Daily Archives: September 20, 2022

Modern board games can be wonderfully complex and intricate, weaving a web of overlapping mechanics, visual design, and narrative to create a fun and memorable experience every time you play. But before you start exploring mysterious ruins, terraforming a planet, or just building a really nice zoo, you have to learn how to play. And after that, you must take on an even more intimidating task: being the brave soul who tries to teach your friends how to play a new board game.

In my friend group, I am inevitably that brave soul, which probably isnt surprising, given my current job writing about board games for Wirecutter. After teaching dozens of games to family, friends, and coworkers for various Wirecutter board game guides (and also just for fun), Ive learned how to make the prospect of being a living board game tutorial a little less intimidating. In addition, I collected tips from experts like Plaid Hat Games Donald Shults, who has taught games to hundreds of attendees at the tabletop gaming convention GenCon, and Rodney Smith of the YouTube channel Watch It Played. And to get other perspectives on how to make learning and teaching rules a bit easier, I looked for advice online from sources like the fantastic games review channel Shut Up & Sit Down.

Im a firm believer that tabletop games are for everyone, but that doesnt mean all players are going to appreciate every game. Although complicated and heavy games can be exciting and deeply rewarding, not everyone is going to want to invest the time and energy needed to learn to play those beasts.

For players who are newer to modern board games, it may be better to start off with simpler fare. Games like Splendor and Ticket to Ride are wonderful introductory board games for newer players. This is partially because theyre great games that are fun to play. But its also because they serve as useful lessons, each highlighting common game mechanics that come together to make up more-involved, complex games, like Terraforming Mars and Root.

One of the easiest mistakes to make when youre teaching a game to friends is reading the rulebook to them.

For instance, Splendor is all about using resources to buy cardsfrom a shared marketwhich then produce more resources, which you can use to buy more valuable cards (a game mechanic known as engine building). Ticket to Ride emphasizes claiming territory on a shared board and predicting the routes and plans of the other players (in order to potentially foil them). Add in Skull, a wonderful little bluffing game that also includes a bidding/auction mechanic, and youll have all the skills needed to play the delightfully intricate and brain-burny game Power Grid.

Smith also pointed out that theme is another thing to consider when picking a game. Theme will buy you a lot of grace from your audience. If someones invested in the theme, if they think the game looks cool, suddenly theyre willing to suffer through a slightly more complicated rules teach. If you know that all the people in your group were huge fans of the Redwall books (novels about woodland creatures having Arthurian-esque battles and adventures) when they were younger, theyll probably be onboard for trying to learn Root (where woodland creatures battle for control of a quaint woodland area), even if theyve shied away from intimidating war games in the past.

This may seem obvious, but its important for you to get a good handle on the rules of the game before trying to teach it to others. If you get over that hurdle before introducing the game to friends, youll be in a much better position to help them have an easier and more enjoyable experience.

There are a number of ways to do this, from watching rules tutorials and playthroughs online to running a mock game where you play all of the player characters by yourself (I spent a good portion of a day doing this to learn how to play Brass: Birmingham). But at the very least, youll want to crack open the rulebook and make sure you understand the finer points fairly well. As Rodney Smith said during our conversation, Ultimately, generally speaking, somebody does have to read those rules. In your game group, someone is probably gonna have to do it.

While youre learning, try to focus on finding and internalizing how the game flows and progresses. A lot of board games are like rhythm, Shults told me, adding that, its this weird give and take, and once you get the rhythm its easier [to play the game]. Finding that rhythm will make it simpler both to play the game and to teach others to play.

Also, as a reward for your efforts, the first time youre unpacking a new game to learn the rules, the simple joy of punching out all the little cardboard pieces is yours alone to savor.

Once youve picked out the game and learned the rules, its a good idea to do a dry run. It may seem a little dorky, but I recommend doing a practice teach out loud, Smith told me. Its a great way to be sure you really do understand how the game works, as well as to map out the easiest route to take when teaching it, flagging parts where your group might have questions.

One of the easiest mistakes to make when teaching a game to friends is reading the rulebook to them (or, more often in my experience, at them). Rulebooks are not written like an exciting adventure novel, Smith said. So reading them out loud is super boring. The interest that people might have had in joining you for a game session will evaporate very quickly. Probably after the second sentence.

Smith and Shults had slightly different approaches and starting points, but they both emphasized providing a group relevant information when and how they need it.

