Marvel comics have long since been more expensive than DC’s, even before DC dropped most of their comics down to $2.99 (USD) per issue with their Rebirth relaunch. But Marvel’s issues also came with a free digital copy of the issue for their online service, which is also linked to Comixology, so buyers could sort of justify the higher price point. Well, no longer!
In a controversial move, Marvel announced that physical comics (excluding their all-ages stuff) will now come with two other digital comics, intended to “offer fans free entry points for current on sale collected edition”, rather than a free digital copy of the comic purchased. To me, this is just not good for most readers.
For one, the digital comic you’re given is just out of your hands. It’s up to Marvel to decide what you get, and it may even be something you already own. Hell, the first comic lined up is Civil War II #0, a comic I’m pretty sure 90% of Marvel readers have, since that was before everyone realised how crappy that event was. I’ve read that some people even sell the digital code they get with their physical copies, because it can offset the higher price point by a bit, but that options mostly gone now, since I can see lots of over saturation of the same issue.
There’s also the problem of whatever comic you’re being given is supposed to advertise whatever Marvel wants to advertise (the digital comic doesn’t seem to vary between comics within a given week). So whereas giving readers of X-Men: Prime a digital issue of Inhumans vs. X-Men would make sense, instead they’re given the first issue of whatever trade Marvel wants to push (who wants to bet there will be a decent amount of MCU-focused comics?).
There’s also this simple thing: Marvel already pushed free samples before. It was a while ago, I’ll give you, but not that long ago. Remember Amazing Spider-Man #1 from 2014? That comic was incredibly thick, not only because it was the launch pad for the entire Spider-Man line, but also because it had the entirety of Inhuman #1 included as a free sampler. But you still got the free digital issue of Amazing Spider-Man (2014) #1.
And finally, there’s the fact that whatever free digital comic you get is replacing the other comic you would’ve gotten. I know people who like to buy physical comics and support local comic shops, but find it simply impractical to read physical comics for a variety of reasons, but the free digital copy allowed them to still support their LCSs. And that Marvel is saying this new system is good for retailers is hilarious, because I know people who work at comic shops, and they’ve had nothing good to say about this. In fact, if anything this feels like an aggressive move against comics retailers.
This is just not a good move in my eyes, and the only people who benefit are new readers (and even then not that much, since the free issue is from a recent trade) and Marvel themselves. It pushes for more digital sales from people who were willing to buy physical, while taking those sales from retailers. I can’t say I support this move at all.
I don’t think it’s out of line to say that Geoff Johns is one of DC’s biggest name creators. He, along with David S. Goyer, brought the Justice Society of America to a new generation of readers. He had a run on The Flash that many consider second only to the beloved Mark Waid run. He reinvigorated and redefined the Green Lantern franchise. He updated Aquaman for modern audiences (though Peter David sort-of did that before him). But he also has blatant preference for the Silver Age. Infinite Crisis was, although an enjoyable story, a way for him to restore quite a few Silver Age things to canon. He made Legion of Super-Heroes lore confusing with the “Retroboot” Legion (basically the original Legion but with a time-skip). He sort-of ruined the Flash franchise with The Flash: Rebirth (it’s only slightly recovered with the return of Wally West). Then killed off beloved new characters with Blackest Night, an event that seemed to exist partly to kill off modern characters. Then he screwed up the entire DC Universe with Flashpoint… though that was editorially mandated, and he then proceeded to sort-of fix with DC Universe: Rebirth #1. So Johns has a shaky history, despite being DC’s “big gun”.
But he vanished for a while. After finishing his Justice League run (about half of which I haven’t read), Johns moved on. He was focusing more on TV shows and movies. It seemed like he came back just to fix what he was forced to break, and that would be the last we’d hear from him… or not.
Yes, Geoff Johns is returning to comics, and while I’m cautiously optimistic about this, given the mixed results of his writing, I can’t say I’m not at least somewhat looking forward to Johns’ return. For all his faults (Silver Age boner, excessive violence, unsubtle leaning on the fourth wall), Johns loves superhero comics, big scope stories and using continuity in (mostly) respectful ways. He’s the kind of writer the DC Rebirth initiative is perfect for. And while I’m sure his comics work will in some way involve the Watchmen plotline from the Rebirth line, I have little doubt he will also be taking on another project. And here are what I hope or predict they will be. Continue reading “My Future Comic Projects for Geoff Johns (Rantings)”→
Okay, so I didn’t completely think this format through, so now Cable’s all by his lonesome. But hey, that’s probably for the best. He can not be tainted by another series… though I had to stretch for a title for this post.
