Wednesday, 31 August 2011

X1C (v2) #11: "...Canon"

(First-Class Post-Modern?)


Wait, what?

I really can't decide what to make of this one.  It seems pretty clearly to have been born from the comparatively recent idea that because people love Deadpool, and because Deadpool is as likely to piss against the fourth wall as he is to lean against it, that must mean that anything absurdly self-referential must be a good thing.

Well, maybe it is.  I've never been too sure of that, though.  Much as I love a lot of Deadpool stories, I think they work only because we understand what we're going to get right from the start.  Wade Wilson's adventures should not be read by those without a sense of humour about their love of comics, or who (and consider the source here) take the concept of continuity too seriously.

All of which is fine, so long as it's compartmentalised.  But letting Deadpool lose across the wider Marvel universe (he showed up in Messiah War, for fuck's sake, the most ultra-serious po-faced bloodbath of a story imaginable) has had the effect of forcing pretty much everyone to be pulled out of the narrative, whether they wanted to be or not.

"...Canon" has a similar problem.  At heart, it uses a similar conceit to the She-Hulk stories of the mid noughties, namely that Marvel comics are actually historical documents within the 616 universe.  The "Continui-Teens", as our new friends call themselves, have access to "docoments" from the future, and use them to erase continuity glitches - in this case, those arising from the strange effect the catalysthad upon the nexus of realities within Man-Thing's swamp, which apparently includes allowing Mysterio to create illusions of Marvel villains to use as minions, including those who haven't appeared by the the 1960s.

It's all very funny (well, somewhat chucklesome, at least), and I'm not even slightly against giving die-hard comic fans the occasional good-natured knocking.  I just have something of an aversion to picking up a comic that's determined to remind me that not only are comics not real, but that there's no point in ever investing in them.  That's a little too cynical, even for me.


This story takes place over the course of a few hours.  The fact that Cyclops is missing at least suggests that this issue is intended to take place more or less at the same time as the last one.  Presumably Cyclops is en route back to the mansion, and the other X-Men have only just recovered from their unfortunate experience with Montezuma's revenge.  Other than Angel, apparently - I guess his spoiled rich-kid system just couldn't handle the strain.


Sunday 16th April, 1979.



Contemporary Events

Alexei Kosygin attempts to combat Soviet economic stagnation by introducing a series of reforms designed to centralise the economy.  These reforms are never fully implemented, and are generally considered a failure.

Standout Line


1 comment:

  1. Well, Deadpool definitely fits in Messiah war. Hell his first known boss is Mr Tolliver a/k/a Tyler Dayspring. I know he SOUNDS like a joke & acts like a goof, but the true blood Wade Wilson (given by the Wade trinity of Kelly-Nicieza-Simone) is disturbing. Whenever someone says that Eddie Brock as an anti-hero is weird, I say Deadpool is even weirder! Don't forget that Wilson is for the most part a merc, you pay him to off people voluntarily. But I let my drawing do the talking (of course if you ever have enough of these, I 'll kindly not post them in comments, it's your blog after all & I know it can get sort of annoying...)