Marc Guggenheim teases more about the Gold team’s off-planet trip!

November 22 brings the beginning of a new story arc for Kitty Pryde’s team as X-MEN: GOLD #16, from writer Marc Guggenheim and artist Ken Lashley, will have them make their way into a piece of Fantastic Four mythology, The Negative Zone! A few weeks later, X-MEN: GOLD #17 will further this new adventure, as the team travels to a mysterious new planet called Dartayus.

We caught up with Marc to talk about how this arc changes things for the Gold team and why sending the X-Men into space is so much fun!

Marvel.com: You’ve said before that “The Dartayus Odyssey” is your attempt to do a great “X-Men In Space” story. The core themes of the mutant mythology is rooted in the exploration of otherness, so why do you think the franchise has always done so well at these space opera excursions?

Marc Guggenheim: Well, I think I said I wanted to do an “X-Men In Space” story. I don’t know if it will be “great.” I certainly hope it will be. As for why space-set stories work so well for the X-Men, I’m not entirely convinced it has to do with the exploration of otherness simply because those themes haven’t historically been explored in the space journeys that the X-Men have gone on. I’m sure there are exceptions, but I’m thinking about the Brood Saga, The M’Kraan Crystal Story, The Rise and Fall of the Shi’ar Empire, etc.

For my money, the reason space is such a great venue for X-Men stories is because exploration is an element of the X-Men franchise.

Marvel.com: Were there any big touchstones in the genre that inspired the direction for this arc?

Marc Guggenheim: World-building was key. I was inspired by “Dune” in that regard. I wanted the planet, the people and — most importantly — their belief systems to be as well-realized as they were in “Dune” (the movie — I confess to never having read the novels).

Marvel.com: How does X-MEN: GOLD #17 escalate things within the arc?

Marc Guggenheim: Well, X-MEN: GOLD #17 sees the X-Men arriving in the Negative Zone on the planet Dartayus, so it’s a pretty big escalation. We also learn what’s happened to Kitty and Kurt in the wake of the events of X-MEN: GOLD #16. And #17 ends with a fairly dire cliffhanger moment for Kurt.

Marvel.com: How would you say being in these foreign environs affects the different members of the team? Who adapts the best? The worst?

Marc Guggenheim: There’s an argument to be made that Kurt gets the worst of it, given the end of Issue 17. But in Issue 18, we’ll be revealing — spoiler alert — that Ink has gotten himself some new tattoos — which, for him, means new powers — in preparation for the trip and the reveal of those is a hoot.

Marvel.com: You mentioned before how Annihulus and Blastaar don’t appear in The Negative Zone in this arc, but are there other non-X-Men villains from other corners of the Marvel Universe you’d love to set the team up against?

Marc Guggenheim: Oh yeah. One of my favorite X-Men stories was when they fought Doctor Doom. I love whenever the X-Men can face antagonists who aren’t mutants or in their normal canon. I just think that’s fun.

Marvel.com: Ken Lashley is such an incredible artist. Can you tease the most insane thing you’ve asked him to draw in this story?

Marc Guggenheim: Probably the last page of Issue 17. It’s a crazy splash page involving Kurt and he just nailed it.

Marvel.com: If you could give the readers one word to sum up why they should check this story out, what would it be?

Marc Guggenheim: This story has big, operatic, widescreen action, but we’re building to some very significant character moments in this arc — particularly for Kitty and Peter. There are also some developments for Rachel and Logan in this arc which lay the groundwork for two game-changers to their characters in issue #21.

“The Dartayus Odyssey”, from Marc Guggenheim & Ken Lashley, begins November 22 in X-MEN: GOLD #16 then continues on December 6 in X-MEN: GOLD #17!

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Marc Guggenheim sends the squad on a trip to the Negative Zone!

No rest for the weary—on November 22, “The Negative Zone War” starts to simmer.

Having teamed up with their Blue counterparts to take on all comers in the “Mojo Worldwide” storyline, the groups parted ways again—and now the Gold faction of mutants have started gearing up for a perilous journey to the planet Dartayus. Next month, writer Marc Guggenheim and artist Lan Medina prepare to send the crew to the infamous Negative Zone in X-MEN: GOLD #16!

We spoke with Guggenheim about the long road ahead.

Marvel.com: What drew you to the Negative Zone as the setting for this story?

Marc Guggenheim: You know, back when I first started breaking out X-MEN: GOLD, I knew I wanted to do a story that evoked the great “X-Men in Space” stories that I grew up reading and loving. I loved the “Brood Saga” and “Rise and Fall of the Shi’ar Empire,” and I definitely wanted to do one of those stories.

At the same time, no one can top those stories, so as I started to think about other space-like venues, the Negative Zone occurred to me, just as something that makes things a little different. I’m a big FANTASTIC FOUR fan—and a big fan of the Negative Zone—and I just thought, “Oh, I’ve never seen that before. That might be interesting.”

That said, we do go to the Negative Zone but we do not meet the normal denizens of it. Annihulus and Blastaar do not appear in this particular arc.

But it feels like an interesting environment, the planet of Dartayus. It actually got its name from one of the visual effects artists that I work with on a television show that I produce.

Marvel.com: Ha! How’d that happen?

Marc Guggenheim: I always review the visual effects. I get the visual effects basically as separate shots and each shot has a title card and it indicates the name of the artist. I saw Dartayus and I thought, “There’s no way that’s a real name.” But, real or not, I thought, “I have to steal this for something.”

So thank you Dartayus, I really appreciate being able to use your name.

We get a chance to introduce the readers and the X-Men to a brand new planet, a brand new culture. I love to play with all the toys in the toy box, but at the same time I like to occasionally add some toys of my own.

In the case of Dartayus, we actually got a glimpse of it in X-MEN: GOLD #12. In that issue, we see the events from the perspective of Kologoth, this mutant who comes from planet Dartayus. In fact, if everything goes as planned, issue #12 will be published in the same trade paperback as issues #16 through #20, which constitute the whole of “The Negative Zone War.”

Marvel.com: Working with the artist Len Medina, how did you realize the look of the Zone and the planet? How does it look similar to, or different from, the Negative Zone we’ve seen before?

