Mr. and Mrs. X is something rarely seen in the X-Men universe: a romance comic. (X-Force: Sex and Violence doesn’t count in my book, but Pryde & Wisdom I would say does.) The execution doesn’t always live up to the hype here, but at it does have its charms.
scripts on issue #s 1-8 are good, but I don’t think she’s doing enough to play
up the personalities of Rogue and Gambit and give them some way to spark off of
each other. The Rogue and Gambit miniseries that preceded this one was better in
Plus, the use of a
power dampener collar on Rogue so that she can touch and be touched by Gambit —
a necessity for newlyweds — really undercuts the forbidden nature of their
attraction that made their relationship so interesting. “Solving”
Rogue’s major problem like this feels like a cheat.
As for Gambit, he’s
lost a bit too much of his scoundrel quotient here. He should be more trouble,
one step ahead of everyone (at least he should think so).
I love the covers.
It’s Terry and Rachel Dodson, so of course they’re terrific.
The interior art is by Oscar Bazaldua is solid, but he tends to use the same facial expression over and over for Rogue — and it’s one that doesn’t really look like the way she’s been drawn over the past 38 years.
A little editing
would help too. Wasting panels and pages for setup shots is a writer and artist
issue that’s too common in comics — stop trying to be a movie, folks.
Bobby Drake has always been a bland character, all the way back to 1963’s X-Men #1. But, boy howdy, there’s been no shortage of writers who’ve tried to rectify that, with often strange results. Roy Thomas sent him off in suit with his pal Beast to haunt 1960s coffee shops full of beat poets and pretty girls. Chris Claremont sent him off to college to study accounting, not even bringing him back into the X-Men fold for the death of Phoenix in X-Men #137. Louise Simonson gave him a bunch of girlfriends in X-Factor, including Opal Tanaka, which began the first of many plots about how much of a bigot Bobby’s father was. And Scott Lobdell amped up his powers, had his body taken over by Emma Frost, and then gave Bobby’s dad redemption when he was nearly killed by the Friends of Humanity.
But nothing’s raised Iceman’s profile as much as Brian Michael Bendis revealing Iceman to be gay in 2015’s All-New X-Men #40.
That brings us to Iceman #1 and #3, part of a five-issue series following up the 11-issue 2017 run, both from writer Sina Grace and both focusing on Bobby sort of learning to live life as a gay man who’s also a superhero. The problem with these stories is they’re way too on-the-nose. You can almost line up the expected plots and watch them get knocked down one by one: How does Bobby find a date? How does he introduce his boyfriend to his parents? Does he move out west to be with his new beau? Of course, there’s some superheroing in the mix, but the focus is clearly on the personal drama, which unfortunately reads like Bobby’s got a new job and has to figure out where the lunch room is.
Issue #3 offers a bit of fun in that it brings in the amazing friends of long-ago Saturday mornings: Firestar and Spider-Man. There’s a superhero thing to do, but it’s more about the three friends all dealing with the dates they’re on when the villain attacks. Maybe it’s just me, but everyone is so interested in getting along that none of the characters feels like a real person. The art is okay, but stiff — it feels like something a fill-in artist would have done in the 1980s.
If Marvel’s going to
stick with Iceman being gay, it needs to come up with better stories that don’t
hinge just on the fact that he’s gay. While I know there are fans who will eat
this up right now as being very in the moment, it’s too one-dimensional to be
remembered for any thing but that.
Domino never stood out as character worthy of her own series, but Gail Simone has changed my mind after reading Domino #1, 2, 5, 6, 7 and Annual #1.
Most of the Simone-scripted comics I’ve read were from DC; I’ve never really read her Marvel work, and it’s clear from this she’s a much better fit at the House of Ideas. I actually want to read more about this character, whose previous most memorable comic book moments involved her being Cable’s sidekick in the early days of X-Force and the unfortunate X-Force: Sex and Violence miniseries, for the final scene in issue 3 involving Domino agreeing to give Wolverine a blow job after they successfully saved the day. (Yes, it’s as gross as it sounds.)
Here, Domino is much more interesting: she gets a dog, goes on missions with her pals Diamondback (formerly a villain in the Mark Gruenwald run of Captain America in the 1980s) and Outlaw, who’s so much of a hoot that I’m amazed I missed her completely until now.
Together, these women are fun, funny and get into a really solid superhero story involving some nasties from Domino’s past. (Not sure I knew Domino’s origin, but it’s recapped nicely here, so I got everything I needed to know without the story slowing down.) The art by David Baldeon is terrific — light, funny, nicely rendered and it tells the story.
I really like this version of Domino and look forward to filling in this collection and reading more as it continues in the upcoming Domino: Hot Shots miniseries.
Astonishing X-Men #13-17 is a very flat story with some nice covers. Check ’em out.
Matthew Rosenberg does something here that is increasingly common: He’s focused more on the bits and on trying to write flashy dialog than he is on telling a clear story. It’s a bit of a disease, one that I think you could lay at the feet of Joss Whedon. There must be a lot of Buffy fans out there wanting to write comics.
This series wraps up this series of Astonishing with a limp tale about Alex Summers, recently freed from being falsely turned into a bad guy in Uncanny Avengers, trying to form a new team of X-Men. Of course, he can’t call them X-Men because Kitty Pryde owns the trademark to that name with Xavier dead, and explicitly tells him not to use it. They try to make that a recurring joke, but the artist’s limited ability to draw human facial expressions gets in the way.
The threat this time out is O.N.E., a generic government agency out to do something bad to mutants. Havok tries to recruit Beast, who’s teaching at Harvard until the Reavers show up and wreck the place. Also, Kitty has Warpath follow Havok to keep him out of trouble — and to keep him from calling his group X-Men. (Still not as funny as it wants to be.)
They all crash Dazzler’s third-rate anniversary tour for Sounds of Light and Fury looking for Forge, who’s running her light show and, I assume, doubling as her roadie. He says no to the offer and vanishes from this arc, but Dazzler is desperate for something to and signs. Then, the group finds Colossus drinking away his pain in a dumpy apartment after Kitty walked away from him at the altar. Piotr is easily the most interesting character in this weak bunch, which ends up with a strange showdown at the Xavier Academy that resolves nothing and has no impact. This is five issues of treading water at the most basic level and it’s pretty depressing to read.
A brand-new era? Not quite.
Bonus comic: Dazzler: X-Song #1 (2017) by writer Magdalene Visaggio and artist Laura Braga. This issue ties into the Astonishing X-Men run, with Dazzler going on tour incognito as part of a band with the groan-inducing name Lightbringr, that brings out fans in both the mutant and inhuman communities — often with conflicts popping up at the club venues. There’s some mutant jerks who are showing up at the concerts to buIly the inhuman fans that show up. And of course, Alison has to step in and stop it. There’s some strange scenes with Colossus trying to get Alison to come back to the X-Men. And if there’s a story in here, it’s very slight.
The art fares slightly better, but the interior is sketchy in that storyboard style and doesn’t match the promise of the cover, by Elizabeth Torque and Ian Herring. Dazzler remains a tough character to crack.
Lot of people love the character’s premise and look, but solid stories for Ms. Blaire have been hard to come by, with Chris Claremont’s run with her in X-Men from 1986 to about 1990 standing out as the real exception.