Tag Archives: Professor Xavier

Jack Fisher’s Weekly Quick Pick Comic: House of X #4

In life, there are usually a handful of moments when you can say that you’ve had your finest hour. Whether it’s winning a championship, finding the love of your life, or winning a buffalo wing eating contest, those moments are special. They reveal just how good and capable you can be. For the X-Men, “House of X #4” is that moment.

Writer Jonathan Hickman and artist Pepe Larraz have been redefining, revamping, and at times revolutionizing who the X-Men are and what they stand for. As a lifelong X-Men fan who will find any excuse to write about them, I could fill a pool with the tears of joy I’ve shed while reading this series. With “House of X #4,” however, those tears are mixed with a host of other feelings besides joy.

Since it began, House of X has put the X-Men and the entire mutant population in a bold new situation. They’re no longer hiding in fancy mansions, isolated islands, space stations, or hellish dimensions. Hickman has gone heavy on the world-building, turning the living island of Krakoa into a vast, expansive sanctuary for mutants. The results have been both functional and awe-inspiring.

However, building a new world for the mutants of the Marvel universe is just part of the story. Protecting their future and preventing their extinction at the hands of Nimrod and the Sentinels are a much larger part. That part of the story is what culminates in “House of X #4.”

It’s not overly elaborate. Hickman doesn’t try to reinvent the nuts and bolts of how the X-Men go about saving the day and their species. He simply raises the stakes while Larraz makes it a visual spectacle. It effectively builds on what was set up through the events of Powers of X and the many lives of Moira MacTaggart.

For once, the X-Men aren’t on the defensive. They’re not the ones caught off-guard by an army of Sentinels or some new mutant-killing menace. They know what’s coming. They know that Mother Mold will give rise to Nimrod and Nimrod will be the end of mutants, humans, and everything in between. Now, they’re in a position to stop it.

They don’t send the B-team for this mission, either. They throw the X-Men’s heaviest hitters with Cyclops, Wolverine, Jean Grey, Mystique, Arcangel, and Nightcrawler. They even add in some lesser-known, but still-effective names like Husk and Monet. Their mission is simple, but the logistics are not. It’s an opportunity for the X-Men to be at their best and they take full advantage of it.

The struggle is intense. The battle is dramatic. Larraz’s artwork is simply stunning every step of the way. There’s never a sense that this is a mission from which the X-Men will escape intact, unscarred, and completely triumphant. This isn’t a Saturday morning cartoon or a movie where the good guys have to win outright. This is a battle for the present and future of the X-Men. Battles like that will come at a cost.

There’s definitely a sense that this mission is a suicide mission. There’s no teasing this mission will require heavy sacrifices. That sort of thing has been par for the course with X-Men comics for years, now. After they killed Wolverine for a while, the death of any character become much more trivial.

Making anything count in any comic these days is a challenge. Fans who have been reading the books for more than a few years know that nobody stays dead, nothing remains stable, and Deadpool never shuts up. The key is giving the conflicts weight and substance. In that, Hickman definitely succeeds in “House of X #4.”

The previous issues help establish why the X-Men need to take down Mother Mold. They also establish what happens if they don’t. The past, present, and future are all at stake at the same time and for once, it’s not because someone is abusing a time machine. For any superhero comic, especially an X-Men comic, that’s nothing short of revolutionary.

It all comes down to this single mission. Cyclops takes lead. Wolverine does something incredibly badass. Nightcrawler is astonishingly charming. Jean Grey has a flare for the dramatics. Even Monet gets a chance to cut loose. It’s a dire sequence of events, but one that has depth and meaning.

If someone ever wants to show who the X-Men are and why they’ve resonated so much since the Kennedy Administration, they would be wise to cite “House of X #4.” It doesn’t just depict heroes saving the day. It shows what the X-Men are willing to fight for and sacrifice for the sake of their future.

It’s not just about defeating the villains and winning the day. There are many personal moments in this battle that show the strengths and bonds of each character. Some shine more than others, but they never stray far from what makes them great. The stakes are high, but the characters stay consistent.

