Every week, a fresh crop of new comics comes out and the world is a little bit more awesome because of it. As a lifelong fan of comics, superheroes, and many other things that the Bill Maher’s of the world despise, I take it upon myself to single out one comic from that week that makes this most special of days for superhero fans that much more memorable.
This week was a busy week with big events brewing with DC’s Heroes In Crisis story and Marvel’s ongoing Age of X-Man event. Being a lifelong X-men fan, I know I’m somewhat bias towards the X-men side of things. This week, however, I didn’t need that bias to single out Uncanny X-Men #11 as my top pick of the week.
It’s not just because this book comes on the heels of Cyclops’ latest return from the dead, which occurred in Uncanny X-Men Annual #1 a couple weeks ago. It’s not just because he’s returning to a world where most of the X-Men have disappeared and been presumed dead after their battle with Nate Grey in Uncanny X-Men #10, either. What makes this comic my top pick is something far greater.
In every superhero comic, you learn the most about a character when they’re at their worst. It’s easy for any hero to shine when things are going well. When the world loves them, when super-villains despise them, and when they’re not stuck on the wrong end of a love triangle, it’s easy to seem heroic. It’s when everything is terrible and their world is on the brink that you learn who they truly are.
Uncanny X-Men #11 lets everyone know who Scott “Cyclops” Summers is. In this story, he has no X-men to lead. He has no beautiful wife by his side or buxom blonde lusting after him. His mentor is gone. His home is gone. Everything he ever fought to defend is gone. What does a man like that do in a situation like that?
He can either cower and whine or he can step up and fight. Cyclops, having gone to war with the Avengersandthe Inhumans, has never been one to cower. The story that Matthew Rosenberg and Salvador Larroca tell here shows why he’s the leader of the X-men in the first place. It shows why beautiful telepaths are attracted to him. When things are at their worst for the entire mutant race, this is the man you want leading you.
If you’re a Cyclops fan in any capacity, Uncanny X-Men #11 is a must-have. However, what makes this book even more valuable is that it’s giant-sized. That means it costs a little more than the typical two to three dollar price, but you get a lot more for those few extra bucks.
In addition to Cyclops kicking ass, Wolverine has his own story that unfolds in the background. He too recently came back from the dead and has been dealing with the many complications associated with resurrection in his own series, Return of Wolverine. Having sufficiently stabbed those complications, he’s ready to return to the X-Men and he’s just in time to help Cyclops, a guy who’s wife he kept trying to sleep with.
It’s a beautiful thing, these two coming together once more in the X-Men’s darkest hour. The way it happens and the action it inspires is too great for words. That’s why I’m not going to spoil it. I’ll just say that if you’re a Cyclops fan, a Wolverine fan, or an X-Men fan in general, this comic feels like one of those books that will one day be critical in the history of the greater Marvel universe.
As it stands, the X-Men are gone and the mutant race is fading into obscurity. Rather than genocide, they’re facing a future where people simply treat mutation like a flu shot. The vaccine that was introduced in Uncanny X-Men #1 works. Parents can now keep their children from becoming mutants. While it greatly limits their chances of becoming superheroes, it ensures they can lead a “normal” life.
What does this mean for the future of the X-Men? What does it mean for mutants? These are unanswered questions that will probably linger for many issues to come, but Uncanny X-Men #11 effectively fires the first shot in a new struggle. Cyclops, Wolverine, and the rest of the mutant race aren’t content to just whither away. That’s not their style and this issue demonstrates why in so many uncanny ways.
If the measure of a true hero is determined by how they handle their darkest hour, then Uncanny X-Men #11 reaffirms why the X-Men are in a league all their own. The world may always love the Avengers, but the X-men will always command their respect.
At this point, hoping for more is just being greedy. With a sequel to “Venom” in the works and other spin-off projects in the pipeline, it almost feels wrong to hope for something specific. Marvel, Sony, and Disney are already giving us so much. What more can they possibly offer?
Well, I’d like to make the case that there is one particular branch of the evolving Spider-Man universe that warrants greater attention. It’s something that was already hinted at within “Into The Spider-Verse” and I feel she could have a greater than any other Spidy-centric media. The timing is right. The market is ripe for her ascension. It’s just a matter of building on foundation that is already rich with potential.
