The Captain Marvel I remember was a black woman. I started collecting the Avengers comics in the mid-80’s. In 1987, Monica Rambeau (as Captain Marvel—she later became “Photon”) was chair of the Avengers. I remember Storm being leader of the X-Men. And in the New Mutants (my favorite team), Danielle Moonstar was the leader. As an adolescent white dude in the mid-80’s, comics were about the only pop culture media in which I remember seeing women of color in leadership.
I stopped collecting for awhile, and I missed the major Carol Danvers story. So “Captain Marvel” for me has always been Monica Rambeau. If I were to pick a superpower for myself, it would have been her ability to transform into multiple kinds of energy. When they introduced Monica as a little girl in the recent Captain Marvel movie, I couldn’t help elbowing my wife and whispering “she’s going to be badass.”
I’m not in any way saying that this deprogrammed me or counteracted the enormous implicit bias I was trained to have. Nor am I dismissing all the sexism and lookism and tokenism that comics geared toward adolescent boys often reinforced. BUT these stories embedded themselves in my imagination and subconscious.
I’m sharing this because I remember this stuff from my childhood. It reinforces the importance of representation in our imagination and the stories we tell. Superhero movies, as Mr. Glass says, are our modern myths—they tell us who we aspire to be. When we are doing science fiction or fantasy or superhero stories, we’re engaged in subtle acts of resistance to the dominant narrative. We’re imagining that the world could be otherwise.
And the reason it causes so much backlash among fragile white dudes is that they correctly sense that it threatens the status quo. In the above panel, Doctor Druid and Thor both react in predictable ways, questioning Monica’s ability. Later on in the story, She-Hulk confides to Black Knight that she prefers a less hierarchical and more egalitarian form of leadership, and she hopes Captain Marvel will step up to lead the group.
The comics I collected seldom mentioned race as part of the storyline. Danielle Moonstar’s Cheyenne heritage in The New Mutants is far more explicit than Monica’s blackness in The Avengers. In that sense, my favorite comics promoted the false narrative of colorblindness. But it also shows Monica talking with her parents about sidelining her desire to start a business. The story gives her a past, a family, and an internal life.
It’s a comic book from the 80’s, so there are some dialogue choices and storyline choices that make me cringe. But I remember that these comics expanded my imagination in ways that I only now can appreciate.