Tag Archives: Marvel Comics

Jack Fisher’s Quick Pick Comic: Uncanny X-men #10

Every Wednesday, fans of comic books and superheroes are blessed with fresh batch of comics. It’s like Christmas every week and you don’t have to suck up to some jolly fat guy who lives at the North Pole. You just have to have a few extra bucks and a Comixology account.

This week, however, those extra bucks go a lot further than usual for X-men fans. That’s because “Uncanny X-men #10,” the final issue in a story arc that assembled almost every notable character associated with X-men has come out. Some weeks are harder than others when it comes to picking the most worthy comic from the bunch. This was not one of those weeks.

Make no mistake. “Uncanny X-men #10” is both a game-changer and a major upheaval for the X-men. It acts as a culmination of a battle that began with the return of Nate “X-man” Grey, but in a powerful new form. He’s not just another displaced character from a dystopian timeline, of which there are many in comics. His agenda is different and his personal connections to the X-men make him a daunting foe.

He’s not Apocalypse. He’s not Magneto. He’s not even some uneasy ally who was once an enemy and the X-men have had plenty of those. Nate Grey is out the save the world, but not by protesting injustice or signing an online petition. He literally wants to destroy it and remake it. Given the insane breadth of his power, that’s entirely possible.

For the past nine issues, he’s gone about his plan with the subtly of a hurricane. He’s abducted senators, mind-controlled powerful mutants, and waged war on anyone who might stand between him and a better world. The X-men, who have a strict policy against over-powered mutants destroying the world to remake it, oppose him at every turn.

Uncanny X-men #10” is just the final showdown and it’s a battle for the ages. The writing talents of Matthew Rosenberg, Ed Brisson, and Kelly Thompson team up with the artistic talents of Pere Perez to craft a mutant-powered spectacle that never slows down. It’s the most powerful mutants in the Marvel universe against a threat who wasn’t just a close friend. To characters like Jean Grey, he’s family.

This is where “Uncanny X-men #10” shines in a special way. While a good chunk of the comic is dedicated to epic mutant battles, there’s never a point where the action is mindless and impersonal. In between all the fighting, there are major personal stakes for Nate and his alternate universe mother, Jean Grey.

Their interactions is what really gives dramatic weight to the spectacle. I won’t spoil the details of their exchange. I’ll just say that it’s beautifully done. It’s genuinely heart-wrenching to see Jean having to battle her own son. Even if he’s from an alternate universe, she sees him as family and that makes fighting him all the more difficult.

That kind of heavy drama is what brings out the best in the X-men. It’s what makes for the best moments in superhero comics, as a whole. However, what really makes “Uncanny X-men #10” worth getting is how it sets up the future of the series.

Again, I won’t spoil it. I’ll just say that the aftermath of the battle creates a very different world for mutants, humans, the X-men, and everyone in between. It’s a world where all the hopes and dreams of the X-men are effectively moot. What does that mean for them and those they protect? There are some telling hints, but there’s definitely an impact when all is said and done.

I’m sure there will be plenty of X-men fans who feel both excitement and dread after reading “Uncanny X-men #10.” If you’ve been following X-men comics in any capacity for the past several decades, then you know that’s not unusual. However, this feels like one of those issues that people will be referring to for years to come. Whether they love it or hate it, this comic marks a major turning point for the X-men.

Most X-men fans knew that 2019 was going to be a major year for the Children of the Atom. Between two movies, the pending Disney/Fox merger, and the return of multiple major characters, there’s a lot get hyped about. “Uncanny X-men #10” is just the latest catalyst that can only help the X-men’s prospects in 2019.

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Jack Fisher’s Weekly Quick Pick Comic: Captain Marvel #1

It’s Wednesday and if you’re a lifelong comic book fan like me, you know that’s the most magical day of the week. Screw sleeping in on Saturday or going out to party on Fridays. Wednesday is new comic day, that magical day when a fresh batch of comics enter the world and make it more awesome. In celebration of this day, I offer my pick of a single comic that I feel makes new comic day that much more awesome.

