Tag Archives: Charles Xavier

Review: Inferno #1

A lot of Inferno #1 is a table-setting tease, but boy, it’s nice to see Moira X back in action and in direct confrontation with the one mutant that can negate her abilities and quash her plans, Destiny. Jonathan Hickman, Valerio Schiti, and David Curiel bring a small semblance of the epic thunder of House of X and Powers of X back in the high stakes arguments between Moira, Professor X, and Magneto as well as a brutal opening battle sequence between X-Force and Orchis. Plus there’s all the underlying elements about Krakoa being on thin ice culminating in a not exactly a shocker of a final sequence, but a statement piece that definitely has me invested in Inferno #2.

For all its flaws, Inferno is a book that is both time-spanning and cloak and dagger, and Schiti is good artist pick to juggle all this. He can use wide open layouts for fight and group scenes and then trim down and go tighter with nine panel grids as Mystique and Destiny confront Moira X and the use of her abilities to try to “cure” mutants once and for all. This storyline is something that has definitely popped up in X-Men stories quite a bit, but Hickman adds a SF wrinkle with the use of multiple timelines and reincarnation abilities. There’s also the failed utopia angle, and the last third of Inferno features plenty of hot people with superpowers acting like academics on a subcommittee with Madripoor substituting for the local watering hole. However, this awkwardness sells the last couple pages even more with Valerio Schiti nailing every Quiet Council member’s reaction to their new member.

Inferno #1’s extended length leads to plenty of Jonathan Hickman self-indulgence, including double data page spreads, a Warlock and Cypher interlude that might be Krakoa’s last happy moment before everything burns, and very long conversations. All the Orchis/Quiet Council maneuvering aside, Inferno is really the story of two couples: Xavier and Magneto, Destiny and Mystique. They are joined together via Moira X and set at cross purposes by her with Destiny seeing Moira’s real threat in her tenth life (The aforementioned cure). On the other hand, Moira sets Xavier and Magneto against Destiny and says she’s a threat to Krakoan stability, which leads them to do some very morally questionable things. This is par for the course in the “Dawn of X”/”Reign of X” era, their characters in general, and definitely backfires as evidenced by the issue’s first image of them crawling out of resurrection pods before a Cerebro-rocking Emma Frost. This page is a shining example of how Inferno #1 is more appetizer than full meal.

The Xavier/Magneto scenes definitely feel like they could be plucked from the better parts of Hickman’s X-Men run and also showcase Schiti’s skill with character acting. David Curiel also ups the intensity of the colors depending on the flow of conversation. Moira X is Krakoa’s ringer, and why they keep attacking Orchis over and over even as this starts to expose the resurrection protocols to their enemies. As anyone who has interacted with X-Men media knows, Sentinels are bad, and mutants are good. But after the double digit failures in taking out Nimrod, Magneto and Xavier start to wonder if a partnership with these machines might be a good idea. Unfortunately, Moira X has seen the future and knows this isn’t a viable path and directs their energies to a pre-cognitive mutant instead. Schiti draws panels of them sabotaging the resurrection process with close-up shots of Mr. Sinister (Or a clone) and Krakoan language vials that scream death of a utopia.

However, Jonathan Hickman and Valerio Schiti keep things ambiguous and basically smash cut to the election of a new Captain Commander and the ending Quiet Council meeting saving the consequences for a future issue. Sneaky, morally ambiguous Xavier and Magneto is a great time though even as they speak about humility and posture about resigning their positions of leadership and letting a new generation take over. It’s unclear how Inferno fits with Trial of Magneto, but these are two mutants that definitely don’t seem to be relinquishing power any time soon, hence, the shady shit with Moira X.

Inferno #1 returns to one of the most interesting plot threads from House of X/Powers of X: Moira MacTaggert being one of the most powerful mutants, who also acts as a kind of meta-commentary on the ideological evolution of the X-Men. (I can take or leave the Orchis stuff.) She has plenty of panel time in this issue, but it’s all set up for future conflicts that will hopefully shake Krakoa at its core and end Hickman’s run on the mutant books in a suitably dramatic fashion. For now, there’s a lot of speeches, posturing, and everyone’s favorite, data pages.

