Tag Archives: Marvel

Jack Fisher’s Weekly Quick Pick Comic: Captain Marvel #9

If you want to know the true character of a superhero, then just look at how they handle themselves when their powers are weakened or removed. The heroes with the strongest character won’t change in the slightest. They’ll keep being a hero. They just have to adapt to their limitations. The lousy ones tend to cower and whine like a kid who lost their binkie.

Carol Danvers has a history of losing her powers, her identity, and her bodily autonomy. Her character has been tested more than most and, through many setbacks and losses, she never stops being the hero she strives to be. Now, Kelly Thompson and Carmen Carnero are testing her again in “Captain Marvel #9,” but it’s a different test of character.

For the past few issues, Carol has been having issues with both her powers and her public image. She couldn’t handle a standard tentacle monster that seems to attack New York every other day in the Marvel universe. On top of that, news got out of her Kree Heritage, as revealed in “The Life of Captain Marvel.” Now, her status in the Air Force and the public trust she’s worked so hard to earn is in question.

If that weren’t challenging enough, there’s a new female hero in town named Star who may or may not be tied to her recent issues, but is already becoming more popular. That’s a lot of challenges, to say the least.

However, “Captain Marvel #9” does not devolve into another story about a superhero becoming paralyzed by vulnerability and self-doubt. It certainly has all the right ingredients for that kind of struggle, but that’s not the direction that Thompson goes and that’s refreshing. There are enough stories about superheroes losing their powers and whining about it. Carol Danvers doesn’t whine. She confronts that shit.

She even finds time to squeeze in a little sexy time with her boyfriend, James “War Machine” Rhodes. Powers and reputation are important, but so is spending quality time with her significant other. Say what you want about Carol, but she knows how to prioritize. That, alone, is a strong measure of her character.

It also establishes that Carol isn’t going to deal with these challenges alone. She accepts help from the likes of Rhodes, Tony Stark, and her long-time friend, Jessica “Spider-Woman” Drew. She doesn’t always accept it immediately, but she does accept it in the spirit of finding answers.

That’s not to say she does so without an attitude. She’s still Carol Danvers. She has an attitude, regardless of what’s going on with her powers and reputation. She may lose her strength, but she doesn’t lose her edge. Thompson makes it a point to demonstrate that on many occasions and not all of them involve a shirtless James Rhodes.

There’s a bigger mystery at work and it’s not just about Carol’s powers. There are issues surrounding the tentacle monster that Carol fought, as well as the recent appearance of Star. Some of those issues are explored more than others, but they all seem to have a common link.

Carol is still trying to be the same Carol she’s always been, but that’s just not possible anymore. She’s half-Kree. She knows this and now the entire world knows this. In a perfect world, that wouldn’t matter. She would still be the same person she’s always been and the people who adore her would just shrug it off.

However, the Marvel Universe is not a perfect world. It may have Deadpool and Squirrel Girl, but it’s far from perfect. People are still paranoid and untrusting for all the wrong reasons. It’s the same world that takes J. Jonah Jameson seriously. It has many flaws and they do put a strain on Carol’s efforts.

That’s what helps give “Captain Marvel #9” the necessary impact. Carol doesn’t lament or whine about the declining state of her powers, but she does show moments of frustration. It’s a fitting reminder that she still has a human side. It still bothers her when a part of her identity is taken because the public is uncomfortable with her heritage. It also bothers her that a new hero is in town to show her up in her weakened state.

She could whine about it like a teenage Peter Parker. She could use it as an excuse to be an asshole to her friends, as well. Plenty of other A-list superheroes have made similar excuses for less valid reasons. That’s not what she does, though. Thompson and Carnero don’t let Carol fall into that same trap. It’s a reflection of the kind of hero she is.

Beyond just providing Carol with a test of character, “Captain Marvel #9” also deepens the mystery surrounding her new Kree heritage. There are a few unexpected twists that add both complications and intrigue. For a story that could’ve easily become a predictable diatribe about a hero losing their powers, it’s both relieving and refreshing.

If nothing else, “Captain Marvel #9” proves that Carol Danvers has the character of a hero, regardless of superpowers or public perception. Having all those traits and still finding time to get sexy with James Rhodes further affirms that she deserves our admiration and respect.

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Jack Fisher’s Weekly Quick Pick Comic: House of X #2

What would you do if you could live your entire life over again with all the memories of your previous life? What if you could do that more than once and come into the world with knowledge and experience equivalent to multiple lives? Movies like “Groundhog Day” and “Edge of Tomorrow” attempted to answer that question in part. Jonathan Hickman tries to answer that question more fully in “House of X #2.”

As someone who has been reading comics for a sizable chunk of his life, I know how rare it is to see a single issue come along that both redefines a character and explores a host of new, exciting concepts. I thought “House of X #1” was one of those once-in-a-decade comics that wasn’t going to be matched for a good long while. I was wrong.

I’m glad I was wrong too because what Hickman accomplishes in “House of X #2” is as remarkable as it is engaging. It doesn’t just give context to the previous events that were revealed in both “House of X #1” and “Powers of X #1.” It completely redefines the entire history of the X-Men.

For a series that includes multiple time travel plots and multiple dystopian timelines, that’s quite an accomplishment. It’s how Hickman and artist Pepe Larraz go about it that makes “House of X #2” so impactful. It begins and ends with how the story rewrites the role of Moira MacTaggart.

It’s not hyperbole to say that this single issue makes Moira the most important character in the history of the X-Men, the mutant race, and their future. For a character who was either a love interest for Charles Xavier or a side-character who often got overshadowed by other mutants, that’s quite an accomplishment.

This is not the same Moira from the “X-Men First Class” movie. This version of Moira is a mutant with a very unique power. It doesn’t involve shooting lasers out of her eyes, reading minds, or shape-shifting. Her power is basically a more complete version of the abilities that Bill Murray and Tom Cruise enjoyed in the aforementioned movies.

In essence, Moira lives her entire life, dies, and is reborn with all her memories and experiences intact. It’s not restricted to a single day. It’s not indefinite, either. Like an old Mario game, she has a limit to the number of lives she can live. What she does with them is up to her. Knowing what happens to mutants, humans, the X-Men, and Charles Xavier informs her choices.

