Showing posts with label Moon Girl. Show all posts
Showing posts with label Moon Girl. Show all posts

Thursday, January 18, 2018

Strength In Numbers With Youthful Idealism: Champions #16

The following is my review of Champions #16, which was posted on PopMatters.com.



Any gambler not named Remy Lebeau knows there's a time to fold, a time to double down, and a time to re-evaluate one's bluffing skills. So long as they're not down to their last penny, it's usually wise to know when the odds just aren't favorable anymore. Young superheroes, especially those still in their teenage years, face greater odds than most. At the same time, however, they have the benefit of not being too jaded to throw away their ideals the same way Peter Parker claims to give up being Spider-Man every now and then.

Youth may inspire the kind of wide-eyed optimism that makes most jaded adults roll their eyes. However, that's exactly what makes teams like Champions so endearing. They live in a world where adult superhero teams have waged a civil war on one another twice. They regularly see established heroes like Captain America fall prey to sinister influences like Hydra while villains like Magneto somehow manage to operate with some semblance of credibility. These are some pretty mixed messages, especially for impressionable youth.

Mark Waid and Hamberto Ramos don't shield the members of the Champions from those messages. In fact, confronting those heroic inconsistencies of the modern Marvel universe is a major theme of Champions, as well as a major appeal. This cast of younger, less jaded heroes want to cling to those superhero ideals that seemed to go out of style since the Frank Miller era. The world around them isn't making that easy. If anything, that world keeps upping its bets and skewing the odds.  

Champions #16 has these idealistic young heroes respond by having them go on a recruitment run. Considering the events of previous issues, which included crossovers and clashes with the far less idealistic adult Avengers, it comes off as strange, if not too soon. From the perspective of young, teenage heroes who cling ardently to their idealism, though, it makes perfect sense. Tragedy and drama may hit adults and teenagers equally hard, but teenagers will often find more creative ways of dealing with it. Those ways aren't always healthy or rational, but that's exactly what makes them endearing.

The tragedy and drama in this case has to do with the recent upheavals surrounding Viv Vision. Even by advanced android standards, she's in a strange position. After the Champions and Avengers' recent clash with the High Evolutionary, there are now two versions of her, one human and one android. It's an identity crisis that's unprecedented, even in a world full of clones and shape-shifting aliens. Neither version is able to make sense of the situation. Viv's teammates don't fare much better.

There's now a sense in Champions that the team is more vulnerable than it was when it began. It's not just because one of their members is a time traveler who could trigger a paradox with one bad decision. The events surrounding Viv painfully demonstrate that there are times when the team becomes fractured. There are moments when personal dramas hinder the team's ability to function. It's a problem adults face too, but adults are more inclined to stick with what works and preserve the past. Teenagers, not having much of a past to begin with, look to the future.


That's the underlying theme of the narrative that Waid crafts in Champions #16 and Ramos' colorful visuals make it feel optimistic, despite the dramatic circumstances. Despite the seriousness of these circumstances, Waid preserves the light-hearted, upbeat tone that gives Champions much of its appeal. Throughout the story, the fact that these are still teenagers never becomes lost. They see what happens to their friend. They don't make light of it, but they still move forward.

That part of the story works to the extent that it lays the foundation for more interactions between the Champions and other young heroes. While Viv heals, their recruiting run leads them to cross paths with the likes of Moon Girl, Red Locust, Iron Heart, and Patriot. Some of these characters have crossed paths with the Champions before. Like the Champions, though, they respond to the message because they too lack the jaded mentality that plagues older heroes.

It's a golden opportunity for young heroes to come together and remind older heroes that there's still room for the kind of wide-eyed idealism that most superheroes lose in their first year. Unfortunately, little of that opportunity is realized in Champions #16. The recruitment run does get off to a good start, but there's not much depth beyond just interacting with other young heroes. Some, like those with Moon Girl, fit the spirit and character of the story. Others, like the moments with Iron Heart, don't really contribute much.

That lack of depth is partially due to the unfolding side-plot surrounding Viv. In many respects, this plot carries with it much heavier drama. Viv's identity crisis and sense of self are in flux. There's a lot of internal conflict that plays out in between interactions with her android self and Vision. Some of it still echoes with the kind of teenage melodrama that is so distinct of Champions. Most of it, though, comes off as detached narration.

The intent is clear throughout the story, both with Viv Vision and the Champions' recruitment drive. It's the execution that leaves much to be desired. Both elements of the story have the right dynamics, but both end up feeling incomplete. It gives the impression that the story needed to be at least twice as longer for the necessary elements to play out. It makes Champions #16 feel somewhat truncated, even if the potential is still there.

The idealism and appeal of Champions never wanes, even in light of major upheavals, both personal and circumstantial. That remains one of the greatest strengths of the series. It's realizing the potential of the various plots and sub-plots that keep it from having the kind of impact that teenagers and adults alike can appreciate. Even if both are destined to end up jaded, the appeal of the idealism espoused by young heroes remains as strong as ever.

