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: Uncanny X-Force Volume 2 - Torn and Frayed

When Psylocke is spirited away to rescue Fantomex from Weapon XIII, she is forced to deal with her conflicting feelings towards Fantomex and his clones. Then, X-Force must overcome the darker reflections of themselves in the form of Revenants. With Storm, Psylocke, and Puck out of action, it may be up to Bishop to stop the Revenant Queen before she can reach her endgame.

Uncanny X-Force Volume 2: Torn and Frayed collects Uncanny X-Force #7-12, written by Sam Humphries and illustrated by Adrian Alphona, Dalibor Talajic, and Ramon Perez.

The Psylocke-centric issues that begin this collection are admittedly the most thrilling and engaging. She confronts her past and present as she is taken to Madripoor in order to square things with Fantomex, Cluster, and Weapon XIII. In a series of flashbacks, we see a glimpse of her life when she was entangled in a complicated relationship with Fantomex and Cluster in Paris, dividing her time up equally between pulling off heists and rolling around the sheets with her lover(s). Then, the present day action brings her into conflict with her ex-lover(s) as she must either spare Fantomex’s life or kill him. This arc provides a complex character portrait of everyone’s favourite purple-haired psychic ninja, revealing her to be sexually fluid and unable to give up the thrill that comes from larceny. While the Fantomex clones fail to be more than plot devices, I can at least applaud Humphries for using them in a way that expands Psylocke’s personality and explores her desires more fully. It’s a quaint and nicely contained arc that is somewhat diminished by lackluster art (and colour - seriously why is Psylocke's hair lavender?!) and the fact that it’s a diversion from the main thrust of this series.

The latter three issues of Torn and Frayed return to the narrative of Bishop and the Revenant Queen. Bishop is separated from his allies in a battle against their enemies, leaving Storm, Psylocke, and Puck vulnerable to the emergence of their Revenants. The trio is thus confronted with their deepest desires and worst failures. While I appreciate many of the elements to this storyline, particularly the reveal of who the Revenant Queen is, I’m disappointed by the disjointed way in which it is told and that it’s left as a cliffhanger when collected in trade form. I also find the exploration of the characters’ insecurities to be trite and expected. We’ve already seen these characters acknowledge and rail against their inner demons in other storylines, so it seems a bit clichéd to do so yet again here. It seems to me that it would have been more time effective to actually resolve the Revenant Queen arc and then perhaps move the Fantomex clone arc after it.

It’s clear by Torn and Frayed and its preceding volume that Humphries’ strength is in his depiction of Psylocke. She’s been the most consistently well-written and interesting character in his tenure on Uncanny X-Force, especially during the opening issues here. The rest of this collection could use a little more bite and originality, but it is entertaining anyway. Still, I’d recommend reading Torn and Frayed for the sake of completionism or if you’re a big fan of Psylocke or Bishop. Otherwise, this trade falls on the more disposable end of the X-universe.

RATING: C+

Review: Uncanny X-Force Volume 1 - Let It Bleed

The X-Men Storm and Psylocke team up with the pint-sized Puck to hunt down the sorceress Spiral, who is rumoured to be dealing psychotropic drugs on the west coast. They soon discover that she has become the guardian of a new mutant and has vowed to protect her from the ills of the world – which includes former X-Man Bishop.

Uncanny X-Force Volume 1: Let It Bleed collects Uncanny X-Force #1-6, written by Sam Humphries with art by Adrian Alphona and Ron Garney.

Superficially, Let It Bleed is a meandering story arc that has one too many plotlines. Humphries jumps between narrative threads throughout, which interfere with creating consistent pacing and make it difficult to follow. There’s Spiral and her new charge, the return of Bishop, Storm and Psylocke’s personal life drama, and Fantomex and Cluster’s search for Psylocke. Thankfully, Psylocke acts as the connective tissue between all of these dangling plotlines. She is the nucleus of the story and Humphries makes sure to portray her as the flawed, multi-faceted character that fans know her to be. He also has a clear understanding of her friendship with Storm and this becomes crucial to the overall enjoyment of the series. Their interactions with one another are perhaps the best thing about this collection and ultimately help to emphasize that the X-Men are family and that they genuinely care for one another.

