On his weblog Kevin Reviews Uncanny X-Men, Kevin O’Leary had an interesting post last month in which he picked the six members of his “ideal X-Men team”. I liked the idea and thought I’d post my own version, albeit with a twist: instead of choosing from all X-Men comics ever published or which I’ve ever read, I just browsed through whatever comics I had currently at hand on my shelf and in my longbox, and from these I selected the characters that I found interesting for some reason or other. Here they are, in order of publication:
- Morph from Scott Lobdell’s and Joe Madureira’s Astonishing X-Men v1, 1995 (“Age of Apocalypse” storyline): no idea why I own a copy of this comic book, which is mediocre at best. But Lobdell and Madureira employ Morph’s shapeshifting abilities for comedic purposes, which makes him the most memorable character here.
- Bishop from David Hine’s and Yanick Paquette’s Civil War: X-Men, 2007: while I find Bishop’s mutant power (“energy absorption and redirection” – Wikipedia) rather boring and himself as a character not very likeable, his backstory – coming from a dystopian future – makes for interesting storytelling material. In Civil War: X-Men, Bishop feels compelled to side with the government and turn against Cyclops and the other X-Men.
- Wolverine from Cullen Bunn’s and Paul Pelletier’s run on Wolverine v4, 2012: while Wolverine certainly isn’t an underexposed character, Bunn and Pelletier showed that his backstory still has some new plot devices in it. Plus, his regenerating abilities can be stunningly visualised, e.g. when half his face is blown off by a shotgun, and he regrows his eye during the same fight scene (in #306).
- Warbird from Marjorie Liu’s and Gabriel Hernandez Walta’s run on Astonishing X-Men, 2013: Warbird is a member of the Shi’ar alien race and not a mutated human, but her ‘otherness’ (which Liu frequently emphasised) matches that of the other X-Men misfits nicely.
- Nazi Xavier from Greg Pak’s and Andre Araujo’s X-Treme X-Men v2, 2013: it’s Charles Xavier, the popular telepath. Only he’s a nazi. X-Treme X-Men introduced many alternate versions of well-known characters from parallel worlds, one weirder than the other. Technically Nazi Xavier is a villain, not an X-Man, but Marvel never had much problems with changing a villain into a hero and vice versa. Such a ‘deal with the devil’ would create those tensions that seem to be all-important in any superhero team.
- Magneto from Cullen Bunn’s and Gabriel Hernandez Walta’s Magneto, 2014: Magneto has already undergone the treatment from villain to X-Man (and back again, probably several times), so it shouldn’t be a problem to have him on the team too. It would be interesting to have Holocaust survivor Magneto (don’t ask me how old he is supposed to be) on the same team as Nazi Xavier, but the reason I want Magneto on my ideal X-Men team is that it’s just so much fun to see him twisting and twirling pieces of metal around.
X-Men: Days of Future Past is still being shown in German cinemas, and by now, probably more than a million people have seen it here. While I found it enjoyable enough, I’m still wondering who these Marvel films are made for. Or, to put it differently: are film makers still concerned about continuity at all, or is it considered nitpicking and party-pooping to point out continuity errors in this postmodern day and age?
Basically, I can think of four ways in which films deal with continuity:
a) the film is a stand-alone story and doesn’t need to adhere to any extra-textual continuity;
b) the film is part of a series of films and conforms to the continuity established by the earlier films;
c) the setting of the film (“world”/”universe”) is adapted from another medium and is consistent with the continuity established there;
d) the entire story of the film is adapted from another medium, and continuity is not an issue as long as the adaptation is faithful.
