Tag Archives: X-men

September 21, 2018 · 5:49 am

Jack Fisher’s Top Five Romance Comics

tumblr_m9f6wpy3tu1qjzyxso1_1280

I love comics. I love romance, too. When you put them together, it’s like putting bacon on pizza. It takes two inherently wonderful concepts and combines them, thereby compounding everything that makes them awesome.

I talk a lot about comics and romance. I’ve cited certain relationships that stand out in the current romantic landscape and praise certain comics that raise the bar for romance between superheroes. I think I’ve made the extent of my fondness for both fairly clear. Now, I’d like to offer some specifics.

For a while now, I’ve gotten comments and emails from people asking for recommendations of good romantic comics. I feel like I’ve contemplated this enough to craft a list of the comics I feel have the most to offer in terms of romance. While there are plenty of comics that cater specifically to romance, I’ve left those out in favor of those that offer a broader story that general comics fans can also appreciate.

What follows are my top five picks for the best romance comics. Please note that this is a personal list. I don’t wish to imply that this ranking is definitive. These are just my hand-picked comics that I feel offer the perfect blend of love and comic book level awesome.

Number 5: Spider-Man Loves Mary Jane

This sweet, fun little series from the mid-2000s is one of Marvel’s more underrated gems. There’s a lot of drama, angst, and frustration surrounding the romance between Spider-Man and Mary Jane Watson. I’ve cited some of the “complications” these two have endured on more than one occasion.

This series basically avoids all of that and doesn’t rely on elaborate retcons to do it. The story is less about Spider-Man and more about Mary Jane Watson. Specifically, it’s about a young, pre-supermodel Mary Jane Watson who hasn’t quite become the gold standard for sex redheaded comic book characters. That’s critical to what makes this series so great in terms of story and romance.

For once, Peter Parker being Spider-Man is secondary. That story is unfolding behind the scene, but the real drama comes directly from Mary Jane. She’s at an age where she’s blossoming into a beautiful young woman, but still figuring herself out. She’s not sure of what she wants, how to love, or where she fits into this crazy world. On every level, she’s far more relatable than any superhero.

As she navigates that world, she makes touch choices and even a few mistakes. More than anything else, though, this series shows how and why Mary Jane came to love Peter Parker so much. It doesn’t rely on overt sex appeal or excessive heroics. The story focuses entirely on chemistry and growth.

On paper, it sounds like something that shouldn’t work in a superhero comic, but it totally does. It’s a romance story that’s balanced and well-developed. It also isn’t too mature. Anyone from age 8 to 80 can appreciate the romance here. On top of that, Takeshi Miyazawa’s artwork is gorgeous, bringing light and heart to a romance that badly needs it.

Number 4: Rogue and Gambit

This is a very recent entry on my list, but one that did more than enough to justify its position. Over the course of five issues, “Rogue and Gambit” accomplished something extraordinary. It took a well-known romance that had been deconstructed, denigrated, and mishandled for years and effectively rebuilt it into something truly uncanny.

Kelly Thompson, one of Marvel’s rising stars, took the baggage surrounding the Rogue/Gambit relationship and channeled it in a way that felt both rewarding and sincere. It starts as an undercover mission, but evolves into some overdue couple’s therapy. Thompson doesn’t ignore all the factors that kept them apart. She even lets them argue and agonize over them.

In doing so, this series presents this romance as one you won’t find in any fairy tale. This isn’t a case of star-crossed lovers destined to be together. It’s a romance in which the two people involved have to really work at it. They have to confront their flaws, their failures, and all the excuses they’ve made to avoid their feelings. It gets ugly, but beautiful at the same time.

I would go so far as to cite this series a template for how a modern superhero romance can work, even without an iconic legacy. The Rogue/Gambit romance isn’t ideal, but that’s exactly what makes it so enjoyable and endearing. These are flawed characters who have both found themselves playing villainous roles at some point in their history. Them coming together despite all that just feels so right.

The only reason this series isn’t higher on my list is because it’s so recent. It’s also still evolving through a companion series, “Mr. and Mrs. X.” I’ve reviewed and praised that series too, but it wouldn’t be possible without this series. Whatever complications the Rogue/Gambit relationship faces in the future, this series will remain one of its most defining moments.

