Punch Up: “To Me My ❌-Men”
Chapter Forty-Four:
1982
June-October, 1982 Dazzler Vol. 1 No. 20-24 by Springer, Romita Jr, Brown, Colletta, Romita Sr, Larkin, Simons, Warfield, J. Chiang, J. MacDonald, Fingeroth + Denny & Macchio
Mixtape: I Love Rock ‘N Roll by Joan Jett
Chapter 44 of "to me my ❌-Men," serves as a refresher on how far Ali. Rogue, Irene, and Raven have come, as it is back issues that lead into an introduction of sorts in Chapter 6...as like last chapter, another piece of "our team" is ready to make it official.
Previously on "to me my ❌-Men," all signs were pointing towards the larger plot converging from central park towards the underground, so we took our own path across the pond and back half a decade to take our time in introducing a new character, Betsy, her friends and family, in depth. Comfortable with avoidance, we have yet another stop. This time, we return back across the pond, headed to Central Park, only its in the past, back in summer of 1982, not summer of 1986; to spend some palette cleansing nostalgic romance comic time with Ali, WWIII, Rogue, Mama Raven, Mama Irene, and Luke Cage?! Last we saw Ali, she was was with the New Mutants, where things were not ideal with Lila. WWIII & Rogue were part of the plot heading underground...only in separate parts of the park. Raven and Irene were around too, now working for the government. As for Luke, we last saw him in the burbs at WandaVisions, "celebrating" the first MLK Day. But again, this is four years before all that.
Dazzler still has her disco ball shoes on.
I think I may be reading this for the newsprint and Don Warfield color treatments. I will be seeing it through, not for Rogue's outfit or hair, but certainly support her body positive representation. Frank Springer gets lazy with the anatomy, but we need what Springer brings, before Marc Silvestri makes everyone fast. Love the outfits, but I expect to see some body diversity in my comics and in real life.
Ali is set to destroy her Dad, Carter...only it is a dream or metaphor. Oh...he is lost in some sort of psychotic brake. Ali has ruined him.
This is some classic romance comic mellow drama nonsense. Love it.
WWIII is there to comfort Ali's grandmother, as her son is withdrawn.
Carter's feelings are tied up in Ali wanting to have agency in her own carrer and not be exploited by her pops...also to be accepted as a Mutant. So basically this is classic Dad v Daughter dynamics.
Ali takes a stroll in Central Park, like it is still the 70's...soon still in the 80's we will see the Park leaning into the 90's, in part with the help from this character.
Ali had breakfast wit Venessa (our fave) and now Ali is being mugged. This is seven years before the Central Park jogger created an exploitive opportunity for the political fortunes of those in power over the past thirty five years and helped to set us back what seems like 400 years on some days.
Ali handles herself.
Elsewhere, a page I just love, where Vanessa Tooks discovers an obsessive pack rat turned upside-down, in Barbara London's place. I love both these characters, for the same reasons I love Rogue in this comic...they push back against what is to come...as best they can, while holding onto and addressing what came before...in ways of representation, that seem archaic and problematic to us today...but in context seem like flexing.
Vanessa is worried about Barbara, who feels like this is a violation. Both are right.
Downtown, we are treated to Beefer feeding into stereotypes that undermine, everything I am saying, but in the same scene, we have Hunch playing with his son Marx, while Marx films Hunch and Dora's infant son, Justin. Dora helps with the diversity case here, and the family/friend dynamics bring me back with this film camera.
Ali is welcomed by Dora into their home, where Ali is able to check in with her band.
How things changed with her joining Lila's.
As the band is itching to play...and Ali has stepped out of the room...two musicians bust in...and we are treated to a flashback....in Michigan, the band (without Ali), had two other members Jack Dulouz (AKA Doc Sax) and John Logan (AKA Johnny Guitar)...and them two had a side hustle of crime, that Hunch, Beefer, and Marx stumbled upon, broke up and ended up scaring Dulouz and Logan with. So they are back for vengeance.
NOT THE CAMERA!