Well that all went to waste! For the record, I was going to call this post “ResurrXion, Part 5 — Cable’s Gonna Be a Star, Man (Rantings)”. Anyway, I’m glad All-New Wolverine is continuing (and hopefully this also means Jeff Lemire’s Old Man Logan also gets to continue), but more on that after Cable.
Written by James Robinson
Art by Carlos Pacheco
Now that is a creative team! Ahem. Anyway, Cableis a character I don’t think Marvel knows what to do with. His last really successful stories were when he played the straight man to Deadpool in the beloved Cable & Deadpool series. There have been numerous attempts to reinvigorate the character over the years — acting as a surrogate father to Hope Summers in Cable (volume 2), giving him his own X-Force team in Cable and X-Force, trying to recreate the magic of Cable & Deadpool, and even making him an Avenger over in Uncanny Avengers — but the character just doesn’t have a really defined role. He’s a nineties creation through and through, with a somewhat complicated backstory. But he’s also fairly popular, and his friendship with Deadpool really benefits him. James Robinson seems to want to give him a more defined role, and one that suits the time-hopping mass of muscle.
Cable is going to feature the eponymous time-travelling mutant anti-hero running through time and combating enemy time-travellers out to abuse the timeline. It’s been done before, my favourite version being in DC’s Booster Gold ongoing that spun out of 52, but Cable’s anti-hero ways will bring a nice touch to things. The antagonist will be a new villain (though I’m calling it: he’s an unused old character with a new name) called Conquest, a name straight out of the nineties. Settings Robinson has mentioned include 15th century Japan, World War I, the Stone Age and Victorian England. I’m not sure Cable’s the right character to give us a historical piece, but it’s definitely more subdued than what I initially expected. However, I fully expect some references to other Marvel works, because this is Robinson.
And speaking of James Robinson, he’s a great writer. His Starman is something I still need to get into, but I’ve read the first issue and dug it. It updates old concepts for modern times, and does so while honouring the past. Robinson is like Grant Morrison in that sense, but holds the past in reverence but doesn’t feel the need for weird changes and incomprehensibility. He can tell great, cinematic stories with great world-building like with Earth 2 (before editors screwed him over… then screwed Tom Taylor over). His skill with continuity and fondness of the Golden Age I think will be a big benefit for Cable, as the series will likely involve playing with Marvel continuity and some war stories.
Carlos Pacheco is an artist I like whenever I see his work, but I rarely see it. His work on Uncanny X-Men (volume 2) was great, and he can actually draw different faces and figures, which look nice but not exceedingly nice as to be fanservice (though he draws a great Emma Frost). Pacheco excels at expression, while being able to be subtle unlike other artists who excel at expression. I’m not sure how he’s going to fit into Cable’s probably darker stories, but at least the art will look nice.
Cable has an okay premise, but the creative team is why I’m looking forward to it. Time travel suits Robinson, and Pacheco is an excellent artist. While I’m not sure about the choice of character, I have faith in this team.
Written by Tom Taylor
Art by Leonard Kirk
So All-New Wolverine does get to continue! Though I’m not sure why it’s not being renumbered, what with Marvel’s love on new series, I’m glad it is and that Tom Taylor is staying as writer. I’m reading All-New Wolverine in trade, and although the first volume is uneven and kind of generic, the second, though not subtle, makes me feel like Taylor gets the character and has given her a fitting role as a big sister figure and hero. Once Taylor stopped following the Wolverine Plot Blueprint, he was able to tell good stories, though they are still flawed (I plan on reviewing the second trade soon).
