Punch Up: “To Me My ❌-Men”

Fifty-Two

1987

July-October, 1987 Daredevil Vol. 1 No. 248-251 by Leonardi (248-249), Romita Jr. (250-251), Williamson, P. Scotese (248), Scheele (249-251), Rosen, Nocenti + Macchio & Siry

Chapter 52 of "to me my ❌-Men," were Logan is a little over exposed in a Daredevil comic, that switches from neutral to brilliance when Romita Jr. comes over from Uncanny X-Men penciling and joins with X-Men editor/Daredevil writer Ann Nocenti AKA Longshot co-creator to create a very 1987 kids relevant intellectual and ethical debate between two familiar debaters.

Previously on “to me my ❌-Men,” the “team” has assembled officially. Now, questions remain and transitions are already afoot. There is no time to process and heal from the Mutant Massacre properly, it would seem.

A name has jumped to the top of the list for us readers of shadowy threats to our mutant friends; Mr. Sinister. What began with The Hand and pulled in arch’s like Mojo, has become rogues gallery of master manipulators, that has for a while felt like a cabal, but perhaps it is individuals pulling strings. Or one single Sinister plotter. There is also concern that a blind spot will develop into another shoe to drop. At this precise moment the direct known concerns are The Murauders, and we now have a name to put to their leadership.

Ororo, seems to have returned from upstate. ❌-leadership has been tested by existential threat. Ororo’s solution is to fake the ❌-Men’s death. However, they are not all together to even attempt such a thing.

Rogue, and newbies are what she has around her. Ali, finally excepting she is an ❌-Men, after resisting as the decade unfolded. Bets having been augmented by Mojo, and left the relative ease of her life back home, to go through this crucible. Longshot, an innocent, is committed to this path, anything is better than the Mojoverse. Havok, has just accepted his fate. Never to complete his research work or be in the ideal life he and Lorna built for avoidance. After two decades of comics, he is exactly where his brother had been. A place he has been avoiding. He will need to get back to Lorna, right? He has no idea Malice has possessed her and taken the number two spot under Mr. Sinister in the Murauders.

Kitty, Kurt and Piotr, the remaining official ❌-Men remain in the care of Moira back in Scotland, with the only walking Morlock, Callisto, and a small cast of former characters. The New Mutants are broken in two, one half vanished with the Fallen Angels. We have walked away from ❌-Factor, as their propaganda has lost its appeal. Maggie is spending more time with this new Hellfire Club alliance pet project. Lastly, Ororo was left by Logan, who remains out in the wild still. For all we know.

Speaking of Canadians, seems ages ago now, we spent time with purple and red that kept us tethered to Alpha Flight, Matt, and feeding that Fallen Angels subplot that continues. We pick up a red one here, with Matt, for the promise of a Logan sighting.

Ann Nocenti had resistance within her home when it came to her chosen path. Some cartoonists like myself, have nurturing support, many have not, like Ann. All of us have these stories though of conflict around comics in some manner, that results in the rebel within compelling us towards this absurd endeavor. The accessibility and on-ramp to becoming a cartoonist is incredibly available, society has constructed arbitrary conditions that make an illusion of improbability, and then there is the comics community and our individual voices, which are filled with broken dreams, promises, and an eroding landscape, that require fortitude, in what is sustainable, as a habit, almost never as a way to pay bills. Anyone who makes an actual living at this is unique and to be congratulated, on what should be a simple task. The day job is a regular part of a cartoonists life in most cases.

Ann, for a time, it seems from the outside, was able to be a New Yorker cartoonist. Not the sort that submits to a magazine, but the kind that writes superhero comics. She must have been compelled by those Archie romances, Pogo bogs, contorted Dick Tracy arches, and in college that R. Crumb visceral sexual explorations.