The problem with films like X-Men: Days of Future Past is that their category would be “e) all of the above”. There’s the continuity of the previous X-Men films and the continuity of countless X-Men comics, and X-Men: DoFP makes references to both and can’t be fully comprehended without ample knowledge of both. However, the two continuities are not quite compatible with each other, and each of them has its own issues, so it comes as no surprise that X-Men: DoFP isn’t free of continuity errors either. A month ago, Rob Bricken published this helpful overview on io9: http://io9.com/8-ways-x-men-movie-continuity-is-still-irretrievably-f-1581678509
Not mentioned there is the conundrum of Pietro/Peter Maximoff and his sister(s), which is explained in Empire magazine (see e.g. here).
All this makes me wonder: if everything we see in a film is potentially subject to later revisions, and ultimately nothing is authoritative, why do filmgoers still care about these stories at all? Many comic book readers, tired of convoluted continuities and endless retconning, have turned their backs on this kind of storytelling years ago. How long will it take cinema audiences to realise that all these superhero “cinematic universes” make little sense?
Continuing from the previous post, let’s turn to a gender bias test that some people believe to be superior to the Bechdel Test. In an interview last year, writer Kelly Sue DeConnick (Captain Marvel) said,
Nevermind the Bechdel test, try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft. They have to be protagonists, not devices.
This seems even more difficult to put into practice than the Bechdel Test. Is there a scholarly sound way to determine if a story “works”? Anyway, I’m going to try this test with two recent comic books written by Rick Remender. Mind you, that selection doesn’t mean I think Rick Remender is a sexist writer or anything. It’s just that he’s writing a lot of comic books at the moment, and by pure coincidence I happened to have read two of them, Black Science #1 and Uncanny Avengers #14. And who knows, maybe this comparison will reveal something about different attitudes towards gender issues at Image and Marvel, respectively.
The science fiction story Black Science (art by Matteo Scalera and Dean White, published by Image) starts with dimension-travelling scientist Grant McKay running away from fish monsters. He is accompanied by a sexy lamp in a space suit, and his internal monologue is addressed at another sexy lamp. Weird, but not that important for the story. His flight leads him to the den of some frog men, who have captured and enslaved a sexy lamp. McKay frees that lamp and returns her to the fish men, whereupon they become less hostile. There are some more sexy lamps towards the end of the issue, but they are not that significant.
Overall, the story works almost as well with sexy lamps instead of female characters. The “damsel in distress” motif at work here is almost as objectifying as turning her into a lamp.
Uncanny Avengers #14 (pencils by Steve McNiven, inks by John Dell, colours by Laura Martin, published by Marvel) is part of a somewhat convoluted story. The gist is that one sexy lamp with magical powers wants to perform a ritual to defeat the two major supervillains of this story (one of which is a sexy lamp), while two other superheroes (again, one of them a sexy lamp) try to stop her because they think the ritual will help the villains. Of course, this conflict is resolved by means of a lot of fighty-fighty, in the course of which one sexy lamp kills another, only to be killed in turn by one of the supervillains.
Clearly, this fighting and killing makes much more sense when done by the Scarlet Witch and Rogue, rather than by some sexy lamps. Therefore, Uncanny Avengers #14 passes the Sexy Lamp Test, whereas Black Science #1 fails.
Does that mean Uncanny Avengers is less gender biased then Black Science? Not necessarily. The problem with the Sexy Lamp Test is, it “rewards” comics with female characters who say and do a lot, but it doesn’t judge what they say and do. Despite their importance to the story, the female characters in Uncanny Avengers are “lazily” written – all women in this comic book could just as well be men (and vice versa) and nothing would change (except for Wonder Man and Scarlet Witch becoming a gay couple). These female superheroes are just male superheroes with breasts. On the other hand, the femaleness of the enslaved fish woman in Black Science reveals the society of the frog men as patriarchic, and thus at least serves a purpose within the story.
Therefore, I don’t think the Sexy Lamp Test is better at detecting gender bias than the Bechdel Test. They just point out different aspects of gender bias (in speech vs. in narrative function), so maybe they are best used in combination.