Smith starts with the theme as a hook. I dont tend to tell people what the objective is initially because I dont believe it will mean anything to you, he told me. So I want to first give you a sense of place. We are armies trying to take over the world, if its Risk or something like that. He recommends explaining the objective and turns after the players are more situated in the world in which theyll be playing. Smith also tries to be as comprehensive as possible before playing, but how comprehensive varies by group. Not everyone has the attention span to take the entire rules info-dump at once. But the problem is, some players want that. They dont feel comfortable beginning to play if they dont know what all of the options are. So I have to get a sense of what the table wants that way.

Shults, on the other hand, starts with the games objective. I want to tell you how were trying to win, what is the goal, what are we doing, what does the end kind of look like. From there, he moves into how players go about achieving that end goal, walking through the rhythm of the games actions, turns, and rounds. He tries to get players involved quickly so less time is spent in the rulebook and more is spent interacting in the playspace of the game. This method works well for players who enjoy learning by doing, and for those who dont mind making choices without complete information about their possible ramifications.

Either of these methods will work well with different groups, and getting a sense of the way your play group learns and processes information is helpful for finding the balance between them. One way to help players along is to focus on the broader, more universal concepts and rules during the initial explanation, while keeping more edge-case or situational information only for when they come up in play. For instance, instead of explaining the inner workings of Terraforming Mars special reserved areas before the game starts, wait until this comes up in the game or until a player specifically asks about it. This helps players process the information in context, instead of trying to hold all of it in their head until it comes up later. There are many times in a teach where youll have someone say to you, You never told me that, and you did tell them that, Smith told me. But it was so abstract, and meant so little to them in the moment, it didnt click, it didnt mean anything to them.

Regardless, dont worry too much about making sure everyone has a perfect understanding of the rules before you start playing. Try to remain consistent and fair as the game goes along, but if you dont follow the rulebook to the letter, thats okay. As Smith put it, There are no rules police, no ones gonna break down your door if youre playing wrong. Be comfortable making mistakes.

The tabletop gaming community has built a number of resources to catalog, compare, and share information about games. BoardGameGeek is one of the best known of these, and its where a ton of information about rules can be found. In general, if youve run into a question about a particular situation or rule in a game youre playing, theres a very good chance theres a discussion about that exact same thing on the BoardGameGeek forums. Googling the game name and the specific rules question is usually a simple and quick way to get an answer.

Objectively, winning may be the goal of playing a game, but (in my experience anyway) it is rarely the point. Games offer a structure in which to have fun with your friends. They allow us as players to adopt new and unfamiliar temporary goals, restrictions, and abilities in an effort to inscribe and communicate an experience of different agencies.1 In order to do this, we have to try to win the game, but winning is just a means to an end, not the end itself.

When youre introducing others to a gameteaching them the rules, and making sure youre available to answer their questions as they come upyoure often more focused on making sure everyones having a good time than on your optimal play strategy. And that means youre probably going to be less likely to win. Thats okay, because if your friends end up liking the game, hopefully youll be playing it again soon.

This article was edited by Erica Ogg.

1. At least, this is the case philosophy professor C. Thi Nguyen makes in his book Games: Agency as Art.Jump back.

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How to Teach Someone a Board Game (and Even Have Fun Doing It) - The New York Times

Welcome, X-Fans, to another uncanny edition of X-Men Monday at AIPT!

If you loved X-Men 92: House of XCII as much as I did, then youre in for a treat this week, X-Fans. Writer Steve Foxe initially hyped his radical, 90s reinvention of Jonathan Hickmans own reinvention of the X-Men franchise in X-Men Monday #147. But that was before we had a chance to read the first issue. Now that the mini-series has wrapped, its time for the X-Men 92: House of XCII eXit interview.

Fortunately for us, Steve had lots to share, so lets get started.

Courtesy of stevefoxe.com

AIPT: Welcome back to X-Men Monday, Steve and congratulations on the eXcellent X-Men 92: House of XCII! Its clear A LOT of thought and research went into putting this mini-series together. From adapting key moments from the Krakoa saga to only using characters who had appeared on X-Men: The Animated Series to 90s-accurate costumes for Marvel guest stars and relevant pop culture references (Bruce and Demi). I could go on and on. What can you share about your research process for this project?

Steve: Ive actually never seen the animated series. This was all just a paycheck to me, Chris. Whats a mutant?

I kid, I kid. Not to sound too gee-willikers about it, but X-Men 92: House of XCII is the sort of bucket-list, pie-in-the-sky gig I never expected to come my way, let alone have it be my first main-line Marvel project. Ive been reading X-Men titles uninterrupted since I was about 6 years old, and X-Men: The Animated Seriesis one of two shows I can and do watch on repeat (the other being The Golden Girls). And as luck would have it, a few years ago, I started a chronological re-read of every X-Men comic ever published, from Giant-Size on. I had, hand to [A], just finished X-Cutioners Song, which ran from 1992 to 1993, when Jordan D. White, X-Men Group Editor extraordinaire, emailed me about writing this series. It was unbelievable timing and if my boyfriend hadnt been looking over my shoulder at the email, Im not sure I would have accepted it as reality.