While not the same thing, this scene is bringing back a memory. My brother-in-law taped over our videos of Savannah's first day on earth for his dance business...I am still salty about this.
They also bust up equipment...which I have scars from someone still having half my drum kit...'cause they stole it...and there goes a vace in this scene...I care not for this vace.
Doc Sax has them Cyclops glasses on...and looks lie a damn fool.
JG had on a cowboy outfit and kisses Dora...which looks like a child kissing a grown ass Mom...and is ick!
Ali is stuck between an oath she made to inaction and saving lives. Seems like you have made your choice...can you get to it quicker?
Meanwhile, Barb is apologizing to Vanessa and yeah she likes her privacy...but this is her college freshman daughters room...and so this is an totally normal fan girl's room.
I prefer the subplot of this comic.
They are not showing us Barb's ex husbands face...her daughters father in a photo...mysterious.
WWIII is flying outside Harry (the manager)'s office and then in the next panel is RAP RAP at Kenneth (the lawyer)'s office. Who is less please with a flying mutant outside his window, than Harry.
I wouldn't mind...oh...maybe I should be taking this idea and doing something with it...I just had a cartoonist idea...now how do I make it work with my current cartoonist idea...anyhooo...
WWIII has best self moments...his pool in New Mexico, picking up and dropping girlfriends in it, for one...working out in tighty whities in danger rooms with his best queer friends...flying in NYC and rapping on windows, to name a few.
WWIII has been after Ali, as Ken has been dating her...and WWIII is honest with Ken about this...but says none of that matters...this is to help Carter...not that anything comes of it in this scene.
While...
Ali can't stand by any longer...these two ex-band mates have the kid...sorry Justin.
Ali saves the day...and uses coffee to help do it. ❌-Man with coffee...take s sip:
Akiko Higashimura & Jukki Hanada’s Princess Jellyfish
WWIII shows up...to brake the news of Carter's condition to Ali...breaking up the celebration of the day being saved...and they fly off together.
And to end the issue, on the same page, we get back with the plot I care about most...Barb is crying as she acompnaies Vanessa singing. She admits that the Dazzler stuff is actually hers...as she is actually Dazzler's MOM...and the girl is someone else...Lois London of course...another fav...who we saw turn into a mutant many chapters ago...as for the guy they kept out of the picture...its Barb's ex, Carter of course.
I actually like how this played out...mostly.
We open the next issue with WWIII still flying Ali across NYC, where they cross paths with another sup...the friendly neighborhood sort.
Peter calls Ali his pal.
Ali gives Grandma Bella a hug and then Ali shares her sobering skepticism with the Doc...as she joins with her father Carter. Her Dad is fine...and is a total baby. Making this all about him. They are having a blow up about the truth and her Mom...which we now know.
I like the colors and layout of this flashback. I usually don't love heavy black panel boarders...but this works. Oh...yeah...want me to not read your comic...lean into heavy use of black. We did enough of that in the 90's...me too! The 90's are over!
Anyway...more proof her colorists are cartoonists, the kind that effect storytelling...inkers too!
Katherine (we know her now as Barb) was a Jazz singer, and they were in love...as in...going on a roller coaster kinda love. Her sining funded his ability to go to law school. And then he became successful enough to buy a home and they could raise a family...only Katherine wanted to keep her carrier too! This wedge turned into her hanging out with Nick Brown...and then she left her husband and daughter Ali. And now Ali is also in show biz...and this has been triggering to dear old Dad.
Ali runs out.
WWIII runs after her.
In a nice transition we go from a classic romance comic close up of the daughter's face saying 'it can't be true,' transitioning scenes, juxtaposed with the next panel of the mother with identical framing, saying, 'it's true."
Barb is confirming what we know...she is Ali's Mother, as she confesses more to Vanessa.
She is Katherine.
I love this. You don't need to make it complicated. The simple here is the parts that work.
