rec.arts.comics.marvel.xbooks FAQ: 7/8
Kate the Short
Posting-frequency: monthly
URL: http://users.rcn.com/kateshort/faqs/
-= REC.ARTS.COMICS.MARVEL.XBOOKS =-
Frequently Asked Questions
Part 7
Version 2003.02, last updated November 2003
URL: http://users.rcn.com/kateshort/faqs/racmxFAQ/faq7.html
------------------------------
Subject: Table of Contents
Part 7:
X-MEN COMIC BOOK QUESTIONS
* Which X-Men haven't been mutants?
* What is the Siege Perilous?
* Why did the X-Men lose their invisibility to electronic
scanners?
* Psylocke, Revanche, Kwannon, Betsy Braddock ... help?
* When did Psylocke and Phoenix switch powers? Wasn't Psylocke
telepathically holding the Shadow King captive?
* When did the Beast turn blue and furry? Wasn't he unfurry
again for a while? When did he become a lion?
* How come other mutants seem to be changing their powers and
appearances? (+)
* Is Longshot Shatterstar's father?
* There's an External at my door. What does that mean? Should
I be concerned? Is it contagious?
* Who are the Twelve? Why are they important?
* Is Apocalypse dead?
* What is the Legacy Virus? Who's had it? Hasn't there been a
cure for a while?
* What is the Soulsword? Who has Magik's Soulsword now?
* Is the Malice who worked with the Marauders the same one
that appears in Fantastic Four now and then?
* Do you lose your mutant powers in the Savage Land? Where is
the Savage Land, anyway?
* What happens when the Blob meets the Juggernaut?
------------------------------
Subject: X-MEN COMIC BOOK QUESTIONS
Please note: Background information on the creators and the X-titles
editorial offices is based on over a decade's worth of interviews,
articles, and personal questions, and as such is not directly
attributed here. Now that some of Marvel's staff members are on Usenet,
they are welcomed to correct and amend any of the answers listed below.
--- Which X-Men haven't been mutants?
Mimic, the original Phoenix, Longshot, and (possibly) the two Psylockes.
Mimic is Calvin Rankin, the son of a scientist, who got caught in an
explosion in his father's lab, and gained the ability to copy
superpowers of every superhuman near him, and keep all the powers until
the people he stole them from were over a mile away or so. He's been
killed a number of times in a variety of filler stories, and brought
back just as often to just die again. Scott Lobdell tried to retcon this
in a backup story somewhere by saying that Rankin was a latent mutant
who just got his powers started up by his father's explosion. While
there have been other latent mutants who have gained access to their
powers in such dramatic ways in Marvel history, Scott Lobdell is also
responsible for such continuity goofs as Storm declaring she resents and
hates her thieving heritage, and all of X-Men Unlimited #4, while the
Official Handbook of the Marvel Universe still has Rankin as a non-
mutant. This FAQ will go with the OHOTMU.
The original Phoenix (the one in UXM #101-137) was once Jean Grey, who
was a mutant, of course, but has since been retconned into being the
cosmic Phoenix Force itself, just pretending to be Jean Grey. As a
cosmic entity, Phoenix automatically is disqualified from being a
mutant; they have enough troubles as it is. See the entry on the Jean
Grey/Phoenix relationship question in this FAQ for more information.
Longshot was a genetically-designed being from the dimension of the
Spineless Ones. As an artificial life form, he cannot, by definition, be
a mutant; his "free will" could be described as a design malfunction,
but actually, it was programmed into him by Arize (Longshot #1-6). Even
if he showed up on a mutant detector, something for which there is no
textual support, he's still not a mutant, because nothing in his genetic
makeup happened by mutation. He was built from the ground up.
The original Psylocke, Betsy Braddock, is the sister of Brian Braddock,
aka Captain Britain. Both she and her brother gain their powers from
their not-entirely human heritage (their father was from Otherworld).
This was stated directly in her pre-X-Men appearances, as recounted now
in the "Captain Britain" trade paperback. However, there are statements
made in the X-titles clearly identifying her as a mutant--including a
caption where Betsy described herself as a mutant in UXM #213, and an
identification by the Master Mold in UXM #247. One reader points out
that telepathic powers are unusual even for the Otherworlders--Brian's
powers are more typical. While this doesn't prove that she is both a
hybrid and a mutant, it adds a little credibility to the notion.
Kwannon may have been a mutant, or it may have been simply genetic
engineering--it was revealed that she was a low-level empath, with her
source of powers undetermined. (However, this generally means "mutant
powers", especially where the X-titles are concerned.) The practical
upshot of all this is that since Psylocke finally occupied Kwannon's
body, the question of her mutancy no longer concerns her Otherworld
origins.
--- What is the Siege Perilous?
The Siege Perilous is a large, brooch-like magical gemstone that Roma, a
powerful mystical entity, gave the X-Men after the Fall of the Mutants
storyline (UXM #229). The whole idea of the Siege was that one could
send people through it, who would be "judged" by some unknown, higher
power (possibly Roma herself), and then be given a second chance at life
if found worthy, so they could try and correct their evil deeds, so to
speak.
This interesting way for heroes to rehabilitate their villains lasted
for about one storyline, the original encounter with the Reavers (UXM
#229) in Australia, until the press of crossovers and editorial
interference kept Claremont from using it much more than he did.
Claremont was, believe it or not, reportedly planning on spending well
over a hundred issues of the X-Men based in Australia, and thus his
leaving during the X-Odus could be viewed as somewhat of a relief,
depending on what you thought of the Oz-Men. Indeed, pretty soon the
Siege became an escape route for the X-Men from their enemies, as a
series of vicious, horrible encounters ended up with the X-Men believing
themselves better off reincarnated through the Siege than captured by
their enemies. Having Psylocke control their minds so they thought it
was a good idea (it was mainly hers) helped also. She had a vision in
UXM #250 of the remaining X-Men being turned into cyborgs and left for
dead.
So most of the X-Men popped through, and ended up, mostly with amnesia,
all over the world, mostly living lives they felt mostly "better" in
than superheroing--for the most part. The Siege was then captured by
Donald Pierce, who destroyed it (UXM # 251).
The X-Men who went through the Siege were:
* Rogue: Pushed through it by Dazzler (UXM #247). Reappeared in the
Outback in #269, then went to the Savage Land with Magneto who
freed her of Carol Danvers.
* Dazzler: Convinced by Betsy in #251, reappeared in Malibu and found
by Guido in UXM #260.
* Colossus: Convinced in #251, reappeared in Soho as Peter Nicholas,
artist, in UXM #259.
* Havok: Had doubts, but Betsy coerced him psychically in #251.
Reappeared as a Genoshan prelate in UXM #270.
* Psylocke--Went through #251. Reappeared in #256, only to become a
nimbo.
Storm did not go through, as she was captured by Nanny in #248 (although
they thought Havok killed her). She was de-aged, paired with Gambit in
UXM #266, and then re-aged to adulthood in #272.
Wolverine was left to bleed to death in the Australian wilderness in UXM
#251, where he was found by Jubilee.
Longshot had left voluntarily in #248 to find himself.
The original Siege Perilous, by the way, where Claremont got the name,
was the seat at the Round Table of King Arthur which had letters on it
that prophecied that only the "purest and greatest" of all knights would
sit there, who turned out to be Galahad. See the appropriate Malorian
(and other) sources for more on King Arthur, Galahad, and the Grail
Quest. Siege Perilous literally means "the dangerous seat."
--- Why did the X-Men lose their invisibility to electronic scanners?
