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.
The Walking Dead #115 was the top-selling comic book of 2013.
Despite all the turmoil, 2013 turned out to be a fantastic year for the comics industry.
Diamond Comics Distributors just posted its year-end stats, revealing comic book sales were up more than 10 percent over 2012 and graphic novels up 6.5 percent. That’s an overall sales boost of just over 9 percent.
Both unit sales and dollar sales charts showed Marvel and DC collectively accounting for about two-thirds of the business, followed in dollar share by Image Comics, IDW, Dark Horse, Dynamite, Boom!, Eaglemoss, Valiant and Avatar Press.
The Walking Dead #115 turned out to be the top-selling single issue of the year — fueled no doubt by the ten connecting variant covers celebrating the series’ 10th anniversary— followed by DC relaunches Justice League of America #1 and Superman Unchained #1. Marvel dominated the rest of the top ten, with Guardians of the Galaxy #1, Superior Spider-Man #1, Infinity #1, X-Men #1, Age of Ultron #1 and Uncanny X-Men #1. Rounding out the list was Superman Unchained #2.
Graphic novels were dominated by Image, with volumes of Saga and Walking Dead taking the top six spots. Marvel’s sole title on the list was Hawkeye, Vol. 1, while Batman scored two for DC with The Court of Owls and The Killing Joke Special Edition.
The charts also show why publishers are constantly rebooting and relaunching titles: Those tactics sell lots of comics. So I expect we’ll see a lot more of that.
On the plus side, it’s great to see almost all the major publishers posting gains and also that each has forged for itself a strong identity in the market through publishing quality work. I can think of books I like from pretty much every one of the top publishers, which is saying something.
It’s also interesting to see Diamond list its account tally for comic book specialty shops at more than 3,500. That’s up from what I remember it being in the not-too-distant past, and an increase in this number likely has a lot to do with market growth considering these sales tallied here are sales to retailers, not sell-through numbers. I’ve long thought that more comics shops were important for the industry just to get the damn things out there and in front of people who’d buy comics and like them if they could actually see them for sale somewhere.
Star Wars #107 (Sept. 1986), the final issue of Marvel’s original run of Star Wars comics.
I really want Marvel to get Jo Duffy and Cindy Martin back and restart with Star Wars #108.
After more than 20 years of publishing Star Wars comics, Dark Horse will give up the reins as Disney hands the license for the mega-franchise back to Marvel, the company that had it in the first place starting in 2015.
This move was absolutely no surprise to anyone after Marvel parent company Disney acquired Lucasfilm and the entire Star Wars property last year. But it’s a big change for fans of Star Wars comics given the job Dark Horse has done for many years on the property.
I grew up with the original Marvel series and collecting it was my gateway into the entire comics medium. Those comics have many quirks that came from being produced on a monthly basis in and around the original trilogy release. That meant Marvel had odd obstacles to the series, like being unable to resolve the major plot points of the movies and forcing them to avoid direct confrontations with Darth Vader or have the rebels race off to rescue Han Solo.
But there was some excellent work done in there that had real energy and remain good comics. I particularly liked the long run of Archie Goodwin and Carmine Infantino, which gave us the “Waterworld,” “Wheel” and “Valence the Hunter” storylines; the excellent run by David Michelinie and Walt Simonson that introduced Shira Brie and turned Luke into a traitor; and the final run by Jo Duffy and the delightful art of Cynthia Martin that was sadly cut short when Lucasfilm basically mothballed all Star Wars licenses in the mid-1980s. This was good stuff and I’d like to think Marvel could once again do a good job with Star Wars.
But Dark Horse and its approach of many miniseries and filling in the millennia-long history of the Galaxy Far, Far Away seems more in synch with what modern fans want from Star Wars comics. When Dark Horse began its Star Wars comics — picking up the Dark Empire miniseries that had originally been in the works at Marvel’s Epic line — it really was a huge part of an entire Star Wars renaissance that, along with the Timothy Zahn novels, reminded people how much fun this stuff was. It also took the entire canon more seriously and Dark Horse clearly put a lot of thought into its Star Wars comics and a lot of effort into the execution. There long ago were too many Dark Horse Star Wars comics for me to want to keep up with, but every year or so there would be something cool to pull lapsed fans back in. I’m thinking in particular of the very cool adaptations of the Zahn novels and, more recently, the Brian Wood series and the current miniseries adapting George Lucas’ rough draft screenplay into comics form.