Story: Jonathan Hickman Art: Valerio Schiti
Colors: David Curiel Letters: Joe Sabino
Story: 7.0 Art: 8.0 Overall: 7.5 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE copy for review

Purchase: comiXologyKindleZeus ComicsTFAW

Super-Articulate: Marvel Legends House of X

Greetings, mutants! This much is true: Jonathan Hickman and an army of collaborators totally reinvigorated the X-books with the twin House of X/Powers of X minis and the subsequent wave of related X-titles. The overall storyline gave the subline a much-needed shot in the arm and propelled the X-Men back to the forefront of comics conversation. Anyone that even vaguely pays attention knew that the story would get represented in figure form sooner rather than later. The (first?) House of X Marvel Legends is in stores now. Let’s take a look.

Overview: The initial figure selections are totally sensible. Charles Xavier, Magneto, and Moira McTaggert are crucial to this particular story. Cyclops, Marvel Girl, and Wolverine are likewise pivotal and among the most important X-characters (in fact, those three, Xavier, and Magneto appear on the House of X #1 cover). The Omega Sentinel appears as an antagonist early on, and the Tri-Sentinel looks cool as hell. So, onward.

Moira McTaggert: It’s about time. Moira McTaggert is about as important as a supporting character in the history of X-Men that I can think of. She should have been made years ago in her classic yellow and purple costume. I thought it was excellent that Hickman’s story elevated her profile and gave her an amazing and surprising backstory. Hasbro cleverly expounded on Moira’s multi-faceted role by making the figure in such a way that in can have two distinct looks. One is jaunty, mod-ish look with the cap and scarf, and the other, which I prefer, is the scientist look with the lab coat. This is another good example of Hasbro creating maximum value with extra parts and accessories that can completely change a figure. Here you have an extra head, two extra arms, extra hands, the removable lab coat piece, and the scarf, as well as a science book. The design team obviously put a lot of thought and care into the look. Amid iconic mutants, they made Moira stand out.

Professor Charles Xavier: The helmeted Xavier was an instantly iconic look. Nevertheless, the figure also comes equipped with an extra regular head and an attachable psionic power effect. The figure’s slim build is evocative of the fact that Hasbro really has developed a broader array of body types to more accurately capture a character. Maybe I like it more because I like the story, but I appreciate that it’s sometimes more difficult to nail the simpler design. This is a solid piece.

Magneto: I’ve been waiting for a white-costumed Magneto for some time, and I was not disappointed. This is a figure with presence. Great head/helmet and cape sculpts pull this together, and the extra grasping hands are perfect for poses to would illustrate Magneto using his powers. The stark white next to the primarily black costume of Xavier is a great contrast, and they look really good next to one another.

Marvel Girl: There were those that were unhappy with Jean taking back the Marvel Girl name and costume in the House storyline, but it’s hard to argue with an iconic name and look. In figure terms, this is an excellent representation of Jean from the storyline, and a solid take if you want to get a second one for your classic-era display.  The only negative for me is that the stiff vinyl of the skirt makes leg poseability a little bit difficult. Apart from that, it’s a good version.

Cyclops: As Cyclops is one of my all-time favorite characters, I’m always down for another version. I like the new blue-on-blue costume; it’s a deceptively simple, but cool, design. In terms of the sculpt, it’s a really good representation of Scott Summers. Like the previous Retro Cyclops in the X-Factor costume, this employs a second head and an attachable optic blast. This is another strong entry.

Wolverine: Let’s hear it for the fat claws! I vastly prefer the broader blades to the slimmer ones, and this figure gets that exactly right. And again, I’m happy that Hasbro makes a consistent effort to keep Wolverine shorter to be in proper scale with the other characters. While this costume is specific to the House/Powers story, this is actually a really strong Wolverine for those that collectors that just want a good version of each character.

Omega Sentinel: I’m always up for a previously unmade X-villain, so I was pleased to see this one added. The Omega Sentinel comes with two heads; the bald one reflects the House/Powers appearance, and the head with hair is an earlier look. Yes, the hair is a different color than the comics appearance, but the volume and detail of the hair sculpt is impressive. The interchangeable weaponized arms are great; they really make the figure pop and stand out from the other figures on the shelf.  This is a dark horse favorite for me in this wave.

