Wolverine and the X-Men #42 – Review

By: Jason Aaron (writer); Nick Bradshaw, Pepe Larraz, Ramon Perez, Shawn Crystal, Steve Sanders, Nuno Alves, Tim Townsend, & Chris Bachalo (artists); Matt Milla & Lee Loughridge (color artists)

The Story: It’s graduation day for the Jean Grey School and Quentin Quire is in for a reckoning that’s been building all semester.

The Review: It’s been a long strange road for this series, but it’s finally over.

For this capstone story Jason Aaron returns us to the Jean Grey School of the future from WatXM #29. As the mutants of Earth-616 prepare for graduation, a tired old Logan prepares to shut down the school on Earth-13729.

Aaron, in no uncertain terms, focuses this story around the three most important characters of his run: Logan, Idie Okonkwo, and Quentin Quire. When the Jean Grey School opened, each one of them entered with blood on their hands. The struggle for each has not been to atone for past deeds, but rather to redefine themselves so that they have a future going forward.

Idie definitely gets the short end of the stick in terms of billing, but she’s actually one of the best characters in this issue. Both as her present self and as a confidant X-Man of the future, Idie shows drastic change from the beginning of the series. While I wish this transition had been more of a gradual process than a couple of off-screen leaps, the character that Idie has become is absolutely lovely. Her simple dialogue with Quire and Future Logan is probably some of the best work that Aaron has done with a female character over the whole of the run and makes her relationships with Logan and Quire feel real and substantial.

Meanwhile Quentin is dealing, or perhaps not dealing, with the fact that the Jean Grey School has changed him. Like a less flamboyant Stewie Griffin, he longs for the days when the mere thought of his dastardly plans made the hair stand up on Cyclops, Captain America, and Wolverine’s necks.  What Aaron fails to bring in reality, he certainly provides in humor and heart.

X-Men #16 – Review

By: Victor Gischler (writer), Jorge Molina (artist), Guru EFX (colors), Jordan D. White (assistant editor), Daniel Ketchum (associate editor)

The Story: A very old flame sends a distress signal to Cyclops and Magneto. It is delivered by FF, who are now sporting their new Dr. Doom look.

What Good: I was a fan of the art. Although I am usually allergic to the Rob Liefeld-esque posturing of heroes (see Cyclops, Wolverine and Thing at various moments), they looked good. Cyclops was an imposing leader and everyone looked heroic. The action sequences had a bit of an anime feel to them with the sort of frozen still-shot with bits of motion blurred beyond recognition. The fastball special was a good example, and it worked. On draftsmanship, I had no complaints. The figures, background and tech were clean and detailed, and the faces, while often expressionless (except for Franklin), were attractive. I really enjoyed the sequence in the submarine, and the double splash page with the staples was awesome in opening up a panoramic scope.

New Mutants #17 – Review

by, Zeb Wells (writer) Leonard Kirk (penciller)

The Story: Just as Cannonball and Moonstar share an intimate moment, Magik shows up with a call to arms, dragging the team to Limbo to rescue kidnapped X-Man, Pixie.  Then they get their asses kicked.

What’s Good: Wells has done a superb job keeping this title engaging and entertaining, and the reason he’s so successful is because he puts character first.  Not only do each of the cast members make realistic and believable decisions, but their personalities completely jibe with what has come before in previous stories by other creators.  Any other title would suffer from starring not one but three ‘back from the dead’ characters (Warlock, Magik & Cypher, in case you’re lacking a scorecard), mainly in the likelihood of annoying long-time fans with their presence.  But just as the likes of Ed Brubaker or Joss Whedon have done with characters like Bucky and Colossus, Wells has silenced most if not all of those naysayers by writing them with respect for who they are and how they’ve acted in the past.  As a result, this series feels like a natural extension of the New Mutants’ lives and not just a retread of older stories (or an affront to them).  This issue continues with that feeling, especially concerning the scene with Dani and Sam kissing.  Some might disagree, but this feels like an organic direction that their relationship would travel in, and I’m curious where it might take them and how it will affect the team dynamic.  There are plenty of other great moments in this issue that reiterate the strength of the script, from Warlock’s continued self-doubt to Illyana’s no-nonsense demeanor to the confrontation with the grown-up Inferno babies at the climax.  Wells is delivering solid issue after solid issue and is quietly making this the most dependable X-Title on the stands every month.