I’ll be sorry to see the end of the Wood series in particular, but at the same time Marvel might be able to bring some raw energy and more focus to Star Wars comic-dom. Plus, I’d love to see a Marvel Omnibus edition of the old series. I’d have to dig deep and splurge for that one.
Original art for X-Men #141 by John Byrne and Terry Austin, as it appears in
Fantagraphics’ The X-Men Chronicles II from 1982.
2013 was a pretty good year for comic-book movies in particular — and movies in general — with 2014 also looking sharp.
Top of my list to see is, not surprisingly, X-Men: Days of Future Past, due out May 23 and looking to have the same sort of big Memorial Day box-office debut as X-Men: The Last Stand. This is adapted from one of the most influential and beloved X-Men stories, published long ago in 1980 in The Uncanny X-Men #141 and 142.
I remember being a new X-Men fan in the mid-1980s and realizing the importance of this story was second perhaps only to the Dark Phoenix saga in the mutant mythos. I scored my copy of #141 at a long-gone comics shop in Phoenix for something ridiculous like 50 cents back in the fall or winter of 1986-87. The following summer, I bought #142 at All About Books and Comics for an amount I can’t even recall. I took #141 to my first Comic-Con in San Diego in 1993 and got it signed on the first page by John Byrne and on the cover by Chris Claremont. The story — in which an adult Kate Pryde psychically travels back in time from the desolate future of 2013 to her younger self in 1980 to convince the X-Men to stop the Brotherhood of Evil Mutants’ planned assassination of future president and anti-mutant activist Sen. Robert Kelly.
This story fully brought the Holocaust themes Claremont had been hinting at into the X-Men, and the future timeline in which Sentinels rules America and had hunted down or imprisoned in work camps all known mutants was startling in its boldness. Not only were bunches of X-Men already dead, but we saw a glimpse of the future reformed Magneto, the then-mysterious redhead Rachel, and the gruesome deaths of Wolverine, Storm and Colossus. Even though it was copped from an episode of one of the Brit sci-fi TV shows like The Avengers or Doctor Who — favorites at the time of both Claremont and Byrne — the story really works well as the ultimate expression of everything that the X-Men are fighting for going wrong. The movie version will be quite different, with Wolverine reportedly put in the main role of time traveler instead of Kitty, but it’s exciting to see the X-Men movie series move forward with a kind of merging of the best parts of Bryan Singer’s original films and Matthew Vaughn’s First Class crew. I expect big things for this movie, and for the Apocalypse follow-up Singer teased for 2016.
The Amazing Spider-Man 2 is due out May 2 and I expect to like it much more than the first installment in the series, which spent so much time retelling the origin story that it was hard to figure out what made Marc Webb’s version very different from Sam Raimi’s. I like Jamie Foxx as Electro and Paul Giamatti as The Rhino, but I’m not looking forward to playing out once again the inevitably tragic fate of Gwen Stacy. That’ll probably be saved for part 3, but we all know it’s still coming.
300: Rise of an Empire, due out March 7, makes me scratch my head a bit. I don’t think we really needed a prequel or sequel to this movie, which I think got a bit of a bad rap when it came out from critics. It was a cool exercise in style that paid off extremely well for Zack Snyder et al., but I suspect there will be little here to make the sequel stand out and stand up on its own.
The same could be said for Sin City: A Dame to Kill For, which really should have been made about five years ago. Due out Aug. 22, this won’t have the same “wow” impact that the first Sin City did, but the stories Robert Rodriguez and Frank Miller have to work with are pretty good and should make for a fun movie and a modest hit if it turns out comparable quality wise to the original.
Captain America: The Winter Soldier, out April 4, looks very good. The opportunity to see Cap working in the modern world will help keep things fresh after the obligatory World War II outing in the first movie. I haven’t read Ed Brubaker’s run and am not familiar with the specifics of the Winter Solder storyline, though people whose opinions I trust assure me it’s good, so I’m thinking this will be another hit for Marvel.
