Tuesday, 4 September 2012

Bad Teacher? The Regrettable Professor Charles Xavier 1963-1966 (The Year In Comics #35)

 

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36 posts down, 16 to go; 52 consecutive weeks worth of columns at Sequart seemed an unlikely project when it kicked off, and now the finishing line's in sight. This week's post in The Year In Comics series is the second part of a look at Stan Lee and Jack Kirby's X-Men, which managed to be both socially radical and politically conservative all at the same time, and should you be at all curious, it can be found here

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But if you've popped in and you've understandably no interest in the above, then why not waste away a nano-second or two on the evidence that the X-Men's founder was not just cruel and incompetent, but quite possibly mentally disordered as well?

The Marvel Comics of the early Sixties were, of course, never intended to make sense on anything other than their own terms. As such, they were designed to entertain, and to do so on a ferociously inventive, panel-to-panel basis. And if the laws of physics were entirely irrelevant to that process, then so too were the traditions of more polite fictions and the conventions of psychology too. Beyond the broadest of character types, Marvel's various stars were free to shift aspects of their personalities from page to page, from story to story. That anyone would read back through these tales and start to fannishly note the inconsistent and the unlikely probably rarely if ever crossed their creator's minds at first. As such, it's incredibly doubtful that anyone at Marvel noticed what an irredeemably selfish human being Charles Xavier, the founder of X-Men, had accidentally and repeatedly been portrayed as. Yet no matter how hard today's reader tries not to regard the Professor's thoughts and actions in those early comics as evidence of a core personality, the likes of his declaration above - from X-Men #17, February 1966 - are hard to ignore. We tend to struggle not to expect some measure of internal consistency in our serial fictions, and so it's a challenge to push aside the notion that Professor X really did believe that he'd never failed before. Is it possible that this Xavier is so deluded that he'd never noted the terrible things that he'd previously done to his students? Can he truly believe, for example, that he'd always "protected" his "X-Men" and never "failed" in his attempts to do so? (Panel: X-Men #17,by Lee, Kirby, Roth, Ayers)
Xavier's concern that he might have failed to protect his students comes as they're trying to recover from a brutal punch-up with the mutant-hunting robots known as the Sentinels. The Professor may not consider that he's previously done anything to betray his duty of care to his X-Men, but it's worth considering that this particular scene sees the Beast with his leg in plaster while Iceman is lapsing into a delirium. Whatever happened before, there seems to have been a fair degree of serious harm done to the teenage, unworldly foot-soldiers of the X-Men. To what degree is Xavier responsible for the pain that his students are suffering? Were the X-Men simply unlucky when it came to the Sentinels' arrival on the national stage? (Panel; X-Men #17, Lee, Kirby, Roth, Ayers)
Three issues before - in The X-Men #14 - Xavier was faced with the evidence of a press-fuelled moral panic directed at America's mutant minority, and he declared to himself that it's the "one thing I always feared - - a witch-hunt for mutants!". Oddly enough, though Xavier has apparently long worried about such a traumatic business, he doesn't appear to have done anything about it. There's no sign of his involvement in any political campaigns to establish mutant rights, and he's no contingency plans in place to deal with the sudden escalation in prejudice and risk. This is a man who's supposedly not only unquestionably benevolent, but a super-genius too. He would surely have noted the hard-won progress of the Civil Rights movement in the Republic of the day, and yet he doesn't appear to have either supported the fight against prejudice - in order to establish tolerance as a social norm as well as a legal principle - or deduced from it the probability that an armed threat would inevitably come from anti-mutant extremists. The Marvel universe was awash with super-science, after all. Even a middle aged career anthropologist such as Dr Trask was capable of creating an army of sentient, intelligent robots when he put his mind to it.  Xavier should have been not just expecting the worse, but preparing for it. And yet, because he didn't, "his" X-Men stumble without adequate preparation into a show-down with the Sentinels, bereft of broader support or even adequate planning. Only their uncommon fortitude, unexpected good luck and - admittedly - their Danger Room training saves them from dissection and worse. (Panels; X-Men #14, Lee, Kirby, Roth, Colletta)
Yet the Sentinels incident was hardly the first time that Xavier had "failed" to "protect" the X-Men. In the same comic in which the Sentinels first appeared, the X-men were shown recuperating from a terrible beating at the hands of Xavier's brother, the Juggernaut. As Xavier oversaw the recovery of his own personal para-military of trusting teenage operatives, he appeared to have no concerns at all about his responsibility for their war-weary condition (Panel: X-Men #14, Lee, Kirby, Roth, Colletta)
