Roquefort Raider
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Post by Roquefort Raider on Feb 18, 2016 7:02:08 GMT -5
Not a modern comic, but the wikipedia page on Star-Lord quoting a modern comic... So they've retconned his origin to better fit the GotG movie? I am shocked. Shocked, I say. Well the opening of GotG movie with the young Star-Lord being taken up is pretty much straight out of Bendis GotG zero issues or .1 issue or however they numbered it when Marvel Now launched in 2012 i.e. the first Bendis Guardians issue, and that was the revamped origin of Star-Lord issue, so the change was in place before the movie was released and became popular. Now I am sure they had the movie script in place by then, so they may have been trying to create synergy between the two before the movie came out, but the change to the oprigin was in place pre-movie release. -M My personal pet theory is that the Star-Lord we are seeing now, the one who's been around since the Thanos issues in which Ship was killed, is not the Star-Lord introduced in the 70s. That one lived in a world without superheroes, in which NASA already had elaborate space stations and stuff; he was as independent of the Marvel Universe as the people from Seeker 3000 or the Weirdworld elves. The "new" Star-Lord is his Marvel Universe equivalent, but with a diffent origin, a different attitude, a different father (Jason from the old Star-Lord books was a kind and wise ruler, not the asshole we see today), and different aptitudes. That's probably not the way Marvel sees it, but it allows me to accept the soft reboot of the character without bitchin' and moanin' as much as usual. |
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Post by Deleted on Feb 18, 2016 9:54:08 GMT -5
Well the opening of GotG movie with the young Star-Lord being taken up is pretty much straight out of Bendis GotG zero issues or .1 issue or however they numbered it when Marvel Now launched in 2012 i.e. the first Bendis Guardians issue, and that was the revamped origin of Star-Lord issue, so the change was in place before the movie was released and became popular. Now I am sure they had the movie script in place by then, so they may have been trying to create synergy between the two before the movie came out, but the change to the oprigin was in place pre-movie release. -M My personal pet theory is that the Star-Lord we are seeing now, the one who's been around since the Thanos issues in which Ship was killed, is not the Star-Lord introduced in the 70s. That one lived in a world without superheroes, in which NASA already had elaborate space stations and stuff; he was as independent of the Marvel Universe as the people from Seeker 3000 or the Weirdworld elves. The "new" Star-Lord is his Marvel Universe equivalent, but with a diffent origin, a different attitude, a different father (Jason from the old Star-Lord books was a kind and wise ruler, not the asshole we see today), and different aptitudes. That's probably not the way Marvel sees it, but it allows me to accept the soft reboot of the character without bitchin' and moanin' as much as usual. Well then there is also the new Starlord that took over for the old Star-Lord when he found ship in the 3 issue Timothy Zahn written Starlord mini form the mid-90s as well, though I am not sure that Starlord has been seen since. -M |
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Roquefort Raider
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Modus omnibus in rebus
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Post by Roquefort Raider on Feb 18, 2016 10:02:01 GMT -5
My personal pet theory is that the Star-Lord we are seeing now, the one who's been around since the Thanos issues in which Ship was killed, is not the Star-Lord introduced in the 70s. That one lived in a world without superheroes, in which NASA already had elaborate space stations and stuff; he was as independent of the Marvel Universe as the people from Seeker 3000 or the Weirdworld elves. The "new" Star-Lord is his Marvel Universe equivalent, but with a diffent origin, a different attitude, a different father (Jason from the old Star-Lord books was a kind and wise ruler, not the asshole we see today), and different aptitudes. That's probably not the way Marvel sees it, but it allows me to accept the soft reboot of the character without bitchin' and moanin' as much as usual. Well then there is also the new Starlord that took over for the old Star-Lord when he found ship in the 3 issue Timothy Zahn written Starlord mini form the mid-90s as well, though I am not sure that Starlord has been seen since. -M Really? I never heard of that one! I recall some similar reboot of Warlock from those days... Maybe Marvel was trying out-of-continuity stuff to see if it stuck? |
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Post by Deleted on Feb 18, 2016 10:23:25 GMT -5
Well then there is also the new Starlord that took over for the old Star-Lord when he found ship in the 3 issue Timothy Zahn written Starlord mini form the mid-90s as well, though I am not sure that Starlord has been seen since. -M Really? I never heard of that one! I recall some similar reboot of Warlock from those days... Maybe Marvel was trying out-of-continuity stuff to see if it stuck?    I had Tim Zahn sign my copy of #1 when I met him at Origins a few years back. -M |
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Post by Batflunkie on Feb 18, 2016 10:26:21 GMT -5
Well then there is also the new Starlord that took over for the old Star-Lord when he found ship in the 3 issue Timothy Zahn written Starlord mini form the mid-90s as well, though I am not sure that Starlord has been seen since. -M Really? I never heard of that one! I recall some similar reboot of Warlock from those days... Maybe Marvel was trying out-of-continuity stuff to see if it stuck? The Warlock reboot was a part of this imprint called "M-Tech" that really felt like a misguided attempt to find a new audience after the comics crash of '96. Deathlok and Machine Man were also included, but the imprint died off just as soon as it started |
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Post by String on Feb 18, 2016 11:24:35 GMT -5