And then there’s the big wildcard and gamble of the year: Marvel’s Guardians of the Galaxy, due Aug. 1, right after Comic-Con. Marvel’s obviously putting a lot of muscle into this one, with some interesting casting and a more movie-friendly take on the franchise already tested out as a comic. I expect this gamble will pay off for Marvel, especially in the usually sleepy movie month of August, and show the studio’s savvy at turning even its C-list and D-list characters into hit movies. I wish they’d lend some of that knowhow to DC, which still is having a hard time getting B-list characters off the ground in theaters.
And that’s just the comic-book movies. There’s also cool stuff like Transcendence, Interstellar, Dawn of the Planet of the Apes, The Hunger Games: Mockingjay, Part 1 and The Hobbit: There and Back Again to look forward to.
* Lots of TV shows (of the prestigious variety!) have been making the jump into comics, with Boom! putting out a very cool Sons of Anarchy series and Marvel taking Dexter on a tangent with a series by the character’s creator Jeff Lindsay and a second coming soon. That’s in addition to The X-Files: Season 10 series that’s more like the sort of thing you expect to see in comics. Sons of Anarchy is a show I’ve only tangentially watched, but I enjoyed the comic quite a bit.
Marvel’s Dexter series was quite good and a lot better than the last few seasons of the Showtime series. I read the first Dexter book a few years back after Showtime dropped a copy in the gift bag from a Dexter TV show party at Comic-Con and really enjoyed it. Turns out there’s a long-running series of books that take Lindsay’s original idea in a different direction. Lindsay is enjoying doing comics (at least he said so on his Reddit blog). It’s always interesting to see creators from other fields tackle comics, and I think comics could benefit from more novelists jumping into the fray to counter the overdone screenwriting influences and the decompressed storytelling it inspires.
As for The X-Files: Season 10, I still think writer Joe Harris is doing a good job and it’s cool that creator Chris Carter is pitching in, too. I don’t think this show will ever quite re-capture the same zeitgeist it did in the 1990s, but it is nice to revisit the characters and ideas in comic book form, which has a bit more kind to the series than the big-screen sequel of a few years back.
* I visit my old stomping grounds in Arizona once or twice a year, and finally managed to make time for a visit to All About Books and Comics. I used to frequent the store during summers in the late 1980s and early 1990s, and always enjoyed the depth of the back issue selection in particular. I’m happy to report that hasn’t changed a bit, and a good portion of the store was devoted to selling inexpensive packs of classic comics runs from the past 30 years or so. I snagged a batch of Captain Canuck originals and the first 10 issues of Comico’s Grendel series, as well a lengthy run of the original Power Pack run — all for a great price. I briefly chatted with owner Alan Giroux about the old days and how much we both like shops that stock lots and lots of back issues. I am grateful that Los Angeles has so many great comics shops, but one that stocks back issues like All About is at this point just another item on my want list.
Shade: The Changing Man #1
* Also in Arizona, I found some boxes of old Star Trek and V paperbacks from the late 1980s and early 1990s, along with a few relics from the speculator age of comics: three sets of X-Force #1, three sets of X-Men #1 and polybagged black cover and green cover copies of Spider-Man #1. I also found a poster from Atomic Comics’ 1993 Mega-Jam, signed by a ton of creators, including the late Steve Gerber. I don’t remember where it came from, as I didn’t attend the event, but it’s totally extreme, dude. And just to show I don’t have completely horrible taste, this box also included most of Steve Ditko’s 1970s DC Comics series Shade: The Changing Man. That was some funky, weird, cool stuff.
For Christmas, I got a copy of that really big book 75 Years of DC Comics: The Art of Modern Mythmaking, by Paul Levitz. It’s taken me a while to make much of a dent in it (though it could certainly put a dent in just about anything else) but it’s a really great book. The presentation alone is fabulous.
The Wolverine was a decent movie, but I’m afraid it hasn’t stuck with me. (My previous post on the movie was written in mid-August, but somehow I forgot to publish it until now!) I was compiling a list of this year’s releases for work-related research and actually forgot it came out. Maybe once it hits Blu-ray, it’ll make more of an impression. Same for Man of Steel.
