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X-Men Blue Captures us with Nostalgia and doesn’t Let Go

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I hate to say it, but it does need to be said. Anything included within Marvels crossover titles like Civil War II and the upcoming Secret Empire has been met with a feeling of dread. No, not the suspenseful in your seat kind of dread. Yet hope does remain in some of the more independent titles: Daredevil, Jessica Jones, Mighty Thor, etc. Then I heard about ResurrXion, an entire series of comics coming out of the wake of still running titles Uncanny X-Men and Extraordinary X-Men and heavily influenced by the events of Death of X and mutant war with the Inhumans. The one that caught most of my appeal is X-Men: Blue, which consists of the time displaced team of the five original mutant heroes: Jean Grey, Cyclopes, Beast, Iceman, and Angel.

I won’t lie—I’m a Jean Grey fanboy. From her great stories with the X-Men in the Silver Age of comics, to her many deaths (heh), her time as the Phoenix and many incarnations after. Though what really surprised me was that this time around, she’s leading the team. Now the critics will likely yell that we see too much of her from anything X-men related and my response would be: you know what? Good. Despite the overuse of the Phoenix arc she’s a very well written and conflicted character who can arise to many situations. I for one am excited to see her shine, especially when her solo run comes along in May. She’s basically what Barbara Gordon is for me with DC. Clearly I have a thing for gingers…

Jean’s team didn’t have too big of a role in the X-Men Prime one shot that launched ResurrXion, they were around just for Kitty Pryde to observe in the Danger Room only to find out that it was a hologram on loop. Not much was revealed as to why they left, only that it was a question in direction of the students attending Xavier’s school. Clearly the two had polarizing views of what the now deceased Charles Xavier saw in the world and what he wanted to do to fulfill his dream. Now I’ll say this just to get it out of the way. This comic was great. Compared to most of things Marvel has been turning over recently, it’s nice to see them triumph, even if they have to use nostalgia to create appeal.

New Team. Old Faces.           

 As mentioned previously, the old team is back after being caught in an anomaly several years ago but now they have their own thing going on and whether it is the original team or not, they are much different than they once were. If you read the Guardians of the Galaxy miniseries The Trial of Jean Grey, you’ll remember that it was revealed to a much younger Jean that her older self would one day commit a mass genocide. Though it was not the Phoenix at work, a power is unleashed within her that still instills a fear of just how powerful she really is. It even scares her. That makes her perfect for the leadership role in my opinion. Scott remains mostly the same only now he has to cope with everyone thinking that the elder (and now dead) Cyclopes is the same as he. Bobby on the other hand seems to be flourishing in his new identity, after it was revealed long ago by Jean that he was gay it messed with his mind that he couldn’t tell. Yet in this first issue he seems to melt back into old self, which shows he’s finally beginning to accept himself. (Though are fans after how poorly Bendis handled it?) Hank has apparently become a mystic and can open portals to hell and such now. Angel is of course as cocky as ever, a nice change in heart after his counterparts’ role in Uncanny X-Men.

Overall though, they worked well with one another. The ensuing fight against the Juggernaut was a tough one and they handled at as team should. Testing out all their signature moves to see which one worked best and when none did, they improvised, bringing the hulking giant to his knee, or rather sending him and his knees to Siberia. Seriously though Hank, portals through hell? The interaction between the team members during the fight on the yacht are hilarious but also serious; from Bobby charmingly annoying Scott to death to the caution they display, especially with Beasts new “powers” show us that Jean truly has learned to take on the leadership role.

Ulterior Motives

So we all know that our favorite mutant supremacist turned over a new leaf, sort of. The previews for this comic didn’t leave out that Magneto was to become the new mentor of the rogue X-Men. The whole yacht incident playing out at the start of the comic is suspiciously random. No context was given as to why they were there in the first place but upon arrival it’s clear something was wrong with the scene. The question still burns there though, why were they there? It’s not till the end until we actually see Magneto, but all the points lead to one thing, even before he mentions it. The Hellfire Club. I mean Jean Grey kind of just says it when she calls out Black Tom Cassidy for his arrogant attitude and overall white collar demeanor. Yet, back to the point is we’ve been burned by Magneto before, we know him and what is always his motive for doing anything; the advancement of mutants over humans.