I'm re-reading Brian Bendis X-Men run. It's got many good moments, but overall it reads as if there was no definite long-term plans for either the "All-new" or "Uncanny" titles. It has several minor but annoying problems. Lots of gratuitous and continuity-challenging "revelations", lots of people suddenly acting out of character for no other reason than to provide some dramatic exchange. Hank McCoy was in love with Jean Grey since day one? Bobby Drake is gay? Charles Xavier married Mystique? What the..? The time travel thing works much better than I first thought it would. I feared that bringing the X-Men from 1964 (or whatever date it was when they first joined on the sliding timeline Marvel uses) to the present was just an excuse to have young and continuity-free characters around, allowing writers to just kill off the old ones. That didn't happen. The young characters interacted in interesting ways with their older counterparts, the way the young SW6 Legionnaires never really did over at DC in the Legion of Super-Heroes in the early 90s. I'm not even against the concept that the young X-Men can't go back to the past again, since it sort of makes sense if we accept that the moment they were plucked from the past created a new timeline: in our regular one, young X-Men from the past appear in the 2010s; in their universe, the young X-Men disappeared one day, never to be seen again. I suppose there might be a way to find their way back to their proper universe, but perhaps one needs a Kang or an Immortus at the wheel of the time machine. However, some time travel-inspired scenes make no sense. When a young Scott is momentarily killed (he got better, don't worry), the old one vanishes... presumably because if his younger self dies, his older self can never exist. But that would be the case anyway if the young one can not return to the past: he will never grow into the adult we know today! If the older characters can only exist if their younger self remain alive, then the adult Jean Grey we knew would not have existed at all, since we learn that her younger time-displaced self never goes back to the past, gets older in our timeline and eventually dies. The time-displaced Jean never got back in time to resume her normal existence and become the Phoenix, and yet everyone remembers that one. This can only be if the young X-Men are disconnected from their older selves, and are simply their equivalents from a parallel timeline. Character development is sometimes engaging, sometimes infuriating, and few people end up looking sympathetic. I think the one who fares the best is Maria Hill! The art is generally extremely good. Immonen and Bachalo (and Sara Pichelli, during the first cross-over with Guardians of the galaxy) produced some of the best art I've seen in recent years. There's quite a few holes in the time-travel problem with the O5 (the original 5 X-Men). As you pointed out, it appears that if one of the young ones were to die, then their older self will 'die' too. Hence, if there was such potential danger, then why do the X-Men allow them to stay? In Battle of the Atom event, this issue was put forth, send the kids back. Except they don't want to go back which lead to some among the X-Men (such as Kitty) to protest their staying. Which makes little sense and it is out-of-character for some. Plus, overall, Bendis never supplies a proper reason for why the kids can't be sent back. The phrase 'Time is Broken' keeps being used but in relation to what? You'd think it would have to do with all the damage and destruction of Secret Wars but apparently not since that was resolved and they're still here. (Thus does it have do with Bendis' Age of Ultron? and in what way??) I'm a long-time X-fan and I won't touch this run with a ten foot pole. It's full of Bendis' usual writing quirks and flaws. In the long run, I wonder how much effect and influence it may have, if any. |
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Post by Arthur Gordon Scratch on Feb 18, 2016 13:42:59 GMT -5
I've just read the first three issues of Titan's Johnny Red, by Garth Ennis and Keith Burns. This is an updated version of a character who began life in the British war anthology title Battle back in the 1970s, an unfairly disgraced British pilot fighting as part of a group of Russians, the Falcon Squadron, in World War II while facing a court martial if he goes home. Ennis excels at this kind of stuff and manages to stay true to the spirit of the original series while giving Johnny rather more depth than he was allowed to have forty years ago. Is it top essential Ennis or just alright? |
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Post by Arthur Gordon Scratch on Feb 18, 2016 13:44:51 GMT -5
Read Annihlator by Grant Morrison and Frazier Irving from Legendary Comics. If you are familiar with Morrison's metafictional themes and ideas of beings using writers of fiction to shape the world, you could paint the plot by numbers (which pretty much sums up how I feel about everything Grant has written since Invisibles), but it's got some gorgeous art by Frazier Irving. Read it from the library, so I didn't waste any money on it. Again, Frazier did some brilliant stuff, but it's Morrison being Morrison, which is pretty much the same riff for the last 15 years or so and getting old now. -M I tend to agree on that, except for The Filth, which is in my opinion the single strongest work Morrison ever produced, with consistant art as well. |
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Post by tingramretro on Feb 18, 2016 13:56:32 GMT -5
I've just read the first three issues of Titan's Johnny Red, by Garth Ennis and Keith Burns. This is an updated version of a character who began life in the British war anthology title Battle back in the 1970s, an unfairly disgraced British pilot fighting as part of a group of Russians, the Falcon Squadron, in World War II while facing a court martial if he goes home. Ennis excels at this kind of stuff and manages to stay true to the spirit of the original series while giving Johnny rather more depth than he was allowed to have forty years ago. Is it top essential Ennis or just alright? Well, that depends on your point of view! It's essential to me, but maybe not to you. |
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Post by Arthur Gordon Scratch on Feb 18, 2016 14:10:33 GMT -5
essential in regard of Ennis's body of work. I would say I've read a good 95% of his work. I've enjoyed some of his war stories (since the early vertigo stuff), but it hasn't yet struck me as his most powerfull stuff. Yet, I agree he's well suited with it since he's not the strongest "finisher" of pure fiction, his stories often ending with cinematographic open end scenes (see Hitman and its western conclusion non-conclusion).