Number 3: The Adventures of Cyclops and Phoenix

I’ve made no secret of how much I love the romance between Cyclops and Jean Grey. I’ve cited them as one of those uniquely special relationships that is both iconic and balanced, a rare combination for a romance that has been unfolding for over 50 years now. While they’ve endured plenty of tribulations, complications, and retcons along the way, they remain iconic for a reason.

This series from the late 1990s is a testament to just how strong their romance can be when retcons, cosmic forces, and terrible love triangles are set aside. At their core, Cyclops and Jean Grey are two people don’t just want to love each other. They want to create a better world for their friends, their family, and their future children. They get to do all of that and then some here.

Much of the story takes place in one of the many dystopian futures that plague the X-men, namely one ruled by Apocalypse. It puts Cyclops and Jean in a position where they can’t fall back on their fellow X-men or the support of other superheroes. They have to navigate this wasteland of a world with only each other to fall back on. It’s a true testament to the strength of their relationship.

As the title implies, though, the story emphasizes the adventure more than the romance. While there are plenty of sweet moments between Cyclops and Jean, their relationship is not the primary focus. It’s certainly a factor driving them forward, but the meat of the story is how it drives them through the conflict. If you enjoy adventure with your romance, then this is definitely the series for you.

Number 2: Superman and Wonder Woman Volumes 1 and 2

Yes, I know Superman and Lois Lane are still considered the most iconic superhero couple of all time.

Yes, I know there’s an extremely vocal contingent of Superman fans that believe there’s something missing whenever he’s not with Lois.

No, I do not care. That’s because the run on this series by Charles Soule and Tony Daniel really raised the bar for just how great a romance can be for these two iconic characters.

There’s a lot I can say about the romantic potential between Superman and Wonder Woman. It would probably take me multiple blog posts and several essays to adequately describe what sets it apart from Superman’s relationship with Lois and why it works so beautifully. Thanks to this series, though, I don’t need to do that.

This particular series takes place during the controversial, but endearing New 52 era of DC Comics. During this strange, but amazing period of DC Comics, Superman and Lois aren’t married. They know each other, but they aren’t romantically involved. That opens the door for Superman to explore a relationship with Wonder Woman. However, this series makes clear that this romance is no gimmick.

They’re not forced together, nor is it presented as a gimmick. From the very beginning, as well as the events that led up to it, there’s a distinct sense that Superman and Wonder Woman find one another during tenuous times in their lives. They’re two powerful characters making their way through a world in which they feel isolated. When they’re together, though, they’re at their best.

This story brands them as a power couple and they do plenty to earn it. Together, they face threats from alien tyrants and renegade Greek gods. Their worlds collide, but they guide each other through. They make each other stronger. They make each other better. They fight as individuals and as equals. If that’s not the definition of a power couple, I don’t know what is.

Again, if you’re a die-hard supporter of Superman and Lois, that’s fine. This series does nothing to undercut that. However, it does plenty to prove that Superman and Wonder Woman can share a powerful romance, literally and figuratively. Even after DC has undergone extensive retcons and reboots, this series still captures the power of that romance in the best possible way.

Number 1: Saga

This is probably a controversial selection for those who aren’t familiar with this series. It doesn’t involve superheroes. It’s not a product of Marvel or DC Comics. It’s an entirely different world full of bizarre creatures that include talking cats, a humanoid seal, and an entire race of beings with TVs for heads. I swear I’m not making any of that up.

However, at the heart of this amazing series by Brian K. Vaughan and Fiona Staples is an amazing love story between two characters from warring worlds. That love is very much the driving force between all the conflict and the characters that get caught up in it. It’s one of those romances that has every conceivable force working against it, but it still happens and it’s downright beautiful

Alana and Marko aren’t Superman and Lois Lane. They’re not even Rogue and Gambit. They’re not exactly heroes trying to live up to an ideal. They’re soldiers in a war between two worlds, but they somehow find each other, fall in love, and create a family together.

It’s not a fairy tale romance, though. Their romance involves more than a few explicit sex scenes, as well as a scene where Alana gives birth to their daughter. Nothing is filtered or polished. The sexy and unsexy parts of their relationship is laid bare within a world that is full of fanciful characters and locales.

It’s a genuinely epic journey, but one that all comes back to the romance between Alana and Marko. No matter what kind of romantic you are, these two find a way to check the right boxes. There are many moments of passion, sorrow, and loss. There are also plenty of moments that are funny, cute, and endearing. It has everything a great romance needs and then some.

