Uncanny X-Men #11 (SPOILERS/DISCUSSION)

[AJpyro]

https://twitter.com/HackinTimSeeley/...81297111875592

Guys, look at what Maestroneto found.

Honestly considering its Apoc, not that much of a surprise.

[Rosebunse]

Honestly considering its Apoc, not that much of a surprise.

But that's what makes it so funny!

[nx01a]

https://twitter.com/HackinTimSeeley/...81297111875592
Guys, look at what Maestroneto found.

Kitty and Dazzler in an anti-establishment sex cult with a woman who becomes drugs, the world's best voyeur, and two guys who can shapeshift?
Rule #34, indeed.

[Marvelman]

https://marvel.fandom.com/wiki/A_%2B_X_Vol_1_13

Thanks! Although I did eventually figure this one out!

I do wonder if Cap's changed attitude towards Cyclops has to do with Cap at the time of Avengers vs. X-men actually being Nazi Cap?

[AJpyro]

But that's what makes it so funny!

Kitty and Dazzler in an anti-establishment sex cult with a woman who becomes drugs, the world's best voyeur, and two guys who can shapeshift?
Rule #34, indeed.

I don't think we're ready for such groovy times.

[Rosebunse]

I don't think we're ready for such groovy times.

I'm ready. Let's do this! I want this book and I want it now!

[FluffyCyclopsRLZ]

I always thought that Apocalypse doesn't really see himself as an enemy to the X-Men. Just a friend who tries to hurt them to help them better themselves.

But then he saw that circus-act-merry-go-round battle during Disassembled and now hates them for realz.

He should have a tea with Scott and Logan after Age Of X-Man is over

Apocalypse: "Oh well, so much for that sex cult in Dreamland. Wonder what these other idiots have been doing in the meantime. Surely, it can't be as ba..."
Cyclops: "Optic Blast of Sorrooow!"
Wolverine: "Fire Claws of Raaage!"
Cyclops: "Jeeeaaaannnn!"
Wolverine: "Jeeeaaaannnn!"
Apocalypse: "............................"
Apocalypse: "Really wishing I hadn't been brought back from Limbo, right now."

[chamber-music]

Honorable mention to Chamber being the most British person that ever lived.

They sure laid the British stuff on thick.

[Rosebunse]

But then he saw that circus-act-merry-go-round battle during Disassembled and now hates them for realz.



Apocalypse: "Oh well, so much that sex cult in Dreamland. Wonder what these other idiots have been doing in the meantime. Surely, it can't be as ba..."
Cyclops: "Optic Blast of Sorrooow!"
Wolverine: "Fire Claws of Raaage!"
Cyclops: "Jeeeaaaannnn!"
Wolverine: "Jeeeaaaannnn!"
Apocalypse: "............................"
Apocalypse: "Really wishing I hadn't been brought back from Limbo, right now."

They are the reason the poor guy has a sex-cult now. Those bastards!

[spirit2011]

Kitty and Dazzler in an anti-establishment sex cult with a woman who becomes drugs, the world's best voyeur, and two guys who can shapeshift?
Rule #34, indeed.

hummm we need a R rated version of this

[Rosebunse]

hummm we need a R rated version of this

Aren't Trevor and Evan underage?

[Angrel-San]

This Was GOOD. I mean REALLY GOOD.

When Scott says "&%$ you Rogers. I was like YEAH &*%$ You Rogers!!!!

GO SCOTT!!

#ScottwasrightallAlong.

Agreed.

This was HYPE!!!

And I'm not kidding when I say that this was the best issue of Uncanny X-Men EVER!!!

Bravo Rosenberg. *claps*

[Big Joe]

They sure laid the British stuff on thick.

I'm British. That is not how anybody in the UK talks. It's like Dick Van Dyke in Mary Poppins!

[Strong Girl Daken]

This was a miserable and masculine issue smh

[FUBAR007]

There certainly appear to be a fair number of people on here who think their ideas for stories, and ability to write them are better than the professional writers and editors employed by Marvel.

A few of them probably can.

I wonder, why are these people not actually writing for Marvel?

1) Because Marvel doesn't accept unsolicited story pitches. You don't call them. They call you.

2) Because Marvel doesn't cultivate grow writing talent anymore; they only hire it. In the old days, you could get a job at DC or Marvel as an assistant editor or other entry-level gig, learn the business a bit, and start writing inventory and back-up stories to work your way up. Once you had a decent resume and some relationships with editors built up, you could go full-time. Those days, though, are over.

Now, if you aren't established already, be it as a novelist, a screenwriter, or an indie comics writer, there's no way in. And even then, you still can't just pitch ideas to Marvel--they have to reach out to you first. There's no bottom rung to start out on. There's not even a ladder.

3) Because, unless you're an established star like Grant Morrison or Brian Bendis, the pay in comics today is BAD. Like, in many cases, not enough to live on bad. Reasonably, even quite talented writers and would-be writers will stick with a day job that pays decently and has a ladder up.

4) Even if they do manage to get a job with Marvel, they're not going to have creative control of any titles they write. They'll have to work within the diktats of editorial who, in turn, have to work within the diktats of Marvel corporate (i.e. marketing, licensing, etc.).

Is it because they don't want to write? Is it because they don't want to be constrained by editorial? Is it because Marvel are a bad employer? Or is it actually because they aren't actually that good? Perhaps the writing ought to be left to the professional writers.

In order: in some cases, but not all; in some cases, but not all; most people her have no clue how Marvel operates, but, yes, Marvel's record as an employer is mixed at best; in some cases, but not all.

RE: professional writers--writing is a talent, not a skill. You can be taught how up to the level of using correct grammar and stringing coherent sentences together. Beyond that, being a truly good writer is like being a truly good singer, you've either got the knack or you don't.

That said, becoming a "professional" writer has only a tertiary relationship with being a good writer. Plenty of godawful dreck gets published and even sells well (see: Fifty Shades of Grey). Bluntly, getting published and becoming a professional writer is matter of luck and social connections. It's not something you can earn your way into. You either have to know an industry insider who can get you looked at or be lucky enough to get noticed. That's it.

I am actually convinced there are people posting on here who don't like comic books in general, and X-Men comic books in particular.

Bullshit. If they didn't like comic books or the X-Men, they wouldn't be here. They're here because they care. They care because, at some point, these characters and their stories resonated with them and got them emotionally invested. They're upset and negative because they just don't like the X-Men comic books being published right now.

As for the reactions to the use of particular characters, I swear some people posting on here actually think these characters are real and that they know them personally. These are fictional characters, they are used to move the stories forward, their fictional world does not revolve around how you want them to be portrayed, but by how the writer wants to portray that world. He will use the characters he sees fit to use, in the way he wants to use them in the way that he wants to get his story across. I don't think something is badly written because it doesn't fall in entirely with which characters I want to see portrayed, nor is it badly written because a character is portrayed differently from the way I am used to him/her being portrayed, or how I want them to be portrayed. That isn't the writer's problem, that is the reader's problem.

Nope. It's the editors' problem. It's the editors' job to ensure consistency and continuity in characterization, that the characters portrayed within the bounds of what makes sense given their history.

Writers on commercial franchises are work-for-hire. They aren't creating their own world. They're playing with someone else's toys. If they're getting it wrong, it's on the editors. Can they please everybody? No. But, they can aim for a generally obvious and baseline level of consistency that keeps the characters recognizable and in-character.