I’m still not especially interested in the various DC TV series, having sampled Arrow and never taking to Smallville despite numerous attempts to get into it. Plans for Fox’s Gotham series sounds like it could change that, though I also really would like to see that WB-Fox collaboration yield a home-video release of the 1966 Batman TV series. Marvel’s Agents of S.H.I.E.L.D. was entertaining and full of quippy characters but not exactly strong on story, making it a fairly typical Joss Whedon TV series. I hope it gets better.
My 2-year-old daughter loves superheroes, as I have mentioned before, and one of her favorites is Wonder Woman. Looking at the version of Wonder Woman that gets licensed to the mass market, I have to say I like it a lot more than I ever liked any of the WW comics I have read.
I bought some digital comics a while back to pass the time while my daughter played at a local playground. It was a smooth process and a nice reading experience, though I still think they are priced too high. For $1.99 or more, I want a physical copy of the book, too.
Thor: The Dark World is looking pretty good from the various trailers and such — better than the first one. I missed Kick-Ass 2; will have to catch it on Blu-ray.
Star Trek: The Next Generation first went on the air 25 years ago this week. This makes me feel old. I was a freshman in college when it came on, and vividly remember how excited people were to have an actual sci-fi show back on the air. I never would have believed in 1987 that there would be so much sci-fi, fantasy and comics stuff on TV and in movies as there is now.
I’m reading the novel of A Game of Thrones and really enjoying it. But, boy, has it been a long time since I’ve read 800 pages of prose fiction! Does anyone know for sure if the shadowcats mentioned in the book are a reference to Kitty Pryde of the X-Men? I know George R.R. Martin is a Marvel fan and Claremont put references to Martin’s book The Armageddon Rag into the X-Men and The New Mutants way back around 1984. Anyway, I’m finding the effort, so far, is worth it. Now, if I can just stay awake long enough to find the time to finish it …
I’ve been thinking about The Wolverine, which I caught at a morning screening — it’s what you have to do when you have a toddler! — on opening weekend.
There’s a lot to like in this movie, but it’s far from perfect. The movie’s been out a few weeks now, so I’m going to talk about stuff that qualifies as spoilers, so consider yourself warned.
Here’s the pro side:
This is the most faithful adaptation of a Marvel comic-book story to come to screen so far. There are deviations from the 1982 Wolverine miniseries it’s based on, but I was surprised by how much of that story was kept intact.
I liked that the female characters were interesting. Yukio in particular is a favorite of mine from the original comic. And while she’s not quite the same character here, she played a major role in the story and held her own quite well. Mariko didn’t fare quite as well. I never fully bought the romantic connection between her and Logan. The comic version, despite its hokey elements, is a bit more convincing.
The end tag previewing next summer’s X-Men: Days of Future Past was terrific. Patrick Stewart is back! So is Ian McKellan! I am now very much looking forward to that pic and find myself hoping Bryan Singer can really pull off an amazing movie that not only heals some of the wounds left by X-Men: The Last Stand, but also unifies the whole franchise and gives it an exciting way to go forward. My biggest concern is living up to the impact of the original comic book story, which has to be significantly fleshed out for a feature film.
I liked that there was a lot of Japanese spoken in the film, both with and without subtitles.
While Viper was probably the least necessary addition to the movie, I really liked Svetlana Khodchenkova in the role. She had just the right amount of sexy sinister for a character like that.
The posters with the Japanese style artwork are great.
Here’s the con side:
After a very satisfying and interesting set up, the final act is so conventional as to be boring. The Silver Samurai, as done in this movie, was far less interesting than in the comics. The big reveal of Harada as being inside the big robot suit is just plain dull and has almost no emotional impact.
I wish more had been done to play up the love triangle of the original comic, with Yukio being an obvious and very willing match for Logan, who just can’t get over Mariko. That was a nice touch in the comic that this movie could have used a bit more of.
Viper is not well integrated into the story. She seems pretty unnecessary and her power is oddly portrayed and never explained. I don’t recall Viper having any powers in the comics. But I do remember she somehow convinced Wolverine to willingly marry her for some reason. (I remember it was in Chris Claremont’s return to the character in Wolverine #125-128 or so, but not the reasons behind that twist.) That might have been a more interesting element to play with here.
