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 - Guardians of the Galaxy Volume 1: Cosmic Avengers

An intergalactic council passes an edict that states Earth is off-limits from outside interference and, in doing so, leaves it unprotected should any alien factions defy the order. Knowing how big of a target has been placed on his home planet, Peter Quill re-assembles the Guardians of the Galaxy to defend Earth if and when an invasion occurs. Sure enough, Badoon warships attack London and the Guardians are Earth’s only hope of defeating them.

Guardians of the Galaxy Volume 1: Cosmic Avengerscollects Guardians of the Galaxy #1-3 and #0.1, and Guardians of the Galaxy: Tomorrow’s Avengers #1, written by Brian Michael Bendis and with art by Steve McNiven and Sara Pichelli.

Cosmic Avengers begins with a re-telling of Peter Quill’s origin story. He’s the product of a brief love affair between the Earther Meredith Quill and the Spartoi J’Son. As a child, enemies of Spartax kill his mother and he grows up wanting nothing more than to “find a way off planet Earth.” His backstory is so hastily told that it skips over his adolescence and most of his young adult life. As a whole, it serves as a reminder of how stale his origins are. It ticks a whole bunch of tropes along the way and doesn’t do a great job of establishing what is new or special about Peter Quill as a character, which is a problem when you consider that he’s the focal point of this series.

The rest of the trade collects the opening three-issue arc of Guardians of the Galaxy. J’Son and the leaders of several alien races decide that Earth is no longer to be disturbed by any alien forces. The Badoon defy the decree and promptly invade Earth, knocking out communication systems in the process. Luckily, the Guardians of the Galaxy (with Iron Man as a member for some strange reason) are on-hand to fight off the Badoon. Unfortunately, this places the Guardians in violation of the decree as well. There isn’t a whole lot to this arc as it reads as a very standard invasion story, but it does feature a lot of great action. As mentioned previously, Peter Quill is the focal point here and he’s just not interesting enough to carry the book. Iron Man and Rocket are more dynamic characters, but the former is out of place and the latter lacks depth due to his singular role as comic relief. You’d be hard-pressed to find dialogue or development allotted to Drax and Gamora, both of whom are only tossed onto a page when something needs to be punched. Most egregiously, however, is the fact that Groot is absent for much of the storyline. Come on, he’s totally one of the best Guardians! For those expecting some kind of epic or even outrageously funny comic book, this fails to deliver on either. It very much reads as “Okay, we’ve got that movie coming out based on these characters, let’s put our ‘top’ writer on this and hope for the best. And let’s put Iron Man in it because apparently people won’t read this if he’s not in it.”

What almost makes up for the subpar writing is the art. McNiven and Pichelli really deliver top-notch illustrations that are superbly detailed and feel truly cinematic. All of the action sequences are absolutely incredible and are really my favourite aspects to this set of issues. There are some neat panels too during these scenes, where there’s a kind of zoom in effect to show the particulars of what’s going on in a larger scale. The characters all look fantastic and are fairly distinctive. Rocket is probably one of the most detailed characters and I can’t even begin to imagine how much time was spent drawing his fur, his teeth, and all the other little minute aspects of this critter. I also really like the design work that went into reimagining these characters from the last time they would have been seen. Instead of the blue and red uniforms of the past, they’re wearing more modern sci fi style armour (think: Mass Effect). Gamora’s white and black look is actually really iconic and makes me lament the fact that we haven’t seen it on film.

Guardians of the Galaxy Volume 1: Cosmic Avengers is sadly rather skippable and doesn’t offer the impact it should as the opening salvo of what should be a flagship title. Bendis stumbles to flesh out his ensemble and doesn’t manage to portray the majority as having any kind of personality. The opening arc itself is very paint-by-numbers and does itself a disservice by placing so much focus on characters like Peter Quill and Iron Man (the fact that Gamora isn’t the leader of the Guardians is always beyond me considering she has the most fascinating origins). With that said, the art is gorgeous and is helps to up the entertainment factor. If anything, this trade is fun when looked at through the lens of mindless entertainment. It’s not quite as funny as it should be, the characters aren’t as dynamic as we know they can be, and the story itself doesn’t do anything that any previous sci fi story hasn’t already.

RATING: C-

Review - New Mutants Classic Volume 1

With the X-Men seemingly dead after a mission in space, Professor Xavier recruits a new generation of mutants to carry on in their absence. Together these five teenagers must learn to control their unpredictable abilities while also coping with a world that fears and hates them.

New Mutants Classic Volume 1 collects Marvel Graphic Novel #4, New Mutants #1-7, and Uncanny X-Men #167, written by Chris Claremont and with art by Sal Buscema, Bob McLoed, and Paul Smith.

