Review - All-New X-Men Volume 4: All-Different

Kitty Pryde and the All-New X-Men have left Wolverine’s Jean Grey School, joining up with Cyclops and his team at the Weapon X facility. They’re given new uniforms and are sent on a mission to rescue a mutant from the religious zealots known as the Purifiers, unaware that they’re saving an old friend of the X-Men.

All-New X-Men Volume 4: All-Different collects All-New X-Men #18-21, written by Brian Michael Bendis and illustrated by Stuart Immonen, Brandon Peterson, and Mahmud Asrar. It also features the one-shot X-Men Gold, which features vignettes by Chris Claremont, Stan Lee, Louise Simonson, Roy Thomas, Fabian Nicieza, and more.

This volume picks up after the events of Battle of the Atom. Kitty has thrown her support behind Cyclops, bringing her squad of trainees with her. Jean Grey is more determined than ever to change her future, while her relationships with Cyclops and Beast are somewhat frayed. Amidst this melodrama, the X-Men are tasked with stopping the Purifiers from killing an unknown mutant. This mutant turns out to be Laura Kinney (AKA X-23 AKA future Wolverine). Horrified by what Laura has endured, the X-Men formulate a plan to bring down the Purifiers. This arc is brief, but impactful. Bendis and co. utilize the Purifiers in a way that is just as relevant now as it was when Chris Claremont and Brent Anderson introduced them in God Loves, Man Kills. It even features a callback to that graphic novel. Religious fanatics using scripture to justify their hatred for those who are different than them will always be terrifying (and sadly evergreen), so this is what makes the Purifiers such a gruesome foe for the X-Men. Although, the optics regarding the rhetoric and themes used in this arc are somewhat poor. The Purifiers are clearly based off of real life white supremacist and anti-LGBTQ groups, so having the all-white (mostly straight) All-New X-Men be the focus of their ire seems weird.

Action is definitely at the forefront of this volume, which is a bit of a change of pace from previous ones where a lot of the stories involve the characters standing around talking to one another. Of course, that’s not to say that there isn’t any character work that is done within this arc. We get some touching moments, such as when Kitty and Illyana reunite and when Cyclops consoles Laura after her rescue. In fact, I’m quite fond of the dynamic that Bendis has cooked up between teen Cyclops and Laura. Whether intentional or not, it feels like it’s referencing the popularity of the slash pairing of Cyclops and Logan. It also helps us to see Cyclops as someone who is caring and compassionate, which are traits people don’t usually associate with him. Jean continues to be the focal point in the series, though she’s becoming increasingly more grating due to the continued abuse of her powers. She’s eager to use them however she wishes, which is a problem because she should have consent before doing so. I do, however, appreciate the sequence where Kitty tells Jean not to use her powers on Laura. Overall, it feels like a conversation needs to be had between Kitty and Jean regarding her misuse of her telepathic gifts.

While this collection is overall very engaging and worth reading, there’s no consistency with the artwork due to the absence of series mainstay Stuart Immonen for issues 19-21. Immonen’s artwork is nothing short of spectacular. It’s clean, it’s expressive, and it’s come to really solidify the tone for All-New X-Men. Mahmud Asrar, who provides the opening pencils to issue 20 is an ideal replacement as his work more closely matches Immonen’s. Brandon Peterson, however, provides the bulk of the artwork for this collection. His style is more detailed than Immonen and Asrar’s, but it’s also more basic in that it lacks any kind of uniqueness or flare. It also doesn’t help that the colours provided by Israel Silva are muddy and make it hard to make out what’s going on.

I quite enjoy All-New X-Men as a series and think it’s one of the better entries into the X-Men line of books within the past decade or so. This volume contains much of what makes it so entertaining. It balances humour with drama really well, provides the right mix of action and character work, and features some gorgeous artwork (by Immonen and Asrar). It also features a bonus issue, X-Men Gold, which is full of cute little short stories from various points in the X-Men’s history.

RATING: B

Review - Ultimate Spider-Man Volume 7: Irresponsible

When Peter and Gwen sneak out to attend a house party, they encounter a student named Geldoff from another school who possesses the ability of combustion. After an incident where Geldoff was causing cars to explode, Peter intervenes as Spider-Man in an attempt to get Geldoff to recognize the severity of his actions. Before he can sway him one way or the other, they are confronted by the X-Men, who are determined to bring Geldoff back with them to Professor Xavier.

Ultimate Spider-Man Volume 7: Irresponsible collects Ultimate Spider-Man #40-45, written by Brian Michael Bendis and illustrated by Mark Bagley.

One of the most notable aspects of Irresponsible is the total lack of supervillains within its narrative. Instead, Bendis and Bagley take a more human approach to storytelling as they present Peter with a dilemma instead of a full-blown superheroic conflict. This results in a rather slow and somewhat torturous read. The premise is basically “what happens when the awkward foreign student gets powers and becomes popular?” There’s no real stakes since Geldoff doesn’t come across as a real threat. He blows up some cars, but that’s about it. The majority of the issues that make up this arc are essentially characters standing around talking to each other. Aside from the fact that Peter and Mary Jane reconcile after breaking up for a while and Peter meeting the X-Men, it feels like nothing of import actually happens. That’s not to say there aren’t some memorable moments. The X-Men’s inclusion in this arc really adds some much needed energy to the otherwise limp narrative. From Kitty’s fangirling over Spider-Man to an impressive action sequence involving Jean and Storm saving Spider-Man, Kitty and Geldoff during an impending plane crash, the X-Men create a sense of urgency and dynamism that really intensifies the world that Spider-Man occupies.

