This article containers SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
There’s no time to explain!
Evasive Characters, Traditional
Drew: There comes a point in any mystery where the effort of maintaining the secret is obviously more trouble for the characters than simply admitting the truth. Writers may delay the inevitable by interrupting much-needed explanations, or adding some urgency that makes such explanations impossible, but inevitably, just taking a moment to put everyone on the same page is better for everyone. That is, “There’s no time to explain,” almost invariably causes more confusion and delays, taking more time than actually explaining what’s going on, and any character who is truly concerned about time would recognize that. Case in point: young Cable’s cause, when he finally gets around to explaining it in Extermination 4, is so compelling that virtually everyone who hears it is immediately on board with his plan. It would have saved him a ton of time sneaking around and fighting if he had any confidence in the necessity and righteousness of his mission. Fortunately, writer Ed Brisson has written in a remarkably effective explanation for young Cable’s illogical behavior: he’s a teenager. Continue reading →
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
One of the frustrating things about our currently social and political landscape is that the generation pulling our country to the right was once a force for radical social change. When the baby boomers where hippies, they believed in equality and rejected conformity and corporatization. They championed peace, both as an antidote to war and on its own merit. We can argue about the efficacy of that countercultural movement all we want, but the point is that they were idealistic once. Somewhere over the last 50 years, peace and love turned into opportunism and xenophobia. To this point, the original X-Men have been spared this curmudgeonly fate. Introduced as avatars of otherneess in 1963, Jean Grey, Hank McCoy, Warren Worthington and Bobby Drake have such a long way to fall. Matthew Rosenberg and Travel Foreman’s Astonishing X-Men Annual 1 shows this corrupting influence in action, slowly radicalizing the most level headed, unimpeachable voices for equality in the marvel universe.
This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
I think it’s fair to say that All New-Wolverine is more concerned with the idea of legacy than most comics. Laura is donning the mantle of her mentor, and the first arc of this series found her reconciling with her literal clones. Indeed, I might argue that it’s one of the greatest strengths of this series, as writer Tom Taylor has mined Laura’s history for ever more emotionally devastating gut-punches. So when issue 25 features a “Legacy” banner across the cover, it’s almost a promise of legacy-squared, somehow centralizing the idea of legacy even more than the series normally does. Those are daunting expectations, but Taylor and artist Juann Cabal more then live up to them, forcing Laura to relive some of her most traumatic memories. Continue reading →
Today, Drew and Spencer are discussing Jean Grey 1, originally released May 3rd, 2017. As always, this article contains SPOILERS.
Drew: Ah, the solo album — is there any more fraught trial in popular culture? Making it as a solo act is a grueling process, and while most never rise above obscurity, artists who are already well known for their work with a band have the blessing/curse of starting their solo career in the public eye. It requires instantaneously landing on a musical voice that’s somehow familiar enough to appeal to longstanding fans (capitalizing on that notoriety) yet also distinct enough to justify the solo status. Dennis Hopeless and Victor Ibáñez face a similar tightrope in Jean Grey, aiming to give the (in)famous X-Man a voice that could distinguish this series from her other adventures. Continue reading →
Today, Drew and Michael are discussing All-New X-Men 41, originally released June 3rd, 2015.
…it was a good metaphor for what was happening with the civil rights movement in the country at that time.
Stan Lee on creating the X-Men
Drew: The X-Men’s role as a metaphor for the civil rights movement is as well-known as it is obvious — a group of people, marginalized by a coincidence of birth, struggle to be accepted by a society that fears and hates them. With so many institutions codifying racism with backwards rules, from school boards to lunch counters, it didn’t take much exaggeration to blow up that marginalization to comic book proportions. As those policies fell out of use, though, the X-Men came to stand in for other groups that were institutionally marginalized. As society continues to discard bigoted policies, however, the struggle for civil rights becomes less and less about fighting institutional rules that can be pointed at, and more about combating smaller day-to-day injustices. By their very nature, those smaller conflicts don’t lend themselves as well to superhero action: exaggerate them, and you lose the insight into how they affect people every day; don’t exaggerate them, and you don’t have anyone for your hero to shoot eye-beams at. Brian Michael Bendis and Mahmud Asrar opt for exaggeration in All-New X-Men 41, and may lose their message along the way. Continue reading →
Today, Ryan and Michael are discussing All-New X-Men 40, originally released April 22nd, 2015.
