Comics: Excalibur #4

EXCALIBUR #4
January 1989
"Still Crazy After All These Years"
Writer: Chris Claremont
Penciler: Alan Davis
Inker: Paul Neary
Colorist: Glynis Oliver
Letterer: Tom Orzechowski
Editor: Terry Kavanagh
Editor In Chief: Tom DeFalco

I can't think of any other issue in recent memory that contains both everything great about Claremont and everything frustrating about him. I'll start with the great.

The main cast is great. Claremont expertly builds friendships between cast members that were previously strangers, like with Meggan and Nightcrawler. Their flirtation is so palpable and believable yet subtly done. Nightcrawler has received a new lease on life with this title. Alan Davis was born to draw him, it seems, and Claremont is really rejuvenating everything that made the character such a winner. With Wolverine and Storm taking center stage in Uncanny, Nightcrawler was getting overshadowed. Here he's front and center and deserving of the attention.

The friendship Phoenix and Shadowcat began forging in their previous title has carried on across the pond and to Excalibur. I love that Claremont so bluntly states what each character's viewpoint is on each other's fashion choices and has them play off each other. It's kinda simplistic, but it's so rare that readers get these personal glimpses into superheroes' lives. We never hear what music or movies or books characters like, and most every hero has absolutely zero fashion sense outside of their spandex. They usually just wear a t-shirt and converse.

Lastly, Courtney Ross grows as a supporting character in ways few other writers could accomplish. Claremont was never content at just letting his core team members get personal growth. He was always striving, either with Moira MacTaggert, Amanda Sefton or Stevie Hunter, to have the supporting and powerless players be as strong and fleshed out as the top billed names. Courtney Ross is fierce, independent and totally charming. I like her. She's much more than Captain Britain's ex-girlfriend.

And now on to the stuff that Claremont fails at. The Crazy Gang. I know this is supposedly a comedy book (the cover is comedically meta), but a team of villains who dress up (or are?) characters from "Alice in Wonderland"? Seems like another idea that only Claremont is interested in. Was anyone really that psyched to see a Tweedledum analogue named Tweedle Dope? No? Believe it or not, these characters were actually created by Alan Moore...pre-Watchmen. Tying them to Arcade makes some sense, and Arcade does have a known vendetta against Captain Britain so that's all sound, I just don't want to read about the Crazy Gang.

This issue ALSO features body swapping and mind control. I'm actually tired of complaining about how much Claremont uses these two story devices, so I'm just going to say that he uses them too much, wag my finger, and move on.

So this was a mixed effort, which was definitely bumped up due to Alan Davis' impeccable art. Was this guy ever bad? It seems that he started out as strong as he is now. That's amazing.

MY SCORE: 8.5/10

Comics: X-Factor #35

X-FACTOR #35
December 1988
"Go To The Orphan Maker!"
Writer: Louise Simonson
Penciler: Terry Shoemaker
Inker: Joe Rubinstein
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

Cyclops and Jean Grey, Nanny and her forces and N'Astirh's demons all convene at the orphanage of Cyclops' youth with the same goal: steal some babies. This storyline has been building up for months and Louise Simonson has woven the various ongoing stories in X-Factor in with the wider scope of "Inferno" quite well. Cyclops' lost son Christopher is the main target for N'Astirh's demons, who were working alongside X-Fator foes Right until last issue, when they splintered off after finding out where a ton of mutant babies were. It's all well done.

This issue is really exposition heavy and melodramatic, two things which tend to plague Simonson's work on this title. Both Cyclops and Jean talk in powerful and bold statements that are clearly executed, which doesn't fit well with how comics are written now...or how people talk. Plus knowing more about Cyclops' past now, all these flashbacks to his orphanage make me wonder how well they fit in. Is the bully that's picking on him supposed to be Mr. Sinister? Cyclops mentions how cloudy his memories of the place are, which is a big red flag too that something is wrong. I also don't know how orphanages work, but his brother Alex is just shipped away as soon as possible while Cyclops is in a coma. That's rough, right? Do orphanages do that, just split up siblings after they lose their parents? That's cold!

Nanny as a villian has never excited me or worked, so I'm glad that her prevalence in the late '80s gave way to near-non-existance in the '90s and now. This issue introduces some more of Nanny's hench men, none of whom get clear code names or powers. Two of them turn out to be Jean's neice and nephew, which is kinda random (was her sister killed by Nanny? Can't remember that far back right now). Still, the scene where Cyclops finally sees his son again is touching and Simonson sets up the stakes for "Inferno" pretty well.