Given my issues with this dialogue heavy arc, it’s a surprise that my favourite issue in this collection is one that features almost no action and that’s essentially start to finish dialogue. Set in a therapist’s office, issue 45 sees Aunt May reflecting on the current state of her life and making several revelations about her feelings towards Peter, Gwen, and Spider-Man. It’s a truly intimate issue that gives readers a rare glimpse into Aunt May’s world and shows us the remarkable interiority of this character. It’s shockingly quite riveting as a read as it offers us different perspectives on supporting characters that are otherwise only ever seen through Peter’s lens. Getting to see how Aunt May is dealing with the grief of the loss of her family members, of Captain Stacy, and how she’s “using” Gwen as a coping mechanism is absolutely fascinating.

In these issues, artist Mark Bagley had to ensure the characters were as expressive as possible. Since much of this arc relied upon the feelings and thoughts of the characters involved, he had to narrow his focus and illustrate a lot of close-up reaction shots. This is especially evident in the aforementioned therapy issue. He carefully crafts each of Aunt May’s facial mannerisms to accompany the dialogue, which helps plot how she’s feeling at any given moment. There’s also a scene where Peter and Mary Jane are passing notes in class. Each panel is kept tight on their faces as they react to what’s being written. It’s really engaging since we’re seeing how they feel without being told. Beyond that, we’re seeing Bagley allowing the characters to grow through the visuals. Mary Jane is adopting a shorter hairstyle that is more refined, while Peter’s odd wispy bangs aren’t quite as jagged as usual. It’s also worth mentioning that we get to see the Ultimate versions of the X-Men in Bagley’s style. For the most part, he does a great job. I quite like how he captures Kitty’s youth and he really makes Jean pop on the page, but he struggles to make Storm’s hair a consistent style since he gives her weird bangs and the colorist doesn’t make her skin dark enough.

Ultimate Spider-Man Volume 7: Irresponsible is a bit of a chore. It has a lot of pacing problems and it struggles to maintain the momentum that the previous arcs built upon. Since it’s very heavy in dialogue, it may be a deterrent to some readers who are looking for something that’s less introspective and has more in the way of action. The issues with the X-Men are the most entertaining, but the Aunt May-centric issue 45 is also worth reading. Otherwise, it’d be quite easy to skip over this collection.

RATING: C

Review - X-Men: The Road to Onslaught Volume 2

After months of imprisonment and attempted rehabilitation at the hands of Professor Xavier, Sabretooth escapes his confinement and leaves a path of destruction in his wake as he makes his way to New York City. With government forces on standby, the X-Men must track Sabretooth down before he can hurt anyone else. Then, Bishop struggles with holding onto his sanity due to reality and time hopping complications.

X-Men: The Road to Onslaught Volume 2 collects X-Men/ClanDestine #1-2, Uncanny X-Men #327-328, Annual '95, X-Men #46-49, X-Men Unlimited #9, and Sabretooth: In the Red Zone. It includes writing by Alan Davis, Larry Hama, Terry Kavanagh, Scott Lobdell, and Fabian Nicieza, as well as art by Roger Cruz, Gary Frank, Bryan Hitch, Andy Kubert, Joe Madureira, and Jeff Matsuda.

This trade reads as a compilation of largely unrelated stories, pulling both from the main X-Men titles at the same and from other books. As such, this leads to a variance in quality. The greatest example of this is the X-Men/ClanDestine two-parter that kicks off this collection. It’s a puzzling inclusion given how inaccessible it is for casual comic book readers. It features an obscure set of characters, the Destines, as they team up with the X-Men to defeat an otherworldly entity. While Alan Davis’ art in these issues is gorgeous, the storyline is random and disposable. The issue of X-Men Unlimited that was included is equally as random. It features Wolverine, Psylocke and Beast caught on a mission to the Bermuda Triangle, where they must stop the combined might of the Belasco and Bloodscream. While the story itself is penned by the talented Larry Hama, it remains an unremarkable adventure that’s further marred by subpar art.

Interestingly, one of the best stories in this trade is the one-and-done Uncanny X-Men Annual ’95. In this oversized comic, then-new X-Man Cannonball heads back home with Wolverine, Bishop, Storm, and his oldest sister in tow to investigate an anti-mutant cult that has recently recruited one of his siblings. Written by Terry Kavanagh and with art by Bryan Hitch and Bob McLeod, it’s a story that tackles zealotry and bigotry in a way that is reminiscent of the seminal God Loves, Man Kills graphic novel. The familial dynamic between Sam and his sister Paige helps to ground the story. We get a lot of great character moments with them, especially with Paige. Though more prominent in Generation X, we see references to her being ashamed of her upbringing (she tries to hide her Southern accent) and her overall drive to be a hero like Sam. Uncanny X-Men Annual ’95 may not have a whole lot to do with the arrival of Onslaught, but it remains a memorable and relevant story with some impeccable artwork.