Ryan: All-New X-Men 40 set the internet abuzz. People who have never picked up a comic book are posting about it. Reputable media outlets such as CNN, the Wall Street Journal, Entertainment Weekly, and even Buzzfeed wrote responses to the issue, inspiring a great deal of debate on message boards and comment sections, alike. Can you blame them? It is not every day that a seminal comic book character, one who is universally adored, receives a fresh start and is looked at with a contemporary — if not somewhat controversial — perspective. The creative team of Brian Michael Bendis and Mahmud A. Asrar accomplish exactly this as they reveal that (SPOILER ALERT!)…Random is back, and he brought Boom-Boom, Karma, Masque, Madison Jeffries, and Elixir with him!! Oh, and apparently young Bobby Drake is gay. Continue reading →
Today, Patrick and Michael are discussing All-New X-Men 36, originally released February 11th, 2015.
“It’s not as good as the first one.”
Patrick: There’s a certain magic to the first time you experience a genre or franchise or medium. Novelty is cruel in this regard: no matter how good a sequel is, part of the luster disappears when you revisit the well. Comic book creators and fans know this too well — every reboot and relaunch is a promise to recapture whatever it was you first loved about superheroes in comics. What’s insane about this approach, is that we all fell in love with comics at different times, reading different books and for different reasons. What one person thinks of as “classic” Batman, another thinks of as new and hackneyed. There’s no guarantee that a “back to basics” approach is going to mean the same thing across fandom, never mind whether or not it’s valued the same way. As the Original X-Men wrap up their adventures in the Ultimate Universe, writer Brian Michael Bendis ruminates on just what it means to try to recapture the greatness of the original. Continue reading →
Today, Ryan and Patrick are discussing All-New X-Men 35, originally released January 21st, 2015.
Ryan: The “how” of All-New X-Men 35 may come off as complicated, but is fairly straightforward compared to some of the dimension and timeline hopping we have seen recently. With the grown-up, 616-proper X-men all converging on the last will and testament of one Charles Xavier, the temporally and dimensionally-displaced All-New (plus X-23) find themselves in the Ultimate Universe thanks to the powers of a new mutant named Carmen. These X-men find the heroes on Earth-1610 still recovering from the devastation of Gah Lak Tus’s attack during Cataclysm, and a general populace wherein mutants are not only marginalized, but actively outlawed. See? Simple. Continue reading →
Today, Taylor and Drew are discussing All-New X-Men 34, originally released December 17th, 2014. Taylor: It’s a thing that happens in most time and dimensional travel stories. The inevitable meeting (or in some cases near meeting) between a character and a different versions of themselves. It’s interesting to think about why this trope even exists. One possible explanation could be that since we enjoy reading about our heroes, it would be even better to have a double dose. However, seeing our beloved characters act in different ways or in different situations also is entertaining. And then there is the thought that we all wish we could meet different versions of ourselves, to see what we would be like if x happened instead of y. Whatever the reason, All-New X-Men 34 once again finds our heroes meeting different versions of themselves, but is there anything new left to say about this situation?Continue reading →
Today, Taylor and Drew are discussing All-New X-Men 33, originally released Ocotber 29th, 2014.
Taylor: A sense of belonging is important for our day-to-day lives. The city we live in, the place we work, where we sleep, and who we interact with are in some way or another based on our desire to feel we belong. Now, whether this sense borders on the quasi-mystical or is a simple impulse to feel comfortable is unimportant. Rather, humans being social animals just want to belong to part of the whole. When you’re a mutant, however, finding a place where you feel that sense of belonging becomes all the more difficult. It’s hard to relate to others when they very may well despise you (and also when they don’t know what it’s like to levitate and the like). The All-New X-Men, more so than their regular X-Men counterpart,s know this quandary, as they’re displaced in time along with being displaced socially. So what happen’s when their sense of belonging is stretched even further? Continue reading →