X-Men comics of August 3 2016
Uncanny X-Men #11, by Cullen Bunn, Greg Land, Jay Leisten and Nolan Woodard. Some guys sneak into a military base, subduing two soldiers, one of whom is discussing the differences between Creedence songs and Fogerty songs. The other is devolved into a caveman and kills him. I mean, he could have just asked to change the subject. Anyway, it’s a group of mutants attacking the base. The base is making weapons to kill mutants, including tanks made of Sentinel tech. In the Savage Land, Emplate is in Monet’s head (and hand!) and won’t shut up, and it’s annoying her. Magneto and Psylocke talk a bit about Archangel. Psylocke is angry at him for not being honest, and Monet offers to help her uncover some secrets. Outside, Sabretooth hunts and kills a velociraptor, or something like it. Important note! Land draws raptors wrong! They should have feathers. Erica Henderson is one of the rare artists who draws them properly. The problem is we all have this idea in our heads of what they looked like, and even though experts say that idea is wrong, it’s hard to shake what pop culture has told us for decades. Archangel summons him back to the base, so Psylocke and Sabretooth can infiltrate the New York Hellfire Club. Bleh. Bleeeeh. Greg Land is back on art, and it is awful and distracting. I have trouble taking the writing seriously because I can’t get past the crappy art. Land is terrible at what he does. His style’s not expressive, it’s not dynamic, it’s not good visual storytelling. And comics, as a visual medium, require good visual storytelling. I may not always pay that much attention to the art, but when it’s bad like this, I notice, and it hurts the writing. Is the writing in this issue good? Yeah, sure, it’s fine. It’s solid writing. But it’s nowhere near enough to overcome the art.
Deadpool #16, by Gerry Duggan, Mike Hawthorne, Terry Pallot and Jordie Bellaire. Deadpool threatens to kill the Mercs, then Foolkiller tackles him into the bank vault, which locks behind them. And Duggan proves he doesn’t understand Solo, by having Solo say he needs line of sight to teleport. This is false. It’s never been indicated that he needs line of sight. He does explain why he became a merc, and ugh. Solo talks about how, when he started hunting terrorists, it was almost fun, and he got addicted to the easy money, and when that dried up, and he got a woman pregnant, he started posing as Deadpool to get jobs. And ugh, I don’t even like Solo and I think this is a stupid take on the character. So we get the flashback to Washington, DC. He’d been hired to protect a guy dropping off money for kidnappers, then saw a motorcade of a visiting dignitary, and realized it was a set-up. He saved the ambassador, stealing a dog groomer van in the process. Bleh. Meh. Whatever. Bland, boring, lame issue. Not much humour, what humour is there is weak, little drama with what’s there being boring. There’s plenty of action, with the flashback. But so what? This series is just so weak.
Deadpool v. Gambit #3, by Bens Acker and Blacker, Danillo Beyruth and Chris Peter. Deadpool narrates about how he and Gambit failed their con. They used a screwdriver on the pooch. Gambit finds Deadpool, who talks about how he got his ass handed to him by Fat Cobra. Who also came up with a nice haiku. Deadpool describes the fight as being like getting his ass kicked by one of the hippos in Fantasia. I liked those hippos!
Gambit then says what happened to him. After rescuing some of Fat Cobra’s entourage – and sleeping with the ladies – he accidentally charged one of the women up, and her hand popped. He took her to an ER, and while he waited to learn if she’d be OK, he couldn’t charge a playing card. Gambit and Deadpool leave New Orleans, with Deadpool mad at Gambit for not having his back. But Gambit thinks he knows why their powers are acting up. This series remains fun. Goofy, but fun. The humour is solid, the action’s exciting, Gambit and Deadpool play off each other really well. It’s a really good comic. This is a good Deadpool comic. It still feels weird to say that.
That’s the X-titles, but I have a couple other comics to talk about a bit.
Silk #11, by Robbie Thompson, Tana Ford and Ian Herring. We learn about the mysterious stranger who’s been helping Silk. It’s Hector, her old boyfriend from before she went into the bunker for a decade. His origin weirdly delights me: After his fiance broke up with him, he moved into an apartment, and the neighbour tried to summon a demon or something, and the mystical explosion killed Hector. Oh, Marvel New York. Now he can only turn solid when he’s in combat. So Silk asks him to tackle her so they can hug. Awww, it’s sweet and cute. She’s also been offered a job at SHIELD by Bobbi, aww. But Cindy likes her current job, especially after JJJ just yelled a raise at her. I love JJJ. She gets a nice scene with her brother, where he reminds her she’s not alone. And then a nice scene with her friends! This is a great issue. It’s a rare “things are going well for Cindy” issue. She has a bit of a breaktrhough with her therapist, she spends some time with some people she cares about, she finally allows her friends to be a full part of her life. This is a good issue and I like. Cindy deserves to get a little happiness. She’s a sweetheart and I love her and I want her to get all the hugs. Someone introduce her to Ms. Marvel and Squirrel Girl, I’m pretty sure they’d both be down with hugging her. Though she did actually get three hugs in this issue. One from Hector, one from Bobbi, and one from her friends. This makes me happy. It’s a good issue.
And Animosity #1, by Marguerite Bennett, Rafael de Latorre, Rob Schwager and Marshall Dillon. I want to note that it actually opens with casual gay content. An exterminator is at a vet’s to get rid of some rats, and mentions wishing their date had worked out. Both are men. I love how casual it is. Of course, the rats attack the exterminator, calling him a “rat bastard,” which is amusing. A couple pages later, an iguana tells a guy that another guy is cheating on him – again, casual gay content. Plus, a cat threatens to claw a guy’s eyes out if he hits a woman again, and pandas kill each other while asking why they were kept alive so long. We also meet the main characters, 10-year-old girl Jesse, and her dog, Sandor. Jesse’s mom mentions Shabbat, so I guess it’s a Jewish family. Neat. And then the madness starts, with horrors and killing and Sandor takes out a frigging tiger! A tiger, guys! This was really good. It’s got a great mix of humour, feels and horror. Jesse and Sandor saying they love each other was so sweet. The cat threatening a guy was a hilarious bit, but it was also really touching, to see how much he cares about his owner. We see another cat, too, who’s looking out for people. There’s kind of a sense that domestic animals care about their humans. The animals, in general, have a wide variety of reactions to becoming aware – a killer whale confesses his love for his trainer, a polar bear feels guilt about killing a seal, a bunch of hens maul a rooster, a hamster continues eating her own children. A police horse kicks the officer who used to write it. A dog tries to pull its owner out of a building. There’s a lot going on. And it’s really cool. The series kicks off to a wonderful start. Bennett’s writing is on point. De Latorre and Schwager do some great art, too. It’s a really good-looking comic, equally adept at the absurd and the horrifying. There’s a lot of tension, and the scene with the tiger is especially tense. This is a stellar comic, and I cannot recommend it highly enough.