millarworld.tv Comics Creators

Marvel Comics: The CB Cebulski Generation Begins!


#4782

I recently had a dream where Marvel announced the creative teams for two X-titles:

Uncanny X-Men
Writer: Chip Zdarsky
Artist: Mike Allred

X-Men
Writer Skottie Young
Artist: Adam Kubert


#4783

Fuck dese guys:

X-Men: The Exterminated #1
Zac Thompson & Lonnie Nadler and Chris Claremont (W)
Neil Edwards & more (A)
COVER BY Geoff Shaw
Variant cover by Kaare Andrews
FANTASTIC FOUR VILLAINS VARIANT COVER BY MICO SUAYAN
EXTERMINATION AFTERMATH!
A Death in the Family!
In the aftermath of Extermination, the X-Men mourn for their fallen brother, Cable.

Sure, he’ll be back, it’s inevitable - anyone got a count for many deaths Cable has had now? @markabnett ?

But as a plot device? It’s beyond bankrupt.


#4784

But wait, there’s more!

X-FORCE #1
ED BRISSON (W) • DYLAN BURNETT (A)
Cover by PEPE LARRAZ
VARIANT COVER BY Rob Liefeld
VARIANT COVER BY Gerardo Zaffino
FANTASTIC FOUR VILLAINS VARIANT COVER BY MARKO DJURDJEVIC
VARIANT COVER BY LEINIL YU
REMASTERED VARIANT COVER BY MIKE MIGNOLA
VARIANT COVER BY SKOTTIE YOUNG
BLANK VARIANT COVER ALSO AVAILABLE
FROM THE ASHES OF EXTERMINATION!
Cable is dead…and now, the original X-Force team of Domino, Cannonball, Shatterstar, Boom Boom and Warpath. must hunt down the murderer of their former leader! The mutant militia are hot for blood…but when their target is the time-traveling younger version of their fallen mentor, is there a line they absolutely cannot cross? And what does Deathlok have to do with all of it? From Ed Brisson (EXTERMINATION, OLD MAN LOGAN) and Dylan Burnett (COSMIC GHOST RIDER), comes an all-new, high-octane mutant adventure! A reckoning will come!
40 PGS./Parental Advisory …$4.99


#4785

Don’t care. Explode a panda, still won’t care.


#4786


#4787

#4788

Young Cable killed Old Man Cable in the first issue of the Extermination mini-series. Don’t know why he’s sticking around though.


#4789

Ye gods, that sounds even worse.


#4790

Cable “deaths”

1992 X-Cutioners song
Cable is sucked into a vortex with Stryfe.

2002 Soldier X just sucked so I believe he was dead the whole time this series existed

2008 Messiah complex prelude
Cable is “killed off” by sunspot and gambit working for sinister

2010 X-men second coming
Dies trying to hold open time portal

2012 X-sanction
Convienently returns and goes into a coma taken off the table for x-men v Avengers

2014 X-Force (simon spurrier understated run)
Dies hundreds of times . His cloned body only lasts 24 hours and phantomex is hired to kill him each time.

2016 Cable and Deadpool split second
Kinda dies but is reformed into a continuity less heavy version of himself
Fabian told me that was the request from editorial for the job at Edinburgh Comic con this year

2017 Despicable deadpool
Deadpool kills old man cable

2018 eXtermination
Younger Cable ( it better be Stryfe! You can’t see his arm!!) kills older Cable

Also “outa continuity”
Cosmic ghost rider 2018
Thanos blows his brains out

Earth X
Consumed by the techno virus and lives under Magnetos palace in the Savage land
Sorta dead/alive

And lotsa others I don’t recall at the moment

Sorry I was brief :wink:


#4791

You gotta admire the determination of the guy at the Marvel meeting who keeps saying “I have an idea, let’s kill Cable again!”


#4792

Bitter much? :wink:


#4793

I think this points out my current dislike of Marvel. This is all self-referential, almost incestuous bullshit. The movies are all about interacting of “other” in the real world, that universal feeling of alienation we all get (it’s a range). The comics have become all about interacting with others in the comics. Yawn. The more fantastic the setting the harder it is for the viewer to relate. Lots of NYC in Winter Soldier, for example, so it was familiar and easier to engage the film emotionally. The more CGI and alien landscapes the more human anchors are needed. Who’s on what team and who’s dead at the moment and editorial edicts of “Dead means dead” and extinction and deaths and dropping, dropping, dropping sales.

Marvel began with the “superheroes in the real world” concept, the FF and Spidey and a blind lawyer and such. Peter Parker had no money. We could relate. Needing a lawyer in '60’s Hell’s Kitchen? We could relate. Get to a living planet and then a bunch of cosmic jumping-about, and without the cameraderie and actual plot of GotG and we get a bit far away from relating. All the way to IW, and we try hard to connect at the beginning of the film, but fake backgrounds (and my personal gripe of every-changing color in the sky - and that applies to sky on several planets in IW) and the now-ever-present-slightly-too-quick edits and cuts becomes more unsettling than exciting, and there is emotional distance created for the final third of the film. Well, Marvel Comics do not seem to be bothering too much with that any more. Let’s see so-and-so fight.

As art so often reflects its birth society, so we see many emotional disconnections with what we have more traditionally taken as “good” writing or cinema, and have somehow come up with just far too much in-fighting. It’s soap opera nonsense, and, to me, seems to not quite be telling a story. Maybe it’s in the words, the dialogue, the plot development. But from someone who has not read some Marvel Comics in a while, this is not attractive; it is off-putting.


#4794

I think I’d go for this one. Skottie Young understands how to tell a story, something they current bunch of xmen writers don’t do so well


#4795

I enjoyed what Bendis did but the last time I got excited for xmen comics was the Messiah Complex era, which was 10 fucking years ago.

Marvel have treated that franchise with utter contempt for the past few years.


#4796


#4797

#4798

Decimation to Second Coming was superb, after that it was downhill all the way.


#4799

I just hope they state it by saying “let’s lay cable down again” and then locking themselves in the toilet.


#4800

The last x-men event trade I purchased was A vs X
Nothing since he’s interested me.


#4801

The Soule Astonishing book started off quite promising but was spinning its wheels before it even got to issue #10, and he left the book shortly after.

Not sure what’s going on over there. It seems like the X-Men books should be easy to write. The world is so rich and expansive, the characters so well developed, that most of your work is done for you. I think writers tend to take the wrong lessons from the Claremont run, and Marvel hasn’t had a clear mission for the line in ages.