In the ever-expanding Marvel Cinematic Universe, few nations command as much respect and fascination as Wakanda. A technologically advanced, isolationist utopia, it stands as a beacon of what humanity could achieve – or so we thought. With the release of Marvel’s animated anthology series, Eyes of Wakanda, the gilded facade of this secretive nation appears to have, shall we say, a few cracks. Despite a remarkably high critical score on platforms like Rotten Tomatoes, one might wonder if the eyes in question truly saw the same show.
The Paradox of Power and Principle
Eyes of Wakanda, a four-episode spin-off of the Black Panther saga, tasks its agents with a global mission: to seek out and retrieve Vibranium artifacts scattered across the planet. On the surface, this sounds like a noble quest to secure a potent, dangerous resource. However, beneath this patriotic veneer lies a perplexing ethical dilemma that the series largely fails to address, or perhaps, inadvertently highlights.
Consider the core premise: Wakanda, a nation that has wielded futuristic weaponry for millennia and piloted advanced aircraft during the Middle Ages, remained steadfastly isolated. Its justification? The Vibranium is too dangerous for the outside world. Yet, when the world was gripped by colonial exploitation, when the very continent Wakanda calls home was systematically plundered, where were the “Eyes of Wakanda”? Apparently, preoccupied with their “sacred” Vibranium trinkets, often taken from cultures who had no idea of their true nature or dangerous potential. The series, ironically, portrays these retrievals not as heroic interventions but as, to put it mildly, glorified theft.
This isn`t merely a critique of a fictional nation; it`s a commentary on the narrative choices. How can a society, presented as the pinnacle of human morality and enlightenment, actively choose isolation over assistance, especially when faced with global atrocities? The series attempts to frame these actions as necessary for Wakanda’s security, but in doing so, it inadvertently paints its heroes as profoundly hypocritical – hoarding immense power not for the good of all, but for the exclusive benefit of themselves, even if it means betraying trust or, indeed, committing larceny.
Episode by Episode: A Journey Through Contradictions
The Lion`s Den: Cliché and Convenience
The inaugural episode, “In the Lion`s Den,” transports us to 1260 BCE Crete, where a rogue Wakandan commander uses Vibranium weapons to subjugate Mediterranean peoples. Here, for once, Wakandan intervention seems justifiable. A dangerous weapon is indeed in malevolent hands. However, the series quickly devolves into a parade of tired action tropes. Our lone heroine, a “rebel who doesn`t work with a team,” effortlessly dispatches a mismatched squad of anachronistic fighters (a Viking, a samurai, and an assassin in ancient Greece – historical accuracy was clearly a low priority). The primary motivation for Wakanda`s intervention? Not the plight of the enslaved, but the fear that the rogue kingdom might rival Wakanda`s power. Self-preservation, not altruism, is the driving force.
Legends and Lies: Myths Mishandled
Perhaps the most baffling decision of the anthology is devoting half of its run to Ancient Greece, completely bypassing the rich tapestry of African mythologies. “Legends and Lies” rehashes the Trojan War, casting Achilles alongside Memnon – who is secretly a Wakandan agent on a nine-year mission to “reclaim” Helen`s Vibranium necklace. The narrative`s understanding of Greek myth is, charitably, loose. Memnon, historically an enemy of Achilles, is presented as his “best friend,” only to betray and kill him for a piece of jewelry. Achilles’s motivation for the war? To “create a legend to inspire future generations.” One might accuse the writers of attempting to create their own legend of narrative absurdity. The episode culminates in a betrayal that feels less like a moral dilemma and more like a poorly executed heist, leaving viewers to question the ethical compass of these supposedly noble agents.
Dragon`s Breath: A Glimmer of Self-Awareness?
Then comes “Dragon`s Breath,” an unexpected breath of fresh air. This episode sees a Wakandan agent in China attempting to steal a sacred dragon statue with a Vibranium tongue. His romantic interest, revealed to be an Iron Fist, pursues him to Wakanda itself. This character serves as the series` much-needed voice of reason, directly confronting the Wakandans on their hypocrisy: “By trying to `reclaim what`s theirs,` you`re simply stealing other nations` artifacts.” The resolution, where the Vibranium tongue is willingly separated from the statue, suggests a revelation for Wakanda: perhaps there are ways to address their “Vibranium problem” without resorting to international larceny. This episode, with its touch of humor and connection to the wider Marvel lore, stands out as a rare moment of introspection and an acknowledgment of the narrative`s own logical flaws.
Future Imperfect: Time-Traveling Contradictions
The final episode plunges into convoluted time-travel paradoxes. Set in 1894 Ethiopia, a young Wakandan prince and his mentor are tasked with “reclaiming” a Vibranium axe during Ethiopia`s war against Italian invaders. Their mission is interrupted by a future Black Panther, who explains that humanity was destroyed because Wakanda remained isolated. Her solution? To ensure the axe remains stolen so that Killmonger can steal it later, prompting T`Challa to open Wakanda to the world. This circular logic is not only frustratingly convoluted but also undermines the entire premise of Wakanda`s historical isolation. If a future Panther can explain the stakes, why couldn`t past Panthers have simply been told to open Wakanda? The reasoning feels like a desperate attempt to retroactively justify decades of questionable fictional policy.
The Aesthetics of Apathy
Beyond the narrative quagmire, the animation itself presents a mixed bag. While static landscapes often possess a striking beauty, the character designs can be polarizing. Action sequences, though dynamic, frequently lack a sense of weight and impact, rendering blows and movements strangely unnatural. The pervasive absence of blood, despite numerous on-screen killings, adds to a somewhat sterile and detached viewing experience. The show manages to feel prolonged even within its short run, a curious feat for an animated anthology.
The Uncomfortable Truth of Isolation
In its earnest attempt to expand on the lore of Wakanda, Eyes of Wakanda inadvertently strips away some of its mystique. What emerges is not the enlightened utopia we were presented with, but a nation plagued by logical inconsistencies and a questionable moral compass. While the series thankfully avoided the easy route of making all antagonists white colonizers, it also conspicuously sidestepped the opportunity to grapple with Wakanda`s self-imposed isolation during centuries of external suffering. Ultimately, Eyes of Wakanda is a series that exists in a strange narrative limbo: neither compelling enough to truly enjoy, nor flawed enough to be delightfully mocked. It simply… is. A visual curiosity that, upon closer inspection, reveals less about Vibranium`s power and more about the enduring challenge of crafting consistent, compelling ethics for a superhero nation.
Jasper Hawthorne