised there. The Boondocks cartoons show this where there is white awareness of prominent black celebrities through the character of Cindy, but there’s not much real compassion for what African Americans go through. Then you have black people struggling with internalised racism that they either deny that they’re kind of visibly black (Jazmine in a way as she’s biracial) or struggle to live up to the stereotypes they’ve internalised themselves (Riley), then you have those who’re truly aware of the racist portrayals black people face like Huey, Riley’s brother.
I don’t think most X-Men writers (who are white) will get these themselves, if Chris Claremont’s any indication, so whenever they address prejudice it’s almost always directed at able-bodied white characters, and more specifically white Americans to boot. But it’s telling which is more palatable to white people and one which isn’t.