Courtesy of Marvel Comics

Of course, as you acknowledge, the 90s and the animated series are only half of House of XCII the other era to which were paying tribute is the Krakoan resurgence thats been sweeping the line since 2019. While Ive never been a lapsed reader, I was one of many bowled over by Jonathan Hickman and co.s work from the jump, and am lucky enough to be friends with some of the talented 616 X-architects. The modern-day side of things didnt require a lot of brushing up Ive been hungrily snatching up these issues each and every Wednesday.

I did revisit key moments from the animated series for inspiration, and to remind myself of the heightened ways the characters were depicted on TV. The X-Men 92 comics may technically be their own distinct timeline, but we wanted readers to be able to approach it from all sorts of angles and find ways to have fun. The writing on that show informed so much of my childhood love for the X-Men, and still looms large when we imagine how Storm, Rogue, and the rest of the cast speak and interact.

Courtesy of Marvel Comics

As for which characters pop up on the page under Salva Espins talented pen, there are actually a good number in House of XCII who never made it on the show. The rule I set for myself was to try to use everyone who did appear on the animated series, which we came darn close to doing save for like, most of the Inner Circle Club because they just werent visually interesting enough for the cameos (sorry, Mastermind). But Id guess a solid 80% or more of characters who showed up on the animated series, including unnamed cameos like Gatecrasher, do make an appearance in the comic mini-series.

The other part of the rule was to not use anyone created after 1994. I picked that as the dividing line so we could get 90s classics like Adam-X and Cyber and Random in there, but stopped short before the comics really turned a corner with Generation X and the second half of the decade. One of the last pages of issue #5 nods toward this, too, with Jubilee talking about the future and new members, and Maggott, Cecilia Reyes, and Marrow all popping up, signaling the passing of the torch from the first half of the 90s to the second.

A lot of that continuity was second nature. It was honestly stuff like Bruce and Demi that took more research. While the show ran until 1997, the book is called 92, so I wanted the references to make sense for 1992 when it came to things like the playlist in issue #2, or whos in charge of the Soviet Union, stuff like that. In ongoings set in the current day, those references get dated fast. In a nostalgia tribute like this, its a key part of the set dressing!

Courtesy of Marvel Comics

AIPT: You managed to pack a lot into just five issues. There have to have been story beats and jokes you had to leave on the cutting room floor.

Steve: To be completely honest, very little got cut from the initial proposal. When I pitched the series, the first Hellfire Gala was either in progress or wrapping up. I think I knew about Inferno from my pals writing the books, but it wasnt officially announced. So I had some really strong touch points to wrap issues around: HoXPoX, the Dawn of X kickoff, X of Swords, and the Gala. Im also a big proponent of leaving it all on the field. If you check out my Spider-Ham books with Shadia Amin over at Scholastic, or my Web-Weaver short with Kei Zama in Edge of Spider-Verse, we really try to make the most of the page space given to us when it comes to story beats, cameos, groundwork for more, etc. Especially in an instance like House of XCII where getting more than five issues wasnt really a goal or known possibility, I wanted to give readers a lot of bang for their buck in the 100 pages (plus data pages) we had to work with.

Courtesy of Marvel Comics

If anything, things got added to the plot as it went along. Issues #1-3 stayed very close to my outline, but my original pitch actually hinged on Sinister betraying the island, in a sort of, Duh, what did you expect? black-and-white cartoon morality moment. My logic was that the animated series would default to the bad guys being bad guys, since only Magneto really got a hefty redemption arc on the show. But after I accidentally made a habit of killing Beast in each issue, I realized I had a perfect opportunity to swerve. I sent Jordan and Associate Editor Lauren Amaro a frantic email late one night justifying using Dark Beast and deviating from my approved pitch, thinking theyd put up resistance, but they were just like, Sounds great! We have Sinister plans anyway, so this is perfect.

So, thank you, Kieron Gillen, for making Essex such a compelling bastard that I got the chance to live my Dark Beast fantasy for a few issues.

AIPT: Well, speaking of Dark Beast Hanks resurrection turning him into Dark Beast was definitely unexpected, and one way this adaptation really deviates from the source material. Was this decision at all a reference to Hanks increasingly dark tendencies in the Krakoan era?

