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Jason Aaron’s Run on Wolverine & The X-Men – Avengers vs. X-Men (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

Wolverine and the X-Men is one of the best comics that is being published by Marvel at present. Along with Waid’s Daredevil and Fraction’s Hawkeye, it’s a celebration of the strange and surreal side of comics. Jason Aaron doesn’t get enough credit for his character work, but his handle on the wonderfully wacky side of the X-Men mythos makes Wolverine and the X-Men a joy to read for anybody with an open mind and a willingness to try something a bit different.

Although the Avengers vs. X-Men tie-in issues are hardly the best place to witness Aaron’s artful approach to the franchise, often feeling a little disjointed and more all-over-the-map than usual, they still contain a lot of what makes Aaron’s work with the characters so appealing.

Burn, baby, burn...

Burn, baby, burn…

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Watch! New Wolverine Trailer!

I’m actually slightly looking forward to The Wolverine. Yes, I’m aware that X-Men Origins: Wolverine was… less than good. On the other hand, I have a soft spot for James Mangold, and I like the idea of giving the character a (relatively) fresh start free from all the continuity and characters of the previous X-Men films. I’m not expecting an instant classic, just a nice popcorn film.

Enjoy!

 

Avengers vs. X-Men (Review/Retrospective)

To get ready for Iron Man 3, we’ll be taking a look at some Iron Man and Avengers stories, both modern and classic. We hope to do two or three a week throughout the month, so check back regularly for the latest update.

I’ll admit, I’ve always been broadly curious about how the Avengers and the X-Men franchises fit together. I’m not normally a massive fan of over-thinking the whole “shared universe” aspect of superhero comics. After all, how can Spider-Man continue to have it so tough when there’s a bunch of wealthy and well-loved superheroes who could vouch for him? Why wouldn’t Batman use Superman or Green Lantern for back-up all the time? It’s best not to dwell on the implication that all these comic books are unfolding at the same time, despite how fun the occasional crossover might be.

Still, I’ve always found it interesting that the X-Men books apparently share a continuity with Marvel’s publishing line. After all, the merry mutants are frequent victims of persecution and attempted genocide, the subjects of institutionalised racism and seem to spend the majority of their time as pariahs or outlaws. You’d assume that at least Captain America – the Sentinel of Liberty and all that – would probably want to take an interest in mutant affairs, or try to help them out a little.

Avengers vs. X-Men is a massive line-wide crossover between Marvel’s two largest and most iconic franchises. It is – as you might expect – mostly an excuse to throw the two sets of toys against each other, but it still has its fair share of interesting ideas. It doesn’t necessarily develop those interesting ideas in the most satisfactory direction, but it is surprisingly coherent for a twelve-issue series from five of Marvel’s highest profile writers and three of the company’s most respected artists.

Exactly what it says on the tin...

Exactly what it says on the tin…

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Watch! The Wolverine Trailer!

I’ve been a bit less than impressed with the publicity work for The Wolverine. A trailer for a trailer? Exclusive teaser footage released via two avenues? It just seems a little counter-productive and more frustrating than intriguing. Following the reaction to both X-Men III and X-Men: Origins – Wolverine, you’d think that the trick would be to offer as much proof that things had turned around as possible, and as quickly as possible. Suspense works if we’re already sold. It doesn’t work if we’re more cautious than curious.

And I say that with a hint of optimism for The Wolverine. I actually quite like James Mangold. I even sort of enjoyed Knight and Day, probably much more than I should have. Hugh Jackman is charming enough you can forgive him anything. And the movie is based on the character’s defining solo story. Plus, you know, the trailer looks to borrow that pulpy charm of inserting Wolverine into popular history (in this case, World War II), which as much Wolverine’s mutant superpower as healing or claws. So I’m still on board.

Anyway, check out the trailer below and let me know what you think.

Look! Jack Kirby’s Designs for Argo!

I’m actually reasonably happy with Argo winning Best Picture. I’ve given up on the idea of the Academy Awards ever mirroring my own tastes, and Argo is a pretty great film from a director who is developing into a wonderful talent. And the awards last night spread the love around. It’s hard to hate a ceremony that can give Quentin Tarantino a Best Original Screenplay Oscar for Django Unchained.

Anyway, in celebrating the success of Argo, how about a look at Jack Kirby’s original designs for the fictitious movie Lord of Light (which became Argo)? Kirby was a comic book legend, who created The Fantastic Four, The X-Men, Captain America, Thor and countless other iconic comic characters. In the seventies, Kirby had an ever heavier science-fiction bint, creating his wonderful Fourth World and The Eternals and O.M.A.C. As part of the operation to rescue the escaped diplomats, Kirby designed these storyboards for the movie, which actually hit upon several of the author and artist’s favourite themes – including advanced god-like beings and the merging of the rational with the mystical.