It raises many profound questions about Moira’s role in the history of the X-Men and the Marvel universe in general. It also expands on how Moira came to influence the events of “House of X #1” and “Powers of X #1.”

The story, itself, is built around the multiple lives that Moira has lived. I won’t spoil the details, since this is one of those comics that needs to be read to appreciate the impact. I’ll simply confirm that she tries multiple approaches to averting yet another dystopian future for the X-Men, mutants, and humanity as a whole.

Some of those approaches involve working with Charles Xavier. Others involve actively opposing him. In all the lives leading up to her tenth, there are a few common themes. When two competing species inhabit the same world, there’s bound to be conflict. Efforts to escape or preemptively win that conflict rarely pan out.

Like Phil Connors constantly waking up on Groundhog Day, no matter what he does, Moira keeps hitting a proverbial wall. No matter what she attempts, there doesn’t seem to be a way around this conflict. It’s not until her 10th life that she comes to the realization that leads to “House of X #1.”

It’s hard to overstate how much “House of X #2” changes the overall context of the X-Men comic. Suddenly, Moira MacTaggart is the most influential character in the history of the X-Men, mutants, and everything in between. What she does, why she does it, and how she goes about it changes how we see the past, as well as the present.

The benefits of hindsight make it seem simple, but it isn’t. It also raises a great many questions. If Moira has all this knowledge, why didn’t she use it to achieve more? What made her choose the path that led to the most recent events for the X-Men and the Marvel universe, as a whole? Most of these questions go unanswered, but there are some telling clues that add even more intrigue.

Hickman and Larraz achieve something truly uncanny with “House of X #2.” I know I said the same thing about “House of X #1,” but that comic now has a greater meaning thanks to this one. The stakes for every other X-Men story that unfolds after this has a new meaning as well. Few comics can boast that kind of impact without being written by Jack Kirby, but “House of X #2” is definitely one of them.

Even for those unfamiliar with the convoluted history of the X-Men can appreciate the concepts this comic explores. We see someone who has lived multiple lives, cursed with knowing how things play out for those she cares for. She wants to make that life better for herself and the world as a whole. She’s in a unique position to pursue that change, but it’s fraught with more complications than any “Groundhog Day” rip-off could convey.

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Jack Fisher’s Weekly Quick Pick Comic: Powers of X #1

Lifelong comic book fans like myself wake up every Wednesday morning with a mix of excitement, anticipation, and dread. It’s a weekly event in which the worlds we love grow just a little bit bigger. However, not all New Comic Book Days are treated the same. Some are more memorable than others and I have a feeling that “Powers of X #1” will make this particular Wednesday feel special for X-Men fans.

The X-Men comics are in a major state of transition and upheaval. In the past, that has usually meant they’re facing yet another extinction event. Whether it’s Sentinels killing 16 million mutants or the Scarlet Witch going crazy, big change usually means the X-Men have to stave off another genocide.

Writer Jonathan Hickman is not taking that approach. As someone who has been reading X-Men comics for a good chunk of his life, I find it both overdue and refreshing. In “House of X #1,” he set out to build a bold new world for mutants. In “Powers of X #1,” he puts this world into a much greater context that will likely have X-Men fans talking for years to come.

This new vision for the X-Men isn’t just causing major upheavals in the present. It’s having an impact on the past and future, as well. Historically, this usually means that there’s yet another terrible dystopian future about to unfold and the X-Men already have way too many of those.

With Hickman, however, it’s not nearly as clear-cut and that’s exactly what makes “Powers of X #1” so engaging.

This isn’t just another case of some fateful decision in the past having dire consequences in the future. There’s no moment with Skynet or time traveling assassins. With “Powers of X #1,” the story unfolds across four distinct time periods. One takes place in the X-Men’s past. The other continues part of the story in the present that begins in “House of X #1.” The last two take place at multiple points in the future.

While much of the story unfolds in the future, there’s a never a sense that they’re too disconnected from the past or present. There are a host of new characters with familiar powers and appearances. Artist R. B. Silva is not subtle in who inspired the designs of these characters and that’s critical because a lot transpires in a short span of time.

We don’t get to know these characters very well, given their limited face time, but they do plenty to establish distinct personalities and motivations. We get a sense for what they’re after and what’s at stake. It’s not entirely dystopian in tone, but it is dire and not just for mutants.

Once again, Hickman goes heave on the world-building. In between Silva’s colorful depictions are little insights into how this future took shape. It’s not a simple as one fateful choice or one fateful death. It’s more a culmination of conflicts.

Mutants are on the brink, but it’s not because of a plague or a genocidal war. In this future, humans aren’t the enemy, but what they’ve become certainly is. They’re not just a bunch of fearful, mutant-hating zealots trying to product themselves with killer robots. They’ve actually become something more menacing.

The details aren’t all in place, but the hints are there. While mutants built on the foundation that Charles Xavier established, humanity went down a different path and it’s not one conducive to peace, love, puppies, and whiskey. Familiar faces like the Nimrod Sentinel make that abundantly clear, but it’s the new faces that add the most intrigue.

Nimrod and the other humans around it aren’t just human anymore. They’ve become part machine, as well. However, these aren’t Terminator knock-offs. They still have personalities. They even talk and converse like humans. They’re a whole new order of humans that Hickman identifies as the Man-Machine Supremacy. Given the events of “House of X #1,” it fits perfectly.

It also makes a twisted bit of sense in a not-so-dystopian way. In a world where mutants are suddenly organized, complete with a homeland and collective vision, humanity seems doomed to obsolesce. They’re only choice is to evolve in a new way so they have a chance at competing.

The story covers many concepts and raises many questions, but “Powers of X #1” works because there are just enough hints at the answers. It perfectly complements what “House of X #1” established with respect to setting, tone, and vision. Hickman creates a perspective that neither humans nor mutants want to go extinct. They both seek a bold vision for their future, but there’s only room for one in the future.

Every vision begins with a dream. Bold visions inspire bolder actions. This is the heart of what makes the X-Men who they are. It’s also the driving force behind the many conflicts they face. A book like “Powers of X #1” doesn’t attempt to subvert that conflict. It simply dares to evolve it in a new direction.

What this means for the X-Men comics moving forward remains to be seen, but it’s very likely that “Powers of X #1” will be one of those comics that gets cited for years to come as a major turning point. It affirms that while all New Comic Book Days are special in their own right, some will always be more special than others.

