Tagged: X-Men Gold

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #414

NEW YORK SHOULDN’T HAVE GIVEN THE X-MEN A PARKING PASS

Let’s say you’ve done something really stupid. No, let’s say I’ve done something really stupid; that’s more realistic. There are many answers I could give when someone asked me, “Why did you do that?” However, I presently subscribe to the theory championed by no less a personage than Harlan Ellison. The best answer is, “It seemed like a good idea at the time.”

Sometimes, however, not even that answer – which, unlike me, is direct and to the point – will suffice. There are some stupid things for which the answer, “It seemed like a good idea at the time,” will not work because they are so monumentally stupid that they could never have seemed like a good idea at any time. Things like Clippy, New Coke, and X-Men Gold #1.

No I’m not saying the idea of publishing X-Men Gold was stupid. I’m saying that something that happened in X-Men Gold #1 was of the so-monumentally-stupid-that-it-could-never-have-seemed-like-a-good-idea variety.

After the X-Men Gold team saved Manhattan from an attack by former Galactus herald Terrax – Why did Terrax attack Manhattan; it seemed like a good idea at the time – they went back to the new Xavier Institute for Mutant Education and Outreach to have one of their relaxing Softball games. They were met by the City Register for New York who presented current X-Men leader Kitty Pride with the invoice for the first six months’ rent and property tax for the parcel of land on which the Mayor of New York agreed to let the X-Men relocate their school. Kitty was shocked when she read the bill. It was for eighteen million dollars. That’s eighteen million. With an eight.

Turns out the X-men relocated the Xavier Institute to the middle of Central Park.

And that’s what was so monumentally stupid that it could never have seemed like a good idea at any time. For both the X-Men and New York City.

Judging from Kitty’s shock at seeing the invoice, I can only conclude she signed the lease without reading it first and ascertaining how much the rent and property tax was going to set the team back. And there is never a time when signing a lease without reading its terms – especially its rent terms – could seem like a good idea.

Thirty-six million dollars a year in rent and property tax isn’t just steep, it’s pushing Sisyphus’ rock up a right angle. Unless every oil sheik and internet billionaire in the world has offspring in need of mutant training or Kitty can get a copyright on the word “The,” I don’t see how the Xavier Institute will ever earn enough money to pay rent and property tax that’s so x-orbitant.

And speaking of monumentally stupid ideas, which we were, who in the Mayor’s office thought it would be a good idea for the Xavier Institute to relocate to Central Park?

Central Park is home to a zoo, a castle, a carousel, a concert shell, several playgrounds, baseball fields, skating rinks, fountains, a boat house, several theaters, statues, gardens, a world-class restaurant, several other restaurants, even more hot-dog carts, jogging trails, horse-drawn carriage rides, a memorial to John Lennon, lakes, ponds, and enough trees to make Robin Hood, his Merry Men, and every dog in the tri-state area happy. It is the fourth most-visited tourist attraction in the world with forty million visitors every year. And this is where the Mayor of New York agreed to put a school that’s attacked so frequently its got a training facility called The Danger Room?

Your Honor, have you heard of “collateral damage?” In case you haven’t, collateral damage isn’t what the 2008 housing bubble burst inflicted when people got their collateral foreclosed on. It’s what happens to innocent people when they’re hanging around major battlefields.

Mr. Mayor, the X-Men have villains with names like the Brotherhood of Evil Mutants, Mr. Sinister, and Apocalypse. These are not nice people. They would think nothing of attacking the X-Men in their home. A home you just allowed them to put in Central Park. If even one percent of those forty million visitors get hurt the next time someone attacks the Xavier Institute, you’ve just opened your city up to about 400,000 lawsuits. I practiced criminal defense law for 28 years and don’t know a tort from a torte, and even I would know how to file the complaints for the class action suits that are sure to follow.

Mr. Mayor, you may have thought renting Central Park to the X-Men was a good idea at the time. You might have even thought it would be a win-win situation. And it will be. For the plaintiffs and their lawyers.