I’m referring to Spider-Woman, also known as Gwen Stacy, but best known as Spider-Gwen. In the mythos of Spider-Man, she’s a fairly recent development. However, her rise to prominence has been nothing short of spectacular and I believe she has done plenty to warrant her own place in the franchise.
Most Spider-Man fans know the name, Gwen Stacy. She has had a prominent place in the Spider-Man comics for decades. However, like Miles Morales, Spider-Gwen emerged in an alternate universe where known characters are different and events unfold differently. Her sequence in “Into The Spider-Verse” offered a brief overview of who she was, but her story is far richer than that.
That story still contains many of the iconic themes associated with Spider-Man. Issues like power, responsibility, and dealing with J. Jonah Jameson are a huge part of Spider-Gwen’s story. However, there are a few distinct variations that help set her apart and it’s because of those traits that I believe she can carry her own movie.
What follows are just a few reasons for why I feel that way. There are probably plenty more that other Spider-Gwen fans will resent me for skipping. I understand and accept that responsibility. Since these are such great times for Spider-Man fans, I like to think we don’t need that many reasons to give someone like Spider-Gwen her own movie.
Reason #1: She Sets Herself Apart From Peter Parker (Aside From Being A Woman)
If the success of “Into The Spider-Verse” taught us anything, other than the inherent appeal of cartoon pigs, it’s that you don’t have to be Peter Parker in order to embody the themes of Spider-Man. Miles Morales did a lot to set himself apart in terms of personality, circumstances, and abilities. Spider-Gwen does plenty of that too, but she takes it even further.
In the world of Spider-Gwen, the story of Gwen Stacy unfolds very differently. She’s not a nerd like Peter. She’s not a biracial teen trying to fit in at a new school. She’s the same sweet girl that Spider-Man fans know from classic stories. That all changes when she gets bit by that radioactive spider instead of Peter.
The Gwen Stacy that emerged after is still Gwen, but she goes about utilizing her powers very differently compared to Peter. They change the way she carries herself. She doesn’t approach them the same way as Peter or other Spider-Man characters. She follows her own path, complete with her own sense of power and responsibility.
Her approach is not radically different from that of Peter Parker, but it still feels distinct. How Gwen becomes Spider-Woman and how this affects her, as a character, is not a story that can be told with Peter Parker, Miles Morales, or any other character, for that matter. The fact she’s a woman at a time when female superheroes have been subject to greater scrutiny is just a nice bonus.
Moreover, the story of Peter Parker has been told and retold many times, already. There have been three distinct timelines with threedifferentactors taking on the role. There’s only so much more that can be done at this point. Gwen Stacy is a different story, but one that’s familiar enough to fit into the greater Spider-Man mythos.
Reason #2: Her Story Brings A Unique Set Of Challenges (Aside From Being A Woman)
Being a masked vigilante is hard. Five decades of Spider-Man comics and three movie franchises have done plenty to establish that. However, Peter Parker never had to deal with being a vigilante while having a cop for a parent. He also never had to be the prime suspect in the death of a friend that he tried desperately to protect.
Those are just some of the challenges Gwen faces throughout her story in the comics. Unlike Peter, she’s not just another high school student trying to balance her personal life with her superhero life. She faces far greater challenges than not having a date to the prom or showing up late to class.
One of her biggest challenges, throughout her story, revolves around being a vigilante while her father, George Stacy, is a cop with the NYPD. On top of that, he’s initially tasked with arresting Spider-Woman because she’s implicated in the death of Peter Parker. Learning that his daughter is Spider-Woman only compounds that challenge.
There’s a lot of drama in that dynamic. If you want to see how it plays out, I strongly recommend checking out the comic series written by Jason Latour. These challenges are things that you won’t find in a Spider-Man story with Peter Parker. Like her counterparts, Gwen bears many burdens and responsibilities, but having a cop for a father only makes it harder.
At a time when the conduct of the police is under more scrutiny than ever, I think a Spider-Gwen movie could explore those conflicts better than most. Beyond giving Gwen different obstacles, it offers a different perspective on what it means to be a hero and how difficult it is to manage when family affairs get involved.
Reason #3: The (Fitting) Tragedy Of Peter Parker In Her World
It’s impossible to tell the story of Spider-Gwen without telling the story of Peter Parker in her world. Her version of Peter is very different in that not getting bit by that radioactive spider sent him down a darker path. His story is one of tragedy, but it’s the kind of tragedy that complements Gwen’s story and fits perfectly with the themes of Spider-Man.
