Tagged: X-Men

Mike Gold: Redundancy, Repetition, and Superhero Melanoma

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Several decades ago the American comics medium in general – and Marvel Comics in specific – were criticized by some in fandom for being overly formulaic. I realize it is possible for a few fannish souls to overreact, but I have to admit there was an element of truthiness in their concern.

Today we can clearly see a contemporary incarnation of this issue. Not that plotlines are being rubber-stamped; slavish adherence to ever-shifting continuity undermines such creative shortcuts. No, today we are suffering from a different sort of redundancy: overexposure to such a degree that most truly successful superhero characters have become akin to amoebas.

I was just thumbing through the sundry Diamond catalogs announcing comics and related effluvia ostensibly set to ship this coming February. Out of convenience and a desire to meet my deadline, I am going to focus on Marvel’s output – but DC, and to a lesser extent other superhero publishers, are also guilty of sequential overexposure.

This coming February, Marvel is supposed to be shipping (in the unlikely event that my math is correct) no less than three Captain Marvel books, seven Avengers titles, four Deadpools, seven X-Men, three Inhumans titles, six featuring the Guardians of the Galaxy…

and no less than fifteen titles featuring Spider-Man and his Spiderverse. Fifteen. Back when people were criticizing Marvel for recycling plots, they didn’t publish fifteen different titles a month! I guess that’s pretty damn good for a character that can’t even hold onto a major movie franchise.

Of course, the sundry Spideys also appear in various Avengers titles, as do most if not all of the aforementioned properties. And many of the other Avengers like Iron Man, The Hulk, Thor, and Captain America have their own titles as well.

It is true that this sort of thing has been going on for a long, long time. Maybe not quite as long as it may seem to geriatric fans who recall Superman appearing in seven different titles in the late 1950s (Superman, Action Comics, Superboy, Adventure Comics, World’s Finest, Lois Lane, and Jimmy Olsen), but only two of those were published monthly. The rest were published bi-monthly or every six weeks. Still, five titles a month is a lot. Fortunately, continuity was weak at best and if you had an aversion to pill-box hats you could safely avoid Lois Lane (and her omnipresent scissors) and still understand what was going on in the other titles.

However, we have not previously seen such character redundancy to this degree. Not even when the original Captain Marvel and his family were featured in eight different titles back in the 1940s. Not all were monthlies, although the Big Red Cheese did see his own book go out every three weeks for a spell. Then again, in February at least two Spider-Man titles double-ship, and, for the record, February 2016 only has four ship weeks. It’s pretty rare that Leap Year Day falls on a Wednesday.

So, why is this a problem? Well, if you’re a massive Spider-Man fan, it might not be. However, ComicMix columnist Emily S. Whitten is a proud Deadpool fan, but having a job, a life, and a commitment to writing one of the best comics and pop culture columns on the Interwebs, so even Emily has a hard time keeping up with the nutty merc.

This is a problem because it undermines the uniqueness of the character. It’s called overexposure. We used to have three or four Punisher titles; in February 2016 Marvel won’t be releasing a single one.

Sure, as I said, all this goes for DC as well. They’ve been pushing Batman titles out as though they were Cheerios, and they out-X-Men the X-Men by having several thousand different characters all named Green Lantern.

At least Image only produces one Bitch Planet a month… and that’s on a good month. A very good month, in my opinion, but your mileage may vary.

 

Joe Corallo: Breaking the Iceman

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I’ve only been writing this column for a month now, and if you’ve been reading you might have guessed that the next opportunity I’d have I’d write about Iceman coming out in Uncanny X-Men #600. Well, congratulations! You were right. I’ll try to be less predictable in the future, but I make no promises.

As you may have heard, last week the present day Iceman came out to his past self, thus confirming that Iceman is gay in both past and present. This move has gotten a great deal of praise, with many highlighting that this now makes him the highest profile gay superhero in comics. Though I’m a big fan of the X-Men in addition to being gay, I honestly did not care much for how Iceman coming out was handled.

