#skrulls | Explore Tumblr posts and blogs

rei-ismyname · 9 days ago

Text

X-Men #11 Review

To be honest, this one was underwhelming. There's always something worthy of commentary, it just feels like not much happens and it doesn't quite feel like a full issue - perhaps because it bucks the Marvel formula of the three Cs - conflict, choice, and conclusion.

Stuff certainly happens but nothing that couldn't be summed up in a few sentences at the start of next issue. The last three issues have all had high stakes, for better or worse, and without room to breathe tension burns out.

The Raid on Graymalkin is over but not much has changed, Agent Fucko and the O*N*E have stood down, and everyone is moving on. I didn't expect to see a discussion about recent events but I really want one. Serious shit has gone down very recently and all these people should have opinions on that. The X-Men are used to constant drama but still ... it feels like those events didn't matter and the characters feel thinner for it. It's said that the O*N*E visit was 'earlier' yet Beast is standing and relaxed despite being beaten badly. Maybe Xorn is that good a healer.

After a cold open on some kind of space bullshit crashing nearby, we cut to Beast and Jen Starkey running some tests on her mutation. They're on an awkward first name basis after she reminds him but they're getting along well enough. Hank theorises that she's a metamorph of some kind and tests that hypothesis. Flying seems like a risky place to start but I'm not a scientist. Fortunately he's right and she's not a reality warper or something - she grows wings and assumes avian features. Cool. We move on from them as the plot is happening to other people. Nice to see you both, say hi to Magneto for me.

Whatever crashed is making a beeline for Merle, and Scott feels the O*N*E visit has already disrupted the town enough for one day. If it wasn't coming for them he says it would be none of their business, which is understandable. The X-Men have so many red alert crises and threats coming for them that they couldn't operate as traditional superheroes even if they wanted to. I think that might be this book's identity - Cyclops and friends playing whack-a-mole with endless mutant problems. Although, in other books they're expanding the scope. They're fighting one of Cyttorak's kids right now in Amazing Spider-Man, they've agreed to be on call to the Avengers and have an alliance of sorts; though when all the heroes gather for One World Under DOOM the only mutant present is Storm. Maybe they're in space due to this issue, but the degree of connectivity feels inconsistent. That's often been a thing with X-books, except it's been explicitly set up in Avengers so I don't know what to think.

The banter is cute and the ad hoc points system adorable, but it's mood whiplash considering there's been no time skip since the last 3 intense issues. Maybe I'm nitpicking. I've certainly been known to. People who aren't able to decompress after high stress situations often turn to humour to cope. Something I find myself saying with this book a lot is 'I guess we'll see if it's followed up on.' Given the amount of dangling plot threads and character beats I can't help but feel that the book doesn't deserve that grace. I'll come back to that.

Moving on, Scott needs to be captured by alien bounty hunters and this is how it happens. The visitor from space is Scott's deadbeat dad, Corsair. He's here to warn him that he's got a huge battalion after him, but he really doesn't prioritise it. They greet warmly but Scott is suspicious of his motives, an attitude he had in Phoenix but one that's at odds with other recent history. Whatever - Corsair sucks and he deserves to get called out.

Haha! Krakoa callbacks have been pretty inconsistent, but this is definitely a fun one to dredge up. The Starjammers did abandon the New Mutants to Shi'Ar prison for petty reasons and Magik remembers. She interrupts Scott's interrogation and punches the old geezer in the face. Good for her. Space jail sucks and that's dry snitching.

It's interrupted by Beast detecting even more space bullshit with his instruments. A space whale carrying a whole bunch of aliens is rolling up. So that's what the situation is, thanks Corsair.

'For you. They're here for you.' Not hard.

Err, you didn't really say that, Corsair. Sure, you used that word, but there was no sense of urgency when you could have just said 'aliens are coming to get you, Scott Summers, very soon. It's an emergency.' Even after getting angry he talks about himself and deflects. Just fucking tell them what's happening dude. 'They' is vague and you basically wasted your time. He's not even finished blundering.

The X-Men leap into action with Scott assuming the bounty hunters are here for Corsair - a VERY reasonable assumption. That they're actually here for Scott is very strange. I think Scott taking the situation at face value would be correct 99% of the time - Corsair is a dodgy space pirate who's always being chased by bounty hunters whereas Scott is a Shi'Ar ally and on decent terms with the Kree-Skrull empire. As Corsair admits, he has a 2.5 million credit bounty on his head. No idea what the exchange rate is but it sounds like a lot. I wonder if they're still using Mysterium as a currency and store of value.

There's been some big changes in galactic politics recently in response to Jean and Phoenix cruising around. Gladiator freaked out about it and long story short the Galactic Council put Thanos in charge. They shouldn't be able to do that but mind control is probably involved. Hulkling, Wiccan, or Xandra have been strangely absent. Anyway, failing to get across that they're after Scott is such a blunder I have to wonder if it's not a betrayal. Corsair is an idiot, but that makes this an idiot plot. His and Scott's argument ends up being a pointless waste of time - just taking up page space.