Coming down from Ulster County, upstate, naturally it was the Village Voice and Denny O’Neil, that lead her to Marvel. After a Bizarre Adventures anthology collaboration, she took over for Claremont on writing ❌-Men cast member’s solo title, Spider-Woman. Under the guidance of D.P.7 writer/editor legend Marc Gruenwald, Ann killed off Spider-Woman, a lesson in the passion of readers. She helped fix this, and went on to write Hank and Ali in a mini series, as well as contribute to editing across Marvel. After a minute with Spidy, she settled into the ❌-Men office, as she co-create Longshot.

You can see how her influences and point of view contributed as X-Men and Daredevil writer and editor in the time of Miller & Claremont. She and Louise seem more and more like a balance within leadership to them two during the 80’s. She took over Daredevil, and eventually settled in with Romita Jr. on the title, as he was transitioning off the ❌-Men.

However, it is our way around here it seems, we have a couple fill in issues. Not to worry though, Rick Leonardi is a vet at this to us by now. Petra, who has been contributed coloring recently, continues here. Max Scheele will take over, and it is noticeable in how they refine and stylize in a way that serves Daredevil, much in the same way Romita Jr. will halfway through this chapter. Nocenti, Romita Jr. and Scheele make a compelling Daredevil comic. Rosen is always solid, but what stands out to me, is how Al Williamson still keeps popping up as inker on these stand out series.

The Alex Raymond influenced; the Burne Hogarth's Cartoonists and Illustrators School (School of Visual Arts; SVA) student; classmate to Wally Wood; EC Comics cartoonist alumni; Star Wars inker; Frank Frazetta collaborator; fellow Fleagle Gang member; was 56 in 1987. Nocenti and Romita Jr. had moved into their 30’s. John’s Dad, the architect of Spider-Man’s iconic Marvel logo look back in the late 60’s, John Sr. was Al’s age.

Alex Raymond’s Flash Gordon by Al Williamson

That said, this Daredevil cover is garbage. Rick and team are killing me here. I am glossing over Ann’s writing, holding depreatly to anything that works for me. It all seems to slip through my fingers, as Rick and Al make each form so fluid and slippery to hold onto, I loose interest in maintaining my grip. Thank goodness for these tiny Fatboys skateboarding after Matt on the first page. We are probably here for Ann’s Fatboys. Less for a promise of a Logan sighting on the cover. The pages turn busy, a shock, after reading both Marc and Bret’s pencils. The banter and an encounter with a horse drown carriage almost pushes me to let go, as it to seems just to slippery. A building with Karen and Matt in silhouette on page four is the first panel I can attach my webbing to, as I fling myself like Peter through New York. I may not know more detail than he might passing above. Somewhere in these panels gutters. Some phone call answered by Karen in office sends Matt out as DD to insert himself in some conflict of little interest. I am an ❌-Men reader. I don’t have time for petty New Yorker on New Yorker conflicts. Matt takes in the city. I am ready to head back West. A boy along a waters edge, placing a sail boat in the water, grabs our attentions.

Matt pauses. As do I.

A pleasant encounter unfolds on the page, the kid provides more than a desperate need for diversity here, he grounds us in a small moment. That turns into a horror, as his boat needs his aid, and something in the water causes his eyes to make him scream out in pain, as Matt, helpless witnesses something haunting echoing his own past. He rushes the boy away from something that has been dumped from a truck near by.

We have found footing for a moment, as we turn to page ten.

Glori looks out onto the city, from Foggy’s office. He is doing well for himself, based on the view. He is in that working for the man stage. Behind the desk, feet up, he talks about his latest case and client. The chemical company, likely the same that is dumping whatever in the water, blinding small boys with boats. Glori, loves him, but doesn’t mince words. Their stability softens any actual concern to act accordingly.

Upstairs in the dark, Wilson, inquires if Foggy is taking the case. Confirmation.

Kelko is the client. Even if it is cheeper to just clean up its act, Wilson wants it as a mechanism to incentivize one man to do that work.

