#brandonpeterson

X-CUTIONER’S SONG PART 1

It was February 1993 by the time this issue came out at newsagents in Australia, it was already four issues into collecting uncanny x-men. The cartoon had aired in America, i guess it was around this time it started on Australian TV in the morning before school. 

This issue was poly-bagged (and this is where i learned the term, to this day only comic book kids will know what that is) with a Skybox X-Cutioner’s song trading card. Sure! What the hell, i’m a kid.. i like stuff.. i have no money so it helps if that stuff is free too!

Aw man.. it’s Xavier... 11 year old me: *Yawn.

THE COVER

The cover price is $2.25 Australian, pricey for ‘93, poly-bags must cost more to make because the last issue was only 1.80.. hey everyone, lets all hug and reminisce about when we could afford things! 

The corner box lists the Australian price so the kid who learned about the whole speculators market a few years later will tell you this is already worth less than a “legit american copy”. The corner box was your standard head shots of the team members of this book, i wish they still did these today, not for any other good reason besides nostalgia, but it’s just an inconsequential thing that kids thought were cool, it complimented the logo i guess (shrug). Also what i miss is what i think is Marvel’s greatest ever company logo, before they changed it to hide that they were about comics and it was the M with the word comics scrawled through it.. c’mon, some graphic designer was really tuned into the demographic with this, i hope that paid for a wing on their house.

The image is by interior artist Brandon Peterson. We’ll talk about his art later on some but i do want to note that it displays the two most used depictions of eyes being drawn at the time. Grim and gritty shadowed over, serious, moody, dark. Or you have completely devoid of anything, “what i’m reacting to is so intense in some way that my eyeball has lost all pigmentation, my pupils are no longer there.. je suis mort”.

The image is an already cool AF Cable holding a big ass gun, standing over the smoldering body of a pupil less Professor X with a corresponding big ass hole in his chest, possibly made by the big ass gun, i can’t say for sure. What i can say for sure is that this was drawn by somebody with a better grasp on anatomy than the infamous creator of Cable, Rob Liefeld, because everything is in proportion, has been researched or well thought out, Cables gun is big, but not scientifically so big that he shouldn’t be able to hold it in the air even with the aid of a 90′s AF cybernetic arm. His pouches, which i’m guessing Peterson may have been loath to draw and are possibly an editorial edict, look as practical and functional as they can, they look full and in use. I know it’s cool to rag on Liefeld, I've nothing against the man, he’s genuinely earned his place in comic book history, but all i’m saying is if we had to endure accessories like this as staples of the genre at the time, effort like Peterson’s was the most correct way to go about things. Anyway, white background, cool, our focus should be solely on the jarring image the cover confronts us with.. the cover should make you want to read the book and tell me you didn’t suck in a room full of air and snatch this of the stands when it came out.

THE STORY

We start off with a splash page (we’ll talk about them on the whole in the art section) Warren Worthington III is taking his girl on a date. Where? Where would a guy in a tux with a bouquet of flowers and access to a limousine take somebody dressed in leathers and a white tee? To a concert in the park.

A peace rally in central park. Hey! I know central park, i know places geographically because i read comics and watch TV ... thanks world, screw you school I owe you nothing. We cut across to different pairings of x-men characters discussing either there feelings about Xavier's speech that is about to transpire or events in their personal lives that are happening or have happened in surrounding issues. Little asterisks direct us to the relevant issue if we’d like to catch up these ourselves. Thanks comics, it was actually very helpful back then to have a point of reference to call back to or to further our reading.. another thing comics seemingly have abandoned today (can anybody reading this tell me why?). These conversations give the characters their voice and straddle a good balance between the picture/word ratio an 11 year old wants to see in a comic book. Scott Lobdell only got better at this as time went on but read through this issue and you’ll find he did so well to cram in foreshadowing, back story, character and truth into those speech bubbles, the man, i feel, has been forgotten in a way since the 90′s, his talents seem under appreciated. 

Another thing he does well is to control pace and actually build towards events, we’re four pages in before the title card/opening credits/ splash page hits us and it happens after a third page so you have to turn the page for a reveal, it’s not given away by accidentally glancing over to page 3, no, page 4 is the perfect place for these pages. What is the reveal? Two anti-mutant terrorists are planting explosives to violently disrupt the peace rally, making bigoted slurs and all until BRRZT... BRRZT ..Cable shoots them both in their mother effing backs, stops to reveal himself and pose for the camera and ...what... HE’s got dibs on Xavier? Uh-oh.

We’re left hanging as we’re then shown Cyclops daydreaming as he waits for Jean Grey. His telepathic girlfriend walks in on him fantasizing about teammate Psylocke.. yes Scott.. that’s why Jim Lee re-designed her as such, we all did that. This sequence takes on different meaning at each age that i’d read this issue. 11 year old me sort of got it, teenage me got it but didn't completely get it and adult me wold get conflicting emotions about getting it. See, Scott Lobdell could write soap opera with merit. Same goes for the next scene where Iceman and Colossus in their civilian identities are doing the x-mansions grocery shopping. Because the x-men weren't the Avengers and were always more relate-able because they did things actual people did when they weren't superheroing. Everyone can relate to a supermarket run. I probably coerced my mum to buy me this very issue while she was on said supermarket run. My man at the time Gambit is interacting with storm, this is what i thought was cool at the time kids. A roguish (no pun intended) charm, a trench-coat over a singlet top and shorts... the undercover exercise look, was all the rage in the early 90′s.. look it up..go.