The bulk of the material in this volume relies on and furthers the overarching plotlines that were present in the X-Men books at this time. Issues 46-47 of X-Men see Scott Lobdell and Andy Kubert tying up loose ends from way back in issues 10-11. The X-Babies have escaped the Mojoverse and a handful of the X-Men must protect them from extradimensional bounty hunters. These two issues fill readers in on what’s happened to the Mojoverse since the rebellion, which is great for Dazzler fans since she shows up towards the conclusion. Her presence (and attitude) is just about the only reason to tune in to this two-parter. Kubert’s art is sadly very inconsistent and the X-Babies are predictably rather irritating. There are some great scenes that punctuate the action, particularly between Jean Grey and Iceman. These quiet moments help to drive home how much of a family the X-Men are. Issues 48-49 are Bishop-centric, dealing primarily with what seems to be PTSD brought on by his time travels. While he’s struggling to hold on to his sanity, an assassin is sent after him. These issues deal tangentially with the aftermath of the Age of Apocalypse and attempt to give Bishop some layers, but their ugly art and dull writing really fail to leave much of a positive impression.

The other plotline that is further developed involves the continued captivity of Sabretooth. All the way back in X-Men Unlimited #3, Sabretooth willingly submitted himself for help from Professor Xavier as a means of receiving telepathic soothing that he had become addicted to. Though many X-Men disagreed with the decision, Xavier saw it as an opportunity to rehabilitate the villain. In this collection, we see the final resolution of this plotline. Sabretooth proves himself to be beyond redemption, prompting Xavier to make a deal with the government to have him incarcerated. In return, Sabretooth plots his escape from the mansion and leaves a trail of destruction in his path. Uncanny X-Men #328 is a standout issue in this saga. We get an emotionally devastated Boom Boom losing her cool once she discovers the truth about Sabretooth, as well as an intense action sequence that features a rematch between the villain and Psylocke (they pair first battled one another way back in Uncanny X-Men #213). It’s also worth noting that the issue is illustrated by Joe Madureira at the height of his popularity. His manga-influenced style is beautiful and dynamic. His Psylocke is especially iconic. Sabretooth: In the Red Zone concludes this arc. The original X-Men are sent by Xavier to apprehend Sabretooth, which gives us some great scenes of the O5 working together as a team. The synergy that they have is really electric, so it’s not hard to understand why this formation is so popular amongst fans. The combination of Fabian Nicieza’s dialogue and Gary Frank’s near-flawless art makes this issue incredibly cinematic. So much so, that it would make for a great animated film.

X-Men: The Road to Onslaught Volume 2 is really not worth the price of admission. It’s great for completionists and X-Men fans who loved the ‘90s, especially since it has a lot of cool extras. There are reprints of trading cards, for example, that are included after each issue. Uncanny X-Men Annual ’95 is a great read, as is the one-two punch of Uncanny X-Men #328 and Sabretooth: In the Red Zone. The writing on those issues is impeccable, but the art is even more impressive (arguably some of the best that Hitch, Madureira and Frank have done). Unfortunately, the rest of what is collected here is pretty forgettable. It’s probably better to buy some of the individual issues via Comixology than shell out the money for this hefty trade.

RATING: B- (buoyed mostly by the high quality of some of the issues included)

Review: Ultimate X-Men Volume 3 - World Tour

While on an international press tour for his book, Professor Xavier is forced to confront a dark secret from his past when his homicidal son escapes from his confines on Muir Island. He sends the X-Men into the field to capture him, but it soon becomes clear that their powers may not be enough to stop his wayward son. Then, Jean Grey and Cyclops are tasked with bringing Colossus back into the fold after he leaves the team and heads home to Russia.

Ultimate X-Men Volume 3: World Tour collects Ultimate X-Men #13-20, written by Mark Millar and Chuck Austen with art by Adam Kubert and Chris Bachalo.

World Tour serves as an update of the classic Proteus Saga from X-Men #125-128. In this version, Proteus is reimagined as the twisted son of Professor Xavier and Moira MacTaggert. After years of being confined to Muir Island through sedation, David Xavier awakens from his sleep when he senses Professor Xavier’s presence in Europe and sets about enacting his revenge on the man who abandoned him when he was still a child. It’s a creative modernization of the story and the twist of Proteus being Professor Xavier’s son is actually something I would have liked to have been canon in the main Marvel universe. Millar is to further be commended for the way in which he infuses the theme of parental abandonment into this narrative. David Xavier is a complex villain because he commits unforgiveable acts of murder and yet has an upbringing that begs the reader to empathize with him. His father was neglectful and abandoned him when David needed him the most. This is made worse by the fact that his father has now created a surrogate family for himself with the X-Men, intensifying his feelings of loneliness and rejection. It humanizes both David and Professor Xavier, the latter of which used to seem more like an archetype than an individual who makes mistakes in his pursuit of his dream.

The validity and effectiveness of pacifism is another theme that permeates this story arc. Professor Xavier preaches a non-aggressive approach to the protection of human lives, which is something that doesn’t always seem to work in implementation. Colossus in particular doesn’t share the same views as his mentor and leaves the team because of this, though he has added reasons pertaining to his feelings of underappreciation and the endangerment he faces as a member of the X-Men. Colossus also vehemently disagrees with Professor Xavier’s psychic manipulation of Magneto. Indeed, many important questions are raised here. Are non-violent actions a viable solution when faced with aggressive opponents? Can one really claim they are a pacifist when they’re manipulating the mind of another person without their permission? World Tour doesn’t really provide any answers to either of those questions. Although, Millar comes close as he gives the X-Men an irredeemable foe that must be dealt with in as aggressive a manner as possible. Professor Xavier’s psychic surgery of Magneto’s mind creates a rift in the X-Men as well. There’s a growing distrust towards him, particularly from Beast and Colossus, the former of which suspects that his relationship with Storm may be a lie. These kinds of character explorations are really interesting and help to add depth to this collection.