Those hoping that this reboot of Uncanny X-Force is a perfect jumping on point for newer readers are certain to be disappointed, if not entirely lost. Humphries’ narrative is heavily steeped in decades of continuity and is a veritable buffet for hardcore fans. Unfortunately, this means it will leave more casual readers scratching their heads. It’s likely that people won’t understand why Psylocke detests Spiral so much unless they’re familiar with their past and Humphries’ usage of the Demon Bear from the old school New Mutants series only receives a passing reference in explaining what it is. There’s also the likelihood that people won’t be aware of who Puck is, considering the fact that he’s a member of Alpha Flight and hadn’t really been used in anything overly mainstream for quite some time. Finally, there’s the fact that this is the post-Rick Remender relaunch of Uncanny X-Force, so readers will benefit from having some working knowledge of the events from that series as well. As such, Let It Bleed reads as a for-veteran-fans-only style story.

Let It Bleed has its fair share of strengths and weaknesses. Overall, Humphries introduced a lot of interesting elements and is to be commended for crafting a story that is character-driven. He has a very clear understanding of both Psylocke and Storm, writing them quite well throughout. However, this arc also needed more tailoring in order to trim away some of the unnecessary fat that clogs the pacing. Simply put, it often takes too long to get to the point and seems to wander around directionless. In the end, Let It Bleed is an odd mix of being fantastically written on the character front, but weak on the story end of things.

RATING: C+

Review: X-Men - The Road to Onslaught Volume 1

The X-Men have been pulled into the ruthless machinations of the mutant terrorist group Gene Nation, whose leader Marrow has a decades-long grudge against Storm. Marrow intends to make Storm suffer for the neglect she felt when the X-Man led the Morlocks. Then, Rogue and Iceman go on a roadtrip to escape from the drama that surrounds their lives as X-Men. Their departure may prove to be ill-timed as a shadowy villain known as Onslaught seems to be closing in on the X-Men.

X-Men: The Road to Onslaught Volume 1 collects X-Men Prime #1, Uncanny X-Men #322-326, X-Men #42-45, Annual '95, and X-Men Unlimited #8, written primarily by Scott Lobdell and Fabian Nicieza with art by Roger Cruz, Terry Dodson, Bryan Hitch, Joe Madureira and more!

This collection pulls stories from a transitionary period of the X-Men books between the critically-acclaimed Age of Apocalypse and the companywide crossover Onslaught. As such, it shouldn’t be a surprise that the majority of the issues here are stuck between dealing with the aftermath of the former and setting up the latter. This creates an inconsistent tone that constantly shifts the narrative focus, leaving the reader with the sense that there doesn’t seem to be a whole lot of movement forward with the storylines being presented. For the most part, the issues that deal with the set-up of Onslaught are far more interesting than those that pull in some of the forgettable baddies from AoA (Dark Riders, I’m looking at you guys).

The writers tread a lot of water here as they place more of an emphasis on the interpersonal dramas between their characters than on action. For example, we’re treated to a date between Psylocke and Archangel and suffer through the continued melodrama of Rogue and Gambit’s tenuous relationship. Admittedly, I find the then-budding romance between Psylocke and Archangel to breathe new life into both characters. It helps to lighten Warren’s personality after being depicted in a grimmer manner following his transformation into Death at the hands of Apocalypse, while Psylocke gets to act as something other than just the team’s T&A. The drama between Rogue and Gambit is more contrived. The issues collected here occur after an incident where Rogue kissed Gambit, which ultimately left him in a coma and her with his memories. She’s thus left the X-Men and is travelling westward with Iceman in tow. This subplot is really engrossing, particularly as we get to see two characters that had previously never interacted much bond on a good ol’ roadtrip. Although, Rogue’s behaviour puts a damper on the two becoming overly close as she seems eager to remain closed off to all those around her. She is also contemptuous towards Gambit and remains judgmental over his past, which ultimately makes her look like a big flaming hypocrite given the fact that we know she’s no saint either (which both Carol Danvers and Dazzler can attest to). However, her icy rejection of Gambit does lead towards a touching scene with Storm consoling Gambit.

