Marauders #8: Cold as Ice, Man!

This issue played me like a harp both visually and in the perfectly pitched scripting. Right from the opening Gerry Duggan slowly eased us into the revelation of what happened to Kate and it seems our worst fears are realised. What begins as the opening bars to the Anthem of the Brave New World for the next generation of mutants soon turns into the death knell for one of the very children who grew up doing all she could to see this world come to pass. At first I thought I needed at least a shocked expression from Emma or Bishop as she gleans the truth from his mind. Comics are a visual medium after all is said and done and I needed a clear pictorial emotional cue. But even he had his back to us so we couldn’t see how he was affected by what he saw, and his words gave little clue as to his feelings. No change there for him. But it is in this very denial of our feelings that the story takes us by the hand and guides us to where we need to be. It isn’t until we are privy to the visceral and angry feelings of her ex Bobby, so changed from his earlier happy self, that we finally get a sense of the magnitude of events and so for me the truly gut wrenching reaction is from him. The carefree joker facade cracks and we see how angry he can be. And we get a glimpse of the power he holds back in the most shocking way that is so unlike him, shocking even a hardened warrior as Bishop.
Of course perfectly followed by the raw indignant outrage of her mother figure Storm. The moment she arrives at Emma’s place in particular has many levels of resonance. Right from the initial confrontation it is fraught with pathos and potential for high drama. I did at first expect far more fur flying, but actually it seemed a more dynamic result comes from the moment they both just give in. And though it could be seen as a disappointment by those spoiling for a fight it would cheapen them both, not to mention the deeper implications of the event that leads them there just to have them tear chunks out of each other. And so the emotional impact came from their mutual crash and burn, before each finally lowers their guard and lets the other in. The stages of grief play out in different ways with both and yet when it all comes crashing down they each lean on the other. This is truly a watershed moment for these two. With so much deep water running under the bridge for them both, it is almost fate that they face this together.
Stefano Caselli and Edgar Delgado also play a key role in making the impact truly felt visually. And ensure the mood is pitched just right for the unfolding tragedy. The way Kate floats ethereally in the water while Bishop hides his expression, the soldier overseeing the fallen comrade. The way Emma waits until she is alone and unobserved before crashing defeated to the floor, ever the proud protector of her students. And the stark contrast of Iceman in full on rage and grief, which gave me chills for real. All of this, the crestfallen body language, the tearful outpouring of grief and expressions of quiet rage all match the mood and ensure we don’t have to rely on just the words to get a sense of how they are all feeling. So as the reality slowly dawns on us it is through their eyes, their words and their actions we are allowed to grieve. And so I have to say, as much as my heart insists this isn’t over and Kate is shamming…it still cuts deep. And even though we see a body in the bag we don’t see the face, which supports the fan theory that this body ‘Masques’ a deeper meaning. But while Kate is taken out of the picture it does also allow for more development of the other players. Speaking of which the arrival of Fenris onto the scene is perfectly compèred by some Sinister Observations. Another fine example of the data text that delivers so much information in short order. That underpins the current story as well as news of a mutant baby on the way. And the bittersweet perfection ends with a sigh of relief. Lockheed breathes again. And so can I.