In many respects, Peter fills the role of Uncle Ben in the world of Spider-Gwen, but not in the same way. It’s not a classic case of failing to stop him from getting hurt by a random accident. Gwen actually went out of her way to protect Peter. Getting superpowers actually made that easier for her. She sees him as her friend and wants to help him.
However, in doing so, Peter makes some fateful decisions that result in his death. It’s not just tragic. It’s gut-wrenching for Gwen. She has to watch this boy she cares about die because he wanted to be more like her. She’s very much responsible for what happened to him. On top of that, Spider-Woman is blamed for his death, thanks to shoddy reporting by J. Jonah Jameson.
This version of Peter is powerful in how it twists the classic Spider-Man narrative without warping it entirely. By helping Peter like she did, Gwen ultimately failed him. That’s a different, but effective way to learn the importance of power and responsibility.
Reason #4: She’s Likable In Many Ways (More So Than Peter)
Even in stories where she doesn’t have powers, Gwen Stacy is a genuinely likable character. She’s sweet, fun-loving, and genuine. She’s the kind of girl you can be friends with and/or fall in love with. She’s honest and blunt in how she deals with people. She’s also compassionate and understanding. Getting superpowers only enhances these traits.
What we saw in “Into The Spider-Verse” was just a small sample of a much richer persona. Her attitude, as well as her ability to connect with others in awkward situations, is plenty endearing. In the comics, we see this manifest in many other ways. From the way she deals with her father to how she interacts with her band-mates in their all-female band, the Mary Janes, is likable on so many levels.
I would go so far as to argue that she’s a lot more likable than Peter Parker, if only because she’s less prone to brooding and whining. Throughout the comics, she ends up in some pretty rough situations, which include being actively hunted by the NYPD and unable to go home to her father after he learns of her identity. It’s rough, but at no point does she just whine about it.
As sweet as Gwen is, she also has grit. She knows how to endure a lousy situation and when the going gets tough, she finds a way to get stronger. She still messes up along the way. In fact, she messes up a lot in the comics, but she learns from her mistakes and she grows along the way.
I’m not saying Peter Parker hasn’t grown over the years, but even after five decades of comics, cartoons, and movies, his growth tends to regularly stagnate. Every time he seems to move forward with his life, he takes a step back, whether it’s undoing a marriage or losing his billion-dollar company.
Spider-Gwen may not have had as much time to grow and regress, but her story has been allowed to evolve in many ways since her debut. That development is full of opportunities. Even though she has only been web-swinging since 2014, she has plenty of material for a great movie.
Reason #5: Her Story Is Not Bogged Down By Continuity
This is more a logistical issue than anything else. Peter Parker has been around since the Kennedy Administration. His story has years upon years of continuity that effectively shackle him from radical change. I’ve mentioned before how all superheroes are subject to these constraints. I’ve even argued that Spider-Man is more inept than most at dealing with them.
With Spider-Gwen, however, there are far fewer constraints and many potential avenues for growth. Her story, and that of her distinct alternate universe, is in its infancy, relative to other superheroes. She hasn’t been around long enough for complications and retcons to accumulate. She can follow many different paths, both in the comics and in the movies.
One of the common complaints that comic fans will levy against a movie is how closely it follows the source material. Since Peter Parker is such an icon, there’s not a lot of wiggle room. With Spider-Gwen, there isn’t much source material from which to deviate. “Into The Spider-Verse” already captured the basics. A full-fledged Spider-Gwen movie will have plenty of flexibility.
There are plenty of other reasons I could list to justify Spider-Gwen getting her own movie. She’s a great character who embodies unique aspects of the greater Spider-Man mythos. Given the current state of the superhero genre, especially with respect to box office returns, I don’t think Sony, Marvel, and Disney need many to make Spider-Gwen their next success story.
I also understand that there are people who don’t share those passions. Some may even see them as childish and foolish. That’s perfectly fine. It doesn’t make them a bad person, by default. It doesn’t even mean I can’t get along with them or agree with them on other issues.
The fact I have to make that disclaimer only makes the current state of affairs more frustrating. I feel it’s more necessary now because I’m about to address a topic has evoked all the wrong emotions for all the wrong reasons. Normally, my first instinct is to avoid such controversy, but since it involves superhero comics, I feel inclined to respond.