The main storyline for this collection is really great. Millar pens a really cohesive narrative that is sure to resonate with readers and he continues to flesh out these characters so that they feel like complicated individuals. Kubert and Bachalo’s pencils are noteworthy, with Bachalo especially adding a touch of creepiness to the arc once things start to get topsy-turvy with David’s manipulation of reality. The two issues written by Chuck Austen, which introduce fan-favourite Gambit to the Ultimate Universe, are unfortunately quite weak and feel disjointed when collected in this trade. Regardless, World Tour is more of a hit than a miss and is a really fresh take on an iconic storyline from the X-Men oeuvre. Millar and co also get bonus points for their reimagining of Psylocke (a British S.H.I.E.L.D. agent? Yes please!).

RATING: B

Review: Ultimate X-Men Volume 2 - Return to Weapon X

After Colonel Nick Fury goes missing during a S.H.I.E.L.D. assignment, the secretive Weapon X program kidnaps the X-Men and forces them to help in the rescue mission. They are tortured by the sadistic renegade John Wraith and the unscrupulous Abraham Cornelius in order to ensure their continued submission. Having earlier evaded Weapon X, Wolverine is the X-Men’s only hope for escape.

Ultimate X-Men Volume 2: Return to Weapon X collects Ultimate X-Men #7-12, written by Mark Millar and illustrated primarily by Adam Kubert.

In Return to Weapon X, writer Mark Millar re-imagines the shady government-sponsored program that turned Wolverine into the iconic Adamantium-wielding assassin. In the Ultimate Universe, Weapon X is employed by the United States government as an off-the-books organization that enslaves mutants for the purpose of performing black ops missions. It’s run by the extraordinarily cruel John Wraith, who is responsible for giving the orders to capture the X-Men and turn them into his personal kill squad. He fulfills a role similar to that of William Stryker in X2, though admittedly much more unhinged and aggressive. Scientist Abraham Cornelius acts as Wraith’s righthand and plays a crucial role in turning Beast blue in this storyline, which is an interesting  twist seeing as most other versions depict Beast’s transformation as self-inflicted. Nightcrawler, Juggernaut, Sabretooth and Rogue also make appearances as Weapon X subjects. There’s little depth to their characters, especially when it comes to Juggernaut and Rogue, but Nightcrawler is a standout for his continued reluctance to do as he’s told. We’re shown that he’s attempted to escape before and that he still has a clear sense of right and wrong, even though Weapon X’s scientists have attempted to weed that out of them.

Morality is one of the central themes in Return to Weapon X. Professor Xavier has taught the X-Men to never take a life in battle, but they’re clearly shaken after apparently seeing their mentor do just that to Magneto. Jean Grey is especially rattled and her feelings are exacerbated when Wraith makes it clear that he intends to use the X-Men as his personal assassins. Being involved with Weapon X also begins to change Jean’s perception of Wolverine as she begins to understand his actions and is humbled by the fact that he chose to embrace Xavier’s dream in spite of all of Wraith’s programming. Millar adds layers to Jean in this respect and she becomes the emotional nucleus of Ultimate X-Men through her insight and ability to forgive. Jean is also sharply contrasted by Storm’s reactions to the events of this narrative. Where Jean’s resolve and dedication to Xavier’s dream is strengthened by Weapon X’s evils, Storm questions the X-Men’s passivity and seeks retribution for what has been done to them through Wraith and Cornelius’ schemes. This leads to a bit of a schism within the X-Men and helps to illustrate that not everyone reacts the same when faced with traumatic events.

Return to Weapon X is an excellent follow-up to The Tomorrow People. Millar and Kubert continue to show their synergy as a creative team by delivering an action-packed storyline that has both depth and poignancy. The narrative feels like an organic progression of the events that preceded it and helps to build on the personalities and motivations of the X-Men, with a great deal of work spent on further developing Jean Grey and the relationship between Storm and Beast. The inclusion of the Brotherhood in the fight against Weapon X is also a nice nod to their involvement in the previous arc and it also helps to illustrate how badass Scarlet Witch can be. Millar continues to reinvent characters as well, which works rather well with both Wraith and Nightcrawler. He’s a little bit less effective with Juggernaut and Rogue, the former though receives a nifty redesign. His dialogue is iffy at some points too. The filler artists are also subpar in comparison to Kubert’s pencils, which creates a bit of a visual inconsistency to this collection. Nevertheless, Return to Weapon X is a creative and entertaining storyline with a clear set of themes.  The action continues to be explosive and many of the characters are relatable three-dimensional heroes. In this way, Millar and Kubert deliver the goods in Ultimate X-Men.

RATING: B+

Review: Ultimate X-Men Volume 1 - The Tomorrow People

With the mutant hunting Sentinels and the extremist agenda of mutant supremacist Magneto threatening to ignite a world war, Professor Xavier enlists the help of six young mutants to keep the peace and promote his integrationist beliefs. Though the world may fear and hate them, the X-Men must overcome this and learn to use their unique abilities as a team in order to save the world from total destruction.