Yet just one issue before, Xavier had admitted that he'd failed to warn the X-Men that his step-brother was a magically-powered engine of destruction who might one day turn up with something less than fraternal good wishes on his mind. That failure to inform and prepare his students resulted in another terrible beating for most of the X-Men. What's perhaps most telling about Xavier is that he'd left his brother buried beneath a mountain and had made no subsequent effort to either rescue him or at the very least ensure that he stayed incapacitated. True, Cain Marko had been mystically transformed into an inconceivably mighty - and supposedly "evil" - creature just before he was buried alive, which meant that disturbing his living tomb would inevitably bring serious challenges with it. And yet, Xavier had had more than a decade to track down methods of either curing his half-brother or ensuring that he stayed underground forever. Instead, the Professor just ignored the situation, and that's despite believing that "no power on Earth (would be) capable of stopping him" if the Juggernaut escaped. Rather than develop a strategy for either helping and/or defeating his brother, Xavier simply left him where he was. The man's capacity for ignoring problems, or perhaps even repressing them entirely, was truly formidable, but it was his students who tended to have to face the consequences of his unwillingness to get things done. (Panel: X-Men #13, Lee, Kirby, Roth, Colletta)
But then, Xavier never did seem to think in anything other than an occluded, short-term fashion when it came to the X-Men. He was quite happy to let the apparently world-threatening menace of Lucifer go free without even wiping his memory of the teams existence in issue 9, for example, an inexplicable act of magnanimity which would once again come back to bite him and his students. Never one to attend to things today when they might be delayed for a decade or  so, Xavier appeared desperate to avoid doing anything which might involve protracted effort. (Even his solo mission to track down Lucifer in X-Men 7 to 9 seems remarkably unthought through, a mission undertaken without his students which eventually relies on their ill-planned, last-minute arrival.)  Indeed, Xavier never seemed as happy as he was shown to be at the end of X-Men #12, when chance and design had conspired to ensure that all previously seen "Evil" mutants had either reformed or been prevented from behaving badly. Never has a man longed to know that all his responsibilities were over, it seems, although both the Juggernaut and the Sentinels were in fact just around the corner.(Panel; X-men #9, Lee, Kirby, Stone)
It had always seemed to be that way. Xavier tended to towards high ideals and short-term, careless thinking. In the team's very first adventure, the Professor ordered the team into battle for their debut mission when Magneto attacked a US Army base. What immediately became obvious is that Xavier had provided his students with no clear plan at all. The X-Men were simply thrown into a situation in which they'd little information and no back-up at all. Though Xavier had focused with some diligence on training his students to function as a team, he'd entirely ignored the possibility of creating, for example, operational links between them and the Republic's various armed forces. The first time the Army had heard of the X-Men was when they appeared on the scene of a mutant-created disaster. Given that Xavier had already forged some useful links with the American state, it would surely have made sense if he'd have created the conditions by which cooperation between the X-Men and the authorities was possible. Instead, he simply threw a gang of costumed children into what was effectively a war-zone and encouraged them to win the day. Xavier should surely have been locked away for a very long time indeed for child endangerment. (Panel: X-Men #1, by Lee, Kirby & Reinman)
Yet Xavier becomes more and not less irresponsible and manipulative as the X-Men's adventures continue. At the conclusion of X-Men #4, he pretends to have had his mental powers removed by a bomb of Magneto's in order to test their ability to function without him. As Marvel Girl declares in the following issue; "From now on we will be alone, for the first time! ... without the professor to guide us and help us!" (Panel: X-Men 4, Lee, Kirby, Reinman & Roussos)
Not only does Xavier pretend to have had his telepathic abilities erased, but it appears that he also acts as if he's had most of his fundamental cognitive capacities diminished too. (If he hadn't, he'd still have been able to advise the X-Men, which would've defeated the purpose of his "test" of them.) As is typical in the X-Men issues of the period, domestic chores devolve apparently without discussion onto the shoulders of Jean Grey, who appears to have been given the responsibility of supervising and indeed entertaining the Professor. One can only speculate what other functions she needed to help him with, and yet all the time the shameless Xavier is entirely well. (Panel: X-Men #5, by Lee, Kirby, Reinman)
In the absence of their mentor's guidance, the X-Men find themselves embroiled in a battle in outer space with Magneto and the Brotherhood Of Evil Mutants. It's a showdown which the X-Men barely survive, and yet ... (Panel: X-Men #5, by Lee, Kirby, Reinman)
... when they return, they discover the broadly-smiling, pipe-smoking Xavier, who declares that he'd never lost his powers, or indeed any of his vigour. It was all part of the young mutant's "final exam", to be allowed to stumble into deadly off-Earth situations while still traumatised over their role model's suffering. "Hurrah!" declare the loyal and dense-headed X-Men, who never seem to cotton on to the fact that Xavier's a devious, callous, manipulative, self-satisfied egoist who constantly imperils them in the name of his ill-thought through grand design. (Panel: X-Men #5, by Lee, Kirby, Reinman)
But never mind, he's "proud" of them, they've "passed" the test "with flying colours", and no-one actually died as a result of Xavier's reckless play-acting! Hurrah for good old Charles Xavier then, one of the most repellent of all Marvel's first wave characters as well as one of the most admired. Not a man to trust your children with, or at least, not if the reader were to trust in the detail rather than the spirit of the early Marvel era stories. But then, it's a good job that we know that the detail of those wonderfully absurd boy's stories isn't to be taken seriously, isn't it, although I do rather like the idea of Xavier the butterfly-minded egomaniac and the X-Men as a crowd of terribly unimaginative foot-soldiers. (Panel: X-Men #5, by Lee, Kirby, Reinman.)
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15 comments:

  1. While there are undoubtedly things of substance that could be said..."yaybo"?

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    1. Hello Ian:- A new word for my old ears! Thank you for that. I only intend the Tuesday pieces to be a distraction for anyone of a mind to need such. If one carries the sense of yaybo, then huzzah!

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    2. Now I'M beginning to feel old as well, because I've never heard "yaybo" either. Then again, ever since the end of high school, I was never as enthusiastic about new technology or new music and other trends as my peers either.

      Anyway, another great little bit here. I always enjoy seeing breakdowns of old comics like this. Somewhere along the way, the most supposedly wise and caring characters of the stories tend to be the most morally challenged as their own smugness and superiority tend to dictate their actions more than wisdom and caring (as you pointed out with Odin in the early Lee/Kirby stories). Of course, DC is plagued with this as Superman has famously (http://superdickery.com/index.php?option=com_content&view=category&layout=blog&id=28&Itemid=45) gone way, way, way out of his way to put his so-called friends into their place.

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    3. Hello Joe:- Ah, well, you've always made me feel as if you were both considerably younger than me and yet more knowledgeable too. But there's always someone whose ahead of the curve, isn't there? Anyway, I'm less than a week from being 50. I'm allowed to be redundant ....

      Thanks for the link. Some of those old Lois Lane comics are often wonderful things, but morally there's so many problems at times that it's hard to know how to respond. Usually in shock, I find. Of course, the comics are a product of the time, and they're charming too, but there are moments of casual cruelty and staggering sexism when the breath feels ripped away. And this was material for kids!

      You're right about authority figures in those old Marvels. Few of them now appear to be anything that's admirable at all. Aunt May, however, comes across as being a better and better person as my own years tick onwards. Even JJJ manages to appear sympathetic, and actually prescient given how many of the Marvel Universe's super-people turned out. But Xavier is probably the worst of the lot. I was trying not to bring any of my years teaching Psychology into the piece, but the symptoms of cognitive dysfunction and flat-out disorder mounted up as I read through those issues. Xavier's convinced that he's a lovely, smart, formidable bloke, and yet the evidence is that he's obviously little of the sort. What a fantastically unpleasant bloke. I wish THAT was the character who'd survived in the comics.