Final Score: 5 out of 10

Tuesday, December 1, 2015

Moonlighting Diversity: Moon Girl and Devil Dinosaur #1

The following is my review of Moon Girl and Devil Dinosaur #1, which was posted on PopMatters.com.


In an era where being petty and politically correct isn't mutually exclusive, there's a right way to promote diversity and a misguided way. It's never inherently wrong to expand the diversity of a shared narrative with the cope and breadth of the Marvel universe. However, the instances where that expansion felt right rather than misguided have historically been the norm rather than exception.

Fostering greater diversity in comics is not like choosing a new version Dr. Who. It's trying to build on a crowded foundation for an audience with limited attention spans and patience. There is this perception among fans and internet message boards that promoting diversity means destroying part of that foundation. It doesn't matter that this perception is more flawed than the North Korean legal system. It creates a seemingly insurmountable barrier between those that want to push diversity and those who go into convulsions when someone does something different in their favorite comics.

The recent success of diversity initiatives like Kamala Khan and Miles Morales have shown that Marvel is capable of doing diversity the right way and without having to rely too much on retcons, time travel, or clones. Now, Marvel seeks to build on that success with Moon Girl and Devil Dinosaur #1.

In many ways, they're playing the game on easy mode because they're using a more obscure title. There aren't too many message boards that will be taken offline by the news that the protagonist in Moon Girl and Devil Dinosaur is now a cute black girl. Chances are Fox News won't do a special segment on it either.

However, it still faces a unique set of challenges. This series must establish itself as part of the new wave of diversity that attempts to show that comics can appeal to more than the coveted young male demographic that marketing teams have fought over since the days of MTV. Can Moon Girl really compete with the likes of Kamala Khan? While it doesn't succeed to that extent, it doesn't fail either.

The main goal of Moon Girl and Devil Dinosaur #1 is to get the reader to fall in love with Lunella Lafayette. And from the beginning, we find out that there's a lot to love about this girl. She's not spirited, but not sassy. She's smart, but not overly arrogant. She's cute, but not in the Jessica Rabbit sort of way. She basically goes out of her way to avoid the stereotypes and cliches that has been depicted in every John Hughes movie.

It would be easy for a smart, cute-but-not-sexy black girl to lament about her struggles and get overly melodramatic in a way that happens at least twice in a Saved By The Bell rerun. But that's not how Luna carries herself. Sure, there are some elements that would make John Hughes smile.

Being way too smart for her age, she gets made fun of by some of her peers, many of which can only cry themselves to sleep at night over how much better her grades must be. However, her struggles and her motivations are unique. She's not looking to go the Mean Girls route to fit in. She's not looking to impress a cute boy, as is often required by a typical teen sitcom. She's motivated by some of the same challenges that motivates real minorities.

Those challenges include getting into a better school, which in any world is often a stepping stone to a better life than one built on the Lower East Side of Manhattan. These challenges even incorporate events from other ongoing events at Marvel, namely the spread of the Terrigen Mists. This helps give the story a sense of place within the greater Marvel landscape, which is not easy to do in a world where clones and retcons seem to occur every other week.

Luna demonstrates a responsible understanding of these events that can't be found on any message board. Where others see spectacle, she sees opportunity. Sure, pursuing that opportunity means opening a portal that dinosaurs and ape men come out of, but every opportunity carries some level of risk. It's even somewhat appropriate that a girl who happens to be a minority has to take these kinds of risks. It paid off for Oprah. Why shouldn't a story be built around that concept?

It's a concept that shouldn't be ground-breaking on the level of quantum mechanics, tying a character's development with actual struggles that actual people deal with. But for better or for worse, it still feels refreshing. Luna isn't looking to become Moon Girl. She's just trying to use her gifts in hopes of pursuing a better life. And those gifts don't involve super strength, flight, or having access to Tony Stark's credit card. It makes her one of the most relatable characters Marvel has come out with in quite some time.

While Moon Girl and Devil Dinosaur #1 succeeds in its main goal in establishing Lunella Lafayette's lovability, it lacks other connecting details to make the story feel refined. There's a minor, albeit not minimal, effort made to cover Moon Boy briefly. But his part in the story is basically a commercial break prior to Luna's story. His story still connects, but just barely.

Even if the story lacks refinement, it still feels complete in the end. Lunella Lafayette is established as a character. We understand who she is and what her motivations are. And it also established how Devil Dinosaur ended up in Manhattan. It won't be mistaken for a Michael Crichton book, but it does put all the necessary pieces in place in a coherent manner. And when those pieces include a dinosaur and a cute Black girl from the Lower East Side, that in and of itself is an accomplishment.

Final Score: 8 out of 10