Ultimate X-Men Volume 1: The Tomorrow People collects Ultimate X-Men #1-6, written by Mark Millar and illustrated by Adam Kubert.

From its very first few panels, Ultimate X-Men paints a far darker and direr picture of the world than Brian Michael Bendis and Mark Bagley’s Ultimate Spider-Man. Mark Millar and artist Adam Kubert mine the darker impulses of 21^st century America by examining the increasingly relevant themes of discrimination and extremism. They focus on the allegory of mutants as minorities with unrelenting precision, exposing how very little we’ve come in terms of acceptance of those who are different from the accepted norm. The Tomorrow People introduces the X-Men as young, inexperienced mutants who are thrust into the roles of heroes without much training. They’re disenfranchised outcasts who society has cast aside. In this respect, it makes it easy to relate to and root for these characters.

The X-Men face the dual threat of the Sentinels and the Brotherhood of Mutants. Their first assignment as a team requires them to retrieve a mutant in the heart of New York City before he can be incinerated by the Sentinels. Naturally, the mission goes sideways and the X-Men are forced into a direct conflict with the Sentinels. It’s an exciting high octane way to initiate the team and showcase their individual abilities, as well as their shortcomings. Millar and Kubert also smartly include a scene in which the X-Men are jeered at after saving innocents from the mayhem, which helps to further emphasize the senseless discrimination mutants (i.e. people of colour and the LGBTQ+) face in this world. However, perceptions towards them shift after they save the President’s daughter from the clutches of the Brotherhood of Mutants and when they successfully defeat Magneto in an all-out fight to the finish in Washington, D.C.

The Tomorrow People is probably the strongest introductory storylines the X-Men have had across any comic book incarnation or adaptation. Millar introduces his cast with ease and establishes the central themes to the X-Men mythos in a way that feels modern and relevant. He excels at pacing and plotting, as he forges a very cohesive and evenly paced storyline that ticks all the necessary boxes to make this a good X-Men story. His very literal portrayal of Magneto and the Brotherhood of Mutants is chilling (but necessary) due to how closely it mirrors modern day terrorists. What is especially eerie about this is that The Tomorrow People feels very much like a Post-9/11 text, but much of it was written and published prior to those events. Where he’s less successful is in his characterizations of the X-Men themselves. Without question, Jean Grey is his most well-written character here. She’s kind and sympathetic, but also sassy and strong-willed. Jean is also a force to be reckoned with on the field and really shows off her skills as a field leader. I’m far less impressed with Millar’s portrayal of Storm. The decisions he makes with her character are problematic as she feels like an entirely different person in comparison to every other version we’ve ever seen. She lacks the confidence and willpower that is a trademark of the character, as well as her warmth and wisdom. Millar instead portrays Storm as a hot mess and a bit of a brat who is quite possibly the team’s biggest liability in the field. There’s also some awkwardness regarding Millar’s decision to have Wolverine (whose age is undisclosed, but we can only imagine is much older than the rest of the X-Men) seduce and sleep with Jean Grey (who is only 19). Additionally, Professor Xavier is nowhere close to being the pacifist we would expect him to be. He uses his powers without discretion and permission of others, while his dialogue skews less towards wise teacher and more towards stern disciplinarian.

Just as Bagley helped set the tone for Bendis in Ultimate Spider-Man, Kubert does the same for Millar in Ultimate X-Men. Kubert pairs well with Millar’s style. It’s very expressive and vibrant, but also has an edge to it. His aesthetic takes on a more real world approach, especially when it comes to costuming. The redesigns Kubert gave the X-Men are among some of my favourites. He updates the classic black and gold costumes for the 21^st century, giving us really cool and chic individual looks that act cohesively when viewed together. While Iceman and Wolverine’s costumes are a little lackluster, the remaining X-Men look pretty snazzy. I especially appreciate the risks he took while designing Jean Grey, who is given a short pixie cut, as she is visually portrayed much differently from what we’d expect of her. Kubert is to further be commended for his composition skills, as he creates some awe-inspiring splash pages and epic action sequences. He’s additionally quite adept at inserting little quirks here and there particularly when it comes to reactions.

In terms of plot and artwork, The Tomorrow People comes pretty darn close to being a homerun. Millar and Kubert create what very well could have been the perfect basis for an introductory X-Men film. The combined threat of the Sentinels and Magneto gives the narrative that essential feeling, but it also pays homage to some of the earliest adventures the X-Men had and really modernizes them for today’s audiences. Where The Tomorrow People loses points is in its finer details. When it comes to characterization, Millar portrays certain characters in ways that makes them unlikeable and almost unrecognizable. It’s not a glaring problem (yet), but it does shift which characters I like and relate to.

RATING: A-

Review: X-Men - The Wedding of Cyclops and Phoenix

Having captured Sabretooth following a violent murder spree, Professor Xavier seeks to rehabilitate the villain. The X-Men are uncomfortable with the situation, with Jean Grey in particular questioning her mentor’s sanity. Before she can commit to a future with her long-time love Cyclops, Jean must assuage her doubts and confront the violent creature living amongst them.

X-Men: The Wedding of Cyclops and Phoenix collects X-Men #27-30 and Annual #2, X-Men Unlimited #3, Uncanny X-Men #308-310 and Annual #18, X-Men: The Wedding Album, and What If? #60. It is written primarily by Scott Lobdell and Fabian Nicieza, with the art talents of Andy Kubert, John Romita Jr., Ian Churchill and Mike McKone.