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  2. Is it just me, or does Professor Xavier look a lot like JFK in the "yaybo" panel?

    "Ask not what the Xmen can do for you, ask instead what you (as a mutant) can do for the Xmen"!

    Great post!

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    1. Hello there:- Thanks for the kind words. Xavier carries that sense of friendly certainty which a great deal of the advertising of the 50s and 60s did, it seems to me. In that, the public front of JFK certainly could be seen to lurk there :)

      And your point is a telling one. The X-Men got so little out of the relationship with Xavier compared to what they were risking that the whole business seems remarkably cult-like. The Avengers and the FF should have staged an intervention!

      Now that would have been an Event crossover that I'd have happily paid out for. I still would.

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  3. CJ HÃ¥kansson5 September 2012 10:46

    Excellent work over at sequart. I read your latest two with utmost fervor, since X-men managed to touch upon things that were important to me in my childhood and teens. Even later on in life, they hold significance.

    How do you see the developments in X-Men during the years? As you say, ot gets repetive. Which, fair enough, was what I wanted during the time. During Claremont's era, which to me was the epitomy of the book's underdog standing, the book was darker in its portrayal of intolerance and human behaviour, but also repetetive in the fact that there was no proper enemy to fight. Anything but other mutants, of course. Which is the same as letting the good minority people fight the bad minority within themselves, until the "bad" sort is rooted out. The bad sort always seem to be the most revolutionary one...

    Would be interesting to see you tackle the current X-Men series, which I believe is even more convoluted, than it's ever been. Instead of challenging the root of the problem, X-Men starts their own country, complete with WMDs, suggesting that rights cannot be earned or given by others out of respect or a belief in humanism, only taken. At the same time the X-Men elite doesn't once think of the fact that mutant Utopia has its own unfair (not to mention arbitary) hierarchy and class sedimentation. It is a more aggressive politic, but it still fails to criticise the root of the problem. The structures in society that benefit.

    I can't honestly think of many US pop culture texts that have dared to suggest that the entire system is flawed from its roots. Matrix (which had to hide behind a sci-fi allegory that for the most part seemed to be taken literaly by most movie goers), is one that springs to mind. Fight Club, is another. And that one took some pretty undeserving flak for being 'facist', for some reason. Starship Troopers and Robocop both criticise the systeme as a whole, but never get interpreted as much more than movies about people killing each other. Natural Born Killers touched on many daring things and so did Scarface, but they all have to hide themselves behind a profound flagwaving love for their country.

    Of course, there exists a strong underground movement and subcultures, but even they seem to have to express their love for the flag as much as they criticise the system. Being a socialist, anarchist or communist still is the utmost sin.

    Note: I'm not including The Invisibles, or the far more potent Outlaw Nation, here, because they are both written by outsiders looking in, which gives both clarity and protection, from the fact that their creators' are not depending on the system that they are criticising for their very survival.

    Note 2: Oh. Stupid of me. I forgot. John Steinbeck. His novels The Winter of our Discontent and Grapes of Wrath are by no uncertain means attacking the entire class system and the very idea of capitalism as anything but a corruption of ethics and the human spirit. Another fine example would be Charles Bukowski, but from a very individualistic perspective.

    So, I guess that sort of eliminates the point of my post, then.

    Ahem.

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    1. I just read A Confederacy of Dunces, and I'd add that to the list too- at first, it seems as if the protagonist would be fine if only he learned to live within society's rules, but more and more it becomes apparent that the entire system, from police to industry to academia, is corrupt, inefficient, and nonsensical at best. (I wonder if anybody ever did a graphic novel adaptation of it? It could be pretty great, though it would take a superlative artist to translate Toole's writing- Quitely could do it, naturally, as could Kirby, of course)

      This art is pretty fantastic, btw. The page where the X-Men are all recuperating and everybody's doing different stuff is masterful- using a smart phone to scan the page shows how many different scenes there are going on in that one page.