As the very first spin-off from the X-Men, New Mutants is notable for its diverse cast and its back to basics approach to storytelling in the x-verse. Its premise follows the original X-Men series rather closely – Xavier recruits five teenagers with special gifts for the purpose of teaching them how to control these uncanny abilities. This time around, Xavier’s intention is to help these children transition into leading normal lives rather than operating as soldiers in a war against the humans that hate them and evil mutants. Of course, trouble still manages to find its way into their lives. Before they’re even assembled as a team, they must face off against Donald Pierce and a rebel faction of the Hellfire Club as he attempts to recruit his own band of teen mutants. Then, the New Mutants must defeat a new generation of Sentinels while out shopping at a mall before coming home to a Brood-infected Professor Xavier. Finally, the team defies their mentor’s orders and lead their own search for their teammate Danielle Moonstar after she is kidnapped by the nefarious Viper and Silver Samurai.

The narratives of the stories collected here feel familiar. They’re all reminiscent of events that would occur in the pages of Uncanny X-Men. What feels different is the overall tone set forth by the cast of characters. They’re younger than the X-Men and are much more rebellious, to the point where they often question and act against Professor Xavier’s authority (which is great). Danielle Moonstar, arguably the lead in the series at this point, is strong-willed and speaks her mind. She refuses to assimilate into the team by embellishing her uniform with elements that point to her Cheyenne heritage. Her refusal to conform enrages Xavier, but she stands firm and says she’ll leave if he doesn’t bend to her will. This is in part what really establishes Moonstar as a standout. The other part is that she’s a truly layered character who is both tougher than her teammates and also the most vulnerable. She’s haunted by her abilities and feels guilty over using them, even against villains. While she projects a steely façade, she scares easily. During a Danger Room exercise where her teammates are each felled by the tasks assigned to them, Moonstar is unable to set foot into the Danger Room and instead runs away. We later see her face her fears head on, which shows her growth and tenacity. Karma and Sunspot are other standouts. The former is the oldest member of the New Mutants and acts as their field leader. She’s capable and confident, though she’s clearly suffering from PTSD as a result of traumatic events from her past. The latter often comes across as the one-dimensional team flirt, but he’s a character who has had to deal with intense racism in his native Brazil and whose home life is torn asunder by parents who cannot see eye-to-eye. He’s the most affected by a tragic event that occurs later on in this collection, which shows how deeply he feels for others. As for Cannonball and Wolfsbane, the creative team doesn’t devote much time to developing them within these first few issues. They’re less clearly defined and are used mostly for their abilities, especially Wolfsbane as her tracking abilities prove very useful in several instances.

Bob McLoed serves as the penciller for the first handful of issues from this series. His art is incredibly expressive, both in moments where characters interact with one another and in explosive action sequences. It creates a very dynamic reading experience. His work is also notable for how much effort he puts into differentiating the characters from one another. The members of the main cast are all different heights, builds, and have distinctive features. From Cannonball’s over-sized ears to Wolfsbane’s fuzzy hair, he gives them visual cues that help them to stand out. He also seems to put effort into ensuring that the characters of colour read as such. Sunspot, for instance, is drawn with larger lips, high cheekbones and a wide nose to denote his heritage as Afro-Brazilian. At times, McLoed’s work does veer a little into caricature territory, especially when it comes to Karma. There are panels where she looks a little too much like she popped off the pages of a Yellow Peril comic. When Sal Buscema takes over in issue four, these aspects are alleviated. Sunspot, Moonstar, and Karma are still obviously drawn to reflect their backgrounds, but aren’t quite as cartoonish in their depictions. Buscema’s work isn’t quite as moody as McLoed’s, but it’s just as energetic and maintains the overall high quality of the series.

New Mutants Classic Volume 1 is an effective introduction to the brand-new generation of mutants that surfaced in the early 1980s. The characters are vibrant and (mostly) multi-dimensional with powers that are admittedly more creative than the X-Men at that time. The pacing can be a bit slow at times and suffers a bit in the latter half due to the inclusion of the motorcycle-riding Team America for a couple of issues. However, the cast helps to carry the book and really manage to make you love them due to their spirit and cohesion as a team unit.

RATING: B

Review - X-Force: Assault on Graymalkin

When Cable’s abandoned ship Graymalkin is discovered floating around Earth’s orbit, S.H.I.E.L.D. and Stark Industries launch an investigation with the help of War Machine. At the same time, Cannonball leads his own expedition with members of X-Force in order to procure whatever they can that their mentor may have left behind. Given X-Force’s outlaw status, the clash between the mutants and S.H.I.E.L.D.’s task force proves to be explosive.