The Wedding of Cyclops and Phoenix is assembled as a loose collection of stories leading up to the titular nuptials of two of the X-Men’s most iconic members. It picks up immediately after the events of Fatal Attractions. While the X-Men are still grappling with the defection of Colossus and Wolverine’s departure from the team, they are sent on a mission to apprehend Sabretooth and stop his murderous rampage. Upon doing so, he is locked in their basement and is given treatment by Professor Xavier. The purpose is to rehabilitate him, as was done previously with Wolverine and Rogue, though the X-Men are not convinced Sabretooth is worth the trouble. Jean Grey is the most reticent, her doubts magnified by her distaste for Xavier crossing the line when he psychically lobotomized Magneto and by her own sorrow regarding the absence of Wolverine around the mansion. She must reconcile all of these feelings before her engagement and eventual wedding to Cyclops. It's a nifty story arc for both Xavier and Jean Grey, giving both characters some much-needed panel time.

Since the stories in this trade weren’t originally planned or composed as a neat six-issue arc, the quality and focus varies from issue to issue. For instance, the events of X-Men #27 seem out of place and disjointed with the overall narrative due to its introduction of the character Threnody and the inclusion of Mister Sinister. Neither character plays any kind of substantial role in the proceeding issues. While it is poignant in its thematic usage of the Legacy Virus, it is also unrelated to just about everything else in this trade. If anything, it emphasizes the overall nature of storytelling during the 1990s. Each individual issue features a self-contained story that builds on or, at the very least, references events that have occurred previously. This makes it less accessible.

As a team, Lobdell and Nicieza introduce a lot of interesting developments. The rather brief “Sabretooth is imprisoned by the X-Men” arc from the animated series is expanded upon here and is used as a plot device in order to create a schism between Xavier and the X-Men. With Sabretooth living in the mansion, we get a lot of great moments that develop the characters further. Jubilee begins having nightmares, Psylocke finds an unsettling similarity between herself and the villain, and a connection between he and Gambit is hinted at. This insight into their characters helps readers to relate to them and allows for further speculation regarding the directions they may take in subsequent issues. The best moment, however, occurs in X-Men #28. With Sabretooth demanding psychic pacification after deeming Psylocke’s offering too paltry, Jean Grey ventures down into his cell to fulfill his request. It is a tense scene in which the “good girl” is placed in such a seemingly vulnerable position against one of the X-Men’s deadliest enemies. The implications of what Sabretooth might do to her are uncomfortable and scary. However, such fear turns out to be unfounded. Nicieza and artist Andy Kubert defy expectations. Jean shows no distress and is confident in her superiority to Sabretooth. She unleashes the totality of her psychic abilities on Sabretooth, owning him and essentially turning him into a whimpering dog. It’s brilliant and it’s a moment that helps to define who Jean is as both a hero and as a woman. She's tough and showcases just how much of a boss she can be when need be. She's all too often underestimated or overlooked as a character (especially during this era), so it's great to see her being the powerhouse that she's built up to be. She would have another standout moment two issues later when she used her powers in an entirely different way – by lifting Xavier into the air so she could dance with him at her wedding.

The most contentious aspect of The Wedding of Cyclops and Phoenix rests with those responsible for pencilling the issues collected here. While Andy Kubert had previously done impressive work in preceding issues, there’s a distinctive decline in his art here. He especially seems to have difficulty in the all-important wedding issue. His perspective is wonky in numerous places and any panels featuring numerous characters look extremely rough, with many posed awkwardly or are drawn lazily without defined hands or feet. John Romita Jr.’s art, featured in Uncanny X-Men, fares better. His characters are more distinctive and he experiments with his splash pages, but the colours laid on top of his work aren’t the best and sometimes there’s an unfinished quality to the art. There are also a couple of issues drawn by Mike McKone and Ian Churchill when they were still early into their careers. Churchill’s effort is the more impressive, particularly as it seems McKone had yet to figure out how to properly place facial features (i.e. Rogue appears with a rather puzzlingly large forehead).

The overall direction of this collection is well-done and the character work achieved by the writers is fairly impressive. They engage with some tough subjects, particularly regarding morality and the ability to change for the better, which is reminiscent of what Chris Claremont would do during his legendary run on Uncanny X-Men. One of the only shortcomings would be their usage of such a large cast, as it makes it difficult to develop each character for the readers. In other words, not everyone gets their moment in the spotlight. The focus of this trade is also primarily on the patented soap opera drama the X-Men are synonymous with, so don't go expecting lavish or epic action scenes. As mentioned previously, this collection also isn’t the most accessible and is probably best read in succession with X-Cutioner’s Song, A Skinning of Souls and Fatal Attractions. Even still, there are quite a few moments here that are not to be missed (i.e. Jean Grey vs. Sabretooth and the titular wedding).

RATING: B-

Review: X-Men - The Animated Series (Season Two)

With the fanatical Friends of Humanity stoking the public’s fear of mutants, the X-Men are faced with unprecedented levels of paranoia and hate. To make matters worse, their mentor Professor Xavier has gone missing and the villainous Mister Sinister has set his sights on capturing Cyclops and Jean Grey for his wicked experiments.