Now Barb tells Vanessa her side of the story in flashback that Carter told, only it picks up from where she left with Nick. Having been driven away by the conventional expectations on her by Carter, Nick was able to seduse her and pull her into his world of abuse. They had a kid (we know this...again...Lois London), and so to save Lois...they left Nick. She cleaned herself up...she was strung out...and recreated who she is today.
She is feeling what she has built is unraveling.
WOW Vanessa is awesome. She basically is like...'girl...you have taken this to far, Barb...so I a am going to "blackmail you," and you need to finally see Ali perform...or I will tell Ali all this.
It's solid...tough love/Black women telling white women...you don't have actual problems...lets go see your daughter perform and find love here. We are over all this nonsense...or should be (we ain't)...but here we are in 1982...and this is some basic dynamics...that hit right at the time.
Another transition, this time bookcase effect...that has Barb facing right and in the next panel Ali facing her from the left...these are well constructed pages.
Ali wants to figure out her personal history...but Harry has her meeting with him and Les Mitchell, a sleazy stereotype...who wants her to get all her superhero fiends together to see her perform and sellout a huge venue.
William Hanna & Joseph Barbera’s Dick Dastardly
Did I mention this was a double-sized issue?
She pushes back on exploiting her friends and Les assaults her by pinching her arse. Which she calls out in comic, in 1982...cartooned by men...lettered by Janice Chiang...edited by Jim Shooter. Unpack this as you wish.
And now Harry is saying all the wrong things and Ali has him on the ropes. She even has the receipts of saving his life and the thanks she gets is he is diminishing her agency and defending Les.
He is dying on the hill of 'that's show biz.' And somehow a comic in 1982, is able to once again...let y'all know...you should not be shocked when folks are like, "Me Too" decades later.
Ali is off her game in rehearsal...oh no reason.
Les is in the room and he has taken residency in her head. So Ali is on her arse.
So Les makes his move. So Ali sets up healthy boundaries.
And then goes shopping in Astoria, Queens with Vanessa.
She then is on a date with Ken...catching him up on everything...only they are just good friends...and Ken is the jealous of WWIII type of those.
Speaking of WWIII is RAP RAP on a window again...while not perfect...the construction of transitions in this comic is on point.
it's Ali's and he is the one dude who is admitting what he is doing wrong, congratulating her on what she is getting right, and simply recognizing who she is in the moment...and so...it doesn't hurt to have a move like RAP RAP on your I don't even know what number floor apartment window...so they kiss and he flys off. It's sweet.
This is a romance comic.
Carter in subtle skilled inking is in his dark feels and looking at a dazzler promotion piece. He gets in his car and heads out.
Outside the concert hall, FF shows...so we are starting off right.
The Avengers, with the newly minted memeber Jen (we didn't read the issue...I guess...because I plan on expanding this exercise down the road with a Jen story...but Ali was recently in my most prized Avengers issue and it is all about Jen joining the team)...and then DD sneaks in from the roof...changes to Matt. And her comes the four Heroes for Hire. Who invited Quasar? And why is in he in cab? And this is an ❌-Men comic sooooo...Peter is last.
Barb (reluctantly) and Vanessa are here...stealing the scene.
The crew is feeling the pressure.
The keys player for the warmup band makes a move on Ali in the dressing room...she tactfully has him leave...and then is as pissed as she should be.
Her Dad shows...and this a bit of a healing moment.
He apologizes ...kinda on the level that WWIII get it...he is beginning to.
Ali realizes this is not how she wants to perform. And she decides to just walk out.
He walks her out and they run into Vanessa...who has promised not to tell Barb's truth, but now...Vanessa feels she must...as she knows for Barb this is huge moment to finally see her daughter perform.
So with Carter there, she tells Ali, she has found her Mom and she is in the audience.
I don't mind how cleaver this all trying to be...romance is a soap story...this is called working.
I love the panel of Vanessa and Ali in this moment.
Carter is obviously concerned...and doesn't understand who Vanessa is to Ali.
Ali is not sure now.
We see the audience, the superheroes, her mom...the band starts...it's time.