Steve: Aside from the previously mentioned opportunity to make House of XCII stand out more from where the 616 line was headed with Sinister, Dark Beast was definitely a nod to Hanks long arc toward uhhhh being a real mean jerk! Ive said it elsewhere, but writing Hank in the first three issues was incredibly bittersweet. As a creator, reader, and fan, I appreciate and enjoy his descent into immorality, which arguably started in the 90s but certainly accelerated in the last decade between Brian Michael Bendis and Ben Percy.

Courtesy of Marvel Comics

But as a kid of the late 80s, Beast is always going to be an erudite, slyly clever jokester to me the college professor who gets rowdy at the bar with students while debating Proust. Having this Beast become Dark Beast is a way to poke fun at and literalize his character arc in the main book. It hurt me a little to do, but I couldnt resist.

AIPT: Of course, we cant get too far into the interview without talking about the biggest change. Moira MacTaggert was well-established on the animated series, but you chose to swap her out with Jubilee. Other than giving readers a twist on the source material, what thoughts went into this decision?

Steve: Swapping out Moira for Jubilee served three functions: giving readers something meaningfully different about this version of events; celebrating an icon of the 90s; and producing a first-issue surprise that would make you want to read more.

Courtesy of Marvel Comics

Youre right that Moira did appear plenty in the cartoon, and maybe I could have written her with a heavier accent to set her apart from Jonathan Hickmans take, but I just couldnt see the point in keeping the lynchpin of events the same as in the 616 version. Ive always loved What Ifs, which House of XCII is in all but name, and the best What Ifs change the starting point of known storylines and explore the reverberations from there.

Ive talked about it before, but I also feel like Jubilee often gets a raw deal. Shes so associated with the time of her debut that some readers who dont have firsthand, nostalgic experience with her dismiss her as a relic of the 90s. And since her original character traits were really all about being young and bratty, aging her up has necessarily changed who she is shes now a post-vampire doting surrogate mother. Which is very cool! But that means that the version of Jubilee a lot of us met is not coming back any time soon. Since this book is meant to celebrate the 90s, celebrating Jubilee making her the most important mutant of all felt like a solid choice. And that page-turn of Jubilee in the secret bunker, talking smack to Xavier and Magneto, really seemed to work as intended to get readers to go wait, WHAT and want to pick up #2 to find out what this twist was all about.

Courtesy of Marvel Comics

Plus, I could make comic-book-science sense of how her powers could work for the function, by suggesting that fireworks (small explosions) were a prelude to a Big Bang (big explosion). No, I did not pursue science beyond mandatory high school classes. Yes, this still makes as much sense as most comic science.

Fun fact: we discussed other possibilities including Senator/President Robert Kelly, Morph, Stryfe, Rachel Summers, and Dazzler for the role. But ultimately only Jubilee had a personal resonance with the cast in a way that elevated the story!

AIPT: Weve also got a very different version of the Five Karma, Healer, Fabian Cortez, Tempo, and our returning champion, Proteus. Was this combination a no-brainer or did you work through a few different combinations before arriving at this group?

Courtesy of Marvel Comics

Steve: Some members of this combo were for sure no-brainers, like Tempo for Tempus, because I love Tempo and her powers operate somewhat similarly by affecting time. Some were harder, like Karma, Fabian, and Proteus working as a proxy for how Hope, Egg, and Proteus do in the main line. I will admit that originally I wanted Healer to be Darrell Tanaka, a mutant who only appeared on the TV show in the Skull Mesa arc and who had healing powers, but rights get tricky at times, and I love the Morlocks, so I was pretty happy to get Healer in that Elixir role instead.

Ultimately, because we cover so much ground in 100 pages, some of the other substitutes for 616 teams or characters are more subtle or glossed over. We dont have time to do a bunch of magic adventures a la Excalibur, but we see Apocalypse and Scarlet Witch fussing with the mystic arts. Rogue gets a Marauders boat in a panel that got the Twitter traction I kind of hoped it would. If the series was 10 issues long, Im sure I would have explored more of those nods, but Im also happy with quick glances suggesting a larger framework for this world. Better to get readers thinking about how things might translate than to leave them feeling like theyve seen too much.

Courtesy of Marvel Comics

AIPT: On the animated adaptation of The Dark Phoenix Saga, the Hellfire Club became the Circle Club, as Hellfire is just too much for kids. It was fun to see that same level of censorship carried over to your story with the Inner Circle Gala and mutants coming out of resurrection eggs fully costumed. Im assuming that was all part of the fun?

Steve: The Inner Circle was one of those happy discoveries, since its a term that originates in the comics and then got used with more prominence in the cartoon. We kept Orchis because its a fun name and it felt too confusing to try to replace it, but Quiet Council sounds so mature and modern and forward-thinking. The Council literally sits in a circle, so Inner Circle was cartoon-logic perfect. And we did try to keep the content more or less cartoon-friendly, though we probably pushed it by the time Genesis cuts off Arkons head.