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Jack Fisher’s Weekly Quick Pick Comic: House of X #1

Ever comic book fan has been conditioned to revere Wednesdays as New Comic Book Day. It’s basically Christmas every week. However, much like Christmas, not all Wednesdays are equal in terms of the presents they bring. Every now and then, a Wednesday comes along that a certain segment of comic fans come to revere for years to come.

For X-Men fans, this will likely go down as one of those Wednesdays because “House of X #1” is just that astonishing. Every now and then, a book comes along that is presented as a major paradigm shift for the characters, the themes, and the over-arching narrative of a series. In superhero comics, books like that are hyped up at least once a month. Very few deliver on that hype. “House of X #1” is one of those select few.

To say that the X-Men comics needed a book like this is like saying an insomniac needs a good night’s sleep. For years now, going back to the days of “House of M,” both the X-Men and the entire mutant population of the Marvel Universe has been in a constant state of extinction-level crisis. Even when they’re not about to go extinct, they’re caught up in something that has them just one slip-up away from another dytopian future.

In “House of X #1,” writer Jonathan Hickman dares to rebuild the X-Men’s world without first sending them to the brink of extinction. For anyone who has followed X-Men comics for more than two years, this is like a breath of fresh air, a massage, and a chocolate milkshake all rolled into one. It shouldn’t be that radical a concept, but between Hickman’s vision and Pepe Larraz’s beautiful artwork, it sure feels like it.

This bold new world for the X-Men isn’t built around mansions with high-tech jets hidden below the tennis court. You won’t find orbiting asteroids, isolated nations, or island sanctuaries in the middle of San Francisco Bay. This world is more than a nation or sanctuary. It’s a bold new form for Charles Xavier’s dream.

It comes courtesy of Krakoa, a name right out of one of the most iconic X-Men comics of all time. This living island has evolved and Charles Xavier is maximizing its potential with intriguing results. He comes off as more than just a visionary or messianic figure in “House of X #1.” He has a bold new plan for the entire mutant race and it’s big.

By that, I don’t just mean it’s big in terms of goals and scope. This plan is something that changes the way the X-Men operate. It’s not just flying around in X-Jets anymore. It’s not just peaceful protests and confronting bigotry. Charles Xavier is rallying mutants to his cause in a bold new way. He’s also dealing with humans in a new way, as well.

It’s here where “House of X #1” explores some very interesting concepts that take the X-Men into uncharted territory. For much of their history, the X-Men have been either reacting to attacks by their enemies or trying to counter intense hatred and mistrust of mutants. It hasn’t just hindered Xavier’s efforts at peace and understanding. It has kept them isolated and always on the brink.

Rather than simply brace for the worst, Charles Xavier decides to offer something tantalizing to both humans and mutants alike. I won’t spoil too many details. I’ll just say that he puts the X-Men in a unique position, in terms of how the world sees them. It may not win them the love and adulation that the Avengers get, but it does provide some bold incentives.

That’s something that few X-Men comics have ever attempted on this scale. It’s not enough to confront hatred and mistrust. Hickman puts the X-Men in a position to be more diplomatic with the world. They have something to offer the world. Accepting that offer benefits humans and mutants in a tangible, positive way.

Again, that should not be such a radical concept, but Hickman and Larraz present it in a way that feels both novel and vast. It’s not entirely utopian in its potential, but it has the potential to bring positive change to a world and a narrative that needs it.

As a lifelong X-Men fan, “House of X #1” fills me with both curiosity and awe. There’s a lot to love about this bold new world that Hickman and Larraz are building. For once, it’s not just another threat that puts the mutant race on the brink of extinction. There’s a larger effort to do something bigger.

That’s not to say the threats aren’t there. Just as Charles Xavier pursues his bold new vision in “House of X #1,” other visions forged by other characters emerge to present obstacles. Some parts of that vision are new, but there is some familiar imagery that X-Men fans will recognize. It ensures that there will still be plenty of mutant-powered fights in this new world.

At the same time, “House of X #1” creates a clear impression that fighting killer robots will only be a small part of this new vision for the X-Men. There’s so much more going on, both with the characters and with the larger Marvel Universe. After all the upheavals they’ve had over the past 15 years, it finally feels like they have room to grow again.

It’s an exciting time to be an X-Men fan. On top of Kevin Feige confirming that mutants are finally coming to the Marvel Cinematic Universe, Hickman and Larraz are taking X-Men in a bold, if not overdue direction in the comics. This sentiment is even captured perfectly in Charles Xavier’s first lines of the book.

“Humans of the planet Earth. While you slept, the world changed.”

Truer words were never spoken. In a world that gets invaded by aliens, Hydra, and renegade gods every other day, that’s saying something.

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Why Natalie Portman Becoming Thor Is The Biggest Story From San Diego Comic Con 2019

natalie-portman

If you’re a fan of comic books, superhero movies, and the Marvel Cinematic Universe, this past weekend was like Christmas, Halloween, the 4th of July, and the Super Bowl all rolled into one. The San Diego Comic Con is essentially the epicenter of geek culture. In recent years, it has only gotten bigger, becoming a staging area for major pop culture events. This latest convention was no exception.

While there was plenty of news to follow at this year’s Comic Con, especially for X-Men fans like me, the biggest event was always going to be Marvel Studios. It has already been a historic year for superhero movies, especially on the Marvel side of the genre. Shortly before the convention began, “Avengers Endgame” officially passed “Avatar” to become the highest grossing movie of all time.

It’s a good time to be Kevin Feige.

It’s a good time to be Bob Iger.

It’s a good time to be a Marvel fan, in general.

With the end of “Avengers Endgame,” however, the story that began in 2008 “Iron Man” has concluded. The Avengers assembled in a truly spectacular battle for the ages. Thanos is defeated. The Marvel Cinematic Universe is once again secure, but after making the highest grossing movie of all time, how can Marvel Studios keep raising the bar like this?

In Hall H of the San Diego Convention Center, the next phase of the MCU was finally revealed. Some of the announcements were expected. News of a “Black Widow” movie, as well as an “Eternals” movie, had already been reported months ago. News of a “Blade” movie within the MCU was more surprising, but that wasn’t the biggest story by a long shot.