Marc Guggenheim: I have to say, the Dartayians came from four different artists. Adrian Syaf designed Kologoth. Luke Ross, the artist for issue #12, came up with the look of the Dartayian military and a lot of the iconography of the populace. Lan Medina designed their ships. Ken Lashley, finally, crafted a character who acts as basically a god of Dartayus, called Scythian. It became a real labor of love for four separate artists, all contributing different elements to the design of this whole Dartayian world.

It feels really cool—if it takes a village to raise a kid, it takes four artists to create a planet.

Marvel.com: You mentioned Ken Lashley—he illustrated the cover for issue #16, which shows some great new uniforms. Did Ken create them himself? Did you two collaborate on that?

Marc Guggenheim: It came about out of a couple of different things.

Editor Mark Paniccia had planted a seed in my head that maybe at some point all the Gold members get the same costume; we go back to the original X-Men uniform conceit. It ended up falling away for a variety of different reasons but it always sort of stuck with me.

This happens in issue #17—in true comic book fashion, you get a glimpse of the new costumes on the cover before you see them in continuity—when the X-Men go to the Negative Zone. When they go to Dartayus, the seed that Mark planted sprouted in my head as this notion of, “You know, it could be interesting if they had these special uniforms to function in the Negative Zone.”

So with that idea in mind, we handed it over to Ken who, in great Ken Lashley fashion, came up with a wonderful design that feels new and iconic, but not overwrought. I am very partial to clean, gimmick-less costume concepts and I thought Ken came up with something really, really cool.

Then, colorist Frank Martin developed a color scheme that, again, felt very timeless and original. That red looks really stark; it’s not really a color that you usually associate with the X-Men, so that feels really cool.

It was also, quite frankly, a really sneaky way to get Old Man Logan into a costume.

Marvel.com: So most of issue #16 takes place on Earth before they head to Dartayus.

Marc Guggenheim: Yes, X-MEN: GOLD #16 takes place all on Earth and then in #17 we go to the Negative Zone—spoiler alert.

Marvel.com: This book will also deal with the Mutant Deportation Act, which has been a story element for a few issues now. Given that the X-Men have always reflected and commented on the real world, did you aim for that effect with this facet of the series?

Marc Guggenheim: You know, I’ll be honest, there’s this sort of undercurrent of fan reaction—not just limited to comics, I see this in television all the time—of “Don’t get into politics, I just want to be entertained,” or “Don’t have your stories reflect what’s going on in the world, we just want to be entertained.”

I have a fundamental problem with that. In large part because I came of age in a time when television shows dealt with the issues of the day and comic books, quite frankly, dealt with the issues of the day. As a young kid, that’s how I learned about that stuff. I didn’t read the New York Times; I read UNCANNY X-MEN. I think some of the stories that Chris Claremont wrote dealing with racism—not just in Uncanny, but also in NEW MUTANTS—were profound. They really helped shape my thoughts on the subject. I kind of feel like when someone says, “We just want to be entertained. Keep real life events out of your work, out of anyone’s work,” that’s really lowering the discourse.

If I do my job correctly, the people that want to be solely entertained will be entertained. I’m not getting on any sort of soapbox in my writing. Theoretically, the politics should be like the adult humor in Pixar films—if you’re an adult, you get the reference. That’s an extra layer—that goes right over a kid’s head, but they still enjoy the movie.

I will say—that being said—on one page in issue #16, Kitty confronts Lydia Nance, who, throughout the book, has been, basically, an anti-mutant bigot. I’ll be paraphrasing my own writing here, but Kitty says, “Can you just clear something up for me? It is all I can do just to get up in the morning and go about my day and live my life. I don’t understand how people can find the time, quite frankly, to be bigoted. To find the emotional energy to be bigoted. Isn’t just living your life enough without getting into how everyone else lives their lives? Or who they are? Or how they were born? Don’t you have bigger things in your own insular life to deal with?”

I was basically speaking for myself through Kitty, but I don’t think that would be a particularly divisive or even revelatory point of view. I think, at the end of the day, you are right: no matter what era, the X-Men have always been about divisiveness versus inclusion. I think if you do an X-MEN book without that, it’s like doing a FANTASTIC FOUR book without the wonder. Or a SPIDER-MAN book without the humor. You’d lose a critical element of what makes the X-Men the X-Men.

Marvel.com: Any closing thoughts to leave readers with?

Marc Guggenheim: I have to say, I’m really excited about #16. It became one of those issues that felt like, for me, everything came together as a writer.

I think one of the challenges you face as a writer can be balancing—in 20 pages—subplots and character development and action. I just felt very pleased. I hate interviews where the writer just pats themselves on the back, but this issue felt like everything just came together from a writing perspective.

Then Lan came in and I just felt like he leveled up his art. It already looked really, really good, but some pages in issue #16 are simply stunning. One of the nice things about having rotating artists on X-MEN: GOLD has been that, despite the rotation, these artists are not doing their first issue; they’ve been doing the books for a little while now. Lan has been a great example of someone who drew on X-MEN: GOLD before, then came back in and just seems like, “Oh yeah, I got this.”

Prepare to return to the Negative Zone with X-MEN: GOLD #16, by Marc Guggenheim and artist Lan Medina, on November 22!

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Writer Marc Guggenheim peers inside the head of the terrifying TV tycoon!

After years of drawing the X-Men to his own nightmare realm, Mojo has decided to mix it up and swing by New York City instead. On October 18, Mojo takes Manhattan in X-MEN: GOLD #14!

Written by Marc Guggenheim with art by Marc Laming, the mutant crossover continues as the Gold team fights alongside their X-MEN: BLUE counterparts in a war with Mojo, the Brood, and Dark Phoenix!

So, what motivates the malevolent mogul behind all this chaos? We asked Guggenheim to find out.

Marvel.com: The first time we spoke about this crossover, you mentioned that Mojo would be your nightmare television executive. Now that you’ve written him, has that perspective held up?

Marc Guggenheim: Yeah, it really has. Even more so than I imagined.

The fun thing about writing Mojo has been the opportunity to get metatextual. I really, really pushed that—particularly in issue #14. There’s a page that has a really fun joke about the nature of X-Men capacity to not only avoid being killed but to be resurrected. It gave me a chuckle to see how Marc Laming executed that; the joke really lands.

