What follows was taken out of a post from last month due to technical problems.

Wolverine in shadow, chest smoldering

The above panel of Wolverine struck me when I came across it in the weekly reading for my blogging buddy Teebore's methodical X-Men examinations over at Gentlemen of Leisure. It's from The Uncanny X-Men #147, whose battle between Doctor Doom and Marvel's merry mutants (or so Smilin' Stan Lee often called them; they're actually infamously angst-ridden) was underwhelming to many readers, as reflected in Teebore's writeup of that issue and the follow-up comments.

Aside from the nice panel composition and set dressing, I'm really keen on the way ol' Wolvie's face and smoldering chest are hidden in shadow, but I don't know how much to credit recently returned penciler Dave Cockrum. Josef Rubinstein could have a heavy hand as an inker, although even when pencilers are only roughing out art for an inker to embellish they tend to mark areas of solid black. More curious to me is how little the figure work resembles Cockrum's, because Wolverine is usually depicted in print as about a foot shorter than his silver-screen portrayer Hugh Jackman — whereas in this panel and the preceding one, unlike the rest of the issue, he's clearly musclebound but lankier and longer-limbed than his usual stocky, compact self, akin to how Brent Anderson drew him. Chris Claremont wrote the dialogue, Tom Orzechowski lettered it, and Glynis Wein colored the panel.

Young Kitty reeling as her older self's mind leaves her body / 'In that split-second, an abyss opens within Kate Pryde. Reality twists inside-out and, suddenly, she comes face-to-face with herself as a child -- so innocent, so vulnerable, so young. Impulsively, she gives herself a kiss... and lets the winds of eternity sweep her home.'

I noted last year in a post on the Phoenix saga that I've only read X-Men intermittently since 1986, and I've mentioned frequently on this blog that I was non-Web-capable during most of the previous decade when high-speed Internet really took off.

So not being in the habit of following cyberchatter in the comics world, I'd never heard the phrase "lesbian incest" applied to the caption in the panel above stating that the adult, future Kate Pryde "impulsively ... gives her younger self a kiss" as her consciousness leaves Kitty Pryde's 1981 body at the end of the mini-epic "Days of Future Past" in The Uncanny X-Men #142. We're talking about something that doesn't even happen physically, for Peter Rasputin's sake, and which I've always taken to be a maternal, metaphorical peck on the cheek, but in Teebore's writeup of that issue he quotes co-plotter/penciler John Byrne repeating the phrase as an apparently known thing in fandom as Byrne disparages Claremont's inclusion of said caption, and of a line of dialogue on the next page, mostly for the entirely separate concern of how it established that the X-Men's actions in 1981 didn't prevent Kate's dystopic future after all.

Everything was there in said word balloon for me to doctor Orzechowski's lettering into something much more incriminating, which I jokingly linked to in the comments section of Teebore's post as another version of the panel not approved by The Comics Code Authority. I leave you with both versions of the panel, clickable to embiggen in case you can't read them, and a pointer to the post from which this material was excerpted since some early comments there refer to it.

Original panel: Well, I think I felt someone kiss me just before I woke up. Altered panel: Well, I think someone felt me up just before I woke up.

Original panels © 1981 Marvel Comics.

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