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All New X-Men #11 – Review

ALL-NEW X-MEN #11

By: Brian Michael Bendis (Writer), Stuart Immonen (Penciler), Wade Von Grawbadger (Inker), Marte Gracia (Color Artist), VC’s Cory Petit (Letterer)

Review: The point’s been made by my fellow WCBR brethren that reviewing All New X-Men looks like an unenviable task. And they’re right. Not that it’s a bad comic; quite the opposite, as nearly a year in and I still find it to be one of the strongest all-round titles to come out of the Marvel NOW ‘situation’. Rather it’s the case that a lot of the time each issue feels filled to the brim with lots of great little moments between the many and varied members of its cast. Keeping track of all that over a few hundred words can get difficult, especially if you don’t want to make it look like you’re just transcribing the script wholesale. Woe is me, 1st world problems etc. I can deal. Once more into the breach dear friends…once more!
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Uncanny X-Men #1 – Review

UNCANNY X-MEN #1

By: Brian Michael Bendis (writer), Chris Bachalo (pencils & colors), Tim Townsend, Jaime Mendoza & Al Vey (inks), and Joe Caramagna (letters)

The Story:  An inside man approaches Maria Hill with an offer to help take down Scott Summers.

The Review:  One of the concerns I had about this book going in was the way it would differentiate itself from All-New X-Men.  Yes, I realize it wouldn’t feature the time traveling teens, but Cyclops and his gang have appeared quite a bit in that book such that having them star in this one seemed to be some serious overlap.  Thankfully, Bendis quickly dispels this concern.  It’s not so much that Cyclops team are front and center, which they are, but rather that the tone of the book has been subtly altered.  While part of it may be due to Bachalo’s artwork, with its muddy colors and its lack of distinct, clean lines (as opposed to Immonen and Marquez on All-New), the big reason for this is the subtle change in tone.  The book feels more shadowy, more “underground,” and a touch more edgy.  The humour isn’t there and the soap opera of All-New is shifted into something that’s a little closer to twisty, spy-thriller dramatics.  All-New is the above-ground, flagship story.  Uncanny is what happens beneath and on the revolutionary fringes that Cyclops and his team currently occupy.
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All New X-Men #3 Review

ALL-NEW X-MEN #3By: Brian Michael Bendis (Writer), Stuart Immonen (Artist), Wade Von Grawbadger (Inker), Marte Gracia (Colorist), Cory Petit (Letterer)

The Review: All New X-Men is enjoying a well-deserved reputation as one of the best Marvel NOW titles at the moment. This success is largely down to the fact that it’s not really traded on the gimmicks which first made the title a talking point – Jean Grey coming back, the original X-Men coming face-to-face with their future selves – so much as it has strong character work from Bendis (and some top flight artwork from Stuart Immonen). This issue’s focus is restricted solely to Cyclops’ new Brotherhood of Evil Mutants, revealing a little of the workings of the team and more of the turmoil present within it. I haven’t found it quite as compelling as the previous instalments, but it’s still some better than average comic booking and an important step forward for the overall story.
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Avengers vs. X-Men #10 – Review

By: Ed Brubaker (writer), Adam Kubert (pencils), John Dell (inks), Laura Martin (colors), and Larry Molinar (letters)

The Story: Cyclops attacks K’un-Lun in an effort to bring Hope home.

The Review:  Well, good news.  This issue was actually…pretty good.  That’s largely owing to the fact that the Phoenix corrupted Scott and Emma turn out to be extremely effective villains this month.  They’re compelling, particularly given that they aren’t at all bland or derivative, instead managing to stay true to their characters.  It’s “evil Scott” and “evil Emma” in the truest sense in that they are still distinctly themselves, just in a much darker light.

Scott, for instance, is the sort of guy you can’t help but hate.  Sure, he’s done a lot of good things, but man does he love reminding you of that.  As a result, he comes across as condescending and arrogant throughout.  It’s basically everything Cyclops haters loathe dialed up to 11.  Emma, on the other hand, is downright creepy.  She’s turned Utopia into her own little kingdom with its residents as her slaves; she’s fickle and cruel in a way that suits the character quite well.
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Avengers vs. X-Men #9 – Review

by Jason Aaron (writer), Adam Kubert (pencils), John Dell (inks), Laura Martin & Larry Molinar (colors), and Chris Eliopoulos (letters)

The Story:  With their backs against the wall, the Avengers attempt a daring jailbreak.