Now, before anyone reading this starts either rolling their eyes thinking I’m gearing up for a rant on how Brian Bendis and Axel Alonso must be homophobes or don’t understand diversity for not handling this how I would have liked, or are gearing up to rally with me on that point, I’m going to stop you there. Bendis himself is Jewish, and two of his three daughters are adopted, one African-American and the other Ethiopian. He co-created Miles Morales, the half African-American, half Hispanic Spider-Man that has since become a major hit at Marvel. Axel Alonso himself was editor on Peter Milligan and Mike Allred’s X-Force/X-Statix run that introduced three queer X characters. The issue I have here is not personal and I acknowledge that they have made great decisions regarding diversity in the past. It’s about the handling of Iceman’s coming out and how that affects LGBTQ representation at Marvel. Now let’s get into it.

First off, Jean Grey is here for seemingly little reason as past Iceman has his talk with present Iceman. She was my and many other people’s point of contention when this was first brought up in All New X-Men #40, when she outed him. Some people don’t feel that she outed him, but having read it, that’s the conclusion I came to myself. Telling someone what their sexuality is when they’re questioning it can be damaging. I know when I was a teenager and had people in my life telling me I wasn’t gay, that it did hurt me and took time to get over. When Jean did this, it took away from Iceman’s agency. Rather than a coming out story, we got a “Jean told us we’re gay, so we are now,” story, and that’s significantly less compelling. I wish I had the time to go into how troubling the bi-erasure was in this story as well, but I’ll talk about bi-erasure in mainstream comics next week.

Second, starting with the “You’re going to be a mutant and gay. Wow,” line that present Iceman says to past Iceman, and going into how he put all of his effort into the X-Men over his own happiness, I was just completely taken aback. This made no sense at all.

How can present Iceman talk about putting all his effort into the team when he has never led the X-Men, and he left the team to go to college for a bit, and he had a fairly long relationship with Opal Tanaka that he put his all into, going as far as heading to Japan with Jean Grey (funny, right?) to save her from Cyber Samurai, and he tried to ruin Polaris’ wedding to Havok because he was still into her, and has seen several other X-Men over the years come out around him even as mutant numbers dwindled… and that’s just to name a few things. Not to mention how Cyclops, Storm, Professor X, even Magneto all made time for their own happiness and had a much more important role in the world than Iceman ever did. It would be one thing if this was because present Iceman was being selfish, but he’s making it out like he stayed in the closet because he’s selfless, and that doesn’t quite hold up here.

Building on that point, Iceman being a blonde hair, blue eyed, young, white, attractive, able-bodied, cisgender man with a six-pack complaining about how hard it is to come out was disappointing. Look, everyone has problems and hardships, even young attractive white guys, and I understand and acknowledge that. However, this is a fictional world where Iceman has been on life and death missions, gone through space, time, fought aliens, vampires, deities… and coming out was harder than all of that?

If this was the 80s, I’d totally get that. Even the 90s. It’s 2015, and that coupled with living in such a fantastical world makes this too hard for me to swallow. Not to mention how many of his teammates and fellow mutants are not nearly as privileged as he is. I’d dare even say that Nightcrawler and Beast might have a harder time being straight than Iceman would have being gay.

Finally, on the last page of this scene young Iceman asks present Iceman if he thinks Angel is hot and they agree and have a good time about it. If you’re going to make the next LGBTQ X-Men character a young, attractive, blonde hair, blue eyed, able-bodied, cisgender white man with a six pack, can we at very least have him talk about being attracted to someone who isn’t also all of those things? It just feeds into so many of the negatives in the LGBTQ community that are trying to be addressed. It was a way to wrap up the scene that was clearly intended to be sweet that left me feeling sour.

I’m not trying to be ungrateful about having more representation in mainstream comics. However, we should be holding ourselves to a higher standard and demand more, better, and thoroughly thought out LGBTQ representation.

