Post by taxidriver1980 on Mar 21, 2019 10:11:03 GMT -5
As I write this, there don't seem to be as many X-books as there were many years ago. At times, it became too much even if it felt like each book had a distinct "flavour".
But what would you like to see return? I've also added a poll option for "X-Men: Elsewhen". This has never been a real series, nor may it ever be real, but it's basically something John Byrne is pencilling at his forum (he has expressed an interest in returning to Marvel). It's a divergent timeline from the original "Dark Phoenix" arc, an alternate Earth tale, if you will.
I did like X-Factor back in the day due to it being the original X-Men, plus I like that they, certainly in the issues I read, acted as operatives hunting down mutants, but were secretly assisting them and making contact. It's a shame that in 2019, the word "X-Factor" will probably make a lot of folk think of that musical talent show produced by Simon Cowell.
I did like Excalibur, what little I read of it. The British setting, and use of my favourite characters, made it a book I wish I had read more of.
And as someone who did like the 2099 books (for a while), X-Men 2099, in my humble opinion, deserves more credit than it has ever been given.
So, if Marvel announced they wanted to bring something back, what would I opt for?
I'd probably opt for X-Factor. I like the name. I like the concept. That'd be my choice.
Like with a lot of topics, this is hypothetical. It's a separate debate about whether the world needs another X-book. It probably doesn't. But in a hypothetical world where you possess a bottomless wallet, what would you choose?
Any current X-Men book just doesn't have any interest for me these days. I vote for X-Men 2099 but in name only and NOT connect it to the past 2099 comics but create an all new all different future and go bat shit crazy with mutation concepts and avoid the whole Dystopian crap-fest which has been done to death.
I haven't enjoyed any X-Men stories published after Cockrum's second run, so it's Elsewhen for me.
"Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things. Love never ends."
I hated pretty much everything about X-Factor, from the resurrection of Jean Grey to the gutting of The Defenders and the whole farcical "original X-Men pose as mutant hunters" setup. But honestly, even if none of that had happened, I'd already realized that A) I was not in the 10-14 year old female demographic Claremont was apparently trying to appeal to and B) he had run out of what few original ideas he had (i.e., everything not stolen from Star Trek, Alien, Modesty Blaise, the British Avengers TV series, etc, etc). This not only turned me off all things X-Men, it convinced me I was through with Marvel as a whole. Whatever claim the company had to creative integrity evaporated in the wake of X-Factor, at least from my POV.
Post by Slam_Bradley on Mar 21, 2019 20:12:32 GMT -5
I stopped buying Uncanny X-Men around the time Paul Smith started art chores. Not that I had anything against Smith, but Claremont's writing was no longer interesting.
I quit Marvel for a while with the introduction of X-Factor for many of the same reasons Kurt did. But the main reason was that I felt the return of Jean Grey was a slap in the face of comics fans. It didn't take long to figure out DC was just as bad. Eventually I grew up and got better and stopped giving a crap about continuity. Following quality creators good runs of comics instead of characters and companies (no matter how poor the product) led to much better reading.
I've simply never been interested enough in the X-Universe since then to read any of it. Even creators I love haven't enticed me to plunge in.
Post by codystarbuck on Mar 21, 2019 20:13:38 GMT -5
How about good writing, interesting stories and art in service to the story and not just selling original pages at conventions or online?
Or is that too old school?
I bailed on X-Men after Paul Smith's run; and, other than sampling Jim Lee and the speculator launch of X-Men (minus adjective) and never really looked back. Even the Lee stuff didn't really wow me and it was clear that Claremont was out of gas; then was dumped for even worse writing. It got too big and grandiose for any one writer to try to manage and the editorial office didn't co-ordinate things well enough to make multiple books work. I tried the first trade of Whedon's thing and, apart from his flavor of snappy dialogue, didn't read anything I considered fresh. The same plot lines have been endlessly recycled ad nauseum.
The book worked far better when it had a smaller cast and a tighter focus. it also worked when it had a good writer/artist combo who set out to do something different. Once it became a star book, it was about maintaining the status quo. You see it in all fields of entertainment. In a creative field, the best material comes in experimentation and taking risk. After that, it is just feeding the same thing to an audience that cannot grow further, which sustains itself only for so long, before the audience is sated and leaves. it happens to novelists, to tv shows, movie franchises, etc.
It would take a really fresh, unique take on things to raise a blip. Others have already done that kind of thing, with things like Umbrella Academy and other properties, mining the same territory. It would probably take a more closed-ended kind of thing to raise a ripple. Harry Potter was yet another series of school stories, which goes back to the dawn of formal schooling. however, JK Rowling had a different hook, with magic, and a saga to play out alongside the stories of growing up and dealing with life and school, giving these kids a purpose that other kids don't yet see, in themselves and their world. She also gave them great characters. X_men, at its best,w as along those lines; nothing original; but, a good hook and good characters. Also, the best material concluded. the problem became, "Well, now what?" since it was an ongoing series (which dogs Rowlings and others attempt to exploit the audience). Claremont eventually ran out of "Now whats" and started just repeating himself. Everyone that followed repeated his stuff, with less skill. Morrison brought a fresh approach, using his British childhood influences (Thunderbirds, as much as anything) and Whedon at least gave it snappy dialogue and embraced the geekiness of it.
Make it about school and family, again, and you at least have a starting point. It doesn't need to be saving the world every minute and it doesn't need to be a universe.
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Grand Dictator for Life of the Classic Comics Christmas
I know I could use Google or Wikipedia, but sometimes it's so much easier to just ask someone who is online. Can you please tell me what the gutting of the Defenders entailed?
About a year prior to the advent of X-Factor, The Defenders had dropped its original core membership--Hulk, Dr. Strange, Sub-Mariner, Silver Surfer--and abandoned its "non-team" gimmick, morphing into what was in many ways The Champions Mark 2. It was a considerable comedown from the team's glory days under Thomas, Englehart, Wein, Gerber, and Kraft but current scripter Peter B. Gillis* was doing some interesting things with a team consisting of three former X-Men (Angel, Beast, Iceman), leftovers from the old Defenders (Valkyrie, Gargoyle), and various third-string weirdos (Cloud, Andromeda, Interloper) that kept me reading despite horrible Don Perlin art. But when editorial decided to go the X-Factor route, they pulled the plug on the New Defenders book, killing off the entire cast except for Hank, Bobby, and Warren. It was an ignominious and entirely unjustified death for one of the best Marvel titles of the '70s.