While a fair share of the stories in this collection read more as supplementary rather than essential, there are a few noteworthy issues that are worth discussing. Uncanny X-Men #322 sees Beast, Bishop and Psylocke going up against the Juggernaut, who is the first to reveal the coming of Onslaught. Uncanny X-Men #323-325 deals with Marrow and Gene Nation. This three-parter serves as a conclusion to a culmination of events that date back all the way to when Storm won leadership of the Morlocks from Callisto. Storm’s subsequent neglect of the Morlocks, the Marauder’s massacre, and Mikhail Rasputin’s teleportation of them into another plane laid down the groundwork for Marrow’s hatred towards humans and the X-Men. She returns in these issues to enact her revenge, but instead she finds herself up against Storm’s legendary will and ultimately underestimates her opponent. Finally, X-Men Prime is a beautifully poignant series of vignettes written by Lobdell and Nicieza with the help of roughly half a dozen of the decade’s most talented artists. Though it is a transitionary issue meant to wrap up the remaining threads of Age of Apocalypse, it is grounded by an incredibly (and depressingly) relevant story of a mutant who is viciously attacked by a group of humans while he is mere miles away from seeking refuge within the hallowed walls of the Xavier Institute.

X-Men: The Road to Onslaught Volume 1 is pretty much what you’d expect from a collection of comics from the middle of the 1990s. With significantly fewer pockets and shoulderpads than its early-‘90s predecessors, these issues are gorgeously illustrated by some of the best artists in the industry at that point. Those penciled by Joe Madureira are especially memorable. Amidst the many forgettable villains presented here, Lobdell and Nicieza make up for lackluster storylines with excellent dialogue and themes that remain relevant to today’s intolerant society. I’m especially left impressed by how multi-dimensional and dynamic the women they write are. Storm, Jean Grey, Rogue, Psylocke, Callisto, Trish Tilby, and even Marrow are all easily the most memorable characters in this collection. Colossus, Gambit and Beast also have their moments. If anything, The Road to Onslaught Volume 1 is perfect for fans of these characters (especially if you love Rogue and/or Gambit).

RATING: B-

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: 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 - A Skinning of Souls

When Colossus returns home to Russia with the X-Men, he and his teammates are recruited by a Russian paramilitary outfit in order to investigate a series of disappearances in a small village. After many of the X-Men are incapacitated by the malicious psychic known as the Soul Skinner, it soon becomes clear that the only way to stop their mysterious foe is to re-activate the powers of the innocent Illyana Rasputin – Colossus’ baby sister.

Then, a ghost from the past re-appears, casting doubt on the loyalties of X-Men mainstay Psylocke.

X-Men: A Skinning of Souls collects X-Men #17-24, written by Fabian Nicieza and illustrated by Andy Kubert and Brandon Peterson.

A Skinning of Souls picks up immediately after the events of X-Cutioner’s Song, but also pulls in threads from Bishop’s Crossing and Acts of Vengeance. It is divided into two distinctive arcs – the first of which deals with Colossus’ return to Russia and the X-Men’s battle against the Soul Skinner, while the second sees Psylocke’s allegiances called into question when a woman claiming to be the real Betsy Braddock appears. There’s also a subplot regarding Cyclops visiting his grandparents in order to come to terms with the revelations he’s learned from the villainous Stryfe and the continued tensions between himself and his girlfriend Jean Grey.

It must be said that this collection is not new reader friendly. Its plot relies heavily on prior events, making it continuity-focused. It’s easy to get lost, especially during the second half. The return of the “original” Betsy Braddock, now using the codename Revanche (which is never actually explained), is a direct follow-up to Acts of Vengeance. This means that the reader needs to know the context and circumstances surrounding the already confusing body switch that happened with Psylocke in 1989. Illyana’s de-aging is also referenced, as well as the concluding events of X-Cutioner’s Song. As such, it is absolutely necessary for the reader to have a working knowledge of the X-Men and their canon. Otherwise, A Skinning of Souls loses its weight.