Terry Shoemaker turns up as fill-in artist again after doing (or maybe before doing) this month's issue of New Mutants. He does a fine job, but when a book is so defined by Walt Simonson's peculiarly energetic style it's hard to fill-in. I also liked the fill-in work Shoemaker did in the '90s more than the everyman-esque stuff he's doing here.

Overall, not the strongest issue of X-Factor dialogue wise, but the plot is fine.

MY SCORE: 7.8/10

Comics: New Mutants #70

NEW MUTANTS #70
December 1988
"Self-Fulfilling Prophesy"
Writer: Louise Simonson
Penciler: Terry Shoemaker
Inker: Al Milgrom
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

This is still Louise Simonson, right? Yup, her name's on the book. Can't figure out where the stilted dialogue suddenly came from. The issue begins with the Mutants imprisoned by Spyder on the alien world. Spyder then delivers two pages of exposition explaining who each New Mutant is by saying "Ah, ____, you do ______ and feel _____." Yep, he actually says "ah" and then the name of a character three times in a row. Is there a rule about not repeating words or vocal patterns back to back, because it's something I always eliminate from my creative writing and hate when I read it.

Gosamyr's family is stirred early and are "born" prematurely, thus unleashing their crazy giant monster modes on the team. They're only thwarted by Lila Cheney, who apparently teleports them into a nearby sun (which obviously doesn't stick as she is back alive as early as 1992, maybe even before). As Spyder sics his forces on the Mutants, Illyana decides to risk her soul and teleport the kids home by way of the ever-worsening Limbo. The issue ends with the team stuck in Limbo against the foces of S'ym, thus preparing their involvement in "Inferno."

This issue wasn't as much fun as the previous ones, mainly due to the less enthusiastic art of Terry Shoemaker and some clunky dialogue. Plus this story has gone on far too long. Simonson is at her best when she's treating these kids like kids and putting them in fun/realistic drama. This has been way too much, especially since it follows the almost exact same Bird-Brain story arc (mysterious inhuman needs help, thus leading team to exotic locale and tragedy). I'm looking forward to the X-Terminators joining this book after "Inferno."

MY SCORE: 7.7/10

Comics: Excalibur #3

EXCALIBUR #3
December 1988
"Moving Day"
Writer: Chris Claremont
Penciler: Alan Davis
Inker: Paul Neary
Letterer: L. Lois Buhalis
Colorist: Glynis Oliver
Editor: Terry Kavanagh
Editor In Chief: Bob Harras

Excalibur and Wolverine have always been the biggest holes in my X-Knowledge. Both series were harder to find and more expensive when you did (this issue's cover price is fifty cents more than the standard Marvel Comics at the time). I also have to note that this issue has held up amazingly for being ten years old. The pages are all still very crisp and white, unlike every other comic I'm reading from this era. I don't know what's different with the paper stock, but that extra fifty cents has somehow made all the issues of Excalibur that I've read so far hold up far better than all the other comics I have from this time. Interesting.

This is also my first time reading Excalibur's early issues and I'm quite surprised by how good they are. Claremont's run on Uncanny at this time was by no means poor, but all the characters had very much settled into their stereotypical Claremont voices and all the crackle and energy of the John Bryne and Paul Smith years have faded away into something a bit more amorphous (but still good). It might be Alan Davis' gorgeous art or the fact that the creative team is obviously excited by this new series, probably both, but this series so far and this issue in particular is really fun and holds up amazingly well today.

The issue opens up with that stuffy/slutty old English lady we saw last issue busting Juggernaut out of a prison and putting him in the path of Excalibur. The fight scene that follows is almost as funny as some of Giffen and DeMatteis' run on Justice League International, with Captain Britain stubbornly thinking he can take on Juggernaut and Shadowcat using her phasing powers in creative ways against a car full of escaped convicts. The team displays effortless teamwork and it's really a joy to behold.

The second half of the issue mixes light moving in comedy (Kitty in the bathroom too long, Nightcrawler's morning exercise making noise) with serious character moments (Captain Britain gets an impromptu intervention because of his drinking and almost gets with lady pal Courtney Ross). Shadowcat also stumbles across a parallel universe/wacko version of herself and Lockheed, thus giving the team more evidence that something fishy is up in their new lighthouse home.

Overall, this issue was ten times more entertaining than I expected it to be, and I'm now looking forward to reading the next issues of Excalibur.

