Ms Marvel – Kamala Khan – is a 16 year old Muslim Pakistani-American and is the first Muslim superhero to have her own headline comic. Created by G. Willow Wilson (a Muslim convert) and Sana Amanat (a Pakistani-American editor at Marvel on who the character Kamala Khan is loosely modelled), the comic was launched in 2014 to largely favourable reviews for its representation of Islam and gender. However, despite being a ‘Muslim’ superhero Kamala is, for the most part, not presented as identifiably Muslim (Arjana, 2017), or particularly religiously observant. She rarely covers her hair, attends the local Mosque, or undertakes prayer. Typically she wears jeans and a t-shirt and even in her superhero uniform, which is referred to as a 'burkini' (modest Islamic swimsuit), is not identifiable as one as she removed the head covering and opted for a mask. As a result of this, the reader is constantly reminded by other characters, such as her friend Nakia (who wears the hijab), or by members of her family like Aamir (who is a Salafi) that she is Muslim. Further to this, her chief love interest is an American-Italian boy named Bruno. Indeed, such is the narrative that comic book blogger and critic Noah Berlatsky (2014) described the series as an ‘assimilation fantasy’ and notes that Kamala is essentially just like everyone else, an awkward angst-ridden teenager. In this paper, I will argue that the claim of assimilation is an overreach, but that Berlatsky is right with regards to her being generic. Building on the work Reyns-Chikuma & Lorenz (2017) regarding Ms Marvel’s positive reception in ultra-secular France, I contend – drawing on volumes 1 through 9 (2014-18) – that the creators have intentionally muted Kamala’s Muslim identity to increase her relatability and to avoid alienating readers. Further, as a result of this choice, I argue that Kamala functions more as an icon for cultural diversity than as an icon for Islam.