X-Men Archives - Page 2 of 13 - Robot 6 @ Comic Book Resources
Although the kind of comics Matt Bors is best known for are far removed from the superhero genre, the political cartoonist has an unabashed love for the characters — and that’s showing through in these great illustrations he’s releasing for Valentine’s Day. Bearing the subtitle “protecting a world that hugs and smooches them,” Bors’ X-Men Valentines really hit the mutant-loving hearts of X-Men fans, and show he really knows his characters.
On the heels of the proposed “Assault on Wayne Manor” LEGO playset there arrives on LEGO Cuusoo another massive comics-themed project for consideration (from the same designers, no less): the X-Men’s X-Mansion.
As with their previous proposal, DarthKy and Glenbricker don’t skimp on the details, delivering elements of 1407 Graymalkin Lane that will be familiar to longtime readers of Marvel’s mutant saga. Everything from Cerebro and the Danger Room to the headmaster’s office and Storm’s attic garden are included.
In the tradition of its Fantastic Four and Walking Dead “100 Projects,” The Hero Initiative has unveiled some of the first entries for its next venture, featuring contributions by Alan Davis, Khoi Pham, Mike Perkins and more.
This time, Marvel provided blank covers for Uncanny X-Men #12, and The Hero Initiative asked 100 artists to create a drawing on each of those covers. The original artwork will be auctioned on eBay; the organization will also collect the covers in hardcover and paperback editions.
Check out more of the art below, and see more still on the Hero Initiative website. Auction dates will be announced soon.
A love for the X-Men and Teenage Mutant Ninja Turtles turned into a lifelong hobby for Jason Klein, a New York doctor who shares his home office with us today. Check out his collection, which includes several crochet pieces made by his wife, below.
Conventions | So you think Comic-Con International is too big? The Taipei International Comics and Animation Festival drew 330,000 attendees last year — its first year — and with Attack on Titan creator Hajime Isayama as a guest, this year’s show promises to be just as big. [Focus Taiwan]
Conventions | Crystal Gutierrez files a report on Albuquerque Comic Con, which took place over the weekend. [KRQE]
Comics | Gene Demby talks to several “thoughtful geeks” about race and superheroes, using as a starting point Orion Martin’s project in which the X-Men were re-colored to appear to be brown-skinned. Related: Writing for CBC News, Niigaanwewidam Sinclair looks at the depictions of indigenous peoples in comic books. [NPR]
My knowledge of nerdcore rap is incredibly limited, so I was regrettably unaware of the existence of Kid Apocalypse — the rapper, not Marvel’s Evan Sabahnur, aka Genesis — until Rick Remender retweeted a link to the recent YouTube for “Space Out” by Quinn Allan. As you can see from the image above, and in the video below, Allan dons white and black makeup and a dapper suit with X medallion, and then raps about Kid Apocalypse, delivering lines like, “Forge will hook you up/his shit goes to 11.”
“It started one night lying in bed,” Allan explains on his Facebook page. “I got the idea to write some raps as if I was the character Genesis from the recent Uncanny X-Force and Wolverine and the X-Men comics. I showed them to my roommate who liked the idea. Then he started writing. It was contagious. He took on the persona of ‘Dark Beast,’ the Hank McCoy of the alternate Age of Apocalypse universe. We had more material than we knew what to do with.”
We’ve seen the Avengers, Spider-Man and his rogues, a cadre of villains and a quartet of superheroines, and now Marvel and Feld Entertainment have debuted the first look at the X-Men from the upcoming arena show tour Marvel Universe Live!
“Storm’s look has evolved in many directions,” costume designer Cynthia Nordstorm explained. “I mixed her flair with hints of Egyptian royalty. Pairing leather and boots really sets her up to ‘rock’ alongside her fellow X-Men.”
Launching in July, Marvel Universe Live! will bring Marvel’s most iconic heroes and villains to 85 cities across North America in the show’s first two years. The live-action production will integrate a character-driven storyline with state-of-the-art special effects, pyrotechnics, aerial stunts and martial arts for what producers say will “redefine the live show experience.”
When Professor X gave Wolverine and Gambit their pink slips, he was only getting started: In the latest “Ex-Men” sketch for his new late-night show on TBS, comedian Pete Holmes once again dons the bald cap to hand Angel, one of the founding members of the X-Men, is walking papers.
“Do you have any idea how many of the X-Men fly and do something else incredible?” asks Holmes’ Xavier. “You just fly, and it’s not even like an internal power, like something you focus. You literally have giant f—ing wings. You’re a f—ing bird.”
Watch the video below. The Pete Holmes Show airs weeknights at midnight ET/PT on TBS.
X-Men: Battle of the Atom seems poorly named. The title references the nickname “Children of the Atom” often given to mutants for an old school, sci-fi feel, so you think this battle would have something to do with being a mutant, when in actuality, it has more to do with time travel and really, just being an X-Man. They could have called it X-Men: Fight for the Future and that would have made more sense, but then everyone would have just thought about that one X-Files movie and that would have gotten us nowhere.
Still, while X-Men: Battle of the Atom is an awkward title, it seems to promise one thing, deliver another and both ideas were a little oversized to begin with, much like the story the title denotes. Brian Michael Bendis once again hits the readers with a surgical strike, but this one’s a little more invasive and disguised than the clean-up or shakedowns of events past. Comparing it to Infinity, Hickman seems to be working from very broad concepts (intergalactic battle, world building/destruction) that started his Avengers event to the very narrow (save Earth, Thanos has a son, new Inhumans popping up on Earth) and more easily understandable to the reader, almost like a reward. Did you bear with us for the Alephs and Builders and high concepts? Here are some new characters and human interest stories to make it more palatable. In the end, I think Infinity will work much better as a coherent trade and over-arcing narrative telling a big space yarn.