After the X-Men died in Dallas during Fall of the Mutants (UXM #227),
they were resurrected by Roma via the Siege Perilous. One of the gifts
Roma gave the X-Men was that they were invisible to electronic scanners,
television cameras, and so forth, to better help cement their reputation
as "legends".
This power served the X-Men well enough during their Australian days
(although, for no explained reason, the computers at the Reavers base
were capable of detecting them, and the X-Men themselves wondered why),
but soon after they went tumbling through the Siege Perilous for a
second time it became apparent that the X-Men had lost their
"invisibility." There being no other explanation for this power loss in
the first place, it's generally assumed by the racmx crowd that Roma's
spell wore off.
Of course, there's a more logical explanation of why and when the X-Men
lost their invisibility to scanners, as explained by Chris Claremont at
the 2000 Wizard World Chicago convention: They lost the power somewhere
between pages 10 and 11 of UXM #279, or around page 1 of X-Men #4. This
was a reference to Claremont's last work on the titles, so apparently
*he* had planned to still have it going when he left the books.
--- Psylocke, Revanche, Kwannon, Betsy Braddock ... help?
The two Psylockes are an unusual matter. After the fun with the Siege
Perilous, Betsy Braddock was caught by the Hand, a bunch of techno-
demonic ninjas, and apparently turned into an Asian woman (UXM #256),
for reasons too vague to go into here. While odd, and apparently mainly
an excuse to draw Betsy in a bunch of tight-fitting quasi-Asian outfits,
it was still accepted that Psylocke was Psylocke. She just looked...
different.
Then Revanche entered the scene (X-Men #20). She looked just like
Betsy's old body, but had an Asian name (Kwannon). Confused yet? In
another retcon, the unconscious Betsy apparently was discovered by the
original Kwannon after tumbling out of the Siege. Kwannon, who looked
just like the new Betsy's Asian form, touched her and got psychically
zapped by Betsy, somehow passing both Betsy's powers and personalities
to Kwannon, while passing Kwannon's personality to Betsy.
Enter the Hand. The head of the Hand, Matsuo Tsurayaba, was in love with
Kwannon despite her belonging to a rival ninja clan. Now, apparently the
original Betsy was not turned into an Asian, but the Asian body of
Kwannon was brainwashed by the Hand into believing that she was Betsy.
In this they had help from the demonic dancer of Mojo, Spiral. Meanwhile
the original Betsy's body was programmed by Spiral, behind the scenes,
to still think it was Betsy but remember that it was Kwannon once, just
to bug Matsuo. All of this was sorted out in X-Men #31-32.
--- When did Psylocke and Phoenix switch powers? Wasn't Psylocke
telepathically holding the Shadow King captive?
Psylocke and Phoenix switched powers in the "six month gap" between
Chris Claremont's return to the two X-Men core titles. When Claremont
debuted, Jean Grey had a Phoenix shadow eye tattoo on the astral plane,
while Betsy had all of Jean's telekinesis but none of her telepathy.
The actual switch was never shown and never explained, which caused a
lot of confusion to new readers of the titles.
While the power switch was interesting, it came at a bad time for
Marvel. The X-Men movie had just debuted, and in it, Jean was very
definitely a telekinetic. Jean was also a telekinetic in the former
X-Men cartoon and was set to be a telekinetic in the X-Men: Evolution
cartoon. Thus, editorial wasn't too pleased about it. When the titles
were handed back to Scott Lobdell in preparation for yet another team
of writers, Jean seemed to be regaining her telepathy (which also was
not explained).
On a CoolBoard interview with Sean Thack, Claremont revealed his ideas
behind the power switch, and whether it'll be explained:
I thought it would be fun. I thought she was in a rut, that
readers had come to take her personality and powers for granted.
I wanted to give her a challenge to overcome, to cycle her back
to a place in her life where she needed to become a student once
more, to emphasize the "School" aspect of Xavier's institution.
I wanted to establish a strict differentiation between her and
Jean. Instead of them being echoes of one another, they could now
function independently both as individuals and team members. There
was always an explanation and had I managed to find the time last
year, the story would have been presented in the X-Men Annual. But
that window of opportunity passed and given the current status quo
within the X-Canon, the fact that Jean has been restored to her
default status quo as a telepath/telekinetic, I doubt the story
will ever be told. Why explain a continuity twist that no longer
exists? It's done, we move on, end of that story. This is who she
is, this is what she does, now our focus is on what happens next.
As you can see, it's likely a dangler that will be remembered only by
the fans.
As for Psylocke's telepathy holding the Shadow King in place, that's a
whole other story. It seems most likely that he escaped when Psylocke
died in X-Treme X-Men. In X-Treme X-Men Annual 2001, the Shadow King
returned, and tried to take over Rogue's mind. Since Rogue had once
absorbed Psylocke's powers, and therefore possesses some of Psylocke's
powers and psyche, Gambit figured that Rogue could contain the Shadow
King in a corner of her own mind, just like Psylocke had. The solution
apparently worked, since Rogue survived the battle, but it's likely
that he'll pop up again if Rogue ever purges Psylocke's powers.
--- When did the Beast turn blue and furry? Wasn't he unfurry again for
a while? When did he become a lion?
The Beast's normal form isn't fuzzy. Up until the cancellation of the
original X-Men series, he looked like a human with an ape-like body: no
fur, but big, elongated arms, hands, and feet. He had the same powers as
he does now: strength and agility.
Then, in Amazing Adventures #11 (1972), the Beast got a job at the Brand
Corporation, a subsidiary of Marvel's evil megacorporation, Roxxon. He
was researching the "genetic source" of mutations (the X-factor), and
isolated a hormone that would activate the X-factor. In typical comic
book timing, as soon as the Beast discovered this wonderful hormone, the
sinister Secret Empire tried to steal it from him. So Hank McCoy did
what any award-winning researcher would do with his potentially Nobel-
prize-winning experiment: he drank it.
The resultant enchancement of his mutant nature turned him into his now
famous fuzzy form, but with grey fur, and with a healing factor that
would shame Wolverine--bullet holes healed as fast as they were made.
Various misadventures ensued, until the computer Quasimodo drained the
Beast's excess life energy in Amazing Adventures #14, which left him not
only without his nifty healing factor, but also turned his fur blue.
He stayed that way all the way through his service in the Avengers and
Defenders until X-Factor was inaugurated. In their second issue, a story
was started which brought the Beast back to Brand, where much the same
sort of process left him back the way he was in the first X-Men series.
During the Fall of the Mutants he was infected by Pestilence (X-Factor
#19), resulting in a biochemical imbalance that increased his strength
each time he used it with a corresponding decrease in his intelligence.
A kiss from Infectia (#31) turned him back blue and fuzzy again, this
time with near-Hulk level strength (X-Factor #33).
Beast eventually lost most of that superstrength, and was back in his
"normal," highly agile, slightly-superstrong blue fuzzball form until
his lion-like form debuted in New X-Men #114. This was confusing, since
he was appearing in his normal form in the first issues of X-Treme X-Men
at the same time. However, in XXM #3, Sage first saw Beast's potential
mutated form. Just pretend that the events of New X-Men occur after all
of Beast's growing pains.
--- How come other mutants seem to be changing their powers and
appearances? (+)
It's hard to tell, exactly. Mutation in the Marvel Universe often
occurs during extreme physical or psychological stress. Combining the
removal of everyone's powers by High Evolutionary with increased sunspot
activity (radiation) has apparently created a bumper crop of odd power
increases and mutant births all over the world.
That said, there are a few obvious cases of this "secondary mutation,"
as well as a few other characters who have shifted appearances:
* Angel: Not a secondary mutation, apparently. His shift from metal
wings to feather wings is apparently due to Apocalypse's mucking
with his DNA and that eventually wearing off. He lost his blue
skin pigment in Uncanny X-Men #411 after Black Tom Cassidy drained
his life force.