It started late last year with a blog post by Bill Maher, a late night talk show host for the long-running HBO series, “Real Time With Bill Maher.” That blog post came shortly after the death of Stan Lee and, without going too heavily into details, attacked the culture behind comic books and superhero media.
Many took that post as an insult to the legacy of Stan Lee. Having read that post multiple times, I really didn’t get that sense. I won’t deny that I took some offense to it, but I’ve read far more offensive things in the comments section of YouTube videos. The fact that it got such a visceral reaction only skewed the conversation even more.
Then, this past week on his show, Mr. Maher finally addressed the issue again in the closing commentary on his show. If you haven’t seen it, here it is.
The long and short of it is his commentary had less to do with Stan Lee and more to do with people who think comic books warrant serious cultural weight. He goes onto bemoan how people cling to the things they loved as kids as a way of avoiding the adult world. It’s less an indictment on people who like comics and more a criticism of people who whine about adulting, in general.
To some extent, I understand his criticism. There are people in this world who try to avoid adult responsibilities at every turn. They don’t want to deal with the harshness of the real world and cling to fantasies about having superpowers that render those problems moot. Even as someone who loves superhero comics and movies, I think that’s an issue for some people.
For most people though, it’s just fun. Mr. Maher seems to completely overlook that. I don’t care how old you get. Having fun is fun. Comics are a lot of fun to read, follow, and enjoy. The more “serious” pieces of literature that he recommends in his commentary probably have plenty of merit, but they’re not nearly as fun.
The idea that he finds superhero media as childish is understandable. Bill Maher is over 60 years old. For most of his life, comic books and superheroes have been for children. It’s only within the last 30 years that they’ve matured to a point where they appeal to all ages, so much so that they’ve raked in over $20 billion at the box office. You don’t make that much money on childish things.
In addition to box office billions, some comics have gained serious acclaim. A select few have even been recognized as some of the greatest literary works in the past 100 years. I doubt Mr. Maher is aware of this because most of these amazing works happened after he became an adult. I imagine that if you were to ask most people his age, they would agree that comics shouldn’t be considered serious literature.
I respectfully disagree with that notion and I know many others disagree as well. That said, I doubt anyone will ever convince Mr. Maher that he’s wrong. He has made his politics very clear on many occasions and I don’t doubt he’ll say other offensive things in the future.
At the very least, I can offer Mr. Maher some perspective. I believe that, if he were to give comics a chance, he would see their literary value. He may still think they’re childish, but I think he would have a greater appreciation for the medium, if only because he sees how it has evolved since he was a kid.
What follows are five comics that I would personally recommend to Mr. Maher. I feel these books would help show just how salient comics can be in terms of society, politics, and art. While I doubt he’ll give them a chance, I hope others who share his sentiments take a moment to see why comic books and superhero media have become such an integral part of our culture.
Watchmen
This is an easy choice and not just because Watchmen routinely ranks near the top as on of the greatest comic books of all time. This seminal work by Alan Moore and David Gibbons actually speaks to the same criticisms that Mr. Maher levied against superheroes. Watchmen is, at its heart, the ultimate deconstruction of the entire concept of superheroes.
This story isn’t just about heroes fighting villains or heroes fighting other heroes. Watchmen is a story with deep, philosophical overtones about what it means to wield power and make peace in a chaotic world. It casts a harsh light on the dangers of relying on superheroes or super-powered beings to solve big problems on the global stage. It’s a sentiment that Mr. Maher himself has made on more than one occasion.
Being a political person, I believe Mr. Maher would find a lot to enjoy about the world of Watchmen. Beyond the art and the complexities of the story, it has a message that goes beyond good guys fighting bad guys.
In many respects, Watchmen was the comic that broke all the rules and ushered the medium into a new era. It proved that a comic could make serious contributions to the world of literature. Between its unique place in the history of comics and the awards it received, I think Watchmen can prove to Mr. Maher that comics can be great works of art that tell relevant messages for the real world.
Sandman
This is another series that routinely gets mentioned in discussions surrounding the greatest comics of all time. Like Watchmen, Sandman pushed the limits on what a comic book could be. It’s not a standard superhero comic. It’s not about heroes searching for some ominous glowing object, which is something Mr. Maher pointed out in his criticism. Sandman is deeper than that.