A lot of those choices were not mandates, but ways to give readers a different experience from the main line. I knew from the jump that hewing too close to the 616 version of events was kind of a waste of everyones time and of Salvas massive talents. That era is still ongoing, and Ive even been lucky enough to contribute to it. You can very easily read the original HoXPoX if you want those events. So things like the mutants being fully clothed post-resurrection (which I think was an offhand joke Jordan made during our first call) help add up to a distinct reading experience.

Courtesy of Marvel Comics

Its also fun to compare House of XCII to the prior X-Men 92 run from Chris Sims, Chad Bowers, Alti Firmansya, and others, because they were operating in such a different world when they created their series. In 2015/2016, I dont think any of us imagined a direct continuation of the actual cartoon, so the creative team went more meta with things like actual censorship bars and fourth-wall breaks from Cassandra Nova and all sorts of characters who not only werent around during the animated series run, but probably never would have made it in, like the X-Statix crew. And I love that series as such a who the eff cares, lets go bonkers take. Now the main X-line is as forward-thinking and popular as ever, and the cartoon is coming back with many of the same talents, the book Salva, Israel Silva, Joe Sabino, and I did is aimed at staying in-universe a little more.

AIPT: The X-Men have never been low on prominent humans who hate them. Was it a lot easier assembling the 90s version of Orchis? And was the romance between Boliver Trask and Lady Deathstrike a nod to Alia Gregor and Erasmus Mendel?

Steve: It sounds terrible to phrase it this way, but it was a ton of fun to assemble all those anti-mutant bigots! If we take a step back and look at the long arc of the X-Men, we probably got fewer, on average, new human bigot villains after the mid-90s. Graydon was one of the last big ones, as the X-Men dealt with more and more mutant-specific problems leading up to Decimation, and by then we were seeing a lot of the older bigots make grand returns.

Courtesy of Marvel Comics

Another reason for building Orchis like this, which Ive cited a lot, is that the animated series was really great about foregrounding the hated and feared aspect of the X-Men. If you read the comics chronologically, thats certainly a recurring theme, but there are years of the line where its more about space travel or mystic threats or clones or whatever, and the way the wider world views mutants takes a backseat as it must. The series cant revolve around only one theme for 50 years.

But since that bigotry was such a major part of the TV show, and gave a generation of fans a really strong sense of the mutant cause mirroring various civil rights and marginalized struggles (however imperfectly), it made sense to make this Orchis more defined by the human bigots who left such major impressions throughout the 80s and early 90s, like Cameron Hodge and Donald Pierce, and even the more reluctant G.W. Bridge.

Courtesy of Marvel Comics

The romance between Trask and Deathstrike is definitely a nod to Alia and Erasmus, which was a wrinkle in the Nimrod story I really appreciated. Its a brilliant way to deepen and personalize the stakes of the Nimrod program from the non-mutant side. As we saw in Hickmans time on the book, theres an element of Nimrods rise that becomes a self-fulfilling prophecy for the X-Men. I dont see that as blaming the victim, but as a way of showing how complex these webs of cause-and-effect can become. Its easy to dismiss raging bigot villains as the clear bad guys, but some members of Orchis have justifiable reasons to worry about the future or hold grudges, even if their overall goals are abhorrent. With Deathstrikes demise and the loss of his human body our Trask has some of the most personal stakes of all. Its another ripple toward making our version of events unique, and also just a fun visual: Deathstrike cozying up to a Sentinel inspired by Krang from TMNT.

AIPT: X of Swords was a 20+ issue event that you fit into a single comic. Obviously, the new take is a very different storyline, but is there anything you could share about how you adapted it?

Steve: The intent of the House of XCII spin on X of Swords was absolutely to be fun-stupid and to evoke video games like Mortal Kombat and Marvel vs. Capcom, one of my earliest Marvel loves (and the reason I think Blackheart and Shuma Gorath are so cool). Salva also took inspiration from MvC for his art approach to the whole series, so I wanted to devote an issue to leaning into that.

Courtesy of Marvel Comics

Im good friends with Tini Howard, the co-architect of X of Swords, and she got a huge kick out of seeing how we crammed a tournament into one issue. At one point, I did consider mirroring the more unique contests of the 616 X of Swords by including like, a breakdancing competition, but it just seemed right to show readers what a fight-only version of X of Swords might have looked like, since many expected that out of the original event. A lot of fun for one issue, but not so sure it would have carried 20!