At their core, the X-Men are mutants and mutants are human. They’re not these larger-than-life icons in the mold of Superman, Captain America, or Spider-Man. They’re real people who didn’t get their powers by choice or circumstance. They were born that way. They can’t escape who and what they are. They don’t want to, either. They want a future for their kind and those who hate them.

They fight for that future in “House of X #4.” They know what will happen if they lose. There’s no ambiguity in what they do or why they do it. This is just X-Men being the kinds of heroes they need to be when everything is at stake. The story isn’t over, so their finest hour may still be ahead of them. However, the astonishing events of “House of X #4” are going to be very hard to top.

 

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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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“Dark Phoenix” Review: An Astonishing End To An Uncanny Era

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It’s never easy, trying to capture the essence of an iconic story. It’s even harder when you’ve tried once before and failed miserably. To say that “Dark Phoenix” faced more challenges than most movies would be like saying tobacco companies have an image problem. Many of those challenges go beyond the story, the franchise, the studios, and even the movie industry, as a whole.

Despite so many confounding circumstances, the most important challenge of “Dark Phoenix” was always the same. After this iconic X-Men story was horribly botched in “X-Men The Last Stand,” this movie’s primary goal was to do that story justice. The director and long-time X-Men producer, Simon Kinberg, has gone on record as saying he failed in his first attempt. This movie gives him a chance to rectify that.

Before I get into the fiery details, which may include light spoilers, I’d like to offer my personal sentiment after having seen the movie. I understand that not everyone will agree with me, but as a long-time lover of X-Men, this movie means a lot more to me than most in the superhero genre so I like to think that sentiment is strong.

Yes, “Dark Phoenix” does justice to the X-Men’s most iconic story.

Yes, “Dark Phoenix” succeeds where “X-Men The Last Stand” failed.

Yes, “Dark Phoenix” is a satisfying conclusion to this era of X-Men that has spanned nearly two decades.

I realize that many might disagree with my assessment. That’s perfectly fine. Every movie impacts people in different ways. For me, though, “Dark Phoenix” struck all the necessary chords and then some. It focused on the core components of what makes the Phoenix Saga so endearing and runs with it.

That means that there aren’t multiple plots being juggled constantly. From the very first scene, the focus is on Jean Grey and her journey towards becoming Dark Phoenix. It’s a journey that has a foundation in tragedy, lies, love, betrayal, and loss. What happens to her is never just a matter of circumstance. There are tough, meaningful decisions made before, during, and after the darkness consumes Jean.

At every turn, there is plenty of drama. Jean Grey isn’t just some obscure side-character. She’s surrounded by people who love her. Charles Xavier loves her like a surrogate daughter. Mystique loves her like a sister. To Cyclops, she’s the woman he loves and for once, there’s no terrible love triangle that detracts from that love.

That love gives the drama incredible weight, which is critical for any story derived from the Phoenix Saga. It also ensures the losses leave a major impact and, as one of the trailers revealed, those losses are pretty devastating. They’re not just glossed over or forgotten, which was a huge issue with “X-Men The Last Stand.” They resonate throughout the story and inform the decisions of multiple characters.

That’s not to say every aspect is caught up in personal dramas. “Dark Phoenix” still utilizes a villain to maintain some basic superhero dynamics. That villain, played by Jessica Chastain, isn’t as iconic as Magneto or Apocalypse. She and her villainous henchmen are aliens known as the D’Brai, who actually play a critical role in the original story from the comics.

While Chastain is no Thanos, she and her fellow D’Brai have clear, understandable motivations. They’re not just there to cause more suffering and upheaval. They sense the power in Jean and they want to use it to serve their agenda. That’s perfectly consistent with what Jean and the X-men faced in those same comics.

It also firmly establishes that the Phoenix Force in “Dark Phoenix” is not at all like the one on display in “X-Men The Last Stand.” The Phoenix isn’t some split personality within Jean. This movie actually embraces the more cosmic aspects of that story. While it only does so to a point, it helps raise the stakes in a way that goes beyond trying to save or kill Jean Grey.

Even with these cosmic elements, however, “Dark Phoenix” never loses its focus on Jean, her struggles, and the X-Men’s efforts to save her. The pace of the movie rarely slows down. Things happen quickly and concisely. There are still plenty of intimate character moments along the way, but they never drag. The plot keeps unfolding until the very end.