The writer of Sandman, Neil Gaiman, dared to craft a more mature fantasy. This is a world where mythological figures like Morpheus, Lucifer, and even characters from the bible interact with one another in a complex narrative that provides insight into spirituality, religion, and philosophy.
I believe that insight would appeal to Mr. Maher more than most and not just because he’s a self-admitted stoner. Say what you will about him, but he’s a very intelligent man who went to an Ivy League school. He also majored in English, which I think would make Sandman that much more appealing to him.
The story in Sandman is not something most children will understand or appreciate. Even most adults may struggle to make sense of the various themes that Gaiman explores throughout the book. It’s a powerful story, but one that works best in the medium of comics. I think if Mr. Maher gave Sandman a chance, he would see that.
X-men: God Loves, Man Kills
Even though Mr. Maher singled out superheroes as the most childish element of comics, I believe there are still a select few that would still appeal to him, if only because of his political leanings. Mr. Maher has always identified as a liberal and routinely espouses the value of liberal principles. He grew up watching the civil rights movement unfold and it has clearly had an impact on him.
That’s exactly why a comic like X-men: God Loves, Man Kills would resonate with him. Even though it follows many common superhero themes, this classic X-men story by legendary X-men writer, Chris Claremont, goes much further in linking the struggle of the X-men with that of civil rights.
This story is less about the X-men fighting killer robots and more about confronting the depths of human bigotry. In addition to providing the inspiration for “X2,” it explores a kind of bigotry that feels like it was ripped from the real world. It even throws religion into the mix with the introduction of Reverend William Stryker, a man who has drawn more than a few comparisons with Vice President Mike Pence.
Mr. Maher will probably notice those parallels more than most. He has made no secret of his disdain for organized religion and the people who use it to justify their bigotry. X-men: God Loves, Man Kills tells a story of just how dangerous that kind of religiously-motivated bigotry can get. Even though it’s still a superhero story, it doesn’t hide from the real-world parallels.
Good literature, whether it’s a comic book or a novel, often reflects the controversies of its time. The X-men were created right at the onset of the Civil Rights Movement. Stan Lee has gone on record as saying that elements of the X-men were inspired by real life heroes of the Civil Rights Movement. As both a proud liberal and a critic of religion, Mr. Maher will find plenty to like about this classic X-men story.
All-Star Superman
This story might be the toughest sell for Mr. Maher. However, I think if any comic can demonstrate the value of superheroes, it’s All-Star Superman. This love letter to Superman and all the fanciful themes surrounding him is a celebration of the ultimate hero. Even if Mr. Maher thinks idolizing heroes is dangerous, I think even he’ll appreciate why Superman is such an icon after 80 years.
What makes All-Star Superman special isn’t in how it depicts the Man of Steel at his best. It’s not just about him saving the day, defeating Lex Luthor, and winning the love of Lois Lane. More than anything else, the story that Grant Morrison and Frank Quietly tell demonstrates just how much Superman inspires those around him.
Throughout the series, there are many great moments that are full of heart, hope, and compassion. Some of it is cartoonishly over-the-top, but it never feels corny. There’s never a point where Superman takes a moment to tell a bunch of kids to eat their vegetables and stay in school. It doesn’t try to make Superman someone he’s not. He’s the ultimate paragon of virtue and this series just runs with that.
To further raise the stakes, this version of Superman is living on borrowed time. As powerful as he is, he has saved the day one time too many. He basically has to do what he can with what little time he has left to make the world a better place. It’s an endeavor that even Mr. Maher can appreciate.
More than once, Mr. Maher has tried to inspire others to be better. Even if his efforts are politically motivated, the will to inspire is something he’s always shown, going back to his days on “Politically Incorrect.” Even if he thinks Superman comics are for kids, he can still appreciate Superman’s efforts to inspire the good in others.
Y: The Last Man
This is another acclaimed comic series that doesn’t rely on superheroes, fancy costumes, or superpowers. At a time when gender politics are such a hot topic, a series like Y: The Last Man is more relevant than ever. This beloved comic by Brian K. Vaughan and Pia Guerra takes issues surrounding gender to an apocalyptic extreme.
As someone who has routinely criticized how the debate surrounding feminism and gender has evolved, I believe Mr. Maher will find a lot to like about Y: The Last Man. This is a story that puts men and women in the ultimate bind. One day, without warning, every creature on Earth with a Y chromosome just keels over and dies. Only one man, Yorick Brown, and his pet monkey, Ampersand, survive.