I do want to end on a positive note. Bendis has updated Iceman in a way that will give future writers something new to explore with the character and I’m thankful to him for that, and despite how I may have come across, I am eager to see what other writers will do with him. Hopefully an LGBTQ creator or an ally like Peter David or Kieron Gillen who handle queer characters respectfully will get to tackle him, and maybe I’ll soon be reading the greatest Iceman story ever told.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #358: CYCLOPS CREATES THE UP-TIGHT CITIZEN’S BRIGADE

A Mr. Richard Feder of Fort Lee, New Jersey writes in and says… Something completely off-topic. This is “The Law Is a Ass,” not Roseanne Roseannadanna. However, a Mr. Ronald Byrd writes in and says, “Hi. Wondering, did you pay much attention to the X-Men/Utopia storyline? Because it seemed to me that, by declaring Utopia to be a sovereign nation (whether or not Cyclops’s actions conformed to real-world laws on how to declare a sovereign nation isn’t presently the point), Cyclops unilaterally declared everyone on Utopia to be citizens of that nation and thus unilaterally stripped them of their (for the most part) American citizenship. Without asking. Which struck me as, I don’t know, inappropriate? Did I misunderstand that part? Thanks for your time.”

cyke3-6057187Is that what happened in Utopia? I’m afraid my memory is like fine wine. It did get better with age. Then it was exposed to oxygen and turned into vinegar. So, if that’s what happened in Utopia, I kinda forgot about it. (Forgetting was kind of a defense mechanism.) But if that’s what happened, then here’s why Cyclops didn’t do the bad thing you thought he did. (Which would be the first time in a long time that Cyclops, as currently written, didn’t do a bad thing.)

American citizenship is guaranteed in the United States Constitution. The first sentence of the Section One of the Fourteenth Amendment to the United States Constitution says, “All persons born or naturalized in the United States, and subject to the jurisdiction thereof, are citizens of the United States and of the State wherein they reside.” It’s called the “Citizenship Clause,” which is a bit grandiose considering it’s only a sentence, not a whole clause. The Citizenship Clause was written to undo the infamous United States Supreme Court ruling in the Dred Scott, about which the less said the better, because Dred Scott held African Americans were not, and could not become, United States Citizens.

The Citizenship cemented the right of all United States citizens to be citizens. Which wasn’t always the slam dunk you’d think it would be.

American citizens have a constitutional right to be American citizens. Seems rather basic. But in 1940, Congress adopted a bleach to basic attitude. Remember, this was in the days and years leading up to World War II, when our relations with several foreign countries – such as Germany, Japan, and Russia – were as strained as Spanx on Honey Boo Boo’s Mama June. Back then, the United States motto was “For every action there is an equal and opposite overreaction.” Japanese interment camps, anyone? One of the biggest overreactions was the Nationality Act of 1940.

Among the many provisions of the Nationality Act of 1940 was Section 401, which created many ways in which citizens could lose their citizenship. Naturalized citizens, for example, could lose their citizenship, if they lived abroad. (Ruled unconstitutional in the case Schneider v. Rusk under the Equal Protection Clause.)

All citizens could lose their citizenship if convicted of military desertion during a time of war. (Ruled unconstitutional in the case Trop v. Dulles as a violation of the Eighth Amendment’s protection against cruel and unusual punishment.)

Other provisions of the Nationality Act said citizens could lose their citizenship if they performed military or government service for another country when coupled with citizenship of that country. Or if they lived in a foreign country to evade military service. Or if they served in the armed forces of a foreign state, voted in a foreign election, or acquired the nationality of a foreign state. And that would be the type of expatriation concerning us today; loss of citizenship when one becomes a citizen of a foreign country, like the mutant country of Utopia.utopia_x-men_base_from_new_avengers_vol_2_28-6079352

Most mutants didn’t ask to become citizens of Utopia. They became Utopians when Cyclops claimed them. Did they lose their citizenship because of what Cyclops did? The short answer is “no.” The long answer is, “No and here’s why.” Because the core function of this column – to inform you of how the law works – requires exploring the “here’s why” part, we’ll go with the long answer.

