Marvel's X-Men ResurrXion: Everything You Need to Know

The X-Men have had a hard couple of years in the comics, having had to continuously fight for mutantkind’s survival.

However all of that’s going to change come spring, when, following the conclusion of its big event series Inhumans Vs. X-Men, Marvel will be launching a whole slew of new titles under the banner of ResurrXion. Instead, the focus will be on what the X-Men are going to do with future they’d spent all this time fighting for.

“ResurrXion is all about embracing the [X-Men’s] original dream of coexisting with humans and fighting together to make a better world. All the books in some way, shape, or form, embrace that idea,” explains Daniel Ketchum, one of the editors overseeing the entire X-Men line up. “We’re going to get back to flights, and tights, and capes, and all the classic X-Men tropes. We very much want to harken back to that era where it’s the most classic iteration of the X-Men.”

One way in which the launch will do this is by leaning into the nostalgia of older series, with titles like X-Men Gold, X-Men Blue, and Generation X.

The other is by featuring new costumes. For Blue, artist Jamie McKelvie is in charge of the designs. For Gold, series artist Ardian Syaf will take the helm. And to welcome the new change, EW has an exclusive first look below at Syaf’s rough sketches as he worked out the final looks of each character’s costume.

“[Syaf] designed all of the costumes to specifically harken back to that classic golden age flavor,” says Ketchum. “They should in some way, feel familiar.

With Marvel launching so many series, EW asked Ketchum and X-Men line editor Mark Paniccia to break down what readers can expect from the rest of the series, as well as X-Men: Prime, a special standalone comic that’s meant to serve as a primer for the X-Men universe going forward. You can look at the exclusive cover reveal below. 

X-Men: PRIME

Ketchum says that this will be a perfect jumping in point for fans looking to get into the X-Men when ResurreXion starts since the single, standalone issue is meant to serve as a primer. With that in mind, Ketchum and Paniccia called on most of the writers who’ll be helming one of the new X-Men series to contribute. “It’s a book that represents the X-Men line going forward, as everyone plants their seeds,” explains Ketchum, of the comic, which will pickup directly after Inhumans Vs. X-Men ends. “We’re just at the tail end of the war. They’re literally picking up the pieces.”

Ken Lashley will be the artist drawing a bulk of the art for the issue. “He’s currently involved in the X-Men, and will be involved moving forward as well, so he was the right guy to pivot us from Inhumans Vs. X-Men to ResurrXion,” says Ketchum. 

Image Credit: Marvel

X-Men Gold

Writer: Marc Guggenheim Artist: Ardian Syaf

Fan favorite and long time X-Man Kitty Pryde will finally be leading her own team of X-Men, consisting of Storm, Colossus, Nightcrawler, Old Man Logan and Rachel Grey. With the X-Men line focusing on more hopeful storylinesâ€"and tapping into some of the nostalgia of older titlesâ€"Ketchum says it makes sense to see Kitty in a leadership position. “She really was the Xavier student,” says Ketchum. “So in a lot of ways, the dream has come full circle. Kitty is now the person picking up the mantle and leading the team forward in the name of Xavier’s dream.” 

X-Men Blue

Writer: Cullen Bunn Artist: Jorge Molina

With their mentor Charles Xavier gone, the original five X-Menâ€"Jean Grey, Cyclops, Iceman, Beast, and Angelâ€"will not only be dealing with being stranded in the present day, but they’ll also be aligning themselves with Magneto, one of their greatest former foes. A large part of this has to do with humankind not considering mutants to be as much of a threat anymore. “Magneto sees that as an opportunity he wants to seize,” explains Paniccia of the unexpected partnership. “He makes a deal with them to take down anyone who’s going to pose a threat and disrupt the chance to have a peaceful, if not, neutral relationship with humanity.”