The story the follows is both a fight for survival and a critical insight into what happens when gender dynamics operate in extremes. The world that Vaughan and Guerra show just how much men and women rely on one another without realizing it. When one is completely removed from the equation, it pushes people beyond the brink.
At the same time, it shows just how resilient people can be in terrible situations. The will to survive knows no gender. It can bring out the best and the worst in someone, but the best is what usually keeps driving us. Mr. Maher has often spoken urgently about issues like climate change. The apocalyptic setting of Y: The Last Man shows why that urgency is necessary.
Again, I don’t expect Mr. Maher to change his mind on much. He has made it abundantly clear in the past that he is very set in his ways. However, if he is genuinely open to seeing the merits of comic books, these titles should help. Comic books may have been for kids when he was a kid. They have since become so much more and their legacy, like that of Stan Lee’s, will continue for generations to come.
Every Wednesday, a new crop of comics enters this world and makes it just a little more awesome. Being a lover of comics in addition to a lover of love, I try to select one comic from this fresh batch that I feel offers the most awesome for just a few bucks. At a time when the economy is always on a verge of tanking, it’s hard to find a better value.
This week’s pick was an easy one with “Uncanny X-men Annual #1” and not just because I’m hopelessly bias towards the X-men, in general. This issue marks a critical development in the overall landscape of the X-men and the Marvel Universe, as a whole. As the beautiful cover art by Salvador Larroca indicates, it’s all about Cyclops.
That may not seem like a big deal for those who don’t regularly follow the X-men comics, but trust me when I say that this is a huge development. That’s because for the past three years, Cyclops has been dead in the X-men comics. In an event aptly called “Death of X,” Scott Summers met an inglorious end at the hands of the Terrigen Mists, the alien gas cloud that gives the Inhumans their powers.
His death had a major impact on the overall landscape of the X-men and very little of it was good. In the same way that the Avengers aren’t the same without Captain America and the Justice League isn’t the same without Superman, the X-men just aren’t the X-men without Cyclops. He’s literally been with the X-men since the beginning and there’s just something missing when he’s not there.
Writer, Ed Brisson, makes it a point to highlight this throughout the issue. Aside from just telling the story of how Cyclops came back from the dead, he takes some time to demonstrate why he’s the leader of the X-men. He even puts him in a position to show why he’s a hero and why other heroes follow him.
Without spoiling too much, the story builds beautifully off the events of both “Death of X” and “Extermination,” which is another brilliant X-men story by Mr. Brisson that I highly recommend. It even references moments from “Phoenix Resurrection,” another story I’ve given high praise. The connections and details in this comic fit beautifully. It shows that there was a lot of effort and thought put into this story.
As someone who has read more comics than most will ever admit to reading, I can safely say I know when a writer isn’t trying very hard. For the past couple years, a new crop of writers that include the likes of Mr. Brisson show that there’s a new round of passion surrounding the X-books and it clearly shows in “Uncanny X-men Annual #1.”
Beyond making appropriate connections to recent continuity, the story checks all the right boxes in terms of telling a quality X-men story. It even checks some extra boxes in terms of showing a character at his best when they sorely need it.
Cyclops is one of those characters who always seems to generate heated debates among X-men fans. He’s also someone a long list of talented Marvel writers have mishandled over the years. The fact he’s part of the worst love triangle of all time is proof of that. This issue cuts through those complications and just gets to the core of what makes Cyclops great.
This issue is one of those comics that will definitely have a ripple effect for future X-men comics. Any time a major character comes back from the dead, which happens a lot in X-men comics, it’s a big deal. It often marks a turning point for the course of the story and lays the groundwork for the future of the series.
By the time you finish “Uncanny X-men Annual #1,” you really feel as though you’ve just witnessed one of those turning points. On top of that, there’s a sense that this character who has been so maligned over the years for all the wrong reasons is back to his old self. If that doesn’t get your inner X-men fan excited, then you’re just being difficult.
For Cyclops fans, X-men fans, and Marvel fans in general, “Uncanny X-men Annual #1” is one of those rare books that actually gets you excited about the future. At a time when you can’t go more than a day without something terrible trending on social media, that’s worth the price of a comic book.
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 multiplemajor 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.
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.
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!
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.
“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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