As for swapping in Arkon, that was in my original pitch, since Saturnyne never shows up on the cartoon and explaining all of Otherworld in one issue would have been a lot. Plus, hes usually a brutish barbarian, so a slam-bam brawl works for him, and is another chance to overlap with the cartoon since he got a two-part arc. And it was my excuse to fit in a totally gratuitous two-page spread of the bad guys and good guys running at each other. How could we not?!

AIPT: Brood Ur-Brood and the Deadpool dialogue that followed was genius. How did this idea come to be?

Courtesy of Marvel Comics

Steve: So, Arkons warriors were chosen as a way to include a lot of X-villains and rivals who didnt fit anywhere else, and because introducing a bunch of new Arakkii mutants would break the 90s immersion. I considered asking Salva to draw more 90s-ish versions of White Sword and the others, but the cartoon was really fond of repeat cameos and I couldnt pass up writing in Sauron, Erik the Red, and the rest of the crew.

Deadpool, as he says in the book, was not nearly as meta in 1992 as he is now, but that scene lands right around the midpoint of the entire five issues, so it was a good pressure valve to acknowledge some of the absurdities of the whole concept and problematic stuff like Psylockes old status quo. I always knew hed be piloting a Brood suit, but actually didnt come up with the name Brood Ur-Brood until the lettering pass good thing I did, to hammer that nod home!

Courtesy of Marvel Comics

The other name that didnt sneak in until the last second was Morearms. I was just calling him Sixarms, and we all had a big laugh about the stupid simplicity of it. But I showed a page to Marauders writer Steve Orlando, my closest frenemy, and he coined Morearms off the top of his head. It was too funny not to steal.

AIPT: The all-new, all-different X-Men featuring Feral and Random?!? How did you decide on these two to fill in for Wolverine and Synch?

Steve: I love visibly mutated mutants! Chamber has been one of my favorites forever. Marrow, Beast, Maggott anyone who cant pass always gets my attention, both for visual interest and what it says about a character and how they fit alongside the many handsome and/or gorgeous mutants who make up the core mutant canon.

Courtesy of Marvel Comics

I considered just having the core animated squad winning the election as a bit of a laugh, but I also love Sunfire and Polaris and didnt want to write them out of an extra spotlight. Feral fits the Wolverine role as a young woman with animalistic powers, while Random can morph his body parts to mimic other abilities, which is kiiiiind of like Synch if you squint! Obviously we dont see too much of the team, but any little boost to their profile is a net good from my perspective.

AIPT: The return of Phoenix and Asteroid X. What made you go this route? Is it safe to assume without the help of the Phoenix, even Asteroid X would have been a lift for the 90s X-Men, let alone terraforming Mars?

Steve: Phoenix makes an appearance for a few reasons. Like Dark Beast, shes a big chapter in X-canon that hasnt played heavily into the 616 Krakoa story yet (and thats not a loaded yet Im not teasing or spoiling anything here!), so thats an exciting chance to play around with part of the toy box not currently in use. The modern Jean has moved beyond the Phoenix in a lot of ways, so this was another way of differentiating these takes on the character.

(Sidebar: when the book was announced, I was immediately inundated by upset comments convinced I would have Jean fainting left or right in homage to her often-memed moments of exertion on the TV show. Not only does she not faint in House of XCII, she catches Scott when he almost does! Lets all exhale and learn something about jumping to conclusions, please.)

Courtesy of Marvel Comics

We also didnt use omega mutant in the same way back in 1992. Until Jonathan Hickman helped establish a firm definition and list of those who qualified, that was a somewhat lawless term, thrown around whenever a writer wanted to boost someones profile. While I dont get into the power-level debates that fandom loves, I do appreciate omega meaning something specific now. But it didnt in 1992, and I didnt see the utility in trying to force that in. Instead, terraforming comes courtesy of elemental mutants like Magma, and Phoenix helps guide the process as a universal force of death and rebirth.

Phoenix also needed to show up in #4 so that the final play in #5 didnt come out of nowhere. Its still an intentionally wild moment Phoenix Jubilee! but it would have felt super cheap if we hadnt seen the Phoenix flex her abilities in #4.

AIPT: And then theres Combo Man! What can you share about how this terrible combination man came to be?

Courtesy of Marvel Comics

Steve: Oh boy whats more 90s than Combo Man? I have NO idea what the legality of that character is these days (and am still a little shocked Storms line made it in), but knew I wanted to homage him with the House of XCII chimeras. Under Jonathan Hickman and R.B. Silva, the chimeras left a HUGE impression in a very small number of appearances, and because of how Moiras powers work, we may never see them again. Their designs are slick and smart, so I wanted ours to be clunky and silly. Cartoon logic, baby. Im sure the House of XCII chimera was a very special nightmare to design and draw in action, though, which is why he appears and promptly zooms off panel into the sun!

