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27 August 2000

GAMBIT #21 - "A Sheep In Wolf's Clothing"
by Fabian Nicieza, Yanick Paquette and Sean Parsons
GO GIRL! #1
by Trina Robbins and Anne Timmons

And since it's a quiet week, and I honestly have had requests, some comments on the movie.

But first, a couple of announcements. All those who have e-mailed me asking when the indexes section of the X-Axis website is going to be updated will be delighted to hear that it has been updated this week, and now runs up to Uncanny X-Men #350.

And secondly, in response to several requests, you can now subscribe to receive the X-Axis by e-mail. Simply click here and follow the link to "subscribe." Then you can enjoy the X-Axis in the comfort of your own e-mail program, complete with delightful adverts. Sign up and make me feel important.

Another incredibly quiet week, with just GAMBIT coming out. And hopefully Nicieza is going to get a chance to resolve the current storyline before his departure, because there's nothing more annoying than reading somebody else's resolution to a story. It's like buying a composite car.

In any event, this is another of Nicieza's "putting all the story elements out there and challenging the reader to work out how it's all going to fit together" affairs. The current main plot thread is the characters trying to investigate Gambit and Fontanelle's histories in order to work out how they fitted into the New Son's plan in the first place, so this is essentially an issue of Gambit trying to find things out and not getting much for his efforts beyond some handy clues.

The Guilds have been made a focus of the series again, and while Nicieza has been getting far better stories out of them in this series than any previous writers, their eccentric histories and strange religious beliefs seem an odd backdrop for the character. In the previous storyline, the Guilds were pretty much standing around in the backdrop as a group of rather anonymous characters, but this time Nicieza gives them some screen time to establish relationships and a bit of internal politics, making them rather more credible as a result.

The issue would have benefitted from advancing the plot more quickly; the main problem with this one is that Courier's trip into the US government offices, which forms the focus of the plot, really doesn't achieve a great deal. Gambit gets to go in and have a stand-off against Mystique (who just seems curious to find out what's going on rather than anything else), but ultimately Courier doesn't discover very much of significance.

Yanick Paquette gets yet another new Gambit costume foisted on him this issue. This one, it has to be said, is substantially more repellent than the last one. Shoulder pads? On a trenchcoat? What the hell are they thinking of? At least they keep him out of costume for most of the issue (all of the issue would have been preferable), and Paquette does a very nice sequence with Gambit and Mystique's conversation near the end, keeping what's essentially a six page dialogue visually interesting.

The issue is the slow and steady advancement of ultra-complex plots that we've come to expect from Nicieza on this book (though if you think there's an enormous amount going on here, you should try Thunderbolts some time). Hopefully we'll get to see the explanation of where all this is heading, although the promise of a Neo story next month is less than inviting.

B+

Ah, the spirit of Ricki Lake is strong in this one.

GO GIRL!, and yes, the title includes an exclamation mark, is a quarterly superhero book by Trina Robbins, aimed at girls and coming out through Image. If I remember rightly, the issue was originally solicited in colour but was ordered in such low amounts that they ended up cancelling it and resoliciting in black and white in order to make it financially viable. It's perhaps unfortunate, as a result, that the issue still involves all the villains' equipment being a hideous bright purple (because they like the vibrations), since obviously that doesn't really come across in black and white, but you can't really blame the creators for that.

Trina Robbins is pitching this quite clearly at a girl audience, but it faces the obvious distribution problems in actually getting to them. In many ways it's hard to avoid seeing any book coming out through the direct market as being not so much a comic for girls as an example of what a comic for girls might hypothetically be like, if only it was possible to sell one. I dread to think what the average age of the audience for this issue is, but I very much doubt it bears much relationship to the target audience.

Which is a shame, as this is a fun little issue which kids would probably get on with just fine. Sure, it's very much a generic superhero book with a stock plot - teen hero's friend is kidnapped by villain with irrelevant motives and mild gimmickry, teen hero goes after her, teen hero rescues friend, much cheering ensues. No angst here. Robbins throws in some nice jokes for the older audience, such as the fairly ludicrous career of the hero's mother in the 1970s as Go-Go Girl, and the shameless teasing of a stock plot (retired hero objects to child becoming a hero) before brazenly ignoring it and going for the line of least resistance by having the mother cheerily embrace the idea.

But really, this is a pleasantly simplified superhero book, toned down for the benefit of young children. There's no screwing about with genre conventions here; this is sticking firmly to the rules, for the benefit of an audience who haven't seen the cliches before and can enjoy them afresh. It's endearingly retro, and engaging enough that you won't resent taking your kids through it, but it's definitely one for the kids. This is a good thing, but how it can ever hope to find an audience going through the direct market is entirely beyond me.

B+

So, okay, let's talk about the damn movie. I know I said I wasn't going to, but it's a quiet week, and several people have asked me to review it. X-MEN.

Bryan Singer has wisely opted not to attempt an adaptation of any individual story. Virtually none of them are feasible for the first movie. They all either go on too long, or involve too many characters, or focus too much on one team member (meaning that it wouldn't really be a film about the team), or just play too heavily off the series' backstory. And that's before discounting the ones that just aren't any good.

The first film, and they're being quite unabashed about seeing the X-Men as a franchise, has to do three key things. One, it's got to introduce the mutant concept and the three political factions that drive the X-Men (anti-mutant human, anti-human mutant, and nice cuddly X-Men). Two, it's got to introduce the individual characters, and there's an awful lot of them by normal action movie standards. Three, it's got to tell a decent story in its own right, which has to tie in to the basic concept of the X-Men.