      Of course Prof X has to be an ineffective teacher- otherwise the X-Men would win their battles in a page! If they weren't in constant danger and only winning by the skin of their mutant teeth, Stan & Jack couldn't promise DANGER!! EXCITEMENT!!! Alas, one of the problems of serial storytelling, people can't be too smart or competent.

      Excellent piece though- Funny enough, Comics Alliance just did a run-down of the third X-Men movie, which has Xavier and Magneto become quite unsympathetic jerks. I never saw that one, and from what I heard, that was probably the right decision.

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    2. Hello Historyman:- A graphic adaptation of A Confederacy of Dunces? I might have said it was unlikely once, but after the adaptation of Auster's City Og Glass by Karasik & Mazzucchelli, I think that just about anything's possible.

      The pages are alive, aren't they? Even Kirby's layouts sparkle with life, although I do regret that he couldn't have stayed as a fully committed member of the X-Men's team. But then, it's hard not to regret that Kirby had been drawing just about everything during the period. A Kirby run of the JLA, or the Archie heroes? Yes please.

      I did see the third X-Men movie. I thought it no better and no worse than the ones before it and afterwards. I'm a terrible heretic, but I've never been particularly impressed by the X-Movies. There are moments which impress, but on the whole - whisper it - they're often quite close to 60s Batman TV when the fight scenes kick in ...

      Fun in places, but no cigar. But then, I'm that bloke who thinks the Dark Knight movies are hooey. Hooey with a deep growling voice, but hooey all the same ...

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    3. Oh man, I just read the A City Of Glass adaptation, Mazzucchelli is such a master at what he does. Between that and Asterios Polyp, funny enough, the piece of his I've least appreciated was Batman: Year One, I never quite "got" it - but I'd imagine a re-reading will probably give me deeper understanding of it.

      Yeah, I could watch Kirby draw a phone book. Every single panel that dude does is great. The Yaybo! panel has so much energy in it. I also noticed a fair number of the X-Men panels in your SeqArt piece had a disembodied fist in the foreground. Perfect way to emphasize the danger the X-Men were facing from mob violence.

      Like my earlier response to this post, I think that Stan & Jack's conservatism, as you call it, at least partially came from the necessary limitations of sequential storytelling in their era. If they ever made significant progress in getting the world to no longer hate/fear them, then the premise of the book would become obsolete, like Spider-man becoming a full adult (some people said).

      And in a situation where these books were aimed at children, issues repeatedly following the same format of "world hates X-Men, X-Men save one dude, that dude likes them now" makes some sense.

      Not to say they couldn't have snuck something like "A person's a person, no matter how small" in there instead of "A person's a person, as long as they save another person's life from peril at great danger to themselves". But even Lincoln had some not-very-savory-in-today's-world things to say about Blacks, if I recall correctly, so we kind of gotta take what we can get from our groundbreaking heroes...

      Anyway, I'd say a really good writer could take the story through the transition of "world hates us" to "world doesn't hate us as much" in a smooth, sequential way, but just as Batman will never get over his parents death (except in The Dark Knight Rises... Spoiler?), the comic world will never understand the X-Men.

      I saw the first two X-movies in high school, so my standards were somewhat different, and the metaphors totally worked for me, as I was that age. My mom liked it too, I think - and hey, the 60s Batman TV show was pretty great at times too! I think the Dark Knight is masterful, in terms of integrating conceptual and philosophical ideas into an action movie, but I haven't seen it for a few years, and TDKR's... mediocrity? ... has soured me on the franchise a bit as well.

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    4. Hello Historyman:- I suspect something of the appeal of Batman: Year One has been obscured by the passing of time. Like Watchmen, it's been "homaged" to death, which is a shame, because it's a fantastic piece of work. (Well, apart from Miller's traditional problem with the climax of his tales.)

      I totally agree with you about the limitations of the time and how it must have impacted on what the X-Men expressed. Without knowing what Lee and Kirby believed as individuals, it's impossible to say anything other than there were radical and conservative aspects to the comic, and that the radical ones were as inspiring as the conservative ones seem quite typical of the period. It was never my intention to suggest that anything other than what we see was to be expected of the period. I hope my memory serves me well when I recall writing that it would be ludicrous to do so.