He almost looks like…nah

I see this playing out in three different ways. First, Magneto isn’t changed. He’s up to his old ways and using Jean Grey and the team in order to take out undesirables, aka the Hellfire Club, in order to establish himself as their superior. They’ve always butt heads in the past and what would change that? Second, Magneto was truly so overwhelmed by Charles’ death that he truly wants to take up the mantle for himself and that’s where the final one comes. Either this is him trying to remove mutants who would set a bad example for the world (as he has so ironically done for decades) or his mind has become so twisted that he feels the need to correct all his wrongs. We’ve seen the good in him in the current running Uncanny X-Men, but as I said; this is Magneto we’re talking about.

Another Wolverine?

In this debut issue we were also given an interesting post scene in a very snowy landscape. A group of small town hunters trying to defend their hunting grounds from a beast plaguing the local game leads to a merry chase in the woods. When they are set upon by a Wendigo, a strange hooded man appears with three signature claws detracting from his fists. Before seeing his face I bet all of you were screaming Wolverine but oh no, it’s Jimmy Hudson! For those not familiar with him, in the Ultimate Marvel Universe, he’s Logan’s son. He possesses the same powers as his father with the added one of being able to coat his claws in a biological metal. While the purpose was clearly only to introduce him into the universe his purpose can’t really be deduced. We’ll have to wait next month for that one.

Is that a real Wendigo?

The Art

This was harder to judge than normal considering the way this comic is drawn changes from going from extremely cartoonish to slightly more realistic with really excellent shading. The fight scenes are incredibly well drawn whether it was too bright or dark. What did bother me a little was that some characters we’re given much more detail than others. For example, Juggernaut and Magneto looked amazing, you could see every scratch on Juggernauts costume while the well placed greys and blacks on Magneto made his character seem so dark, he was almost Batman. On the other hand, out of all the X-men the most standout one was Hank. Everyone else was very bland, even Iceman who on all accounts should be the best looking considering he’s the only one who can change his form anymore. Again it wasn’t terrible but it can definitely be improved.

I’m the Juggernaut bitches!

Final Thoughts

An excellent start to what could be the start of a great run for Marvel, which we sorely need much more of. The character development and plot devices were used to their potentials and left us with questions we are eager to see answered. The return of these classic heroes and their multilayered and various personalities creates such a choice driven story in which readers will love to choose their favorite characters and stick by them to the very end. The ending was great and should be built upon in the next issue as well as the post credit scene. The art is not perfect, yet whatever is? Saying that is constructive criticism, my way of telling you that you’re doing well, but you can do so much better.


Final Score: 8.5/10

Writer: Cullen Bunn

Artists: Jorge Molina and Matteo Buffagni

Colors: Matt Milla

Letters: Joe Caramagna

Images Courtesy of Marvel Comics

Hey, everyone! Just your friendly neighborhood nerd. From NYC/NJ, 26 years old. Ask me about a Fandom and I can go on for hours. Firefly, Penny Dreadful, and A Song of Ice and Fire are my favorites, let’s get nerdy.

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Saga: On the Nature of Tragedy

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This comic doesn’t run short of terrible moments, which occur ripe for our enjoyment. This alone plays into the theatrical character of tragedy. That is, narratives surrounding the fall of the mighty and the despair of the innocent. Curiously, this issue begins with Gwen, Sophie and Lying Cat watching the news of Phang’s traversing the Timestuck, while knowing better on the true outcome to unfold. We’ve all watched news in a similar fashion, not necessarily knowing or suspecting a different dynamic at play. After all, real life also doesn’t run short of terrible moments, never to anybody’s enjoyment.