* Beast: Secondary mutation. Evolved into a lion-like form. Gained
strength and speed.
* Emma Frost: Secondary mutation. Gained an extremely tough diamond
exoskeleton which can block physical damage and radiation. However,
she can't use her telepathy in this form.
* Iceman: Secondary mutation? After the events of the X-Men Forever
miniseries, gained the ability to become "living ice," and seems
to have his flesh turning into ice on a permanent basis.
--- Is Longshot Shatterstar's father?
Maybe, maybe not. This idea generally comes from X-Men #11, where
Dazzler says to Longshot: "'Shatterstar'? You've got to be kidding!"
(They had just found out she was pregnant.) This and the fact that both
are from Mojoworld are what most people base the relationship on.
Fabian Nicieza, who was writing X-Force at the time, was rather upset
about this. He intended no such thing, and soon made a point of giving
Shatterstar a different origin. According to X-Force #39, his real name
is Gaveedra 7 and he was born in a test tube. Also, in Dazzler's last
appearance (X-Men #47), it was strongly hinted she had miscarried. So,
as things stand now, there is probably no relation.
However, one writer's original intentions don't always conicide with the
conclusions of later writers. The following bits of in-continuity trivia
complicate this question considerably:
* According to Beast, Shatterstar has the exact same DNA as Longshot.
This is an interesting dangler, especially in light of the fact
that Longshot and Shatterstar don't even have the same number of
fingers.
* According to Spiral, Shatterstar is the son of an "Arize-spawn" and
a human. Longshot and Dazzler are the obvious suspects here, but
the story was deliberately vague on this point.
(FAQ-keeper's note: I don't have any issue numbers handy for these
events. If anyone out there does, please forward 'em to me at
ra...@yahoo.com.)
I'd love to say that X-Force #60-61 (The Origin of Shatterstar!)
resolved this. Heck, I'd love to say these issues resolved anything at
all. They don't. All it did was move Shatterstar into the body of
Benjamin Russell and make Spiral somehow involved. That doesn't really
get at any of the answers this FAQ-keeper was looking for, and doesn't
say anything about Longshot particularly.
However, there is a light at the end of this tunnel. The whole Benjamin
Russell/Shatterstar question was brought up in X-Force #56, when the
Gamesmaster told him that "Shatterstar" was nothing more than a sick
fantasy of Gamesmaster's creation. X-Force #76, however, has Mojo
telling Arcade that Shatterstar is still his own property, "no matter
what the omnipathic Gamesmaster wishes to believe." While this doesn't
yet answer the question of Shatterstar's parentage, it does place
Shatterstar's origin squarely back in Mojoworld.
--- There's an External at my door. What does that mean? Should I be
concerned? Is it contagious?
First off, don't be alarmed. Many Externals are simply poor excuses for
a supervillain, too innately lame to make a living any other way, and
they are probably only looking for a handout. Treat them with kindness,
patience, and respect, and they'll probably leave you alone, although
they may mutter a bit about impossible designs and grand world-spanning
plans before they leave.
The Externals first showed up in the storylines of Rob Liefeld in X-
Force #10. The idea was that they are a type of mutant whose "full
potential" is not realized until they're killed. And then they're
reborn, and they become, well, immortal, except they could only be
killed by cutting off their heads, or something like that. In any case,
any similarities between Externals and the immortals from the movie
Highlander are obvious and often commented on. Currently the term is
mainly used to refer to any mutant that enjoys immortality by virtue of
his mutant powers.
X-Force #37 is possibly the closest thing the Externals will ever have
to an origin issue. It explains how En Sabah Nur (aka Apocalypse) found
the Celestial ship, how old each of the Externals actually were, and why
they acted the way they did. Apocalypse's origin is explained in more
detail in his limited series, "The Dawn of Apocalypse".
Anyway, so much for immortality. Selene killed most of them off in X-
Force (#52-53). The only ones left are Selene, Candra (who may or may
not have died in X-Men #61), and Apocalypse. Apparently Cannonball
wasn't one of them after all, according to Selene in X-Force #53.
--- Who are the Twelve? Why are they important?
The Twelve, in no particular order, are Magneto, Xavier, Cyclops, Cable,
Jean Grey/Phoenix, Mikhail Rasputin, Iceman, Storm, Sunfire, Polaris,
Bishop, and the Living Monolith/Living Pharaoh. They were gathered by
Apocalpyse in his quest to become a godlike being with more power than
the Phoenix force or the Celestials.
According to Uncanny X-Men #377 (specifically Apocalpyse):
The Monolith is at the core of it all, as the primal earth which is
the foundation for all that is to be mine. Magneto and Polaris are
opposing magnetic poles, serving to control the flow of energies at
play here... energies under constant pressure from the forces of
nature itself. The elemental extremes of Iceman, Storm, and
Sunfire... stimulated by the unrestrained energies of man and the
heavens, free of any grounding or gravity. Father, mother, and
son-- Cyclops, Phoenix, and Cable-- far, far stronger as a whole
than the sum of their parts... linked to the powers of time and
space wielded by Bishop and Rasputin, respectively. The power of
pure thought that is Xavier.
Nate Grey was the 13th member of this merry band, and was slated to
become Apocalypse's new host body. Unfortunately, things didn't go as
planned. Instead, Cyclops sacrificed himself and became a merged half-
Apocalypse being. The team members consider him dead. This FAQ should
also note that Wolverine served as Death, the fourth horseman of
Apocalypse, during much of the shindig. The being they thought was
Wolverine was actually a Super-Skrull so brainwashed into his disguise
that even *he* didn't know he was anything other than Wolverine.
Of course, the final version of the Twelve contradicted much known about
the Twelve up to that point. First, the original Twelve were a vision by
a deranged Sentinel of the dozen most important mutants. The problem is,
these twelve had shown up in other issues (Power Pack #36, X-Factor #14,
X-Factor #68) as well, and even they hadn't been consistent.
The members who had shown up in every version of the Twelve were Xavier,
Cyclops, Jean Grey, Storm, and Franklin Richards. What of the other
seven? In one version, all the original X-Men were implied. Cable, in
both baby and adult forms, was shown in another. Cannonball was clearly
shown in one version. So, we add Iceman, Beast, Archangel, Cable, and
Cannonball to the list. Other possibilities included Dani Moonstar,
Mystique, Psylocke, Wolverine, and Dark Beast.
Uncanny X-Men #-1 cleared up the origin of The Twelve, albeit somewhat
ambiguously. Sometime after Rachel Summers switched places with Captain
Britain in the timestream (Excalibur #75) she rescued and befrended
another time-lost refugee from the 20th century named Tanya Trask, the
daugter of the original creator of the Sentinels, Bolivar Trask. Upon
learning of her father's genocidal legacy, Tanya determined to alter the
timeline by reaching back to the past and convince her father of his
doomed path. Rachel followed her back and erased the memory of her
contact with her father, seemingly setting the timeline right again.
However, it turned out that Tanya's true plan was to store within the
memory banks of Trask's first Master Mold--so deeply even Trask himself
(and later his son and successor Larry) were unaware of it--the identity
of the infamous "XII", The Twelve, whose failure Tanya determined as the
true cause of her dark future and without whom, somehow, mutant genocide
and Sentinel conquest will be averted. Their identity, however, was
never divulged.
--- Is Apocalypse dead?
We hope so.
During the aftermath of The Twelve storyline, Cyclops was thought dead,
although Apocalypse had merely disappeared as a merged "Cyclopalypse"-
style being, with his soul in Cyke's body. Eventually, Phoenix and Cable
decided that Cyclops might be alive, and they went looking for him.