It’s not that I’ve never read a crossover story before, but when I did, it was always after it had been collected into trade paperbacks. This allowed me to make a conscious decision to buy the TPBs. However, it’s quite a different thing when a comic book series you’ve subscribed to becomes part of a crossover. Do you really want to purchase additional comic books, from series you don’t care about, by creators you’re not interested in, just to be able to grasp the story in “your” series? In the past, my answer was no – for instance, I dropped Swamp Thing when the “Rotworld” crossover started.
This time, though, I decided to play along. I had been reading Astonishing X-Men (AXM) for some time (see my review of #48-51 and my previous blog post on #57) when the crossover event X-Termination was announced, spanning the books AXM, Age of Apocalypse, X-Treme X-Men and an eponymous mini-series. Here’s what I think of each issue.
Although not listed as part of X-Termination, the story actually starts in AXM #59.
Authors: Marjorie Liu (writer), Gabriel Hernandez Walta (artist), Cris Peter (colourist)
Pages: 19 (yes, that’s not a lot of pages for $3.99…)
Website: http://marvel.com/comics/series/744/astonishing_x-men_2004_-_2010 (yes, that’s the correct link to the current series…)
Previously in AXM: after the gay marriage storyline, the book focused on the character Karma and two other, virtually indistinguishable Asian women. I must say I had grown tired of Mike Perkins’s art, when Gabriel Hernandez Walta came to the rescue. Issue #58 was a filler one-shot, but in #59 we’re heading straight towards X-Termination. The X-Men are hunting an alternate universe version of Nightcrawler, who apparently has committed murder, off-panel. Not much happens in this issue, but the nice art makes it a worthwhile, atmospheric read.
The first official “prologue to X-Termination” is Age of Apocalypse #13.
Authors: David Lapham (writer), Renato Arlem & Valentine de Landro (artists), Lee Loughridge (colourist)
Website: http://marvel.com/comics/series/17278/age_of_apocalypse_2012_-_present (for some reason they split the series into two websites, “2011 – present” (#1-12) and “2012 – present” (#13-14))
Most of the story here takes place in an alternate reality – the “Age of Apocalypse” – and is (yet) unconnected to the events in AXM. The aim of this issue, it seems, is to recap the previous events in this series, and maybe even to introduce new readers to this post-apocalyptic setting with all its alternate versions of the X-Men. But I don’t find all these little episodes very enlightening. Then again, most of what happens here is of no importance to the crossover story anyway. It would just have been nice to get to know all the obscure characters which do play a role in X-Termination later. What really repels me, though, is the art: I can only guess that Renato Arlem and Lee Loughridge (I’m not sure what Valentine de Landro’s contribution to this book was) wanted to make the artwork suit the dark and grim atmosphere of the setting, but the result looks just murky at best.
The second prologue, according to an advertisement flyer, is X-Treme X-Men #12, even though it doesn’t say so anywhere in the issue.
Authors: Greg Pak (writer), Andre Araujo (artist), Jessica Kholinne & Gloria Caeli (colourists)
In contrast to Age of Apocalype, X-Treme X-Men is a beauty to behold. André Araújo’s style of drawing is more cartoonish, almost manga-esque, yet in combination with the unobtrusive colouring reminiscent of European comics. Greg Pak tells the story of yet another alternate reality X-Men team, who witness the opening of a transdimensional rift and the arrival of the three supervillains of X-Termination. But he tells that story with lots of humour, it seems. Suffice to say that there are three evil versions of Professor Xavier: “Nazi Xavier”, “Witch King Xavier”, and “the Floating Head”. It’s a pity that X-Treme X-Men was cancelled after X-Termination, as this issue makes me want to read more of this series.
The first official part of X-Termination is X-Termination #1 (of 2).