But what sets these characters apart is the fact they’ve had a hand in the writing of that narrative. One way or another, it’s a case of the author beholding their handiwork. Feeling horror at best, indifference at worst. This is how we’ll approach the climax to the darkest story arc in Saga so far. The Sophoclean dynamic is known to us already. Knowledge, however, doesn’t soften the impact, nor the horror.

Issue #42
“Of course hell is real.”

The Phang scheme has now been exposed as something of a manufactured catastrophe. A risky play in a game board where countless lives are at stake. Such is war. In spite of the religious zealotry, the introduction of Jebarah, Kurti, and their tribe has nuanced our impression of Phang. Suddenly, the comet is not just Sophie’s homeworld wherein she was sold to serve in Sextillion. It’s now a piece on the board, a pawn intended to serve the long game. But as Sophie is quick to observe as we open this issue, there is a great cost to pay in spite of the damage control via massive evacuations. Here she asks Gwen a more than pertinent question. At what point do the necessary casualties become too many to win a war?

Gwen, in her cool, analytical demeanour, can’t give an actual answer to that question. But no matter, the subject is put to rest for the night as Gwen’s wife, Velour, comes in…with cupcakes. Talk of cold pragmatism in war and cupcakes simply cannot co-exist under the same roof. Let nobody tell you otherwise.

Interestingly, we get a little of that Hazel-retrospective-narration during the transition from Wreath to Phang. She addresses the concept of evil as something arbitrary and depending on the perspective of the accuser. This may well be a caution against observing some questionable means as simple ‘evil’. Then again, mileage varies. A taboo coupling is nowhere in the vicinity of a potential genocide in the making.

Now, let’s hold on to that thought for a moment. Evil can also be construed as a misguided harmful action or intent against the innocent. Thus the definition of ‘evil’ may also apply to someone like Sir Robot, who had Alana and her baby at gunpoint last issue. Fadeaway influence and an ocean of guilt notwithstanding, such an action would put Sir Robot in a place beyond redemption. His intent no longer comes into consideration, because the character would have become a verb, encompassed only by his despicable deed. Marko is very aware of this, which is why he proceeds to execute Sir Robot. In turn, this would also affect Marko, if his apparent definite return to violence last issue is for real.

However, Petrichor interrupts him with a more important subject. She has found fuel in the The March’s ride, which should allow them to escape Phang before it hits the Timestuck. All of this is news to Sir Robot who asks why they haven’t left yet. The answer is no peaceful matter to Petrichor, as she tells them Alana has offered Jebarah and her tribe a ride. Petrichor addresses the potential smell problem of an overcrowded treehouse rocketship. But one has to take the tribe’s devotion for the Timestuck into consideration before giggling about the prospect. And indeed, Jebarah’s answer to Alana’s offer is just what we dread.

The matron only sought Alana at this moment to return Marko’s blade. As for her family, however, they have no intention of ever leaving this comet. Her kind of faith is one that blinds her to imminent destruction. Under the circumstances, it’s more than frustrating to hear Jebarah’s assurance that the Creator will see them through this catastrophe. Alana attempts to threaten Jebarah into coming along by pointing her rifle at her, but the latter pays no heed. Her parting words are a name suggestion for Alana’s baby. ‘Kurti’, which means ‘sunshine’ in their tongue. Should Alana indeed name her child that, Hazel’s brother would be a living eulogy to the friend she’s about to lose. And she doesn’t even get to say goodbye to him.

Quoting Hazel’s narration, this farewell is as sudden as it is baffling.

Elsewhere, someone else is trying to cope with a different farewell. The Will, or Billy if you would, seems to have relapsed into heroine after the second parting with Lying Cat, Gwen and Sophie. As we’d expect, this features The Stalk’s return as his mental projection of choice. Such is the form his wish fulfillment takes. The one that tells him to get back on Marko’s pursuit to win his companions back. The opposing drive, the one to move on, then appears, taking the form of his sister. Of course, this makes for a very ‘peculiar’ twist of the ages-old debacle between the Angel and Devil on each shoulder. All the while, Sweet Boy keeps vigilance while his Master masturbates.