I should offer a fair warning, though. You will get attached to these characters. You will feel it during certain moments. As a self-professed romantic, I can safely say that it’s worth the risk.

There you have it! These are my top five selections for romance comics. I’m sure some will disagree with my selections. The list may even change as other great romance comics emerge in the coming years. That’s perfectly fine and I welcome any debates on my list.

Romance is in every medium and comics are no exception. I would even argue that the romance in comics is under-appreciated and under-valued. As the genre continues to evolve, I have a feeling that’ll change and I hope to be part of that change.

5 Comments

Filed under Comic Books, Jack Fisher, Superheroes, Marriage and Relationships, romance, sex in media, superhero comics, X-men

Tagged as , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Link

The following is a review I wrote for “Return of Wolverine #1” for PopMatters. Enjoy!

Healing and Nuance Amidst the Violence in ‘Return of Wolverine #1’

Leave a comment

September 20, 2018 · 4:41 pm
Link

The following is a review I wrote for PopMatters for X-men Blue #35. Enjoy!

Time (Inevitably) Runs Out in ‘X-men Blue #35’

Leave a comment

September 13, 2018 · 6:01 pm
September 10, 2018 · 5:59 am

Why Deadpool Is The Perfect Nihilist Hero

deadpool-2

How do you navigate a world where everything is ultimately meaningless? That is a question that self-proclaimed nihilists and “Rick and Morty” fans often struggle with in heated philosophical debates.

I’ve tried contributing to that debate before with my own insights. I’d like to do so again while also tying the discussion one of my favorite superheroes, who just happens to have had a very successful movie this year. For me, that’s as big a win-win I’ll get without also referencing ice cream and bikini models.

I still want to further the nihilism debate, though. To do that, I need to re-frame the initial question I stated. How do you navigate a world where you know you’re just a comic book character and everything you do is subject to endless retcons, marketing gimmicks, and the occasional time traveler?

That’s basically the life Deadpool lives every hour of every day. Unlike the myriad of other iconic superheroes owned by Marvel and governed by their Disney overlords, he knows he’s a comic book character. His tendency to break the fourth wall is the most common manifestation of that knowledge.

It doesn’t seem to bother him, though. It hasn’t stopped him from doing things like joining the Avengers, teaming up with Cable, and marrying a succubus. He still cracks dirty jokes, shoots people and the occasional shape-shifting alien for money, and generally does his own thing outside the traditional superhero archetype.

Now, there are a lot of reasons why Deadpool is such an endearing character. I’ve cited more than a few, but I’d like to submit another for Deadpool fans and philosophy buffs alike.

Deadpool is the PERFECT nihilist hero.

I know “nihilist hero” isn’t really a thing, but given the philosophical underpinnings of nihilism, that really doesn’t matter much. When I say Deadpool is a nihilist hero, I don’t just mean that he’s someone who personifies a concept the same way Captain America personifies American ideals. With Deadpool, I’m referring more to the way we process the often-depressing implications of nihilism.

Those concepts can be pretty difficult to anyone who thinks about them for more than two minutes. At the core of nihilism is the idea that life, the universe, and everything in between has no inherent purpose. Nothing you or anyone else does matters in the grand scheme of things. Whether we’re random clumps of matter or comic book characters, it’s all ultimately pointless.

For many, that’s a scary notion. That’s why it’s only natural that people will cling to ideologies, religions, and simple hobbies to forge some semblance of meaning out of a meaningless universe. It often requires that we not care about the truth and simply accept the possibility of truth, which can be difficult when the universe constantly reminds us how harsh and unfair it can be.

For someone like Rick Sanchez of “Rick and Morty,” there’s no getting around the meaninglessness of it all. His approach and advice in navigating a nihilistic universe often boils down to not thinking about it. While that advice is actually more useful than it sounds, it’s not very heroic.

This is where Deadpool sets himself apart. The fact that Deadpool knows he’s a fictional character establishes that he understands how meaningless his existence truly is. Everything he knows, loves, and holds dear is nothing more than the whim of comic creators who ripped his name and his appearance from an established DC character.

How does anyone deal with that kind of knowledge? Even the smartest, most capable characters in the entire Marvel universe, which includes gods, aliens, and alien gods, don’t have the insight that Deadpool has. It’s the kind of thing that would drive even a powerful mind insane.