With all of that said, the stories collected here are incredibly engrossing and speak to just how iconic the ‘90s were when it came to the X-Men. Nicieza does a stupendous job writing the characters’ dialogues, especially Jubilee’s. She’s sassy and spunky, but also full of heart. He’s also quite adept at creating organic and relatable dynamics between the characters. At its core, the X-Men are a family and Nicieza keeps that alive here. There’s a tangible closeness between these characters. Of course, it also helps that there’s a large dose of soapy drama to go along with it. One particular standout subplot involves Psylocke’s lustful pursuit of Cyclops, despite the fact that he was with Jean Grey at the time. What makes the storyline all the more juicy is Cyclops’ fantasies of Psylocke, as well as the foreknowledge that Cyclops would later have a rather infamous affair with Emma Frost. Let it be known that for all the hate Emma Frost receives for her turn as Cyclops’ mistress, Psylocke tried it first. It’s also worth mentioning that there are a few tender and rather touching scenes between Rogue and Gambit (whose tumultuous relationship is one of the most iconic within the X-Men canon).

X-Men: A Skinning of Souls gives me everything I need for a nice bit of ‘90s nostalgia – the drama, the action and those legendary Jim Lee-designed costumes! The narrative itself is a bit convoluted, but keeps its focus squarely on developing the characters involved. Andy Kubert’s art is defining of this era and is quite beautiful, particularly when he’s drawing the women. Although, he does have a tendency to draw mouths a little too wide. I’d recommend this collection mostly for the more hardcore X-Men fans or those who are already massive fans of Psylocke (or even Colossus). Otherwise, you might want to read up on preceding storylines before giving this one a go.

RATING: B

Review: X-Men - X-Cutioner's Song

When an assassination attempt leaves Professor Xavier in critical condition, the X-Men scramble to find his attacker – their one-time ally Cable – which leads them into conflict with his X-Force team. Then, Cyclops and Jean Grey are kidnapped by the forces of Apocalypse. The X-Men must divide and conquer in order to save the life of their mentor and rescue their captive teammates.

X-Men: X-Cutioner’s Song collects Uncanny X-Men #294-297, X-Factor #84-86, X-Men #14-16, and X-Force #16-18. It is written by Scott Lobdell, Peter David and Fabian Nicieza, with art by Andy Kubert, Greg Capullo, Jae Lee and Brandon Peterson.

X-Cutioner’s Song was the first major X-Men crossover event for Marvel since 1990’s X-Tinction Agenda, the aftermath of which saw the birth of Chris Claremont and Jim Lee’s commercial smash X-Men #1. X-Cutioner’s Song, spearheaded by Nicieza, David and Lobdell, is framed as a trial by fire in the foreword for its hardcover collection. It came at a precarious point in the publishing history of Marvel’s Merry Mutants. The creative forces that had helped usher in a new era of commercial success for Marvel had jumped ship to start their own publishing house, which left the company without their big guns and with a sizeable hit to their stock. X-Cutioner’s Song was thus proposed as a way to maintain interest in the X-Men titles and to prove that Marvel was not hindered in any way by the so called “X-odus” of Jim Lee, Rob Liefeld, Marc Silvestri and Whilce Portacio. Sadly, the desperation is easily felt within the crossover and it remains an example of the excessive storytelling of the 1990s.

To use a term popular with describing today’s crop of X-Men and Marvel Studios films, X-Cutioner’s Song suffers from being overstuffed. Despite a remarkably simple premise, the narrative gets weighed down by the presence of its massive cast. There’s roughly two dozen mutant heroes, plus numerous villains, who are all vying for the attention of the reader. There is certainly a hierarchy to the characters involved. Wolverine, Cable, Bishop, Cannonball and Havok are the unequivocal leads in X-Cutioner’s Song. They carry the story forward, while the rest of the characters act as decoration for fight scenes. Even still, we do get some great moments between Cyclops and Jean Grey, as well as some further character development for Archangel. I’m also impressed by the dialogue written for both Boom Boom and Jubilee, whose sass helps to balance out the otherwise soapy writing.

