I remember that post as well, and someone mentioned that Millar himself acknowledged that the film was kind of a right-wing fantasy of sorts.

I didn't see "right-wing fantasy" as much as I saw "young white teengager somewhat lacking in social skills living in an inner-city environment fantasy." This is speculation, but I think it's probably safe to say that an individual fitting this description would view black men as adversarial/scary, basically as enemies. So, I wasn't terribly surprised or bothered that for the entire first act, every brother fell into the oh so comfortable role of drug dealer, common criminal, woman beater, and oh yeah, manservant.

I think this somewhat narrow portrayal of men of color fit within the world of this movie--who else's asses would a young, put upon upstart hero kick but thuggish black dudes and eventually progress to thuggish Italians when as he upped his skill set? Junk bond hustlers on Wall Street, philandering politicians? HMO scammers?

And hey, in case anyone did get a little irritated w/the one note representation of black folks, Marcus came in to break the pattern(I think this was the brother from Sucker Free City).

But then again, having a token black on stand-by as a pre-emptive alibi against 'cism is Racist Conservatism 101(cue ominous documentary-type score music here).