X-Force: Assault on Graymalkin collects X-Force #19-25 and New Warriors #31, written by Fabian Nicieza and with art by Greg Capullo.

Picking up immediately after the events of X-Cutioner’s Song, the members of X-Force is without their stalwart leader Cable and are being held captive at the X-Mansion. Cannonball convinces Xavier to led them leave and subsequently becomes the team’s new leader. While setting up their new headquarters in Camp Verde, Arizona, X-Force discovers the location of Graymalkin and teleport themselves up into space. While Cannonball and his crew contend with War Machine and S.H.I.E.L.D. agents high above the Earth, the remaining members of X-Force duke it out with the Externals. Then, Domino assembles her own ragtag band of mercenaries to take down Deadpool. For as much as Assault on Graymalkin is all about action, it’s also a collection of issues that are clearly tasked with tying up all the loose ends left by Rob Liefeld’s departure from X-Force. Truth be told, that’s not entirely a bad thing. In fact, Nicieza and Capullo prove to be a competent team that manages to elevate the quality of this book in a way that seemed nearly impossible during Liefeld’s tenure.

First and foremost, Capullo’s art is absolutely spectacular and is some of the best work from this particular era in comic books. It manages to retain the overall aesthetic of this time period, but it’s also timeless in its own way. The characters are dynamic, fresh-faced, and distinct. The action is glorious and expressive in every way imaginable. He also manages to redesign the team by giving them much more streamlined looks that aren’t quite as eyesore-ish as they were under Liefeld’s pen (Boom Boom being the exception – somehow her look worsened due to the ridiculous shoulder pads Capullo puts her in). I’m particularly a fan of the way he draws Siryn, Domino, Rictor, and Warpath. They all pop off of the page in a way that makes them all instantly recognizable.

For Nicieza’s part, he is finally able to develop the characters past being two-dimensional action figures. Most of the cast has their own unique voice and perspective, especially Cannonball, Boom Boom, and Feral. In fact, the absence of Cable gives the illusion of growth for this team and they seem more confident than ever. Story-wise, everything is very much focused on either setting things up for future issues or with concluding plot threads from previous ones. It’s not inherently bad. In fact, overall, everything is quite entertaining and engaging. Unfortunately, not a whole lot actually happens and there’s not as much development as there could have been. This is mostly due to all of the ongoing storylines, which prevented the focus from staying on X-Force. For instance, the members that get left behind on Earth when Cannonball teleports to Graymalkin don’t do a whole lot until the latter part of the arc.

X-Force: Assault on Graymalkin is infinitely more enjoyable than any singular issue from Liefeld’s brief run on the title. Capullo’s art is top notch and the quality of the writing improves greatly. It’s very much an action-oriented arc, but there’s also some growth in the characterization department. Still, Assault on Graymalkin exists in a transitory state and isn’t really the best jump on point for new readers. It all feels like it’s building towards something greater and more important.

RATING: B-

Review - X-Force Epic Collection: Under The Gun

Under the leadership of the enigmatic Cable, X-Force dedicates themselves to stopping mutant threats by any means necessary. They face off against the Mutant Liberation Front, Juggernaut, and a newly reformed Brotherhood of Mutants. Then, they must contend with betrayal after Deadpool exposes a spy within their ranks.

X-Force Epic Collection: Under The Gun collects X-Force #1-15, Annual #1, Spider-Man #16, and Wolverine #54, by Rob Liefeld, Todd McFarlane, Fabian Nicieza, and Greg Capullo.

If there’s one comic series that is viewed as being prototypical of the “extreme” nature of early-‘90s comics, it’s X-Force. Characters are dressed in shoulder pads and pockets galore, carrying guns that are disproportionately large. The excessiveness extends beyond the visuals as well. Within its first 15 issues, X-Force introduces one too many subplots and fills its pages with too many characters to keep track of. The series opens with X-Force doing battle against Juggernaut, with the help of Siryn and Spider-Man. Shortly after this, they’re attacked by the Brotherhood of Mutants and then by a task force created to bring Cable down. While all of this is going down, there’s also a side story involving the External named Gideon and his tutelage of Sunspot, Deadpool’s continued pursuit of Cable, and a flashback issue that details some of Cable’s past with his group Wild Pack. Sadly, very few of these storylines or characters have much depth. It all reads as one long toy commercial, which shouldn’t be surprising when you consider the fact that X-Force would get its own action figure line by Toy Biz. Individuals appear on page strictly to engage in action sequences and not much else. It’s not hard to believe Louise Simonson when she said, “[…]Rob really wasn't interested in the stories at all. He just wanted to do what he wanted to do, which was cool drawings of people posing in their costumes that would then sell for lots of money.”