And this is just one of the big changes in the series. Another one is that Jean Grey will lead the team instead of Scott. “[Writer Cullen Bunn] and I just really felt that this is the perfect place for us to see her rise to the occasion and take control of the team. There’s no reason she couldn’t lead the team.” What’s more, Paniccia says that there will be new members joining the team, with the first one being hinted at in the series’ first issue. “As far as Jean goes, she’s the only woman on the team right now. This is a reflection of the fact that these are the original five. But the membership’s not going to stay at five.”

Image Credit: Marvel

Jean Grey

Writer: Dennis Hopeless Artist: Victor Ibanez

Not only will Jean Grey be leading a team of X-Men this spring, but she’ll also be helming her first ever solo series, which sees her taking her future into her own hands in an even more direct way. “Jean’ll get a premonition that the future she feared is actually a lot closer than she thought. The Phoenix is a very real threat,” says Ketchum of the premise for the series. “She realizes she is not where she needs to be to fight that thing.”

Ketchum says that writer Dennis Hopeless’ pitch for the series was that in between her adventures with the team Jean Grey will also be traveling the Marvel Universe in preparation for this encounter. “She’s going to study with Doctor Strange and maybe have an adventure alongside Ghost Rider,” says Ketchum. “Anyone who knows something about other forces or being possessed, or speaks to the mission she’s undergoing she’s going to have an adventure with.” 

Iceman

Writer: Sina Grace Artist: Alessandro Vitti

“The book is primarily focused on older Iceman, because it’s really his journey, informed by the younger Iceman’s journey,” explains Ketchum of the aim of Bobby Drake’s first solo series. “Younger Iceman is a hero who knows where he wants to go and what he wants to be as a hero. He’s completely well adjusted in many ways that adult Bobby is not.” It’s recognizing this that inspires the older (and now, openly gay) X-Man to reconsider his legacy beyond being known as “The X-Man who tells jokes” while also fully exploring his Omega-level powers. Ketchum says that the series will see the character “focus on him getting his act together both in his superhero life and also as a human being.” 

Cable

Writer: James Robinson Artist: Carlos Pacheco

The third and final character getting his own solo book as part of ResurrXion is none other than Cable. “With Xavier, Scott Summers, and Logan fallen, Cable is now the patriarchal figure of the X-Men line,” explains Paniccia. “The big man gets the big solo series.” The seriesâ€"which Paniccia says is one of the darker of the ResurrXion line upâ€"will see the X-Man traveling back and forth through different time periods in order to fix time itself. “It’s one of the best things about Cable in one book,” says Ketchum. “Cable jumping through time, and kicking ass, with preposterously huge guns and even bigger shoulder pads.” 

Image Credit: Marvel

Image Credit: Marvel

Generation X

Writer: Christina Strain Artist: Amilcar Pinna

“Not all mutants are created equal,” says Ketchum of series writer Christina Strain’s pitch for the series. “When you look at the line of X-Men, not every mutant is destined to be a world-saving X-Man. Some are just kids with a bunch of extra eyeballs.” And it’s exactly these young mutants that the series will focus onâ€"a group of “lovable losers” led by none other than Jubilee, and includes Nature Girl, Eye Boy, Bling, and Quentin Quire just to name a few.

“You’re going to see these kids go through all the growing pains of finding their way, finding out who you love, trust, or don’t,” says Ketchm of what you can expect from the series “[They’ll be] learning those hard lessons and fighting for their lives all along.” Ketchum adds that part of the fun of the book is watching these inexperienced teens encounter villains they’re not really equipped to go up against. “What does a girl who talks to squirrels do against a sentinel?”

And just like Blue and Gold, the series will pay homage to the series from which its name comesâ€"and not just be continuing to be a book about Xavier’s School for Gifted Youngsters. Teases Ketchum, “One of the villains is actually from the original series because we wanted to make sure we paid homage to the predecessors.” 

Weapon X

Writer: Greg Pak Artist: Greg Land

“Weapon X is back as a reaction to [mutants’] resilience to extinction. It’s like bringing out a can of industrial Raid,” explains Paniccia of the titular program. “They’re going to wipe [mutants] out for good this time.” And as part of the program’s bid to extinguish mutants forever, they’ll primarily be going after the mutants they know are going to “fight dirty,” including Old Man Logan, Sabretooth, Warpath, Lady Deathstrike, and Domino.