The black humour in this setting takes a wrong turn as an unknown presence shoots Sweet Boy, killing him. (Insert a several weeks-long NO here, thank you very much.) The strange-looking killer shows up from the shadows, shooting The Will as well, but only to incapacitate him. They claim to be exacting revenge on the former Freelancer for killing someone they loved. Billy seems to have gone from being accessory in a vendetta to being the recipient of another. Something of a snack in the middle of the main course indeed. Nothing to sneeze at in regards to disturbing and heartwrenching, though.

Back to Phang’s orbit, where we learn the purpose of that cube thing Agent Gale obtained from Gwen last issue. After blasting a friendly Robot Kingdom craft intended to secure Phang’s safe passage through the Timestuck, two Landfallian dudebros use the cube Gale obtained from Gwen. Obviously, this is what those shady orders led to, and the source of Sophie’s inner conflict. The cube is a device to awaken the Timestuck, turning it into a living bomb. Instant apocalypse right there. And here is where it all gets really dark, really quick.

A lot of detail went into facial expressions. But the faithful capturing of emotions onto paper may do the reader’s heart a disservice. Hazel’s narration also adds a good deal of pain. In just two pages, Saga becomes truly merciless.

The Timestuck’s destruction occurs on the background while Jebarah rapturously speaks to her people. Fat load of good that will do. An explosion inside the giant baby’s body violently shakes the family’s rocketship just as they’re about to take off. Hazel’s family manages to escape in the nick of time, thanks to Petrichor’s quick fuel recovery.

However, although they get away safely, the impact has cost Alana her unborn child. Through alternating panels, we see Alana and Marko mourning their child, as well as the doom befalling Phang’s population, in frightful detail. The final actual image we get is Kurti falling under the black tides of Phang and the Timestuck’s entrails, desperately pleading for his life.

… and the rest is silence. 

Alana, Marko and Hazel have all left something of themselves behind in a world become synonymous with catastrophe. Innocence and hope lie both sunken in the Phang’s dark waters.

Alas, the story goes on. Stay tuned, my friends. The sunrise follows even after the longest, coldest of nights.


Saga Issue #42 Credits

Writer: Brian K. Vaughan

Artist: Fiona Staples

Images Courtesy of Image Comics

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Air Capital Comic Con Sticks To Its Roots

Dan

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The comic convention used to be exactly what it sounds like: a way for the “Marvel Zombies”, “Batmaniacs”,  “Shellheads”, and “Wingnuts”  who braved the comics shops of the world for their monthly dose of multi-colored, multi-panel heroism; to get together with their own people. They traded old comics and new ones, wore homemade costumes, and argued over nonsense. The guests were artists and writers of the comics themselves, and the con was a chance for them to meet the people who loved their work.

But slowly but surely, the TV and movie conventions began to merge with the comic cons. With most of the con-goers belonging to multiple fandoms, for many, it was a no-brainer for them to consolidate. The nerds of the world rejoiced as they could at one stall meet the creator of Batman and in the next meet the Adam West who played him on TV. But, slowly but surely, the movie and film stars became the attractions at these cons. While no comic-con has truly shaken its comic book roots, it can be hard to find one today that still maintains that old school purism. But don’t fret true believers, there’s one in Wichita, and I attended it last weekend.

Air Capital Comic Con was co-founded in 2013 to help give the city of Wichita a yearly comic convention of its very own. Since then, it has only grown. The fans in Wichita that for years had to travel hours to Kansas City or Oklahoma City to scratch their nerd itch now only had to drive downtown. But Wichita is not a large city, and the convention itself reflects that.