She is announced. We get to see Clint and Ben are siked...and in Ali's mind, her Mom, Vanessa, and Harry...who is now concerned.
Ali apologies to her Dad and says she loves him...she drops her coat...
and kills on stage.
Afterwords she hangs with her super friends back stage...takes moments to herself and then she meets her Mom on stage in the dim emptiness...and they reconnect...Barb advises a slow process...Ali has questions...
"they'll have to keep..."
Carter has a kind moment with Barb...and then he and Ali leave the stage...as there is more super partying to do.
Vanessa and Barb have been representing a bit on the plus size, and 1982's Rogue is back with that frame on this cover. The power play has Ali and WWIII bested on the cover.
Inside WWIII's fine arse is framed by an attack from very large hawks, above NYC. It takes him pages and some brutally clever moves, plus a trashcan lid to out survive them.
This chapter takes place, before, not after Chapter 6, where we are introduced to Lois London. I set this up, and was even confused for a second, but now am clear in my head...all that takes place between Rogue, Ali and frankly Lois, back near the beginning of this telling of "to me my ❌-Men," is being set up here. In fact, by the end, we are only missing an issue in between the two chapters, which we have done backwards...but I prefer the set up of that point in Lois story for then bigger picture, and as an intro. This is a fun flashback to help reframe the second half of to me my ❌-Men." We want to get a bit of this side of Ali's and Rogue's world before we get into their major part as ❌-Men.
This is the contemporary (for 1982) introduction of Lois London:
Lance Steele (who seems kinda great...considering his name...and everything else Ali has to deal with...) and Ali are on their way by car to cut a demo...Ali's first...which has her siked and me confused about her carrier path...but I guess that is kinda how it use to work...you play out...then someone gives you a brake to cut a demo...then you...try and get a record made...and then it gets on the radio...and then you get exploited as you play out, cut more records, and get on the radio...and a video is recorded and you are on MTV (launched in 1981).
By the way, Marvel and Casablanca Records (Kiss, Donna Summers, Parliament, Robin Williams, AND Bogart the founder...used his exit package to sign The Runaways; ironically originally financed by WB in 1973, who own DC comics as of 1972) created Dazzler together in 1980.
Anyway, Ali just sold out a huge venue, but was two years away from her Movie and the global impact she is having on perceptions of mutants in the second half of the 80's.
So here in NYC traffic, she and Lance are off to make an exciting step in her career happen, when she notices a car is off course and a girl waring headphones, a radio (not a Walkman...but it could have been...Sony introduced the portable cassette player in 1979...I still have my waterproof "sport."), and she is on roller skates (a clue)...we know her right off...it's Lois London.
Ali quickly turns up Lance's car radio, feeding her light powers...and shoots a laser of light at Lois' radio...blowing it up..so she is startled and aware that there is a car which just misses her as she skates out of the way.
8 panels...seems like minutes...but it has to be like seconds.
Lance is clueless.
Now the cops are mad at their car being in a rush to get to the recording studio.
But the cop recognizes Ali and wonders when she is cutting an album...so he lets them go cut that album.
The comic spends three pages trying to make that magic compete with the 8 panels of actual magic.
And then we are treated to family memories of Raven, Irene and Anna Marie. Mama Raven had stollen the hawks that attacked WWIII from the Pentagon...honestly...that's amazing...she is going to work there...hee hee. Rogue wants a real challenge...Wolverine or Colossus. Mama Irene, as usual, advises caution. Rogue and Ali both have that Mom in their lives now.
They reference Irene's lack of sight...cleaverish.
Carter has feeling, as he packs up some of Barb's stuff into a box. He has had holding onto this for over a decade...and now he is healing.
Barb's Lois is coming home and tonight she will tell her about Ali. She too, is healing.
Ken and Ali go on a date...he is trying...she blows up at him...and then back home wonders why she did...and honestly WWIII or it's Ken are both good answers...but the best is she is Ali and on her way.
The panel of her sitting in a chair is well done.