And with the series’ core group being a mix of heroes and villains, the team’s dynamic is going to definitely be interesting. “Logan and Sabretooth have no love for each other, so it speaks volumes for how effective and dangerous the Weapon X program is for him to end up seeking out Sabretooth and forming an alliance with him,” says Paniccia. “It’s going to be a dark book. It’s arguably our darkest book out of the line, and is going to have some really shocking moments in it.” 

X-Men: PRIME will be released Spring 2017. You can look at the rest of the series’ covers below.

Image Credit: Marvel

Image Credit: Marvel

Image Credit: Marvel

Image Credit: Marvel

Image Credit: Marvel

Image Credit: Marvel

Image Credit: Marvel

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Marvel vs. Capcom: Infinite Wants to Be Approachable Yet Complex

How the fighter is trying to appeal to newcomers and the hardcore through elegant design choices.

By Daniel Krupa

Back in 2011, I bought a copy of Marvel vs. Capcom 3, with the aspiration of mastering its systems. Unfortunately as someone who has no real fighting game experience and is inherently lazy, I found it a pretty intimidating experience. In fact, I can still see it on my shelf now as I write this, quietly judging me. So when Marvel vs. Capcom: Infinite says it wants to be accessible, I appreciate the olive branch.

I also realise that, for some, a word like ‘accessibility’ has other strong connotations when applied to a genre like fighting games. To the hardcore it might imply a lack of depth, but as Bill Rosemann â€" Creative Director at Marvel Games â€" tells me, that’s necessarily true and it’s something Marvel has a lot of experience with.

“A very key thing to Marvel in everything we create is accessible,” says Rosemann. “Whether you start reading the comics, or you start watching a TV show, or you’re seeing a film â€" we always say this may be their first comic, TV show, or film. It may be Doctor Strange or it may be Captain America: Civil War.

"So we start all of our stories very accessible, but we reward long term fans â€" so the more you read, the more you watch, you begin to make all of these connections. You watch a film, and you see Nick Fury approach another one of these characters and make these connections. The more you read, the more you watch, the more you see that it is very complex and interesting, and we reward you with your time. The game is the same way: very accessible, the more you play, the more you experiment... we’re going to reward all that time you’re putting into it.”

What we’re trying to do is make the game more elegant and simplified but still as complex and hardcore as it’s ever been.

Marvel has the mindset that any issue could be a person’s first, and that approach is informing Infinite. But as with previous games, it can still lead to a feeling, especially among die-hard fans, that their game is being taken away or diluted. I remember a similar conversation hovering around Dark Souls 2, yet that game turned out to be just as demanding as its predecessor. It does, however, make some of its systems easier to understand, which is no bad thing. Dark Souls doesn’t suffer noobs gladly.

“What we’re trying to do is make the game more elegant and simplified but still as complex and hardcore as it’s ever been,” says Mike Jones, Executive Producer at Marvel Games. “But we do want it to be approachable.” Jones stressed this was a new phase in the series â€" hence no ‘4’ in the title â€" and part of that goal is to attract a wider audience but not at the expense of alienating long-time fans.

“Say if you just love these characters and you want to hear a great story and see some great actions â€" it’s completely approachable in terms of how the systems work and in terms of how the controls work, but that depth is there if you want to find.”

Infinity Stones: Elegant Complexity

Even though the team wouldn’t be drawn into specifics, Peter Rosas - aka Combofiend - a former pro-player and an associate producer on the project teased where that complexity is to be found.

“There’s a very heavy technical aspect required to play the old ones,” says Rosas. “MvC2 is very unforgiving if you’re not very technical. But with this one [...] because it’s 2 vs. 2. It’s instantly that much more accessible. What you have is players who can just jump in, pick two of their favourite heroes; they don’t have to worry about assists. They’re not bogged down with all these decisions. Character, character, and your stone.”