Mojo can never be too broad or too big. No matter what you write for him, it never feels over the top.

Marvel.com: What inspires Mojo on a day-to-day basis?

Marc Guggenheim: For my money, Mojo gets motivated by three things: ratings, ratings, and ratings.

It makes him a very ego-simplistic guy. He has a very simple need: he wants the biggest audience he can get his hands on. There’s something very decadent about that kind of character—the kind that acts just so cravenly that nothing will stop him in his pursuit of ratings.

If you think about ratings, they are kind of meaningless. And I say that as someone who has been working in television for 18 years. [Laughs]

There’s nothing special about ratings. It gives you an idea of how many people are watching your show, but they aren’t good onto themselves. So Mojo pursues this entire endeavor for his entire life and it is a very meaningless pursuit.

If you can see him through that light, you almost start to feel bad for the guy.

Marvel.com: What draws Mojo to the X-Men? Why does he find them so magnetic?

Marc Guggenheim: Well, that’s a good question.

He has a history with them. It’s almost like he’s killing two birds with one stone—he gets his precious ratings at the same time that messes with the people who have often made his life difficult.

Every time he deals with the X-Men, he comes away diminished. But it’s more than just the X-Men foiling his plans—he usually ends up taking a step back as a result of his interactions with them. For someone like Mojo, who has this massive ego, he gets really picky about these upstart mutants that keep vexing him at every turn.

Marvel.com: What are your thoughts on Marc Laming’s rendition of Mojo? What about his depiction really brings out those characteristics?

Marc Guggenheim: I really like Marc’s ability to capture a lot of the humor of Mojo. It can be one thing to draw Mojo as really diabolical or creepy looking, but Marc also manages to nail all the jokes that are written here.

Marc has also made Major Domo this really fun visual sidekick to Mojo. You’ll often see Major Domo’s facial expressions are providing a fun, but subtle, commentary on something probably all of us can appreciate—working with the worst boss ever. [Editor’s note: Not me! I love my bosses that will definitely read this article!]

Marvel.com: How did you and Marc go about capturing the broken physics and inherent strangeness of the Mojoverse?

Marc Guggenheim: In issue #14, Marc takes us on a tour of the X-Men’s Greatest Hits. His artwork does a fantastic job of not only replicating the look and feel of those stories, but really the look and feel of those eras.

For example, we open with a scene set around the start of “Mutant Genesis”—the beginning of [writer] Chris Claremont and [artist] Jim Lee’s three-part Magneto story in X-MEN. You’ll really feel like you are transported back. It’s really cool and fun.

I just want to say, Mike Mayhew drew issue #13, Marc draws issue #14, Diego Bernard will do issue #15, and all the issues are colored by Rain Beredo. All the artists are turning in unbelievable work. And Rain’s coloring brings it all together so even though three different artists are on board, it keeps a similar visual style all the way through.

They are really, really, really stunning looking books. All our artists are up to the challenge of the incredibly huge landscape we are playing with here. These are really big widescreen sequences across the biggest, most iconic X-Men stories that have ever been done. It has been really easy to write, but man the artists have had their work cut out for them.

Marvel.com: What about this story makes Mojo so dangerous to the X-Men?

Marc Guggenheim: Every time the X-Men have dealt with Mojo, it hasn’t just been on his terms, but on his playing field as well. For Mojo to make a breach into our world—it just ups the dramatic stakes. You’ll see throughout the series how Mojo’s plot eventually impacts Manhattan. To my knowledge—I’m always loathe to say we’ve never seen something because there are so many stories—I feel pretty confident in saying we’ve never seen this before.

Without spoiling the ending, I will say that by the end of this issue the battlefield will be very significantly changed. It sets up the climax that we will reach in X-MEN: BLUE #15.

The crossover continues in X-MEN: GOLD #14, by Marc Guggenheim and artist Marc Laming, on October 18!

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Blue and Gold mutants join forces in Mojo World for their first crossover!

Mojo loves entertainment—and, frankly, he does not care who gets hurt when he decides to have some fun. As the era of Marvel Legacy begins, the madman has his sights set on delighting the denizens of Mojo World with the first team-up between X-MEN: GOLD and X-MEN: BLUE!

Beginning with X-MEN: GOLD #13 on October 4, writer Marc Guggenheim and artist Mike Mayhew tag team with their X-MEN: BLUE counterparts Cullen Bunn and Jorge Molina to return these mutant groups to their full-powered might. And when Sentinels, the Brood, and dark histories cloud the horizon, they’ll need all the help they can get.

We asked Marc Guggenheim how it felt to write the two teams’ opening interactions.

Marvel.com: What made Mojo the best villain for the first crossover between X-MEN GOLD and X-MEN BLUE?

Marc Guggenheim: A couple of things…we haven’t seen Mojo in the pages of an X-MEN book for a while, so he has a Legacy appeal. At this point, he feels like he’s been around long enough to be a literal legacy character, right?

And, thanks to the Mojoverse, he acts as the perfect guy to bring in all these “greatest hits” that we’re building the story around.

So, he’s not only a legacy character, but he also has the means at his disposal to let us walk down memory lane a bit.

Marvel.com: How would you describe your concept of Mojo as a character? What makes him tick?

Marc Guggenheim: You know, it’s funny—I work in television so I kind of have a fun appreciation for Mojo. For me, Mojo feels like the universe’s most egregious, most shameless television producer or executive. I, as a writer, treat him as over-the-top as possible.

He’s very much a character of a lot of indulgence. He’s pure id. He’s got no limitations. I guess he’s my worst nightmare.

Marvel.com: How does the Gold team view Mojo? What are their individual perceptions of him?

Marc Guggenheim: I love combining teams and combining characters—some of which have met our villain, some of which haven’t.

For the ones who haven’t, this feels like a slap upside the head because when you deal with Mojo, you don’t just deal with the character, you deal with Mojo World. It’s a scary, crazy, completely off the chain kind of place.

That’s a lot of fun to show and a lot of fun to have the new characters react to.

Marvel.com: How do the Gold and Blue squads interact?

Marc Guggenheim: Right from the beginning of this story, we basically combine the teams.