Indeed, Rob Liefeld is the weakest link as far as contributing talent is concerned when it comes to this collection. His art is cringe-worthy and leaves me wondering how and why he was so popular to begin with. His proportions are ridiculously off in almost every panel. Men have hulking bodies with teeny tiny feet, while the women often look like they’re just a pair of floating breasts and a head (with lips that often look like swollen buttholes). His art also lacks versatility when it comes to expressiveness. Everyone looks permanently angry. Although, I suppose if I looked like a Liefeld drawing, I’d be mad all the time too. Another aspect of his style that’s always made me twitchy is that everyone looks to be in their 50s or 60s, which is odd when you consider the majority of the characters on the team are actually supposed to be either in their late teens or early twenties (Cable being the exception). Liefeld’s contributions extend beyond the art, as he’s credited with plotting as well. This undoubtedly explains why X-Force is as excessive and unfocused as it is. Bless Fabian Nicieza for trying to add some cohesion and depth to what he was given as the scripter.

Despite my harsh words for Liefeld and these early issues of X-Force, I actually see the book as a guilty pleasure. It’s so ridiculous that it’s entertaining to read. It’s a mess, but a fun one to observe. Of course, it’s not without redeeming qualities. Some of the character work is actually really engaging. Cable’s paternal dynamic with Cannonball adds layers to the team’s dynamic, while Boom Boom’s willingness to challenge authority ensures that everyone isn’t always merely following orders. Feral is an interesting character as well. True to her name, she’s unpredictable and increases the tension within the book. Siryn is another standout, though most of her growth as a character won’t occur until after Liefeld’s departure from X-Force. Story-wise, there are elements that work well. The subplot with Tolliver and Deadpool, where they expose a mole within X-Force’s ranks, is arguably the most well done. The return of the Brotherhood, this time under the direction of Toad, is also fairly enjoyable. The notion that Toad has grown out of being the snivelling sidekick to greater villains and into being a leader himself is neat, even if the overall arc itself is a bit hastily put together.

X-Force Epic Collection: Under The Gun surely qualifies as being dubbed “so bad, it’s good.” It’s overstuffed and outlandish in every possible way, but if you squint there’s a bit of heart underneath all of those damned pockets. For those who grew up in the ‘90s or may have a nostalgic obsession with this era, this collection is a perfect little nugget of trash entertainment that’s ideal for turning your brain off for a minute and just experiencing the excessiveness of it all.

RATING: C

Review - X-Men/Avengers: Onslaught Omnibus

The greatest evil that Earth’s heroes may ever face has appeared. With the psychic powers of Professor Xavier and the maniacal motivations of Magneto, the entity known as Onslaught has dedicated itself to the eradication of all humans on the planet. Only the combined might of the Avengers, Fantastic Four, and the X-Men may be able to stop it.

X-Men/Avengers: Onslaught Omnibus collects Cable #32-36, Uncanny X-Men #333-337, X-Force #55, 57-58, X-Man #15-19, X-Men #53-57, Annual '96, X-Men Unlimited #11, Onslaught: X-Men, Marvel Universe, Epilogue, Avengers #401-402, Fantastic Four #415, Incredible Hulk #444-445, Wolverine #104-105, X-Factor #125-126, Amazing Spider-Man #415, Green Goblin #12, Spider-Man #72, Iron Man #332, Punisher #11, Thor #502, X-Men: Road to Onslaught, and material from Excalibur #100 and Fantastic Four #416. It includes work by Scott Lobdell, Jeph Loeb, Mark Waid, Terry Kavanagh, Andy Kubert, Ian Churchill, Joe Madureira, and Adam Kubert.

Onslaught is an “epic” that began building in the aftermath of the X-Men crossover Fatal Attractions. After Professor Xavier psionically erases Magneto’s mind, his guilt over his actions and the presence of his rival’s psyche in his unconscious leads to the creation of Onslaught. This entity draws its powers from both Xavier and Magneto. It attacks the X-Men, kidnaps Franklin Richards and Nate Grey, and unleashes Sentinels onto New York City. Upon recovering from their initial battle against Onslaught, the X-Men join forces with the Avengers and the Fantastic Four to prevent the total annihilation of humans. From a conceptual point of view, this makes for an absolutely thrilling premise and works to throw all of the Marvel Universe’s greatest heroes together in one epic showdown against a powerful foe. Unfortunately, the execution is so poor that it makes this crossover incredibly tedious to sit through.