Temper scorches the poor whale, lucky it's lobotomized. The X-Men come through a portal onto the whale ship and raise hell. It's always nice to see how effectively the team work together, though we've just had an event full of pointless violence. Scott thinks he's rescuing his dad but he's really charging into a trap. Corsair eventually convinces Quentin to let him into the telepathic group chat and HE STILL YAPS ABOUT IRRELEVANT INFORMATION. Fuck, just tell him they're here for him; Scott doesn't need to know about the economics of interstellar travel right now.

'I came to warn you, son. I'll do so after including as much extraneous information as possible.' Corsair manages to spit it out only after Scott has already realised something is up. The bounty hunters are wearing Ruby Quartz armor (which is pretty cool) and they've got Cyclops surrounded. Seems like Magik could get him out of there pretty easily, or Scott could blow a hole in the floor. Juggernaut, famously, can't be stopped - surely he can take out these chumps.

Only now do we get 'they're after you.' Three words that he could have said at any time, or even thought it at either of the two telepaths present. He even has a ship-to-speeder communicator that he could have used to get to the point. It's necessary to have characters make mistakes and have errors in communication. It's a reliable and relatable source of drama. Filling half the issue with Corsair dropping out of the sky and saying plenty of words that don't advance the plot or characters in a believable way feels like pointless filler. Corsair has had more dialogue than Glob, Xorn, and Ben Liu - all ongoing characters - and all of it served no purpose. You could remove him from this issue without affecting anything. As I said in the intro, stuff happens, but nothing that couldn't be summed up in a few sentences for the next issue.

Now that Corsair has said what he came to say he's wallpaper. Good. Idie and Quentin are looking to support their teammates when fucking Alpha Flight arrive to help (I think?) A Beaubier-less Alpha Flight is not particularly interesting to me, but I like most of them. They all got imprisoned by ORCHIS during Fall of X for supporting mutants. Definitely cool behaviour, and Puck is generally rad (not sure if he's here) but I there's one member who can go fuck himself.

James MacDonald Hudson is the worst. He's ostensibly a hero but he does a lot of reactionary bootlicking. He briefly joined ORCHIS out of fear of mutants but got cold feet when Australia was nearly destroyed. I'll rant about him another time, but woo - Alpha Flight are here to support the X-Men. Maybe the space bullshit will only take up one more issue. It ends there, so we'll find out next time.

Around issue #5 of this run I stated that I was starting to notice the narrative formula. Each issue will focus on a handful of characters while introducing some new crisis, the rest of the team will get a few panels at best, there'll be some action squeezed in somewhere and then it'll end on a cliffhanger. The cumulative effect is that the plot is glacially slow, the characters have one or two defining traits/issues, and most plot points dangle as crisis after crisis gets piled on.

Even the plot points that have been revisited haven't been resolved in any way, like Graymalkin or the ongoing O*N*E cold war. Here's a list of the dangling plot threads and character beats I could think of without rereading.

- 3K and the adult mutants

- Cassandra Nova

- R-LDS

- The Upstarts

- Graymalkin prison

- The O*N*E

- Scott's anxiety attack

- Piper Cobb

- Magik's chess game

- Idie's problems with authority and teamwork

- Magneto. Just Magneto. He's there but has little to say

- The Phoenix

- Beef with Rogue

- King Bedlam's price

Any one of these things would usually be a priority to deal with or at least discuss. I feel like it devalues their importance to just introduce a new problem almost every issue and it makes it harder to get invested in events as they unfold. This issue, for instance - I suspect it'll be resolved next issue and not spoken about again. Or, it will be a drawn out space adventure like the old days and all the Earthly problems will be put on the backburner. Either way it's a problem caused by frontloading all these crises and continually stacking them on top of one another.

There are moments of solid execution and meaningful character work, but when everything is a crisis nothing is. X-Men #11 looks pretty good, as usual, but it's entirely skippable. If you are a big Corsair fan and want 10 pages of him failing a simple task then this book is for you, but if not you can get everything you need from the intro blurb next issue.

#x men #x comics #cyclops #jed mackay #ryan stegman #idie okonkwo #quentin quire #juggernaut #beast #jennifer starkey #marvel #comics #magneto #alpha flight #from the ashes #corsair #badoon #skrulls #magik

33 notes · View notes

therobotmonster · 9 days ago

Text

The Dire Wraith, Marvel's Perfect Monster

It's no secret I love ROM: Spaceknight.

I've been relatively cool on latter reboots, largely because the things they change to dodge the IP holdings of Parker Bros/Hasbro or Marvel (respectively), always lose something essential.

The largest problem is that the dire wraiths are incomparable villains, and Marvel invented all their meaningful lore. And what lore it is.

The Dire Wraiths are alien demons, creatures that come from a world orbiting a black star in the center of the Dark Nebula. They distill the paranoia of cold war pod-people infiltrators and the demon-loving satanism scare villains of the 70s (and 80s... and 90s... and...) into a single, diabolical package.

Well, two packages, actually-

The wraiths are revealed to be a highly sexually dimorphic species, both in form and social role. Male wraiths were the bulk of who we had dealt with before. They used science and stealth to their advantage.