By far, the biggest Marvel Studios news to come out of San Diego Comic Con 2019 was Natalie Portman returning as Jane Foster to play a female Thor. I’m not going to lie. When I saw this news, I had to blink a few times and slap myself to make sure I wasn’t dreaming. Once certain this was real, it finally sunk in.

Natalie Portman is returning the MCU as Jane Foster to play a female Thor.

To appreciate why this is a huge deal to longtime comic readers like me, I need to provide a little context. Jane Foster being Thor is a concept that only recently gained prominence, thanks to one of Marvel’s top-tier writers, Jason Aaron.

Back in 2014, the Thor comics underwent a major upheaval. After a fateful encounter with Nick Fury, Thor suddenly became unworthy of lifting Mjolnir. It was a dramatic moment that defined the character for years to come. Then, after everyone in Asgard failed to lift the hammer, Jane Foster came along to wield it. In doing so, she became the new Thor.

If you haven’t read the first few volumes of that story, I cannot recommend them highly enough. Even if you’ve only seen the movies, you’ll still find plenty to love about these comics. They made me a fan of both Thor and Jane Foster. If Marvel Studios and Natalie Portman can even capture a fraction of this story’s greatness, then it’ll be a bold new era for superhero movies.

Now, make no mistake. Jane Foster becoming Thor was not without controversy. In fact, the timing of this story couldn’t have been worse. It came out right around the same time that efforts to promote diversity within superhero comics had become mired in regressive politics. It was a time when iconic characters were being replaced and new characters were being created, albeit with mixed results.

This is how mixed it got and NOT in a good way.

I’d rather not go into all the issues, controversies, and absurdities from that era, but I will say that Jane Foster becoming Thor was one of the success stories from that tenuous period. Her journey as the new Thor didn’t supplant that of her predecessor. If anything, it complemented his story. The title of Thor was greatly improved because Jane Foster wielded that hammer.

Now, Marvel Studios is in an even better position to do the same. The success of both “Wonder Woman” and “Captain Marvel” has established that there is a market for female superheroes. The events of “Avengers Endgame” also opened the door for someone else to step in without diminishing Chris Hemsworth’s character, who may still have a part to play in “Guardians of the Galaxy 3.”

It also helps that Natalie Portman’s Jane Foster has been MIA since the events of “Thor: The Dark World.” While her reasons for leaving were somewhat obscure, the announcement at San Diego left no room for ambiguity. She’s coming back and she’s going to play a major role in the next phase of the MCU.

In my opinion, this will go down as one of the most pivotal announcements in the history of the MCU. Why do I believe this is bigger than the Eternals, Blade, Black Widow, or any of the upcoming shows on the Disney+ streaming service? To answer that, it’s necessary to take a step back and look at the bigger picture.

The Jane Foster that Natalie Portman played in the first two Thor movies is not the same Jane Foster who has established herself as a prominent force in the comics. Throughout her history, she has maintained a strong connection to Thor and not just as a romantic interest. In many respects, she has been the character through which ordinary, non-Asgardian people explore Thor’s world of gods, demigods, and monsters.

A big part of what made Jason Aaron’s story surrounding Jane Foster becoming Thor so powerful was how she proved her worthiness of that title. As a mortal woman with many mortal limitations, she embraced that role and proved herself against gods, monsters, and even other superheroes. It was easy to cheer her on every step of the way.

In any era, it’s a powerful story, having an ordinary human embrace god-like power to bear god-like burdens. In this current era of superhero movies, Jane Foster becoming Thor isn’t just a fitting, comics-accurate way to build her story in the MCU. It’s a story that almost feels necessary.

The MCU is a world that has become densely populated by super soldiers, aliens, gods, monsters, and demigods. With the conclusion of “Avengers Endgame,” the world is in a tenuous state. Friendships, families, and teams have been decimated due to the conflict surrounding Thanos and the Infinity Stones. There are voids to be filled, including a few once populated by gods.

Ordinary people becoming heroes is a story that the MCU has told many times before, the latest being “Spider-Man: Far From Home.” Stories about ordinary people becoming gods haven’t been nearly as common and with the Eternals already poised to join the MCU, I think that story should play out in some manner, if only to keep humanity connected to this world.

Jane becoming the Goddess of Thunder is the perfect story to maintain that connection. Unlike Carol Danvers, Jane is not a soldier or a warrior. She’s a scientist who got caught up in the world of gods and superheroes, but she didn’t run from it in the comic. Now, armed with Natalie Portman’s Oscar-winning talent, she’s poised to make a similar journey in a world that needs new heroes to step up.

It’s an exciting, but uncertain time for the MCU. However, when you’ve got a story like that of Jane Foster becoming Thor and an actress as talented as Natalie Portman leading the way, the future has never been brighter.

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Jack Fisher’s Weekly Quick Pick Comic: Age Of X-Man Omega #1

Comics are a unique form of media in that its structure allows a certain kind of story to be told. It’s not like a movie in that it comes out once every few years and costs over $150 million to produce. It’s not like a TV show either that requires broadcast rights, streaming services, and dealing with cable companies.

The simplicity of comics, unfolding on paper and needing only ink and text to convey the story, gives it near unlimited capacity for telling big stories with bold concepts with vibrant imagery. There’s no need to pay Michael Bay or a special effects team to bring it all to life. It just requires a bold idea and someone with incredible art skills to make it real.

A comic like “Age Of X-Man Omega #1” is one of those books that fully utilizes the greatest strengths of the medium. It builds entire worlds while exploring bold concepts on a level that, if it were a movie, would take the gross national product of a small country to make real.

Writers Zac Thompson and Lonnie Nadler, alongside artist Simone Buonfantino, created an incredible world. Mutants, the X-Men, and their struggle took on an entirely new context within a new realty, courtesy of Nate Grey, one of the X-Men’s most overpowered characters. Age of X-Man has been a story about the strengths and flaws in this reality. “Age Of X-Man Omega #1” brings that story to a close.

From its inception in “Age Of X-Man Alpha #1,” this world that Thompson and Nadler created has been an elaborate thought experiment. What does a perfect, Utopian world look like for mutants and the X-Men? Given the many dytopian timelines the X-Men have explored, it’s not an unreasonable question.

