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 - Fatal Attractions

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

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

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

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

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

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

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

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

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

RATING: B+

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, Second Coming

Second Coming is one of the best X-Men storylines in recent years. It is cohesive, thrilling, and, most importantly, emotional. It focuses on the return of the so-called mutant messiah known as Hope. Many consider her to be the saviour of mutantkind and will usher them away from the brink of extinction. This, of course, makes her a target for those who wish to wipe out all those with an X-gene.

Spread out across all of the primary X-Men titles from 2010 through 2011, Second Coming is the brilliant conclusion to what could informally be known as the Messiah trilogy. For casual fans of the X-Men, this story will be largely confusing and may be overly complex. It weaves in the narratives of dozens of characters and operates on the foundation of several exisiting storylines. In order to understand what is going on, it's essential to be familiar with such concepts as M-Day and the Cooperstown Massacre. For those who have been reading the X-Men for years, this will be a non-stop action ride that has its fair share of triumph and heartarche. Writers Mike Carey, Craig Kyle, Chris Yost, Matt Fraction, and Zeb Wells do an incredible job piecing together this intricate web of narratives. Cyclops, Wolverine, and Hope are the emotional core of this crossover. They are written well and are each very layered in their characterizations.

There are several standout moments in Second Coming. Some are as small as Hope eyeing a hair brush set in a drug store, while others are as big as the epic battle that sees the X-Men facing off against the deadly Nimrod Sentinels. As mentioned previously, this event is very emotional. Characters are gravely injured while others become casualties during the X-Men's fight to protect Hope. While this contributes to the gravity of the narrative, there are other themes at work as well. A particular point of conflict arises concerning Cyclops' decision to commission a group of killers to carry out covert missions to assassinate threats to mutantkind. When this secret team is exposed, it has dire consequences and opens up discussions regarding the true nature of heroism. For this reader, the most poignant moment of Second Coming arrives during the denouement. Storm, known for her strong set of morals, confronts Wolverine about his active participation in Cyclops' team of killers. The scene is tense and impeccably well-written. Storm's words are cutting and brutally honest. While the world operates in shades of grey, Storm makes it perfectly clear that the X-Men are moving far too close to the darker end of the spectrum.

As referenced above, Second Coming isn't the most accessible of narratives. For anyone new to the world of the X-Men, it will leave you with far too many questions to be able to comprehend the storylines. Nevertheless, it is incredibly detailed and is a thoroughly satisfying read that is sure to leave the veteran reader with some kind of emotional response. Second Coming has its share of flaws, but it is one of the most impressive offerings by Marvel in recent years. It shows the world once more the difference people can make when they band together to fight for a common goal. It's powerful.

Rating: A

Review: X-Necrosha

The X-Men are no strangers when it comes to death. Over the years, they have lost many teammates and witnessed the demise of many of their greatest foes. However, what happens when all of these fallen are resurrected? That is the premise of the event known as X-Necrosha. The psychic vampire Selene mystically revives thousands of dead mutants and uses them as a pawn in her bid to become a God. It's up to the X-Men to stop her legion of the undead.

The trade paperback for X-Necrosha collects the relevant issues of this storyline from X-Force, New Mutants, and X-Men: Legacy, along with other bonus content.The main narrative occurs in the pages of X-Force. It is masterfully crafted and is as eerie as one would expect. Selene proves to be one of the X-Men's most dangerous foes and her cabal of henchmen are equally as ruthless. The supernatural elements fit remarkably well into the X-Men's universe, giving it a dark and gritty tone that adds weight to the story. Similarly, the art is captivating in its sinister style. Its detail and liquid colours give it tremendous character. The issues of New Mutants and X-Men: Legacy, however, do not fare as well. Neither title truly feels like it belongs in this collection. While both take place during the same time as the events in X-Force, both are sidestories and do not carry the same weight as the main narrative. This creates an unfortunate inconsistency with the overall tone of the trade paperback.

There is an even bigger glaring issue with this collection. Whoever assembled these issues did so haphazardly. The trade paperback opens with the X-Force issues then cycles into New Mutants and then X-Men: Legacy. There is no point of contention with this ordering since it doesn't disorient the reader too much. The problem, however, is that the bonus material is jammed into the back of the book. This is an issue since the narratives presented provide much-needed exposition into the events of the crossover. In fact, they should have preceded X-Force. There's also the puzzling exclusion of the Dazzler one-shot, which dealt with the aftermath of X-Necrosha. It's disappointing since this particular issue was much more interesting than the majority of the material outside of the main story in this trade paperback.

For anyone interested in tackling X-Necrosha, be ready for some minor confusion. The story itself isn't terribly accessible to new readers and will require some knowledge of the events preceding the crossover, particularly those that occurred in X-Force. There's also the issue of the skewed chronology of issues in this collection. That said, X-Necrosha is one of the more startlingly bleak events in recent X-Men history. The dark tone and supernatural themes are perfect for anyone who is a fan of sorcery, vampires and zombies. Of course, the real selling point for this trade paperback is its villain. Selene proves once and for all that she can be a Big Bad on-par with the likes of Apocalypse and Magneto. Not bad for a gal who struts around in lingerie.

Rating: B