Authors: David Lapham (writer), Lapham/Liu/Pak (story), David Lopez (penciller), Alvaro Lopez & Allen Martinez (inkers), Andres Mossa (colourist)
Website: http://marvel.com/comics/series/17743/x-termination_2013_-_present (again, the Marvel website lists several links…)
Meanwhile, another portal is opened from the “real” earth to the Age of Apocalypse, where the three X-Men teams meet, plus a fourth party, the aforementioned villainous trio. The art is the weak point of this book again; I find the way Lopez handles anatomies and facial expressions not very convincing.
For the next installment of X-Termination, we return to AXM (#60).
Authors: Marjorie Liu (writer), Lapham/Liu/Pak (story), Matteo Buffagni & Renato Arlem (artists), Christopher Sotomayor & Lee Loughridge (colourists)
What a disappointment: while this issue is written by regular AXM writer Marjorie Liu, the art is not by Gabriel Hernandez Walta. Instead, the first half is drawn by Matteo Buffagni and coloured by Christopher Sotomayor, and the second half is drawn by Renato Arlem and coloured by Lee Loughridge. Buffagni and Sotomayor seem to go for a 90s vibe, with unnervingly bright colours. Arlem’s and Loughridge’s art is just as off-putting as in Age of Apocalypse #13. Story-wise, it’s mainly fighty-fighty here.
X-Termination continues in Age of Apocalypse #14.
Authors: David Lapham (writer), Lapham/Liu/Pak (story), Andre Araujo & Renato Arlem (artists), Cris Peter & Lee Loughridge (colourist)
Again there are two art teams in this comic book, but this time there is a system to the shifts: there’s beautiful art by André Araújo and Cris Peter in the “real world” scenes, and ugly art by Renato Arlem and Lee Loughridge in the “Age of Apocalypse” scenes. The fighting against the alien villains continues.
X-Termination part four is told in X-Treme X-Men #13.
Authors: Greg Pak (writer), Lapham/Liu/Pak (story), Guillermo Mogorron & Raul Valdes (artists), Ed Tadeo, Carlos Cuevas, Don Ho and Walden Wong (inkers), Lee Loughridge (colourists)
More artists are introduced, while the story continues to leave me cold (despite referencing the Dark Phoenix saga). Mogorron’s and Valdes’s respective art styles are simplifying and cartoonish, which isn’t necessarily a bad thing, but here it just looks sloppy.
The penultimate X-Termination installment is AXM #61.
Authors: Marjorie Liu (writer), Lapham/Liu/Pak (story), Renato Arlem, Klebs deMoura, Matteo Buffagni, Raul Valdes, and Carlos Cuevas (artists), Lee Loughridge & Christopher Sotomayor with Andres Mossa (colourists)
Visually it gets even more confusing with not only two but three art teams in one issue, none of which I’m particularly fond of. Which is a shame, because the story finally seems to go somewhere, when the alternate universe version of Jean Grey is threatened to be corrupted by the power of the “Apocalypse Seed”.
The crossover story concludes in X-Termination #2.
Authors: David Lapham (writer), Lapham/Liu/Pak (story), David Lopez, Guillermo Mogorron, Raul Valdes, and Matteo Lolli (pencillers), Don Ho, Lorenzo Ruggiero, Carlos Cuevas, and Allen Martinez (inkers), Andres Mossa (colourist)
Again there are just too many artists, some of which have produced here what might be among the worst art I’ve ever seen in a Marvel comic. The conclusion of the story doesn’t feel very epic, even though the three page epilogue adds a nice touch.
Overall, the X-Termination crossover feels like a waste of $ 27.92 and an unwelcome interruption of AXM, which in fact continues with #62 to be a strong series, well written and well drawn (by Hernandez Walta again). The only positive outcome for me was to discover André Araújo‘s art, of which I hope to see more in the future. Still, my personal reservations against crossover events have been confirmed, and I can’t help wondering why such marketing tricks, more often than not, achieve to boost the sales of all tie-in issues. Then again, the commercial success of X-Termination seems to have been moderate – after all, this isn’t exactly Marvel’s big summer event.