Joe Corallo: The New X-Men Blues

Last week I wrote an open letter to Marvel about what the X-Men mean to me, primarily as a reaction to X-Men Gold #1. If you missed it, you can read it here. Since then, X-Men Blue #1 has come out. I read it, so now you get to read me talking about it.

Although I’ll be avoiding the biggest spoilers, if you are looking to avoid any and all spoilers for this comic I suggest you go give it a read before you continue.

Oh, you already read it and can keep going? That’s great!

X-Men Blue #1 is written by Cullen Bunn, drawn by Jorge Molina and Matteo Buffagni, colored by Matt Milla and lettered by Joe Caramagna. Cullen Bunn is someone I’ve been a fan of for a while now; it’s really hard not to enjoy Bunn’s writing. I’m really looking forward to reading his, Danny Luckert and Marie Enger’s Regression over at Image Comics. You can read an interview with them on this new series here. It was Cullen Bunn’s involvement in this series that made me excited about this particular X title.

After reading it I have to say that Cullen Bunn did not disappoint. He took what could have easily been a rough start to a series and crafted a tight, fun story that didn’t take itself too seriously throughout. That way, when the reveal at the end of the issue is made, it hits you harder. Tone is important and Cullen Bunn knows how to make you feel every panel of every page without feeling pandered to.

The art of Jorge Molina and Matteo Buffagni creates exciting page layouts the move the story along at breakneck speed when it needs to and is aided by the primary use of wide across panels and tall thin panels. My only complaints are that everyone looks too young and pretty –especially Black Tom Cassidy – and I don’t care for the new Juggernaut design. It’s too Bane.

Matt Milla’s colors are bright and really pop. It only gets dark mostly when dealing with Juggernaut and on the last couple of pages, which helps the mood greatly and in particular moves the reader on the second to last page of the main story to start feeling the sense of dread before they even get to the reveal. Excellent coloring.

There are two problems that jump out to me from this book that are no fault of the creative team. First, that the book doesn’t necessarily fit with the 90s nostalgia that these X books represent. This isn’t the old Blue team, but rather the original team of the Stan Lee and Jack Kirby years minus Professor X. While it made sense in the 80s to bring the original team back in X-Factor as the Lee and Kirby run was on only two decades old, it makes less sense when it’s five decades old. Anyway, after a few years they completely changed the X-Factor team back. You have so many great, compelling X characters to have a team limited like this seems entirely unnecessary. Now maybe the team will change in the next few issues or do, but the issue #1 is where you wanna grab people and it’d be a shame if people skip out on this because of this particular team, with the team on X-Men Gold being far more interesting character wise.

The second problem spins out of the first. We end up with a team that’s all cis white characters. A major problem with some of these older comics is that they are straighter, more cis, more male and more white than what people today would often expect. Even straight cis white male readers who are against diversity in comics at least expect their to be diversity, or else what are they going to yell about on Twitter?

That’s the danger with nostalgia. You can often go the route of nostalgia or go the route of diversity, but it becomes difficult to wed the two – particularly when the property in question is over fifty years old. There is a reason people like Len Wein, Chris Claremont, and Dave Cockrum made the team more diverse, and it seems silly to be taking steps back like this.

Despite how some people have reported on the Marvel Retailer Summit, Marvel has not come out and said they are anti-diversity. This particular team doesn’t ring true to what many X books have stood for the past few decades. You can’t point to Jean Grey being the leader as being terribly progressive when she’s the only woman on a team of five, and it’s hard to point to Iceman as being particularly progressive here when his orientation isn’t really discussed. That won’t be the case in Sina Grace’s Iceman, which I’m really looking forward to reading.

Look, nostalgia can be complicated, and can often be very, very white. That doesn’t make it bad reading. Like I said, I enjoyed reading this book. These problems with nostalgia still need to be looked at, and maybe a few issues or so down we will have a shake up with this team to have it feel more like a book in the spirit of the X-Men. And with Cullen Bunn at the helm and the reveal at the end of this issue, I feel like that’s a very real possibility.

Mindy Newell: This Is My Country

“This is my country, Land of my birth, This is my country, Grandest on Earth

“This is my country, Land of my choice, This is my country, Hear my proud voice.