X-Men Vs. Agents of Atlas #1 – Review

By Jeff Parker (Writer – Both Stories)

“The X-Heist” Art Team – Carlo Pagulayan (Pencils), Jason Paz (Inks) and Wil Quintana (Colors)

“Atomic Age Heroes” Art Team – Chris Samnee (Art) and Veronica Gandini (Colors)

Some Thoughts Before The Review: The X-Men/Agents of Atlas crossover seems a bit unnecessary. That said, I can’t help but support it if it helps to grab more readers for the next volume of the Agents of Atlas ongoing.

The Story: In “The X-Heist” the Agents of Atlas attempt to steal Cerebro from Utopia in order to use it in their search for the missing Venus. “Atomic Age Heroes” is decidedly old school in tone and style as the X-Men and the Agents of Atlas fight it out because of mutant wildlife.

What’s Good And What’s Not So Good: X-Men Vs. Agents of Atlas #1 (lead by the “X-Heist” story) is, somewhat surprisingly, a fine start to what looks to be an entertaining bridge between the Atlas ongoing and the eventual monthly Incredible Hercules bonus feature. The X-Men and the Agents have a confrontation for a logical reason and that goes a long way towards making the limited series feel more meaningful than your typical cash/reader grab-fueled crossover right from the start. The “Atomic Age Heroes” story, meanwhile, is a fun slice of retro comic goodness that proves to be a nice little addition to the book.

While the storytelling and character work by Jeff Parker is as strong as expected (it’s what has made Atlas a favorite of mine) for both stories, Parker’s use of Matt Fraction’s now signature character information boxes in “The X-Heist” is, in a word, annoying. I get that the limited series is designed to get Uncanny readers interested in the Agents, but by using Fraction’s style it seems as though Parker (it might be Marvel’s fault) is setting up a bait and switch move. Agents of Atlas has never read like an “X” book, so maybe it would have been a better move to let the limited series read more like an Atlas book. At the very least it would have given new readers a better taste of what the Atlas series is really like. At least “Atomic Age Heroes” makes up for it somewhat by reading like long like comic from Marvel’s past.

Carlo Pagulayan’s work for “The X-Heist” is very impressive and does both teams justice. The X-Men look iconic, the Agents look appropriately pulpy, and the action makes good use of all the characters battling it out. Everything looks slick, modern, and polished during most of the “X-Heist,” though I’m not quite sure that’s exactly the best style for the comic. It makes the Agents look really out of place and, I hate to say it, but a bit silly. Two scenes employ a more familiar Atlas style however, and it makes me wonder why the look couldn’t have been used for the entire book.

Chris Samnee’s work for “Atomic Age Heroes” is a perfect fit for the way the short bonus tale plays out. It’s retro and old school without ever giving off the sense that someone was trying to hard. In short, Samnee’s art hits pretty much all the right notes and helps “Atomic Age Heroes” to be a lot of fun.

Conclusion: More Atlas is always a good thing, but I can’t help but be disappointed by the fact that someone felt that the Agents needed to conform to the X-Men style.

Grade: B

-Kyle Posluszny

Uncanny X-Men #509 – Review

By Matt Fraction (Writer), Greg Land (Pencils), Jay Leisten (Inks), and Justin Ponsor (Colors)

Some Thoughts Before The Review: Uncanny X-Men frustrates me. Read my review of Uncanny #508 for an explanation of why that is. The series is very close to being good (or even great), but a number of kinks must be worked out before it can make the jump.

The Story: The mutant community gets quite a jolt when news of Proposition X, legislation that would make chemical mutant birth control mandatory, hits the airwaves. Meanwhile, Beast’s X-Club learns that the key to solving the mutant birth problem may actually lie within one of the science team’s members. As for the Sisterhood? Madelyn Pryor’s plan gets revealed a bit more as they begin to take the fight to the X-Men.

What’s Good: While many of the usual flaws of the series still pop up, Uncanny X-Men #509 is definitely an improvement over the last issue. Especially in regards to the pacing of the various plots. What that means for the reader is that the storylines finally progress enough to feel somewhat satisfying and are also left dangling at logical, suspenseful moments. I still wish the plot segments weren’t so broken up, but I’ll take whatever improvements I can get.

Matt Fraction continues to do an extremely good job of using his large cast to explore big ideas. From Proposition X and the Sisterhood’s goals, to the X-Club’s mission, Fraction fuses plot and personality in a way that makes Uncanny #509 fun to read even when it falters or frustrates. Heck, even the artwork contributes to the feeling at times (turns out Colossus fits right in with the Oakland Raiders faithful), though I can’t help but wonder where Greg Land gets his source material from, because some of it cannot possibly be safe for work (Emma Frost in bondage restraints is just one of the questionable images).

