by Chris Arrant
The events of the recent
Messiah Complex crossover have rocked the vast corner of the Marvel Universe of the X-family, and in the wake of that there is quest for revenge, for remorse and for rebuilding. With Cyclops taking the reigns of the work that Charles Xavier, Cyclops looks to carry on the legacy. Just as Professor X formed the X-men out of five young and impressionable mutants, Cyclops reaches out to promising young men and women to undertake a special assignment.
Built upon the spiritual foundations of both the original
X-Men title and the classic
New Mutants issues, there comes
Young X-Men. Scheduled to debut on April 2nd, the recently announced title will be by writer Marc Guggenheim and artist Yanick Paquette. To this date, the only details on the series released have been the title, the first cover, and a solicitation that gives you more questions than answers:
In the wake of Messiah CompleX, there are no X-Men and young mutants Rockslide, Blindfold and Dust are alone and directionless. Until the day Cyclops recruits them to hunt the new incarnation of the Brotherhood and kill them. Joined by a pair of new recruits, the young X-Men learn a hard truth about the world post-Messiah CompleX: sometimes old allies make for deadly enemies.
Writer Marc Guggenheim is no stranger to comics, but
Young X-Men marks his first major foray into the world of the X-men, and his first ensemble title. But he is no stranger to large casts, writing such television shows as
The Practice, Law & Order, CSI: Miami and the upcoming
Eli Stone which he also co-created (and debuts January 31st at 10pm on ABC). But he wears his comics credentials proudly, having spent time in the House of Ideas as an intern in 1990 and, as this interview reveals, holds two classic runs by Chris Claremont in high regard.
The question today is "Who are the Young X-Men?", and for that we interviewed Guggenheim by phone .
Newsarama: To start off Marc, the cover reveals a couple members of the roster, but some aren't recognizable. What can you tell us about the team roster?
Marc Guggenheim: If there's a tagline for this book, it would be "don't assume anything".
In the first two issues alone, I've seeded so many plot twists and surprises that I'm not even going to be able to get to them all until the second year of the book.
I'll tell you that the roster of the team is formed by the end of the first issue. This inaugural issue is a tip of the hat to
Giant Size X-Men #1, when Professor Xavier meets each team member individually and brings them into the fold.
Here' the roster, but I wouldn't get too attached. One will die at some point in the series, but we're not saying who just yet. The first issue begins with a flash forward to the future with one of the team members holding another as they die but the identity is kept off-camera for a bit. People will read the book wondering when the present will catch up to that glimpse of the future the leads off the first issue.
The team is Cyclops, Wolf Cub, Rockslide, Dust, Blindfold and a new character named Ink. Ink is a character who has a pretty cool power every time he gets a new tattoo, he acquires the ability of that tattoo. For example, if he were to get wings tattooed on his back then he could use them to fly. In Ink, we have a character who can change visually as the series progresses.

We'll also be glimpsing at another new character, albeit in the shadows for now, called Greymalkin. I don't want to spoil to much of what he does, but I can say he'll make a important cameo.
NRAMA:That word 'Greymalkin' was also the name for Cable's giant space station he had several years back. Is there any connection there?
MG: It's also the name of the road the X-Mansion is on, Greymalkin Lane. There's a very cool explanation of why this character is called Greymalkin. The answer lies more in the name of the street than Cable's Greymalkin.
NRAMA: So our first guess that Greymalkin is Cable would be far off?
MG: It's definitely not Cable. It's a great theory, but no it's not. After the events of
Messiah Complex, Cable is off on his own. At some point I'd love to bring him into play with
Young X-Men, though with the history Cable has with the New Mutants, that interaction would be great to write.
One of the things I do want to say in terms of the cast and who's appearing is that the original New Mutants Cannonball, Karma, Sunspot, Magma, Dani, Karma all loom very large in this book.
NRAMA: With that being said
would you say that
Young X-Men is a spiritual descendant of the original
New Mutants series?
MG: The original title carved out this particular corner of the X-Men universe a group of young trainee X-Men and that sort of legacy casts a shadow over this series. The big difference is that the world was different than it is now back then it was a very innocent, coddled world with school, classes and just being the 80s
a much simpler time.
This book comes out in the aftershocks of
Messiah Complex and
House of M and is a much darker, grim and gritty world. Circumstances are completely different.
