Magneto: Testament
Historically Useful, or Travesty to Memory?

In my love for comics, specifically men in spandex (super-heroes, you know!), I rarely take the time to "get out of the box". Occasionally I'll try some sword and sorcery, or even some comedic material like Bone. But one genre of comics I usually seek out and make time for deals with another passion of mine, and that is study of the Holocaust. In my spare time, I am an educator with the United States Holocaust Memorial Museum, and I travel the country (and even beyond at times) teaching teachers how to deliver this subject matter to secondary-aged students.

I use Art Spiegelman's Maus with my own freshmen-level classes, and I've cited that graphic novel as well as Will Eisner's The Plot (an extensive look at the writing and desemination of The Protocols of the Learned Elders of Zion) in my senior-level Social Injustice class. I just finished reading Magneto: Testament, and I want to recommend it to you. The edition I read is hardcover, runs $25 retail, and reprints the five issues of the mini-series that was published in 2008. It also includes historical endnotes and a teacher's guide. While I didn't wholeheartedly agree with all of the lesson suggestions, it would still be a welcome resource for many educators.

If for some reason you aren't up on your X-Men lore, or if you haven't seen any of the three X-films (and my main question would be -- why are you reading this blog if you are in the dark on the X-Men??), Magneto is the main bad guy in the mythos. He is a tragic hero, bent on making the world safe for those with mutant powers. He has been shown at times to be quite militant, and is opposed by Professor Charles Xavier and his X-Men; you might think of Malcolm X's means for achieving racial equality vs. Dr. Martin Luther King's means; you'll get the basic story. Make no mistake -- just above I stated that he is a "tragic hero". That's somewhat of a newer characterization, as throughout the Silver and Bronze Ages Magneto was one of the premier do-badders in the Marvel Universe. He left a body count, to be certain. But, around 30 years ago, Chris Claremont (and subsequent writers) decided that a way to explain Magneto's militancy in the mutant vs. non-mutant conflict was to set his origins in the Holocaust. Magneto: Testament is the definitive origin/backstory of the character.

While this graphic novel could be used in any high school class-room, and is a serious and straight-forward look at a German-Jewish family and their lives before and during the Holocaust, I'll recommend it, too, as a fine read for the comics enthusiast. The first thing the reader of this story might assume is that Magneto is going to use his powers against the Nazis as was shown in the first X-movie. However, as a boy in this tale, Magneto exhibits virtually no powers, so this truly is a Holocaust story and not a superhero story in any way. The author and artist (Greg Pak and Carmine Di Giandomenico) were edited by scholars at the Simon Wiesenthal Center; I can say that everything they wrote/drew is accurate to the best of my knowledge -- the Auschwitz I and II scenes are outstanding. I was able to travel to Warsaw and Krakow, Poland last October -- my journey included a tour of Auschwitz I and Auschwitz II-Birkenau. The author/editor of this graphic novel use the book's endnotes to offer specific support for many of the scenes in the story. I felt good that what had been presented was rooted in actual events, a danger that historical fiction often faces (and often loses, in my opinion). I did somewhat cringe, though, at a scene (panel, actually) that was right out of Schindler's List (when the women are on the train bound for Auschwitz).

The basic plot of the story follows young Max Eisenhardt (Magneto) as the Nazi noose around the collective necks of the Jews of Europe tightens. From the Nuremberg Laws of 1935 to Kristallnacht (November 9-10, 1938) to the invasion of Poland, and of the USSR (June 1941), Max is thrust into the middle of events he cannot control. Compounding his problems is his budding love for a young Roma (gypsy) girl named Magda. The tale is fast-moving, historically accurate, and a page-turner of excellent characterization and suspenseful story-telling.

Magneto: Testament is a much shorter read than Maus, and probably more accessible to youngsters than The Plot. It is graphically violent in spots, but then I would add that no student of the Holocaust would be surprised at any of the situations depicted. I'd rate the book PG-13 I suppose, but there is more than that implied at times. Of course, with as much violence as generally makes its way in between the pages of the standard 20-page comic these days, perhaps no one will be surprised. I'd offer, however, that "real" violence -- that based on historical fact and in real-world events -- carries a bit more weight, even shock value.

So, if you have time to waste someday at a Barnes and Noble or Borders... or if you will actually part with your hard-earned cash, I'd recommend picking up this collection. I wanted to also give you a head's up that this could prove to be an exciting new resource for secondary teachers.

Note: The trade paperback collection was solicited in Marvel's section of the June Previews.

The Thomas-Adams X-Men: X-Men 59

X-Men #59  (1969)

X-Men #59 (August 1969)

“Do or Die, Baby!”
Scripter – Roy Thomas
Artist – Neal Adams
Embellisher –Tom Palmer

Karen: This is our fourth and final review (for now) of the Roy Thomas –Neal Adams X-Men stories. I can say without hesitation that it has been a real pleasure to read these stories, and they are a great example of how to do comics right. There’s plenty of action, characterization, and just excitement in these books.

Doug: An interesting note from my reading source, X-Men Classics #1 – the story that is in X-Men #59 is cut off right in the middle and left as a cliffhanger, actually continuing in X-Men Classics #2! Here I was, settling in to finish up this little series of reviews, when Whoa! An unsolicited return to the basement to retrieve more comics!

Sharon: The division of the story struck me as odd in X-Men Classics #1; there’s even an “intro” page summarizing X-Men #56 at the start. I’ll stick with the Adams Visionaries tpb and my recollections of the original issues! These stories (and the entire Thomas-Adams X-Men run) will also be included in the forthcoming Essential Classic X-Men volume 3 (in black and white).