I won’t spoil too many of the details, but I will say that the ending is far less dire and depressing than what unfolded in “X-Men The Last Stand.” Jean isn’t a coward this time around. She doesn’t constantly whine or beg others to kill her before it’s too late. She is the one who ultimately decides her fate. More importantly, she is the one who makes those difficult choices.

Making all this drama and action work wouldn’t be possible without Sophie Turner turning in a truly uncanny performance as Jean Grey. She goes through many emotions over the course of the story. There are scenes in which she goes through more in five minutes than Famke Janssen did in the first three X-Men movies combined. She carries herself wonderfully through the movie’s most intense moments.

The collective efforts of James McAvoy as Charles Xavier, Michael Fassbender as Magneto, Tye Sherridan as Cyclops, and Nicholas Hoult as Beast perfectly complement Turner every step of the way. They capture those essential elements of family and team that’s so critical for every X-Men movie. This being their last ride with these characters, they make the most of the opportunity.

Unfortunately, some characters don’t get as many chances. Alexandra Shipp’s Storm and Evan Peters’ Quicksilver have fairly limited roles, although Shipp turns in a powerful performance in the final battle. Chastain’s alien character, and the D’brai in general, only gets so much refinement. However, that doesn’t make “Dark Phoenix” any less effective because it is, at its core, a story about Jean Grey.

There are other flaws in the movie. To some extent, the constant focus on Jean and the rapid pace of the action prevent other characters or side-plots from getting much emphasis. The long-running romantic sub-plot between Beast and Mystique had some moments, but not nearly enough to maximize the impact of the story.

There are also times when the visuals of “Dark Phoenix” aren’t as colorful as they could’ve been. To some extent, that’s more a reflection on the overall style of the X-Men movies, going back to the first one in 2000. These movies have never focused too much on the flashy costumes that are so prominent in the comics. Considering the iconic styles teased at the end of “X-men Apocalypse,” it’s somewhat disappointing.

This movie might have been able to get away with that 10 years ago, but the rise of the Marvel Cinematic Universe and its embracement of iconic superhero attire make the overall style of the movie seem uninspiring. For most of the movie, nobody even wears a uniform or costume. While a movie like “Logan” can pull that off, it doesn’t work nearly as well in “Dark Phoenix.”

There are some moments where the visual effects really shine, but not in the ones that would’ve really complemented Jean Grey’s journey. While that fiery halo does show up at one point, it feels like it doesn’t show up enough and wasn’t quite as radiant as its brief appearance in “X-men Apocalypse.”

The finer details of the story aren’t flawless either. While they remain concise until the end, there’s a bit of ambiguity in terms of how the events in this movie tie to the epilogue in “X-Men: Days of Future Past.” There’s certainly enough to imply that this movie does not completely undermine that ending, but a lack of specifics leaves a lot of gaps for the audience to fill in.

Even with these shortcomings, the most important components of “Dark Phoenix” still work. It seeks to tell a focused Phoenix story for Jean Grey and it never loses sight of that goal. The acting, the drama, and a brilliant musical score by Hans Zimmer simply add more gravitas to the mix.

Over two years ago, I wrote an article that laid out how the “Dark Phoenix” could succeed in this golden age of superhero movies. Pretty much everything on that list came to pass. This movie embraced the passion surrounding this iconic story. It made use of the Cyclops/Jean romance, kept the Phoenix as the primary plot, and ensured every dramatic moment felt genuine. It didn’t check every box, but it came pretty damn close.

Does that mean that “Dark Phoenix” is among the greatest superhero movies ever made? No, I wouldn’t make that case, especially when it came out the same year as “Avengers Endgame.” The bar for superhero movies is higher than it has ever been before and it’s a difficult standard to apply to a movie like “Dark Phoenix.”

Does that mean that “Dark Phoenix” is the greatest X-Men movie ever made? No, I wouldn’t make that case, either. There are other X-Men movies that rank above this one in terms, but it still captures the most important elements that makes these movies so endearing.