During the Search for Cyclops mini-series, Phoenix and Cable found
Cyclops. Phoenix professed her love for Scott, and was able to rip
Poccy's astral self out of Scott's body. Cable then impaled the astral
form with his psimitar. This apparently killed Apocalypse.
--- What is the Legacy Virus? Who's had it? Hasn't there been a cure
for a while?
The Legacy Virus was a once-interesting plot device that served as a
parallel to the AIDS/HIV virus. Basically, it was spread from mutant to
mutant, and it caused mutants to die by accelerating or increasing their
powers to the point that they burned themselves out. Obviously, such a
nasty virus caused even more fear of mutants in the Marvel Universe.
As with all plot devices, it started out interesting and became a
cliche. The virus was supposed to be Stryfe's legacy--his post-death
gift to the world, if you will. Thus the name. However, one couldn't do
justice to the plot device by quickly creating a cure, since that would
not only cut the story short, but also trivialize the actual search for
an AIDS/HIV cure. So the story plugged away, year after year.
During its time, the Legacy Virus affected many mutants, including
Abyss, Bolt, Feral, Magik, Mastermind, Maverick, Moira MacTaggert,
Nicodemus, Omega Red, Pestilence, Psynapse, Pyro, Revanche, and of
course, Sinister's Assistant who let the darned thing out in the first
place. A team of mutants led by Exodus and Random and a set of
"Morlocks" created by the Dark Beast round out the medical list.
Most notable in the list above are Magik and Moira. Magik received the
virus after she'd been deaged post-Inferno, though a retcon during the
New Mutants mini-series revealed that teenage Illyana was infected when
Mikhail et al journeyed into the NM's past. Her death served as a huge
catalyst, since Colossus' grief led him to join the Acolytes. More on
that in a moment.
Back to Moira. Moira was a genetic researcher, of course, and so was
often exposed to nifty little things like viruses. The odd thing was
that she caught the virus AS A HUMAN. This was meant to parallel the
spread of the AIDS/HIV virus into the general population, but her
search for the virus cure waxed and waned as the plotline's prominence
varied due to shifts in writers and storylines.
Brian Fried reminds us that Zero give Douglock the key or cure to the
Legacy Virus a few years back. In "The Douglock Chronicles," which
introduced Douglock to Excalibur, Zero gave Douglock information to
cure the virus, and then was promptly destroyed for accessing that
information. (Side note: the issue was written by Scott Lobdell, who
also wrote the Excalibur issues in which Moira contracted the virus and
X-Men Prime, where the idea that the cure is connected to Cable's DNA
appeared.)
Every nasty Marvel Virus needs to have its cure, and one certainly was
around; the characters just didn't collectively realize it. Again, if
the virus cure was put off, lots more neat stories could be told that
used it as a plot device (or, as the case may be, neater stories could
be told that *didn't* use it as a plot device). The solution got placed
in a drawer until the writers and marketing staff had nothing better to
use.
A second factor was Warren Ellis' apparent dislike for the storyline and
the switch from Moira's story to the Black Air / Pete Wisdom / Alien
conspiracy stuff that culminated in "The Black Air Trilogy" and
Excalibur #100. It wasn't until Ben Raab came on that the plot was
handled again. In a few issues, it seemed that Douglock would clue in to
the fact that he had the cure, and all would finally be resolved.
Marvel being Marvel, however, it was decided that the only reason people
were reading EXCALIBUR was for Kitty, Kurt, and Piotr; their moving back
to the core books would leave no purpose for Excalibur. Raab had to
close down his loose storylines to accomplish this. Of course, he also
couldn't reveal the cure for the Legacy Virus in Excalibur because those
types of events happened in the core books, like all other important
storylines (see the second WIZARD X-MEN SPECIAL for more info on this).
Raab left Douglock with a serious case of amnesia, in the hope that some
other writer could eventually use the material. Even the Dark Beast's
solution (in X-Men Unlimited #10) was completely forgotten so that Moira
and Mystique would have the honours of being involved.
In any case, Mystique and her terrorist brotherhood decided that the
best way to deal with anti-mutant humans was to mutate the Legacy Virus
so that it would infect the human population instead. She broke into
Muir Isle to get the information, and ended up blowing up Moira in the
process of destroying Moira's research lab. Moira, never one to give up,
fed the information from her research and Mystique's statements into
Xavier's brain, who finally passed it on to Legacy Virus researcher and
noted X-Man Beast.
Beast was quickly able to develop a cure; the problem was, he then
realized that since the original virus was spread once the first
infected mutant used his powers, the new cure would likewise only spread
once an infected mutant used his powers--thus sacrificing someone to
the greater scientific cause.
The FAQ will pause at this time to point out that it was pretty dumb of
Beast to leave the cure unlocked in a room with Piotr, who not only had
lost his sister to the disease, but also had lost his parents to murder,
his brother to we-can't-remember-where, and his former girlfriend and
teammate Kitty to they-never-told-us-but-she-came-back-afterward.
Piotr injected the cure, transformed into his organic steel form, and
passed away. This apparently released the cure into the air, so within
just a few days of Marvel Time the Legacy Virus was cured, Hallelujah!
This all happened in Uncanny #390. If nothing else good came of the
issue, at least Colossus can no longer be poorly written (as long as
Sinister remains far from his DNA, that is), and the plot device has
been resolved and buried.
--- What is the Soulsword? Who has Magik's Soulsword now?
The Soulsword was created from a piece of Illyana's own soul in issue #4
of the Magik Limited Series, and ever since then has been the symbol and
source of its owner's mastery of the other-dimensional realm of Limbo.
After the teenage Illyana reverted to her younger self in the wake of
the Inferno crossover, the Soulsword appeared in a rock outside
Excalibur's lighthouse for Kitty Pryde to claim. She, however, was quite
willing to leave it there, based on her previous experiences with it.
(She became the owner of the sword previously during the Secret Wars II
crossover, in New Mutants #35-37, when Illyana was temporarily killed by
the Beyonder.)
In Excalibur #37, Dr. Doom showed up at Excalibur's door with a proposal
to go to Limbo with Kitty and the Soulsword in order to mine the place
for an energy-producing metal called promethium. Doom eventually tricked
Kitty into letting him have the sword, which he stuck into the heart of
Limbo to convert the entire planet/dimension/place into promethium. Doom
got out before the place went critical, leaving the sword behind. It was
claimed in issue #39 by the pseudo-demon Darkoth, who remained alone in
Limbo with the sword. And the matter was thought to be done with.
That is, until Scott Lobdell handed Warren Ellis a plot for the
Soulsword Trilogy (Excalibur #83-85). Lobdell was apparently completely
unaware of the aforementioned Promethium Exchange storyline, but we can
reconcile this by simply noting that something bad must have happened to
Darkoth between issues #39 and #83. In any event, the Soulsword started
to manifest itself in Kitty's possession again, and two other new
characters named Gravemoss and Shrill tried to take it from her.
Eventually the sword was passed off to Nightcrawler's sorceress
girlfriend Amanda Sefton, who made the mistake of giving it to her
mother, Margali Szardos.
Sometime after that, Belasco abducted Margali and stole the Soulsword.
In X-Men Unlimited #19, it was revealed that Margali had placed her
mind in Amanda's body, and placed Amanda in her body. She then took
Nightcrawler to Limbo, where she proceeded to defeat Belasco and knock
the sword away from him. Margali and Amanda were restored to their
proper bodies, and Amanda decided that she would became the mistress of
Limbo. At the end of that issue, the Soulsword, wielded by a silver-
armored hand, pushed through the dire. Readers never saw who that was,
so much energy was expended discussing whether Illyana was back.