The pacing of X-Cutioner’s Song is brisk. There’s plenty of action, including a rather memorable fight scene between the X-Men and the Mutant Liberation Front. It’s during these sequences where we actually see the characters shine, particularly due to the punchy one-liners and the collaborations between the members of the X-Men and X-Factor (X-Force is sidelined for much of the crossover, unfortunately). All of the explosions and elaborate displays of mutant powers do a lot to distract from an otherwise thinly plotted storyline.

Most of the issues I have with X-Cutioner’s Song revolve around its lead villain Stryfe. He was created in 1990 as an antagonist for the New Mutants and X-Force. He was portrayed initially as a mysterious masked figure, whose face was later shockingly revealed to be exactly the same as Cable’s. Thus began a debate between who was the “real” Cable. X-Cutioner’s Song provides no concrete example into Stryfe’s true identity or why he’s so bitter towards Cyclops and Jean Grey. By refusing to give readers the answers they need, Stryfe’s motivations remain unclear. Since the narrative never offers exposition or insight into Stryfe’s character, readers will undoubtedly be left feeling lost and with more questions than answers. Furthermore, there are issues regarding his general conception and portrayal. He’s a madman, which is always a riveting trait in a supervillain, but is very cartoonish. From his dialogue to his outlandish armour (complete with faux-nipples), he typifies the ridiculousness of the early-‘90s.

Despite its many (many) shortcomings, this crossover is remarkably entertaining – like a mindless popcorn flick. It’s punchy, exaggerated and dynamic. What makes it all the more enjoyable is the gorgeous art provided by Andy Kubert and Greg Capullo. Their art is distinctive and full of character. Kubert’s style came to define the visual representation of the X-Men in the ‘90s and provided the art for X-Men from 1992 up until 1996, becoming one of the longer running artists to work on Marvel’s Merry Mutants. Given the fact that he was Jim Lee’s successor, he did a remarkable job filling a legend’s shoes. Conversely, Capullo took over for Rob Liefeld in the pages of X-Force. This meant that the book went from being defined by its outrageous fashions and mind-boggling proportions to being one of the most beautifully drawn titles in Marvel’s wheelhouse. Capullo is near-incomparable and his characters are truly gorgeous. His take on Jean Grey is especially stunning and it’s quite possible that she’s never looked better than at his hands. Sadly, the art by Brandon Peterson and Jae Lee isn’t quite as remarkable. Peterson’s style is similar to his predecessor Whilce Portacio. It’s rough and largely unattractive. Jae Lee, meanwhile, suffers from inconsistencies. At times, his art is fluid and expressive while at others it seems rushed and lacks detail. While on the subject of inconsistency, it’s worth noting that there are quite a few visual continuity errors. Notably, costumes look different from one issue to another and Polaris’ jaw strap disappears and re-appears (note: she’s supposed to be wearing one due to suffering a broken jaw in the pages of X-Factor).

All in all, X-Cutioner’s Song serves as a reminder of the often outrageous storytelling that pervaded comic books in the early-‘90s. It certainly has an “everything and the kitchen sink” vibe to it and it never really delivers on its promised focus on Cyclops and Jean Grey (since it spends way too much time on Cable and Wolverine – shocker). Taken from an entertainment standpoint, it’s a fun read. We get to see a whole lot of characters interact and there’s plenty of great art to see. With a better villain, or at least one that’s elaborated on more, and some careful editing, X-Cutioner’s Song could have been a very compelling crossover. As it is, it’s merely just a representation of what typified a rather infamous era in comic book history.

RATING: C+

Review: X-Men - Mutant Genesis

A recently reformed Magneto returns to villainy in order to exact his revenge on humanity after learning that his rehabilitation may have been a manipulation. His first order of business? Kidnap and brainwash the X-Men into being his faithful servants. Then, Wolverine’s past comes back to haunt him when a mysterious assassin named Omega Red comes to hunt him down.