Is it a great movie in general? Yes, I certainly would say it is. If I had to score this movie, I would give it an 8 out of 10. It sets out to do a fitting adaptation of the Phoenix Saga and it succeeds, utilizing all the necessary drama and action along the way. It also caps off 19 years of X-Men movies.

Now, as the X-Men stand poised to enter the MCU, this part of their journey can end and “Dark Phoenix” ended it on a truly uncanny note.

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Final “Dark Phoenix” Trailer Is Threatening (In A Good Way)

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These are wonderful, exciting times for fans of superhero movies, unless you’re a Hellboy fan. “Avengers Endgame” is poised to break all sorts of box office record. The Disney/Fox merger is complete. On top of all that, “Dark Phoenix” is still set to come out on June 7, 2019.

While some have opinions on this film that are petty and unwarranted, I’m still very excited and not just because Sophie Turner is flexing some cosmic sex appeal. This movie is poised to be the last of the X-Men movies that began way back in 2000. While I can understand why some are eager to jump ahead to the X-Men joining the MCU, lets’ not forget that there would be no MCU without the first “X-Men” movie.

It was X-Men that helped usher in this golden era of superhero movies. Now, both “Dark Phoenix” and “Avengers Endgame” promise to usher in a new era. As such, the final trailer for “Dark Phoenix” dropped today and it promises closure, along with cosmic threats.

Sophie Turner has never looked more menacing as Jean Grey.

Tye Sheridan has never looked more determined as Scott Summers.

Between them and the wondrous dynamic between James McAvoy and Michael Fassbender, this movie has everything necessary to cap off this era of X-Men movies in all the right ways.

I know “Avengers Endgame” will break most of the records and make more headlines. However, I believe “Dark Phoenix” will ultimately have a greater impact when all is said and done.

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Bringing The X-men Into The MCU: What To Do And What To Avoid

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These are exciting times for fans of Marvel and superhero movies. We thought we had reached a high point in 2012 when “The Avengers” came out. Then, we reached an even higher point this year with “Avengers: Infinity War.” Between raising the bar for superhero movies as a whole and generating billions at the box office, it seems impossible that Marvel could ascend any higher.

Well, Marvel Studios treat the impossible the same way the Hulk treats puny gods. They made Ant Man a successful movie franchise. They turned an obscure comic book featuring a talking raccoon into a multi-billion dollar phenomenon. At this point, doing the impossible is just another day at the office for Marvel and their Disney overlords.

In wake of the recent Disney/Fox merger, Kevin Feige and the brain trust at Marvel Studios will have even more tools with which to raise the bar. Even if they’re just running up the score at this point compared to the competition, there’s still plenty of room to grow now that they’ve got the entire mythos of the X-men and the Fantastic Four to work with.

This is already set to happen. Bob Iger himself has already indicated that there are plans to integrate the X-men and Fantastic Four into the MCU. How Marvel Studios will go about this is anyone’s guess and plenty of people have been sharing their guesses. I’ve tried to resist the temptation, but being a lifelong X-men fan and a lover of superhero movies in general, my restraint only goes so far.

However, I don’t want to wildly speculate or push an elaborate fan theory. Again, more than a few people have already done that. Instead, I’d like to do something a bit more generalized. Similar to my other articles on how not to screw up certain movies, I want to provide a guide of sorts.

At the very least, let’s avoid this.

I’m not going to get into specifics. Kevin Feige and a host of other people way smarter than me or anyone else on the internet are perfectly capable of handling those. Being a devout X-men fan, though, I feel like I can offer some basic pointers on what to do and what to avoid in bringing mutants into the MCU.

I think the X-men need that more than the Fantastic Four, at this point. Unlike Marvel’s First Family, the X-men entering the MCU will have far greater implications and not just because the last “Fantastic Four” movie almost killed the franchise. Mutants showing up in the MCU changes everything from what defines a superhero to how the physics of that universe operate.

At the same time, the X-men embody a particular theme, one that was relevant in 1963 when they first appeared, but has become relevant in entirely new ways in the 21st century. The last 18 years of X-men movies have tried to capture those themes, some being more successful than others. For the X-men to work in the MCU, it needs to capture those themes and get the characters right after Hugh Jackman set such a high bar.