There are a lot of different ways to do a crossover—my favorite as a reader has to be when, instead of intercutting between two groups, we actually merge them. They are both teams of X-Men, so it seemed like a pretty natural thing to do.

We are getting a chance to see characters interact with different characters who are not their teammates. We have a big mix of Blue and Gold. And you’ll discover that they’ll actually end up dividing into three teams—with mixed members of both groups.

Marvel.com: So that gives you a chance to write for the Blue mutants as well.

Marc Guggenheim: Absolutely, absolutely.

That’s a real blast for me because, obviously, I’m such a huge X-Men fan and I love what Cullen Bunn does with X-MEN: BLUE.

It also makes for a very seamless crossover—I feel like, if you are doing a crossover, do a proper crossover and tell one big epic story. Cullen and I are writing off a single outline. I am writing the GOLD issues, he’s writing the BLUE issues, but we are telling one single story.

Marvel.com: Did any Blue members stand out as a surprise favorite to write?

Marc Guggenheim: I love what Cullen has done by making Jean Grey the leader of the Blue team. It’s interesting for me as a writer that she’s not the Jean I grew up with as a reader; she’s much younger. But the responsibility of being the team leader forced her to grow up quickly. She’s younger but, in a certain way, older. That’s very interesting.

I’m also enjoying the dynamic between Scott Summers and Rachel Grey. Rachel is obviously Scott’s daughter—but now this Rachel is older than this Scott. That’s a fun bit of business.

It isn’t just that two X-Men teams are meeting, it’s that these specific characters are interacting. For example, in X-MEN: GOLD #13, we have a moment between Jimmy Hudson and Old Man Logan, which serves a very unique situation and relationship. This guy—who replaced Wolverine—meets a person who replaced a different iteration of himself…and they’re also related. I tried to lean into their natures as Howletts—and, as a result, they are not prone to talking about feelings or giving warm familial hugs.

Marvel.com: You’re also working with artist Mike Mayhew, who has quite a history and an excellent reputation. As someone who first encountered his art as a fan, what has that been like?

Marc Guggenheim: Really great. I am a real fan of his work. I’ve always been a huge fan of Mike’s work. It’s very exciting to get a chance to work with him.

Mike interfaces with you a lot more than a lot of artists and he gives all this unbelievable thought to his pages. He sends you his pages in different stages—sometimes he sends you rough layouts with a very long email explaining everything he did already and everything he’s going to do. You just have to admire how deliberate and considerate he is. I think Mike keeps us all honest because he looks at things so carefully. He has a really great head for this.

Marvel.com: Does working with Mike drive you to write different story elements or action sequences?

Marc Guggenheim: I always try very hard to write to the artist.

In X-MEN: GOLD, I also write in a very specific style. I’ve been really challenging myself to write with as few panels on the page as possible; to keep that panel-to-page ratio as low as I can.

And if I’ve done my job correctly, Mike has some big panels that he can fill in with wide shots—which will be particularly important as we start to experience what we call the “greatest hits” moments of X-Men history. And I know that Mike can pull off the character moments as well as the action moments.

I’m a very spoiled person.

Marvel.com: Let readers know why they shouldn’t miss the first ever X-MEN GOLD/X-MEN BLUE crossover of this era.

Marc Guggenheim: A combination of several big things.

On the one hand, there are a lot of firsts—it’s their first meeting, after all.

On the other hand, it has a lot of fun callbacks to what we refer to as the “greatest hits.”

While X-MEN: GOLD has been big on nostalgia, that nostalgia exists for longtime readers, but knowing these hits will not be required, by any means, to appreciate the events on Mojo World. The X-Men are going to have a lot of difficulty dealing with Mojo and Mojo World, but the readers will have a lot of fun watching it all go down.

Worlds collide in X-MEN: GOLD #13, by Marc Guggenheim and artist Mike Mayhew, on October 4!

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Relive the early days of the mysterious Russian energy vampire mutant known as Omega Red!

Every Friday we use the powers of Marvel Unlimited to look back at the very first appearance of a major character, place or object that made waves this week.

X-MEN GOLD #10 by Marc Guggenheim and Lan Medina reintroduced the world to one of the merry mutants’ more dangerous foes: Omega Red! The Russian killer-turned-super-killer beat Colossus and Magik to their quarry in their shared homeland. With tentacles a-flying, let’s look back at the man known as Arkady Rossovich’s past.

Readers first got a glimpse of Red in the historical X-MEN #1 in 1991 by Chris Claremont and Jim Lee. He’s only seen at the very end of the issue in a page dubbed “things to come.”

The first actual appearance came a few issues later when he burst onto the scene in X-MEN #4 which John Byrne scripted. The very first page of that issue showed 25 people giving their lives so that Omega Red could continue his own thanks to the efforts of Matsu’o Tsurayaba. In exchange, Matsu’o sent Red on Logan’s trail which lead to a full-on assault at the X-Mansion. 

X-Men (1991) #4

X-Men (1991) #4

What is Marvel Unlimited?

In the next issue, with the rest of his team in the hands of high tech ninjas, Wolverine found himself a guinea pig for Omega Red’s masters, an experience he’d grown to despise over the years. Given the chance, he escaped as soon as possible. Along the way, though, he remembered parts of a Team X mission that put Maverick, Sabertooth and himself in direct conflict with Arkady. 

X-Men (1991) #5

X-Men (1991) #5

What is Marvel Unlimited?

In further appearances, we learned that Omega Red’s iconic tentacles consisted of an Adamantium-like metal called Carbonadium that allowed him further reach with his Death Factor mutant power. The energy vampire also revealed that he could release certain “lethal pheromones” into the air. He used all of these abilities to take on the X-Men in #6.

The next installment featured a reunion of all four individuals involved in that particular mission along with a nice battle between Psylocke and Omega Red, followed by a series of explosions and fights that lead to both sides getting away from one another. 

X-Men (1991) #7

X-Men (1991) #7

What is Marvel Unlimited?

Omega Red would return to plague the X-Men over the time, but has also appeared in CABLE, WEAPON X, WOLVERINE ORIGINS and even DAREDEVIL

Daredevil (1964) #368

Daredevil (1964) #368

What is Marvel Unlimited?