Then we cross to a sidebar of other x-team, X-Factor, preparing to watch the concert. Lobdell writes them with all the spirit, voice and character that Peter David, who was writing the hell out of X-Factor at the time, did.

So lets re-assess, so far Lobdell has shown us Archangel on date, Professor X and Lila Cheney, Bishop and Rogue, Storm and Gambit, Cyclops, Jean, Iceman and Colossus and name dropped Beast, Forge,and Psylocke AND shown us X-Factor. And i’m still on the edge of my seat already because of the ominous way Cable has been introduced. This is how you write a team book that’s going to have it’s reach into a 12 part cross over. We aren’t even at the catalyst event yet. Scott Lobdell, again ladies and gents, Scott Lobdell.

Suddenly...

Cyclops and Jean are ambushed by ex-X-factor teammate Caliban. We’re given a page of Cable in the crowd as the tension builds, we cross BACK to the action away from the concert we’re colossus and iceman are attempting to join the Caliban/Cyclops/Jean fracas until they’re ambushed by War and Famine... um.. the characters, they aren’t suddenly having an existential crisis with the actual concepts, and then we’re back to Xavier. Who’s giving an inspiring speech about race relations that is extremely relevant 25 years on. This again is a great example of Scott Lobdell’s talent to shift from fever pitch to still and thought provoking in a manner of pages. Even the layout of pages 18 and 19 are in contrast to each other while being at the same time relevant to what the written words are saying.

And then...?

BRAM... “CHARLES!!!!!”

Cable takes his shot, shooting Xavier from the crowd, and even though you knew it was coming (It’s on the cover remember), it’s still a shock, it still jars the reader. Lobdell slaps you in the face and shakes you, but doesn't let you catch your breath as we’re back immediately to battle with Caliban and the side battle with War and Famine (the people not the concepts).. the action has reached it’s fever pitch. Both battles end abruptly and as a reader you’re thrown into total confusion with this three pronged attack of events in succession so by the time you’re back to the chaos of the concert you’re in the same emotional state as the characters should be.. reacting to these overwhelming events that have just unfolded.

In a nice nod to the theme of the issue on race, something Lobdell also writes well and treats with detail and respect, it’s revealed that Archangel is wearing an image inducer to blend in with the crowd, speaking in a subtle and layered way on identity. He springs into action, or reaction, going straight for Cable as some of the other characters we’ve seen in this issue race to the Xavier’s side. The situation is dire. Cable eludes Archangel by teleporting out. (”Celebration bound” you absolute asshole, Cable). And then we’re taken to the current whereabouts of another team, X-Force, who are Cables charges and are just now witnessing the news footage of events and we’re left on a cliffhanger with them.

The executioners song has begun.

THE ART

Brandon Peterson, i’m assuming, was given the art duties on this title because his style was similar enough to Jim Lee’s. I don’t mean that as an insult, it stands enough on it’s own so that the two can be distinctive of each other but at least the influence or some of the stylistic tropes are there.He does extremely well at adapting to the pace of the writing in the book and he moves the story sequentially very well. I hadn't realized he more or less has 6 splash pages in this issue, but they’re used well and effectively at the right times to visually tell the story and give the right moments weight and impact. A hallmark of the early 90′s culturally and in artistic meaning, was the mullet, and Peterson’s mullets are right up there with the Bagleys, Romita Jr’s and Lims of their day. Another 90′s thing to do for some reason, and it would only get more pronounced through out the 90′s, was the tendency to use a characters trademarked logo when their name is being shouted out, see the point where Archangel soars towards Cable. How would that sound i wonder? Bucking the trend at the time, Peterson’s expressions aren’t just blank or gritted teeth. Faces in a panel are reacting to what is happening in that panel logically. Also characters aren't just dressed in some stock depiction of clothing. Only Jamie McKelvie, i feel, has a knack for capturing the clothing and trends of the exact minute, but Peterson’s characters dress to reflect their personalities, even Gambit (discussed above) and with only the exception of Rogue, who’s civilian outfit is a rejected costume idea with a military green X-jacket that she’s torn the logo’s off (I’m on to you Rogue). Bishop is dressed like the militant tightwad that he is, Cyclops is fathers day catalog K-mart. Jean is Danielle Steele non-descriptive female actress. Archangel is rich guy wears suits. Iceman is swinging single guy, Colossus is drab, loose fitting artist. I used to wonder why nobody wore brands in comics or dressed like people i knew but they wouldn’t. You wouldn't get the visual idea of their character in one glance if they all wore street brand hoodies and designer jeans.  Peterson is also really good at slightly playing with convention and perspective. Larger than life moments like Caliban bursting through a ceiling or Colossus and Iceman changing form and charging into action are embellished by exceeding the borders  and constraints of the panel. 

So that’s it for this issue.