Taking up a single exhibition hall iatWichita’s Convention Center, it’s easy to walk from one end of the con to the other. I felt strange walking by some of the same booths as I wandered around and took everything in. But size matters not, as they say, and the number of guests in attendance would no doubt be in line with a con twice the size of Air Capital.

The guest list, as I alluded to before, was almost entirely pulled from the halls of comics. Creators from Marvel, DC, Dark Horse, Image, Boom! and the indie scene made for a stacked roster for fans to mingle with. Big names included Greg Smallwood (Moon Knight, Dream Thief),  David Gallaher (High Moon, Box 13),  Steve Ellis (Skinwalker Studios), Alexis Zirrit (Space Riders) and Kevin Nowlan (Tomorrow Stories, Superman vs. Aliens). But it was not all old school, as the con also invited multiple high profile cosplayers as well, such as The Hive (Resident Evil Cosplay Collective), Children of Proteus (Aquatic Steampunks), Deadpool’s Chimichanga Shack., and the local chapter of the 501st Legion.

The vendors and artists in attendance ranged from toy shops and comic stores to cosplay gear and jewelry, to a “psychic cartoonist” named Lord Julius Pandhandle. The actually quite healthy Wichita writing scene (cough) was in attendance as well, with bestselling fantasy author Tamara Grantham, sci-fi scribe Tim Hunter, and master William Schlichter all meeting, greeting, and signing books alongside newer writers like AR Crebs and Dakota Caldwell (in character as his book’s main villain).

The attendance was a mix of the old, hardcore nerds who’d met Stan Lee when he wore gold medallions, parents bringing their kids for a day out in their best Spider-man costume, and teenagers dressed as anime characters hanging out with their people. And there was something for everyone. Local game shops and developers had a board gameplay area, and Wichita’s video game bar and e-sports org helper put together a huge array of consoles from the NES to the PS4 for people to play to their heart’s content. On the upper balcony, panels ran every few hours discussing things like villains and the comics industry. It even hosted a nerdy version of The Dating Game.

Overall, it really was a good con. I’m spoiled in that my home city of Indianapolis hosts multiple huge cons, including GenCon, every year.  And Air Capital isn’t near that big or exciting. That is no slight, however. I loved the heart that Air Capital Comic Con had, and the real sense that it was part of a thriving community. There was no flash or glitz, just passion, and good old-fashioned nerdiness. They know there is nowhere to go but up, and they maximize everything they can.  If you’re in the area next November or are wanting to add a stop for a promotional tour, you won’t find a better home than Air Capital Comic Con.


Images courtesy of Air Capital Comic Con

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A Bride’s Story is the Women’s Story You Were Waiting For

Annedey

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A Bride’s Story is a manga by Kaoru Mori (also responsible for Emma). Started in 2008, the series is still running and counts 9 volumes. It takes place in 19th century central Asia and follows several characters in their daily lives. The story is mainly focused on women of the region, but there is also the point of view Henry Smith, an English researcher. Anything else notable? Oh, I just remembered: it is really good.

Talking about a really good manga series could be enough on its own. But you know what’s even better? It is focused on women and their lives. Different women, with different lives, their work, their achievements, their pains. And it is written in a total love of all women. A good manga series, written by a woman about women? What else could we be asking for?

The Story of A Bride’s Story:

I am starting to not like this choice of title very much. But anyway, the manga opens on Amir and Karluk’s wedding. Amir is twenty whereas her husband is twelve (don’t worry there is no weird sexual content between the two). It is not the only thing that separates them. Karluk comes from a mainly sedentary village. Amir’s tribe still has a pretty nomadic way of life. Both spouses are pretty different so the first chapters of the manga follow their adaptation to each other (and to her in-laws in the case of Amir). The presence of Smith also allows the point of view of an outsider into the family.