American citizens cannot lose their citizenship unless they commit a voluntary act which is inconsistent with citizenship. In Nishikawa v. Dulles, a natural-born citizen of Japanese descent moved back to Japan with his family. While living in Japan, he was involuntarily conscripted into the Japanese army. The Supreme Court ruled that he could not be deprived of his citizenship under the Nationality Act, unless his act was voluntary. Because Nishikawa was involuntarily conscripted, his service in the Japanese army could not be used to expatriate him.

The Nishikawa case has a direct bearing on the Utopia matter. If Cyclops unilaterally declared all mutants to be citizens of Utopia, then they didn’t become citizens of a foreign country voluntarily. They became citizens by the high-handed actions of Utopia’s government. Under Nishikawa, all mutants who became involuntary citizens of Utopia by Cyclopean fiat could not have their citizenship taken away. They also can’t have their Fiats or Toyotas taken away. But that’s another matter.

X-Force-1-coverBut what about those mutants who did something in service of Utopia? Like Wolverine, who headed up X-Force, the Utopian mutant covert-ops squad. (And why would a place called Utopia need a covert-ops squad in the first place?) Would those mutants lose their citizenship for voluntary actions which were inconsistent with American citizenship? Again, the answer is no.

In Afroyim v. Rusk, a naturalized citizen who voted in an Israeli election was being expatriated. The Supreme Court held the Citizenship Clause of the Fourteenth Amendment dictates that U.S. citizens cannot be striped of their citizenship involuntarily. A citizen may only lose citizenship if he or she voluntarily renounces it. The government may not take citizenship away. Thus, even if citizens commit a voluntary act which is inconsistent with American citizenship, they may not lose their citizenship involuntarily.

So it looks like none of the mutants on Utopia would lose their citizenship simply because they became citizens of Utopia. It’s a win for all mutant kind.

However, the fallout of the Afroyim case is that the U.S. government, which strongly opposed the concept of dual citizenship, has not grown to accept it. That means that the Utopians were citizens of both the United States and Utopia. And had to pay taxes to both of them. So maybe we should reexamine that whole win for all mutant kind notion.

Tweeks: Avengers Age of Ultron Squeee-view

Of course, we saw Avengers: Age of Ultron on opening weekend and of course you did too — or else why do you watch a comic geek vlog? But in case you didn’t get to it yet, do that soon and be careful watching our video, because you know….SPOILERS!

What we’ve done this week instead of a classic review is to answer some questions our friends asked us after the movie. If you haven’t been reading the comics and or watched all the Marvel Cinematic Universe’s offerings, you might have had these same questions as well. And if you already know everything there is to know about Marvel, maybe you can kindly (very nicely & respectfully because we are only kids & we can’t be expected to pass the 7th grade AND read & see everything in a time span that started before our parents were even born) expand on our points. We also talk about Avengers: Infinity Wars and our favorite MCU ships (#CaptainCarter #ScarletVision) and the one that sank during Ultron (you gotta watch to find out).

Mindy Newell: Do Not Fold, Spindle, Or Mutilate Me!

Yesterday I ran into a friend from high school as I was leaving the supermarket. He told me that he is moving to a smaller place and so he’s trying to sell off his comics collection, which runs into the thousands and thousands. He’s going to keep some of them because he loves them, and for posterity, and for hopefully great value in the future. But he hasn’t been able to offload most of them – which I said probably has something to do with the economy, because even if the Dow is over 18,000 and the unemployment rate is under 5.5%, most everyone is keeping their Washingtons and their Lincolns and their Benjamins in their wallet or under the bed. He also told me that once DC’s two-month limited series Convergence is done in April, he’s also going to be done with comics.