If the lack of a renumbering didn’t give it away, All-New Wolverine isn’t relaunching as part of ResurrXion, but starting a new arc called “Immune”. The arc supposedly follows on from the previous story arc, “Enemy of the State II” (by the way, I’m pretty sure there was already an arc called that, if not in Wolverine, then in Black Panther), which I haven’t read yet. But “Immune” will have a virus outbreak leading to the government cordoning off a city, and Laura going in. An alien child speaks Laura’s name with her dying breath — though I’m pretty sure the kid is gonna say ‘Wolverine’ as opposed to Laura or X-23 — and that messes with her life, because the virus isalien and apparently originates from Laura. The child thing makes me think that Gabby, Laura’s sidekick (kinda), is going to die or go evil in “Enemy of the State II”, if she hasn’t already and we’ll have to see Laura deal with trust issues and the like. At the same time, Laura is isolated during this story and there’s nothing to fight, and that will be explored. I’m okay with the latter, since it’s good that a character so surrounded by fighting can getg a conflict where she can’t fight her way out. But the statement about Laura being isolated has me concerned that she might revert to her emo, mid-late 2000s self, who I find insufferable. But the story has potential to explore the character, which is what All-New Wolverine has done so well, albeit by using fairly average plots.
The team is okay. Tom Taylor gets Laura Kinney, and although he’s forced to retcon some things in for the sake of his All-New Wolverine stories, they mostly work. While I find him as subtle as a brick — he doesn’t seem to trust the reader to make connections between various scenes themselves, even those within the same issue — he’s good with his Laura characterisation most of the time. His plots need work, but on a character-driven solo series like this, it’s fine. While I dislike some of Taylor’s work (the Injustice: Gods Among Us tie-in), he’s a relatively new writer and All-New Wolverine reads better as it goes, so he’s clearly learning. Plus, it’s nice that he can tell his own stories, after his Earth 2 run was so heavily editor-controlled. Leonard Kirk is an okay artist, who uses slightly exaggerated faces to convey emotion, but is flexible. From the sci-fi drama of Fantastic Four to the more dark stories of Squadron Supreme, he’s shown that he’s versatile. I don’t particularly like or hate his artwork, but he’s a solid choice. Laura’s new costume is obviously supposed to invoke her time with X-Force, and… I don’t know. The brighter Wolverine costume worked for her, as someone who’s more typically superhero than Logan. And it further worries me that Laura is going to slip into the dark anti-hero thing again and start killing, which, as a character who wanted to not be a killer, is moving her character backwards (though I guess you could justify it with her not wanting her time as an experiment affecting her at all, but it’d still read badly to me personally).
There’s not much to say here. I’m glad All-New Wolverine is continuing and sounds like it will keep exploring Laura Kinney’s character in interesting ways, though I’m worried she might regress. I’m not sure how many people will jump on, but I hope it continues because this series actually gives Laura roles that suit her.
Oh, and random aside: Marvel, please tag Cable and All-New Wolverine as part of ResurrXion on your site. And maybe have a consistent image size for the covers so I don’t have to resize them.
Written by Dennis Hopeless (aptly named)
Art by Victor Ibanez
When ResurrXion was being teased, lots of people thought the original Jean Grey, killed during Grant Morrison’s New X-Men, was returning. Well, that’s not the case. But even disregarding that, this comic is just… hopeless (I know, I’m so clever).
The plot will feature Jean confronting the Phoenix Force, without the experience her older self had. The world needs her to be the Jean they need her to be. It’s an okay twist on things, but it still just sounds so boring. She’s obviously going to be the Jean they need or is going to disappear at first and eventually take up the burden. That or she can just go home and Rachel Summers, who writers remember exists since she’s in X-Men: Gold, can just get the Phoenix. Or maybe the original Jean does finally come back. It doesn’t help that Jean’s just not very interesting. This Jean’s characterisation varies depending on where you read her, and not because she develops naturally; but because she’s just poorly written. Hopeless states that Jean wanting to get prepared for the Phoenix Force’s arrival is relatable to young adults thinking of the type of adult they want to be, and how this is largely based on people’s expectations and your own experiences. Which… is how that works, last time I checked. It’s pseudo-philosophical bullshit that just comes off as dumb. Jean can prepare for the Phoenix: learn self-control, mediate, psychologically prepare herself like Hope Summers in AvX, learn to use her powers more, make plans if it goes wrong, etc. Really, there are ways to prepare, and suggesting otherwise is pretty stupid. Like this series, actually.