The Review:  I’ve actually found the last few issues of Avengers vs. X-Men to be relatively enjoyable.  It’s something of a disappointment then that this latest installment felt a tad underwhelming.

Part of that, I think, is that this issue is another testament to the fact that AvX could easily have run the standard 8 issues instead of twelve.  The first two-thirds of the issue felt like a lot of wheel-spinning.  Perhaps that’s a little strong, as things DO happen, but it feels like little more than the pieces being shuffled around on the board.  It’s almost as though the book is on a holding pattern – minor consolidations of characters’ alignment are made, it’s hammered home repeatedly that the Avengers are stuck in neutral, and the end result is that, for all the action scenes, the book is surprisingly dull.

Moreover, I have to say that I was a bit disappointed by the portrayal of Magik and Colossus.  The strongest element of the “Phoenix Five” has been the way that the Phoenix hasn’t just corrupted them, but done so in a manner that accentuates each of their unique and inherent character flaws.  Magik and Colossus, however, just come across as evil, straight-up villains.  Well, with Colossus trying to resist his villainous side, anyway, while Magik is completely malevolent.  But the problem is there’s nothing unique in their corrupted behaviour – they’re just violent and nasty.  I wish it was a little more nuanced in the delivery.  It’s particularly strange given that Jason Aaron was also the guy behind last week’s issue of Wolverine & the X-Men, which did such a great job in its depiction of corrupted Colossus.

Thankfully, this isn’t the case with Aaron’s takes on the empowered Emma and Scott.  These two characters thankfully maintain that interesting element of the Phoenix’s corruption – they aren’t just evil, but rather, the corruption emphasizes certain character flaws.  The vengeful Emma Frost and her inner struggles were a great example of that and a major highlight of the book.  Aaron manages to make her perfectly monstrous, the Phoenix corrupting her in a manner that fits perfectly with her nature, but also a sympathetic figure, all in the space of two pages.
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Avengers vs. X-Men #8 – Review

By: Brian Michael Bendis (writer), Adam Kubert (penciler), John Dell (inker), Laura Martin & Larry Molinar (colorists), and Chris Eliopoulos (letterer)

The Story:  The Avengers try to stop Namor from burning Wakanda to the ground.

The Review:  One word describes this issue:  fun.

I’ll admit, I’m not one easily wowed by superhero punch-ups, but somehow, seeing Namor battle heavyhitters like Red Hulk, Thing, and Thor was pure, gleeful, comics bliss.  There was just something magical about seeing these heavy-hitters throw down (with one particularly brutal panel that particularly sticks out – that’s a pun that’ll make sense when you read the issue).  The fight was wonderful fun that had me really enjoying myself and flipping the pages, with the issue never dragging or boring me one bit.
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The New Avengers #28 – Review

by Brian Michael Bendis (writer), Mike Deodato (artist), Rain Beredo (colorist), and Joe Caramagna (letterer)

The Story: Spider-Woman, Hawkeye, and Luke Cage try to break out of the X-Brig.

The Review: This is a tough review to write, as I imagine that opinions will really vary on this comic.  The entire issue builds up to a big twist near the end and your enjoyment of it overall is thus largely contingent upon your reaction to that twist.

For me, I literally said, out loud, “oh, come on!” when I turned that page.  Bendis does a good job in tricking you, sure, but it doesn’t change the fact that the twist ending here is the oldest trick in the book.   That said, to his credit, Bendis almost, almost manages to sell it by making the scenario particularly hellish and twisted.  It’s actually surprisingly dark, and a little disturbing, for an Avengers comic.  Still, that doesn’t change the fact that the core concept of the twist is incredibly old, tired, and cheap.

The dialogue is also a mixed bag.  On the one hand, I liked the characterization Bendis does in showing the very different ways that Cage, Hawkeye, and Spider-Woman interact with their guards.  It showcased their unique personalities, and tactics, very well and was a really nice touch.