X-Men: Mutant Genesis collects X-Men #1-7, with story and art by Chris Claremont and Jim Lee. Additional dialogue is written by John Byrne and Scott Lobdell.

Mutant Genesis collects the first few issues of the blockbuster relaunch of the X-Men from 1991. This series was a turning point for the X-Men, as they’d been previously split apart and fractured. The original X-Men had formed the splinter group X-Factor, while the remaining members of the X-Men had been living in Australia for the latter part of the 1980s. The original and current X-Men were thus reunited during preceding storylines, which brought back plenty of familiar faces back into the fold. Despite being a relaunch, Mutant Genesis isn’t entirely new reader friendly. Anyone expecting to pick this collection up and understand everything that’s going on is going to be disappointed. Both arcs collected in this volume build upon concepts, characters and narratives that were previously established during Chris Claremont’s legendary run on the X-Men.

The first storyline present in Mutant Genesis is a three-parter that serves as Claremont’s farewell to the X-Men. In it, the titular team of superheroes faces off against Magneto high above the Earth on the villain’s satellite base Asteroid M. It’s a splashy and action-packed story featuring a plethora of mutants, which makes the story feel important and gives it a larger scale. Artist Jim Lee, who joins Claremont as co-plotter, helps to enhance the overall feel of the narrative. His art is fresh and dynamic, contributing some of the most iconic depictions of the X-Men of all-time. His then-new designs for the characters brought colour and life back into the world of Marvel’s Merry Mutants. These first three issues illustrate a synergy between Claremont and Lee, but also a slight schism. Lee’s art is so lively, yet it’s bogged down by Claremont’s habit of character grandstanding through dialogue. Gorgeously drawn panels are thus marred by massive blocks of text.

The question remains, does Mutant Genesis serve as an explosive finale to Claremont’s tenure on the X-Men? Yes and no. When you take away the quality of Jim Lee’s work, the story itself fails to match the depth and scale that became synonymous with the X-Men in the 1980s. This had been a continued problem with Claremont in general, as the quality of his stories declined sharply around 1989 when the Outback era reached its conclusion. The great thing about Mutant Genesis is that Claremont makes good use of his large cast and helps to pen yet another fantastic Magneto vs. the X-Men story. Unfortunately, it just doesn’t stand up very well to the test of time. Much of the conflict hinges upon a minor event that occurred several years before, which can be troublesome for people less familiar with Claremont’s oeuvre. It’s a bittersweet finale, of course, particularly because we know that Claremont left prematurely and likely would have ended things a bit more differently.

The rest of Mutant Genesis consists of a Wolverine-centric story conceived by Jim Lee, with dialogue written by John Byrne and Scott Lobdell. It features Wolverine being kidnapped by Omega Red at the behest of a new group of villains known as the Upstarts. The X-Men must then find and rescue their teammate before he outlives his usefulness to the Upstarts. As far as the story is confirmed, Lee’s first foray into being the sole plotter for the X-Men wasn’t half bad. Despite the rather large cast of characters he’s dealing with, he juggles them well and keeps things intimate by keeping the focus on Wolverine. He gives us glimpses into Wolverine’s past and even brings in Sabretooth. He also gives us a number of panels of Psylocke displaying just how badass she is. Nevertheless, there’s nothing too remarkable about the narrative that stands out. It’s solid, but lacks a sense of gravity. In other words, it’s filler and seems to be there only to give us a preview of what we can further expect from this series.

There are also a number of issues with Lee’s art in the final four issues in this collection. It doesn’t look quite as polished, particularly when it comes to their faces. His distinctive style isn’t as noticeable here, which is rather unfortunate. This also means that the flaws you’d normally overlook because of the beautifully drawn characters are all the more glaring. He’s clearly not the best artist when it comes to rendering backgrounds, nor does he seem to know quite how to edit his panels so they’re not too busy. More often than not, transitions seem abrupt and it’s often hard to follow the dialogue as a result of this.