Flash Forward

Recently, Omega Red showed up in the pages of UNCANNY X-FORCE as part of the Omega Clan as part of the epic Final Execution storyline which ran from #25 through the last issue, #35. After his death in WOLVERINE ORIGINS #39, a group called The White Sky cloned Red, creating three copies with different abilities dubbed The Omega Clan. They also turned out to be a part of Daken’s Brotherhood, which became a huge target for X-Force. As you can imagine, that means that an incredibly violent confrontation ensued without everyone walking away fully intact. 

Wolverine Origins (2006) #39

Wolverine Origins (2006) #39

What is Marvel Unlimited?

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Take a look at the history of Kitty Pryde and Peter Rasputin's star-crossed romance.

The on-again-off-again roller-coaster romance of Kitty Pryde and Peter Rasputin’s become the stuff of legend among X-Men fans, and it’s about to receive a new wrinkle in X-MEN: GOLD #9, out August 8.

The two star-crossed lovers first met in UNCANNY X-MEN #129 when Kitty first walked into the original X-Mansion and met the man-mountain mutant called Colossus. An inauspicious beginning to such a star-crossed love story, to be sure, but by UNCANNY X-MEN #174 they’d recognized their attraction to each other and shared a kiss or three.

Uncanny X-Men (1963) #129

Uncanny X-Men (1963) #129

What is Marvel Unlimited?

Peter threw the first monkeywrench into the mix right around the time he’d returned from the first Secret Wars in UNCANNY X-MEN #183 and declared his love for the alien Zsaji to Kitty, though said Zsaji’d perished by that time. Ms. Pryde ratcheted up the anti-feels by joining Excalibur and heading into a hot-and-heavy thing with a guy named Pete Wisdom—a relationship Peter gave his “blessing” to, but also kept one metallic eye on. 

Uncanny X-Men (1963) #183

Uncanny X-Men (1963) #183

What is Marvel Unlimited?

When the Legacy Virus later tore apart the mutant population, Colossus seemingly sacrificed his life during the chaos in X-MEN #110, prompting Kitty to sort out her feelings for the big lunk and insure his ashes traveled back to Russia. Imagine her surprise when Peter turned up hale and hearty in ASTONISHING X-MEN #14, strange situation which led to a passionate reunion and a new outbreak of dating. 

X-Men (1991) #110

X-Men (1991) #110

What is Marvel Unlimited?

Alas, right around the time of the X-Men’s latest disagreement with the Juggernaut and his power source Cyttorak in UNCANNY X-MEN #543, Kitty broke it off again with Peter when she disagreed with his well-intentioned noble thoughts to die for her in battle. Sadly, that meant that she and Colossus’ couple-ness still existed in a state of suspension when Kitty got stuck in a giant bullet traveling around the solar system in GIANT-SIZE ASTONISHING X-MEN #1. Peter tried to move on with his life, but to his credit, he tattooed “Katya” in her memory on his chest in UNCANNY X-MEN #507

Uncanny X-Men (1963) #507

Uncanny X-Men (1963) #507

  • Published: March 18, 2009
  • Added to Marvel Unlimited: February 11, 2011
  • Rating: T+
  • Writer: Matt Fraction
  • Penciller: Terry Dodson
What is Marvel Unlimited?

No good mutant hero ever stays lost, though, and so Kitty Pryde returned to Earth, thanks to Magneto, in UNCANNY X-MEN #522 and reclaimed her claim to the big metal guy in UNCANNY X-MEN #522…which of course hit the skids by UNCANNY X-MEN #543. The former Shadowcat struck up a few new relationships in the aftermath, in particular with Iceman in WOLVERINE AND THE X-MEN #14, and with Star-Lord in X-MEN: THE TRIAL OF JEAN GREY #1-6

Wolverine & the X-Men (2011) #14

Wolverine & the X-Men (2011) #14

  • Published: July 25, 2012
  • Added to Marvel Unlimited: April 08, 2013
  • Rating: Rated T+
  • Writer: Jason Aaron
What is Marvel Unlimited?

Today, Kitty’s done with star-hopping scoundrels and Peter’s, well, Peter, and the two of them, as seen in X-MEN: GOLD #1, believe they can fight alongside each other as “just friends.” But, anybody who’s ever been in their position knows that trick never really works, right?

Stay tuned…we should be finding out whether or not our beloved Kitlossus will ever be a thing again very, very soon.

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Marc Guggenheim sets up the next step in mutant killer robot technology!

Whenever Sentinels show up in the lives of the X-Men, things get bad in a hurry.

Consider that as X-MEN: GOLD writer Marc Guggenheim and artist RB Silva reveal the latest version of the Sentinel this June 21 with issue #6. A Sentinel made of nanites, capable of being whatever size and/or shape it needs to be to get the job of mutant extermination done.

Guggenheim took a few minutes away from his evil scientist’s lab to fill us in on what the Merry Mutants prepare to face head-on.

Marvel.com: I’m curious, as we start, what your history with the Sentinels is and how that informed your use of this iteration in this arc?

Marc Guggenheim: That’s a good question, a really great place to start. I think, as with a lot of fans, my first encounter with the Sentinels is the kind of classic giant purple robot version. But I’ve followed it through all its iterations, whether [it’s] Nimrod, Bastion, the Wild Sentinels or Trask’s Bio-Sentinels. It’s always been interesting to see how the Sentinels change with the times, the eras.

It’s funny, the thing is this story didn’t start as a Sentinel arc. I had this idea I wanted to do about a nanite threat, nanotechnology. Then my editor, Dan Ketchum [saw that] we needed a sort of [AI] to be in control of it and it was [he] that suggested the Sentinels. When he suggested [I thought] that’s a great idea.

Marvel.com: Speaking of your history, is there a particular Sentinel incarnation that you really love.

Marc Guggenheim: Oh, it is definitely the giant purple robots for me. It’s my first connection to them, it’s such the iconic version.

Marvel.com: In doing the research for the book, for this arc, did you encounter any Sentinels that surprised you or you were like, “Oh that’s an interesting take I didn’t know.”?

Marc Guggenheim: Unfortunately, there’s not really much new for me to read. I’ve followed the X-Men close enough that I’ve encountered all the Sentinels in sort of real time as they came into the books.

