The X-Men find themselves, perhaps almost always, on the brink of a big change. But right now I really do They feel like they are on the brink of something new again. In the comics, after years rejuvenated by the krakoan eraAre you ready for Resurface from the ashes of tragedy a new one. On the big screen, we’re ready to say goodbye to Fox X Men it was in Deadpool and Wolverine this summer. And on TV, the mutant guy reaches high with X-Men’97is reimagining from an animated classic.
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If anything, there are so many parallels in 2024 with the turn of the 21st century, when Grant Morrison was preparing to write a new generation of X-Men comics which would eventually become New X-Men in the summer of 2001. Along with Frank Quitely and other artists, New X-Men boldly redefined what the X-Men stories were about for the modern era, further emboldened by the cultural moment the X-Men found themselves in. While the ’90s were very good for the X-Men in terms of comics sales for the most part, and of course for you had ancillary support in the broader culture from the explosions of things like X-Men: The Animated Series and Jim Lee’s iconic trading cards – Mutant Species hit the mainstream even stronger with the release of the first X Men movie in 2000.
The herald of a new era in superhero movie making, X Men It was, in Morrison’s eyes, both a shot in the arm and a warning of what had to change in the comics, so he could try to match the audience the film had once again captivated. “Let’s aim for large audiences. Let’s push the books we can. be proud on all levels. Books that kids will reach for for their kinetic underpinnings, that college kids will buy for rebellion, irony, and adults will love the distraction, like in movies and TV shows, like when Stan [Lee] “I was doing it!!!” Morrison wrote in his tone bible for New X-Men—which has been floating online for a few years now, but it makes for an especially powerful read at the crossroads at which Marvel’s mutants find themselves in 2024, as a reboot of the comics looms and a future in the much-vaunted Marvel Cinematic Universe looms. “I think we have a rare opportunity to break some self-imposed barriers and run screaming through the streets if we let go a little and work toward the core, media-literate audience of children, teens, and adults with disposable income.”
In this part, the bible, which includes some early descriptions of the narrative arcs and characters that would appear in the book, such as “Charlie X”, an early identity of Cassandra Nova; part of the manifesto, Morrison charismatically weaves an argument for a true vision of the 21st century. -Men, galvanized by the film’s adoption of the franchise’s central concepts and characters. X Men “To feel fresh once again, we need to take a closer, deeper look at what’s wrong with this book and with the comics field in general,” they write in part. “The recent X Men Things have been written in an outdated and overly dense style, and we need to update, streamline and demystify the narrative. techniques considerably to appeal to modern sensibilities.
It’s full of Morrison’s thoughts on what they thought worked and was worth revisiting. X Men—pointing at Chris Claremont and the legendary run of John Byrne Giant size and eventually amazing x-men in the late ’70s and early ’80s as a touchstone (“they had the freedom to create new material, reconceptualize old material) that still worked and ignored the dated elements that had sapped the vitality of the original series”), and what had to be left behind. in the 90s. “In the last decade, the trend at Marvel has been intensely conservative; comics like X Men “They have gone from carefree and saturated pop to cautious and unreliable retro,” Morrison argued. “…The comic has turned inward and gone septic like a nail… X Mendespite everything, was still Marvel’s bestseller, it had become a motto for the pure geek before the movie gave us another electric shock.
For Morrison, the film represented a lot of what they wanted to bring to New X-Mencultural and aesthetic presence of. Beyond a sense of contemporary freshness that had defined the Claremont era of the franchise, mutant stories that still reflected these heroes less internally as superheroes, but as people of the modern world, it was also important to them that X Men It felt less like a superhero comic and more like a sci-fi epic, something that resonates with New X-MenThe final approach to things like the sentinels or his dominance over the Shi’ar Empire, but also how he divided mutant culture as something distinct from humanity, both on a social and evolutionary level. But above all everything? Morrison adored the ideas behind those movie costumes.
“The movie was almost right: I think we should go for bicycle-style exogome uniforms, maybe combat pants and wrestling style. boots…the look is brutalist and military and I think the all As for the design of the film, it worked quite well for them. “I’d like to see some yellow in the panels or details of the costumes, if only to avoid the dull black leather look of every movie superhero, but it should be a pop art yellow, the type from the bikers and The Bikers. They dress to be seen… X Men It’s a soap opera about super people in the same way that dallas It was a soap opera about oil people. “Oil only served as a showcase and an excuse to look cool.”
In retrospect, Morrison’s bold gamble paid off. Although not all aspects of his career New X-Men Escaping controversy, the book endures as one of the definitive X-Men texts of the 21st century, an influence still felt in the comics. today and elsewhere, in things like Deadpool and Wolverine‘s use of Cassandra Novaeither X-Men’97the exam of the genoshan genocide. As the and Marvel Comics take the next evolution of the mutant species. .
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