MY SCORE: 8.8/10

Comics: X-Factor #34

X-FACTOR #34
November 1988
"Death!"
Writer: Louise Simonson
Penciler: Walter Simonson
Inker: Bob Wiacek
Letterer: Joe Rosen
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The newly created Archangel comes face to face with X-Factor's former publicist and current arch-enemy Cameron Hodge in this issue. Hodge has kidnapped Candy Southern due to a weird mix of hating her because she fell in love with a mutant and also being a bit jealous that Archangel started ignoring him when he fell in love with her way back when. Undertones? The issue's main story consists of Archangel slicing his way through hordes of demons (thanks to Hodge partnering up with N'Astirh) until finally reaching Hodge, who pulls the plug on the comatose Candy, and beheading him.

Simonson gets some nice mileage out of Hodge's Christian anti-mutant viewpoint and his partnership with the demon N'Astirh. She really sells Hodge as a big time threat...and then keeps on selling him for a couple more pages. The issue is bogged down in a lot of posteuring and recap (do we have to actually see Angel lose his wings and be reborn as Archangel on panel if it's referenced constantly by Hodge and Archangel?). Still, the issue pushes "Inferno" one step closer to fruition and continues to build momentum to the big event.

I also have to say that the Right robot-people look way too much like Nanny, leading me to always believe that they're the same. I guess all egg-shaped googly-eyed robots look the same to me. But really, the whole Orphan Maker bit is so dark. A villain who murders the human parents of infant mutants so that the babies won't be persecuted by their parents? That's intense.

The art is the usual Walt Simonson style, very angular and expressive. The only part that I didn't get was Hodge's beheading. It really looks more like Archangel's wing has taken a chunk out of his shoulder. I guess the comics code preventing blood kinda gets in the way of depicting an accurate decapitation.

MY SCORE: 8.1/10

Comics: New Mutants #69

NEW MUTANTS #69
November 1988
"Bad Company"
Writer: Louise Simonson
Penciler: Bret Blevins
Inker: Al Williamson
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The trek I began through the X-Canon after my birthday on July 6th, 2006 rolls on after a bit of a lull. I received the first Uncanny X-Men Omnibus and began reading every X-Men comic in chronological order, starting with Giant-Size X-Men #1 from 1975. This also includes all the spin-off ongoing series that I own (New Mutants, X-Factor and now Excalibur). So here I am, at the end of 1988 after almost three years of reading. I've covered a lot of ground.

This issue of New Mutants finds the teens in the thrall of Gosamyr, a sexy alien who the Mutants are trying to aide, and in the clutches of Spyder, the sadistic arachnid-esque alien who has kidnapped mutant rock star Lila Cheney. The issue begins where the previous one left off, with Spyder's minions threatening to blow up the incoming space yacht carrying the Mutants and Gosamyr. Spyder intervenes and allows them to land so he can capture them as well, which he does by the issue's end. Cliffhanger!

Louise Simonson continues her strong grasp on each character with this issue, even if the book reads a little heavy at times. There's a lot of arguing and angst, but at least those characteristics align more readily with teenagers. Yeah, Illyana constantly moaning about being evil is annoying, but it does work with her and especially her age. Teenagers are whiny and annoying. Gosamyr's emotional trickery also brings some fun rivalries out, like Sam and Bobby's machismo-off and prudish Rahne's worry about having feelings for Sam. Simonson has a very tight cast that all plays off each other very well. With Karma, Magma and Cypher out of sight, she's really getting a lot of mileage out of the remaining six and how they all play off each other. It's all done well.

There are some minor problems with the plot, like the whole fact that the New Mutants have left the planet on a whim to help some total stranger alien who isn't that interesting of a character. Spyder's also incredibly generic and only has his odd repo man angle to set him apart from other spider-like alien baddies. Also, Dani's immature fleeing from the ship as soon as it lands because of how mad she is isn't in character, but I assume that's Gosamyr's effect.

Bret Blevins' art continues to be the best this book has had, outside of Bill Sienkiewicz's abstract take on the teens earlier in the series run. His pages crackle with energy and his characters all look young and mix physical vulnerability with emotional strength. It's good stuff.

I also like the general hints and foreshadowing that are popping up in all the X-Books right now, leading up to "Inferno." Illyana's sword is acting wonky and Emma Frost senses something horrible coming. There's a real sense of foreboding in the line right now, and it's selling the upcoming crossover very well. Looking forward to getting to it.

So a mediocre story is saved by some fun art and believable characters.

MY SCORE: 8/10

X-Men: Switching Sides

After seeing the completely disappointing X-Men Origins: Wolverine, watching half of X-Men: The Last Stand and beginning my journey through season two of the stellar 90s animates series (now available on DVD!), I stumbled onto the one thing that separates that great cartoon from a lot of the recent missteps in the franchise.

Heroes that become villains.