This omnibus is incredibly dense and combines every possible issue related to Onslaught in one giant hardcover. The problem with that is that it means there are so many subplots and tie-ins that it distracts from the primary narrative. The main plot of this crossover occurs in the pages of the main X-Men books, Avengers, and Fantastic Four. Those issues are actually very engaging and provide readers with the emotional core of this storyline. Namely, we see the X-Men struggling with their beloved mentor potentially being the greatest evil the world has ever known and Invisible Woman fighting to get her son back after Onslaught takes him. The problem is that the inclusion of the various tie-ins distracts from this and requires readers to slog through random issues where it’s Spider-Man randomly fighting Sentinels or Cable duking it out with the Hulk while the latter is under the control of Onslaught. Personally, I’d have preferred more editing when this omnibus was put together in order to trim the filler material or to at least structure things better so the inferior material is placed at the back as supplemental reading.

Much of the variance in quality comes from the sheer number of creators working on this crossover. There are a total of 11 writers who receive credit, 26 artists, 31 inkers, and 23 colorists. This creates a lot of room for inconsistencies. The strongest issues are those penned by Scott Lobdell and Mark Waid, with art by Andy Kubert and Joe Madureira. Those are the most dynamic and straightforward. In fact, Madureira is arguably the star of this entire collection. His work is so different from the others that it naturally stands out and the anime-inspired aesthetic is as bold as it is expressive. There’s also an issue of Cable by Jeph Loeb and Ian Churchill that’s quite good, which features Cable and Invisible Woman forging an uneasy alliance with Apocalypse in hopes of undermining Onslaught’s schemes. Churchill’s work is always really spectacular. It’s vibrant and emotive in a way that most of the artists’ work in this omnibus is not.

X-Men/Avengers: Onslaught Omnibus requires a lot of patience. It’s not a streamlined crossover that has a general through line. It’s messy and it’s long. Given that it’s one of Marvel’s earliest attempts at a company-wide crossover, it’s understandable as to why it is as mediocre as it is. Unlike future events that would be contained within mini- or maxi-series, this one is spread out over just about every Marvel comic imaginable from this era and its structuring lacks direction. There’s no part one, two, three, and so on. Some of the issues collected in this edition are enjoyable. There’s a lot of gorgeous art to be found and some interesting character development, especially for the X-Men. Sadly, it’s buried within unevenness. As a concept, Onslaught is brilliant and is something I’d love to see tackled again (though not in the main Marvel universe) as a way of making up for the original’s shortcomings. As it is, the Onslaught Omnibus may not be a purchase I’d recommend unless you’re a true completionist.

RATING: C-

Review - X-Men: The Road to Onslaught Volume 3

Onslaught’s herald has arrived and he is determined to test the might of the X-Men. He kidnaps three of the X-Men’s strongest members – Storm, Cyclops, Wolverine, and Iceman – and forces them to battle against him. With no help from their allies against this monstrous foe, the X-Men must overcome seemingly impossible odds to defeat him. Meanwhile, the Beast is forced into a game of cat-and-mouse with his counterpart from an alternate reality and Archangel fights to save Psylocke’s life as she lays near-death after her encounter with Sabretooth.

X-Men: The Road to Onslaught Volume 3 collects Uncanny X-Men#329-332,Archangel #1, X-Men/Brood#1-2, X-Men Unlimited#10, X-Men #50-52, Wolverine#101, and Xavier Institute Alumni Yearbook. It features writing by Scott Lobdell, Jeph Loeb, Mark Waid, Larry Hama, and more. The art includes work by Bryan Hitch, Andy Kubert, Joe Madureira, and more.

Of the three volumes Marvel collected under the banner of The Road to Onslaught, this one is the weakest. The quality of the issues varies and very little of the stories included actually serve as a prelude to the Onslaught saga. This volume begins with a two-parter where Archangel and Wolverine team-up with Doctor Strange in order to seek a mystical solution to saving Psylocke’s life. It’s one of the better stories in this collection and features some fantastic artwork by Joe Madureira. Having Doctor Strange as a guest star also provides a nice change of pace as it gives the X-Men someone different to interact with. X-Men: Brood, a limited series by John Ostrander and Bryan Hitch, is another highlight. The art is expressive and the storyline itself has a nice weight to it. It also happens to give Jean Grey and Iceman an opportunity to show off their abilities, which I always appreciate. The narrative itself takes the X-Men to a small town where a woman has unexpectedly become a Brood queen and has been turning others in her town into her spawn. This has drawn the attention of another faction of Brood, which has been sent to the town to destroy her and her offspring. The X-Men get caught in the conflict and task themselves with finding a way to cure the woman of her affliction. It’s admittedly a little predictable, but it’s enjoyable. The main gripe here is that it has nothing to do with Onslaught and comes across as rather tangential in the grand scheme of things.