Margali later turned up in a Claremont Fantastic Four annual that
dealt with the Hellfire Club. It's also in that FF annual that Amanda
likely made her first, uncredited appearance as Magik. In any case, in
the Black Sun and Magik mini-series, Amanda appeared in Illyana's
traditional silver armor, apparently holding the title and role of
Magik. The case seems closed.
--- Is the Malice who worked with the Marauders the same one that
appears in the Fantastic Four now and then?
No. The Malice who worked in the Marauders was some sort of pure psionic
entity who could possess people and make them into "dark versions" of
themselves. She eventually got stuck in the body of Lorna Dane by the
machinations of Mr. Sinister (UXM #239), which led to the Malice persona
eventually being zapped out of Lorna by Zaladane, the purported Queen of
the Savage Land (in UXM #250). Mr. Sinister finally destroyed this
Malice in X-Factor #105 because she had outlived her usefulness.
The Fantastic Four's Malice, who occasionally possesses Susan Richards
(the Invisible Woman), has nothing to do with Sinister's Malice. This
Malice was a mental creation by the fourth Hate-Monger and the Psycho-
Man, and it is merely the alternate personality of Sue Richards as an
"evil" person. Same idea, different approach.
However, the Vertigo that worked with the Marauders is the same Vertigo
that started out with the Savage Land Mutates. Just while we're on the
subject of Savage Land and Marauders.
--- Do you lose your mutant powers in the Savage Land? Where is the
Savage Land, anyway?
The Savage Land is one of the fixations of Stan Lee, co-creator of much
of the Marvel Universe, that has survived longer than other favored plot
ideas of his (how many Marvel comics are taking place around a circus
currently, for instance?).
The Savage Land is a direct tribute/descendant/ripoff of those classic
"Lands that Time Forgot" sf/fantasy stories. It's in that "peninsula"
sticking out of Antarctica, and the horribly complicated history of it
can be found in various editions of the OHOTMU. Basically, it was set up
as a type of alien wildlife preserve, and it's been run by a variety of
administrations since (currently, no one is in charge of the elemental
machineries that keep the Savage Land warm and tropical in the midst of
the vast ice field).
The X-Men have had numerous adventures in the Savage Land, and are good
friends with Ka-Zar, the main hero of the Savage Land, as well as with
the tribe of the Fall People. In none of those cases have the X-Men ever
lost their powers just from being in the Savage Land, although various
villains they've fought there have dampened their powers while in there.
This question largely comes from X-Men: the Animated Series fans, since
the Savage Land in X:TAS apparently drains the mutant powers from those
mutants who visit it. (It may be that the X:TAS Sinister had something
to do with that as well.) This is most certainly not the case for the
comic-book X-Men and Savage Land, though.
--- What happens when the Blob meets the Juggernaut?
What happens when the unmovable object meets the irresistible force? In
this case, it's easy. Magic, in the case of Juggernaut, wins. The Blob
is merely very, very difficult to move, not impossible. Juggernaut's
unstoppability, on the other hand, derives from the Crimson Gem of
Cyttorak. As magic, it can't be defeated by mutant powers.
*** Continued in Part 8 ***
Compilation Copyright 2000-2003 by Katharine E. Hahn
SEND ADDITIONS / CHANGES / DEAD LINKS / MOVED LINKS / UPDATES TO:
Kate the Short, ra...@yahoo.com (mailto:ra...@yahoo.com)
--
Kate the Short * http://users.rcn.com/kateshort/
Kate the Short
-= REC.ARTS.COMICS.MARVEL.XBOOKS =-
Frequently Asked Questions
Part 8
Version 2003.02, last updated November 2003
URL: http://users.rcn.com/kateshort/faqs/racmxFAQ/faq8.html
------------------------------
Subject: Table of Contents
Part 8:
COMICS INDUSTRY QUESTIONS
* Why did Chris Claremont leave the X-titles? Why did Peter
David leave X-Factor?
* Are any Marvel staff reading racmx?
* What's a dangler? Is it related to a six month gap?
* What's a Claremontism?
X-MEN OTHER-MEDIA QUESTIONS
* How is _X-Men: The Movie_ different from the comics?
* What cameos are there in _X-Men: The Movie_? (+)
* What's new in _X-Men 2_? (+)
* What other movies or cartoons are there?
HISTORY OF THIS FAQ
CREDITS (+)
------------------------------
Subject: COMICS INDUSTRY QUESTIONS
Please note: Background information on the creators and the X-titles
editorial offices is based on over a decade's worth of interviews,
articles, and personal questions, and as such is not directly
attributed here. Now that some of Marvel's staff members are on Usenet,
they are welcomed to correct and amend any of the answers listed below.
--- Why did Chris Claremont leave the X-titles? Why did Peter David
leave X-Factor?
For this question, the FAQ-keeper is going to try and be as objective as
possible, which is tough on a question in which all information has so
far come in from interviews in fan press. However, this is definitely a
FAQ, and deserves being treated in this FAQ. Here's hoping for
objectivity.
Chris Claremont left the books he had worked on for almost half his life
because of one person, the X-titles group editor, Bob Harras. Claremont
had often stressed in interviews how important having an editor who
worked well with him on the stories was, and was thankful that all the
editors he had had (this was during Nocenti's reign) had been wonderful
and talented. Obviously, something went wrong as Harras took over,
although the eventual cause was due to problems on both sides.
The problems have been revealed in a few interviews. Harras is in a bit
of a hot seat in the very competitive, corporate atmosphere of Marvel.
One slip of the titles, and he has to explain himself to his superiors.
He's therefore always interested in keeping the books popular and
selling well, a sensible attitude for any editor.
Something that obviously caught his eye was the huge upswelling of fan
support for artists of the "Image" type (although they weren't called
that back then, since Image hadn't been created yet). Rob Liefeld, Jim
Lee, Todd McFarlane, Marc Silvestri, and Whilce Portacio were at the
forefront of a style in comics that was very popular at the time. So
popular that when McFarlane requested a title to try out his burgeoning
desire to write his own stories on, he got one starring the Marvel
flagship character, Spider-Man. The Marvel Offices were so impressed
with the sales figures coming from these artists that they were willing
to do almost anything to keep them.
One thing they weren't, though, was to give up some of the money they
were making out of selling licensed materials (t-shirts, pins, posters,
etc.) done by those artists. For these as well as other reasons, the
above artists and a few more fled Marvel in what has come to be called
the X-Odus, since so many of them worked on mutant titles at the time.
They went and founded Image. For more information, you should ask at
rac.misc.
How this relates to Claremont leaving, as well as his good friend and
fellow X-writer Louise Simonson, is as follows: maybe on his own,
perhaps because of pressure from the offices above him, Harras was
extremely protective of the Image artists on his titles. Somebody,
somewhere, was convinced that they were why the titles were selling, and
wanted them made as comfortable as possible. The trouble with the Image
artists on monthly books, like the X-Men, has been shown: they're all
terribly slow, and usually were late. This annoyed Claremont, who was
accustomed to working with workhorses like John Byrne and Dave Cockrum.
Also, as the Image team started recognizing how much strength they had
at Marvel, they started asking for more power. Jim Lee, Claremont's
penciler at the time on UXM, in particular wanted more say in how the
plot went. Claremont, usually more than happy to co-plot with his
artists, didn't like the fact that Lee's idea of co-plotting was that he
drew the issue any way he felt like, and then shipped it off to
Claremont, usually just under deadline, for him to fill in the dialogue
balloons with no say in what would appear in the issue. While the usual
practice at Marvel is to have the art made before the dialogue is
written (it's a practice that started back when Stan Lee was writing
every Marvel book in the 60s, and it's even called the "Marvel Style"
comics-writing), usually co-plotting involves the writer and the artist
deciding what will be in the issue together.