      I'll be interested to see where the X-Books go now that we're almost through AvX. With BMB kicking off his fresh start, there'll undoubtedly be interesting choices being made. I've little interest in the X-Men as superheroic soap-opera, but I'm always interested to see where the book's politics lie at a particular moment. And America is at an interesting point - shall we say - in its politics .....

      The 60s Bat-show is always fun in 30 second blips. More than that and I tend to feel the same gag is getting hammered to death. And I've no objections to the X-Men movies. Parts of them are fun, they pass the time. Not to my taste, but then, why should they be :) They and the Bat-movies seem to have done very well indeed without attending to my idiosyncratic tastes. Huzzah.

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  4. CJ HÃ¥kansson5 September 2012 11:10

    By the way, I recently read a modern X-men comic by... uh... Mike Carey (?) that went into the many horrible deeds by Charles Xavier. It made me laugh, actually. As poignant as the story was, I found it rather self-defeating to, within the same narrative context and by the characters who share the same world, judge the deeds of characters that acted fifty years earlier from very different constraints than their own. While society in MU hasn't officially changed, since no time has actually passed, our society has. Here, continuity rears its ugly head. Are we supposed to believe that the X-Men have been through all the stories told, in just a few years? If you say yes, if you even acknowledge some of those old stories, the whole boat will sink. Some things are just better left alone. Not to mention the very fact that most heroes have acted rather questionably. Especially today, when they kill and torture left and right.

    Criticising and reflecting the character's ethics, as you do, as a reader, makes perfect sense and should indeed be done, not just by you, but everyone. Being critical towards what you are told, is not just a right, but your damn responsibility as a citizen in a democratic society.

    And there I got sidetracked.

    What my comment was supposed to be about was that I've always interpreted Xavier's selfishness and megalomanic style, as how the patriarch of the family, indeed of the entire culture of that time, was supposed to act. Looking at the absolutely immoral and insane deeds Reed Richards or Niles Caulder, it's hard to not see them as people ready for Arkham Asylum, but comparing them to the gender ideal of the time, their behaviour makes a little more sense.

    Or so, I delude myself.

    Strangely, as a kid, I was at times very angry at these characters (without being able to pinpoint why) and when Wolverine showed up, questioning authority and openly challenging the patriarch and his 'son', I had a new hero.

    Unfortunately, that hero later turned into a gen x hyper-cool massmurderer...

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    1. Hello CJ:- Thank you. The X-Men in their original form, and particularly the Roth and Adams years, were of real importance for me as a nipper.

      I’m thinking of having a crack at a third piece on the X-Men after Lee left, when things really did – for all their charms – fall apart for several years. But in essence, I think you put your finger on the problem, which is the social radicalism needs to be matched with political radicalism in order for the book to maintain any sense of momentum. The problem with that, of course, is that radical criticism start to become radically political with a capital P and that’s a tough thing to do in the marketplace.

      I think you might some aspects of the most recent X-Men books interesting and enjoyable. Certainly Kieron Gillen’s Uncanny X-Men has had some thought-provoking and boundary-pushing tales, with this year’s issues 14 to 17 well worth tracking down. There’s a considerable wad’o’politics there, and that’s especially so in #14, which I’ve got down as one the best super-books of the year.

      I hope you’ll forgive me if I link to a few posts which try to deal with the issues you raise. Not so you’d do any more than scan them – if even that – but just to show that I share many if not all of your concerns.

      Another example of a fine recent X-Book: http://toobusythinkingboutcomics.blogspot.co.uk/2011/07/zeeshan-kieron-gillen-jamie-mckelvies.html

      And my response to the whole Utopia, we’ll-break-the-law-when-we-want-to arc, which does … end up with me getting somewhat testy with the whole thing;

      http://toobusythinkingboutcomics.blogspot.co.uk/2010/11/x-civics-101-13-things-i-learned-from-x_22.html
      http://toobusythinkingboutcomics.blogspot.co.uk/2010/11/we-hold-these-truths-to-be-self-evident.html

      I’ll have to think about your point about radical pop culture texts. It’s such a huge undertaking that my mind seems to want to start with the super-book itself. How many truly truly radical superhero comics are there which deliberately, rather than ineptly and/or accidentally, suggest America’s flawed at its root? It’s not a belief which I share, although that doesn’t mean that I feel democracy in America or Britain is currently in a good place at all.