However, Deadpool is not insane. He’s crude, vulgar, obnoxious, annoying, self-destructive, immature, and impulsive. He once made 372,844 pancakes for no reason. That’s absurd, but it isn’t insane. You could even argue he’s “super sane” in the sense that he’s more aware than most of how the world works.

That sort of awareness tends to inspire chaos in characters like the Joker or misanthropy in characters like Rick Sanchez. With Deadpool, though, that knowledge inspires something different. Instead of misery or clown makeup, Deadpool embraces this understanding and jokes about it.

He does all that while being a wise-cracking anti-hero who will help the Avengers save the world while also shooting a dishonest pizza guy. That may sound eccentric, but it also reflects the key component that establishes Deadpool as a nihilist hero.

Part of what makes a hero heroic is why they do what they do. Superman is often held up as the gold standard because he does the right thing just because it’s the right thing. He doesn’t need another reason. You could argue that’s the most important reason for any hero.

While Superman’s morality still works in a nihilistic context, I don’t consider him a nihilist hero because he operates under the assumption that his life, his role, and his actions have meaning. Deadpool knows this isn’t true because he knows he’s a fictional character. However, that makes his style of heroism more nuanced.

There are times when Deadpool’s actions are selfish and other times when they’re entirely selfless, often within the same story. In both his movies, he alternates between heroic and not-so-heroic actions fairly easily. There’s no internal conflict. He just does it, doesn’t bother with the particulars, and cracks a dirty joke along the way.

For other heroes, the reason for their heroic actions is often as critical as the actions themselves. To them, there is a larger meaning to their heroic roles. That’s why they’ll often hesitate or agonize over doing something for selfish reasons. That basically happens with Spider-Man every other issue.

That’s not an issue for Deadpool, though. He’ll be selfless and selfish, depending on the situation and his mood. If the world is in danger of being overrun by renegade space gods, he’ll step up and be a hero. If the world is not in danger, though, he’ll gladly take a few mercenary gigs and shoot some people for money.

In both cases, there’s no moral conflict. In the context of nihilism, there shouldn’t be because those details don’t matter in the grand scheme of things. Whether Deadpool saves the world or makes a few quick bucks shooting a pick-pocket carries no significant weight. He does what he does because he chooses to. He even dares to enjoy himself along the way.

In a meaningless universe, you can be a selfless hero. You can be a greedy prick, too. It doesn’t matter either way. The only thing that matters, in the context of nihilism, is that someone chooses it because they want to and not because they think it serves some higher purpose. For someone who knows he’s a comic book character, those are the only choices Deadpool makes.

He’s willing to make jokes about that. He’s even willing to exploit it, as evidenced in the post-credits scene of “Deadpool 2.” I would even argue that entire movie cemented Deadpool as a nihilist hero because what he did rendered a great deal of the plot meaningless in the end. However, it still counted as meaningful to him because he chose to be both heroic and selfish at the same time.

There’s no question that there are characters who are more heroic than Deadpool. There are also plenty of characters who are more selfish than Deadpool, but still call themselves heroes. However, it’s Deadpool’s ability to be both and laugh at the meaninglessness of his existence that makes him the greatest nihilist hero.

1 Comment

Filed under Comic Books, Jack Fisher, Superheroes, Deadpool, nihilism, philosophy, X-men

Tagged as , , , , , , , , , , , , , , , , , , , , , ,

Link

The following is a review I wrote for PopMatters for Astonishing X-men #15. Enjoy!

Heroes, Criminals, and Heroes Operating As Criminals: ‘Astonishing X-men #15’

Leave a comment

September 6, 2018 · 8:39 pm
Link

The following is a review I wrote for PopMatters for Old Man Logan #46. Enjoy!

Old, Gruff, and Gritty in Old Man Logan #46

Leave a comment

August 23, 2018 · 6:16 pm
Link

The following is a review I wrote for “Extermination #1” for PopMatters. Enjoy!

Tenuous Temporal Deconstruction in “Extermination #1”

Leave a comment

August 16, 2018 · 6:11 pm
August 9, 2018 · 5:30 am

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

x-men-joining-the-mcu

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.

5 Comments

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

Tagged as , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Link

The following is a review I wrote for PopMatters on “X-men Gold Annual #2.”