In X-Men: Battle of the Atom‘s case, the story started out simple (put the time-traveled X-Men back where they came from) and got more and more complicated as he wrote further, from a narrow point to broader strokes full of brand new characters who had maybe a glimpse of a reason to be there. The story reads much better as single issues, like tiny bites of candy that make you sick if you eat them all at once. In the end, it will probably make more sense… well, let’s face it: at the next big event.
Let me see if I can make sense of what went on….
WARNING: I’m giving you the short, short version of X-Men: Battle of the Atom so if you want to read it for yourself, stop here and visit your friendly neighborhood comic shop! If you’ve already read the X-Event, read on!
To celebrate the 50th anniversary of the X-Men, as well as the X-Men: Battle of the Atom crossover, WeLoveFine has unveiled an informational graphic by Leigh Wortley featuring characters from every era of Marvel’s mutant saga, from 1963 to the present. There are 150 represented, but considering the size of the X-universe, those probably aren’t all of them.
It looks like Wolverine will have some company on the unemployment line — and I’m sure he’d be excited to know it’s Gambit.
The Cajun X-Man is the latest victim of Professor X, played by comedian Pete Holmes, who is apparently culling down the X-Men. Holmes finds Gambit’s card tricks unimpressive, saying “Are you hearing as we’re speaking how incredibly lame you are?”
Watch the full clip below. The Pete Holmes Show premieres Oct. 28 on TBS.
Steve Rude is a comics legend, both for his artwork and for his over-sized personality. But as I was reminiscing about his work while waiting for him to release something new, I came across a mysterious blind spot in my memory of the Dude: the time he drew the X-Men.
In 1999, Marvel put together Rude and writer Joe Casey for a throwback three-issue miniseries titled X-Men: Children of the Atom, which documented the recruitment of the original X-men by Charles Xavier. Out of print since 2001, this diamond in the rough is especially poignant now given the return of that era’s X-Men in All-New X-Men … but more generally because, well, Rude’s art is great.
Above is a commission Rude drew of the original team, and I’ve pulled together some of the covers from this forgotten (at least by me) miniseries, as well as some illustrations the artist has created with the team in the time since.
“The metaphor is strong and it hasn’t gone away. Chris Claremont was the one who decided that it was a full-on allegory for race and religion and sexuality. I’m a Jewish kid, and I have a multicultural family [two of Bendis’ daughters, one Ethiopian and one African-American, are adopted], and with that comes all sorts of stuff that you witness or are a victim of. I have it pretty easy, and still I’m like, ‘Wow, you really said that right to my face?’ So it’s nice to have a book I can shake it off a little bit. I’ve never had that. [...] It’s not a mistake that Kitty Pryde, the most Jewish superhero that has ever lived, is the leader of the X-Men now.”
– writer Brian Michael Bendis, discussing X-Men in an interview in The Oregonian that touches upon his life in Portland, Oregon, his role in “full-on luring” other creators to the city, and his career at Marvel. Bendis and recent Portland transplants David Marquez and Michael Avon Oeming will be signing Wednesday at Things From Another World.
Comics love kids. Whether as protagonists or antagonists or (especially) readers, comics have a long-established history with the young and young at heart. Youth are blessed with innocence and wonder, easily fitting into fantasy situations without fail and delighting in the escapism that most “grown-ups” would dismiss with cynicism or disbelief. It’s an easy starting point for a story to begin in a character’s youth or with the cliche “I was born …,” because it’s something everyone reading can relate to. We can all shout, “Hey, I was born once, too!” and suddenly everyone’s on the same page.
So, it sort of makes sense that comics hate parents. Any chance they get, parents are abusive, neglectful, swept off stage or, frequently, killed. Having parents around limits a character’s independence. They drag a “real world” sensibility into fantastic situations where we all have to wonder who are the people putting these kids up at the Jean Grey School for Higher Learning, taking us out of the fun of just having a super-powered school in the first place. Parents also tend to prove that kids don’t really “know everything,” and can put a damper on the adventurous spirit that kid superheroes require. And, let’s face it, not everyone has been a parent and, sadly enough, not everyone has had parents that stuck around. Aside from some debatable exceptions (and one awesome mom in Sue Storm), parents don’t get panel time in comics unless they are an obstacle to overcome.
The Second Circuit Court of Appeals handed Marvel a significant victory this morning, upholding a 2011 ruling that Jack Kirby’s contributions to the publisher in the 1960s were work for hire, and therefore not subject to copyright reclamation by the artist’s heirs.
However, as Tom Spurgeon first reported, the appellate court vacated the New York district judge’s summary ruling against two of Kirby’s children, California residents Lisa and Neal, on jurisdictional grounds; the judgment against Susan and Barbara stands.
Secondarily, the Second Circuit upheld the lower court’s exclusion of expert testimony offered by John Morrow and Mark Evanier on behalf of the Kirby heirs, agreeing that “their reports are by and large undergirded by hearsay statements, made by freelance artists in both formal and informal settings, concerning Marvel’s general practices towards its artists during the relevant time period.”