The page turns, perhaps to that one man. A two page spread of red crawling around a chemical plant in, only to be ruined by the appearance of a robot…who doesn’t help the cover. The timing of this page reminds me that Tim Burton’s Batman was in development hell, and the script kept being changed. I think this is within a window between the final green light and actual production beginning (1986-1988). Is it possible this had an influence. Tim wasn’t reading this, but writer Sam Hamm likely was.

This comic is slipping.

The kids name is Tryrone Janson. Matt updates detectives and his father. His blindness becomes a liability as a witness in the case. The scene unravels.

And then I see this; my childhood:

Jon Bogdanove

This parody of late ‘60’s hysteria, brings my own childhood rushing through my mind. Not that this entire diary doesn’t do this continuously.

The comic get worse however…Bushwhack debuts. Not only is he a really stupid character design, that ends up being replicated…even in ❌-Men ‘97, but he murders a mutant girl in her apartment, as he thinks about if she will be hot right before he does. The contract killer, then goes home to where is he is a terribly scary and absent husband.

Finally, I guess, we turn to the scene where the murdered kid from Bushwhacks list lays. Logan has been tracking his sent. For how long?! I made a choice to place this story here…now I wonder if this was an error. It just made more sense by location. Now I am wondering if my assumptions on time messed this up. Because, I have no idea what predicated this. It is possible we skipped something…or I actually should have waited till Logan is in SF. I just figured, was upstate last…this would work. Maybe it does. We will see. Logan is pissed…and has been on this for a minute…though the person he is tracking just showed for the first time. Maybe there was a connection with this kid. Don’t think so…I’m spinning.

So is Matt. He has some headway however…Kelko case, tenet rights, Tyrone…back to work. Back to the free clinic. Its chaotic. And Bushwhack’s wife just walked in. She suspects him. Matt makes promises.

You can get 37 comics titles in the mail now. Uncanny X-Men is THE ONE. However, I have issues of or would flirt with: Alpha Flight, Amazing Spider-Man, Avengers, Daredevil, Fantastic Four, Incredible Hulk, Nam, New Mutants, Peter Parker, Power Pack, Punisher, Silver Surfer, Web of Spider-Man, West Coast Avengers, X-Factor, Conan Saga, Savage Sword of Conan, Conan the King, Conan, Elfquest, G.I. Joe, G.I. Joe Special Missons, Groo the Wonderer, Transformers, and Alien Legion. That’s to much.

Cover improves, its meh.

Al’s inks seem more vibrant…or Rick is getting a little looser. It helps.

The scratchiness continues on the interior. Max is coloring now. Don’t notice a shift yet.

Logan is thinking about each murderer having a signature, and makes a distinction to the motivation and effects. Ann is trying to make me respect a murderer in terms of quality…I’m not getting with the program. A classical musician is dead. Logan’s tracking leads him here. He is over acting. Rick and Ann share responsibility.

Fatboys are working at the free clinic. Intern level. We win.

They completely changed Marylin, Bushwhacks wife, and I don’t entirely think it is Max coloring her hair different. Folks dye their hair. She is trying to make her husband sound sympathetic. Was a Priest. Oh Matt’s going to fall for this. She is pathetic, and thinks Matt, who is blind, is a hapless help. What are we even doing here?

Bushwack stocks his next…he is disgusting. He convinces artist Vanna Harald to get on a bike with him, because he likes her art and we are all strangers…he begins to fire on cars in traffic with gun arm. Somehow she is into this…as he murders people in cars…and then he reveals he knows she is a mutant as he kisses her…and murders her.

Bugs and Daffy on the screen, a highlight of these issues, Bushwhack messes up the fun, by laughing at the cartoon violence. Logan has tracked him to a theatre. Matt is in the cheep seats. Bushwhack leaves, Logan attacks, Matt interferes.

And this best ever comic ad pops in:

by Alan Davis

Matt and Logan make it so Bushwhack slips away and takes to his most horrifically displayed mutant girl death thus far. She hangs entangled in a fence.