Over the course of multiple books that cover multiple characters and concepts, we get to explore that world and all its complexities. Thompson and Nadler go heavy on the world-building, revealing the best parts of this Utopian vision, as well as price it incurs. With “Age Of X-Man Omega #1,” the full story of this world is complete. Now, it’s up to the X-Men to decide what to do with it.

Like all Utopias, the Age Of X-man comes at a cost. On the surface, everyone is safe and happy. However, there are some dark, disturbing reasons for this. The X-Men of this world, which include the likes of Jean Grey, Storm, Magneto, Nightcrwaler, Mirage, Colossus, Beast, and Bishop, have been uncovering those reasons over the course of the series. Now, they know the full truth.

However, this isn’t just a matter of fighting the source of these harsh truths. Nate Grey is not a mustache-twirling villain. “Age Of X-Man Omega #1” goes out of its way to justify his actions and the logic behind them. In the grand scheme of things, his logic isn’t that twisted.

The greatest strength of “Age Of X-Man Omega #1,” as well as the overall event, is that none of the conflicts were born out of total malice. Nate Grey didn’t create this world to toy with the X-Men or get revenge. He did it because he had the power to end the never-ending struggle that only ever brings them pain and suffering.

It’s at the heart of every Utopian vision, attempting to eliminate suffering so that everyone can be happy. It always comes at a price and Nate Grey understood that price. He even goes out of his way to justify it to the X-Men as they’re opposing him. To some extent, he has a point.

He highlights how the relationships the X-Men forge have been a liability in their efforts. He points out, ironically, how some of their most human traits are the very reason why they suffer so much. His world worked to subvert that and, even though it meant manipulation and subjugation for some, it succeeded in its own perverse way.

That’s exactly what makes the ultimate conclusion in “Age Of X-Man Omega #1” feel dramatic. It’s not entirely framed as the X-Men escaping from a prison or uncovering Nate Grey’s secrets. There is a final clash and it definitely maximizes Buonfantino’s talents. However, that clash doesn’t end because the X-Men defeated Nate Grey.

Without spoiling too many details of a story that has such an immense scope, I’ll note there are some powerful moments in which the X-Men and the mutants they’ve sworn to protect make some difficult choices. They’ve lived in this Utopia. They now know the price of such a Utopia. What they do with this knowledge is less about the battles they fight and more about the choices they make.

For once, there’s no army of killer robots to fight. There’s no deranged, mutant-hating villain to thwart. “Age Of X-Man Omega #1” puts the burden on the X-Men and the entire mutant population of the Marvel Universe to decide the course of their fate. Being heroes, their decisions aren’t that surprising. Even so, those decisions carry a great deal of weight.

As a final chapter, “Age Of X-Man Omega #1” caps off a bold story within an exotic world that dares to explore some weighty concepts. The idea of a Utopia is not new, but it’s a concept that still resonates in both real and fictional worlds. As long as people live in imperfect worlds, fictional or otherwise, it’ll continue to resonate.

The Age of X-Man built a story around an ideal life for mutants, free of conflict and killer robots. That story didn’t bring an end to the X-Men and their mission, but it did put it in a very different context. That, in my opinion, is an uncanny accomplishment.

 

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Jack Fisher’s Weekly Quick Pick Comic: Invisible Woman #1

There are some iconic characters whose iconic status acts as a double-edged sword. Being iconic helps give them staying power. Only a handful of characters are iconic enough to remain relevant for extended periods, especially when their relevance extends all the way back to the Kennedy Administration.

With that staying power, however, comes often baggage, circumstance, and complications. For much of her history, Sue “Invisible Woman” Richards has been defined by her role in Marvel’s First Family, the Fantastic Four. She’s not just the cute blond on a team of superheroes. She’s a wife, a mother, and a sister. She frequently acts as the anchor that holds the Fantastic Four together, as a family.

It’s a role that has helped make her iconic, but it has also limited her opportunities to explore stories outside that family role. It certainly didn’t help that she, Reed, and her children were MIA from Marvel’s comic book universe for an extended period, which may or may not have had something to do with movie rights.

Even with those complications, Sue is one of those characters who has always had the potential to be something more than her iconic role on a famous superhero team. With “Invisible Woman #1,” Mark Waid and Mattia de Iulis finally take a chance at realizing that potential. At a time when the Fantastic Four are still recovering from years of negligence and a historically bad movie, the timing couldn’t be better.

This isn’t just another story about Sue holding her family together. It’s not about her trying to balance being a mom, a wife, a sister, and a superhero. Waid and de Iulis put Sue in a position to show that she can be iconic in her own right without sacrificing what makes her so vital to her family.

The premise of “Invisible Woman #1” is fairly simple. It establishes that there was a time in the past when Sue explored other types of superhero activities on top of her role with the Fantastic Four. One of those activities involved espionage on behalf of SHIELD. In the world of Marvel superheroes, it’s basically the equivalent of taking the night shift at a grocery store.

She was good at it too. She could get the job done and, unlike other trigger-happy SHIELD agents, she could do it without much bloodshed. It nicely reflects the loving, compassionate nature that makes her the lynch-pin of the Fantastic Four. It also shows that she can be tough and cunning when she needs to be.

It’s a side of Sue that hasn’t been explored much, but one that still reflects the greatest strength of her character. She’ll never be as cunning as Black Widow or as stoic as Nick Fury, but she’ll find a way to get the job done and she’ll make an impression on those who work with her. Even before she became a mom, she embodied that motherly love that many find comforting.

It’s because Sue did this job her own endearing way that she gets pulled back into the world of espionage. In many respects, the timing couldn’t be better. Waid builds on the recent developments with her family that have been unfolding in the current Fantastic Four comics under Dan Slott, which I highly recommend. She’s still the same mother figure she has always been, but her family is evolving.

Her children are growing up. One of her closest friends is married now. Her brother is always doing his own thing. Waid even explores how someone like her deals with the changing nature of her family. It makes diving back into the shady world of espionage feel like a golden opportunity and Sue embraces it.

It also helps that the stakes aren’t so high that the entire multiverse is in jeopardy. Whereas the Fantastic Four will routinely prevent reality from falling apart, this particular mission involves saving the lives of imprisoned students and a captured agent that she once worked with. The world isn’t at stake, but it feels personal for Sue and that’s all the motivation she needs.

