Listen to the episode here.
Tag Archive for Chris Bachalo
In which X-Men Unlimited begins; Cyclops’s powers remain wildly inconsistent; electromagnetic fields are the gamma rays of the early ‘90s; Siena Blaze should probably take some science courses; Magneto is a complex dude; and the Marvel Universe could really use adequate mental healthcare.
- X-Men Unlimited
- Several other Unlimited series
- The Gregorian calendar
- Chris Bachalo
- Storm’s-eye view
- Electromagnetic fields
- Diverse approaches to problem-solving
- One of Cyclops’s many issues
- An unfortunate encounter with Magneto
- A memorial
- Magneto, his origins, and his many pseudonyms
- The Victor Von Doom paradox
- A terrible plan
- Physical mannerisms in comics
- An unfortunate encounter with Magneto, revisited
- Mental healthcare in the Marvel Universe
- What happened to the Soul Sword
NEXT EPISODE: FATAL ATTRACTIONS
Special thanks to consulting X-Pert @beccastareyes!
Check out the visual companion to this episode on our blog!
Jay and Miles X-Plain the X-Men is 100% ad-free and listener supported. If you want to help support the podcast–and unlock more cool stuff–you can do that right here!
Hi. Rachel here.
I talked some about our panel of the week in this week’s video reviews, but I think it’s a panel whose effectiveness is much better illustrated via static images, so I’m posting this here as a supplement.
This is a panel that grabbed me immediately. It’s the kind of beat I look for in comics–the stillness where you often find the most powerful and subtly significant moments in a story.
Here’s the panel, in isolation. It doesn’t look like much on its own, right?
Here’s the full spread it’s part of. Pay attention to how people are standing: this moment is all about body language.
Can you see it yet? If you’re still having trouble, here’s a hint: Follow the hands–Cyclops’s, in particular.
See what I mean? Is your heart breaking a little right now? It should be.
I would love to see the script for this spread–whether that moment was written, or if Bachalo improvised it; and how it was described relative to how it was drawn. As is, it’s one of the most powerful emotional beats of the story–if you know what to look for.
The fallacy that comics are easy and simple to read is dependent, I think, on the idea that reading is a skill specific to written language. In fact, the language of comics–that integration of visual and verbal, the ways static images can convey and evoke movement and passage of time and a thousand other minute nuances–is incredibly, exquisitely complex and rich. They’re not just illustrated stories. They’re their own discrete medium.
And it’s when creators–and readers–understand those things that comics can really, really get good.