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Roquefort Raider
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Post by Roquefort Raider on Feb 18, 2016 14:30:15 GMT -5
Plus, overall, Bendis never supplies a proper reason for why the kids can't be sent back. The phrase 'Time is Broken' keeps being used but in relation to what? You'd think it would have to do with all the damage and destruction of Secret Wars but apparently not since that was resolved and they're still here. (Thus does it have do with Bendis' Age of Ultron? and in what way??) I'm a long-time X-fan and I won't touch this run with a ten foot pole. It's full of Bendis' usual writing quirks and flaws. In the long run, I wonder how much effect and influence it may have, if any. Oh, this is Marvel... Just like Morrison's run, Bendis's tenure will leave no trace if the PTB do so wish. As for the O5 not being able to go back in time, there is indeed no in-story explanation -either one given by the writer or one that readers could arrive at by themselves. Maybe the O5 have some very important role to play in the coming years, and some time-controlling character like Kang (or Eva Bell, which would be nice, dramatically speaking) is keeping them here in our present? I don't think Bendis himself really has an explanation; it sounds as if he just wanted to keep the kids around. In any case, there is no paradox involved if we accept that they come from a different timeline; they're pretty much in the same boat as Rachel or Old Man Logan; I'm fine with having them stick around... provided they're not used as an excuse to get rid of their older counterpart! |
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Post by Paste Pot Paul on Feb 18, 2016 17:08:37 GMT -5
Johnny Red is essential Ennis in that it seems to be very close to the books that inspired him, maybe literally one of the books, and closer to his War Story than Preacher or Hellblazer etc.
Im more of a fan of his older work, though I dislike Hitman, but found this title to be compelling. However that may well be personal nostalgia for the character myself. I do like it more than what Ive read of his War Story though.
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Post by Reptisaurus! on Feb 18, 2016 20:10:25 GMT -5
Plus, overall, Bendis never supplies a proper reason for why the kids can't be sent back. The phrase 'Time is Broken' keeps being used but in relation to what? You'd think it would have to do with all the damage and destruction of Secret Wars but apparently not since that was resolved and they're still here. (Thus does it have do with Bendis' Age of Ultron? and in what way??) I'm a long-time X-fan and I won't touch this run with a ten foot pole. It's full of Bendis' usual writing quirks and flaws. In the long run, I wonder how much effect and influence it may have, if any. Oh, this is Marvel... Just like Morrison's run, Bendis's tenure will leave no trace if the PTB do so wish. A lot of Morrison's run is still around, though - not the thoughtful sociological metaphor (of course) - but the idea of X-men as a school; incredibly important in the original run, flirted with during New Mutants and then Liefelded into irrelevance in the early '90s - is now really the most important element of most of the X-men books. |
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Post by Reptisaurus! on Feb 18, 2016 21:55:56 GMT -5
Super successful trip to the library.
Got Busiek's Autumnlands, Bitch Planet, one of those Michael Deforge books that Arthur was talking about, and Archie vs. Predator!
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Post by Batflunkie on Feb 18, 2016 22:12:06 GMT -5
Super successful trip to the library. Got Busiek's Autumnlands, Bitch Planet, one of those Michael Deforge books that Arthur was talking about, and Archie vs. Predator! There's supposed to be Archive vs Sharnado coming out soon too. Really don't bother much with Archie except for Dark Circle, which seems to have a really sporadic release schedule for anything that isn't Black Hood |
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