Logan hits Matt, laying blame at his feet.

Logan has Bushwhack and is about to lite him on fire as he stands in a pool of gasoline. Matt saves Bushwhack. They tussle over his body, but the cops coming has Logan slinking off. Matt’s morality wins the day. The papers get it wrong, and lay blame on DD. So Marylin confronts Matt in a mood. Karen is concerned Matt will brake.

We turn to, Dare I say, an iconic cover.

Romita Jr. is settled in a new home. The stout and flat faced figure, a play on Kirby, John Jr. does in his iconic visual lexicon, has Matt pressed up on the page, into the logo, with room for a pitch, as everything is just out of the way from Bullet, an unfortunate name for an otherwise intriguing and well designed arch. Speed lines delineate a massive form a full velocity, a mask with eye sockets, forehead and air blown superman blue hair. The poor dark green tinted brick wall.

Title page is all words, a choice harkening that Byrne issue back in Chapter 9, here with scratchy minimalist inference of nuclear explosion. Subtle usage of color, all centering clarity of title:

BOOM

Effective understanding of the language of comics, and the role of cartoonists.

A reminder of the existential threat that raised my generation: ❌

…and the BOOMer generation, as well. It has all to slowly crept back into the collective consciousness of the 21st Century, as we are continually distracted when awake.

We turn to a two page spread of children, in a classroom, being fed the narrative that shapes our collective conditioning. Collaboratively the cartoonists have made good on the promise. Feeding our fears. Panel one is effecting. A highlight for the double page spread, being page 3’s panel two:

This panel in isolation, strikes me as one from Adrian Tomine’s Optic Nerve would. A contemporary of mine, who early on became an influence. His comic edges out this “to me my ❌-Men,” collectively, as a top ten project as influence and as audience member. It is very possible Adrain even read this issue, and found insertion within this panel. We are a year to the day apart in age.

Take in the words and picture here, in isolation, is more effecting than the build up to it and the conclusion of the point here. A single comic panel, often has more power than a lifetime of work.

The lights in the classroom return, and the children turn to banter and cruelty. A child accuses another of being a mutant, based on a common hair style. The teacher, dedicated, is under no delusion his lesson is effective. Evidence may sit still in the room. As Lance remains behind, with an unnerving glassy eyed stair. We know what cycles in his head:

“At any moment.”

The lectures existential threat on loop.

Romita Jr. has begun to diversify the characters into distinct on model renderings of individuality that is cartooning, but not caricatures, as they render a believable representation of expression from a verity of angles. Each person shown in to be recognizable from all over this room and this comic. I find him more compelling over time.

This continues as we change pages to the free clinic. Matt interacts with another individual face, as Karen, the Fatboy’s and a room of folks is vibrant and inviting. This scene is fixed by Romita Jr. Mother’s bust in, an emergency…their children are being educated. It is horrific. The blind lawyer must see. He does, but unfortunately for them, not through their eyes. He passes it off to his colleague, Hilda, all the same. A large man approaches, an environmentalist, wants to join in the Kelco case. Everyone one of these people are unique. This one is from Jersey. Matt catches a sense of someone out of place. To polished, upscale, and thin. He says he is there to help Matt, after Matt offers assistance. His help, is to notify him he is practicing without a license, and to make any complications go away. Simply close down the free clinic. The room goes silent. Filled, they here Matt:

“The clinic stays open.”

Mr. Fasolino: “Close it down Murdock—or I will.”

We are treated to a splendid two page spread, of nearly mono chromatic subtle colors and heavy spot blacks amongst delicate control of line. We zoom out from worried elder eyes to reveal Bullet in a room with this face. Bullets debut. The page is filled with tension of this Four-Stared General. His fearful eyes facilitating the introduction.

Bullet: “You know General—you got a voice like a NEEDLE scratchin’ through the best song on a record. So cut the BULL, okay ‘OLD BOY?”