Oddly enough, the material that does connect to Onslaught ends up being some of the least interesting work included here. One of the main arcs includes the Beast from the 616 universe being replaced by his Age of Apocalypse counterpart. It begins in X-Men Unlimited #10 and carries into the main X-books as a subplot. The AoA Beast learns all he can about our Beast and then leads him into a trap in order to hide him away while he takes his place amongst the X-Men. He does so in order to escape the notice of Mr. Sinister. Overall, it’s an odd storyline that feels random and unnecessary. The AoA Beast isn’t an especially captivating villain and it takes a lot to actually believe that he could replace our Beast without being noticed by the X-Men, especially since he does some things that would be suspicious. The other major Onslaught-related storyline is the X-Men’s face-off with Post, Onslaught’s herald. Storm, Cyclops, Iceman, and Wolverine are spirited away to an unknown location and are forced to fight Post. He’s a big and powerful enemy for them, which means that most of the issue is spent with the X-Men in battle. The action-oriented narrative is quite nice, but it’s not as spectacular as it could be. It’s suggested that Storm’s powers are somewhat hampered, but even still she’s not utilized like she could be. Perhaps the best thing about this issue isn’t the comic itself, but rather the one that succeeds it. Iceman is left injured after the conflict and he opts to confront Emma Frost, as she was previously able to control his powers in a way that he’s been unable to. It’s a really fantastic character-focused one-off issue and it really gives us insight into Iceman’s character.

At its core, X-Men: The Road to Onslaught Volume 3 is just a collection of mediocre storylines that don’t benefit from being collected in a rather lengthy trade paperback. Some issues are better than others, largely due to the fact that the creative teams are not consistent throughout. Arguably, the issues written by Scott Lobdell are the strongest. They’re more engaging and have the right balance of action and character development. It also helps that he’s also teamed with the best artists in this collection – like Joe Madureira and Bryan Hitch. Conversely, the issues written by Mark Waid are the least entertaining. These are the ones more focused on the Beast/Dark Beast subplot. Overall, X-Men: The Road to Onslaught Volume 3 isn’t worth its cover price. My recommendation is to merely purchase the Uncanny X-Men issues digitally (or physically if you can find them) since they’re the best of the bunch, plus maybe the Brood limited series by Ostrander and Hitch.

RATING: C-

Review - Superman: The Man of Steel Vol. 1

Raised in the idyllic farming town of Smallville, Clark Kent leaves home to become a champion and protector of innocent lives. Upon embarking on his new endeavor as the superhero known as Superman, he quickly makes enemies in the form of the egotistical Lex Luthor and becomes the singular obsession of the intrepid reporter Lois Lane.

Superman: The Man of Steel Volume 1 collects The Man of Steel #1-6, written and illustrated by John Byrne.

Under John Byrne’s pen, Superman’s world and mythos was redesigned for a then-modern audience following the continuity-altering Crisis on Infinite Earths. The six-part The Man of Steelbegins with Kal-El’s escape from Krypton and chronicles his earliest adventures as Superman. The most significant reinvention Byrne establishes is to Krypton. It’s portrayed as a cold, sterile world where science advancements have devastated the planet so thoroughly that it is on the verge of destruction. It feels like a cautionary tale of what could happen to Earth if we do not protect the environment and the planet’s resources. Aesthetically speaking, Byrne also gives Kryptonians a new look. Jor-El and Lara-El look androgynous, with their hair and bodies hidden behind concealing fabric. It’s an interesting visual choice that compliments the overall themes that Byrne is tugging on. The time spent on Krypton is brief, which is unfortunate since I think Byrne was doing something really unique with it. Instead of spending more time elaborating upon this world and its occupants, we’re quickly taken to Smallville and a feverish jaunt through Clark’s childhood and adolescence. Once more, Byrne doesn’t pace himself properly and it results in a frantic form of storytelling where none of the characters are able to develop properly. It’s possible that this first issue is so poorly paced as he was certain his audience was already familiar enough with these characters and this world.