Singer has done about as well as can be expected with that in mind, though the film has at least one eye on laying groundwork for the future rather than on giving us a particularly good story for the present. Magneto's plan to turn government leaders into mutants so as to challenge anti-mutant prejudice is at least relevant to the X-Men concept, and positions him as a more sympathetic figure than he has been in the comics recently (his plan here is a self-defence scheme rather than a bid for power), but it's still really just an excuse to have the characters run around and fight one another. It's not the point.

As far as introducing all the characters is concerned, efforts are fairly blatantly concentrated on Wolverine and Jean, with the rest of the team suffering as a result. Xavier gets by more on Patrick Stewart's presence rather than anything else, and Scott, Jean and Ororo are just rather watery characters in roles that a fair number of X-Men characters could have filled. It's not that the characters are being badly handled so much as that they're only there to fill out the roster. Maybe they'll get more screen time in the sequel.

Wolverine and Rogue are the sensible choices here because they play up the theme of alienation, from Logan's history and Rogue's powers. In fact, it's pretty much only Rogue's powers that the story needs, since that's the bit that makes her fit the theme. They've effectively bolted her powers and name onto an ingenue role that's closer to early Shadowcat, and created what amounts to a new character in the process. Nothing wrong with this; it's what the film needs. The same applies to Magneto's henchmen, a group of decent character designs and powers bolted onto what are little more than blank slates.

It also helps, of course, that these two have nice easy powers to film, avoiding special effects problems that might have arisen with giving extensive screen time to anyone else. The SFX aren't exactly bad, but they're certainly patchy. The flying scenes feature some of the most obvious wires since Muffin the Mule, and I find it hard to believe they couldn't have been handled better. On the other hand, Mystique comes out of it rather well, and the visuals for the use of Cerebro are effective.

The film confirms my view that the X-Men isn't, at root, a superhero concept. It's a sci-fi concept which is played in superhero style for the benefit of comics audiences, and the film is at its weakest in trying to emulate those elements for a medium that doesn't need or want it. Of course, the film has wisely dumped the comics' costumes - the idea of Wolverine wearing either of his normal uniforms would be ludicrous anywhere other than within the genre conventions of superhero comics. But what they've done instead is given everyone black leather (which simply means they've seen the Tim Burton Batman films) and kept the codenames. This isn't necessary, and you can see that when they resort to having the point of view character, Wolverine, making fun of the codenames and costumes even in the toned down form. And he's right. They're silly and they're not helping anything. The film would have been better off if they'd had the courage to dump this stuff altogether.

For people familiar with the comics, the film doesn't represent much more than an opportunity to see the characters moving in live action. The story is simply about putting over the basic X-Men concept, which we already know, and while it gets that stuff over effectively, there's nothing really to it beyond that. As the beginning of an action film franchise it works, though, and you have to look at it on that level.

B+

Also this week:

AUTHORITY #18 - Well, you know the routine. Silver Age threats, modern age attitude, much epic nastiness, only with a bit more characterisation than when Ellis was writing it. You can see why people criticise Millar for going for shock value, and there's undoubtedly more than a hint of formula in this issue, but it's still superior to most superhero books.

B+

CAPTAIN MARVEL #10 - Peter David winds up the story arc about Kelly the omnipotent girl, and reaches shamelessly for the reset button ending. Admittedly, since Kelly was set up clearly as having this kind of ability earlier in the story, it works rather better than usual, but it's still kind of a cop-out (and doesn't really deal with Kelly's main point, which is that every single timeline ends up downright horrible in the end). Not bad as such, but an idea that doesn't really come across as clearly as you'd think was intended. Nice art, though.

B-

DEADPOOL #45 - Christopher Priest winds up his run on Deadpool by pretty much undoing everything he'd done and restoring the character's previous status quo for the benefit of Jimmy Palmiotti's upcoming film noir storyline (which should be interesting if nothing else). The glaring continuity error with the use of Titania as a supporting character when another book was already using her elsewhere is neatly tied up by playing effectively off Deadpool's past, and with the humour levels kept low enough not to eclipse the plot for a change, this is one of Priest's best issues on the book. Incidentally, artist Jim Calafiore is perfectly suited for Priest's comedy routines; somebody give them another book to work on.

B+

HELLBLAZER #153 - I was going to drop this, but hell, it's a quiet week, so I thought I'd give it one more chance. Azzarello continues being awfully enigmatic and clever-looking. However, there's no real substance here beyond wondering what the hell he's talking about. Superficial. Nice art, though.

C

STEAMPUNK #5 - Talking of wondering what the hell the creators are talking about... Actually, the problem with Steampunk isn't following the plot as such. It's following the art, as Bachalo again lapses into following his exciting design ideas and loses sight of telling the stories, leaving us with more scenes in which it's not at all clear what the hell is meant to be going on. This is the end of the book's first story arc, essentially building up to a big revolution (though I'm damned if I can follow how). But it's only really entertaining when Bachalo settles down to tell the story, and the rest is more hassle than its worth.

C+

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Next week, X-Men Declassified might actually come out; Rob Liefeld's run continues on Wolverine; and in theory there's going to be an issue of X-Force, but the book's been running so late that I wouldn't place money on it.

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