Tri-Sentinel: I’m going to be completely honest: getting the three heads into the body was a MASSIVE pain in the ass. I can’t recall the last time I had this much trouble fitting a BAF piece in, let alone three. I had to go the hot water route on the neck joints in order to finally get them to fit. By contrast, the arms and legs fit extremely easily. Difficulty aside, I think it’s a great-looking BAF. As a big Neon Genesis Evangelion fan, I like the subtle referencing here. I also like BAFs that are big, and this fits the bill. It’s also surprisingly poseable. This and the Omega Sentinel look great next to each other; when I get a chance to do some shelf adjusting, I’ll be putting them next to Nimrod, too.

This is another strong showing from the Marvel Legends team. I do hope that we get some more House/Powers figures; I’d like to see a Marauders Kate Pryde, more New Mutants, and some undone characters, like Quentin Quire, in particular. I’m looking forward to seeing what happens next. What about you, readers? What’s your take?

Logan is the Rare Superhero Film that Deals with Finality


*Warning: This article contains full spoilers for the film Logan*

There is a famous line in Alan Moore and Dave Gibbons’ Watchmen that could be used to describe the world of superhero comics as well as the Disney golden goose/juggernaut that is “Nothing ever ends.” As long as the books are selling, the TV shows are getting decent ratings, and the movies make back their budgets, there will always be stories about Spider-Man, Superman, Batman, whatever mediocre white male Marvel Studios decides to make a movie about, and yes, the X-Men. But whether it’s due to Hugh Jackman or Patrick Stewart’s contracts, a burst of creativity on the part of writers Scott Frank, Michael Green, and co-writer/director James MangoldLogan decides to end the character of Wolverine on its own terms with no reboot or recasting in sight.

In its plot, influences, and setting, Logan is a departure from X-Men and superhero films. The story follows Logan, who reluctantly agrees to drive Charles Xavier and a new mutant Laura aka X-23 (Dafne Keen) to Eden, a place in North Dakota where the last mutants are supposedly hiding out. Logan is skeptical about this land’s existence. In a bit of a family twist, it’s revealed that Laura was created from Logan’s DNA and has his claws, healing factor, and rage. Logan is a dystopian western/road trip movie as Logan a beautiful combination of Cormac McCarthy’s novels The Road and No Country for Old Men if Sheriff Bell (Played by Tommy Lee Jones in the Coen Bros film adaptation.) was the one taking the road trip with a child that he had a strained relationship with. And the Reavers definitely fall into the Anton Chigurh school of villainy driven on by relentless evil and a desire to hinder Logan at every turn even when he’s just minding his own business and being a chauffeur.

From its tense cold open where Logan fights some Latino men on the Texas/Mexico border, Mangold, Jackman, and cinematographer John Mathieson give us a front seat to his mortality. There are the hacks and slashes that are his signature, but it comes after he gets his ass kicked a few times and takes some wounds to his chest. Logan is still a skilled fighter, but you can see him wince in pain as he takes shotgun shells to the chest, and throughout the film, it’s obvious that he’s trying to avoid getting shot using throws and holds instead of just charging at his foes berserker style. (Although, Logan does give into his animal nature several times in the film, especially when fighting his conscience-less clone X-24.)


Unlike The Wolverine where Logan losing his healing factor was a plot device to be reset at the end so he could go on more adventures with the X-Men, it’s a terminal condition as the adamantium on his bones is beginning to poison him. Jackman’s body is a canvas of pain and suffering, and there are many shots of him turning to whiskey, pills, and later a kind of superhuman steroids to get his deteriorating body to function. He, Charles Xavier, and Caliban (Stephen Merchant) are living in the physical equivalent of death’s door in an old smelting plant in Mexico where Logan works as basically Uber driver and hauls around hard partying, jingoistic young people to have enough money to get pills to suppress Xavier’s telepathy. As it’s revealed later in the film,  the former Professor X has a degenerative brain disorder that leads to seizures and can kill both humans and mutants. Logan doesn’t want him to hurt anyone else so he has him in isolation, and a very honest Xavier remarks that he’s just waiting for him to die. The dream is dead, there are no X-Men or superheroes, and he and Logan are just trying to save enough of money so they can float away on a boat and be free. They are the living dead and only spoken of in hushed tones like urban myths, or in the colorful, nostalgic pages of in-universe X-Men comics.