This week was easier than most. If you were up late watching the College Football Championship Game, you saw the latest trailer for the upcoming “Captain Marvel” movie. This year is already shaping up to be an awesome year for Captain Marvel, Carol Danvers, Brie Larson, and everyone affiliated with this marvelous character. Writer, Kelly Thompson, helps do her part with “Captain Marvel #1.”

Even if you’ve never read a Captain Marvel comic and only know the bare minimum about Carol Danvers, this comic is for you. It’s the latest relaunch of the series and after recent upheavals in her life, the timing is perfect. I know a lot of comic fans whine about the number of relaunches that occur these days, but sometimes it’s appropriate when a character undergoes a major transition.

The Carol Danvers in “Captain Marvel #1” is more grounded and self-aware than the Carol Danvers of recent years. She’s focusing less on high-flying space battles and more on events unfolding on Earth. Since Earth also has the occasional Kraken attack in Lower Manhattan, it’s not like she’s short on things to punch.

Beyond just punching monsters, this comic establishes that Carol Danvers isn’t just a hero, an icon, and the star of an upcoming movie that seeks to challenge “Wonder Woman.” She’s an actual person who has thoughts, feelings, insecurities, and even pet peeves. Granted, most of those peeves center around how annoying Tony Stark can be, but that just helps show how human she is, at heart.

Only a small chunk of this comic is spent with her fighting monsters or saving the day. A lot more of it shows Carol rebuilding and reconnecting with the people in her life that matter. That includes her best friend, Jessica “Spider-Woman” Drew, and her frequent love interest, James “War Machine” Rhodes.

It makes for plenty of small, meaningful moments that bring out Carol’s humanity. It helps make the larger, more action-packed moments that much more enjoyable. There is a larger conflict unfolding. There are new threats emerging for Carol that have little to do with space aliens, superhero civil wars, or pre-ordering tickets to her movie.

The nature of those threats aren’t resolved in a few punches. In fact, it sets the stage for a larger story that’ll require Carol to raise the bar for heroes, as only she can. It shows Carol Danvers at her best in addition to showing her at her most human. It’s a perfect balance for a Captain Marvel comic.

It really is a great time to be a Captain Marvel fan. Even if you’re not, “Captain Marvel #1” makes a strong case on why she deserves to be in the upper ranks of Marvel’s greatest heroes. That makes my quick pick this week easier than usual. If you buy only one comic this week, make it “Captain Marvel #1.”

If nothing else, it’ll help tide fans over until the debut of her movie on March 8, 2019.

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“Captain Marvel” Second Trailer

Another glorious preview for “Captain Marvel” has dropped. Let’s all take a moment to soak in its marvelous glory. She’s destined to fly higher, farther, and faster than any hero before her. Thanos is fucked. Nuff said!

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The following is a review I wrote for PopMatters for “The Life of Captain Marvel #5.” Enjoy!

Losses, Journeys, and Ascensions: ‘The Life of Captain Marvel #5’

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December 21, 2018 · 10:21 pm

The following is a review I wrote for PopMatters for X-Men Red #11.

Jean Grey Exercises the Power of Emotional Intelligence in ‘X-men Red #11’

 

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December 17, 2018 · 8:47 pm

How “Into The Spider-Verse” Embodies The Best Aspects Of Superhero Movies (And Sets Up A Promising Future)

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In the modern era of superhero movies, Spider-Man is one of the bedrock franchises that has guided the genre through its journey from niche market to global box office dominance. Alongside the first “X-men” movie, Sam Raimi’s original “Spider-Man” is credited with ushering in this golden age of superhero cinema.

It has been a bumpy road at times. We had high points with “Spider-Man 2” and not-so-high points with “Amazing Spider-Man 2.” Regardless of how these movies fared, the story of Peter Parker shouldering the power and responsibilities of Spider-Man has become ingrained in pop culture. We still could’ve done without that awful dance scene, though.

Given all the weight Spider-Man has for the genre, a movie like “Into The Spider-Verse” has a lot going for it and just as much working against it. The story of Peter Parker has been done, redone, and overdone so much that it feels like there’s no room left for nuance. Well, “Into The Spider-Verse” definitively proves there’s still untapped potential and it runs even deeper than anyone thought.