Nocenti and team have a page worthy of a wall here.

Bullet has been hired by ‘Old Boy to pose as government representation, arrest someone who will be allowed to blow up the Save The Planet office in Jersey, and then arrest him, passing him through the government system controlled by the General, and this will keep the bomber free from local authorities. In the middle of Bullet summarizing, he pulls two government stooges through a two way mirror, for lurking. And takes the gig.

Glori & Foggy celebrate the 250th issue of Daredevil, appropriately in a Jersey dumpsite. They discover the chemical runoff and are documenting their findings. Glori speaks with her camera is a nice touch. The violations are numerous. One question as we exit the page…what if these spilled chemicals from multiple sources are mixing in that pool…what could come of this. Classic comics set up. Perfect setting to celebrate longevity of a comic.

Glori once again invokes Matt, when questioning them defending a corrupt client. Foggy believes Matt understands this is the job. Foggy wonders aloud if Glori is taking photos for her journalistic career.

Glori: “Ach, course not. Foggy, would I do that to you?”

Karen is in her a Matt’s tenement chic corner top floor brick apartment, with laundry lines and wires connecting buildings. Fire escapes and roof access…Karen has a running list of issues about the place running through her head as she washes Daredevils costume in the kitchen sink and hangs it out to dry. Publicly. His mask is missing and her concerns of safety are inoculated by knowledge of Matt.

The mask is his the back pocket of his 80’s tight shorts. A wonderful page of more delicate and heavy inks. Lost in thought of the case, and his human conditions. He discovers his mask, not recollecting her placed it there. A smell approaches, a crowbar on door, a unspooling of line…page turns to a match, by gloved hand. Matt leaps through a closed window. The explosion…our shadowy figure…Matt sense it. We are in Jersey. The envionmentalist evidence blown to bits. The culprit to be taken in, not by Matt who has him, but a figure, we know is Bullet. Matt knows he is lying. A wrinkle in the General’s plan. This second page spread, provides multi actioned panel of Matt flipping and a set up to the cover, as Bullet moves quickly. Metal door…not brick. Page turn, action continues with impact and avoidance promised and delivered. Smoldering environment. Bullet’s mass will take an adjustment next time. Matt is on his arse.

Bullet asks who Matt is. Matt says he is the night watchmen. As he is dressed like a jogger. Bullet takes the arsonist bomber in. Matt is left to call 911. Matt is stuck on what was the lie. He suspects the culprit will get off, and the government and Bullet are in cahoots. Perceptive. Matt is now at war with the system. The clinic stays.

A kid makes a kid style meal.

An ideal apartment establishing shot. Love these, as y’all know.

It’s our buddy Lance from class. And Dad walks in, we know him as Bullet. Lances asks about his mood. Confirmed it is good. Though has concerned about the fall out shelter game taking over their home.

The kid actually lives here on his own. Dad just stops in to check on him and bring groceries. They get a little quality time, and then Bullet got to Bullet elsewhere. Lance on that, extreme latch key kid life.

Lance has an active voice, and it is grating on Bullet like the General did. Lance is sharing about his day with Bomb lecture and how he made dinner…this Bomb drops…and Bullet finds the electric bills…pilled in a corner…is loosing his cool…he is abandoning Lance, despite assurances for this night…calls his kid weird…threatens to blow up on him…Lance pleads for him not to blow up…sites the lecture from school in technical terms…Bullet keeps saying Lance…deescalates…lovingling settles them both down. Is the adult in the room. For a moment.

Lance: “Mutually assured destruction…”

They both seek and achieve silence.

Mr. Fasolino in the free clinic off hours, presents Matt with an injunction and summons. Answer for his crimes. Shut er down.