Karen: Adams again gives us a wonderful, almost theatrical experience. There are so many good scenes in the book I almost don’t know where to begin. I think the panel of Cyclops cutting loose on a Sentinel on page 8 really conveys raw power, and the full page shot of the Sentinels flying into the sun is spectacular. I also liked Roy’s captions on this page – it was dramatic yet poetic: ”On the surface of this world of solar winds…of moment to moment thermonuclear cataclysm…a handful of humanoid forms will make but the most imperceptible of ripples…!”

Sharon: In an interview in Comic Book Artist, Adams himself cites this passage as a great example of how well Roy and he meshed, and of how Roy’s text complemented the art perfectly.

Doug: Agreed on all points. About the only bone I’d pick with Roy in this book is the continued effort of Marvel to play down their female characters. Jean is just portrayed as a dope – never knowing what to do unless Scott tells her, unsure of her abilities, etc. She is characterized here in much the same way we’ve seen the Silver Age Scarlet Witch and Invisible Girl. It’s interesting, though, that as the Bronze Age got under way (and into the Modern Age) other writers would take these three female supporting characters and make them the most powerful members of their respective teams.

Karen: I also really like the coloring job Adams did here. He wasn’t credited in the book, but the Bullpen Bulletins page mentions him as coloring his own work. His work has a sense of light and shadow, warmth and coolness. Of course, Tom Palmer’s inking also helps out in these areas, providing so much texture to the work.

Sharon: Adams made it a point to learn about coloring and printing technologies; he always wanted his work to be presented in the best possible light (as we know, he’s very hands on with his reprinted work and how it’s presented). Anyway, back then when he started to pencil for Marvel, he noticed that Marvel had a slightly larger color palette than DC did. As Neal has related in interviews, he advised DC to expand their palette (DC had thought it would be more expensive but it was not the case). So in the late 60s-early 70s you’ll start to see some DC coloring changes, such as DC’s “skin” tone changed from a pink to a more flesh color, or Batman’s costume from purplish to gray.

Doug: Yes, and I’d just reiterate what I think I’ve said for each of the previous three issues – the camera angles that Adams chose, the pacing, etc. is just so good and for its time largely revolutionary.

Karen: We see a ton of mutants in this issue, although unfortunately they are all cameos, as none of them get anything to do! Cyke, Jean, and Beast exchange costumes with the captured Quicksilver, Scarlet Witch, and Toad, in order to throw off the Sentinel’s ability to adapt to powers. But unfortunately the three now free mutants don’t help out our X-Men! It would have been nice to see all six running around together.

Sharon: Yes, I never understood why the X-Men didn’t want at least Pietro helping out (Wanda was depowered at the time). I also had a hard time believing the X-Men would have donned the trio’s clothing, and I assume vice versa…ughh (thinking of sanitary issues). Also, isn’t the Beast a lot larger and taller than the short, puny Toad? Anyway, I liked how Adams made Wanda’s face slightly different from Jean’s (when they were shown in nearly identical panels, identically dressed in Wanda’s costume and tiara, in different panels on the same page); Jean’s face was a bit narrower and more angular.

Sharon: It was great to get a glimpse of how Wanda and Pietro would look in Adams’ hands. The shot of Pietro battling the Sentinels calls to mind the profile shot of Magneto later on at the end of X-Men #62; there’s a facial similarity between the two characters…in hindsight, of course! I’ve never read that Adams had intended a resemblance, but others sure picked up on it or may have been influenced by it. Too bad when Adams penciled the Avengers book later on, Wanda and Pietro were mostly comatose throughout his short-lived stint.

Sharon: And I loved the shot of Jean as Wanda using her “hex” (really telekinetic) power. In this instance, I felt Adams’ flourishes were warranted; style served substance, instead of distracting from it.

Karen: In order to stop the Sentinels, Cyclops pulls a play straight out of Captain Kirk’s playbook: he talks them into destroying themselves, by seeking out the source of all mutation, the sun itself! This could have felt like a cheat, but the way it was handled it, I felt it was a satisfying conclusion.

Sharon: The idea of the Sentinels flying into the sun, and the sun as the source of all mutation, was suggested by then-Marvel intern/office assistant…a fellow by the name of Chris Claremont. He was also included in the credits of Avengers #102, which continued the Sentinels’ story. Never one to rest on his laurels, later on Claremont famously supplied the plot point of the Living Island in a little book called Giant-Size X-Men. Talk about a fertile imagination!

Doug: Do either of you recall another Sentinels story where the constructs are able to carry on a conversation with non-Sentinels? It seems to me that their speech in this story is more akin to the Master Mold and not to ordinary Sentinels. I could be wrong, and admittedly haven’t gone to look up any other examples. But I found the conversations with Judge Chalmers to be a little more sentient than I’d recalled them having in other books.

Karen: After reading these issues, it seems like a shame that this creative team could not have stayed around for many years. I’m really curious where the book would have gone. But then, we might not have gotten the equally wonderful Claremont/Cockrum/Byrne years.

Doug: The heritage of this collaboration lives on in reprints – how many times? X-Men Classics 1-3, X-Men Visionaries: Neal Adams, Essential X-Men, Marvel Masterworks, the X-Men DVD-ROM, etc. That Marvel has gone back to this particular well so many times speaks to the “classic” nature of this creative team. As you said, Karen, although they weren’t together long, it seems that whatever they touched (Avengers, X-Men, Inhumans) turned to gold!

Sharon: In an earlier entry I mentioned Adams’ Ben Casey work and wished aloud that someone would package it—well, just TODAY I see my prayers have been answered! IDW Publishing has just announced a two-volume collection of the Adams Ben Casey strips, to be published in the summer of 2009. Ah, there is a God…