The rest of this collection is focused on showing readers a few of Superman’s firsts – his first encounter with Lois Lane, his first article for the Daily Planet, his first team-up with Batman, and his first conflict with Lex Luthor. All of these are effective and engaging stories that are self-contained in singular issues. Byrne’s approach is opposite to what Frank Miller and George Perez would do respectively with Batman and Wonder Woman Post-Crisis. He gives readers little vignettes that are easy to digest rather than a full-on arc with a singular villain and primary conflict. This allows him to develop the characters by dropping them into different situations. One of the most interesting issues in the bunch is The Man of Steel #3, where Superman and Batman have their first team-up. They join forces to stop the thief Magpie from committing any more of her violent crimes. The story is full of tension as it explores the different approaches Superman and Batman have to vigilantism. Their personalities contrast quite well and Byrne does a spectacular job of portraying both. In contrast, Byrne’s reinvention of Bizarro (though he’s not called such) is a bit of a letdown. He strips away all of the iconic elements of the character and instead portrays him as a mute science experiment that perishes at the end of his debut issue. There’s also a whiff of ableism in terms of how the subplot involving Lucy Lane’s disability is handled.

The real star of The Man of Steel actually isn’t Superman. Lois Lane is. From the very first time she bursts onto the page, she’s a firecracker whose every piece of dialogue sparks on the page. She’s tough, stubborn, resourceful, single-minded, and funny. No other character manages to be quite as interesting as Lois. She makes Superman seem like a troglodyte in comparison because she’s that dynamic. Her willingness to put herself in danger to secure an interview with Superman and the scene in which she tears into Lex Luthor for not respecting her boundaries are standout moments for Lois. It also helps that Byrne portrays her as an incredibly stylish woman and draws her in such a way that she pulls focus whenever she’s in a panel.

This first volume of Superman: The Man of Steel by John Byrne reads like the first few episodes of a television series. It’s less cinematic than other origin stories for Superman and instead takes a more episodic approach to his earliest adventures. The small-scale conflicts that take place in these issues don’t contribute to any epic event or world-threatening battle. In some ways, this allows for more character development and enables Superman to slowly grow as a hero. It also means that the opportunity for larger conflicts is there, but hasn’t been exhausted. It’s an enjoyable read, but far from being the best Superman origin story out there. If anything, it’s most worth reading for all of the Lois Lane bits.

RATING: B

Review - Avengers/X-Men: Bloodties

Tensions between the human and mutant populations on Genosha have reached their peak. The Avengers have been instructed to stay away from the island nation out of fear that they may interfere with attempts at diplomacy. They ignore this order for personal reasons – the daughter of the Avengers Crystal and Quicksilver has been kidnapped and taken to Genosha by the fanatical Fabian Cortez. They infiltrate Genosha and team-up with the X-Men to rescue the innocent girl caught in the crosshairs of the human-mutant conflict.

Avengers/X-Men: Bloodties collects Avengers#368-369, Avengers West Coast#101, X-Men #26, Uncanny X-Men#307 and Black Knight: Exodus #1, written by Bob Harras, Dann Thomas, Fabian Nicieza, and Scott Lobdell. It includes art by Steve Epting, Dave Ross, Andy Kubert, and John Romita Jr.

Bloodties largely builds upon storylines set in place in the X-books, such as Mutant Genesis and Fatal Attractions. A desperate Fabian Cortez has lost his place among Magneto’s Acolytes and seeks to make a name for himself by kidnapping Magneto’s human granddaughter. He’s completely unhinged and is living in fear of retribution at the hands of the immensely powerful Exodus. This places him directly in conflict with the X-Men and the Avengers, who join forces in order to stop him. Since the narrative depends so heavily on previous X-Men arcs, it feels as if the Avengers have been dropped directly into the X-Men’s world and are forced to deal with issues they otherwise would be oblivious to. They’ve long stayed away from fighting for mutants and protecting them, but here they see what their inaction has resulted in – extremism on both the human and mutant sides. Since the Avengers are an officially sanctioned organization that has to follow the orders of certain authorities, it creates an interesting contrast against the X-Men. Xavier’s mutant band of heroes are freedom fighters who are able to fight for what is right without being entangled in any bureaucratic red tape. The opposite is true of the Avengers. They’re reactive and are essentially weapons pointed at whatever big problem governments may have.

The character who stands above the rest in this crossover is Crystal. With her daughter Luna in the arms of a maniac, it is her desire to rescue Luna that drives the plot forward and gives the arc its emotional throughline. She’s portrayed as a mother unwilling to sacrifice or compromise in finding her child, which means that she has ignore the orders the Avengers have been given from the authorities and infiltrating Genosha. We get a lot of great character moments between Crystal and some of the other cast members. She and her estranged husband Quicksilver put aside their differences to work together. Furthermore, Crystal spends the bulk of her time with her sister-in-law Scarlet Witch by her side. I really love their dynamic as Wanda’s sisterly concerns and supportiveness help to counterbalance Crystal’s more frenetic state of mind. Another character that manages to steal the spotlight is Sersi. In the middle of this crossover, she has an explosive battle against Exodus. It’s intense, vibrant, and showcases just how powerful Sersi is. It’s quite possibly the most memorable scene from this arc.

