#goat-bones

But he's still growing. He's still maturing. There's something of a boy about him, even as he gets older and older, and even when you hit the late 90s and he's a bit more dour and serious, there's that feeling that he's great boyfriend material, but hmm, is he ready to commit? Might his eye wander? He seems really, really committed to science and the X-Men and being a superhero, will he have time for you?

And then . . .

Like, that is a man. There is nothing boyish about feline Hank. He is big, and he is masculine, and he is fucking built, and he is intense. Part of it is the change in his eyes, going from the blue or occasional blanked out eyes to the gold - there's something a little uncanny and scary, but attractive and fascinating and powerful in his eyes now. He feels a little like he could be dangerous in bed, like he might leave some claw marks in you that he'll feel bad about, but you'll secretly enjoy.

I also think part of it is to do with the fact that he has a lot of different hairstyles in his feline form, he's not stuck with the ol' Wolverine! I especially like it when he's rocking longer hair or the ponytail.

Then there's the fact that his personality has changed, too. He's more serious, but also capable of being wickedly, darkly, awfully funny. He's suffused with trauma almost every waking second, in a way that creates this aura of not quite 'I can fix him,' but 'I can heal him.' He feels like you could be the person to be his safe harbour, the person that he crawls into bed with and lays down with. He feels more ready to settle down, to be a husband and leave things behind. He feels like he's ready to commit.

Plus? He's a lot more outwardly kinky in this form, which I think is kind of an underrated aspect of the man.

And then there's the furry appeal. Like, let's not beat around the bush here, the furries are obviously gonna respond to this version of Hank even more than they did the original. Classic Hank has kind of a blue orc thing going for him, which, you know, that does it for people, but passionate lion man who's as talented with his hands as he is a cunning linguist? C'mon, now.

No dark secrets. Nothing to hide. The sweetest guy. The best heart.

These are the architects of modern X-Men, by the way. Morrison and Hickman. This is how they see Hank McCoy, and though they may have many flaws in their writing styles and their stories may fumble certain things, I think that they have an opinion worth noting. Their effect on modern X-Men is undeniable.

So, Emma and Hank meet, and they already have chemistry. They are both incredibly sharp, incredibly brilliant, incredibly witty, incredibly cultured individuals, and though they may (at this time) have very different moral compasses, it's very clear that there's a spark of friendship already, especially when you compare Hank's immediate sympathy to how Jean treats her literally a page later.

Something that's underrated about Morrison's Jean is that she's kind of not very nice a lot of the time, but you understand why. She's going through some shit in this series, and she has a very, very, very valid reason to hate Emma after Dark Phoenix, so her trying to reach out is what she thinks she should do, but calling her a bitch is what she wants to do, really - and Emma doesn't give a fuck. Or at the very least, she's very good at making it look like she doesn't give a fuck.

This is another aspect of why I think Hank and Emma have such good chemistry: they are both masters of control and appearance. They both spend so, so, so much time cultivating a specific image so that they can't be hurt - Hank obfuscates and hides behind big words, big concepts, big gestures, while Emma snarks and affects cool, sniping at anyone who might dare get close.

Like recognises like. I almost think it's a sort of game for them, to perform and poke at one another, knowing that they each know each other's secrets, but with an unspoken agreement that they won't go too far.

Emma jabs and pokes and prods, and Hank shuts her down in three sentences. If there were any malice or anger in this interaction, it wouldn't stop the way it does. There's no lingering animosity between them, there's no heat. It's two theatrical bitches in superhero clothes pretending that their personal lives aren't a mess by being extra bitchy at one another, and I think that they love that.

It's also worth noting that Hank, at this stage, is still an extremely moral presence, an unquestionable good guy (Threnody revisionism notwithstanding, don't at me, I've heard it before), and Emma is very much not. She's still the woman who was part of the Hellfire Club, who worked against the X-Men, who was part of Genosha, Magneto's regime - but Hank doesn't browbeat her with it. It only ever comes up when he's convinced that she's turned on them.

A moment of panic, but Emma doesn't take him to task for it - if anything, I like to think she might have actually been a bit grateful, because it made her plan seem all the more authentic, to have someone screaming that she can't do this. He then immediately apologises, and compliments her. It doesn't come up again. He judges her by her current actions, not by her past, and this is something that's very consistent with Hank, if you look at the wider tapestry of his life, because who else does he judge by his current actions and not his past?

Oh yeah. Hank forgives. Hank understands.

And I always find it interesting how he takes Scott and Emma's affair. He doesn't criticise Emma for it, but he does take Scott to task. Why? Well, it could be Morrison's take on who's responsible for the affair bleeding through, but I think it's more that Hank knows that Emma is still working on herself, still improving her behaviour, still in the process of becoming better, and he's willing to give her the space to do that, but Scott?

Scott, I think Hank believes has less of an excuse. But again, he doesn't make a thing of it until it comes to a boiling point. He warns Scott, and Scott doesn't listen. And when it's all said and done, Hank makes it clear that Scott and Emma's lives may be their own, but he has his own feelings on it, and he's capable of holding multiple emotional viewpoints at once.