I don’t want to spoil much about this movie, but I will spoil this. “Into The Spider-Verse” is every bit as awesome as critics and audiences alike have said. It’s a truly groundbreaking achievement for superhero movies, animation, and the Spider-Man franchise. The fact that it managed to do this without being part of the Marvel Cinematic Universe makes that accomplishment all the more remarkable.

This movie succeeds on so many levels. It takes a concept drawn directly from the comics and expands on it, creating a whole new world in which all things Spider-Man do not revolve entirely around Peter Parker. That’s not a typo, by the way. This is a Spider-Man movie in which Peter Parker is not the main driving force of the story.

It’s this kid.

He’s still there. He still plays a major part in the story. However, this movie is a story about Miles Morales. Those who follow the comics will recognize that name. He’s not just some unknown character who gets thrust into a central role in the vein of the “Ghostbuster” reboot. Miles has a fairly comprehensive history going back to 2011 and this movie captures the heart of that history perfectly.

Miles is not like Peter in many ways. Beyond the fact that he’s half-black, half-Latino, and the nephew of a dangerous super-villain, his powers are slightly different. His personality is different, as well. He’s not the same nerdy dork that Peter Parker was, but he is very much an outsider who struggles to fit in.

Miles has more confidence, but not in the arrogant hipster Andrew Garfield sort of way. He’s someone who isn’t sure of who he wants to be or where he wants his life to go. On one hand, he’s got his parents who want him to aspire to something greater than a life in Brooklyn. On the other, he has influences like his Uncle Aaron pulling him down a darker path.

Him getting bit by a radioactive spider only compounds these conflicting forces. Part of what makes Miles work when other would-be Spider-Man replacements failed is that his struggle feels genuine. He never comes off as a rip-off or a substitute. What makes Miles a Spider-Man worth rooting for is how Peter Parker inspires him to take on that responsibility.

The comics went about that in one particular way that worked brilliantly. “Into The Spider-Verse” utilizes a different, but similar approach that’s every bit as compelling. Peter Parker has a major influence, but the movie throws in many other influences that send Miles down the path to becoming Spider-Man.

Some of those influences come in the form of other famous alternate-version Spider-Man characters, including the likes of Spider-Gwen and Spider-Ham. “Into The Spider-Verse” manages to give them their own stories that show how they fit into the greater Spider-Man mythos, but for Miles, they embody the responsibility before him.

Like Peter, and so many other Spider-Man characters, he’s initially reluctant to bear that burden. Over the course of the movie, he endures plenty of agonizing decisions and crippling self-doubt. He struggles in ways that we’re not used to seeing Spider-Man struggle, but that’s exactly why “Into The Spider-Verse” works so well in the current landscape of superhero movies.

Going back to the first “Iron Man” movie, we’ve come to expect struggles and setbacks from our heroes. Miles has a lot more than most and not just because of his youth or inexperience. He has huge shoes to fill and the history of characters filling the shoes of iconic heroes is mixed at best.

By the end of the movie, though, Miles effectively proves that he’s worthy of being Spider-Man. He deserves a spot in the greater Spider-Man mythos. It doesn’t have to revolve entirely around Peter Parker. For some Spider-Man fans, that may seem outrageous. “Into The Spider-Verse” shows that there’s plenty of room for characters like Miles.

How it goes about this has greater implications for the future of superhero movies than it does for the present. I would even go so far as to say that “Into The Spider-Verse” might end up being a major turning point for the superhero genre because of how it tells Miles’ story alongside that of Peter Parker.

Aside from just raising Miles’ profile, “Into The Spider-Verse” does something that is overdue for Peter Parker’s story. Specifically, it ages him. The Peter Parker in this story is not some wide-eyed kid with Tom Holland’s baby face. He’s an older, more jaded version of Peter who has made mistakes and lost confidence in himself, as often happens to those who survive to middle age.

The look of a man who has fought one too many muggers.

It’s part of the paradox of heroism that I’ve mentioned before in that many popular superheroes aren’t allowed to age beyond a certain point. In fact, that was cited as the primary reason for breaking up Spider-Man’s marriage to Mary Jane Watson in the comics. Aging a hero beyond the mold Frank Miller’s version of Batman just seems like a dead end.

