XMen writer kierongillen sets the stage for the bleak future Marvel Universe of Sins of Sinister.
X-Men villain Mister Sinister is about to drag the entire Marvel Universe into a hellish future. Sins of Sinister begins in January, thrusting the Marvel Universe first 10, then 100, then 1000 years into a bleak timeline. The universe is its heroes are changed, with some new faces, and some iconic heroes like Captain America remade in Sinister's image.
Then it all builds towards Sinister's plans, which are an enormous climax at the end of the first year, issue 10, and then this big status quo. In my initial pitch, I left that open because I knew this is a big enormous thing that's going to absolutely define the book going forward. I don't want to say what I'm going to do yet because that's part of a conversation.
I can see why it would feel like that. The only reason that I would push back a little about that is that I know what I'm doing later [laughs]. I think the argument might apply better to that. I think this is very much dancing with it, especially with how in Immortal we start with two people sitting on a bench and having a conversation. I'm very explicitly in conversation with what Jonathan did. And that's kind of where some of it came from, I think.
My core idea goes all the way back to when I rejigged him. I positioned him in the 19th century, his origins, very clearly, he is a creature born of 19th-century philosophy. He's a British colonialist. He is somebody who sees genes and views them as a resource to be exploited. Most X-villains are quite anti-X-Men, and Sinister is not. Sinister really thinks the X-Men are important, he just thinks that people don't matter.
Immortal X-Men #9, I think, is obviously high camp, over-the-top. As you say,"The X Deaths of Moira VII," it's this awful, deconstructionary, brutal joke. It's Deadpool with a Ph.D., that issue. But you still get to see Sinister killed 9 times. Sinister is the guy who comes out worst. The opening of the trailer is Sinister's going in the pit. We've seen that preview cover, we know it's going to happen, and he goes in the pit. They've defeated him. That's after everything's been brought down.
And then 1000 years, everything's gone berserk. It's warring empires of mutantkind filling the galaxy with screams. Warhammer 40,000 is my go-to comparison for it just because it's so operatic. I think that's a pretty good one. The way you're talking about Sinister, it sounds like this is just the most epic, generations-long pratfall in motion because, as you say, it never works out the way he thinks. It seems like this is him on his highest high, which means there'll be a long way down.
But an alternate dimension story, an alternate timeline, is often rooted in the past. Age of Apocalypse is,"Something happened in the past and now we are here and it's the same time." Ours is just forking into the future. It's more like sliding doors but one door leads to February 2022 in the Marvel universe and the other door leads to hell.
I think honestly you hit the real answer second. Yes, they did it best first. That means that they get ownership of it. But at the same time, thematically speaking, the X-Men is about the future. That's the"These are the children of tomorrow" aspect. In other words, that's always asking,"How will the world end up being?"
I must say it is more being playful with the core iconography of the X-Men. I don't think Immoral X-Men says anything, particularly, about the mutant metaphor. What it is useful is in terms of the specific awfulness of the current Krakoan story.
I don't know if you intended it this way, but when all the revelations about Krakoa first came out, there were a lot of X-Twitter corners that were like,"The X-Men are all supervillains now." It almost feels like you're saying,"Let me show you what that would actually look like." I would love to just say"yes" and that's my whole answer, but that's not my style. I must admit, I can't remember exactly where in my Immortal pitch I wrote what I'd written because there's a variety of stories going on. People know my Sinister -- let's call him Mutant Sinister -- his plan. We know part of it, the Moira part. We don't really know his other plans because what he's trying to do, that's still obscured.
Sinister, bless his cotton socks, being around in the '90s -- he was around before but as big as he was in the '90s, and having been fairly prominent in various other media forms, people at least know him, and it was kind of like,"People know him, we must be able to make him work." This is a look behind the scenes and the sheer practicality of writing a comic book.
Krakoa says,"What's important about you is you're a mutant. We will welcome you as long as you have an X-gene." If you really want, you're saying,"Only having an X-gene matters," and Sinister agrees with you. Sinister thinks the X-gene is the important thing about every mutant. In the classic Batman-Joker way, there's a really nasty question implicit in Sinister as in, Sinister agrees with you but he takes it to a different end. That asks hard questions.
When I was trying to write it, I was trying to write a quite serious geopolitical X-Men and it didn't always end up like that. My intent was, I was quite inspired by a lot of the 2010 riots in the UK and basically, people trying to find leadership in those sorts of places and not a lot of that reached the page just because of the nature of a Marvel ongoing comic.
Yeah, it's definitely for thematic resonance. People say mutant metaphor but they mostly mean mutant allegory, and that's where it trips people up because Xavier isn't Martin Luther King and we all know this, but the second you say allegory, it becomes that, and it's not that. It's leaders of a different character.
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