Marvel.com: I suppose that’s not such a bad thing if you are going to write the X-Men.

Marc Guggenheim: That is probably true.

Marvel.com: Although each of these X-Men have encountered Sentinels, they’ve all had different experiences with different versions of them. How do these various experiences inform the team’s reaction to this newest iteration? What kind of ripples does it cause?

Marc Guggenheim: This arc, in several ways, is about pushing the X-Men as far as they can go; pushing them towards their breaking points. For Gambit, who is sort of responsible for this new Sentinel—not on purpose, just through something that had unintended consequences—this is going to be a hard arc for him.

It’s really especially a Rachel story though. This is just an arc that’s going to really shape her. We get to see some characters from her past—or is it her future? When it comes to Rachel talking in tenses is really hard, but I think you know what I mean.

For instance, there’s a scene with her and Franklin Richards that was really interesting and really a lot of fun to right that I’m excited to have in the book.

Marvel.com: Speaking of Rachel, I know that’s something you said before issue #1 was out, that part of your goal for this book was to give her her own place, her own characterization? Now a few issues in, how is that going? How is she evolving for you?

Marc Guggenheim: I suppose that is really more for the readers to decide. That said, for me, it is going really well. You’re right that has been one of my missions with this book and I am proud of what we are doing with Rachel.

Marvel.com: I know an important theme of X-MEN: GOLD for you was how the X-Men, and more preciously, how mutantkind fits into the Marvel Universe. How does this arc figure into that?

Marc Guggenheim: Definitely one of the things I set out to do in X-MEN: GOLD was explore the idea of the X-Men as this sort of catch-all for any minority that might find themselves targeted for discrimination now.

X-Men: Gold #6 cover by Ardian Syaf

There is a Star Trek episode, “Let That Be Your Last Battlefield,” I think that tells this story about [these] two groups of aliens that are just fighting one another to try to brutally oppress the other. But the only difference between [them] is one group has black on the right sides of their faces and white on the left and the other group has the reverse of that. White on one side, black on the other. I try to use [X-MEN: GOLD] in that same kind of way.

I think it is good and interesting to take those chances to hold up a mirror in fiction and reflect on what is happening around us and [the] X-Men have always been a great way to do that.

That said I want to be clever about it. I don’t want to say too much about how this arc does that, where it goes. Maybe I’ve said too much already.

Marvel.com: With RB Silva coming on as the new artist, how has the collaboration been? How does his work help capture your script ideas?

Marc Guggenheim: RB is just great. And he’s getting better too. The growth you can see from [his first issue to the end of the arc] is so impressive. He started good but some of the stuff he is doing [later on] is just awesome.

In terms of my scripts, he’s a great collaborator. He has a good feel for what I’m trying to accomplish and knows how to do it; sometimes he gives me something a little different than I expected but then I see it and [it] just makes perfect sense.

Marvel.com: Speaking of art, every wave of Sentinels is an opportunity for not just the writer to make their mark, but also the artist to offer up the newest vision of these machines. How did Silva’s design reflect and capture this era’s Sentinel?

Marc Guggenheim: I think he’s done just an excellent job with it. [He] really created this version that is its own thing but also recognizable as being a Sentinel.

And the colorist Frank Martin too. My initial idea was what if Apple made one of these Sentinels so it was just sleek and white. He took that and just added in these slight purple elements that made it clear its legacy and connection to the Sentinels while maintaining the overall design.

Marvel.com: Considering your love of the iconic big purple robot design, what made you decide not just to have this edition sport that look? How did the changes help fit it to the story.

Marc Guggenheim: The size is…well, it isn’t just a robot, right? This is a different kind of thing. But the size is important as well. In the story you will realize because it is made of nanites it can be anything, any shape. So its size is intentional.

In fact, at one point in the story you will see it has gotten smaller and soon you will realize that’s because it is spreading itself throughout the city, covering as much ground as it can.

Marvel.com: What else do you say to readers about why they can’t miss this latest arc of X-MEN: GOLD?

Marc Guggenheim: It’s a few things. First of all, the big return of Gambit who we haven’t seen in the pages of X-Men in a while. He’s just a blast. He’s fun to write and I think he’s fun to read. A lot of the story gets kicked off because of his involvement.

The second is RB Silva is just crushing it. Just doing such a fantastic job. As I said, there’s even growth from the start of the arc to [the conclusion].

That actually really points out the other thing with the book that I’ve been doing which is—because we’re double shipping—I’m trying to keep the arcs of a pretty short length. So the stories are coming at you in a sort of [a more] fast and furious way than we typically see in comic books these days.

We’re certainly not doing an decompression here. I’m going for a narrative pace that is a little more similar to the comics of old.

Witness a new breed of Sentinel in X-MEN: GOLD #6 by Marc Guggenheim and RB Silva, coming your way on June 21!

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Marc Guggenheim welcomes back the Ragin’ Cajun by sharing his favorite stories!

Gambit’s back in X-MEN: GOLD #4 on May 17, and you can bet he’s bringing his own brand of Louisiana charm and a little trouble with him. To commemorate this homecoming of x-treme proportions, we spoke with writer Marc Guggenheim to take a look back at three of Remy LeBeau’s greatest stories and what might be in store for him in the upcoming arc.

Uncanny X-Men (1963) #266

Uncanny X-Men (1963) #266

What is Marvel Unlimited?
Coming in first we have, rather appropriately, Gambit’s original appearance in UNCANNY X-MEN #266 written by Chris Claremont with art by Mike Collins. “He came onto the stage fully formed and really hijacks the story away from young Storm,” says Guggenheim. This appearance also kicks off Gambit and Storm’s long running relationship, which Guggenheim says he’s happy to get to play off in the new series. What better way to do that then to bring back Remy’s days as a master thief? And while Guggenheim takes a more traditional approach to the Cajun, staying true to the voice he has engrained in his head from years of reading the original comics, he did say he loves a good pun so that might just be in the cards for us, mes amis!