Yes, Logan is the cinematic equivalent of staring into the abyss for two and a half hours as Mangold comes to terms with the lives that Logan has taken and mirrors his violence and savagery in the young girl Laura. Laura’s big introduction is when she takes out a group of Reavers, who have attacked Logan and Xavier’s compound. Most of the action takes place off camera and is signified by her walking out carrying a man’s head before a whip quick pan shows her launching an attack on the remaining Reavers. Unlike Hit-Girl in Kick-Ass, this and countless other instances of violence involving Laura aren’t played for dark humor, but for tragedy.

One thing that I particularly enjoyed about Logan compared to a lot of superhero films was that it gave its characters a chance to breathe, emote, and interact instead of rushing through the equivalent of trailers for other films or using big gestures like kisses or near death experiences to “develop” characters. So, its best sequence isn’t an epic desert/barb wire fence car chase that is even cooler than the one in Batman Begins, but Xavier, Laura, and Logan sharing a family meal with the Munsons, a family that they helped out on their way to Eden. Xavier confesses to X-24 (Who he thinks is Logan) that this is the best night he’s had in a while and a vision of what a normal family life is like before he is brutally gutted by a man, who he thought was his friend. There have been scenes where Xavier is trying to acclimate Laura to because this is an incredibly depressing film.

Instead of bringing back Sabretooth, William Stryker, or another villain from the Wolverine comics, Mangold has Logan fight himself (Or technically his soulless clone) in the film. Evil clones are kind of a gimmick, but through the sheer brutality of the combat and Jackman’s unhinged performance as X-24, their fights come across as a world-weary man trying to exorcise demons, murder the savage part of himself, and find some peace before he dies. Logan truly goes through some Passion of the Christ worthy physical torment, and Mangold and the visual effects don’t hold back from showing his gaping wounds as he struggles to drive the last few miles to Eden, and medical experts say he’s dying. To draw a connection to the Hebrew Bible, Logan, like Moses, could see the Promised Land, but he can’t live in it.


Other than the incredibly sad funeral sequence where one of the kids holds a Wolverine action figure and Laura turns the wooden cross on his grave sideways to make an “X”, the scene where Laura pushes a semi-comatose Logan to the side and drives both of them to Eden is real moment where Logan comes to terms with its finality. It parallels a scene early in X-Men where Logan is the one driving a young mutant named Rogue to safety except now the young mutant, Laura, has his life in her hands. It’s a really passing of the baton moment, and Laura even becomes the badass loner with the dark past of the group of new mutants brooding off to the side while her new friends eat by the camp fire. This is very much like Wolverine’s role in the first X-Men movie.

Logan is dead, and the Wolverine with him as he passes the torch of hope and heroism despite great odds and a messed up past to Laura and the young mutants of Eden. And along the way James Mangold redeems the adamantium bullet that made everyone snicker in X-Men Origins: Wolverine. Early, in the film, it’s the symbol of Logan’s suicidal ideation when Laura finds out that he carries it an and a single shot revolver to kill himself when the time comes. However, Laura ends up using the bullet to kill X-24 defeating the murderous animal inside Wolverine and only leaving the noble, flawed man Logan to die a mortal death from his wounds. Mangold, Jackman, and Keen create something beautiful from the carcass of a terrible film and let Logan find a small measure of redemption before he passes away.

And this is why Logan is such a fantastic film. It has real life and death stakes and not in the Iron Man passes out for five seconds after going into space before being okay way. James Mangold, Scott Frank, and Michael Green aren’t afraid to grapple with the pain of taking a life and the bitter tang of morality, and it does it all in the thrilling, poetic skin of a Western cyborg film. It’s the sad, savage, and soulful superhero film that I’ve been waiting for.