If it wasn’t clear from the last two paragraphs, let me make it clear: I don’t like Dennis Hopeless. At all. The guy’s dialogue is godawful and he seems to think it’s clever, but comes off as a dumber and shallower Kieron Gillen or Matt Fraction. He doesn’t care about characters’ histories and personalities and bends them to suit his mediocre plots, such as in the awful Avengers Arena,Avengers Undercover and All-New X-Men (volume 2) series. And when he’s not killing off new characters with potential or writing generic fluff, he’s writing mediocre popcorn stuff like Cable and X-Force. And when he’s not doing that, he’s writing cliche-filled boring stuff like Spider-Woman. Hopeless likes to romanticise things like teenage waywardness and motherhood and frame them within the superhero genre, but he’s just too transparent about it and does little else in his stories. The guy is just a bad writer who somehow gets consistent work, and I can’t even say he’s got some magnum opus that justifies keeping him around, or even some good but flawed stuff like Cullen Bunn does with Magneto. At least not anything that’s relevant enough that people talk about it (maybe there’s some amazing, obscure series of his out there that nobody ever bought, like Alex + Ada (except even that series is popular and acclaimed enough to be cited as a work in solicitations).Hopeless seems to be kept around because Marvel need someone to write the books they seem to only publish because they have the IP.
That was a huge rant, so I’m going to give Victor Ibanez his own section. Looking at his prior Marvel works, he seems to be a fill-in artist, and an inconsistent one at that. He did a few issues of Storm and Extraordinary X-Men, and judging from them, he seems to really hate backgrounds because they’re nonexistent in a lot of his panels. His characters look good, however, and he’s got some range. He can do a less stylised look while not being minimalistic or intentionally ugly. Or he can do a more typically superhero look with lots of detail when called for. However, the man’s faces are just off sometimes, and his stuff seems to go off-model somewhat frequently, with things like absurdly long necks and just weird body proportions in general. He’s got potential, but right now, he’s a mixed bag.
Jean Grey already had an uphill battle by using the time-displaced version of the character that the majority of fans have grown tired of. But then Marvel saddled it with their worst writer, and I have absolutely no interest in this series. Jean Grey looks like it will be another crap series by Dennis Hopeless. No thanks.
Written by Greg Pak
Art by Greg Land (I just threw up in my mouth a little)
It’s not really an original thought to suggest that the only current X-Men series that are actually good are All-New Wolverine and Old Man Logan. So when Weapon X was announced, it was assumed that one of the writers of those series, Tom Taylor and Jeff Lemire, respectively, would be writing Weapon X and that it would be a kind of team book featuring the Wolverine family of characters (Logan, Sabretooth, X-23, Daken, etc). However, at best we were about a quarter right.
But ignoring all of that, I like most of the cast. I don’t think Old Man Logan has interacted with the now sort-of heroic Sabretooth yet, and it will be interesting to see how that works out. Jeff Lemire wrote a good Lady Deathstrike over in Old Man Logan, and Pak wants to build on that, which I’m glad to hear, and she does have a weird relationship with the Weapon X project (her father developed the method by which Adamantium was bonded to Wolverine’s skeleton). I know next to nothing about Domino, but she’s got a kind of cool look. Thunderbird is boring to me (you can tell I don’t care about him because I forgot he also went by “Warpath”, even though I’m pretty sure I’ve only ever read him as Warpath), but he was an okay supporting character in Ed Brubaker’s X-Men run. Also of note: why isn’t X-23 here? Pak has said that there will be some familiar faces as guest stars, and I hope Laura shows up, because it’s weird that she’s not on this team, given their goals.
The actual story involves a new Weapon X project, one with even more power and resources than the original. That’s an okay plot, though I swear it’s been done before and I really hate sinister shadowy organisations with unseen goals. It barely ever works out. But yeah, Logan and Sabretooth have to form a team to stop the bad guys, using methods that group members won’t agree on. Pak also said that Weapon X will test the heroism of the heroes and the villainy of the villains, and deconstruct the morality of the characters. With a huge threat like a bigger, better Weapon X, I think that it might actually work, especially since everyone on the team is already an anti-hero, at best. The series seems to be an X-Force series in all but name, focusing mostly on Weapon X-related characters.
