Because these days, who isn’t raised in a tube by Mr. Sinister to guarantee the genetic integrity of the Grey line and eventual downfall of Apocalypse?
This month, designer Dylan Todd takes us straight up to the intersection of mad science and cosmic forces! What could possibly go wrong?
Nobody Knows I’m a Clone of Jean Grey is available in adult and children’s styles and stickers until June 1, 2015, at which point it will disappear forever! Or will it? With that phoenix in the logo, you can never be quite sure…
Before we jump into this one, let me tell you kids a story.
Once upon a time, there was a gentleman by the name of Dwayne McDuffie. McDuffie was an incredibly important figure in comics: these days, he’s best known as the creator of Static Shock and the co-founder of Milestone Media; for his work across the DCAU; and as a tireless and outspoken advocate for black representation in superhero comics.
In 1989, when McDuffie was an editor at Marvel Comics, he wrote a biting, satirical pitch that has since become industry legend. In his pitch, McDuffie points out that 25% of African-American superheroes appearing in the Marvel Universe over the last year have had skateboard-based superpowers or fighting styles, and proposes a new team to take advantage of this and other equivalently exciting trends, featuring four black guys on skateboards:
Twelve years later, the fifth episode of X-Men: Evolution would introduce the Xavier Institute’s sole black student and the show’s first original character, Evan “Spyke” Daniels:
Art by David Wynne. Prints and cards available until 5/3/2015 in the shop, or contact David for the original.
The New Defenders. (Defenders #127)
Moondragon, Cloud, Gargoyle, and Valkyrie demonstrate the kind of high drama and subtext that makes three ex-X-Men feel right at home. (Defenders #127)
Warren and Bobby simultaneously contemplate one of the great questions of the universe. (Defenders #126)
Hank opens up to Vera about his shifting personality. (Defenders #116)
The end of the last issue of Defenders. Total downer (except for the puppy). (Defenders #152)
All-New, All-Different. (X-Factor #1)
The worst part is that neither of them is wrong, exactly. (X-Factor #1)
Three guys who definitely don’t want to be superheroes anymore. (X-Factor #1)
Well, this can’t possibly end badly. (X-Factor #1)
OH GOD NEVER MIND. (X-Factor #1)
Rich people are different from the rest of us. (X-Factor #1)
Goddamnit, Warren. (X-Factor #1)
Goddamnit, Scott and Madelyne. (X-Factor #1)
Later, in Apartment 3-G… (X-Factor #1)
X-Factor is just painfully awkward on so many levels, for so long. (X-Factor #1)
“Seriously, Warren, you are LITERALLY WEARING A SUPERHERO COSTUME RIGHT NOW.” (X-Factor #1)
“Look, just go walk it off for a couple weeks. You’ll be fine.” (X-Factor #1)
If we had a dollar for every job interview that ended like this… (X-Factor #1)
Iceman is just goddamn delightful. (X-Factor #1)
There are several important things going on here, but all of them are overshadowed by the fact that Warren is wearing a cape with a sweater vest. (X-Factor #1)
It’s like they know how an intervention works, but not how it’s supposed to end. (X-Factor #1)
“Also, he’ll be gradually brainwashing us all and destroying our lives for the next year and change!” (X-Factor #1)
WE’RE HERE TO BELIEVE YOU! (X-Factor #1)
It just never stops sucking to be Rusty Collins. (X-Factor #1)
No, seriously. (X-Factor #1)
“It’s almost like some outside force is manipulating our lives, making sure to stretch this dramatic tension as long as possible.” (X-Factor #1)
How no one ever recognized the X-Terminators as the original five X-Men is one of the great mysteries of the Marvel Universe. (X-Factor #1)
NOTE: The appropriate soundtrack to literally every scene Cyclops is in in this issue is “Country Feedback,” by R.E.M., on repeat. (X-Factor #1)
WHO YOU GONNA CALL? (X-Factor #1)
“I mean, it’s been solicited as an ongoing, and everything.” (X-Factor #1)
Aw, Madelyne. (X-Factor #1)
NEXT WEEK: The Beyonder ruins everything. Again.