Their base form was always a placeholder for when Parker Brothers eventually made a Dire Wraith toy for ROM to fight. They never did, so Marvel got to come up with their own finalized design.

And like comic artists are wont to do, they wanted ladies to draw. Look, the artists couldn't resist disrobing them in their first full on-page appearance. Typical.

The Dire Wraith women had been hidden in spooky robes the whole time, so this made it easy. A gender-based murderous uprising later, and we've got our new wraith phenotype.

Now that's a monster! Not some vaguely humanoid, vaguely froglike pale imp, but a starborn demon in the flesh. Froglike hands and feet with melty, loose wax-like flesh pooling about them, more adept at prowling on all fours like a predatory beast than walking like a human being, long whiplike tail, and the face! A lobster-like maw with a lengthy barbed tongue.

A barbed tongue that drips acid.

Before the ladies showed up, it wasn't explained what happened to humans the wraiths replaced. They'd get snatched, there's a replacement, you're pretty sure they're dead.

Now the truth is revealed. The tongue is used to pierce the victim's skull, allowing the wraith to devour their brain and absorb their memories and personality, reducing the whole body to foul ash.

Mind you, they don't have to do this. They can shapeshift all they want on their own. Its questionable if the males even had these barbs, and they may have been doing it like their skrull ancestors.

Yeah, the wraiths are an offshoot of the skrulls... in the same way a cenobite is an offshoot of humanity.

It's the feeding/replacing process that really makes the Dire Wraiths shine as bad guys. They take your life and everything that came with it, your memories, your shape, your identity. But it isn't some infection that changes you into one of them. There's no transition to stop, no 'real you' to reach. It's not a possession you can shake off or have exorcised.

You're dead, and some thing from space is wearing your face, doing unspeakable horror in your name, using your knowledge to do it.

And their motivation is pure malice.

The dire wraiths seek to conquer not just to acquire territory, but because they loathe other forms of life. The science wraiths were merely genocidal and ruthless, moving in secret were possible.

The sorcery wraiths embrace sadism and intimidation as primary weapons, and they love their work.

A science wraith plot is "bind a human bigot to the armor (read: corpse) of a fallen spaceknight so he can kill Rom for us and we can get back to infiltrating the world governments and SHIELD."

A sorcery wraith plot is "torture kidnapped people to death in a sewer so their blood can be infused with a ritual curse, then add that blood to the transfusion supply so demons can hatch out of the most vulnerable in the places where all the medical resources are so we can spread terror, make people afraid to seek medical attention, and kill as many doctors and nurses as possible to make reacting to our other plots more difficult."

Now, some people may say that a group of villains that are literally pure evil are boring. Sometimes this is true. But the wraiths have a couple of advantages.

The first is they're written as having an intense need to be clever. They like their enemies off-balance and afraid, so straightforward villainy is off the table. They have to show off to their fellows by being not just brutal, but diabolical.

The second is the chain of command. Moral ambiguity is for all the various dupes that wraiths set in the Spaceknights' way and individual villains looking to cause trouble, whether its the wraiths pitting the police, SHIELD, or the Jack of Hearts against Rom, the Mad Thinker looking to get a chunk of his tech, the Mole Man mucking things up, or Hybrid setting the X-Men (and later brotherhood) on Rom while plotting a mind controlled harem of X-Waifus...

The wraiths get to subsist on an unrelenting delight in the suffering of all other creatures.

And on the subject of attracting third party attention, Some of that's on the Spaceknights themselves. Because their weapons that send the Wraiths to limbo: Rom's Neutralizer, Starshine's eye-beams, Karas's living fire? The knights see the wraiths revert and get banished.

Outside observers see a metal man disintegrating their neighbors on the street. Even in defeat the Wraiths cause suffering and sow distrust.

A World that is Hell Orbiting a Star that is the Devil

But as witches, the wraiths need their devil to serve and draw power from. And that power is their home solar system: Wraithworld and the Black Sun it orbits.

Both are living things, lovecraftian horrors with will and desires of the most malevolent sort. The black sun radiates dark sorcery and vile mystical energies to sustain Wraithworld and the rest of the dark nebula, and is actually a hole to a reality that is anathema to life as we know it.

Wraithworld is hostile to all life that isn't dire wraiths, and will adjust itself to be hostile to anything that can survive it, up to and including Galactus. The big guy tried to eat both, and was soundly rebuked to the point he fled in fear for his life.

The star's entire surface is covered by an inky blackness that it turns out is hordes of deathwings, living shadow-demons that are among the most potent weapons in the wraith arsenal.

Compared to most of the marvel universe, they're more demonic than most demons, more alien than most aliens, and more horrifying than the vast majority of the monsters. The only other contenders in my book are the Warwolves (who execute a similar shtick in a more surreal and undignified fashion) and maybe the Brood on body-horror merits if they weren't overplayed.

In the end, Wraithworld may have been banished to limbo, but only a more powerful demon could keep the wraiths out of the spotlight permanently.

That demon is, of course, intellectual property.

22 notes · View notes