On the other hand, I could have done without the banter between Jessica and Clint.  Bendis and Deodato have established that this is a very dark issue they’re giving us and Hawkeye and Spider-Woman are in the middle of a desperate escape off of an island guarded by pissed-off gods and….Hawkeye is telling Spider-Woman that she smells nice, while Spider-Woman makes a joke about a birthmark/scar/something on Hawkeye’s butt?  It’s bad enough that the Hawkeye/Spider-Woman relationship still feels forced and underdeveloped, but this banter is really, really inappropriate and out of place.  This is only further evidenced by the fact that it’s really the only spot of humour in what is really a very grim issue, particularly given that dire twist.
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Wolverine and the X-Men #13 – Review

by Jason Aaron (writer), Nick Bradshaw (penciler & inker), Walden Wong & Cam Smith (inkers), Guru Efx (colorist), and Chris Eliopoulos (letterer)

The Story: Get to know Warbird.  And, in other news, five phoenixes is a bit much even for Gladiator.

The Review: For the most part, the AvX tie-ins have ranged between mediocre to sucky and no title has been a greater disappointment than Wolverine and the X-Men.  It’s a painful situation that is every event-haters worst nightmare: a fantastic comic derailed by a forced event tie-in.

Given this, I was prepared to give another underwhelmed review but, much to my surprise, Jason Aaron and Nick Bradshaw churn out a fantastic issue here.  The reason why this one is different is obvious:  Avengers vs. X-Men takes a very distant backseat.  This gives Aaron a chance to focus on what’s made this series so great: the characters he’s created.

Here, he really pulls back the curtain on Warbird, probably the new character we knew least about.  Put simply, it’s fantastic.  You will leave this issue loving Warbird.  Her story is tragic, heavy stuff and she comes through it all a conflicted, three-dimensional character with a lot of depth and a lot more long-term potential.  Aaron has created a character that you can’t help but have a great deal of empathy for.

Part of this is Jason Aaron’s reversal of the stereotypical “tough girl.”  So many comics take the route of making a female character as hard-nosed and badassed as possible as the quickest, cheapest route to create a female “fan favourite.”  Aaron takes the opposite route.  Instead, he gives us character that is, on the surface, that stereotypica, female, 90s-badittude type of character, but that’s not what makes her so awesome or likable or unique.  Rather, it’s the softer, sensitive side of her that’s been so secreted away that makes the character shine.  In the end,  you’re cheering more for her to be able to emotionally open up and be herself than you are for her  to chop up some more aliens.  Essentially, Aaron gives us a character template that succeeds more than it fails, then turns it on its head to give it an entirely new depth.

While tragedy and emotion define Warbird’s story, there’s also something decidedly heart-renching about Kid Gladiator’s scenes.  Aaron does a great job depicting Kid Gladiator’s reaction to watching his dad get the worst of things against the Phoenix Five.  Most interesting is Aaron’s basically giving the character an emotional trajectory – he goes from wanting to be the hero in fighting alongside his dad, to crying out in despair and disbelief.  Better still, the fact that Warbird is restraining him, particularly in light of certain elements of her past, make the dynamic between the two VERY interesting and a lot more nuanced.
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Avengers vs. X-Men #6 – Review

by Jonathan Hickman (writer), Olivier Coipel (penciler), Mark Morales (inks), Laura Martin (colorist), and Chris Eliopoulos (letterer)

The Story:  The Phoenix Five begin to reshape Earth; the Avengers make a daring raid on Utopia to snatch Hope.

The Review:  I’ll admit that after last issue, I thought AvX had jumped the shark.  As a result, I was pretty worried when I started reading this issue.  Instead, against all odds, I had a reason to be excited.

Hickman has done some great work here with the Phoenix Five.  What we get is a story of gods among men and the resulting intersection and conflict between the two.  The result is a story that is much smarter, more meditative, and more global and nuanced in nature.  AvX has suddenly become a whole lot more than Avengers and X-Men punching each other.  Better still, Hickman muddies the waters at just how godly the Phoenix Five really are and the extent to which they are merely mortals gifted with godly powers.  The result is that the intersection/conflict isn’t just between gods and men, but also between the godly powers of the Phoenix Five and their human/mutant cores.