LINKS AND FURTHER READING:
Special thanks to guest X-Pert Elle Collins. When she’s not catching us up on the Defenders, here’s where you can find Elle online:
Art by David Wynne. Prints and cards available until 5/3/2015 in the shop, or contact David for the original.
In which the X-Men get their third ongoing series; Elle drops in to x-plain the Defenders; the band gets back together; rich people are not like the rest of us; Cyclops is in desperate need of some kind of intervention; and X-Factor is basically Ghostbusters.
X-PLAINED:
Cameron Hodge
The fairly spectacular secret origins of X-Factor
The Champions
The New Defenders
The evolution of Hank McCoy
X-Factor #1
The death throes of Scott and Madelyne’s marriage
Rusty Collins
A really bad first date
The increasingly dubious life choices of Scott Summers
The worst job interview
Sushi-a-Go-Go
How not to have an intervention
X-Factor
The X-Terminators
The Phoenix Force on Earth-811 (and its relationship to Rachel Summers)
NEXT WEEK: The Beyonder ruins everything. Again.
You can find a companion index to the material mentioned in this episode on our blog!
Rachel and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here!
Rachel screwed up and accidentally gave David material for episode 54 instead of 53, so there’s no illustration this week. Instead, we offer both our sincere apologies and this photo of Miles dressed up as Mister Sinister for a costume party.
In which Wolverine doesn’t care about your baby; Storm takes charge; duels are terrible bases for systems of government; editorial mandate is hell on a marriage; Magneto is a pretty cool teacher; Jean Grey comes back; and we have mixed feelings about the Phoenix retcon.
X-PLAINED:
Kenji Uedo
Uncanny X-Men #201
New Mutants #35
Avengers #263
Fantastic Four #286
Classic X-Men #8
The post-Trial of Magneto status quo
Nathan Christopher Charles Summers
A small cross-section of Cyclops’s myriad issues
The wrong means to the right end
Magneto’s educational philosophy
The politics of creative credits
“You Know Who”
The Phoenix retcon
Several unrelated break-ins
The return of Jean Grey
Jean and the Phoenix Force
Alternate-timeline Madelynes Pryor
Jean Grey’s code names
NEXT WEEK: X-Factor begins! (for real, this time – sorry about that SNAFU!)
You can find a companion index to the material mentioned in this episode on our blog!
Rachel and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here!
Let me get this out of the way fast: “Mutant Crush” is my least favorite episode of X-Men: Evolution. Yes, even more than “The Cauldron,” which I’m pretty sure is objectively the worst episode of the series.1
But while “The Cauldron” is terrible, it’s hilariously terrible. “Mutant Crush” is. Well. It’s a decently written episode, I guess. And it’s got a lot of moments I dig. It’s just also really fucked up and disturbing, and not in hilarious and pedantic ways.
Seriously: Shit gets dark in this episode. If you don’t want to read a humorous write-up of a story that is essentially about stalking and kidnapping, you may want to skip this one. I recognize that this is essentially a humor column, and I tried to find okay ways to be funny about this episode, but I mostly ended up with a lot of tonal whiplash, and a pretty high volume of commentary on the ways women are socialized to appease violent men, and some really inappropriate references to John Fowles’ The Collector.2
And on that note: Here is a link to the National Domestic Violence Hotline’s help page. NDVH is a pretty solid organization, and in addition to the actual hotlines–which include a phone line and web-based chat, both confidential and anonymous–they’ve got a very good list of resources, including LGBTQI and teen-specific stuff. (NDVH is, however, mostly U.S.-specific. If you know of international resources or have other specific recommendations, please stick ‘em in the comments, and maybe we can get something useful out of this clusterfuck of an episode.)
Evolution Rogue is awesome. She’s one of the characters who fares best in reimagining–as I wrote about Cyclops in S1E1, Rogue is very recognizably written in the spirit of some of the best previous versions of the character, with the letter flexible enough to let her develop organically in her new context and setting.