When Claremont complained about this, and the usual tardiness of Lee, to
Harras, he was told that his opinions were recognized, and things were
being worked on. However, nothing apparently was ever done. Indeed,
Harras gave Lee complete plot veto on any new plot lines (it should be
noted that Lee did not request anything like that from Harras). This
meant that Lee had all effective plotting power on the X-Men title,
since he could, if he felt like it, deny Claremont any plot that he
didn't like.
All of this might seem a bit rude, and possibly Claremont felt that
after giving twenty years of his life to this one title, he was entitled
to a bit of info as to what, exactly, the editor of that book wanted
from his writer. Apparently Harras either never answered, or else didn't
answer to Claremont's satisfaction, so after issue #3 of the new X-Men
book, Chris Claremont left the X-titles. A sign of the atmosphere he
left in was that his departure wasn't even mentioned in the letter
columns of the books he had written for sixteen years. Louise Simonson,
who had much the same experiences happen to her, left at about the same
time. To be frank, Claremont's scripting, plotting, and dialogue had
been slipping in his final years, and a sabbatical would certainly have
been helpful even in more calm circumstances.
With the departure of what was once the most dependable writing corps in
the history of major comics, Harras was now free to fill the titles with
writers who wouldn't complain so much about the artists who wanted to
run the titles a bit more indepth. The first person he got, though,
perhaps in an attempt to reclaim some of the "Big Name" marquee value he
lost when Claremont left, was old X-Men penciller and co-plotter John
Byrne. Byrne, however, was not going to even be given the illusionary
title of "writer"; he was just there to script Jim Lee's X-Men plots,
and Whilce Portacio's plots for Uncanny X-Men.
Byrne lasted only five issues on Uncanny (#281-285), and only two on the
new X-Men (#4-5). According to Byrne, he encountered the same troubles
as Claremont as scripter of the books. Lee and Portacio were
consistently late. Pages were faxed to Byrne hours before deadline for
him to dialogue as they came in, often without knowing how the book was
going to end because the plotter/artists hadn't bothered informing him.
Byrne complained to Harras. Byrne pointed out that in any other DC or
Marvel comic, the writers usually got three months to work on one issue
(most are done far before then, but that's the usual margin of safety).
He didn't mind working a few extra nights and burning the midnight oil,
because he liked the X-Men, but all he asked for was at least one month
to actually think about the issue. Harras thanked him for his comments,
and said he would work on it. No further pages were ever faxed to Byrne
for him to script.
Having now annnoyed most of the major X-writers of the past to the point
that they wouldn't work with him, Harras ended up with Scott Lobdell (a
stand-up comedian and comics writer Harras offered the job to at a
party) and Fabian Nicieza (one of Marvel's editors) as his main writers
on the X-titles. All was looking good until the X-Odus occurred, and
suddenly Harras didn't have all the Big Name Artists that had to be so
carefully protected. The chances of Harras getting back Claremont and
Byrne to write now that the artists who were partially to blame for
driving them away were gone was rather slim, so there was an obvious
period of scrambling at the X-offices to get creative teams to cover the
books.
With Claremont gone, the brightest bit of writing in the X-titles had to
be Peter David, the new writer on the "new" X-Factor. Easily mixing his
standard blend of top-notch humor with good characterization, David was
impressing people with how interesting a bunch of once second-rate
mutant characters could be. Not even this relationship was a smooth one,
however, because David quickly became annoyed by another mainstay of the
mutant titles: the crossover.
David didn't like the fact that the mutant titles invariably crossovered
once a year, often for three or so issues. He also didn't like how he
was always given fill-in artists because artist Joe Quesada was never on
time with his art (a common complaint apparently). He felt that it was
an insult to the reader to have to make do with shoddy art that was
rushed out because the regular penciler couldn't be bothered to get his
art out on time.
Meanwhile, he expressed disgust that the X-Office didn't even want him
continuing his main plot during the crossovers. He had to fight and
complain just to get one page per issue in of his normal, supposedly
ongoing, plot in his own book. Why? The editors said that it was simpler
if there was no ongoing plot in the crossovers, because then it would be
easier to collect the whole thing in a trade paperback for future resale
value without having to edit out those annoying exterior plotlines.
David's other complaints (which were listed for the net.community in a
resignation-style letter) included the mangled rescripting of a plot
device that originally was supposed to detect whether a woman's fetus
was a mutant or not (thus possibly opening the option of an abortion),
as well as demands about what characters he was supposed to feature in a
given issue. A message posted by David to an AOL folder in March 2000
sums it up:
Two reasons: I was having to backburner my ongoing storylines
every three issues or so to accommodate crossovers (giving it a
very dis-jointed feel) and the editors were "taking over" the book
in that they were dictating storylines and developments that I felt
were going to be damaging (ex: Insert Random as a member of the
team and kill off the Multiple Man.) Also they were changing my
dialogue unilaterally after I'd turned it in without telling me.
So I walked.
With that being what he had to live with, David resigned from X-Factor.
The usual bunch of scrambling, fill-in teams rushed to fill his and
Quesada's shoes (Quesada, like most of the "hot" artists, apparently
couldn't be bothered to keep to a monthly standard).
As a final note, it's unsure just how much ill-will there still is over
the X-Odus fallout. Claremont and Lee, for instance, apparently like
each other enough that Claremont wrote three issues of Lee's
WildC.A.T.S. comic (hardly a major sign of dislike).
Chris Claremont returned to Marvel a few years ago, albeit in a
different capacity. He was a Vice-President position at Marvel, in
charge of story development across the Marvel titles, and his writing
tasks included Fantastic Four and a six-issue run of Wolverine.
Evidently Claremont had enough fun on the titles that he decided to come
back--the Revolution of the X-titles saw Claremont return as scripter
and plotter of the core titles just shy of 100 issues after his
departure.
Unfortunately, Claremont only lasted twenty issues--ten on each title.
He wrote X-Men #100-109, and UXM #381-389. Claremont's second run often
emphasized the problem he faced with his run on Fantastic Four: Chris is
a fantastic writer once he's gotten steam built up, but he's a writer
who needs time to think before putting pencil to page. Given the sudden
shift over to full-time writer of the titles (while he was writing the
FF), he didn't have time to work out all of the plot dynamics until he
was about to leave the main titles. While some of the plots were quite
interesting, others left a lot to be desired. The Neo characters were
very flatly characterized, the plot with Shadowcat was left on a back
burner when the editors wanted the plots to speed up and go in another
direction, and the six-month gap meant that characters were neither
familiar to the fans coming to the books from the wildly popular X-Men
movie, nor to the fans who had been reading through the years.
Claremont wasn't fired from the core titles. However, when new Editor-
in-Chief Joe Quesada started restructuring the X-Books a year after
Claremont's return, he gave Claremont a choice: share the core book
writing with one other writer, or move to a single new title that would
be separate from the core titles. Claremont opted for the latter.
--- Are any Marvel staff reading racmx?
Some are. Most come and then go again, though. Some do so because
they're no longer involved with the X-Titles, others because they can't
keep up with the sheer volume of discussion, and others because they
just aren't that interested.