“Why?” I asked.

“Because all it is now is one big cataclysmic event leading into another,” he said. “It’s boring, it doesn’t mean anything, and I’m not wasting any more money on the shit.”

Yeah. I get it.

pow-3412271Back in the eighties the comics industry was experiencing a boom in great visual storytelling that was busting down all the preconceived notions about comics. No more pop-art balloons. No more women whose only aim in life was to become a Mrs. fill-in-your-favorite-single-super-guy here. No more choke gasp sob How ironic!” neatly wrapped up endings. Stories became more complex; the superheroes weren’t always red-white-and-blue American good guys who always saved the day.

Yes, Marvel had been doing this since the introduction of Spider-Man in Amazing Fantasy #15, cover-dated August 1962, but across the country there was an explosion of energy in the eighties: the independent market took root and prospered, the Comics Code Authority seal vanished from covers, the Brits launched a second pop culture invasion, and people were openly reading comics on the subways, on the buses, at work, and at school. The story ruled, man!

Comic historians can tell you when it exactly happened, but I know that it was after Crisis on Infinite Earths and Secret Wars and, especially, The Death of Superman, that the story disappeared and the event took over.

Ah, The Death of Superman – everyone was buying multiple, multiple copies and stowing them away in attics and cedar chests and shoeboxes because everyone knew they would be worth $$$$$$ someday. Only of course millions of issues were printed and of course DC wasn’t going to really ice their licensing giant and of course the public’s ability to be sucker-punched was infinite (pun intended). So of course it will be about 500 million years before a mint copy of the issue will be worth gazillions. But of course DC made money, lots and lots of money, and generated lots and lots of publicity, including a Time magazine cover.

And so of course, the people at the top of the corporate DC ladder wanted to do it again. And again. And again. And again.

And so they did.

And Marvel did it as well. I think they started (but again, ask a comic historian for the exact stats and dates) after Secret War I with the expansion of the X-Men line, which led to crossovers, which led to X-Men crossovers, which led to Iron Man and Thor, and Punisher expansions which led to crossovers and then to across-the-line events.

Oh, and let’s not forget the variable covers with Mylar and special graphics and holograms. And there were “3-D” pop-up pages, and double-page fold-outs and…

Dig it, man. These were all events.

But what happened to the story?

It went elsewhere…to the comics that nobody really noticed (and so got cancelled), to the book publishers who started graphic novel lines, and, especially in Marvel’s case, to the movies and television. (Although, as Marc Alan Fishman recently noted in his column last week, DC’s Flash is gettin’ it.)

John Ostrander’s column yesterday reflected on the wonderful world of robotic (computer) storytelling. He noted that these stories, and I’m using shorthand here, suck big time. Grammatically correct and all that, but no heart. No soul. No emotion.

But the Cylons evolved, and I’m guessing so will these programs, John.

Maybe not in our lifetime, old friend, or yours, but one day there will be an X-Men or a Superman or a Daredevil or a Batman written by a computer.

And it will be an event.

 

Mindy Newell: Reflection In A Dark Pool

Through the mirror of my mind / Time after time, I see reflections of you and me / Reflections of the way life used to be / Reflections of the love you took from me • “Reflections,” by Lamont Dozier, Brian Holland, and Eddie Holland, recorded by Diana Ross and the Supremes, 1967, Motown Records

Like every other art form, comics – or more accurately, the creators of comics – reflect the times in which they live.

I started reading comics in the Silver Age, when superheroes were manufactured like products in factories, conveyed along conveyor belts of post-World War II American middle-class morality, which ensured that everything but the packaging was the same. Each hero kept their true nature hidden behind a pair of glasses, or a secretary’s typewriter, or a desk in a high school classroom. Each hero lived a lonely life, because to reveal their secret would only endanger their loved one. And each rose above their personal traumas and tragedies to fight for “truth, justice, and the American way.”