“X-men Gold Annual #2” Is A Summer Camp Snoozer

Leave a comment

August 2, 2018 · 9:00 pm
July 27, 2018 · 5:38 am

How “Mr. And Mrs. X” Provides Hope (And A Template) For Married Superheroes

672890-_sx1280_ql80_ttd_

If you were to go back 40 years and ask someone to tell a story about epic space battles, death stars, and wookies, chances are you’d get a lot off odd looks and insipid excuses. Some might even laugh in your face, saying such a story could never be told, let alone make over $7.7 billion at the box office. George Lucas is probably laughing at them on top of a bed made of money.

Great stories like “Star Wars” didn’t just prove there were millions to be made from elaborate space operas and quality sci-fi. It helped establish a template for others to follow in telling similar stories. Some have followed it better than others, but the most important thing “Star Wars” was demonstrate that it can be done.

The current state of married superheroes is in a similar situation to what the sci-fi genre was before “Star Wars” came along. Both Marvel and DC Comics have done a lot over the past couple decades to undermine married superheroes, some of which have left major scars for fans and characters alike. Just look up a story called One More Day for proof.

The excuses Marvel and DC have made aren’t very convincing, but they’re not entirely wrong either. Telling stories about married superheroes is challenging. There are only a handful of married superheroes that have stood the test of time. However, even the most iconic superhero couples have been prone to the complications of marriage.

That’s why a series like “Mr. and Mrs. X” is coming along at the best possible time. This series, which spins directly out of the denigrating heartbreak that unfolded in “X-men Gold #30,” may very well provide both the hope and the template for married superheroes moving forward.

The first thing I need to say about “Mr. and Mrs. X #1” is that it’s part of a larger story that began unfolding before the events of “X-men Gold #30.” Kelly Thompson, who wrote “Mr. and Mrs. X,” also wrote a mini-series called “Rogue and Gambit,” which I highly recommend. That story did something important for both fans of superhero romance and of superhero cartoons from 1990s.

In the world of iconic superhero couples, Rogue and Gambit occupy a gray area of sorts. They’re one of those couples that rarely tops any list of notable superhero romances, but they’ve always been closely linked to one another. This is due largely to the chemistry they showed in the “X-men Animated Series” cartoon that defined so many childhoods back in 1990s. I know because I was one of them.

While Rogue and Gambit have always had romantic potential, it was never fully utilized. Neither the cartoon nor the comics ever took it beyond a certain point and not just because Rogue’s life-draining powers hindered their capacity for intimacy. There was just no real effort to evolve their romance beyond flirting and card puns.

Ms. Thompson changed that with “Rogue and Gambit.” This under-developed romance grew more in the span of five issues than it had in over 15 years of comics, cartoons, and failed efforts to get a Gambit movie off the ground. With “Mr. and Mrs. X #1,” Ms. Thompson dares to skip several steps and let this couple take the plunge into superhero marriage.

Considering how even a much more iconic couple in Batman and Catwoman failed to get that far, that’s quite an achievement. However, the way in which “Mr. and Mrs. X #1” portrays the sexy, romantic details of married superheroes is a far greater accomplishment. I would go so far as to say that it sets a new standard for just how appealing married superheroes can be.

One of the most important things “Mr. and Mrs. X #1” does is expand on the events of “X-men Gold #30.” This isn’t just critical for the sake of Rogue and Gambit’s relationship. It helps fix the greatest flaw in that issue. When the marriage of Kitty Pryde and Colossus fell through in a heartbreaking moment, Rogue and Gambit basically stepped in to keep the ending from being a complete tragedy.

The way their impromptu marriage presented in “X-men Gold #30” is both shallow and crude. It’s basically just forced in there, a marriage for the sake of saving a botched wedding. It never even gave the impression that Rogue and Gambit were serious about marrying one another. They just did it on a whim, their wedding having the depth of a drive-through chapel in Las Vegas.

“Mr. and Mrs. X #1” fundamentally changes that. It dedicates over half the issue to providing more details of that ceremony, making clear that Rogue and Gambit gave this more thought than the brand of cereal they ate that morning. There was preparation, planning, and even a surprise visit from Mystique, Rogue’s adopted mother.

This goes a long way towards showing that Rogue and Gambit are serious about getting married. Even if you didn’t read Ms. Thompson’s “Rogue and Gambit” series, the first eight pages do enough to show that there’s genuine love between these two. Moreover, they want take that love to the next level.