“I pledge thee my allegiance, America the bold, For this is my country, To have and to hold”

This Is My Country (1940), Dan Raye – Lyrics, Al Jacobs – Music

Wow!

The sixth season of Homeland ended last night with an absolutely bang-up twisting cliffhanger and a final shot of Carrie staring at the Capitol building, mirroring the opening montage of earlier seasons that ended with Nicholas Brody staring at the White House.

Showtime did not give Homeland much publicity this year; the network instead focused on Billions – which stars Damien Lewis, who played the conflicted, and ultimately very lost, Sgt. Nicholas Brody. But after six years Homeland continues to stay relevant; this season it delivered hard punches to topical issues, with brilliant extrapolation of real world news stories and events by the producers and writers. I don’t want to spoil anything for you, so I won’t go into details except to say that this year’s story arc revolved around a President-Elect whose distrust of the nation’s intelligence services leads her to distrust the entire American political system – as Dar Adal tells Saul Berenson, “There’s something distinctly un-American about her” – and the manipulation of not just the public but the government itself through fake news, deep state conspiracy theorists, and paranoia.

There has been much ado about “diversity in comics” lately. Almost at the same time the Marvel Retailer Summit and Senior Vice-President David Gabriel made waves – tsunamis – over “female superheroes” (please read Mike Gold’s ComicMix column here), Rich Johnston over at Bleeding Cool posted this . I think the former is basically a tempest in a teapot and is really about Marvel sales – Saturday’s New York Times (April 7) had an article by George Gene Gustins in its business section – “Marvel Comics May Have Slumping Sales, But Don’t Blame Its Diverse Heroes” which takes a closer look at what’s going on in the Bullpen:

“While ‘Marvel Blames Diversity’ makes for a juicy headline, the issue is more nuanced.

“As Brian Hibbs, the owner of the two Comix Experience stores in San Francisco, said in an interview, Marvel has recently been experiencing a “massive sales slump” because of more basic factors: the frequent restarting of series with new No. 1 issues; fan fatigue over storylines that promise changes but fail to deliver; and the introduction of a deluge of new series. There is also the expense of comic collecting.

“This month, for instance, Marvel began rolling out a revamped lineup of X-Men titles, which will result in seven new series – two of which will publish twice a month, the other five monthly. That’s a lot of comic books, and they run an average of $3.99 each.

“The first issues will undoubtedly sell well thanks to the multiple covers and the collector’s tendency to buy them all. But subsequent issues are expected to follow the industry pattern of lower sales over time.

“’Marvel doesn’t have “more than one or two comics selling 60,000 or 70,000 copies,’ Mr. Hibbs said, adding that this trend has virtually nothing to do with ‘this diversity canard.’”

However, the later article is about anti-Semitism and anti-Christian (and by inference, anti-any religion except Islam) sentiments hidden as “Easter eggs” in the first issue of X-Men Gold by its artist, Ardian Syaf, Author G. Willow Gordon, (Marvel’s Ms. Marvel, Vertigo’s Cairo and Air, and the novel Alif the Unseen, along with other works) addressed Mr. Syaf and the controversy on her blog site (Here is What Quran 5:51 Actually Says).

All I can say is this:

If that’s truly how you feel, Mr. Syaf, then why do you work in an industry whose roots are firmly established in Judeo-Christian beliefs and mythology? Do you know that Stan Lee and Jack Kirby were born Stanley Leiber and Jacob Kurtzberg? That Superman was created by two kids named Jerry Siegel and Joe Shuster? That the very first “comic book” was the brainchild of two men named Max Gaines (nee Max Ginzberg) and Harry L. Wildenberg?

I believe that the upswing in overt and covert bigotry and intolerance in this country is directly related to the man who sits in the Oval Office at present. A man who cries about the women and babies killed in Syria, but won’t lift his ban on Syrian refugees. A man who decries the use of sarin gas – a weapon of mass destruction – but told Chris Matthews during the campaign, “Why do we have nukes if we’re not going to use them?”

Crocodile tears.

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