Into The Spider-Verse” makes the case that this doesn’t have to be the case. Peter Parker can grow up and even endure a mid-life crisis. For a character who has been around since the early 1960s, it almost feels overdue. His struggle doesn’t have to be the end of his story. If anything, it helps further Miles’ ascension to becoming the new Spider-Man.

It’s a theme that has played out in the comics more recently. Older heroes are inspiring a new crop of younger heroes. Miles Morales was among the first. Others like Kamala Khan and Riri Williams have followed. It feels like a natural progression of the superhero archetype, inspiring others to take up the responsibility and aspire to something greater.

Miles Morales isn’t a replacement for Peter Parker. He’s a supplement to the greater Spider-Man mythos and “Into The Spider-Verse” establishes how well this can work. His story is every bit as endearing as Peter’s, but without supplanting him. As such, it provides a new template for superhero movies in the future.

Not every story has to rely on rehashing and revamping iconic characters from the Stan Lee/Jack Kirby/Steve Ditko era. It’s possible for new characters to emerge without replacing older ones. The world of superheroes can grow and evolve with subsequent generations. It’ll have to and not just because of actors’ contracts expiring.

If I had to score “Into The Spider-Verse,” I would give it an 8 out of 10. It’s a great movie, but it does have some shortcomings. They’re very minor. The pacing of the movie is erratic at times and the designs for certain characters, namely Kingpin and Scorpion, have room for improvement. It never feels chaotic or disconnected, though. The movie has a unique artistic style that fits perfectly with the story.

Every now and then, someone will claim that superhero movies will one day go the way of the western. That may still happen at some point, but “Into The Spider-Verse” shows that there are whole new paths to explore and they have to exist in the MCU. This movie is an incredible achievement beyond just being a great superhero movie and one I hope inspires others for years to come.

Also, the tribute to Stan Lee at the end will bring a tear to your eyes. Be certain of that.

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The Future Of Villains And Villainy

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What is happening to villains these days? That’s an entirely reasonable question to ask. Over the past decade, we’ve seen a remarkable shift in how we approach villainy in movies, TV, comic books, and video games. I’m not just talking about the superhero media, either. However, that happens to be the most visible manifestation of this change.

As a long-time fan of both superheroes and quality villains, I welcome this change. At the same time, I’m curious about where it’s leading and what it means for the future. Villains are as old as storytelling itself. From the Bible to “Star Wars,” these stories work best when there’s villainy to oppose the unfolding narrative. Villains have always evolved alongside the heroes that oppose them, but that evolution seems to be accelerating.

I’ve discussed the unique journey that villains undergo and how they set themselves apart from heroes. Traditionally, a villain’s primary purpose was to both oppose the hero and highlight how heroic they are. The sheer malice of characters like Lex Luthor help contrast the pure selflessness of characters like Superman. It’s easier to appreciate those heroes knowing they have to deal such malicious opponents.

Then, something remarkable happened. Audiences began demanding more of their villains. It wasn’t enough to just have a villain oppose a hero. People began wanting villains who were understandable and even relatable to some extent. Ironically, they wanted a villain they could root for.

That helped lead to characters like Walter White from “Breaking Bad.” His impact was so profound that I even called his influence the Walter White effect. However, I think there were others who paved the way for Walter White. If I had to pick one villain that helped kick-start this trend in villainy, it would be Heath Ledger’s Joker from “The Dark Knight.”

From this portrayal of villainy, the emerging state of villains emerged and it may very well set the tone for the future. On the surface, this version of the Joker wasn’t too different from the one who had existed in the comics for years. He’s dangerous, destructive, murderous, and callous, like many villains. Unlike most, though, he does what he does with a laugh and a smile.

What made this version of the Joker so memorable was the principles behind his madness. To him, society is corrupt and people aren’t inherently good. As such, he seeks to point out how laughable it is when others try to save it. Batman’s crusade against crime is the biggest joke of all, which helps drive their rivalry.

It’s a philosophy that few other than terrorists and extreme nihilists would buy into, but it’s one that’s understandable to some extent. We don’t have to agree with them or their methods. We just have to see their twisted logic. They can’t just be standard James Bond villains whose motives are indistinguishable from fascists, communists, or terrorists. There needs to be something more personal at work.