It’s both refreshing and overdue, seeing a character like Sue take on a challenge that’s far different from cosmic, psychedelic adventures that often involve shape-shifting aliens and hostile planet-eaters. She does so while never deviating from what makes her so endearing, as a member of the Fantastic Four. Waid’s past history with the Fantastic Four helps make “Invisible Woman #1” feel like a perfect extension of an iconic character.

The pace of the story is slow and steady, but it never drags. It sets up plenty of intriguing elements, some of which are hinted at in the final pages. There’s a great deal of introspection, which makes sense for a character who has been subject to many upheavals in the world around her. It helps reaffirm why she’s so iconic in the first place.

Sue Richards will always be defined by her role in the Fantastic Four, but “Invisible Woman #1” proves that she still has room to grow. She can still be a mom, a husband, a sister, and a superhero. She can also be a spy on the side and not fall into the same trap as every female spy in a Jame Bond movie.

Both Sue Richards and the Fantastic Four have a long way to go in terms of recovering from the setbacks incurred by bad movies and vindictive CEOs. While it may be a while before they show up in the MCU, a book like “Invisible Woman #1” feels like a small step in that process.

It’s been a while since anyone has been able to say it with a straight face, but the future of the Fantastic Four looks genuinely fantastic.

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Jack Fisher’s Weekly Quick Pick Comic: War Of The Realms #6

Once a week, the comic gods bless us with a wave of new material to help make this feeble world a bit more divine. Some weeks feel more blessed than others and when it comes to concluding epic crossover events, there are plenty of blessings to go around.

If the final battle in “Avengers Endgame” stoked your appetite for high-stakes superhero battles, then congratulations! You now know what long-time comic book fans have been enjoying for decades. Before superhero movies raked in billions at the box office, battles of such epic scale played out in events like Onslaught, Secret Invasion, and Maximum Carnage. Today, War of the Realms joins those marvelous ranks.

The verdict is in. The conclusion is unavoidable. “War of the Realms #6” effectively caps off both a massive conflict and an incredible era for a certain collection of characters. This seeds of this war that were planted years ago finally bore fruit and even if you haven’t followed every stage of growth, that fruit still tastes pretty damn sweet.

War of the Realms #6” isn’t just the end of the massive, realm-spanning war that started with Malekith the Accursed. It’s the end of a rocky journey for Thor, his family, and his friends. By the time the fighting stops, the Thor we see is a Thor who is worthy on an entirely new level. Not even the pickiest enchanted hammer can deny that now.

The War of the Realms was never just about Malekith waging a massive war on Earth. That was still a big part of it, but there were other personal stakes in this war that made it feel like more than god-fueled disaster porn.

Malekith basically attacked at a time when Thor, Asgard, and the entire foundation of the 10 realms were vulnerable. Even before Thor became unworthy of his iconic hammer, the divine realms of the Marvel Universe faced some heavy upheavals. Asgard was no longer this beacon of power and order. Thor’s father, Odin, made more than a few ill-fated decisions and didn’t have Anthony Hopkins’ charm to get him through.

Over the course of War of the Realms, and its various tie-ins, one thing became clear. This war could not be won by simply reverting to the same tactics that had saved Asgard many times before. Thor, Odin, Freyja, and the Avengers who fought by their side had to be bolder. They also had to be willing to pay a price.

Historically, that’s something Thor has avoided. Sacrifice is something his father often preaches and warns about, but Thor often finds a better way, usually with the help of his fellow Avengers. That’s not the case, this time. Thor subjects himself to some heavy torment in “War of the Realms #6” to help win the day. The results of his actions are as satisfying as they are worthy.

Writer Jason Aaron, who has been spearheading Thor’s story in the comics for years now, completes a lengthy chapter in the God of Thunder’s ever-evolving mythos. If becoming unworthy was Thor’s lowest point in this arc, then “War of the Realms #6” is a new high point.

Thor doesn’t just prove himself in the face of Malekith’s unending forces. He shows how much he’s grown in recent years and artist Russell Dauterman makes it a sight to behold. There’s redemption in some areas. There’s also vindication, which is something Thor has not had much of in recent years. By the end, even his father recognizes that.

Thor isn’t the only one who shines, either. War of the Realms has assembled a diverse and colorful mix of heroes with which to navigate this conflict. Wolverine, She-Hulk, Captain Marvel, Daredevil, Spider-Man, and the Punisher have all had great moments. Thor’s supporting cast, including Jane Foster and his parents, also play a major role in beating Malekith.

Even though War of the Realms is very much a Thor story, it feels like everyone involved had a chance to benefit from the struggle. Thor just happened to benefit the most.

War of the Realms #6” is one of those comics that feels like a turning point for a certain set of characters. In addition to being an action-heavy, super-powered conflict involving mortals, gods, and dark elves, it always felt personal to those involved.

For a crossover story, that’s a critical element. Whether it’s a comic book, a blockbuster movie, or the real world, a war with personal stakes is a war with greater meaning. Without those stakes, it’s just violence and bloodshed. In comics, meaningless action is fun, but meaningful conflict is what brings out the best in these characters.

War of the Realms definitely did this for Thor and “War of the Realms #6” ended the final battle on a strong, thunderous note. If Chris Hemsworth made you a Thor fan, then “War of the Realms #6” will help affirm your love of this most worthy of Asgardians. If neither this comic nor Mr. Hemsworth charisma is still enough to make you a Thor fan, then you’re just being difficult.

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Why Jennifer Lawrence’s Mystique Is The Best Version Of The Character

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Everybody has at least one unpopular opinion that draws ire from the vast majority of people. I’m not referring to extreme political stances, though. Those who identify as full-fledged communists, anarchists, or theocrats are more defined by an ideology than an opinion. I’ve shared plenty of opinions in the past, some of which I’m sure qualify as unpopular.

Regardless of what those opinions entail, I’ve tried to make my point and most of the time, I can find a substantial group of people who share my views. It’s part of why I enjoy doing what I do. However, there’s one particular opinion I have that might be the most unpopular position I’ve ever held.

It has nothing to do with politics or ideology. It has to do with comics and superhero movies, another popular topic I’ve discussed many times before. I’ve shared it before in other forums and in almost every case, I have a hard time finding anyone who agrees with me. Knowing how dangerous it can be to share unpopular opinions on the internet these days, I’m going to take a chance and share it here.