Yes, it’s a daunting challenge, but one that Marvel Studios and their Disney overlords are more than equipped to handle. To achieve that success, and all the billions that come with it, here’s what I think they should pursue and what I think they should avoid.


Do: Tie The Events Of “Avengers: Infinity War” To Mutants (But Only Indirectly)

This is already part of the wild speculation surrounding “Avengers: Infinity War.” It would make sense to some degree, having Thanos’ universe-shaking actions lead directly to the creation and introduction of mutants in the MCU. However, I think having a direct link might undercut both the X-men and ultimate resolution of “Avengers 4.”

That’s why it would work better for both franchises if the link was indirect, at most. Part of the appeal of the MCU is that there are connections everywhere, but most of those connections are fairly loose. Sure, Dr. Strange will get a mention in “Captain America: The Winter Soldier,” but the movie doesn’t center around setting up another franchise.

Ideally, the X-men would follow the same approach. Perhaps Nick Fury mentions some strange genetic anomalies popping up. Perhaps Bruce Banner or Black Widow mentions rumors of other living weapons, which could be a reference for Weapon X. Let those small hints establish that mutants exist, but save the particulars for an actual X-men movie.


Avoid: Having Mutants Appear Without Explaining Their Absence

This is probably the most daunting challenge for Marvel Studios to date, explaining how mutants exist in the MCU and why they’ve been absent thus far. Most people with an internet connection know why the MCU could never mention the X-men. Their movie rights were owned by another studio.

Just because Disney owns Fox now doesn’t mean that mutants can just suddenly appear. It’s not like magic in “Dr. Strange” or the Asgardians in “Thor.” These forces could operate under the radar, independently, and on a small scale. Mutants, by their very nature, cannot act like that.

The most defining theme of mutants, as they exist in Marvel, is that they’re random. They manifest all over the world in every major human population, regardless of geography, culture, language, or ethnicity. That’s not something that can just be ignored while aliens invade New York or killer robots invade Sokovia.

At the very least, an X-men movie in the MCU needs to establish a valid reason for why they’ve been absent. Moreover, it can’t just be the result of experiments or mad science, which was done in Marvel’s now-defunct Ultimate line comics and is way too similar to the Inhumans, whose TV show failed miserably.

Luckily for Marvel and Disney, there’s already an established way to do this and it came from an underrated cartoon called “X-men Evolution.” In that world, mutants are there, but their existence is kept secret by Charles Xavier. The events of “The Avengers” could give them even more reasons for keeping that secret and the whole movie could be built around mutants finally coming out.

Considering how mutants have often been used to symbolize the struggle of minorities, I think that’s both appropriate and compelling.


Do: Make The First Team Of X-men Young And Idealistic

The early X-men movies were a lot of things. Upbeat wasn’t one of them. The original “X-men” trilogy was very serious, full of brooding and tension, even among the younger characters. That worked for the early 2000s when superhero movies needed to get serious after the “Batman and Robin” fiasco. It won’t work in this current era.

The original X-men were teenagers when they first donned their costumes. They weren’t hardened soldiers like Captain America. They were lovably idealistic in pursuing Charles Xavier’s dream, believing they could be the ones that change the world. Unlike most teenagers armed only with a cell phone and no adult baggage, they have the powers to actually achieve it.

The heroes in “The Avengers” already provided plenty of jaded adult perspectives. The X-men can offer the youthful, idealistic perspective that’s so endearing, but so easy to undermine. That’s how the X-men started in the comics and that’s how they’ll thrive in the MCU.


Avoid: Making Wolverine The Center Of Everything

This is a caveat that’s just as relevant today as it was in the early 2000s when the “X-men” movies first came out. Now, I love Wolverine as much as the next X-men fan, but he is not the center of the X-men’s world. As lovable as Hugh Jackman is, the world of X-men cannot and should not be defined by all things Wolverine.

I would even go so far as to keep Wolverine out of the first X-men movie that takes place in the MCU. Establish the team before bringing him into the picture because it’s inevitable that he’ll command a lot of energy. If anything, Wolverine should get his own solo movie before he meets the X-men. Having held down three movies, it wouldn’t be that much of a stretch.