Greg Pak is a good writer who excels at emotionally grounding characters, such as in Storm and Action Comics. While his work can lack strong narratives, his character work is always very well done. But then there’s the art. It’s Greg Land. The internet has archives of his bad artwork. The guy’s artwork is badly posed, because he’s copying other work, and does not flow well at all. And that’s when characters aren’t blatantly traced from born, such as in Uncanny X-Men, where Emma Frost dodging a missile was blatantly a tracing of a woman masturbating. His actions scenes suffer because of the aforementioned copying, his characters can look different from panel to panel because of the aforementioned copying, and his dramatic stuff fail because there’s always a part of you that knows, or at least thinks, that you’ve seen the picture somewhere before because of the aforementioned copying. Apparently Land will also be doing a decent amount of splash pages in Weapon X, and I can already see the awkward photoshopping, posing and placement. When he actually draws original art for a story, things look okay, or even good like in Nightwing. But I think Land long ago stopped caring about the quality of his work. Hopefully a new artist comes on after an arc or two, but I doubt it since Land is the “bad, but gets stuff out on time” kind of artist.
Weapon X sounds like it will be an interesting read with bad art. There’s room for good character development and interactions, and hopefully the villain is just a plot device to allow for it. The art is not going to be good, there’s really no avoiding that, but hopefully it’s at least inoffensive in how bad it is. I’m looking forward to it.
For those who don’t know, Iceman sort of came out as gay within the pages of All-New X-Men (volume 1). There was controversy regarding the way writer Brian Michael Bendis went about this, but it’s something that seems to be sticking with the character. Once the teen, time-displaced Iceman tells his adult counterpart that he’s gay, the adult Iceman acts relieved in what’s actually a touching scene. Sina Grace promises to delve into Iceman’s past relationships with women, which I think will be interesting (and hopefully it’s not another excuse to make Polaris crazy). Little else is known about the series, so I’m going to believe it’s a more character-driven one, especially given the statement about exploring Iceman’s past relationships.
I’m not familiar with the creative team, but I do like that a gay man is writing it. Having personal experiences comparable to that of the characters allow you to relate your experiences and always helps with authenticity, but I just hope Sina Grace doesn’t get typecast as “the gay writer” like Christopher Priest did with Black characters. I’m not familiar with Grace’s work as a writer, but I did enjoy his art on Li’l Depressed Boy (though writer Steven S. Struble’s colouring probably played a big part in that). I’m not very familiar with Alessandro Vitti’s work at all, but he did draw Charles Soule’s run on Red Lanterns, and his work there was appropriately messy, but in a controlled way. I’m not sure if that’s just his style or if he went for that look intentionally.
Iceman has a creator I like and has the potential to be a better exploration of homosexuality than many other comics, but I just do not care about Iceman, and the way he was “revealed” to be gay irks me. I’d actually be much more interested in this comic if it were a newer character, or an older one whose homosexuality had a less… controversial history. Someone like Rictor would suit a project like this (in fact, Peter David actually did tackle Rictor’s relationship with a woman after she found out he was gay), basically any gay character who dated a decent amount of people of the opposite sex before coming out as gay. But if you’re looking for a good exploration of a gay character, and don’t mind the way that Iceman was “outed”, and/or are interested in Iceman, this sounds like it will be a decent read.
Written by Christina Strain
Art by Amilcar Pinna
I repeat: what is even this cast? No, really, we have Jubilee, Bling (who I think is gay and might have a crush on Jubilee), um… the guy who checked out Magik’s ass but then was revealed to be gay (in case you didn’t know, Bendis makes things up as he goes)… he makes himself look like other people or something. Quentin Quire (why does he keep getting use?!), um… Disney Princess Girl, and I think Northstar. Oh, and Eye-Boy. I did not make up that last one.
It’s apparently going to explore the cast as a bunch of misfit outsiders within the new X-School, which is now in New York, to further connect the X-Men with the wider Marvel universe. I honestly don’t care. New X-Men: Academy X was the best version of “Hogwarts for mutants”, and it didn’t use the tired trope of the losers vs. jocks. And you just know some characters are going to be written out of character to justify this misfit band getting together.
The characters are all D-listers except Jubilee, who’s a C-lister Marvel doesn’t know what to do with. She’s a vampire now (don’t ask, it was dumb) and also a single mum because she literally stole a baby and just kept it. She also really liked dumping the baby on other characters, and was honestly just an awful parent. And yet, the future version of the kid comes back at one point and says she was a great mother! As an Education student, Jubilee’s treatment of Shogo just annoys me. Quentin Quire is an edgelord mutant teen who likes to act edgy and kicked off the horrible Schism event. He’s awful and never develops but is shilled by Jason Aaron, and I don’t get why he still gets use. The rest are boring and/or pointless which was probably intentional to fit in with this misfit idea, but that still means they’re boring and/or pointless.