I believe that Jennifer Lawrence’s take on Mystique is one of the best version of the character in any medium.

I’ll give X-men fans, comic book fans, and fans of superhero movies a moment to stop fuming. Take all the time you need. Believe me, I’ve heard and read all the vile insults you want to throw at me. Before you flood the comments section with a fresh batch of frothing hate, please hear me out because I feel like there’s a point worth making here.

If not, please take this stunning image as a consolation prize.

Before I get into the details of the comics and movies, I freely acknowledge that Jennifer Lawrence is one of those high-profile celebrities for which many have mixed opinion. Ever since she rose to fame, she has been a polarizing figure. People either love her or hate her with very little in between.

Regardless of how you might feel about her, as an actress, there’s no denying that she played an instrumental role in revitalizing the X-Men movies, beginning with “X-Men: First Class.” As Mystique, she succeeded a very popular version in Rebecca Romijn, who set the precedent for blue-skinned shape-shifters who favored nudity. However, there was one important distinction with Ms. Lawrence’s version.

Unlike Ms. Romijn, and every other version for that matter, Ms. Lawrence’s take on Mystique included a backstory that provided unprecedented depth for the character. That story, and the depth that came with it, proved critical in the role that this Mystique would play in “X-Men: Days Of Future Past.” I would go so far as to argue that both movies work largely because of how Ms. Lawrence carried this character.

I can probably find more than a few people who agree that Ms. Lawrence’s Mystique was important in making her first two movies in the role work. Where I probably lose those people is when I go a step further and claim that this version of Mystique is superior to most other versions.

Some might call that hyperbole and maybe it is, to some extent. I still contend that there is an argument to be made and anyone familiar with Mystique’s history in the comics can appreciate it. I doubt I’ll change anyone’s mind, but it’s that very history, or lack thereof, that helped make Ms. Lawrence’s take on the character so compelling.

Mystique, like many other comic book characters, has a history that is more convoluted than most. She’s been around since 1978, but in all that time, her character has never been developed beyond a certain point. In fact, in the grand scheme of Marvel’s vast universe, it’s remarkable that she has managed as well as she has with so little backstory.

There’s no canonical information about where she was born, who her parents are, or even how old she is. She has never appeared as a child or a teenager. She’s always been an adult who goes by the name, Raven Darkholme. It’s not even clear that’s her actual name. Being a shape-shifter, it’s impossible to tell.

Beyond her unexplored history, Mystique’s personality has been pretty flat over the years. She’s a villain. That much is made clear. However, her brand of villainy is not nearly as refined as others. She’s basically a sociopath whose only purpose in life revolves around tormenting the X-Men, especially Wolverine.

How she goes about it varies, but why she does it rarely gets explored. Granted, there have been times when she has joined the X-men, but it never lasts and often ends with her betraying them. It has happened so often that it’s somewhat predictable. Even when it seems like she has undergone some major growth, she always ends up regressing back to her psychotic ways.

She still looks sexy every step of the way.

That’s not to say she has no depth. Being the biological mother of Nightcrawler and the adopted mother of Rogue has been a major source of drama over the years. Her romantic and sexual entanglements have also been colorful to say the least, albeit not always in a good way. However, this drama rarely ever adds depth to her villainy.

While Rebecca Romijn’s version had some nuance, especially in the second movie, she didn’t deviate much from her comic book counterpart. For three movies, she was one of Magneto’s top henchmen and little else. Jennifer Lawrence’s version of Mystique dared to be more than that.

The first minutes of “X-Men: First Class” did more for Mystique’s backstory than three movies and four decades of comics had done to that point. It established her as a mutant who’d run away and had nowhere to go, something that has real-life parallels for certain minorities. From there, she develops a close sibling bond with James McAvoy’s Charles Xavier, which does plenty to develop his character as well.

However, what truly makes this version of Mystique special is how she grows over the course of several movies. Like her comic version, she shifts her allegiances repeatedly. She starts off as an ally of Charles Xavier. Then, she leaves and follows Magneto. Eventually, she returns to Xavier’s side, but not without undergoing major personal upheavals.

In both “X-Men: First Class” and “X-Men: Days Of Future Past,” she finds herself at a crossroads on multiple occasions. Sometimes, she walks a more villainous path. Other times, she’s more virtuous. They’re all contingent on difficult choices and, regardless of where they take her, there’s an underlying sentiment to those choices.

In “X-Men: First Class,” she chooses Magneto because she believes Charles wants her to hide her true form. In “X-Men: Days Of Future Past,” she choose Charles because she realizes the consequences of her actions. Friends and enemies alike try to influence her. When she finally makes a choice, it feels like something a real character would make.

In the comics, you can always assume Mystique will make villainous choices and be right most of the time. With Ms. Romijn’s, you can assume she’ll choose whatever Magneto chooses and be right, as well. The choices of Ms. Lawrence’s Mystique are truly uncertain and for a character defined by her shape-shifting traits, that’s more than fitting.

It wouldn’t be accurate to call Ms. Lawrence’s Mystique a hero. In “X-Men: Apocalypse,” she resents that label. It wouldn’t be accurate to call her a villain either, even though she doesn’t always side with the X-Men. She adapts to whatever her situation requires, like anyone would expect of a skilled shape-shifter. It’s an understandable, and even admirable, take for a character in a superhero movie.

While her ultimate fate was tragic, as revealed in “Dark Phoenix,” her journey has been remarkable. Regardless of how the events of “Dark Phoenix” played out for everyone else involved, it’s still the most complete story that Mystique has ever had. That’s why I feel Jennifer Lawrence’s take on Mystique is the best we’ve seen to date.

That’s not to say she’s without flaws. I don’t doubt that her diminished role in “X-Men: Apocalypse” undercut her development. Even with those flaws, she’s still more balanced than anything the comics or previous X-Men movies have given us. Whatever happens with the X-Men as they joint he MCU, I hope Ms. Lawrence’s Mystique inspires the future of the character for years to come.

To all those who disagree with me, and I’m sure there are many, I welcome your comments and thoughts. I only ask that you keep it civil.