Check out his sketches below. Click to enlarge.

Click to enlarge.

Click to enlarge.

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Wolverine: Save the Tiger (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

In 2009, Marvel published a Wolverine Omnibus. I’m honestly surprised that it took the company that long to pull together a large volume of work featuring the character and dump it on the market. However, browsing the gigantic hardcover, I’m amazed at just how much Wolverine-related material Marvel published before the character got his own on-going series. There was the Claremont/Miller miniseries, Kitty Pryde & Wolverine, and seemingly numerous cameos and guest appearances in books outside the X-Men line. However, Save the Tiger, a ten-part story that opened the anthology series Marvel Comics Presents, occupies a crucial place in Wolverine lore. Written by Chris Claremont and illustrated by John Buscema, it reads as something of a dress rehearsal for the character’s seemingly inevitable on-going series.

No claws for concern…

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Kitty Pryde and Wolverine (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

Chris Claremont didn’t invent Wolverine, but he defined him. Long before Wolverine was appearing in multiple team books and multiple solo series, the short and hairy Canadian was developed within Claremont’s Uncanny X-Men. When the time came to develop the character beyond that, it was Claremont that handled the four-issue Wolverine series, and it was Claremont who handled this six-issue Kitty Pryde & Wolverine miniseries. The market had yet to reach Wolverine saturation. However, Kitty Pryde & Wolverine is remarkable as a spiritual extension of Claremont’s Uncanny X-Men run. Without the influence of Frank Miller, this six-issue collection feels more distinctly like a microcosm of Claremont’s extended work on the franchise, bringing into focus his strong character work, his pulpy sense of storytelling and, occasionally, his excessively purple prose.

Stayin’ sharp…

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X-Men: Fatal Attractions (Review/Retrospective)

I’ll freely concede that I feel a bit conflicted when it comes to the X-Men comic books in the nineties. On the one hand, they were prone to nineties excesses, seemingly constantly in the midst of a sales-boasting crossover event, increasingly toyetic with steretypical portrayals and male and female anatomy. Also, to be entirely honest, they were never as exciting or creative as they had been when Claremont was directing the line – even his more esoteric efforts developed key themes and harboured a hint more ambition and sophistication than most of what followed.

However, I don’t want to give the impression I’m not fond of the X-Men in the nineties. That era, through the toys and the cartoon show, introduced me to the team. And, to be entirely fair, the books were very far ahead of the worst of what Marvel was publishing (as I’m currently reading The Crossing, I can vouch for that). I also have a certain amount of sympathy for a bunch of writers trying to find a direction for an entire line of books after a monumental and defining run by Chris Claremont. In many ways, Fatal Attractions reads like an attempt to draw a line in the sand under Claremont’s contributions to the franchise, and to boldly push forward with a modern take on the merry mutants.

It’s his magnetism, Charles…

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X-Men: The Dark Phoenix Saga – 30th Anniversary Edition (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

Chris Claremont enjoyed the company of some of the most respected and renowned artists in comics while working on Uncanny X-Men. He had the pleasure of helping to establish talent like John Romita Jr., Marc Silvestri and Jim Lee, all modern giants working in the field. However, it’s hard to argue that Claremont ever worked in tighter synergy than he did with John Byrne. Byrne succeeded artist Dave Cockrum on the book, and helped Claremont helm several iconic and defining X-Men stories, delivering pay-off on years of set-up and radically reshaping notions of what a superhero comic could and could not do. Though the pair produced several genuine classics, The Dark Phoenix Saga stands as the artistic triumph of their run. One could make a compelling case that it’s Claremont’s finest X-Men story, or the finest X-Men story, or – if one weren’t feeling especially modest – perhaps the finest mainstream superhero story ever told.

Bird of prey…

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Weapon X by Barry Windsor Smith (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

Barry Windsor-Smith’s Weapon X was a fairly divisive comic when it was first published. Tasked with providing an origin for that most popular and iconic X-Men character, Windsor-Smith produced a twelve-part tale exploring the character’s history inside the secret “Weapon X” programme. While most fans would have probably preferred a more straight-forward and accessible exploration of the character’s history and back story, Weapon X is a wonderfully dense piece of work and, I’d argue, a true piece of comic book literature.

A bloody mess...

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