SAVE THE PLANET

Because of Ann Nocenti, No. 251 has been with me since it came out. The cover is fine. The hanging man is far more effecting when you open the comics. One of many, dummies. Cowboys, hanging them up. Kelco sign has Murders under it. Steet is set to pop truck tires. Tyrones Dad is out there, part of this environmentalist group that is set to cross a line, for the survival of Americans and American lands. He holds a rigged dynamite bomb. They set the dummies ablaze. Scatter. Bullet hides in the bushes and then drags a barrel and a man, presumably the culprit from last issue. A twist if so. Bullet makes the point we have a hard time saying out loud. It’s the people. The amount that is killing the planet. These pages are executed at a high professional level.

Unclear on who the guy is, as his body is dunked in the barrel of green chemicals. Bullet, iconically has it on his gloved arm. He apparently is unharmed and/or at least unbothered. We turn to an arsenal in Hell’s Kitchen.

Lance is still in his obsession, and pops stopped in, still got the gunk on his hand. I puts it all over his kid. Who thinks he is superhero. Complains about the gunk, and again the conversation goes sideways…the gunk, kid can’t lie about when pops is home, things escalating.

Bullet storms out, tells Lance how annoying he is, and Lance changes his toon…be back tommow…taking the kid out for pool. Kid puts a gas mask on.

“I’m ready.”

Heartbreaking.

Wilson has his own questioning annoyance, that comes to him, in the dark. It was here before, but now we know…it’s General ‘Old Boy. And he has some many questions…and Wilson gets him to be quiet by simply saying, without speaking his name, Matt…I am in an intellectual argument with Matt, and this is all to prove him wrong about the law. He is to idyllic. This will prove my point…all these moving parts…every one…Wilson is responsible. Like in Born Again. Cops at distance let the hazmat team go into the chemical plant protest area.

It is obvious Matt is in one of these suits. His assessment, is these fools don’t have a clue. Glori takes photos. Foggy is excited, because he thinks this will prove his case against the environmentalists. Matt is overhearing this off course. Glori still trying to be on the right side of this. Romita Jr. and Williamson are masterful at creating space here. At the free clinic, Matt is in discussion, and nearly tips his hand. He smells Wilson all over this.

Matt’s been talking with David, who is essentially his legal cover. David is in this struggle, both feet. He questions the unhoused. Karen is all about the people. Mr. Fascolino, and cops walk in. Lead police or DA wants caution…Mr. Fascolino is direct in legal terms.

Hilda, the latest example of Romita Jr making folks individual, is great, and she has gumption. So do the Fatboys. So does Karen. They work thier magic. The room, gets them po po out of there. Karen expresses her stress to Matt. They hug. Matt goes out as DD. Thinking like a lawyer.

He tracks a smell tp a bar: Last Exit. A colorful room, and bar tender, I should not be drinking around. I’d be to flirty. Bullet and Lance are playing pool. Like promised. Pool cue hits wall next to DD’s head.

Eightball and DD flying about. Folks watch. Bullet through a wall.

Lance tries to deescalate and exit. Covers for his old man. Eightball prints will solve the case. Lance understands who his dad is and now that he is complicit. It’s a hell of a panel. On the street, Bullet, takes on DD, gets his hand on the eightball, and crushes it to dust.

Iconic fight over two more pages.

Cops break it up, and take Bullet in, as he admits to murder and laughs at the law system, in its face. He takes responsibility for the mess.

“My fight. My mess. Put it on my tab.”

Like Cain would.

Free clinic. Tyrones Dad walks out, thinks the law is pointless. David thinks they have this case, with Bullet. Matt plans to defend the clinic with first amendment. Karen walks in. Matt knows something is up. Bullet walked. One call. No fingerprints taken.

Matt throws the files in the air. Calls them liter. Says he no longer cares about the clinic, or the law. It is all liter to him now. Wilson’s point.

Ann and Frank were making a lot of contrarian points in this era. I kinda get my flexibility in hearing and thinking. My own fence sitting. My own cartooning.

Next: Ten issues of ❌-Men, Fallen Angels, and New Mutants