Muramasa and Skybreaker

“X of Swords” Chapters 3 and 4
Wolverine #6
X-Force #13
Written by Benjamin Percy
Art by Viktor Bogdanovic
Color art by Matthew Wilson

“X of Swords” Chapter 5 
Marauders #13
Written by Vita Ayala
Art by Matteo Lolli
Color art by Edgar Delgado

• These three chapters of X of Swords mark the story’s first narrative gear shift, as the spotlight narrows to a pair of solo stories starring Wolverine and Storm as they go off in pursuit of the swords assigned to them by Saturnyne. There’s a trade-off here – a loss of momentum, but a deeper focus on character and the weight of responsibility bearing down on these two core X-Men members. If the shipping schedule of this crossover were different, these issues might have slowed things down too much, but if we’re burning through the “quest” issues in two or three weeks with a few issues at a time it’s making good time and allowing the reader to invest in Krakoa’s champions before they head off to war. 

• The Wolverine and X-Force issues are one story split between two issues, with the X-Force issue being fully a Wolverine comic as the rest of the cast – or even the basic premises of that series – is part of the plot. Benjamin Percy’s plot moves along the X of Swords story while working well as a discrete two-parter in which Wolverine must find a Muramasa blade and discovers he can only do that by literally going to hell to find one. These issues introduce Solem, one of the Swordbearers of Arrako, who is positioned as Wolverine’s new archnemesis in the absence of Sabretooth. Whereas Sabretooth is Wolverine’s opposite number, Solem is more of an inverted version of Wolverine – a warrior with adamantium skin, who embraces aesthetics and hedonism just as Wolverine is more salt-of-the-earth and ascetic. 

There’s a certain amount of hubris in aiming to give a major character like Wolverine a new central villain, but given the status quo now it’s sort of necessary. Percy has set up an interesting contrast here, and Solem is immediately charming – an arrogant lothario with poetic sensibilities and a history of causing chaos in Arrako just for the thrill of it. There’s a lot of potential here, if just in exploring a character who is basically a hyper-violent Frasier Crane. (Wolverine, of course, would be the Martin Crane.) 

• I particularly like the opening scene of this mini-arc in which Wolverine confronts Krakoa, which very succinctly gets a lot of exposition out of the way while reaffirming Wolverine’s commitment to the promise of the Krakoan nation state and his spirit as a warrior, and showing us that he’s come to distrust the sentient island itself. It’s very true to Wolverine’s nature, but this moment is notable as it’s a rare occasion in which someone has questioned the character of Krakoa and its motives in this era. 

• It’s interesting to me that while DC Comics’ current event Death Metal and its predecessor Metal strain to evoke a “heavy metal” aesthetic, X of Swords and these two chapters in particular actually do a better job of that without necessarily advertising it as part of the project. Even aside from all the Arrako elements of the story, just look at those pages in which Wolverine’s adamantium skeleton emerges from the literal fires of hell – you can practically hear the speed metal riffs come through the pages. The fact that these issues are illustrated by Viktor Bogdanovic, whose work looks quite a bit like that of Death Metal artist Greg Capullo, only encourages this comparison. 

• The Marauders issue tells the story of Storm going to Wakanda to collect her assigned sword Skybreaker, which is complicated by her fraught relationship with Wakanda royalty since divorcing Black Panther and giving up her crown, and that there is a major taboo of Skybreaker leaving Wakanda soil. Vita Ayala, who makes their Hickman-era X-Men debut here as a guest writer before taking over New Mutants and launching Children of the Atom after this event, has a very good handle on Storm and embraces the complexities and contradictions of her life rather than try to pare down her story. Ayala makes this part of the point of the issue, as Storm seamlessly segues between different aspects of her character – mainstay of the X-Men, goddess, Wakandan royalty, political leader, thief, ex-wife. Aspects of Storm’s identity shift like the weather, but the plot emphasizes that her indomitable will and absolute conviction in doing whatever it takes to do the right thing are immutable characteristics. 

• As good as the Marauders issue as a solo Storm issue, it slows some of the momentum of the larger X of Swords story. Whereas the Wolverine and X-Force issues have the same essential narrative purpose as this in terms of focusing on one character and the sacrifice they must make to compete in Saturnyne’s demented tournament, the former story continued to introduce new information about Arrako and its people. Those issues flow more naturally from the previous two chapters, whereas the Marauders issue feels more like a tie-in. It has the vibe of a very good annual, not so much a continuation of the story established by Jonathan Hickman and Tini Howard. 

• Text pages in all three of these issues continue the trend of giving background information on each of the realms of Otherworld. The most interesting of these is certainly the page for Mercator, which keeps up the mystery of that realm’s regent, but heavily suggests that it is indeed presided over by Absalon “Mr. M” Mercator, the missing omega level mutant previously mentioned in passing in House of X #1 and the Hickman pages of the Incoming! special. I’m personally very intrigued to see how this character will be presented, and I like this as a potential new context for an underdeveloped and obscure character with godlike powers. 

X-Book Mini-Reviews: Marauders, Cable, Wolverine, X-Men + Fantastic Four

Marauders #8-12
Written by Gerry Duggan
Art by Stefano Caselli (8, 10, 11)  and Matteo Lolli (9, 12)
Color art by Edgar Delgado

Gerry Duggan was just beginning to hit his stride where I left off with this series and with these issues he’s fully in the zone. The magic of this book is in how deftly he balances his exploration of the new Krakoa status quo and a firm grasp of characterization and character history. He does excellent work in restoring Callisto to her Claremont-era greatness as a queer punk anti-hero with a strict code of honor, and pulls off a minor miracle in reinventing Jason Aaron’s absolutely horrible kid Hellfire Club as a legitimate threat under the name Verendi. I love the way he writes the fraught character dynamics of his central cast of Storm, Emma Frost, and Kate Pryde with all the nuance of years of publishing without requiring a reader to have actually read any of those comics. And bless him, he’s even doing his best to acknowledge years of Kate being written as a bisexual woman, though it doesn’t seem as though he’s allowed to state this in the text.