Rating: ● ● ○ ○ ○ (only due to AXM #59 and X-Treme X-Men #12 raising the average)
Review of Astonishing X-Men #48-51
Authors: Marjorie Liu (writer), Mike Perkins (artist)
Recently, David Watkins said on HLN: “Comics and soaps have a lot in common — wild situations, love triangles, forbidden love, revenge and intense drama abound in both.”
I wouldn’t go as far as that. While such mostly romantic motifs can be found in many American mainstream superhero comics (Watkins mentions the X-Men and the Fantastic Four), they are dominated by other themes such as the supernatural, or physical fights between good and evil. Romance isn’t exclusive to soap operas, but their emphasis on romance is a defining characteristic. Astonishing X-Men, however, relies heavily on romance and thus gravitates towards the soap opera genre, as we will soon find out.
Previously in Astonishing X-Men: I didn’t read this series before Liu and Perkins started their run in #48, so I have no idea what was going on before. This version of the X-Men consists of the well-known characters Wolverine, Gambit and Iceman, and some not-so-well-known ones. At the center of this story is Northstar – if you don’t know who he is, I recommend this blog post at Major Spoilers.
Issue #48 is already surprising: four entire pages are devoted to Northstar and his non-superpowered boyfriend Kyle, who basically “only” talk about their new situation of living together in New York after years of long distance dating. Then we get to read three pages of Gambit and fellow mutant Cecilia Reyes, talking in his apartment. That makes a total of seven pages of pure soap opera. The remaining 13 pages feature rather generic action: the X-Men being attacked by a group of supervillains.
In issue #49 there’s another four-page dialogue between Northstar and Kyle, taking place after the aforementioned fight, with lines such as “I love you. I’ve never loved anyone as much as I love you” (Northstar).
Issue #50 contains the marriage proposal that got so much media attention. Consequently, the number pages devoted to Northstar and Kyle is increased to a whopping eight out of 20. Still, this issue also features the artistically best action scenes so far. The technique of Perkins and colorist Andy Troy to overlay delicate outlines with opaque highlighting effects gives a certain radiance to the drawings, which looks particularly good whenever Iceman is involved.
Finally, issue #51, the wedding issue. (The idea of the gay wedding, by the way, turned out not to have been Liu’s, but an editorial decision from long ago.) The action part of the story is reduced to six pages, the remaining 20 pages of this oversized issue being taken up mainly by the wedding preparations and ceremony. The fact that this is a gay wedding is hardly reflected at all. In two panels, two wedding guests express their mild discomfort (“it’s a lot to take in”, “I can’t stop thinking about what my grandma would say about all of this”). Then there’s the scene where Warbird refuses to attend the wedding, which I had thought was due to her not recognizing the validity of human weddings in general. But that’s probably just my lack of knowledge of the Shi’ar alien race to which Warbird belongs, because several other reviewers interpreted Warbird’s behaviour as a decidedly homophobic.
So large portions of this series read like a soap opera centered around a gay couple. Is this what I want to read in a superhero comic? Well, for me, drama, feelings, and relationships between superheroes have always been part of the appeal of the Marvel universe, and in particular of team series like the X-Men books, in which all characters seem to be related to or at least acquainted with each other. At any rate, it’s better than endless fisticuffs. Therefore I’m enjoying Astonishing X-Men.
As for the homosexuality aspect: though some people say that “all superheroes are gay“, Astonishing X-Men strongly focuses on homosexuality. Or does it? While in the real world, in the United States and elsewhere, gay marriage is still a controversial issue, we don’t really get to see that in the comic. In this fantasy world, homophobia is something that befalls only aliens, and everything is sunshine and roses. Marvel has found a way to make homosexuality palatable to their mainstream audience, and at the same time to appear to be bold and progressive. In spite (or exactly because) of that, this storyline will probably become an instant classic among scholars at the intersection of LGBT and comics studies.
Rating: ● ● ● ○ ○