Like, this is a lot of leeway and a lot of grace that Hank is affording Emma here, considering she was just as guilty of initiating the affair as Scott was, if not more so - but again. He expects better of Scott. He knows Scott knows right from wrong, and where his obligations lie, and he expects him to be faithful to his wife. Hank knows Emma is flirting, being very sexually open, but he knows that that is partly affectation, partly bait, partly exploration, and partly a fuck you aimed at Jean, who she just plain doesn't like. Harping on at her about it will not make her stop, and will only drive her not to trust Hank. And it becomes increasingly clear, as the series goes on, that Emma does trust and value Hank, quite a lot, actually.

Now, it's not like Emma needs an excuse to be cruel and to make a scene, but that's not really what this is, is it? Look at the order in which she addresses the journalist. She's offended - "I beg your pardon!" - but what at? "This man is a world-renowned scientist!"

She doesn't take offence to the idea that people hate mutants because trouble follows them where they go. She takes offence to her being insulting to Hank specifically. She elevates Hank, and degrades her opponent. This is not something Emma does often, she usually just skips to the degradation! Hank doesn't even expect it! Look at the little lines around his head in the panel with Emma blown up large in the psychic landscape! He was absolutely going to let that comment go by, and not make a thing of it, and Emma chose to make the moment about standing up for him, and he did not expect it.

But he values it, nonetheless. And he puts his paw on her, and thanks her.

Reminder, this is how she reacted to another man putting his hands on her just a few issues before.

Now, granted, we don't see where Logan's hand is, but the man's generally a gentleman, despite his reputation, so I think she just doesn't like to be touched . . . generally. But she doesn't mind it when Hank touches her, and thanks her for standing up for him. Something which she does not do for many people. Reminder, this is how she reacts to Jean having a straight up psychic fit in front of her.

Like, there's a degree to which this is bravado and humour, because Emma is tending to Jean here, but I guarantee you that this is not how she would have acted if Hank had been the one to fall in distress.

And going back to the panels where Logan is helping her up - I don't know if it's just me, but there's something very purposeful in the fact that Emma and Hank are both on the right hand side of the page, with Emma engaging her diamond form so that she doesn't have to feel, denying her own compassion, while Hank stands in shadow, looking mournful, defeated, quietly furious, unable to do anything but feel his compassion.

Perhaps that's something that Emma admires in Hank. The fact that he has no dark secrets, that he does, in at least some ways, wear his heart on his sleeve; that he has no choice but to feel. He is a good man. And it's easy to forget, in a world where cynical media and cynical people surround us, but there is something charismatic and likeable and warm about good people. Even if you might consider them foolish, people who fail to be good often envy those who try, even though they might face insurmountable odds.

Hank's refusal to accept that the world has to be a place of cruelty and disbelief and skepticism and fear has a way of rankling the cynics around him. It's one of my favourite things about him.

It has a way of paying off.

How often does Emma Frost listen to someone again . . ?

And then . . . yeah. We come to the assembly.

"Fuck you, I liked her."

She listened. She laughed. She spoke Byron back to him. Do you ever think about just how often Hank gets that? Fucking never, I bet!! It must just be so refreshing to quote, and for the other person to know.

There is a pleasure in the pathless woods, There is a rapture on the lonely shore, There is society where none intrudes, By the deep Sea, and music in its roar: I love not Man the less, but Nature more, From these our interviews, in which I steal From all I may be, or have been before, To mingle with the Universe, and feel What I can ne’er express, yet cannot all conceal.

Of course it's a romantic poet. Of course it's Byron.

And then, the assembly . . . ouuuuuuaghhh . . .

Like, people love for their characters to have feats, right? People love that Storm was the Regent of Arakko, and faced down the Horsemen. People love that Cyclops put the Void in a little box in his mind and told it no. People love that Jean chased down Enigma all the way through space and time and destroyed him. People love it when all the things that epitomise a character come together in a moment that speaks to the truth of them - their strength, their control, their refusal to give up. It's not just about power, it's about what that moment says about their personality, right?

What's Hank's?

It's putting together a 11,100,277 piece puzzle of a human body. Not with textbooks and screens around him, but by memory - and why? He says it's because he always loved jigsaw puzzles as a child, but that's not the real reason, is it? It's because it's important to him that she be complete, that she be afforded respect. It's important to him that someone showed that they cared.

It's because he thinks that there's a chance.

It's hope. It's sheer, bloody minded hope. 11 million pieces. It's insane. And yet. He did it, and it worked, and she was whole again.

Roses and wine and a good book and a baritone rendition of Gluck's Orpheus and Eurydice . . . oh, Hank. He even calls himself la bete, the Beast - a codename we know he doesn't really care for all that much, especially in light of his recent mutation - just so that he can affect playfulness and brightness and infectious good mood.

He really cared for her. And she really cared for him.

I seriously miss this dynamic. It was really very beautiful.

OUAHGHHHHHHH . . . they're so beautiful . . .

I have to admit, I think you've captured, like, the platonic ideal for these lads. Warren's big foofy ethereal curly blond hair, Bobby's aggressively hip short brown hair and that EXPRESSION is pure Bobbert, I absolutely ADORE long haired ragamuffin 'how can you tell I used to live in an orphanage???' Scott, especially with the big eyes behind the glasses, and that Hank . . .

That Hank is the perfect 50/50 of jock-nerd. The Superman curl, the blue eyes, the Letterman jacket, the vest, it's THE APEX.