I’ve read nothing by Christina Strain, but she apparently is a cover artist and did some of the Runaways covers. I’m not sure if she’s done any interior art, but I sincerely hope so, since that would at least be some storytelling experience with comics. Amilcar Pinna is also relatively obscure, but drew the first arc of the short-lived All-New Ultimates. The art was… okay. It was pretty but didn’t work for actual storytelling, everything looking a bit too stilted and too posed. Male faces resembled Steve Dillon’s to a degree, and that is not a positive in my books. There was also the problem of conveying motion… in that it was nonexistent. So the creative team seems to be inexperienced, to say the least.
I don’t get why Generation X exists. It’s got a boring cast, a boring premise and seems to exist so there’s a young mutant book on the stands. Why is it even called Generation X? The original was a bad pun, so aside from some slight brand recognition, why use that name? Aside from it maybe fitting with the whole “misfit” idea, I mean? Whatever, this series looks pointless.
(note: this was NOT published on the 6th of December like it seems to think it was. It was published on the 12th of December.)
Written by Marc Guggenheim (yes, really)
Art by Ardian Syaf
One of the two main X-ongoings, it features the team introduced by Chris Claremont, with Rachel Grey/Summers and Kitty Pryde along for good measure. They do… stuff. Honestly, it’s vague, but they’ll be more entrenched in general Marvel goings ons, which honestly hassn’t worked out well for the X-Men in the past (e.g, the mediocre second X-Men series, their more recent stuff in Marvel NOW!, such as Uncanny Avengers)
The lineup obviously is invoking the second generation of X-Men, though obviously changed a bit. Old Man Logan is confirmed to be sticking around, and he’s pretty hard to write out of character. Nightcrawler and Colossus are sticking around to be fun and boring, respectively, but they’re always good in supporting roles, especially when Logan is around. Storm’s sticking around, so her fans will be happy, though the leadership position apparently goes to Kitty Pryde. I’ve never been a huge fan of Kitty, but it’s at least nice that she’ll be back with the X-books. Apparently, her returning and finding the X-Men in such a different state will not be ignored, but given how much Guggenheim seems to be the typical Kitty fanboy (she’s his self-insert, he started reading as a teenager and she was just introduced, etc), I doubt she’ll be called on abandoning her species. Rachel Grey/Summers is here, in a bad Mon-El cosplay apparently, and the linked interview makes it seem like Guggenheim really doesn’t know what to do with her, like she’s just there because she needs to be there. The cast is mostly fine, but time will tell if Guggenheim writes them well. Which segues nicely into my thoughts on the creative team!
Just… no on this creative team. Ardian Syaf is hit-or-miss, and a lot of his stuff ends up looking rushed. He’s okay when he’s a hit, but nothing special. But Marc Guggenheim? Let me make this clear: I don’t watch Arrow. I read the Arrow subreddit, but I don’t watch the show. But I know that he basically tanked the show. However, I’m going to throw on my hipster hat and say this: I hated Marc Guggenheim before it was cool! He wrote what is probably the worst New Mutants-esque book ever — Young X-Men, which just alienated every reader of Marvel’s younger mutants while also introducing the shitpile that is Ink, a mutant who gained powers relating to whatever tattoos he had, up to and including the powers of the Phoenix. Not only that, but he also wrote the crapfest that was Bart Allen’s run as the Flash. He also ruined the Justice Society after Geoff Johns left, though people were ruining them a bit before him anyway. So yeah, I’ve got a pretty negative opinion on Guggenheim’s writing, and there’s no big name, strong artist to help him.
While the cast would normally get me kind of excited for X-Men: Gold, having Marc Guggenheim as writer just kills it. I’m sorry, but I expect this to be a mediocre at best series, with probably tons of focus on Kitty Pryde. Not interested.
Written by Cullen Bunn
Art by Jorge Molina
And here’s the other main X-ongoing, X-Men: Blue! And… the time-displaced, original five (O5) X-Men are sticking around. Of course. It will feature the O5 working with Magneto of all people, and getting into “classic”-style stories.
