The Inhumans have become “fetch” for the Marvel brand. That is to say many fans think the company needs to stop trying to make them happen. For several years the publishing branch has struggled to get a lineup of Inhumans comics to sell. Yet even with well-liked creators, few of the series have lasted more than a dozen issues, and an even worse fate has met the new television series. In many ways, it seemed like it was time to give up on The Inhumans, until Marvel Comics finally figured out the formula this year.
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The current lineup of Inhuman-related comics, including Royals, Black Bolt, Inhumans: Once and Future Kings, and, of course, Ms. Marvel represent the most consistent brand at the publisher today. They are receiving excellent reviews that will hopefully be followed by increased sales. In the opinion of this comics reviewer, this combination of series is some of the best work produced by Marvel Comics in the past decade.
That begs the question: How did they do it? After so many false starts and missteps, what went right this time? We think we have a few answers on how Marvel made The Inhumans work, and what lessons can be gained from this creative success.
Understanding The Themes
One of the most difficult questions regarding The Inhumans is what they are supposed to be about. They were introduced in the pages of Fantastic Four as a group that was neither heroic nor villainous. Instead they expanded a stranger, grander Marvel universe with new settings, characters, and politics that played out as an ongoing B or C plot to the central quartet’s adventures. There have been attempts to map them onto the core metaphors of the X-Men, handling prejudice and division, but these replacements have not been well received.
That’s because Inhumans are not the downtrodden of the Marvel Universe; they are the elite. It’s no coincidence that the first Inhuman characters to be introduced were a royal family with incredible abilities living on the moon. They want for nothing and are capable of living entirely beyond humanity’s qualms. The struggle of Inhumans doesn’t rest in trying to rise up, but attempting to be better. Built into the very nature of royalty are the issues of social justice and self-governance. While Black Bolt might be a just king, he remains a king, nonetheless. When you add the very troubling history of the Alpha Primitives (laborers enslaved by Inhumans), the issue of societal improvement by those with the most privilege becomes a key topic.
This is something addressed in all of the current series to varying degrees. Writer Christopher Priest has tackled the issue of slavery and generational privilege head on in the origin story of Once and Future Kings. In Black Bolt, the king struggles to use his power to help those he previously looked down upon as he’s given a new perspective in prison. Royals watches the formerly powerful grapple with their new place in the world as they confront an uncertain future. Ms. Marvel sees its heroine use her powers to help less powerful groups in American society. What all of these series have in common is understanding that Inhumans have always been powerful, and the most interesting question lies in how that power is used.
Hiring the Best Talents
No matter how clearly Marvel Comics may have identified what makes Inhumans work as a concept, it wouldn’t matter without skilled creators capable of realizing those themes and making them entertaining. Looking at the current set of creative teams behind the various Inhumans titles today reveals a murderer’s row of top superhero comics talent. Priest’s return to Marvel Comics after leaving an indelible mark on Black Panther in the late ’90s has brought his unique style and social commentary to the comics. Meanwhile, Al Ewing continues to redefine the Marvel universe with a love of its mythos and exploration that truly follows in the storytelling footsteps of the Inhumans creator Jack Kirby.
On the artistic side of the equations there is no better looking book at Marvel Comics right now than Black Bolt. Christian Ward’s psychedelic landscapes realize the nightmare prison of its first arc in a fashion few could achieve. He’s also shown a real knack for small emotional moments, distilling the love of a man and his dog or the sadness of final regrets into quiet, direct panels. Ms. Marvel also continues to have one of the most consistent rotations of artists working at the publisher. As Marco Failla wraps up one arc, Diego Olortegui prepares to take over. They offer their own takes on the character and her world, without radically shifting the tone or style of the comic. It’s an impressive continuation of a long-standing contender for the best superhero comics on the stands.
Creating Diverse Stories
Perhaps the single most important element behind the current success of the Inhumans line at Marvel Comics today is the diversity on display within it. It’s a concept that applies to the art, stories, characters, and creators, alike. All of the series mentioned so far have radically different artistic styles ranging from the dreamlike work of Ward on Black Bolt to the much more clearly designed work of Phil Noto on Once and Future Kings. The contrast between suburban battles in Ms. Marvel compared to the space odyssey of Royals is all that needs to be pointed out regarding the variety of takes on the superhero genre available.
The creative teams behind the comics as well as the characters they’re working with have never been more diverse either. Glancing through the teams on these four titles reveals a great collections of age, genders, and races. The Inhumans whose stories are told reflect the same. This is a group that has come a long way from those originally created by Kirby and have been made even stronger as a result.
Not only has Marvel Comics finally cracked the code to Inhumans as a brand, but they appear to have revealed some valuable lessons about making great superhero comics in a market packed with capes. It starts with a great idea, adds talented creators, then provides a set of perspectives as diverse as those walking into comic shops each Wednesday. It’s a formula that makes us glad to see Inhumans finally finding their place at Marvel Comics.