Wolverine is a great character, but he can’t be the main driving force of the X-men again. He already was with the original “X-men” movies and the MCU doesn’t need to follow that path again. Let Wolverine thrive on his own. Let the X-men thrive on their own. If they can complement one another along the way, then everybody wins.


Do: Highlight What Makes Mutants Different From Other Super-powered Beings

This is something that even the comics don’t do particularly well. Within that world, mutants exist alongside all types of heroes, from gamma-powered hulks to inter-dimensional refugees to Superman rip-offs. However, mutants are still hated and feared for being different.

The reasons for that are many, but poorly fleshed out. Unlike the Inhumans or unlucky teenagers who get bit by a spider, mutants are random. They’re born with their powers and they can’t avoid them. Being a mutant is like being a particular race. You can’t change what you are. That’s exactly what makes mutants both different and disconcerting for the public.

We already saw in “Captain America: Civil War” that the governments of the world are quite anxious about controlling super-powered beings. Add mutants to the mix and the potential for conflict is even greater. The foundation is there. The X-men just have to build on it.


Avoid: Making The Hatred And Mistrust Of Mutants Seem Contrived

This plays directly into my last point, but there’s a reason it’s worth highlighting. Like the comics, the MCU already has plenty of super-powered, super-capable beings that governments and average people rightly fear. There are legitimate reasons for that fear. Most people wouldn’t trust Elon Musk with a suit of armor. Why should they trust Tony Stark?

Fear and hatred of mutants is the primary driving force of conflict in the X-men. It’s also the primary motivator for characters like Magneto. That fear and hatred has to be different than the other logistical concerns that played out in “Captain America: Civil War.”

Dealing with mutants can’t just be about holding them accountable through some international treaty. Mutants are a lot more chaotic because they’re random and not every mutant seeks to be a superhero, which is part of why Charles Xavier formed a school in the first place.

The measures in the MCU, as well as the logic behind them, need to be different. At a time when people being detained is a hot-button issue, the X-men have could be extra relevant.


Do: Establish Minor, But Relevant Links To Other MCU Characters

A big part of the appeal in the MCU is how everything seems connected. Captain America has links to Tony Stark’s father, Howard. Spider-Man has a close link to Iron Man, as well. “Thor: Ragnarok” established some ties with Dr. Strange. “Guardians of the Galaxy” created ties with Thanos that later played out in “Avengers: Infinity War.”

These kinds of links help make the MCU the box office powerhouse that it is and those links should continue in X-men. Again, the foundation is there. Carol Danvers, who is set to appear in “Captain Marvel,” already has close ties to the X-men in the comics. Wolverine even had close ties to Captain America during World War II.  Storm also has a documented, but flawed history with Black Panther.

How these links emerge depends heavily on how Marvel Studios decides to bring the X-men into the MCU. If they shake up reality or tweak the timelines, then there will be opportunities to establish these links. If they opt for something less messy, then they can just as easily focus on setting new links for future movies. Either way works, provided it’s done right.


Avoid: Creating Unnecessary Rivalries Or Conflicts

This is something that could very well happen if those connections I mentioned earlier aren’t done particularly well. I know it will be tempting for Marvel Studios to pursue a big “Avengers vs. X-men” event like the one that played out in the comics. Personally, I think that would be a mistake and not just because “Captain America: Civil War” already played that idea out.

Superheroes fighting other superheroes can be compelling, but it’s easy to overdo. It also has a nasty tendency to bring out the worst in all the characters involved. That has happened more than once in the comics, especially recently. Whenever heroes fight each other, nobody really comes off as heroes and that’s not a healthy way to develop quality characters. It just makes them seem petty.

The X-men already have a lengthy list of quality villains beyond Magneto. The original trilogy did a poor job of utilizing them. The MCU has already dealt with a significant villain problems in the past, but has since raised the bar with characters like Thanos and Erik Killmonger. Before the X-men start butting heads with the Avengers, let them clash with the likes of Sinister and Mastermold first.


Do: Let Ryan Reynolds Continue Being Deadpool

Does this really need an explanation? Deadpool is awesome. Ryan Reynolds is lovable, talented, and charismatic. It’s not broke so don’t try to fix it. Just let Deadpool be Deadpool and let the money roll in.

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