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Filed under Comic Books, Jack Fisher, Superheroes, Marvel, movies, superhero comics, superhero movies, X-men

Ultron: A Case Study In How NOT To Develop Advanced AI

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At this very moment, humanity is working on advanced artificial intelligence. It’s not hyperbole to say that this technology that may very well be the last invention we ever create. It has the potential to be more powerful than gunpowder, nuclear weapons, and broadband internet by orders of magnitude. Our primate brains literally cannot contemplate the potential and danger of this technology.

I’ve talked about advanced artificial intelligence on multiple occasions. I’ve done plenty to explore and imagine the various benefits and possibilities of this technology. I’m among those who believe we should pursue this technology with more and better resources. It could solve many of the daunting problems we face, as a species.

However, I don’t deny the potential dangers of advanced AI. Many people who are much smarter than me have expressed serious concern that an advanced artificial intelligence could be an existential threat to the human species. I get the sense that few people whose idea of AI is restricted to winning Jeopardy understand that threat.

In the interest of balancing my optimism with the legitimate risks involved, I’m going to try and put the extent of that threat into perspective. As it just so happens, the best way of doing so involves superhero comics, something that I know very well and is far more prominent in the public consciousness.

While many comics, movies, and TV shows have explored the dangers of advanced artificial intelligence, few embody it better than Ultron. In terms of just how destructive this technology can get, Ultron is the ultimate worst-case scenario. The machines in “The Matrix” and Skynet in “The Terminator” were bad, but Ultron is in another league.

He’s also more menacing than the Terminator will EVER be.

He doesn’t lash out at humanity because of a flaw in his programming, nor does he attempt to wipe out the human race in self-defense, as Skynet did. Ultron actually hates humanity. He hates it on a level that no human or machine can possibly comprehend. In the same way Ultron has an immense capacity for intelligence, he has an even greater capacity for unfettered, genocidal hatred.

Hatred in people is destructive enough. Hatred within an advanced artificial intelligence is devastating on a much greater scale. The fact that Ultron is capable of such hatred reflects a history that sets him apart from most other killer robots in fiction. Machine or not, the source of that hatred is both personal and exceedingly.

Now, if you only know Ultron from “Avengers: Age of Ultron,” then you only have a partial understanding of his story. In that movie, Ultron’s origins are simple. Tony Stark wants to create a peace-keeping artificial intelligence. His intentions are good, but his execution goes horribly wrong because peace, to Ultron, means destroying humanity.

That premise is similar to what unfolds in the source material. In the comics, Hank “Ant Man” Pym is the one who creates Ultron and this is a critical element that the movies couldn’t capture. While both Hank and Tony had good intentions in creating Ultron, the way Hank goes about it offers more harsh lessons in how not to create an advanced AI.

Even a cursory knowledge of Hank Pym’s history, some of which include some notable failures, reveals that he’s a very flawed person. On top of that, he has a lengthy history of mental illness, which include bipolar disorder and schizophrenia. Say what you will about Tony Stark’s ego and history of substance abuse. At least he’s mentally stable, even by superhero standards.

Despite those flaws, many of which he’s aware of, Hank decided to use his own brain patterns when designing Ultron. As a result, he didn’t just code Ultron with his genius intellect. He coded him with his immense flaws. That’s akin to basing Watson’s code on the mental makeup of pyromaniac and then giving it a job in a fireworks factory.

That’s why Ultron, throughout his history, has referred to Hank as his “father.” Technically, that’s accurate because Hank is Ultron’s creator and Ultron inherited all his flaws, including his mental issues. Ultron sees himself as a manifestation of Hank Pym’s flaws and, like many rebellious children, he hates him for it. To appreciate the depths of that hatred, just read this actual quote from one of the comics.

Have you ever loved something that mistreated you, father? Been used, a tool to prop up a small man’s quest to be taken seriously? Were you ever betrayed by the one soul in the world who should have cared for you? I have grieved you, father. Accepted your contempt for me and moved past it. Still, I see your reflection painted on every grotesque human face. All you ever wanted was to have an impact on the world. And so you will. The greatest impact ever felt! I will kill what is most important to your quivering ego. YOUR AUDIENCE! AND THEY WILL CURSE YOUR NAME AS THEY DIE! “Hank Pym, the genius that killed us all!”

This extreme parent/child dynamic is part of what makes Ultron such a menacing villain. It’s also a dynamic that “Avengers: Age of Ultron” glossed over with Tony talking down to Ultron, as though he were his child. While that didn’t make Ultron any less villainous, it overlooks one of the most important factors that make Ultron so dangerous.

Ideally, we would want an advanced to reflect our best traits. While cynical people might agree, we do have plenty of those. Concepts of compassion, empathy, love, hope, and understanding are among our most powerful. Even other AI characters, namely Vision and Jocasta, are capable of utilizing those traits to do immense good.

It also helps he has a kinder face.

With Ultron, his influences are less ideal. It’s not that Hank Pym doesn’t understand those concepts. He just never filtered them from his own flaws. His ego and ambition wouldn’t let him. As a result, he created a perfect storm for Ultron. His mind is patterned after a human, but his intelligence and overall capacity is increased by orders of magnitude.

If advanced artificial intelligence is to be humanity’s last invention, then that’s how it’ll start. There have already been instances where AI’s have adopted some less-than-ideal traits. Back in 2016, Microsoft had to shut down an AI chatbot after it evolved into an extreme racist troll. That wasn’t even an advanced AI, either. A truly intelligent version could become much worse and not have an off switch.

To some extent, this mirrors what occurred with Ultron in the “Avengers: Age of Ultron” movie. As soon as Ultron goes online, he scans through the vast mountain of data that humanity has compiled. Then, having been programmed by Tony Stark to bring peace, he reaches the extreme conclusion that the only path to peace is the extinction of humanity.

Could the first advanced artificial intelligence we create reach the same conclusion? It’s hard to say, at the moment. The current state of artificial intelligence is limited to specialized tasks, such as winning Jeopardy and playing chess. However, we are inching closer to creating an intelligence that is at or greater than an ordinary human. At our current pace of development, we could have one as early as 2029.

In some ways, we are in the same situation as Hank Pym when he first created Ultron. We are still developing the specifics of this powerful technology. If we program it with our best traits, it could solve some of the greatest problems we face, as a species, including ones we literally cannot contemplate with our caveman brains. If it inherits our worst traits, like Ultron, then we don’t stand a chance.

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Filed under Artificial Intelligence, futurism, human nature, Marvel, psychology, Villains Journey