And we felt good about our heroes, and about ourselves.

Then, while Mississippi burned and Vietnam raged, “let it all hang out” and “tune in, turn on, drop out,” became the mantra of a generation. The real world intruded onto the four-color page as mutant X-Men fought societal preconceptions of race, religion, and gender roles, Speedy, Green Arrow’s sidekick, became a drug addict, and alcoholism consumed Tony Stark.

And even though our heroes suffered, they rose above their personal battles and we felt good about them, and about ourselves.

Then came the “Brit Invasion” of comics, and writers like Alan Moore, Neil Gaiman, Peter Milligan, Grant Morrison, and Jamie Delano turned comics inside out and upside down. Our heroes became just like us, only more so; questions about identity and debates about right and wrong plagued them. Nothing was black-and-white in the four-color world, anymore; doubts and uncertainty ruled decisions, and outcomes were often ambiguous.

But we still we rooted for our heroes, because through their problems, we understood our problems, and so we felt good about our heroes, and about ourselves.

But now I wonder… yes, comics still reflect the real world, but now it too often feels like I’m leaning over the railing of a ship and spitting in the wind. The realism flies back in our face.

The world seems to me uglier today than it ever was. The Taliban and Al-Qaeda and ISIS have made the Crusades and the Inquisition footnotes in a text on religion as an excuse for totalitarianism and war. Cyber terrorism raises the specter of a war between creative freedom and potential lawsuits, and creative freedom loses. Racism is alive and well again as acts of violence and death are perpetuated by those who wear a uniform that is supposed to stand for protection against such acts. The so-called leaders of our country are unfunny clowns in a thunderdome of viciousness and ugliness, and a vice-president, the man-who-would-be-king, defends torture as the American way. And hardly anybody votes, because hardly anybody cares.

And we no longer root for our heroes, who are us, but only more so, because, you know, all art is a product of its society, and comics are an art form, and comics are created by artists who are can’t be blamed for reflecting the society in which they live.

 

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Mad Scientist Builds A Wrist-Mounted Flame Thrower Like X-Men

Did you ever get the impression that escalation in cosplaying has gone a bit too far?

Life Advice From Stan Lee

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Do We Need To Talk About Spider-Man? And Other Superhero Movies Too?

Criminy. Devin Faraci sitsus down for “the talk”.

Is this simple sequel fatigue and diminishing returns, or is it possible that we might be seeing the first superhero movie domino fall?

Suddenly, a lot more seems to be riding on X-Men: Days Of Future Past this weekend…

Marc Guggenheim Takes Aim at the X-Men

X-Men_18_CoverThis August, comics superstar and Arrow Executive Producer Marc Guggenheim (Amazing Spider-Man, Wolverine) takes Marvel’s mutants into space for an explosive new mission for a brand-new 4-issue story arc kicking off in X-MEN #18!

High above the Earth in the floating space station known as The Peak, extraterrestrial threats are monitored by S.W.O.R.D. – the planet’s alien counterterrorism and intelligence agency. From the cold reaches of space, a familiar face returns. The ferocious Shi’Ar warrior Deathbird has landed on their doorstep, gravely wounded and inches from death. Unable to identify the who or what that caused her life threatening injuries, the X-Men are called in to investigate!

Speaking with Paul Montgomery at Marvel.com, Guggenheim shared where the idea for his upcoming arc originated: “The idea really came from the fact I’d been jonesing for an X-Men in space story as a reader. I’d been re-reading the Brood Saga and it reminded me how much I love that concept of the X-Men in outer space. It’s a milieu that suits them really well.”

What horrible dangers await Rachel Grey, Storm, Jubilee, Psylocke and Monet in the cold, lifeless vacuum of space? And are they equipped to handle it? Don’t miss the start of an epic sci-fi horror tale as Guggenheim takes the reins this August in X-MEN #18!