      Mmmmmm. Truly radical American super-books. Now there’s a Wednesday List or 4 …

      I think the trick with continuity is – as I’m sure everyone would agree – to allow readers to believe that just about everything which was published happened without having it unduly constrain present-day storytelling. A tough call, of course, but the best superhero writers – I’m thinking of examples of Waid, Simone and Cornell’s work here – pull that off. I’ve not read the work by Carey you’ve referred to, though he’s a writer I’ve a great deal of time for. (Unwritten is always worth picking up.) But to write a series about “deep” continuity must be a poisoned chalice. Great if the author’s really into the job, terrific is it comes off, and yet, it’s a job and a half and no mistaking.

      It’s true that we can look back at the patriarchal authority figures of the early Sixties in just about anything of popular culture and find figures that seem anything other than wonderfully pure’n’good. Caulder probably comes out of the stories of the period with the greatest credit, which is ironic, since it was the Chief who was “outed” by Morrison as a monster in the 90s :) I think Waid did the best job of redeeming one of these characters when he showed how Reed Richards entire life post-FF#1 has been an attempt to make up for his appalling arrogance. That was an example of a continuity implant which kept the original stories and yet updated their moral core for a later decade.

      Ah, Wolverine. Psycho and headmaster. All things to all consumers, and therefore, I fear, often nothing at all. A shame …

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  5. I have to admit, I tend to think that the recent morally... ambiguous, let's say... characterisation of Xavier that has been developed by writers like Jane Goldman (superbly), Mark Millar (quite well) and Ed Brubaker (a little awkwardly) is firmly rooted in the character's Silver Age portrayal. I know values dissonance is at play, but Xavier was still a cad by any stretch.

    I suppose, though, it's an inevitable plotting crutch when his power should be able to resolve just about any plot in thirty seconds. Scott: "Professor! Toad's acting up!" Xavier concentrates. After a moment: "No he's not! He's now the school's janitor." Scott: "Okay."

    Although, the creepiest thing about early Xavier was, for my money, his Jean Grey crush. He goes on about how his legs are the only thing keeping them apart. Not the fact she's (a.) barely legal and (b.) his student. I know romantic angst is an easy way of fostering melodrama, but even Lee and Kirby must have figured out there was something very wrong with that depiction. It was eventually downplayed, but those thought-bubbles are freaky. More freaky because they're not meant to come across as pervy and stalkerish, but sweet and earnest.

    It actually makes the ruse you mentioned even creepier, because he's effectively feigning illness to make Jean Grey, his crush, his nurse.

    That said, I am fonder of Silver Age X-Men than most, despite its obvious flaws. Nowhere near as good as Spider-Man, but still fun.

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    1. Hello Darren:- There's no doubt, the Silver Age Xavier is - to be polite and respectful to the dame - a super-creep, and a scary monster too. As such, the only problem with the modern-era approach is the lack of consistency where his character is concerned. Yet, given how many sins the Silver Age stories gave him, that's only to be expected. There's so many possible interpretations of who he is possible, and they're all to a large degree negative ones.

      The Jean Grey crush is a problem, isn't it, and I'm being polite there. It was a situation which was paid far less attention to them, and indeed frequently romanticised and sexually lauded in the pop culture of the day. From Sabrina to Good Morning Little Schoolgirl, the issues of respect and power which we'd now take for granted - and quite bloody rightly, I should add - were often viewed far differently. I assume that the incredibly swift disappearance of those desires reflect that fact that Lee and/or Kirby recognised swiftly that, more sympathetic culture or not, it was the wrong road to be on.

      But yes, as I realised when I was blogging the above, and as your comment makes me shudder over even now, Xavier was getting a great time of time and sympathy from Jean while pretending to be so badly hurt.

      He's a cad.

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