The story then expands to other members of the family, friends, and neighbors, as well as people Smith will meet during his travels. Yet the story isn’t all over the place. We follow their lives and emotional development. And when Kaoru Mori focuses on one character she takes the time to tell their story. Even if she has to leave aside other characters for some time. But this is not a problem, as it is crystal clear she loves all her characters and will do them justice in time.

Good guy Kaoru Mori by herself.

A Bride’s Story is going to focus on every aspect of the characters’ lives. There is high drama(military attack of one family on another) but also daily life (learning how to sew, finding your vocation).

In short A Bride’s Story is a really good read. But it is not the only thing that draws you in the narrative.

Art so gorgeous it sucks you in the story:

Another strings to Kaoru Mori’s bow which help you being completely absorbed in her world is that…

…her art…

…is…

…gorgeous.

Which, considering the time we spend speaking about craftsmanship, is important. Having a visual representation worthy of the script is only doing it justice. If you don’t want to travel to central Asia to discover their handicraft after reading A Bride’s Story you are a liar, and that’s all there is to it. The characters and the details are insanely comprehensive. But we are also given amazing and dynamic action scenes.

This incredible art and interesting story combine to give us a narrative uplifting women at every turn.

An Hymn to women’s lives:

A Bride’s Story focuses, as its name clearly spells out, on brides. Sometimes young brides, sometimes bride-to-be, sometimes widows, but always women facing married life. And no it is not reductive. During the 19th century, marriage was (and still is in some cultures) one of the main events of a woman’s life. It was a literal change of family, of environment, and the real beginning of her adult life. So focusing around this event is not reductive. Quite the contrary. It reminds us that, as long as she is a good person, every woman’s life is worth telling.

Kaoru Mori spends a lot of time on women’s daily activity. Sewing of course (if the manga doesn’t give you a mighty need to start sewing you are a liar), but also cooking, taking care of the herd etc. Everything is worth the author’s attention, and ours. Do you know why? Because it is important work done with care. And this ask for our interest and respect.

Another thing which is incredibly well done in A Bride’s Story is the relationship between this women. They are supportive of each other. There is a mother-in-law ready to sacrifice herself to save her daughter-in-law. When Amir learns that she should go back to her family to marry another man because all the brides they have sent are dead (killed by their husband) she is not only crying because she is terrified. She is crying because she knew both of this girls and is devastated by their death. And the person reassuring her and saying that she is « not going anywhere » is her husband’s grandmother.

There are as many positive women relationship in there as there is stars in the sky. And not always just filial relationship. But also mentorship, friendship and emh…

I am sorry but there is no heterosexual explanation to this and yes Kaoru Mori acknowledges it in the author’s notes.

And the icing on the cake is that every single one of these women is different from the others.

No wrong way of being a woman:

Truly it is refreshing to read about women helping each other. It is even better when they are allowed to be different. Because let’s be real, often in fiction women are created to oppose each other. The “good” kind of woman opposing the “wrong” kind of women. Just look at The White Queen and The White Princess, in which motherhood is glorified and “good” women are rewarded with it whereas “bad” women, women having a “man’s” ambition, became sterile and loveless.

Well, in A Bride’s Story we have traditionally feminine women who are soft gentle and love sewing. We have unconventional women who like to hunt and ride but are still good at feminine tasks (but let’s be real Amir is an amazement in universe too) and others which are not. We also have what other media often depicts as “failing” women, but are just unsure of who they are.

Let’s be real we all want to be Amir but we are Pariya who, conveniently, wants to be Amir.

In short, Kaoru Mori is standing on her mountain screaming “They are all my daughters and I love them all!”. And trust me ,it feels good to be, as a reader, welcomed into this story.

Conclusion:

To the surprise of no one, I heartily recommend reading A Bride’s Story. As a first manga, if it is your first, it might be putting the bar a bit high for future dives into the medium. But there are worse problems to have. Just to add to all I’ve said above, we also have good and interesting siblings relationships (my passion), making this manga almost without fault. It is worth a try. It really is.


All images courtesy of Yen Press.

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