Wakanda. The name itself conjures images of advanced technology, untold riches, and a secretive, isolationist utopia. For years, Marvel has presented this fictional African nation as the pinnacle of human achievement, shielded from the outside world`s chaos by its Vibranium-fueled progress. But what happens when the lens shifts, and we scrutinize the very foundations of this supposed paradise? Marvel`s latest animated anthology, “Eyes of Wakanda,” attempts to explore Wakanda`s operatives beyond its borders, leading to a rather revealing, if somewhat perplexing, narrative.
The Premise: Retrieval or Reclamation?
At its core, “Eyes of Wakanda” presents a series of historical vignettes, each focusing on Wakandan agents dispatched globally to retrieve Vibranium artifacts. The premise is straightforward: Vibranium is Wakanda`s birthright, a resource found only within its borders. Any Vibranium outside is, by their logic, merely on loan from their discovery. This establishes a narrative that frames these missions as acts of reclamation, a noble pursuit to secure their most vital resource.
However, the series quickly begins to unravel this seemingly righteous facade. What constitutes “retrieval” in the eyes of Wakanda often appears suspiciously close to outright theft. The objects in question aren`t always dangerous weapons or items being misused; sometimes, they are simply historical artifacts from other cultures that happen to contain a sliver of the coveted metal. This raises a rather pointed question: Does the presence of Vibranium within an object automatically transfer ownership to Wakanda, regardless of its cultural significance or benign use by its current holders? It`s a fascinating ethical tightrope that the series, perhaps unintentionally, walks.
The Paradox of Isolation: Great Power, Great Hypocrisy?
One of the most enduring criticisms leveled against Wakanda in the broader Marvel Cinematic Universe is its centuries-long policy of isolationism. With technology millennia ahead of the global standard, one might expect a nation of such enlightened beings to feel a moral imperative to uplift, or at least assist, the less fortunate. Yet, Wakanda famously remained hidden, even as colonialism swept across Africa and countless injustices unfolded worldwide.
“Eyes of Wakanda” inadvertently amplifies this critique. Episodes depict Wakandan agents operating in ancient Greece or intervening in conflicts that have no direct bearing on their immediate security, yet their broader historical stance remains unchanged. Take, for instance, an episode set during the Italian invasion of Ethiopia in 1894. While the surrounding nation battles for its very existence, Wakanda`s priority is not humanitarian aid or strategic assistance, but the discreet retrieval of a Vibranium-laced axe from a neighboring people. One might charitably call this strategic focus, but it’s hard to ignore the stark contrast with the world`s desperate need.
The series, despite its lofty intentions, often struggles to reconcile Wakanda`s advanced moral posturing with its undeniably self-serving actions. The narrative that Vibranium is “too dangerous” for the outside world, while plausible, rings hollow when the outside world doesn`t even know of Vibranium`s properties, and the only character to weaponize it thus far was a rogue Wakandan. This suggests a logic that conveniently places Wakanda`s perceived ownership above any global responsibility.
Narrative Quirks and Questionable Decisions
Beyond the moral quandaries, “Eyes of Wakanda” occasionally stumbles in its narrative execution. The anthology format, while offering diverse settings, sometimes leans heavily on well-worn tropes and questionable historical anachronisms. One particular episode, set in 1260 BC, features a veritable UN of ancient warriors—Vikings, Samurai, and Assassins—fighting alongside a rogue Wakandan warlord. While visually striking, the historical incongruity demands a suspension of disbelief that even the most fervent comic book fan might find challenging.
Character development also takes a backseat. Many protagonists are archetypes – the rebellious operative who “doesn`t work in a team” or the stoic warrior. Their traits are often told rather than shown, leading to an experience that feels less like watching a dynamic story unfold and more like being given a bullet-point summary of a character`s personality. For a show aiming to delve into the rich tapestry of Wakanda`s unseen history, this can feel like a missed opportunity.
A Glimmer of Self-Awareness?
Interestingly, the series isn`t entirely devoid of self-criticism. One standout episode offers a refreshing dose of introspection. When a Wakandan agent attempts to retrieve a sacred dragon statue from China, his romantic interest, revealed to be a practitioner of the Iron Fist arts, directly challenges Wakanda`s “reclamation” policy. She cogently argues that what they perceive as retrieval is, to others, simply theft of cultural artifacts. This confrontation forces the Wakandan protagonist to acknowledge the validity of her perspective, suggesting that perhaps not all problems require clandestine operations or forceful “retrievals.” It`s a small but significant moment that hints at a more complex, self-aware narrative that could have been explored further.
The Future and its Unanswered Questions
The final episode introduces a fascinating temporal twist, with a future Black Panther intervening to ensure a specific Vibranium artifact remains in play for a future timeline-saving event. While offering a potential justification for Wakanda`s past isolation (to prepare for a future threat), it paradoxically raises more questions than it answers. If a future Wakandan leader can travel back to influence events, why are they restricted to such an incredibly convoluted method involving a specific stolen axe? The ability to communicate future dangers to past Wakandan monarchs seems like a far more efficient solution. It`s a narrative device that feels less like a clever twist and more like a retroactive patch for the nation`s historical inaction.
Visuals and Verdict
Visually, “Eyes of Wakanda” is a mixed bag. The static backgrounds and panoramic shots of ancient landscapes are often breathtaking, showcasing a vibrant artistic vision. However, the character designs, while distinct, might not appeal to everyone. More critically, the animation in action sequences sometimes lacks the weighty impact one expects from combat. Despite numerous implied fatal blows, a curious absence of blood lends an almost ethereal, weightless quality to the violence. This aesthetic choice, while perhaps aimed at broader appeal, can detract from the visceral feel of the conflicts.
Ultimately, “Eyes of Wakanda” presents a curious case study. It`s not a bad series in the conventional sense, nor is it a masterwork of animated storytelling. It exists in a peculiar limbo – “just kind of there.” The stories often fail to truly captivate, and the characters, despite their grand missions, frequently come across as unlikable or one-dimensional. While it attempts to expand the lore of Wakanda, it inadvertently highlights some of the nation`s more ethically dubious facets, leaving viewers to ponder whether its advanced civilization is truly a beacon of hope or merely a self-serving entity with a highly convenient definition of “what`s ours.” For those hoping for a deeper, more morally satisfying exploration of Wakanda`s past, “Eyes of Wakanda” might just leave you seeing shades of grey where you expected shining gold.
Finley Holt