Gambit (1993) #1

Gambit (1993) #1

  • Published: December 01, 1993
  • Added to Marvel Unlimited: April 28, 2011
  • Rating: T
What is Marvel Unlimited?
Next we have the Ragin’ Cajun’s original limited series, GAMBIT, written by Howard Mackie with art by Lee Weeks. This marked the first time we see Remy as a stand-alone character and according to Guggenheim, it’s where you realize that he can really hold a spotlight with that down-home twang and devil-may-care attitude. “He’s a slightly more morally compromised Han Solo,” says Guggenheim adding that he believes X-MEN: GOLD #4 artist RB Silva’s style perfectly suits the task of capturing that unburdened and free feel Gambit brings with him. All and all we can expect more of the old school Mardi Gras feel you’ve come to expect from the bayou boy.

X-Men (1991) #24

X-Men (1991) #24

What is Marvel Unlimited?
Finally, any story that ships Gambit and his ‘chere,’ Rogue, as hard as Guggenheim does. “There is just something very pure about being in love with someone you can’t have a physical relationship with,” says the writer. Quick recap: Rogue’s powers allow her to absorb another’s memories, abilities, personality and physical traits through skin-to-skin touch but prolonged contact proves quite harmful to those around her. So despite his borderline narcissistic confidence Gambit’s advances often get met with a stone cold poker face. We have to hand it to the guy though, with all the obstacles standing in their way he sure hangs in there for his ladylove. There must be a real spark between the two.

Be sure to catch all the card-throwing, ego, and Cajun lingo May 17 in the new X-MEN: GOLD #4 by Marc Guggenheim and RB Silva!    

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Writer Marc Guggenheim reveals the roster of the newest Brotherhood!

Before the X-Men can even begin to signal their return to Charles Xavier’s dream, there arises a new Brotherhood of Evil Mutants to derail that plan. As the X-MEN GOLD title opens, these sides create the classic tension of the X-Men franchise.

While much of the Brotherhood’s motives and means remain hidden so as to ensure no spoilers, we did our best to pry some information out of writer Marc Guggenheim.

Marvel.com: To start very generally, one of the long debated issues when it comes to the Brotherhood is whether or not they should be the Brotherhood of Evil Mutants or just the Brotherhood of Mutants. Where do you stand on this long-running debate? What makes sense for them? Any insight into why you think about as you do?

Marc Guggenheim: I feel like I may have made a joke in one of the issues with something like, “Calling themselves the Brotherhood of Evil Mutants? They should probably just call themselves the Brotherhood of Self-Aware Mutants.”

In general, evil people don’t tend to self-define as evil, but by the end of the arc you will understand why they call themselves evil. In fact, there is a very specific reason for it. It is not a random thing. All will be revealed.

Marvel.com: What were your guiding principles, as a writer, in building the team?

Marc Guggenheim: I kind of went through a list of all the various rosters that any group with the word “Brotherhood” in the title had. What I was going for was something that felt like it had a classic feel.

For me, my first exposure to the Brotherhood of Evil Mutants was the “new Brotherhood” that was introduced in “Days of Future Past.” Unfortunately, two of my favorite characters from that lineup—Avalanche and Pyro—are both dead the Marvel Universe.

Those people who have [read issue #1] of X-MEN GOLD have seen the lineup we are playing with…they are probably feeling like, “wait a second, those guys are dead.”

I was talking about it with [editor] Daniel Ketchum; Daniel shares my affection for those particular characters and we were like, “You know, given the story I am telling with this Brotherhood, there’s way to introduce a new Avalanche and a new Pyro that [have] similar powers and somewhat similar looks to them without wrecking continuity.” There was a way to have a cake and eat it too here, so we put them in the roster and are introducing a new Avalanche and Pyro to the Marvel Universe. Because Daniel and I, at least, were both missing those characters or mutants like them.

Marvel.com: What can you reveal about the other members of the team?

Marc Guggenheim: Let’s see. Well, we have Avalanche and Pyro. We’ve got Magma who is a former New Mutant who, as far as anyone is aware, is not an evil mutant so her inclusion in the group is a bit unexpected. I don’t want to spoil much about what she’s doing there, but given what Dan and I were discussing about the origins of this Brotherhood, we thought it would be fun to include someone who everyone knew but did not necessarily know as this bad guy.

I’ve always had a fondness for Magma. I like her look, I like her power set. She struck me as someone who would be fun in that role.

After Magma we have Cleevus. Cleevus is this really strange alien looking character who, hopefully, no one has seen before because he’s a brand new character who is getting his first appearance in X-MEN GOLD. This character is going to prove to be far more important than it looks like at first blush. He’s hiding some mysteries to him.

Actually with Cleevus I’m laying seeds for some stories that we probably won’t get to for another year or at least another six months. Forgot about that double shipping.

Then there’s Masque for the Morlocks. I included Masque because in this group of evil mutants we’ve got two guys who are new incarnations of previously established characters, a brand new character, we’ve got an established character who’s never been established as a bad guy in Magma. I wanted to round out the group with just one honest-to-god evil mutant who you had seen before being evil.

I’ve always liked Masque. First of all, when I was growing up, I could never tell if Masque was a man or a woman and I liked how the character was written to be gender ambiguous and drawn that way as well. The power is not a very useful power in terms of battle, but it’s very cool visually and creepy as hell. Masque just struck me as really evil.

Mesmero is, essentially, revealed to be the leader of the team.

Marvel.com: What story opportunities did it open up to put Mesmero in a leadership role, an unusual place for him?

Marc Guggenheim: A couple of things.

First of all, I’ve always seen Mesmero as a…well, not a D-list villain but certainly on the C-list and I’m a fan of seeing villains level up as antagonists. I think Mesmero is ripe for an upgrade or a makeover. I think his look could definitely stand to be improved. I think [X-MEN GOLD artist] Ardian [Syaf] did a great job of executing on a couple of general thoughts I had about how [Mesmero’s] look could be upgraded.

Mesmero is cool, as well, insofar as he has a nice long history with the X-Men. He really harkens back to the Bronze, if not the Silver, Age. Having a character with that long a history with the X-Men I thought was pretty cool.

It made sense because this was a character who wasn’t living up to his potential. He could be more of a leader than we’d previously seen. He could be more powerful; he’s got a pretty significant power set if used properly. A lot of what I thought Mesmero was capable of fit in with my larger plans for the Brotherhood.