NRAMA: Let's give some more backstage talk -- how did the
Young X-men project originally come to you?
MG: I was in New York City last year for a Marvel writing summit, and I swung by the Marvel offices to meet with several editors. I met with X-office editor Axel Alonso to talk about doing a book spinning out of
Messiah Complex. We'd been talking about one book, and he showed me a publishing chart of what the X-franchise line-up would look like out of
Messiah Complex. Looking at the titles, one jumped out "
The New Mutants, written by TBD". I pointed at that project and said "forget the other project, I want to be TBD!". I did an off-the-cuff pitch and Axel and I talked.
The New Mutants became
The Young X-Men and it turned out to be a really fun project.
At the end of our conversation that day, Axel asked, "are you sure you want to do this"? I have such love for old school issues of
Uncanny X-Men and
The New Mutants. I told him: "I have to work on this project".
NRAMA:Although they're not part of the roster, the cover hints to an influence on this team by the full-fledged X-Men. You've said Cyclops is part of the roster, but how does this team interact in the larger X-Men framework?
MG: One of the things that I wanted to do with the book is to hearken back to the old crθme de la crθme of Chris Claremont's
The New Mutants and classic
Uncanny X-Men runs and try to figure out what made them so special and dynamic to crack that code.
One of the things that I've found, and it's by no means a revelation, is that he built in all this great conflict - particularly with the New Mutants and X-men, whose first meeting turns into a fight. I want to follow in that tradition when this team finally meets the X-Men, there will be a lot of distrust and conflict. It will not be an easy ride for the characters.
There's going to be a lot of disagreement, second guessing and hostility because of what happens in the first story-arc. That will fuel a lot of interactions to come.
NRAMA:In the aftermath of the
Messiah Complex, the X-Men as a team are disbanded by Cyclops. Story-wise, how did we get from that to the Young X-Men coming into being?
MG: Well, like I said
the formation of the team here is by Cyclops and very much in the vein of
Giant-Size X-Men #1, where we get to each Young X-men individually. Ours doesn't go quite as smoothly as Cyclops had planned, but in the end we have a team that is formed.
Their goal is to go after a new third version of the Brotherhood of Evil Mutants the first being Magneto's, the second being Mystique's.
NRAMA: Can you tell us anything about this new iteration of the Brotherhood, who they are and what they're doing?
MG: I really can't without spoiling the end of the first issue, but I can say that everyone will be a little surprised at who is on the team.
NRAMA: Let's turn now to focus on your collaborator on the series, artist Yanick Paquette. In your experience writing comics can you tell us in general how the artist to draw the script affects how you write the scripts?
MG: I always try to do a scouting report on each artist I work with, to get their strengths and weaknesses and then tailor the scenes I write to those strengths. One of the things I've discovered in writing comics is that the way I write with plot beats and develop the story, I have a lot of flexibility in terms of how those elements come together. I try to leverage that flexibility to the artist's strength.
In the case of Yanick, I wanted to be inspired by the old school X-men. One of the things I like about his style is that it's very modern, and it's distinctly his own. There's a cleanliness to his storytelling, layouts and panel composition that reminds me of the
Uncanny X-men runs of John Byrne, Paul Smith and Dave Cockrum that I really like.
I've had a lot of phone conversations with Yanick, asking him "what do you want to draw? What do you like? How do you work" and whenever I can I try to craft pieces that will satisfy Yanick's interest.
NRAMA: With your experience in writing television such as the upcoming TV show
Eli Stone, would you characterize this approach as similar to what you do when writing with specific actors in mind?
MG: It's very similar to writing to actors, who has their own strengths and weaknesses; identifying things they have in their wheelhouse and within reach. But it's a delicate balance; you don't want to write for the actor (or artist in this case) too much. You want just enough in the comfort zone to give solid scenes, and then push them a bit out of their comfort zone to get something new and unexpected.
Collaboration is really important, and I make that clear to the artist. Even though I write full script, I want them to feel that they have a voice they can change the number of panels, or what's happening on the page. I want them to draw the best version of the book that they can; I can always go back an re-dialogue something to fit what they've drawn.
I've always tried to write with the fact that my scripts will be drawn. I'm not saying I get it right all the time, but whatever method I'm doing seems to be working.