Even for a romance not built on Disney-style fairy tales, that’s a pretty important detail. There’s a major difference between characters actually wanting their relationship to evolve and just doing it because it makes for a nice event. It’s the same difference between wanting to eat to McDonald’s and having to eat at McDonald’s. It affects the experience.

That shared desire between Rogue and Gambit shows in both the ceremony and the honeymoon. That’s another key component that “Mr. and Mrs. X #1” adds to the template. It doesn’t just stop at the heartfelt wedding ceremony they share with friends and family. It acknowledges and even shows off the sexy tidbits of married life.

Rogue and Gambit don’t just love each other enough to want to get married. They also want to express that love like any other horny couple. It doesn’t have to be a dirty secret or some trivial side-note. It can be part of the story and thanks to the wonderful artwork of Oscar Bazaldua, it’s a spectacle to behold.

We get to see these two in expensive wedding attire and their birthday suit. There are moments of genuine affection. There are moments of playfulness. There are also moments where they address more serious issues, such as Rogue not being able to touch without the aid of a device that inhibits her powers. All of that is fit into a single issue.

On top of all that, “Mr. and Mrs. X #1” still finds time to squeeze in some heroics at the end. It’s not all heart-warming ceremonies and sexy honeymoons. Rogue and Gambit are still X-men. That means they still answer the call to adventure when it comes. That’s just what heroes do. Being married doesn’t have to change that.

That shouldn’t be such a novel concept, but that is a common criticism of married superheroes. Once they get married, their ability to be superheroes is somehow diminished. That’s like saying being a rock star diminishes someone’s ability to enjoy random songs on the radio. It’s a false flaw that Ms. Thompson and Mr. Bazaldua go out of their way to subvert.

The nature of the conflict that interrupts Rogue and Gambit’s sexy time is somewhat underdeveloped. It involves aliens and space battles, which is basically a typical Tuesday for the X-men. There’s not much in terms of refinement, but that’s less a flaw and more a logistical limitation.

“Mr. and Mrs. X #1” is the first issue of a series, which means there will be other opportunities to expand that story. Rogue and Gambit’s life as married superheroes isn’t ending. It’s just beginning. They’re still going to be heroes. They’re still going to fight aliens in between hot romps between the sheets. Married life doesn’t have to be boring. What a concept, right?

I’m not being coy. That’s the ultimate takeaway from this comic. Two well-known, well-developed characters can get married, share some loving moments, get sexy, and still be superheroes. Being married doesn’t have to supercede their heroics. It can complement it as well.

It’s a lesson that other superhero couples, be they iconic or based on a random hook-up, would be wise to learn. Even powerful heroes like Superman are only as compelling as the relationships and interpersonal dynamics that highlight who they are. In the same way teamwork makes the Avengers and the Justice League strong, marriage can make a superhero couple strong.

That really shouldn’t be such a radical notion, but Ms. Thompson and Mr. Bazaldua do plenty to remind us why it shouldn’t be. “Mr. and Mrs. X #1” sets a bold tone for Rogue and Gambit. It doesn’t stop at a beautiful wedding or a sexy honeymoon. The heroics continue. It just takes a different tone.

The ending of the issue, which I won’t spoil, even sets up some new drama between the happy newlyweds. It’s not the kind that’ll instigate another frustrating love triangle, but it does hint at a conflict that wouldn’t be much of a conflict if Rogue and Gambit weren’t married. Rather than limit their story, it expands it.

“Mr. and Mrs. X #1” does so much in the span of a single issue that it would take me all day to list them all. It’s not a perfect issue. If I had to score it, I would give it a 9 out of 10, just because it had piggy-back on the heartbreak in “X-men Gold #30.” The most important achievement, though, is the precedent it sets. Married superheroes can be sweet, sexy, and fun and this is how you do it.

Like a marriage in a real world, relationships evolve. Getting married is not an endpoint. It’s another step in the dramatic, yet sexy narrative that is romance. Superheroes are fully capable of taking that step without turning into a bad sitcom. “Mr. and Mrs. X #1” shows that this step is worth taking. Hopefully, other couples follow and build on this sexy new template.

7 Comments

Filed under comic book reviews, Comic Books, Jack Fisher, Superheroes, sex in media, X-men

Tagged as , , , , , , , , , , , , , , , , , , , , , , , ,