We saw plenty of that in 2018’s biggest movies. From “Black Panther” to “ Avengers: Infinity War” to “Incredibles 2,” the villains all had something personal at stake. Erik Killmonger saw his villainous actions as heroic. He wasn’t out to just take over Wakanda. He had a vision in mind that felt justified to some extent, especially to those familiar with real-world historical injustices.

Thanos raised the bar even more in “Avengers: Infinity War.” He never tries to come off as a hero, but he never sees his actions as villainous, either. In fact, when heroes like Dr. Strange call him out, he frames his desire to cull half the population in the universe as mercy. For him, it’s simple math. Half a population is better than no population at all.

These motivations, as devious they might be on paper, have some semblance of merit to it. Both Thanos and Killmonger think they’re doing the right thing. That significantly impacts how the heroes in their stories go about thwarting them, although I would argue that one story was more complete while the other remains unresolved.

In “Black Panther,” T’Challa doesn’t just stop at defeating Killmonger. He actually sees some of his enemy’s points and takes steps to address them. He doesn’t revert things back to the way they were. Wakanda doesn’t return to the same isolated state it had been at the start of the movie. Instead, he seeks to find a middle ground. That, I would argue, is the new template for how heroes defeat this kind of villain.

The resolution in “Avengers: Infinity War,” however, is not as clear. That’s largely due to the story not being complete. There is a sequel planned, but at no point in the three-hour spectacle did the Avengers attempt to prove Thanos wrong. They only ever tried to stop him. That oversight has not gone unnoticed by audiences.

This, in many ways, sums up the new dynamic between heroes in villains. It’s no longer enough for heroes to just defeat their adversaries. It’s not even enough for villains to be exceptionally devious. There have to be larger principles at work. It can’t just be reduced to general greed, ego, or bullying.

Thanos seeks to kill have the population because he believes that it’ll prevent the complete extinction of all life.

Erik Killmonger seeks to empower oppressed minorities to right past injustices.

Dr. Doom seeks to conquer the world because a world under his rule is the only one free of suffering and want. That’s actually canon in the comics.

It’s makes crafting compelling villains more difficult, but at the same time, it opens the door to more complexity. On top of that, it demands that audiences think beyond the good versus evil dynamic that has defined so many stories, going back to the days of fairy tales. It’s a challenge that some are certain to fail. Some already have, sadly.

It also sets the tone for future forms of villainy. How that villainy manifests is impossible to predict, but given the current trends, I think there’s room to speculate. At the heart of this emerging villainy is the idea that the current system just isn’t working. It’s so bad that the only viable option is to destroy and rebuild it. There’s no room, whatsoever, for reform.

This is where the heroes will have to evolve, as well. They can’t just play “Super Friends” and save the day. They have to actually make meaningful changes to move society forward. King T’Challa did that at the end of “Black Panther.” Other heroes need to be as willing. Otherwise, they won’t be able to call themselves heroes. They’re just defenders of a status quo may not be working as well as they think.

It’s an ideological struggle that parallels many real-world struggles. People today have less and less faith in established institutions. As a result, more people are falling sway to populist rhetoric that promises to break down the current system entirely. By and large, people today aren’t content with just preserving things as they are. They seek more meaningful change.

That presents a serious problem for heroes and a golden opportunity for villains. Historically, heroes haven’t been able to effect change beyond a certain point. Some of that is for logistical reasons. A hero can never create a functioning utopia without ending the story completely, which is something major media companies cannot have. There’s too much money to be made.

Logistics aside, the future of villainy will have plenty of raw materials to work with and plenty of societal angst to draw upon. Heroes who save the day, but do little else won’t be able to call themselves heroes in the world currently unfolding. Villains who have a real vision with understandable motivations will find themselves with more supporters than before.

It’s no longer taboo to root for the villain, especially when the heroes don’t confront the flaws in their rhetoric. In what seems prophetic now, “Avengers: Age of Ultron” may have put it best when Ultron stated:

“I’m sorry, I know you mean well. You just didn’t think it through. You want to protect the world, but you don’t want it to change.”

That’ll be the key to the future of villainy, change in a world that resists too much of it happening at once. It’ll make for some complicated villains, but it will definitely make the struggle of heroes even harder. However it plays out, I believe it’ll be worth watching.

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