What’s Not So Good: Even though the latest issue of Uncanny is an improvement, it still disappoints from time to time. The biggest reason for that is because the headlining Sisterhood story arc is proving to be a bit vague with the details and at times, too reliant on knowledge of X-continuity. Also, the artwork remains firmly inside the “love it or hate it” category. And as for the writing, Fraction can rightfully be accused of trying too hard to be hip or clever with some of the dialogue choices.

Conclusion: Uncanny X-Men #509 is a step in the right direction in almost every way. The flaws still prove to be distracting, but the good manages to outweigh the bad for once.

Grade: C+

-Kyle Posluszny

Uncanny X-Men #505 – Review

By Matt Fraction (Writer), Terry Dodson (Pencils), Rachel Dodson (Inks), and Justin Ponsor (Colors)

Some Thoughts Before The Review: While a bit scattershot, I really enjoyed the first chapter of Matt Fraction’s new Uncanny arc. It was loaded with fun character moments and it left me feeling as though the writer is having a blast playing in Marvel’s mutant sandbox. Now it’s time to see what plans he has for everything that was set up last month.

The Story: The latest issue of Uncanny is put together very much like the last. It continues to develop a number of different storylines at once by jumping from one location to another throughout the book. Colossus meets a Russian from his past that has an offer for him. Emma Frost continues to ponder her place among the X-Men and in mutant-kind in general. Beast continues to go through the process of recruiting members for a science team that can work to solve the current state of the mutant race. Lingering above all those stories is the politician, Simon Trask, and the outing of the chaos that happened as a result of the birth of the “Messiah” baby.

What’s Good: The best thing about the current state of Uncanny is that Fraction is doing a real nice job of weaving the smaller, more personal stories in and out of the Marvel universe as a whole. The latest issue manages to touch upon X-Force, Dark Reign, Cable, and the bigger aspects of mutant life without ever feeling forced or unnatural. It makes the book easy to like whether you only care about mutants or are a full-blown Marvel zombie.

As for the individual stories being told, they are filled with personality and hold a lot of potential. In addition, the attractive, vibrant visuals by Terry Dodson, Rachel Dodson, and Justin Ponsor do a great job of complimenting the storytelling. The colors pop and the characters display an impressive level of emotion and liveliness.

What’s Not So Good: Despite how dense the issue feels due to the large amount of dialogue, the storylines don’t really develop enough to be considered satisfying. In short, I like where things are headed, but I don’t really like the glacial pacing being used to get there. There is a whole lot going on, and I give Fraction credit for keeping things well in order. However it almost feels as though the issue has a bit too much on its plate.

Conclusion: There is a lot to like about Uncanny X-Men #505, but at times, it feels like it could buckle under its own weight. While the various stories being told at once are interesting, they are moving forward at a pace that is sure to irritate some. In other words, it will leave you wanting more, in ways both good and bad.

Grade: C+

-Kyle Posluszny

Secret Invasion: X-Men #2 – Capsule Review

By Mike Carey (Writer), Carey Nord (Art), and Dave McCaig (Colors)

I had planned on doing a full review of this one since I am quite an X-Men fan, but it just simply isn’t worth the time it takes to write or read a full review. The writing is underwhelming, the artwork looks rushed, the storyline mostly revolves around the standard Secret Invasion fighting, and it ultimately made me realize how there are much better X-Men and Secret Invasion books out there. I honestly like everyone on the creative team (Mike Carey is doing phenomenal work with the Legacy series), so it absolutely baffles me as to how this book could be so utterly boring.

With all the tie-ins associated with the Secret Invasion I knew that there was bound to be a few duds. I’m just shocked and disappointed that the biggest dud involves some of my favorite characters. Skip this one. (Grade: D-)

-Kyle Posluszny

Uncanny X-Men #501 – Review

Matt Fraction & Ed Brubaker (Writers), Greg Land (Pencils), Jay Leisten (Inker), and Justin Ponsor (Colorist)

I was pretty hard on the 500th issue, but, as an X-fan, I couldn’t help but look forward to the next one. Now that I’ve read it… well let’s just say that it left me feeling more than a bit torn. On the one hand it is a much better, more enjoyable read than #500. On the other hand, a lot of the same flaws exist and a few new ones show up as well.