Courtesy of Marvel Comics

AIPT: Your ending really leans into the timeline reset something Inferno managed to solve with a depowered Moira. Obviously, the Krakoa saga is ongoing. Was it challenging to put a bow on your version?

Steve: Since we approached House of XCII from the jump as a standalone five-issue story, we knew we needed to actually end things, even though the main line very much doesnt have a firm ending coming any time soon. I actually remember Jordan phrasing it like a challenge how will we reset the pieces so we dont leave the cartoon-inspired universe completely changed? and I was like uhh, well just reset? Which is of course stupidly simple, but thats how cartoons solve problems sometimes! Serial media, especially back in the day when kids caught whichever episodes they could and there was no streaming or OnDemand to fill in the blanks, can only change the status quo so much. The toys dont break arc to arc. So a hard reset was a solution available to us that the main line cant use, of course.

Courtesy of Marvel Comics

And now you can read House of XCII however youd like: in concert with the previous 92 series, with the cartoon, etc. It literally fits wherever youd like it to fit, or can be totally ignored if its not your speed.

AIPT: As we wrap up, we need to gush about Salva Espin and how much he crushed it on art.

Courtesy of Marvel Comics

Steve: 95% of the reason this book works is Salva Espins artwork. His ability to meld an animated style with his own super-strong visual storytelling and to marry humor with enough stakes for the book to avoid becoming an out-and-out joke elevated every single aspect of House of XCII. He was also game for anything. I counted and, by the end of the five issues, he had drawn about 150 characters from Marvel canon. 150! That is wild. But his willingness to adapt everyone from Cyber to Zaladane to Tusk to Genesis to his own unique style is what made this book feel big and inclusive and expansive all at once. I feel like I could write 10,000 words on how grateful I was to have him as a collaborator I knew he was perfect before he drew a page, but I REALLY knew he was perfect the first time he drew a little monster Krakoa face but the work speaks for itself better than I ever could.

Major credit to Israel Silva and Joe Sabino for their contributions on colors and letters, too. I couldnt have asked for a better, more in-tune team for this project, and Im very lucky and grateful I was part of it!

AIPT: And finally, can we talk about those radical data pages?

Steve: The data pages! I usually saw these just before print, so they were my big surprise treat, too. When I pitched the series, I requested a more Saved by the Bell-approach but was also clear I could work with black text on white pages if we needed to for budget or timing. Instead, Jay Bowen went way above and beyond to put a personal and totally zany spin on each data page concept I could dream up, which inspired me to do things like RPG manuals and startup disk menus and a photocopied mix tape song list.

Courtesy of Marvel Comics

The sleek, sophisticated design of Jonathan Hickman and Tom Muller would look wildly out of place in 1992, so Im extra grateful to Jay putting in that effort, especially since most reviews credited letterer Joe Sabino (who did killer work in his own lane!) instead. For the record, and for all the 90s flowers he deserves, it was all Jay on those 10 design pages, and I still let out a huge laugh each time I see them.

AIPT: Well, thats all I have for you, Steve. Thanks for taking the time to dig into X-Men 92: House of XCII with me and I cant wait to read what you do neXt in the X-Office including the just-announced, Firestar-focused X-Men Annual #1!

But before we call it an X-Men Monday, how about a few eXclusive preview images, courtesy of Jordan D. White?

Courtesy of Marvel Comics

Courtesy of Marvel Comics

Courtesy of Marvel Comics

Courtesy of Marvel Comics

Courtesy of Marvel Comics

Courtesy of Marvel Comics

Until neXt time, X-Fans, stay eXceptional!

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X-Men Monday #172 - Steve Foxe Reflects on 'X-Men '92: House of XCII' AIPT - AIPT

Engagingly, he does not wring his hands about this, nor thumb his nose from on high. Instead, he thinks practically about how to shape public discourse for the good. The evidence suggests to him that nowadays a tiny number of influencers can change everything. Not social media influencers but rather people who can reach huge popular audiences and animate them about unsexy, long-term problems. He names the Pope, Greta Thunberg, David Attenborough and Bill Gates. On long-term climate and health issues, he says all in different ways have had great influence.

And they are needed. Unless a crisis is imminent, he says, its hard to focus ministerial attention onto even the most important long-term policy issues. On this list, Lord Rees puts energy supply, securing the internet, supply chains for essential goods and resilience against extreme weather. Rather than having too much influence on politicians, scientific advisors hardly have any clout on these issues. I know because I know some of them, he says.