>

Ryu activates the Power Stone.

The Infinity Stones â€" a recurring plot device in the Marvel Universe and soon to be a huge element in the MCU â€" unlock Infinite’s complexity and depth.

“We understand that three characters has been a staple for the last 16 years or so,” says Rosas. “To that effect we looking at the stones, and we were looking at a third character, and when you think about how teams were in the older games: what you had were two characters and then a third character who was a function, whether it be some type of pick-up or just for their assist â€" they weren’t picked because they were necessarily liked. They were picked for their functionality.

“So then taking that into account we thought what if we used the stones as functionality. What if we applied the stones to the team and then you modify the team entirely. So now you have the stone acting as a third character but also more than as the third character. The stone modifies the team in a way that really lets a player to create their own identity.

“Say I play a team of Ryu and Captain Marvel, and he plays the same, and he plays the same. But I play the time stone, and he plays with the power stone, and he plays with the mind stone. Suddenly, our tactics are very different. Our strategies are very different, and now we’re having a discussion which team is the best? What is the best way to customise the team? What’s the best strategy? It begins this discussion now. There’s much more customisation. There’s much more depth.”

While the specifics weren’t forthcoming, each stones seemingly applies a team-wide buff, which can be used to either compensate for a fighter’s weakness, amplify one of their strengths, or add an element they lack entirely.

“So you see with Ryu [in the trailer] he uses the power stone to knock Captain Marvel against the wall,” explains Rosas. “So suddenly characters who didn’t have that ability have a way to extend combos or knock the opponent back. There are multiple uses for them. In addition to that, there’s a final effect we’re looking into.”

The Infinity Stones unlock thousands of different permutations to play around with. Or as Rosas describes it: it’s “for guys who want to sit in the lab and discover things through endless possibilities.”

>

Captain Marvel uses the Time Stone.

In the Marvel Universe, the Infinity Stones are among the most powerful objects, and in a neat move Infinite is applying that story logic to the fighting genre.

“They allow you to break the rules of the universe,” says Jones. “So thinking about it through a fighting game lens: what rules of fighting games would the Infinity stones allow you to break? So we’re looking at attack, mobility, vitality, space control â€" all those things where we’re adding tool to a character’s toolset that they might not have otherwise.”

“So with Captain Marvel [in the trailer],” says Rosas. “You saw she activated the time stone. All her attacks were extremely fast. She broke the law of time.”

And Jones expects this Infinity Stone system to drive the game’s meta in the long-run:

“You look at the history of fighting games [...] people have their favourites, but ultimately what happens is only five or six [characters] who have the tools surface to the top and are worth playing if you want to be competitive. What the [Infinity stones] allow you to augment the entire roster, and make up for weaknesses or double-down on strengths to create strategies and, hopefully, the metagame discussion we end up hearing is Ryu with the mind stone is OP, or Captain with the time zone is the best thing you could possibly do, but if you do X and use this set-up it’s way better to use the reality stone... or whatever it is. That’s sort of the lab experimentation, hardcore fighting game that we hope emerge.”

Read on for how Infinite is taking cues from Civil War and who we can expect to appear in the character roster.