Story wise, not a whole lot actually happens in Uncanny X-Men #501. Considering how many plot seeds were planted with the debut of the new creative team, it was surprising to find them largely ignored here. Instead, the story focuses on continuing to establish the new X-Men mindset while introducing a new mutant hating threat, The Hellfire Cult (seen briefly last issue). The whole thing strikes a nice balance between lighthearted fun and the serious threat at hand. While I wish there was a bit more story progression in the book, I am satisfied with the direction this arc is taking. The Hellfire Cult beating that kicks things off is brutally effective and I look forward to seeing the repercussions.

I am happy to report that it looks as though Matt Fraction and Ed Brubaker have found their footing after the fairly shaky start. While the storyline at hand is nothing particularly original or exciting (so far), the tone works extremely well. The breath of fresh air the X-Men feel is well conveyed and it seems as though the characters are in good hands. Worth noting also is how impressively the developments in Cable #6 are seamlessly weaved into the issue. However, my biggest concern (writing wise) is that there doesn’t seem to be anything particularly unique on the horizon. The plot elements introduced in 500 did little to excite me and this first arc looks to be a fairly generic (though entertaining) anti-mutant tale. While I would love for Fraction and Brubaker to prove me wrong, they will need to work a bit to make this arc truly memorable.

I don’t really know what I can say about the art. Jay Leisten’s inks are well done, and Justin Ponsor’s colors really impressed me (especially when they were for Pixie), but with pencils done by Greg Land, you know what you are getting. Land’s work is extremely divisive for good reason and, personally, it really isn’t my thing. Characters look inconsistent, action looks stiff, and his “method” is clear as day. (Anyone know which pitcher he used for the shot of Wolverine throwing a beer?) It’s a nice looking book as a whole, but Land’s style just doesn’t do it for me.

I’m really worried about the Uncanny series following the disappointing milestone issue, but things look to be on the right track. Maybe this series could be one of those that’s best taken a step at a time. As for this step, I liked it. (Grade: C+)

-Kyle Posluszny

A Second Opinion

I really agree with Kyle here. Overall it’s not terrible, but it doesn’t wow you either. For me it’s a “results versus expectations” thing. With the exception of Greg Land (who I also dislike) everyone on the creative team is pretty elite. So when we get a generic story it’s all the more disappointing. Yes, the world is still full of people who hate and fear them, but Cyclops isn’t doing anyone any favors by having Wolverine take a hostage at the end of the book. I’m not saying I’d do something different, just that it’s not helping the cause.

My biggest gripe is the little description we get of each X-man. It’s a quick thing about their powers and maybe a joke, but it’s just distracting. It’s similar to what they do on Burn Notice when introducing a new character, but unlike Burn Notice we know who these people are. Aside from the intros, the writing is solid, but as Kyle pointed out, it’s hard to see where it’s going. Maybe Captain America has spoiled me, but I’m just expecting more twists and turns with Ed Brubaker involved. It may be something that ends incredibly well, but two issues in, it’s hard to see any long term plans. #501 a step up from the disappointing 500th bonanza for sure, but not enough to ease my concerns. (Grade: C)

-Ben Berger

A Third Opinion

You are Comic Nerd, on your way home from what you laughingly call a job. You’re tired, body and soul, but you swing by the comic store and pull the latest issue of Uncanny X-Men from the shelves. More’s the pity, because Fraction and Brubaker—normally sober, serious writers—have chosen to narrate the book in the hyperbolic style of Chris Claremont.

In the 80’s Claremont was the best there was, in the 90’s he still had a few tricks up his sleeve, but now the forced nonchalance, the non-stop intensity, and that goofy phrasing make you want to rabbit back to your hidey-hole and pull the dirt in after you.

The story starts at night, as stories often do. Pixie gets jumped and beaten up by a gang of skin-head mutant haters in Hellfire Club masks. Then the X-Men talk. And talk. And talk. Finally, towards the end of the book, you finally get to meet the person leading the skinheads. Is it Hate-Monger? Psycho-Man? Tyler Durden? No, it’s some floozy in a black leather mask carrying a whip and calling herself the Red Queen, and you think, “Ugh. I thought we were done with the dominatrix fetish when Byrne left the book.” It’s a train wreck, pure and simple.

In your heart of hearts, you know you’re being unfair; the Claremontisms are actually kind of fun, and the story might be the start of something good, eventually, but there’s really not much else to say about this book, unless you criticize Greg Land’s art, in which every single character looks like a super-model having an orgasm in every single panel.

You wonder if you should buy the comic, holding it until your hand become like unto a thing of iron! And then you put the damn thing back, and walk away.

At least you’re still alive. (Grade: C+)

– Andrew C. Murphy