The second season of the animated ‘90s classic X-Men contains 13 episodes, airing between 1993 and 1994. It features the voice talents of Cedric Smith, Norm Spencer, Catherine Disher, Cathal J. Dodd, Lenore Zann, Alison Sealy-Smith, George Buza, Chris Potter and Alyson Court.

After a strong debut, the X-Men’s second season on the small screen fell short of the quality established in its preceding year. This season establishes an ongoing subplot involving Professor Xavier and Magneto forming an alliance to survive in the Savage Land, while Mister Sinister plots behind the scenes in order to acquire Cyclops and Jean Grey’s genetic material. The X-Men remain oblivious to the circumstances of their mentor’s disappearance and are unaware of Mister Sinister’s machinations. Instead, they become embroiled in a series of episodic conflicts. Unfortunately, most of these are forgettable and lack depth.

What can be appreciated about the cartoon’s second season is that the writers made a more concerted effort to develop its characters by creating episodes that focused on individual members of the team. For instance, “Whatever It Takes” featured Storm and Rogue travelling to Tanzania in order to protect Storm’s spiritual son from her hated foe the Shadow King. It’s an admirable effort as it attempts to emphasize Storm’s undeniable willpower and maternal instincts, but falls flat in its execution. Similarly the Beast-focused “Beauty & the Beast” tells the story of the titular hero falling for a blind girl, who is subsequently kidnapped by the Friends of Humanity due to her connection to him. It concludes the conflict with the Friends of Humanity, who acted as the season’s pseudo-Big Bad, and does a satisfactory job of handling the comparable topics of racism and homophobia. However, the most successful and entertaining character-centric episodes are “Repo Man” and “A Rogue’s Tale.” The former focuses on Wolverine’s return to Canada, where he is ambushed by his former team Alpha Flight. It’s a loose adaptation of Uncanny X-Men #121 and helps to elaborate on Wolverine’s past. The voice acting is questionable, but the action is well done and the plot is engaging. It’s definitely one of the best episodes from the series. “A Rogue’s Tale,” meanwhile, details Rogue’s past prior to joining the X-Men. It’s a much needed episode that helps to fill in the blanks of a character who had been quite enigmatic up until this point. We learn that she was once Mystique’s pupil and was a member of the Brotherhood, leaving after a mission gone awry. The episode itself blends together elements from Avengers Annual #10 and Uncanny X-Men #269, which means the writers take a concerted effort to align Rogue with her comic book persona. Understandably, her origins are sanitized in order to make her far more sympathetic. Where she was a psychotic villain in the comics, here she is portrayed as a sympathetic victim in Mystique’s schemes. Aside from getting some great character work on Rogue, we also see rare interactions between her and Jean Grey. These tender sisterly moments always stand out within the series.

When season two pulled its focus away from the individual members of the X-Men, the quality suffered tremendously. The two-part “Time Fugitives” sees the X-Men working to stop further panic after an outbreak of a mutant virus. Bishop and Cable guest star as allies to the X-Men with contrasting goals. One wants to stop the virus, while the other wants to allow it to continue on. It’s a Groundhog Day-style two-parter that repeats events with different outcomes, which makes it cliché and predictable. Furthermore, it was a very shallow attempt at creating a storyline analogous to the HIV/AIDS epidemic. It pulls elements from X-Cutioner’s Song and Fatal Attractions, but lacks the depth and heart required to tell such a meaningful story. Similarly, the two-part “Reunion” serves as an unremarkable way of concluding the season. It does a satisfactory job of tying up all of the loose ends – Professor Xavier’s disappearance, Mister Sinister’s schemes and even the re-appearance of Morph. However, it feels like a very paint-by-numbers story wherein the X-Men land in the Savage Land to rescue their mentor and find themselves without powers, they must then find a way of beating Mister Sinister and his henchmen without the benefit of their mutant abilities. Naturally, there’s a device that must be destroyed and a subplot involving Ka-Zar. That said, the worst episode of the season is easily “Mojovision.” In this filler episode prior to the finale, the grotesque Mojo kidnap the X-Men at a mall and transforms them into stars of television shows in his dimension. The episode itself parodies TV and the programming on it, but there’s really not much depth and it features some terrible attempts at humour. It’s also got a rather glaring continuity error – when the X-Men are kidnapped from the mall Rogue is not amongst them, but when they all appear in Mojo’s dimension she’s with them.

For the most part, the second season of X-Men is skippable. Aside from a few memorable episodes like “Repo Man” and “A Rogue’s Tale,” the quality of the stories told is inconsistent and lacks the same tension that was present in the preceding season. The development done on characters like Rogue, Wolverine, Gambit and Beast help make them even more likeable and relatable, while others like Cyclops and Jean Grey remain somewhat stodgy and one-dimensional. Jean Grey, for instance, continues to be portrayed as little more than a woman caught between Cyclops and Wolverine and who is easily quelled in battle. The Xavier/Magneto subplot is lackluster and Mister Sinister never quite delivers as this season’s Big Bad quite like Magneto and the Sentinels did in the first. My recommendation is watching the best episodes of the season – “Red Dawn,” “Repo Man,” “A Rogue’s Tale” and “Beauty and the Beast” – and moving onto the third season.

RATING: C

Review: X-Men - Fatal Attractions

Under the leadership of the fanatical Fabian Cortez, the Acolytes launch a series of deadly attacks on humans. Then, Magneto returns to reclaim control over the Acolytes and offers his fellow mutants a sanctuary on a satellite orbiting the Earth. There’s just one catch – those who do not join him are free to die alongside the humans Magneto despises. The X-Men, along with splinter teams X-Factor and X-Force, must stop their powerful adversaries in a fight to the finish.