Over the past few years, the newsgroup has been visited by the likes of
Chris Claremont, Peter David, Keith R. A. DeCandido, Warren Ellis, Jay
Faerber, Steven Grant, Larry Hama, Joseph Harris, Rob Liefeld, Scott
Lobdell, Fabian Nicieza, Brandon Peterson, Joe Pruett, Ben Raab, Tom
Raney, Steven Seagle, Gail Simone, Louise "Weezie" Simonson, Walter
Simonson, Robert Weinberg, Anthony Williams, Brian C. Wood, Ethan
Van Sciver, and J. Steven York. If you wander over to our sister group,
rac.misc, you'll also see Kurt Busiek, Tony Isabella, and Christopher
Priest. Still others have participated with rac.* regulars on mailing
lists or message boards. Some are/were regular contributors, while
others posted a single response and never returned.
All this means, of course, that posters on racmx should maybe think
twice before posting up personal attacks on the creative staff of the X-
titles, since, unlike for a long period of Usenet history, they're
finally around and a lot of racmxers would like them to continue to
contribute to the group.
Not insulting people in general is a good policy to aim for, of course.
Not threatening them, however, is something that needs to be
underscored. Many fans tend to get angry at a creator's treatment of
their favorite characters, and may occasionally post (in jest) threats
of violence on the newsgroup, i.e.: "Such-and-such writer should be
drawn, quartered, and hung for doing this to Wolverine, and if I ever
find out where he lives I'll likely do it myself." This is Not Cool.
Please don't do it.
--- What's a dangler? Is it related to a six month gap?
Danglers are the racmx term for juicy bits of storyline that are raised
in the comics, and then... never show up again. For example, if Storm
receives a mysterious package, and a big deal is made of what might be
in the package, and then the package and its contents never show up
again, that's a dangler.
Danglers happen for a few reasons. Sometimes, a writer is juggling so
many plots that he or she neglects to pay attention to one of them. By
the time the writer remembers the plot point, it's probably no longer
interesting to the readers, so the dangling plot thread is just left to
dangle, instead of properly being tied off.
In other instances, the editorial staff creates danglers. Sometimes a
writer really wants to finish a storyline, but the editors realize that
the storyline is dragging and the readers are losing interest. In that
case, the plot threads are just dropped while the writer needs to work
on new plotlines. A great example of this is the X-Men Revolution arc
that Chris Claremont was writing. He had every intention of telling
readers what happened to Kitty Pryde after she disappeared, but the
editors asked him to take the plotlines in a different direction, so
readers will never know where Kitty actually ended up between the space
station and college. A change in writers is often accompanied by a
healthy amount of danging plotlines. Obviously, new writers have ideas
about what they want the X-Men to do, so they usually don't bother to
tie up the plot threads that a former writer can't finish before leaving
the book.
Finally, there's the six month gap. This editorial device has been used
a few times by Marvel staff to give new writers a "clean slate" after
ending a major storyline or before beginning a new direction for the
line of titles. Such a gap was used after the Age of Apocalypse. Rogue
had absorbed Gambit's powers just before AOA, but now it was supposedly
a few months after everything returned to normal, and the characters
had moved away or hit the road to deal with various problems. We never
really saw what happened in-between the end of AOA and the beginning of
Rogue-on-the-Run; we just knew that Iceman had taken after her.
As a second example, the X-Men "Revolution" concept at the time the
X-Men movie was released was designed to return Chris Claremont to the
team books, as well as letting other writers take over struggling titles.
To allow the writers to bring in their own ideas, the first issue of a
new writer's plot would feature the teams and characters as if six months
had passed. Often, plotlines dangling before the gap were left dangling,
and new twists that supposedly occurred "during" the six month gap would
sometimes become danglers as well, if the writers didn't get to explain
the plot before editors requested rewrites or assigned a new writer to
the book. The power switch between Psylocke and Phoenix is one example.
Is there a solution to danglers? Probably not. Writing to request an
explanation of a dangler might remind the editors that a juicy plot
device is available for writers to use, but most of the time the books
will take whatever shape the current writers and editors want.
--- What's a Claremontism?
Most writers who have written many stories have developed a certain
cadence and language in their writing style. Chris Claremont is very
well known within comics circles for his trademark phrases, which are
called "Claremontisms" by the fans. As with all trademark phrases, some
beome tired cliches after a while, but others remain fond memories of
past stories and characters.
Do you recognize any of these Claremontisms?
* Ah'm nigh invulnerable when Ah'm blastin'.
* Back off, bub. We take care of our own.
* Bub
* Bunky
* By the white wolf!
* Comes with the uniform.
* Cripes!
* Da, Tovarisch!
* Flamin' muties!
* Flamin' _____!
* Goddess!
* Heart's Desire
* Hidey-hole
* I am _____!
* I love you. And I, you.
* I possess you, body and soul!
* I'm the best there is at what I do. And what I do... isn't very pretty.
* It was sweet of you to worry.
* It wouldn't be polite to disappoint them!
* Me an' mine.
* Me and my big mouth.
* No quarter asked, none given
* Not today, and not by you.
* Our own fate, our very lives, they're nothing.
* Selfsame
* Sugah
* Take your best shot!
* That fact alone makes them deadly beyond imagination.
* The focused totality of her psychic power!
* Ungaublich!
* We did none harm, yet harm was done to us.
* Wolverine! Fastball special!
* Yum!
------------------------------
Subject: X-MEN OTHER-MEDIA QUESTIONS
NOTE: These questions pertain to the movie and cartoon versions of the
X-Men, not to their actual comic-book incarnations.
--- How is _X-Men: The Movie_ different from the comics?
There are many, many ways that the movie is different from the actual
mainstream continuity of the comics. For one, the school has far more
mutants in it than the casts of Uncanny, X-Men, Generation X, and the
Hellions/New Mutants/X-Force kids combined.
The team in _XM:TM_ consists of Cyclops, Jean Grey, and Storm, all led
by Xavier. In movie continuity, Cyke and Jean are not yet married
(though they share a room in the mansion), and Jean is a doctor.
Wolverine and Rogue first meet in Canada, instead of meeting when Rogue
runs away from the Brotherhood of Evil Mutants and comes knocking at
Xavier's door. A few other things must be noted about Rogue. First of
all, in the regular comics Rogue has the powers of flight and
invulnerability, which she gained from Ms. Marvel in the classic
Avengers Annual #10. She's also had her distinctive white stripe from
the get-go. Furthermore, the Rogue of the comics has *never* revealed
her real name on-panel, and it's strongly believed that if anyone knows
it other than Rogue's original parents, it would be Mystique (Rogue's
foster mother) or Destiny (Mystique's long-time companion).
The villains and supporting cast also have changed. Toad probably
received the most changes to his character, and all are improvements.
The Toad of the comics was always an Igor-like hunchback to Magneto, and
usually did little more than jump around uttering annoying lines. The
Toad of _XM:TM_, however, can climb walls much more efficiently, has a
strong tongue that can grasp items, and a rather nasty ooze.
--- What cameos are there in _X-Men: The Movie_? (+)
Quite a few cameos of (and homages to) familiar characters appear in
_XM:TM_. They are:
* Bobby: Bobby Drake is Iceman, an American adult who can create ice
and snow from the moisture in the air, and travel on created ice-
slides. (He has lines.)
* Kitty: Kitty Pryde is Shadowcat, a Jewish-American teenager who can
phase through walls and short-ciruit any electronics she passes
through. (She has lines.)
* John: St. John Allerdyce is Pyro, an Australian adult villain who
can control, but *not* generate, any fire or flame. (He has lines.)
* Jubilee: Jubilation Lee is Jubilee, a Chinese-American teenager who
can make colorful fireworks and small explosions. (She has no lines
but can be seen in the same two classroom scenes as Kitty.)
* Dani: Danielle Moonstar is a Native American teenager who can make
your dreams or nightmares materialize in front of you. (She has no
lines but can be seen in the same two classroom scenes as Kitty.)