Continues

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| Marvel | Capcom: | Infinite | Wants | Approachable | Complex | How | fighter | trying | appeal | newcomers | hardcore | through | elegant | design | choices | div> By | Daniel | Krupa< | span>< | span> Back | 2011 | bought | copy | Capcom | with | aspiration | mastering | systems | Unfortunately | someone | real | fighting | game | experience | inherently | lazy | found | pretty | intimidating | fact | still | shelf | write | this | quietly | judging | when | says | wants | accessible | appreciate | olive | branch | p> I | also | realise | that | some | word | like | ‘accessibility’ | other | strong | connotations | applied | genre | games | might | imply | lack | depth | Bill | Rosemann | Creative | Director | Games | tells | that’s | necessarily | true | it’s | something | p> “A | very | thing | everything | create | “Whether | start | reading | comics | watching | show | you’re | seeing | film | always | their | first | comic | Doctor | Strange | Captain | America: | Civil | p> So | stories | reward | long | term | fans | more | read | watch | begin | make | these | connections | Nick | Fury | approach | another | characters | complex | interesting | your | time | same | way: | play | experiment | we’re | going | putting | into | ”< | p> What | simplified | ever | been | p> < | div> | mindset | issue | could | person’s | informing | previous | lead | feeling | especially | among | hard | being | taken | away | diluted | remember | similar | conversation | hovering | around | Dark | Souls | turned | just | demanding | predecessor | does | however | easier | understand | which | doesn’t | suffer | noobs | gladly | p> “What | Mike | Jones | Executive | Producer | “But | want | approachable | stressed | phase | series | hence | ‘4’ | title | part | goal | attract | wider | audience | expense | alienating | p> “Say | love | hear | great | story | actions | completely | terms | work | controls | there | find | p> Infinity | Stones: | Elegant | Complexity< | div> Even | though | team | wouldn’t | drawn | specifics | Peter | Rosas | Combofiend | former | player | associate | producer | project | teased | where | complexity | p> “There’s | heavy | technical | aspect | required | ones | “MvC2 | unforgiving | because | It’s | instantly | much | What | have | players | jump | pick | favourite | heroes; | they | don’t | worry | about | assists | They’re | bogged | down | decisions | Character | character | stone | p> < | div> Ryu | activates | Power | Stone | p> The | Infinity | Stones | recurring | plot | device | Universe | soon | huge | element | unlock | Infinite’s | p> “We | three | staple | last | years | “To | effect | looking | stones | were | third | think | teams | older | games: | what | then | function | whether | type | assist | weren’t | picked | liked | They | functionality | p> “So | taking | account | thought | used | modify | entirely | acting | than | modifies | really | lets | identity | plays | power | mind | Suddenly | tactics | different | strategies | having | discussion | best | customise | What’s | strategy | begins | There’s | customisation | p> While | forthcoming | each | seemingly | applies | wide | buff | either | compensate | fighter’s | weakness | amplify | strengths | p> “So | trailer] | uses | knock | against | wall | explains | “So | suddenly | didn’t | ability | extend | combos | opponent | back | There | multiple | them | addition | there’s | final | p> The | thousands | permutations | describes | “for | guys | discover | things | endless | possibilities | div> Captain | Time | p> In | most | powerful | objects | neat | move | applying | logic | p> “They | allow | break | rules | universe | thinking | lens: | would | attack | mobility | vitality | space | control | those | adding | tool | character’s | toolset | otherwise | “You | activated | attacks | extremely | fast | broke | p> And | expects | system | drive | game’s | meta | run:< | p> “You | look | history | people | favourites | ultimately | happens | only | five | [characters] | tools | surface | worth | playing | competitive | [Infinity | stones] | augment | entire | roster | weaknesses | double | hopefully | metagame | hearing | zone | possibly | better | reality | whatever | That’s | sort | experimentation | hope | emerge | p> Read | cues | from | expect | appear | em>< | strong>< | p> Continues< | p> |

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Marvel and ABC’s online series could solve a lot of problems over the midseason hiatus

Every winter, the networks take anywhere from two weeks to a month for a hiatus.

The idea is to not compete with holiday programming, but it also allows the writing teams to take time off and return with new ideas. The midseason hiatus also allows companies to focus on scheduling episodes during “sweeps,” the months in which Nielsen spends more time collecting and reporting ratings. If networks schedule bigger episodes during those months, they can report higher numbers to advertisers.

Networks want to make as much money as possible, so it doesn’t make sense to have the hiatus in the sweeps months of November or February. The networks would lose out on potential advertising deals and face other financial risks. Having the biggest episodes air at the end of November and the first week of December, however, allows the networks to work within Nielsen’s reporting schedule while also getting ahead of the Christmas rush. What’s the point of pitting The Flash against Rudolph, for example?