These issues keep up a strong Claremontian momentum even with a significant break in the publishing schedule as a result of the pandemic, though the issue in which Kate is finally resurrected is oddly anticlimactic given how much the question of whether or not she even could be resurrected is positioned as a major plot point. But Kate’s actual return in issue #12 makes up for this bum note – Duggan and Matto Lolli present her with a renewed swagger, and set up the next phase of the plot so enticingly that it actually feels disappointing we have to move away from this story for three issues to get through X of Swords. 

Cable #1-4
Written by Gerry Duggan
Art by Phil Noto

Whereas Duggan’s Marauders is centered on political intrigue and the nuanced relationship of its trio of leading women, his Cable solo book is positioned as more of a light-hearted wish fulfillment story for boys. Duggan is working with the teenage version of Cable established by Ed Brisson in Extermination – a young man who’s killed the older version of himself we’ve known for decades for the crime of not being good enough at his job. On a macro level, Duggan’s story is about this boy gradually and inevitably becoming the old man, but in these issues it’s mostly just presenting Cable as an adventurer and establishing his five-way romance with the entire Stepford Cuckoos hive-mind. This is clever – the Cuckoos are established as clone/daughters of Emma Frost, and Cable is the time-lost child of Cyclops and a clone of Jean Grey, so it’s a play on their dynamic while also just depicting Cable as this ultra-stud. (We also see that Armor has a crush on him – mutant ladies sure love a Summers man.) 

Phil Noto’s art is typically fantastic in these issues, with his usual flair for clean design, vivid colors, and expressive faces. He’s very well-suited to Duggan’s writing style, adept at both action scenes and conveying his humor. He does a particularly good job in giving the five Cuckoos distinct expressions and body language, and in playing off the odd dynamic of the teen Cable meeting Deadpool for the first time while Deadpool was friends with his older self for many years. 

Wolverine #1-5
Written by Benjamin Percy
Art by Adam Kubert (1-3) and Viktor Bogdanovic (1, 4, 5)
Color art by Frank Martin (1-3) and Matthew Wilson (1, 4, 5)

In all my years of reading X-Men comics I have rarely regularly followed a Wolverine solo title, largely because those series seem rather inconsequential and I prefer the character as part of a team dynamic. It’s like how I love cinnamon in an apple pie, but wouldn’t really want to eat cinnamon by itself straight out of the spice rack. Benjamin Percy, however, is a guy who just wants as much Wolverine as he can get and is obviously having the time of his life as the primary author of the character in both his solo series and X-Force. Percy has a firm grasp on exactly what makes Wolverine work and is fluent in the particular cadences of his dialogue, and his enthusiasm for the character is infectious, so much so that the two narrative arcs in this run of five issues are only so-so in plot terms but are nevertheless very enjoyable just for all the great character moments. 

I’m particularly fond of Wolverine’s interactions with Magneto, a man who has caused him great agony over the years that he’s now forced to answer to as one of the leaders of Krakoa. Percy is very interested in the nuances of how these old men who are very set in their ways adapt to an entirely new status quo – they are both going about it in good faith, but there’s only so much of the past you can ignore while working for a better future. 

This mix of “same old” and “totally new” seems to be the narrative crux of this series, and that extends to the art as well, as classic Wolverine artist Adam Kubert is trading off arcs with relative newcomer Viktor Bogdanovic. Kubert’s art is solid as ever, though his tendency towards unusual page layouts is kicked into high gear with these issues. He’s very good at drawing Krakoan landscapes and biotech, and it’s apparent he’s excited by the challenge of working with Pepe Larraz and R.B. Silva’s designs. Bogdanovic’s art is extremely similar to that of Batman artist Greg Capullo, to the point where you could just pretend it’s actually Capullo drawing the book. This is fine, though I’d like to see him evolve more into his own style as he clearly has the raw skills down. 

X-Men + Fantastic Four #1-4
Written by Chip Zdarsky
Art by Terry Dodson and Rachel Dodson
Color art by Laura Martin

Chip Zdarsky is a writer that leads with humor and delight, but always grounds his stories in compelling dramatic questions. To some extent that’s the job of a superhero comic writer, but it’s not tremendously common for people to actually achieve that balance, particularly when Marvel comics that lean humorous are nearly always full of unfunny soy jokes with no narrative stakes. This miniseries, in which the X-Men and Fantastic Four clash over the question of whether or not Reed and Sue Richards’ omega-level mutant son Franklin belongs on Krakoa, presents as a high-stakes story, even if the actual resolution of the Franklin question feels like a shruggy compromise. But even if the ending feels a bit inconsequential, the philosophical clashes are handled thoughtfully and Zdarsky’s handle on the personalities and voices of all the core characters is impressive. Terry and Rachel Dodson, no strangers to either the X-Men or Fantastic Four, do typically excellent work in their ultra-clean and dynamic style. The ending of the story hints at a further conflict between Reed Richards and Charles Xavier down the line, but even without that thread this miniseries leaves me with the feeling that I’d be happy to get more X-Men and/or Fantastic Four comics written by Zdarsky in the future.