The cast is not good. I’m sorry, but next to nobody cares about the O5 anymore. Let them go home. They’re pointless. Bendis may have had something planned for them, but he jumped ship, and now they’re just a relic of a story that never had any payoff. They’re boring, and pale reflections of their adult counterparts. And Bunn’s interpretation of the characters is just… off. He says many people feel Jean should’ve been the X-Men’s leader for a while, which is just untrue. And given how she either acts purely on her own emotions (All-New X-Men) or is just… a character that exists to exist (Extraordinary X-Men), I have trouble seeing her as a leader at all. Maybe I could swallow the original Jean leading the X-Men in Cyclops, Wolverine, Storm and Xavier’s absence, maybe, but this Jean? I’m sorry, but no. The rest apparently don’t want to go home, because they’ve built lives for themselves, such as Cyke joining the Champions (actually a good read, by the way), Iceman getting a boyfriend, Beast dabbling in magic (why?), and Angel embracing a more warrior-type attitude. It’s just… it feels like Bunn just randomly decided to give the characters new traits because he needed an excuse to keep them around. Except it sounds like this might actually be the series that ends with them going home, which I sincerely hope it is. Bunn’s writing of Magneto is always good, but teaming him up with the O5 is just a weird creative decision.
The creative team is okay, I guess. Cullen Bunn is a writer who I think gets way more work than he deserves, but hey, he gets stuff out on time so why should DC or Marvel care, right? But what I’ve read of his Magneto run is solid, if nothing special, and his Uncanny X-Men run approaches the Terrigen Mists plot in a more interesting manner than any other X-book. However, he’s said that X-Men: Blue won’t be dark like his other works, and honestly, I think that’s his biggest, and possibly only, strength; he can tell dark stories that use other, better writers’ works as a foundation. Jorge Molina is an okay artist, with a style that seems to be a more painted version of David Marquez. At the very least, I kinda dig the design of the X-Men boots. Yep, that’s the only thing I can really say about the art — I dig the boots.
I would love if this series and X-Men: Gold switched creative teams. Bunn is a better writer than Guggenheim, and I’d sooner dump these unwanted, boring characters onto the latter. If this series had a more interesting cast, I’d actually be interested. But instead, we basically get All-New X-Men volume 3, and I stopped caring halfway through volume 1.
Over the course of the last week, Marvel revealed the creative teams and rosters behind its “ResurrXion” relaunch. And yes, it is seriously called that. For those not in the know, it’s essentially a big, line-wide relaunch of both the X-Men and Inhuman comics, and is said to be a result of the ending of the currently ongoing Inhumans vs X-Men event, which is basically the final payoff to the incredibly unsubtle allegory that is the Inhumans’ Terrigen Mists (the catalyst for Inhumans getting their powers) killing off mutants. Get it? Because people know Marvel is essentially turning the Inhumans into discount mutants? It’s so clever, right? Yeah, no it isn’t, and even fans of the new Inhumans aren’t fond of the particular story thread (it doesn’t help that their characters come off as passive idiots). So anyway, yeah, this is gonna be the big relaunch for both franchises, and so far the titles look… incredibly weak. In fact, the X-line looks weaker than it currently does, where at least Old Man Logan and All-New Wolverine are enjoyable. Here are my thoughts on the announced titles and creative teams so far, split into two series at a time because this post got way too big.
Written by Al Ewing
Art by Jonboy Meyers
This series will focus on the Inhuman Royal Family (Black Bolt, Medusa, Crystal and Gorgon), NuHumans Flint and Swain, and Marvel Boy (a Kree super soldier from an alternate universe). They’ll leave Earth to find out about the origin of Terrigen (which they probably should’ve gotten around to once they realised it kills mutants), and probably get into some other hijinks.
This comic is probably the one that makes the most sense. While I was fond of one or two of the “NuHumans” (people who lived ordinary lives until the Terrigen cloud awakened their dormant Inhuman gene), the Inhumans have always been best when embracing their main characters’ morally ambiguity, political intrigue, sci-fi trappings and much weirder lore. Things like the Inhumans taking place in intergalactic wars, or the seemingly eternal feud between Black Bolt and Maximus the Mad. Royals looks to return the Inhumans to their space faring, and also looks to further explore their place in Marvel’s Cosmic side. The actual intrigue concerning the Terrigen Mists, however, is problematic. See, within Jonathan Hickmans ‘’excellent’’ run on ‘’Fantastic Four’’, it was revealed that there are numerous “Inhumans”, all of whom use a different catalyst for their transformations. It’;s just a random element. I can see Al Ewing ignoring this, which is sad, since I thought the Universal Inhumans were a cool idea that didn’t need this complication (though the fact that this mutant-Terrigen thing is a blatant retcon doesn’t help).