This disturbing trend has been in all of the bad adaptations of Marvel's mutants and absent from all the great ones. The 90s animated series kept the X-Men firmly aligned with the good guys, even if they weren't members of the team (Colossus, Angel and Bishop all aided the core team), and were never used to fill in as villains. The same thing can be said for the first and second X-Men films, where the writers and director used actual villains from the comic book instead of using formerly heroic characters. Lady Deathstrike, Mastermind, Stryker, etc., all villains in the comics and films.

With X-Men: Evolution things get a little murky. Both Gambit and Colossus were introduced as members of Magneto's Acolytes, which fits with both of their characters since Gambit has always been shady and Colossus actually was an Acolyte in the comics. But since they were introduced as bad guys, it make it that much harder for them to ever align with the X-Men, which is where most all fans want to see them. I'd rather see Colossus being friends with Wolverine than fighting him. I didn't follow Evolution much after season one, so I never got to see the episodes featuring Gambit and Colossus. Maybe I shouldn't even comment on this, then, but still it's weird that they would draft these two long-standing X-Men to Magneto's side, especially when there are tons of other energy projectors and muscle men to use that are villains (Random, Ramrod, Scalphunter, Blockbuster, Sunder, Slab, the Kleinstocks, Forearm).

X-Men: The Last Stand turns this up a notch and is even worse. Okay, making a cartoon is relatively easy. It doesn't cost any more money to do great affects and accurate powers, so seeing your favorite characters in a cartoon isn't that big of a deal. It's cool, but whatever. You see them drawn every month on a page. But seeing them on the big screen, being played by a real flesh and blood person? That's a big deal! So...why does Multiple Man have to be a bad guy? I know Madrox's power makes him the perfect cannon fodder generator, but he wasn't even used in that way in the film. Any other faceless mutant could have played his role. Even worse was Psylocke, who was put in the film, made evil, never called by her name, displayed none of her actual powers and was then murdered. Seriously? Psylocke isn't the most widely known X-Man (pretty sure her thong kept her out of the animated series, and thus out of public consciousness), but she's been a pretty constant presence in the team for over two decades. To have her senselessly killed after a non-part was just insult to injury. They should have just not named that character Psylocke and everything would have been fine.

From the first seven episodes I've seen, Wolverine and the X-Men is a very well executed cartoon that is much more faithful to the source material than Evolution, but there's an insane amount of good guys turn bad guys. From just the episodes I've seen, Rogue and Domino have been made members of the Brotherhood instead of various other candidates. At least Rogue made the decision to become evil within the first couple episodes. But looking at the future episodes on Wikipedia, Blink, Scarlet Witch, Mercury and Polaris are all Acolytes and Multiple Man and Archangel are Marauders. Why? There are enough members of both the Acolytes and Marauders that are actually evil, you don't have to use random X-Men as filler characters!

Quicksilver has been a bad guy in the last two of the three X-Men animtead series. I guess his snotty nature and parentage makes him an obvious bad guy, plus he was a bad guy when he first appeared. But I hate that a character that is now much more defined by his role as an Avenger and member of X-Factor is now known as a menace to the public.

Now we come to the latest offender, X-Men Origins: Wolverine. The movie gets a lot of the allegiances right. Deadpool is a mercernary, Gambit is just mysterious and not evil, Blob is played as oafish (even though they destroy his character in every other way) and Wraith is void of anything memorable much like his comic book counterpart. But what they did to Maverick was completely out of this world bad. Much like Psylocke's misuse, all they had to do was not call the character David North or Agent Zero (Maverick's other code name). First, he's not Asian. Second, he's not a ruthless killing machine. Third, he's not a jerk. And having him be all of these things didn't really add much to the movie, it just provided a small bit of comic relief in one scene. That's it. Also, apparently Dominic Monaghan was playing Bolt, a very very bit character from the comics. Who knew that?

I know this is all really nerdy and nit-picky, and I think these switches are fine if the character isn't jeopardized or ruined. Quicksilver being evil in the cartoons is fine. That's accurate to how he started out. The same can even be said of Rogue in Wolverine and the X-Men since she herself has a bad streak in the comics. I even can look past Multiple Man being a bad guy in The Last Stand because he was played as a witty guy with a flippant attitude similar to his comic book counterpart. It's just when characters get so many alterations added to them that they are unrecognizable, like Maverick and Psylocke, there's no reason to give them the same name.

Overall, there are enough evil doers in the X-Men mythos that the mass media doesn't need to play switcheroo on us. Right?

Meh, I'm going to go back to watching my 90s X-Men DVDs.