X-Men: Black - Mojo Savagely Satirizes the Comic Book Industry

WARNING: The following article contains major spoilers for X-Men: Black - Mojo #1 by Scott Aukerman, Nick Bradshaw and André Lima Araújo, on sale now!

For those of you lucky enough to have avoided any and all social media posts regarding it, we regret to inform you there is a strange divide among comic book fans right now. Yes, as silly as it sounds, it’s true. There are rival factions battling over the soul of 22-page funny books about super-powered people in capes. It’s a strange time we live in, yet here we are. For the sake of brevity, we’ll just say the belligerents are in two very different camps and the following will be explanation of them in the broadest sense.

The first is a group of comic book fans and creators who feel the mainstream comic industry has forced diversity and politics into comics (quick side note: introducing a new character is not the same as forcing them into a book) and believe ‘90s comic book aesthetics were the pinnacle of the medium. The other side of this coin is… well, a rather large swath of comic book creators and fans who have taken a stance against the opposition that has rallied behind the banner of Comicsgate.

Now, if you don’t know what Comicsgate is, good for you. Try to keep it that way. But for those of you who have a working knowledge of the vitriol that has been broadcast online, X-Men: Black – Mojo #1 might be the funniest satire on the whole ordeal thus far.

RELATED: Magneto Fights the Power in X-Men Black: Magneto #1 – But Does He Win?

Writer Scott Aukerman (Comedy Bang Bang) and artists Nick Bradshaw (Wolverine & The X-Men) and André Lima Araújo (Ben Reilly: The Scarlet Spider) have used the ratings-obsessed interdimensional television mogul, Mojo, to thoroughly explicate the current comics feud, saddling the villain with familiar, less-than-desirable attributes so as to provide a deft caricaturization of a comic book curmudgeon.

He strolls around New York City in a trench coat and a fedora (m’lady) and claims to not need any sort of compassion despite desperately searching for it. Framing the character in such a way might be a bit too on-the-nose for some, but for a broad satire it works wonderfully. The blatant jabs Mojo makes at the comic book industry only add to this side of the character.

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