The cast is okay for the most part. I don’t think Medusa is nearly as interesting as Marvel wants her to be, but Black Bolt is always a treat. Crystal is fun when writers embrace her status as Medusa’s wayward sister, and I’m interested if her relationship with Ronan will be brought up (they were married and were forced to separate by Black Bolt’s treaty with the Kree). Gordon is just the typical nasty drill sergeant for Inhumans, and the attempt to give him depth via him being paraplegic fell flat for me. Swain and Flint are boring and easily the least interesting of the NuHumans, and I don’t know why Ewing felt the need to include them. Marvel Boy… exists. All I know about him is that he was a clueless idiot in Dark Avengers,a pointless guest star in Wolverine, a hipster in Young Avengers (like everyone Kieron Gillen writes these days) and… yep, that’s it.
I have mixed feelings about the creative team. I just haven’t ever liked anything by Al Ewing. His stories are sorta interesting sometimes, but he really overwrites his dialogue, drags out his stories, and likes to use really boring characters. I found his Mighty Avengers stuff to be boring at best, and his Ultimates basically ruined Galactus and reads like he’s trying really hard to be Jonathan Hickman and failing. Jonboy Meyers is an artist I have limited exposure to, but I enjoy his work on the current Teen Titans series, but the man cannot draw the tips of feet to save his life. His work is always energetic and fun, with a very cartoony feel, which I’m not sure will work for the seriousness of the Royal Family.
I’ve got mixed feeling about the series, but I can at least see why it’s a good idea for it to be published, given people have been clamouring for more old school Inhuman stories, and it will tie-in to Marvel’s Inhuman TV show. While I’m not sure about the creative team and a particular plot thread, I can see Royals being an okay read for Inhuman fans.
Secret Warriors Written by Matthew Rosenberg
Art by Javier Garron
This comic will feature Daisy Johnson, Kamala Khan, Karnak, Moon Girl and Inferno fighting some clandestine threat while the Royal Family is off in space.
I just don’t get this. It has little to nothing to do with the original Secret Warriors by Jonathan Hickman (I just realised how his stuff is being dragged through the mud these days), and fans of that series mostly do not like the MCU-ified Daisy Johnson (I, personally, just call her Skye). It just seems to exist for the sake of keeping that name alive after Agents of Shield used it.
The roster is the most random assortment of heroes I’ve ever seen. Daisy Johnson, assuming she’s still written as she was before AoS, is a grim and gritty super spy who’s seen some stuff and is basically a grizzled veteran without the age. Ms. Marvel is a more traditional superhero who really believes in the Superman-esque ideals (community, traditional heroics, etc.). Karnak is an interesting character, and his ability to “see the flaw in all things” has been explored in interesting ways, but he’s just a weird character more suited to artsy solo ongoings by more experimental writers. Heck, Al Ewing could probably do a good job writing him, and he is a member of the Royal Family, one who still has an ongoing (that’s late), so I have no clue why he’s here. I didn’t read Moon Girl and Devil Dinosaur past the first issue, but it seems to be a fun, pretty mnuch not superhero adventure. And Inferno is… a guy. He’s a more modern superhero character who’s had this power thrust upon him but has a family to protect (his sister and her baby, who has already been exposed to Terrigen). It’s just a group that doesn’t have a consistent tone between them. Plus, it breaks the rule that Marvel currently has that a character can only be on one team at a time, since Ms. Marvel is in Champions… in fact, the team was her idea.Rosenberg has promised some additions that aren’t Inhumans, but I’m not even sure this series will last long enough to get new members.
I know next to nothing about this creative team. I enjoyed Matthew Rosenberg’s Kingpin miniseries (what I read of it), but this series seems far removed from what that one was. I’m not at all familiar with Javier Garron’s work (he apparently did some Star-Lord work). As an aside, whoever did that cover is a dummy; why is Skye wearing wedges? Characters who fly and the like, I get them wearing heels and wedges, but why the spy? And is that shit regulation SHIELD? Just… why?
So yeah, I really don’t care about Secret Warriors; the criteria for the cast seems to be “popular Inhumans”. There’s just nothing here for me, and it seems to be a case of using popular brands for the sake of it.