X-Men: Gold (2017) #1

X-Men: Gold (2017) #1

  • Published: April 05, 2017
  • Added to Marvel Unlimited: October 09, 2017
  • Rating: Rated T+
  • Writer: Marc Guggenheim
What is Marvel Unlimited?

Marvel.com: In what ways will fans see that this is different than any other Mesmero they’ve seen before?

Marc Guggenheim: I think he has clarity of purpose and a certain ruthlessness that they’ve never seen before.

Also, he’s keeping a secret; he’s got a secret agenda that I think makes him more dangerous than you’d expect.

Marvel.com: To move back for a moment, how did you and Ardian come up with Cleevus’s design? How much input did you have, how much was the artist just knowing where the character was going and creating his look?

Marc Guggenheim: One of the thing I love about Ardian is his designs—he’s able to perfectly execute what I see in my head despite not a lot of input on my part. In the case of Cleevus, I basically wrote up a description of what I was going for, of what I was trying to evoke, and I think I described him as having a creepiness to him that was similar to the Brood but obviously he’s not Brood, but I like evoking that similar creepiness.

I think you can see how his design evokes that kind of thing. It’s been awhile since I’ve seen a character in the X-Men who just really really did not look human at all. That’s really what I was asking Ardian for—a character that did not look the least bit human—and I think he delivered.

Marvel.com: Something you’ve said—referencing an idea you’ve been turning over in your head a lot—is in this modern Marvel Universe why do mutants still get singled out? When they are so many kinds of super powered people what is it about mutants in particular that set them aside? You pointed to the Brotherhood as the kind of group that people point to justify their distrust. They are the negative side that people use.

Marc Guggenheim: That’s right.

Marvel.com: As you have been digging into the book and these characters, how has that helped you clarify that line of questioning? How has that worked in the writing?

Marc Guggenheim: I try to approach the writing—well, as I said, no one thinks of themselves as evil and every villain is the hero of their own story. Terrorists are convinced they are on their version of the side of right.

It was important for me to take that approach to the Brotherhood of Evil Mutants; to have them approach things from the standpoint—as other incarnations of the Brotherhood have—that whether they like it or not humanity and mutants are in a war with each other. In a war there are causalities. In a war, sometimes you do have to do things that are defined as “evil.”

The Brotherhood has always been the terrorist, the militant faction of mutants. And when you are a minority and members of your group engage in an act of terrorism it seems to exacerbate the prejudices against that minority group. That’s what the X-Men must deal with. It’s just about the activities of the Brotherhood but then the optics of how mutants are perceived because of those actions.

Marvel.com: Speaking of the X-Men, how do they view this emergence of a new Brotherhood?

Marc Guggenheim: I think their reaction varies depending on who we are talking about. One of the things I tried to do was not only get the perspective of the X-Men Gold team specifically—they’re very focused on the practical matter of finding out who [the Brotherhood] is, what do they want, how do you stop them—but the students at the school too.

Their reaction is a bit more visceral; their reaction is focused on “what is this going to mean for mutantkind?” They’re watching the television, they’re seeing all the war drums getting beaten and they’re having a fairly natural fearful reaction.

One of the things I wanted to do with this arc was I wanted the X-Men reacting to the activities of this mutant terrorist group, yes, but I wanted what the mutant terrorists are doing to be not as mutant-centric as we have seen in the past. Their targets and their victims are far more human than mutant.

The X-Men are determined to protect the world that hates and fears them so in my mind that means creating stories, writing stories with humans at the center of them, humans that will suffer or be in jeopardy, as a result of the activities of the bad guys.

Marvel.com: If you could point fans to one member of the Brotherhood they should definitely keep an eye on, who would it be?

Marc Guggenheim: I will say…well, the consequences of this arc and this encounter are probably going to impact Magma the most. It is something she will be feeling the repercussions of even after the end of this first arc.

I would definitely keep your eye on Mesmero though. He’s probably the most intriguing character especially since he’s got some tricks up his sleeves that no one else in the Brotherhood knows about.

You can pick up X-MEN GOLD #1 by Marc Guggenheim and Ardian Syaf available now, and look for issue #2 coming April 19 and issue #3 coming May 3!

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Artist Ardian Syaf opens up about channeling the classics and designing evil mutants!

With INHUMANS VS. X-MEN coming to a stunning conclusion this week, it’s time to look to the future of mutantkind as ResurrXion stands ready to begin. Kicking off with X-MEN PRIME #1 on March 29, a slate of new books will launch including X-MEN GOLD by writer Marc Guggenheim and Ardian Syaf.

Along with a new vision for the franchise comes a fresh take on many of the costumes, which Syaf handled while working on GOLD. The creative went classic-but-updated when it comes to the team consisting of Kitty Pryde, Storm, Colossus, Nightcrawler, Old Man Logan, and Prestige, the newly-renamed Rachel Grey.

We talked with Syaf about taking these characters back to the old school, coming up with Prestige’s gear and mixing old and new Brotherhood of Evil Mutants members.

Marvel.com: How excited were you when you heard that Marvel not only wanted you to draw X-MEN GOLD, but also re-imagine so many classic costumes?

Ardian Syaf: It’s like a dream come true. It’s X-Men; every artist dreams of drawing it, I am sure. Actually I didn’t have much challenge about the costumes. Marc has a clear vision about them. He prefers we bring back classic costumes, which I love. Not much need to change.

Marvel.com: Of the bunch, Rachel Grey looks like she’s gone through the most visual changes. What can you say about her new look?

Ardian Syaf: Yes, Rachel Grey has a brand new costume. Marc asked that her new look shouldn’t relate with her previous one. The editors gave me very much help in the process.

Marvel.com: This first arc pits the X-Men Gold team against a new Brotherhood of Evil Mutants. How was it dreaming up that group and their overall design?

Ardian Syaf: I searched and found many designs before. I just took their unique elements and applied to the new version.

Marvel.com: How has it been working with Marc so far?

Ardian Syaf: Working with Marc is so nice, and makes me proud, because he’s [a] big name. The writing is very easy to understand for the artist. Marc gave emotions and mood in the scripts.

X-MEN GOLD #1, by Marc Guggenheim and Ardian Syaf, arrives on April 5!

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