* Colossus: Piotr Rasputin is Colossus, a Russian adult who can turn
his entire body into organic steel. He's an artist, and is
currently an X-Man. (He has no lines but can be seen in the
opening mansion scenes sketching near the lily pond and basketball
court.)
--- What's new in _X-Men 2_? (+)
Loads of familiar friends and new characters show up in _X2_. The plot
is relatively simple: Colonel Stryker is using a drug created from his
mutant son's body in order to control mutants (specifically, Nightcrawler
and Deathstrike) as assassins. Stryker also raids the mansion and is able
to capture several students. The X-Men discover this plot and work for a
brief time with Magneto and Mystique (she having broken him out of jail)
in order to rescue their students. They also need to rescue Xavier, who
has also been kidnapped and is being brainwashed into killing all of the
mutants on earth via his Cerebro machine. At the end of the film, Pyro
goes off with Magneto and Mystique, Wolverine leaves Stryker to drown,
and Jean gives her life to allow the X-jet to take off. In the final
scene, Rogue, Bobby, and Kurt all appear in uniform with the X-Men team.
Cameo-wise, there are a few goodies. Colossus armors up and helps the
students escape from the mansion when Stryker attacks. Kitty is seen
phasing through a wall, while Siryn is seen giving off her trademark
scream. Jubilee is among the kidnapped students held at Stryker's base.
Hank McCoy and Sebastian Shaw are seen in a televised talk show debate
that is playing when Mystique seduces Magneto's prison guard in a bar.
A student with a forked tongue by the name of Artie doesn't remotely
match any characteristics of the character found in the comics, and
there doesn't seem to be a match for another young boy who can change
TV channels just by blinking. There are also *many* X-Men and Marvel
characters and organizations listed as file folders when Mystique, as
Deathstrike, breaks into Stryker's computer system to download the
plans of his hidden base.
--- What other movies or cartoons are there?
There have been quite a few attempts to cash in on the X-Men craze in
other media. A quick rundown:
* _Pryde of the X-Men_ (1989)(TV)
_Pryde_ was the first attempt to make an X-Men cartoon. Characters
include Cyclops, Wolverine, Colossus, Xavier, Emma Frost, Toad,
and the Blob. It's really a failed series pilot that was
repackaged for video sale. Notable for thin plot and poor voice
casting, it uses an Australian accent for Wolverine. It runs 30
minutes and is pretty bad.
* _X-Men_ (1992)(TV)
This is how it should be done. The cartoon cast includes Xavier,
Cyclops, Jean Grey, Rogue, Gambit, Wolverine, Jubilee, Storm,
Beast, and a whole host of villains along with Magneto. The voice
casting was very well done, the plots were generally stable, and
the series touched upon many other X-Men and Marvel characters in
its 5-year stint. While continuity wasn't always in line with the
comics (the most obvious examples being Morph's inclusion and the
not-quite-right attempt at the Phoenix Saga), the characterization
was great.
* _Generation X_ (1996)(TV)
The first live-action adaptation of the mutant franchise was this
TV-movie. The villain of this story is Russell Trask, played by
Matt Frewer (of _Max Headroom_ fame). Trask is a scientist out to
use mutants to advance his schemes. When he finds out that old
adversary Emma Frost is teaching a bunch of mutant teenagers, he
decides to kidnap her students to use in his attempts to control
the world by controlling everyone's dreams. Characters included
the familiar Emma Frost, Banshee, Jubilee, M, and Skin, a weird
version of Mondo, and new characters Buff and Refrax. It had a few
moments, but was generally miscast (a white girl as Jubilee?) and
poorly plotted. A sequel was planned in 1999 but never made it to
production.
* _X-Men: Evolution_ (2000)(TV)
This cartoon series features Cyclops, Jean Grey, Rogue,
Nightcrawler, Shadowcat, and Spyke as teenaged high school
students. Mystique is the principal of the school, which also
includes such students as Toad and Quicksilver.
------------------------------
Subject: HISTORY OF THIS FAQ
RACMX is the latest in a line of newsgroups dealing with the X-Men.
The prior incarnation was rec.arts.comics.xbooks, and its sage was
David R. Henry, who originated it. The original FAQ was broader, with
more information on more things, like netiquette, the video games,
neat X-Men resources, and all the publications about or involving the
X-Men. Much of this FAQ is still his work.
Kate the Short took out the resources and the netiquette, and made
two different FAQ's out of them which she maintains independently.
Jane Griffin did a whole pile of work after taking over for DRH,
adding several new questions (and answers), integrating issue numbers,
separating out the list of X-Men publications, and producing the first
official HTML version. She and Kate worked together to reorganize much
of the FAQ as it grew.
Marty Blase maintained the FAQ after Jane left.
After almost two years of dormancy, Kate decided to take on the darned
thing again. She's been the FAQ-keeper since summer 2000. Be nice and
help her out, okay?
------------------------------
Subject: CREDITS (+)
This FAQ could never have remained as up-to-date as it is without
the contributions of the following people:
Amethyst, Arbitrator, Ken Arromdee, Charlie Ball, Chris Barry,
Belascoamo, Cami Benham, Billy Bissette, BlakGard, blank blank,
David Bredenberg, D.A. Brooks, Daniel Butler, Brian Caffrey,
Chris Campbell, Eric T-Rex Chastain, CleV, Hilton Collins,
Russ Cullins, Judy Daniluk, Peter A. David, Keith R.A. DeCandido,
Nick Demmon, Brian Doyle, Steven Dumont, Mike Ellis,
Aaron Forever, Brian Fried, Marc-Oliver Frisch, Tom Galloway,
Eivind Gladheimstreng, Addison Godel, Robert Gruhn, David Goldfarb,
Thomas Heil, Joe Helfrich, Jeremy Henderson, Christian Henriksson,
Chris Holly, HooksX, Matt Hutchins, Andrew Ingle, ivan2000,
Rivka Jacobs, Marie Javins, jinx, Joey/HBWolf21, Rick Jones,
Joe Krug, Large n Incharge, Mike Lavin (aka "Greenstool"),
Carol Dawn Lee, Hosun Lee, Diane Levitan, Jacob Levy, Peter Lidkis,
Sean Lightner, Jim Longo, Johan Lundstrom, Peter Luzifer,
The Main Man, Douglas Mangum, William May, Jennifer J. McGee,
James McGhee, Sonja Mendoza, Pietro Meroni, Brucha Meyers,
Danny Miller, James Moar, Fabian Nicieza, Toby Nieboer,
Andrew Oakley, Paul O'Brien, Laura M. Parkinson, Al Patterson,
Pecadilo, Martin Phipps, Piercey, Lord Populous, Shane Potter,
Prosh, Joanne Puchalik, queenB, Deepak Ramani, Maryann Robbins,
Ryan Royce, Justin Samuels, Liisa Sarakontu, Chris Schumacher,
Amy Sheldon, Clara Showalter, Gail Simone, Louise Simonson,
Walter Simonson, Christian Smith, Sorted magAZine, Eric Stieglitz,
Tilman Stieve, The Stirge, Swpwarrior, Chris Sypal, Terrafamilia,
tphile, Jon Trouten, Jeremy Turner, UltimoV, uplink, Sean Walsh,
Alasdair Watson, Craig Welsh, Gregory Whittaker, Mitchell Wietz,
and James Willer.
Special thanks go to Jane Griffin, for keeping the FAQ in excellent
working order; Marty Blase, for helping keep the entire newsgroup
sane and enjoyable; and David R. Henry, without whom, I assure you,
this would not have been possible. And hugs to Aardy R. DeVarque!
*** The End! ***