When public debate gets poisoned, Lord Rees suggests, everyone loses. The botched introduction of GM crops in Europe two decades ago saw them dubbed Frankenfoods and banned, for example, even though they have been usefully grown and consumed in the US ever since. By contrast, the UK has a balanced regulatory policy on stem cell research prohibited to public funding in America that is regarded as world-leading. Lord Rees regards it as an example of scientific advance, politics and public opinion being successfully balanced for the long-term benefit of all.

Yet in our age of ever-more fractious culture wars, balancing competing interests even in the short term is tricky enough. How much harder then, are the intergenerational trade-offs that come with long-term decisions? Or as Lord Rees puts it: How much should we sacrifice now to ensure that the world is no worse when our grandchildren grow old? Even on climate change, about which he is very concerned, those advising the government, themselves have a range of opinions on what the best policies should be. And even there, they should express these views as citizens and not claim special weight for them.

Its at this point that I go back a bit in our conversation and ask him about the Pope: what is Martin Rees, secular scientist, explainer of creation rather than creationist, doing saluting the Popes contribution to science? It turns out that he is a member of the Pontifical Academy of Sciences and its meetings require him to travel to the Vatican, where he stays in the Santa Marta residence that the Pope inhabits and they occasionally bump into each other. The fact that Lord Rees cant believe in the resurrection or any of that, is no bar to his membership. He is there because he is spreading his own good word that of the evangelical scientist.

And it works. In 2015, academy advice on the environment contributed to Pope Franciss second Encyclical, Laudato si , a statement that swayed hundreds of millions of Catholics in Latin America, Africa and East Asia to pressurise their leaders to sign up to the Paris Agreement in December 2015.

Lord Rees admits he appreciates the music and beauty of the chapel at Trinity and describes himself as a practising, non-believing Christian, content to sing hymns about a God whose existence he does not accept, valuing them as a glorious ritual.

Cambridge has been his home ever since he was appointed Plumian Professor of Astronomy and Experimental Philosophy in 1973, aged just 30. It was an appointment that, for all Lord Reess modesty, underscores his academic brilliance. His parents were both teachers, setting up a school in the midst of the war on the south Shropshire border with Wales, where Lord Rees had a happy childhood, though a rather lonely one.

From there he went to Shrewsbury School and Cambridge, taking maths a choice, he admits, motivated as much by being bad at foreign languages as by enthusiasm for the sciences. Then, as now, he bridled against the narrowness of English education. He thinks a broader baccalaureate would be better than A-levels, and US-style major and minor studies better than single university degrees. Breadth, he says, is especially important today so that schoolchildren do not give up on science and can develop a feel for it that will stop them being bamboozled by propaganda and bad statistics.

Lord Rees refers to poor UK performance in educational league tables as a depressing augury for the Wests future, blaming the lack of good science teachers. He describes himself as Old Left, adding, I think you need higher taxes and better public services. I guess youd call me part of the public sector establishment. He is certainly no Liz Truss fan.

But just as his appreciation of ritual overcomes his atheism, so, too, his politics do not prevent him admitting the allure of the private sector. He sits on the board of a venture capital firm in Cambridge, and laments that the investment in UK start-ups does not match that in Silicon Valley. He admires the revolving door that shuttles staff between private enterprise and government in the US, seeding ideas between the two, and wishes it was replicated in the much more siloed system here.

The balance of public and private also animates him when it comes to manned spaceflight. He is excited by the prospect of humans venturing into that great beyond which he has spent his lifetime studying. However, he thinks it is madness that Nasa is spending many billions doing it. Leave it to adventurous plutocrats such as Elon Musk, a 21st-century Brunel, or Jeff Bezos, he argues. He reckons Nasas Artemis programme, which has been repeatedly delayed, is very expensive and probably mismanaged.

Ultimately, he says, thats because the American public wont accept imposing high risks on publicly-funded astronauts, given that human spaceflight will just be an expensive spectator sport of no practical use. The result will be a costly project, bloated by endless safety measures. By contrast, we would cheer on the private adventurer having a crack at the Red Planet. So might Mars provide a lifeboat a Planet B as some describe it to a humankind which has wrecked Earth? The answer is an emphatic no. Its a dangerous illusion, he says. The process of terraforming Mars, or making it Earthlike, and so habitable for billions, is a doddle compared to dealing with climate change.

Not that Lord Rees, author in 2003 of Our Final Century: Will the Human Race Survive the Twenty-first Century, and co-founder of the Centre for the Study of Existential Risk, thinks climate change is the only risk we face. Pandemics obviously, he says. But he also worries about a population explosion trapping Africa in poverty, with the agriculture required to feed everyone destroying both the environment and biodiversity.

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Lord Martin Rees: 'Long term, humans won't exist they'll evolve into something digital' - The Telegraph