The art for this crossover is surprisingly very consistent, even though there were multiple artists working on it. Steve Epting and Andy Kubert’s work is really quite similar. This provides a similar aesthetic between the Avengers’ main title and the adjectiveless X-Men book. I’m fond of their styles as it’s very streamlined and the uncomplicated nature of their pencils allows for the colours to truly pop on the page. They’re also very expressive artists and excel at capturing all kinds of emotive states. John Romita Jr. has a style all his own, but it works in tandem with Epting and Kubert’s pencils. It’s a little more sophisticated and kinetic. Romita Jr. is especially fond of doing splash pages, which can be really effective for action sequences. Dave Ross is probably the weak link of the bunch. His artwork in the pages of Avengers West Coast is passable, but feels very ‘90s. The lines aren’t as crisp and clean, while characters often look permanently angry.

The ‘90s was a decade that provided crossover after crossover for the X-Men books, many of which were overdone and overstuffed. Avengers/X-Men: Bloodties is a nice change of pace in comparison. With just five parts to it, it’s a shorter crossover and places its focus on the characters affected most by Fabian Cortez’s actions. This gives this arc a more intimate feel to it and also ensures that its personal approach to storytelling elicits sympathy and engagement from the reader. Bloodties has a lot of memorable action sequences too. The Sersi vs. Exodus brawl alone is spectacular. Crossovers between the X-Men and the Avengers are rare, so Bloodties is a really nice treat and one that fans of both teams should check out.

RATING: B+

Review - Avengers: Assault on Olympus

In the aftermath of the Masters of Evil’s assault on the Avengers’ Headquarters, a comatose Hercules is spirited away to Olympus at the behest of his father. Zeus chooses to blame the Avengers for the condition his son is in and declares war on Earth’s Mightiest Heroes. Faced with doing battle against actual gods, the Avengers must find allies within the pantheon itself in hopes of surviving the wrath of the Olympians.

Avengers: Assault on Olympus collects Avengers #278-285, written by Roger Stern and John Buscema, with additional work done by Bob Harras and Bob Hall.

Assault on Olympus picks up where Under Siege left off. Some of the Avengers are in critical condition following their battle with the Masters of Evil, with Hercules in the most precarious position. The Wasp has resigned and the Avengers must elect a new leader. Issue 279 focuses largely on Captain Marvel, who has been offered the position. She consults her parents on the subject and then proceeds to aid in the Avengers in a rescue effort. It’s a gorgeously written (and drawn!) love letter to Monica Rambeau as it summarizes much of what makes her such an intriguing, multi-dimensional character. Her interactions with her parents, which emphasize the warm and open dynamic they have, help to distinguish her from other heroes who have either strained relationships with their parents or been orphaned. We also get to see her insecurities and vulnerability as she struggles with accepting the fact that she’s truly a great hero, while the cave rescue sequence cements her as a symbol of hope and as a hero who can be depended upon. This singular issue stands up well and is mandatory Monica Rambeau reading.

The bulk of this collection, however, focuses on Zeus’ abduction of the Avengers and his plot to eradicate them for their perceived culpability in Hercules’ comatose state. Much like Under Siege, this arc sees the Avengers facing seemingly impossible odds and it forces them to get creative in their approach to defeating their enemy. In this case, it’s decided that they must turn the Olympians most likely to disagree with Zeus’ actions to their side. It’s a brilliant choice on their part. It’s a storyline filled to the brim with fantastical action and it takes our heroes through various mythical locales, which gives John Buscema plenty of room to show off his skills as a veteran sword and sorcery artist. With that said, it’s a little light on character work. Aside from the occasional shady thought bubble from Doctor Druid, this arc doesn’t do much to develop the characters. It’s a bit of a shame considering it’s Captain Marvel’s first big hoorah as the leader of the Avengers. It’s a fantastic “The Avengers kick ass” read, but it’s not as soapy or dramatic as it could be.

Avengers: Assault on Olympus is yet another victorious collection of stories from the superstar team of Roger Stern and John Buscema. The majority of the stories are perfectly tailored to Buscema’s style and we get to see some of his best work on the Avengers in those issues. From his portrayal of the Olympian Gods to the various mythical realms we get to see, it’s packed full of fantastical imagery. Issue 279 is a standout for me and is quite possibly the best story within this trade, but what follows is exciting and bursting with action. It’s a worthy of any Avengers essential reading list that’s for sure.

RATING: A-