In recent years, however, networks have started rethinking this strategy as viewership numbers tank. One, ABC, is revisiting its midseason strategy. Last year, ABC kept eight of dramas off the air for 11 weeks â€" with four of those weeks coming during the midseason hiatus. Fox, NBC and CBS brought the majority of their series back around the first week of January, but many of ABC’s shows didn’t return for another week or later. ABC saw huge losses in return viewership, with one of its biggest series, How to Get Away with Murder, dropping 20 percent overall.

The question for ABC â€" and other networks â€" is how to give creative teams their winter break, retain good ratings and not compete with holiday programming?

ABC and Marvel seemed to have found a solution to the viewership problem: a digital series that will air for a limited time.

On Wednesday, Marvel and ABC announced that it will be launching an online-only series, Slingshot, with Agents of Shield star Natalia Cordova-Buckley in the lead as Elena “Yo Yo” Rodriguez. Each episode will be three to six minutes long, and although it’s not a full television show, it seems like it may accomplish its goal: keep audiences engaged while Agents of Shield is off the air.

The idea is so brilliant in its simplicity its a wonder networks didn’t try it sooner. Firsst, It’s cheaper for a big network to make a six-minute web series. Consider some of the biggest, most extravagant web series â€" like RocketJump’s >Video Game High School, which cost the studio around $636,000 an episode â€" as well as some of the smallest â€" like Andy Gets Dumped â€" which doesn’t even come close to that budget.

For a three-minute film using equipment and sets already available to the studio and actors, the costs would remain relatively low, but the show could generate a decent amount of advertising revenue. In a 2015 study from Turner Broadcasting and Horizon Media, researchers discovered that “premium online video from broadcast and cable networks outperforms video content from other publishers,” according to AdWeek. That means advertisers are more likely to give money to networks like ABC, NBC and CBS over other platforms because their content is better. ABC and Marvel teaming up for a web series doesn’t just make sense in terms of appeasing fans hungry for new content, but it also may generate income in the long run.

The other reason â€" one that’s more important to audiences than networks â€" is that it gives back to fans who tune in every week. Gary Newman, co-chairman and CEO of Fox Networks Group, told AdWeek that unless shows are airing on a premium network like HBO or Showtime, it doesn’t make sense to have 10 to 13 episodes in one season and go without a hiatus. Newman added that networks had to start doing more to keep audiences entertained and engaged.

“The alternative is the old-fashioned preemptions and repeats, and let's remember how frustrating that was to the audience," Newman said. "There's no perfect answer, so we're going to still continue to do that.”

Reruns have always been a complaint, but in a pre-streaming world, there wasn’t much that could be done. Now, when services like Netflix, Hulu and Amazon Video are accessible anywhere for a relatively cheap price, a three or six-week hiatus drives audiences to streaming platforms to watch new shows. Magna Global analyst Brian Hughes told Ad Age in March that fans weren’t necessarily upset with the lack ofnew content on network TV, but they’ve grown accustomed to having more to choose from because of streaming platforms.

“I'm inclined to think any impact the midseason breaks have on audience has more to do with how fans want to watch than being frustrated with a delay,” Hughes said.

Retaining viewership remains the most important goal in planning the midseason hiatus. Keeping audiences engaged leads to higher ratings, more conversation in the press and a generally more enthusiastic fan base. It’s, again, what makes Marvel and ABC’s plan to bridge the midseason hiatus with a new web-only series not only a good decision but also a necessary one.

Agents of Shield is also the perfect show because of its target audience. More than How to Get Away with Murder or Scandal, Agents of Shield appeals to a much younger demographic that is more likely to go online to catch up with a series or start a new one. According to Statista, more than 65 percent of Netflix users are between the age of 16 to 24, the same audience that ABC targets with Agents of Shield.

Whether the series will work the way the network wants is yet to be seen. But it’s the first step in addressing a problem bothering networks for years, and has only worsened in the streaming age.

Slingshot kicks off Dec. 13 on ABC.go.com.

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