So it should be no surprise when I tell you that a lot of the best stuff in the generally pretty shaky and uneven Season One centers around Rogue. And that, my friends, begins here. Lace up your best New Rocks, dig up some black lipstick (or steal your friend’s eyeliner crayon and be careful not to lick your lips), and get ready to rumble.
You know how I said that X-Men: Evolution is really entertaining even when it’s really, really bad? This week, we’re gonna put that to the test. Prepare for more rock puns than you have ever heard in a single 22-minute stretch. Also, Transformers. Kinda.
In other news, I still have no idea what the titles refer to.
BUT FIRST, A PRETEND HORROR MOVIE!
We open with the Pryde home, in a fictional town in Illinois. The town has a name, but I don’t care what it is, and it’s never going to be relevant again, so I’m just gonna call it Fake Deerfield. Cool? Cool.
OH, MY GOD, IT’S GRATUITOUS LIGHTNING!
Kitty dreams that she’s falling, and–spoiler–she actually falls through her bed and floor and lands in the basement. She wakes up screaming, and her parents rush down to comfort her. They think she was sleepwalking–until they look up and a PORTENTOUS FLASH OF LIGHTNING illuminates her blanket, embedded in the basement ceiling.
OH MY GOD! THAT’S–actually, wait, that’s not scary at all.
Okay, look, I get what they were shooting for here, but you know who has the least horror-movie powers of just about all the X-Men? Hint: It’s definitely Kitty, barring the stories where phased becomes her default state (which this isn’t). Framing this scene and the Prydes’ cheerfully generic suburban house like a horror movie reminds me of one of those recut trailers where you try to make a movie look like a genre it obviously isn’t; or a kid telling a shaggy-dog joke and then waiting for you to be overjoyed at the lack of punchline; or the entire movie White Noise.1 It’s all buildup, with no proportionate payoff.
Ew, Cerebro, no. Don’t do that.
Meanwhile, back at Stately Xavier Manor, Kitty’s late-night spill pings Cerebro. Does anyone else find it unsettling that Professor X has a psychic supercomputer that provides him with turnaroundfull body scans of teenagers?
Also, Cerebro accurately predicts the outfit that Kitty is going to wear to school the next day.2
“What am I?” wails Kitty. “What’s happening to me?” Just give it five seconds, kid–the credits montage identifies you quite clearly as Shadowcat.
I was a little too old to catch X-Men: Evolution the first time around. It debuted my freshman year of college, corresponding with the peak of my nerd pretension—that larval-geek phase where you insist on calling all comics graphic novels—and like the arch little fucker I was, I dismissed it sight-unseen as X-Men dumbed down.
A few years ago, I finally sat down and watched my way through X-Men: Evolution and came away with two conclusions: teenage Rachel was kind of a dolt; and X-Men: Evolution is delightful.
Not only is Evolution not X-Men dumbed down, it’s a really clever, appealing reinvention. In fact, Evolution accomplishes what the Ultimate universe never quite could: shaking off years of continuity and attracting an entirely new audience with a distilled version of one of Marvel’s most convoluted lines.
If you’re not familiar with X-Men: Evolution, the premise is roughly thus: The Xavier Institute is an extracurricular boarding school of sorts, whose students are mainstreamed into their district school—Bayville High—for academics. Some of the characters—Storm, Wolverine, and Professor Xavier on the side of the angels; Mystique, Magneto, and a few others on the other end of the moral spectrum—stay adults; everyone else is aged down to teenagers. Evolution draws characters and some story hooks from the comics, but for the most part, it occupies its own discrete continuity.
And as continuities go, it’s a good one. It’s clever and fun, it’s got a ton of heart, and it stays true to the core themes and characters of the source material without becoming overly beholden to the letter of the text. By the end, it’ll become a really, really good show; but even when it’s bad, X-Men: Evolution is bad in really entertaining ways.
Which is important, because X-Men: Evolution gets off to a pretty rocky start.