She heads to WWIII's and the door is open...he attacks her...but it because he thinks he is being attacked again...it all gets cleared up. They talk all night and then go for an early morning flight over Central Park...where Mama Raven and Mama Irene are piloting an evil helicopter as Rogue is out on a training session...and spots WWIII and Ali in the air.
So they fight...then everyone has a chat in the Park...and then fight some more...and Raven turns into Candy Southern...which makes things awkward for WWIII...it's kinda hilarious...he falls for it and kisses her...
I will now forever think Gilbert was quoting Mystique.
Destiny predicts tragedy for Ali...for the ones she loves...she has no idea who she is in this moment...and we are going to use this moment to feed our story going forward.
They are there for a smaller thing...WWIII's memories, so they know the ❌-Men's weaknesses...they only need Rogue to touch his skin. But Rogue can't do it...she is worried she will have wings...to freaky...well...she ends up blue and metal...but whatever.
Ali saves the day...and her shirt gets ripped strategically...for horny people and the comics code authority to be satisfied. And then relaxes like this with Angel back at the apartment...were Lois shows up!?!
Splash page...Ali is awoken in her apartment to smoke...and is has an absurd hourglass and a sheer nighty on...Lois is there to...in another room...you sickos...they had been up all night talking...getting to know each other...as sisters...and now she is witnessing her sister lit up like a Christmas tree...they save some folks...and then we are introduced to the source of the fire...a really stupid looking villain...the landlord...oh and a guy who is in a horrific costume and set the place on fire.
Thankfully we get to spend time with our fav fam...Mama Raven...Mama Irene...and their angsty GenX daughter Rogue.
Rogue is thinking about Dazzler and Irene's prognostication...and Mama Raven is advising they let a lot of this stuff go.
She has two of these Moms.
Ali is getting the MTV treatment now...and Luke and Danny have stopped by for the recording session.
Ali feels weird about asking for help, but feels fine hiring folks...so she goes with Heroes for Hire to help with this Rogue nonsense.
When the room catches on fire and the three sups help everyone escape...as our fire bug friend looks from a distance...as he should...'cause he should be embarrassed dressed like that.
Lois and Barb are out shopping and Lois has a Vasovagal Syncope episode.
WWIII is undercover at a coffee shop...take a sip.
Ken is still trying to romance Ali. He cooks and she is like...I can't eat right now...read the signs people!
Hero's for Hire have street food and get to work.
Ali walks into a situation at her landlords...she is in the clutches of a terrible dresser. Crowley, the landlord...actually did try and have everyone in the building killed...or at least burn down the building.
Ali fights him...the terrible dresser with the worse name...eventually...and Heroes for Hire provide and assist.
Rogue is ready to make a move on Ali...no matter what Moms say.
And so we turn to the last issue in this chapter of memory lane.
Rogue is raged and looking dumber for it.
But as the panels get smaller...she has a nice run in this classic look, that I definitely appreciate. She looks older than her years, because of form and haircut...also costume design...but this all works for me in some sense.
It's throwback.
Ali is not home...Rogue tares the place apart and then leaves.
A neighbor, Frank, gives Ali the heads up on Rogue.
Heroes for Hire and Ali track down and take on Rogue...and Rogue bets their arse.
So Ali goes back to her actual job and works with LB Holan on some studio recoding engineering. She has to turn him down...this comic does a nice job of depicting how relentless this BS is for women.
Crap...Ken got her at a time she has been warn down. They make a night of it.
WWIII takes a chance in a gym to work out...he has been hiding from Rogue and her Moms.
Heroes for Hire are at the wrong place at the wrong time...as Rogue is degised as a student, having just attacked Lois...who has a disguised Ali visit and discover her passed out in her dorm...Rogue having seen her go in...circles back to attack them. Ali makes a run for it, hoping Rogue chases her. It works...only she puts other students in danger at eh library. Finally Heroes for Hire show to help...Rogue escapes.
And finally Lois tells Ali about her headaches.
Y'all know the rest.
Next: New Mutants c. 1986*
*promise