There’s no denying the legacy of X-Men: Mutant Genesis. It has gone through multiple reprints and exists as one of the most iconic moments in the X-Men’s illustrious history. It doesn’t have the same critical acclaim that the Dark Phoenix Saga has, but the nostalgia factor is high on this one for those of us who were ‘90s (or even ’80s) babies. The stories presented here are great. They’re fun and they’re very much what you’d expect from a ‘90s comic. The art, however, is the real star here. Lee’s pencils are why this collection has been reprinted and collected (and sold out) so many times. That said, this volume feels incomplete. Since there’s a subplot involving Dazzler and Longshot in Mojoworld, ending the collection on issue 7 feels abrupt. This storyline wouldn’t be resolved until issue 11, so a larger collection would be nice to see in the future.

RATING: B

Review: X-Men Volume 5 - The Burning World

During a Burning Man-like festival, an unexpected supercell storm wipes out dozens of revelers and leaves even more injured. Naturally, Storm and her team of X-Men are called in to investigate this unusual weather occurrence. At the same time at the Jean Grey School, Krakoa falls ill, leaving Beast and Jubilee to root out the cause of his mysterious sickness.

X-Men Volume 5: The Burning World collects issues #23-26 of X-Men, written by G. Willow Wilson and illustrated by Roland Boschi.

From its very first issue, X-Men has been plagued by spotty writing and has struggled with finding its identity among a sea of X-Men related titles. After its first three lackluster story arcs and an improved fourth, fan-favourite writer G. Willow Wilson was brought in to write the series’ finale. Like Marc Guggenheim before her, Wilson excels at dialogue and giving each character her own unique tone. This creates a compelling dynamic that provides each character with a distinctive role within the team. Storm is the stoic leader, Psylocke is the relentless warrior, Monet is the snarky tank, Rachel is the empathic psychic powerhouse, and Jubilee is the comedic everyman. These distinguishing characteristics help to give the team an identity and enable the reader to relate to the characters involved. Finally, after just over 20 issues the book has the tone it’s desperately needed since issue #1.

The story presented in this volume owes much to the 2005 British horror film The Descent, as it involves its heroines becoming trapped underground where they must then fight off otherworldly monsters. It’s nowhere near as brutal as the film or as harrowing, but it does allow its characters room to develop and gives readers a glimpse of their inner psyche. For example, we are able to see Storm grieve the then-recent loss of Wolverine and Monet reflects on the influence her mother had on her as a child. Though the character development is superior to what most other writers do month-to-month, the story as a whole fails to provide the thrills and chills necessary for leaving a lasting impact on the reader. In truth, it feels like a filler arc that’s meant to re-establish the team’s trust in one another and lead into something greater. The fact that there wasn’t anything beyond these issues is a rather depressing letdown.

The quality of this book is further diminished by the muddy pencils of Roland Boschi. Very seldom are the characters attractive and his anatomy is off at several points, which gives them look like blobs with jagged edges for fingers. This is made worse by the seemingly lazy details of each character’s face, which is rather frustrating since it seems like he put no effort into making each girl distinctive beyond their hairstyles.

By issue #26 of X-Men, it’s clear that it never lived up to its full potential. Wilson and her predecessor Guggenheim both showed how incredibly layered and compelling these characters are, but the narratives never managed to match that depth. Instead of being a great all-female alternative to Uncanny X-Men, X-Men was more like a character-driven book that focused on a team’s lack of cohesion until the last couple of arcs. There were a ton of great ideas (like Deathstrike’s Sisterhood from Muertas), but ultimately none of the creators left a lasting impression with this book. Wilson did an admirable job in The Burning World in terms of showing off her impeccable skill at writing dialogue and of understanding the characters she writes. This book should be recommended to those who are fans of these five characters since it’s so character-centric. For anyone looking for something on a more epic, Earth-shattering scale, you might want to stick to the event titles Marvel seems to push out every other month.

RATING: B