I hate the ripping out of Wolverine’s claws. The bone claws, in a word, suck. I always thought the bone claws were the lamest thing ever done to the character. My problem with it is it makes absolutely no sense. We were told for decades that the claws were housed in some kind of bionic mechanism, which must have been confirmed by all the medical exams done on Logan by everyone from the Sentinels (as far back as The Uncanny X-Men #98) through the Shi’ar and onward. Even in the original Days of Future Past storyline, when the Sentinels burn off Wolverine’s flesh, you can see the manmade mechanism that operates his claws in his bones. Of course, that’s a future timeline Wolverine, so it’s easy to explain away. But that doesn’t mean it’s still not a stupid idea.
No credit whatsoever for Chris Claremont, Frank Miller or Josef Rubinstein for coming up with the original comic-book story. Even more interesting, it appears Claremont doesn’t get even a token payment, while Len Wein, who officially created Wolverine but had little to do with the character as he exists today, did.
The Wolverine looks like a solid but not spectacular hit. So far, it’s made about $113 million at the domestic box office and about $195 million overseas, for a decent total of $308 million on an estimated budget of $120 million. Anticipation for X-Men: Days of Future Past is running high, and it’s clear Fox is going to continue to develop and release X-Men movies on a regular basis, thus preventing the rights from reverting to Marvel. The series appears to be on the upswing, with the well-received X-Men: First Class and now The Wolverine getting fans past the disappointments of X-Men: The Last Stand and X-Men Origins: Wolverine.
I would love to see the franchise move past prequels and into new, fresh territory with new characters, new villains and new scenarios. After The Wolverine, it’s looking more likely than before, and I think fans of the comics and the movies can be glad of that.
It’s been a week, and I finally feel like I have recovered from my one day at San Diego Comic-Con.
Visiting the show for the first time in three years, it was interesting to see how little had changed. Most of the booths were the same, offering much the same kind of material. It made me feel less like I had been missing out by not being at the show every single year, and that in itself was a relief.
Marvel Team-Up #74
With only one day, I cruised around the floor most of the time and hit some key booths, including my pals at Animation Magazine. I did a tiny bit of shopping, picking up an advance copy of Alter-Ego #120 from TwoMorrows, featuring a cover story on the Silver Age X-Men. I also picked up a Wonder Woman bendable figure for my daughter, who’s become a big fan thanks to DVDs of the old Lynda Carter series, and a few inexpensive back issues, including Marvel Team-Up #74, featuring Spider-Man and the Not-Ready-For-Prime-Time-Players (a.k.a. the original cast of Saturday Night Live). I’ve always been interested in this comic, but never had a chance to pick it up until now. I hadn’t realized Chris Claremont wrote it, making it an even more interesting oddity from the late 1970s.
I didn’t buy much more because, well, everything was so expensive. It seems every booth is pushing an “exclusive” item costing anywhere from $20 to $75 and up, and very little appeared to be discounted. Perhaps that’s just a function of exhibitors needing to recoup as much as possible the rather expensive booth rate at the show. Either way, it put a dampener on my shopping interests, especially since almost everything I was interested in can be acquired via a local comics shop or online, often for less and without the need for me to lug it around the show.
The highlight of the day was the Sequart: Advancing Comics as Art panel, during which I talked about my book, Mutant Cinema: The X-Men Trilogy from Comics to Screen, in conjunction with the upcoming documentary Comics in Focus: Chris Claremont’s X-Men run on the series. Director Patrick Meaney and producer/cinematographer Jordan Rennert showed some footage from the doc. It was cool to see how well the shots they took of my original X-Men comics collection turned out, as they were going for a different look when presenting the work from an older, more analog era.
I also jumped at the chance to join Patrick, Jordan and Sequart founder Julian Darius as they interviewed Louise Simonson for the Claremont documentary. I can now check her off my very short list of comics pros whose work I admire who have not yet had a chance to meet.
If there is one reliable result of attending Comic-Con, it is for me a revitalized interest in comics. I’ve been pulling out stuff to read ever since and have managed to catch up on some of my immense reading backlog to very enjoyable effect. I’ll write about some of the more interesting stuff soon.