X-Men: Fatal Attractions collects Uncanny X-Men #298-305, 315, Annual #17, X-Factor #87-92, X-Men Unlimited #1-2, X-Force #25, X-Men #25, Wolverine #75 and Excalibur #71. It is written by Fabian Nicieza and Scott Lobdell, with art by Andy and Adam Kubert, Greg Capullo, Jeo Quesada, Ken Lashley and John Romita, Jr.

Unlike previous X-Men crossovers, Fatal Attractions is relatively short and it features a succinct narrative aimed at celebrating the X-Men’s then-30^th anniversary. Story-wise, it serves as a loose sequel to the events of MutantGenesis and X-Cutioner’s Song. It follows the aftermath of the virus Stryfe unleashed upon mutants, leading to the death of Colossus’ little sister Illyana. During this time, the Acolytes make their reappearance and Magneto returns after having seemingly being killed by Fabian Cortez. Magneto’s presence is felt early on, but once he makes his official appearance in this collection it becomes quite clear that he is more powerful and more unhinged than ever before. This ultimately leads to one of the most shocking moments in X-Men history – spoilers – Magneto rips the adamantium out of Wolverine’s body and then Professor Xavier lobotomizes Magneto to ensure he can never harm another living soul again. This turn of events shattered the status quo and would have severe repercussions for all characters involved.

While Fatal Attractions itself spans a mere six issues, this deluxe hardcover collects an impressive array of issues that build-up to the shocking events of the crossover. These issues, particularly the ones of Uncanny X-Men, involve the games played by the young and villainous Upstarts. We see their attempts at impressing the Gamesmaster in order to win their wicked contest for world domination. Consequently, it is Fabian Cortez who has leveraged his “murder” of Magneto and control of the Acolytes in order to gain an advantage over his competitors. The concept and execution of the Upstarts is quite fascinating and works effectively. Unfortunately, this plotline is sidelined the moment Fatal Attractions kicks in. Quite a few issues of X-Factor are collected here as well, though they don’t offer the same punch or context as the ones from Uncanny do. In fact, they feel quite out of place.

Fatal Attractions is impressive in its ability to deal with complex philosophies and difficult subjects, all while developing its characters with a surprisingly degree of care. The most important figures in this collection are Professor Xavier, Magneto, Colossus, Jean Grey and Jubilee. They are the emotional touchstones that help us navigate through the events leading up to and through the crossover.

Once again, we see Professor Xavier and Magneto debating the viability of Xavier’s dream. After all that has happened to him and to his fellow mutants, Magneto is convinced that Xavier is delusional and that peaceful coexistence will never happen. This, of course, isn’t an entirely new viewpoint for Magneto. The difference comes with Xavier’s approach to dealing with Magneto. For years, he’s attempted to see the good in his friend and has tried to rehabilitate him. This time around, passivity isn’t going to cut it. This time, Magneto needs to be stopped at all costs. What’s great about what Nicieza and Lobdell do is that they embrace the moral grey area between Xavier and Magneto’s ideals rather than outright paint either character as being “right.”

Colossus is given incredible prominence in the stories collected here, which is great considering how often he gets ignored by most writers. He blames Xavier for taking him away from his simple life, selling him on a dream and then having that dream amount to nothing but the deaths of everyone he holds dear. His presence is a visceral reminder of the failures the X-Men have faced throughout their existence. On top of that, his defection from the X-Men to join Magneto’s Acolytes was yet another twist that illustrated how far Nicieza and Lobdell were willing to go in order to shake up the status quo.

Amongst the darkness and moral ambiguity of Fatal Attractions, there were two beacons of hope in the form of Jean Grey and Jubilee. While Xavier contemplates and ultimately settles on using drastic measures to bring down his rival, Jean Grey does not waver from the moral highground. We see her, rather importantly, questioning Xavier’s actions and motives. She is a counterpoint to Colossus and even to Xavier in that she is the physical representation of Xavier’s dream. She’s kind, intelligent and has a strength of character that is unmatched in this particular collection of stories. With Jubilee, Nicieza and Lobdell explore her innocence slowly being chipped away (not that she was ever all that naïve to begin with). It is through Jubilee that we feel Illyana’s death and experience grief. It is also through her that we may see a better future. Two of the best moments from this collection feature her prominently. Notably, Uncanny X-Men #303 features a grief-stricken Jubilee consoled by Jean Grey and Wolverine #75 sees the titular hero saying goodbye to Jubilee in order to seek out answers to the questions he has after the loss of his adamantium.

After the lackluster and convoluted crossover X-Cutioner’s Song, Fatal Attractions served as a reminder that storytelling could be done in an evocative and thoughtful way during the notoriously “extreme” ‘90s. Nicieza and Lobdell effectively deal with themes of life, death, pacifism, extremism and everything in between all while crafting a twist-filled epic that celebrated the X-Men’s monumental 30 year anniversary. While there are a whole host of characters to keep up with and a fair amount of dangling plot threads, Fatal Attractions is a more intimate and accessible crossover than those that preceded it. It’s a must-read for any fan of the X-Men and is quite possibly one of the most important events in the history of the X-Men.

RATING: B+