The result is a strange sort of antagonist: their acts are amazing and philanthropic, and yet they feel so alien that you can’t help but find them somewhat sinister.  Scott only continues to be more disturbing; while he acts and talks like a god, he still carries that vengeful chip on his shoulder.  This leads to scenes where he’ll drop his godly guise and seem like…Scott, with powers he shouldn’t have.  There’s also an especially strong scene where Scott plays the nasty, biblical God: teasing and tempting Hope only so he can chide and reject her for her lack of blind faith in some form of sadistic “test.”  For all the good the Phoenix Five do, it’s the hints like these that Hickman uses to suggest that men cannot and should not be gods.

Olivier Coipel’s art refreshes AvX just as much as Hickman’s script does, if not moreso.  While Romita Jr. truly was doing his best, Coipel blows him out of the water.  Coipel is everything you expect out of a “big event” type book, with an incredible sense of scale and drama and a polished, “big budget” feel to his work.  His art goes a long way to rejuvenating AvX and making the book an exciting one.
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Avengers vs. X-Men #5 – Review

by Matt Fraction (writer), John Romita Jr. (penciller), Scott Hanna (inker), Laura Martin (colorist), and Chris Eliopoulos (letterer)

The Story: The Phoenix arrives.

The Review:  I really, really was starting to think that AvX was going to be a good, fun story, but after last month’s shaky issue, I’m getting the sinking feeling that this month’s issue could very well be the moment that this series truly jumped the shark.

Overall, the general problem is that this entire issue is devoted to the big, gigantic twist near the end of the issue.  This leads to around 15 or so pages of treading water, as Fraction basically kills time before dropping the bombshell on us, which is the sole notable thing to happen here.  This leads to more pages of Avengers and X-Men punching each other with very little emotional significance to their particular struggles.  Everyone is paired off and Hope makes it clear that they’re trying to kill each other.  So yeah, lots of hollow panels of action with heroes punching, grappling, and blasting each other.  Perhaps if I were 8 years old again, I’d find it awesome, but at this point, it just feels shallow and a bit meaningless, particularly given that we’ve already had so much of these characters punching each other.  Fraction tries to make these action scenes different by having Hope basically emphasize, through narration, how desperate everything is, but it feels like a case of telling rather than showing; the action doesn’t LOOK any different from what we’ve gotten before, regardless of what Hope tells us.  It doesn’t help that Hope’s narration is built around an extended metaphor on her part that, while a decent idea and well-intentioned, ends up being clunky and more awkward that it’s worth.

But really, this may all be forgivable if the big bombshell Fraction was building up towards was actually a good one.  Unfortunately, it’s not.  I can’t really go into WHY it isn’t without spoiling it, but this really feels like the one, singular moment where things really went wrong with this series.  I really, truly hope I’m proven wrong.  As such, I can guarantee that it’s a twist that you will NOT see coming.  However, upon turning the page, I literally said out loud “are you @$!@ing kidding me?”  It’s a real “facepalm” moment here.  It just feels really, really stupid.  There’s no other way to describe it.  It’s just…dumb.
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Avengers vs. X-Men #4 – Review

by Jonathan Hickman (writer), John Romita Jr. (pencils), Scott Hanna (inks), Laura Martin (colors), and Chris Eliopoulos (letters)

The Story: As the Phoenix streaks towards Earth, Hope tries to make a deal with Wolverine.

The Review:  In a twelve-issue maxi-series, issues like this are all but inevitable – the dreaded, treading water, transitional issue.

Much of this issue seems like it’s buying time for the huge development/cliffhanger on the final page.  As a result, much time is spent with Emma Frost checking in on each team of X-Men and each “battlezone,” often visiting what’s been going on in some of the AvX tie-in issues.  It’s honestly not very thrilling reading – if you’re reading those books already, it’s redundant, and if it you’re not, each arena is visited so briefly and so superficially that it’s basically devoid of any real significance anyway.  Even Emma’s purpose in doing this (attempting to seek out Cap in order to figure out where Hope is going to be next) is geared towards getting towards that final page.  It’s as though Hickman just needed to kill time to that big event, as the series is effectively in a holding pattern until that event occurred, having gone as far as it could go.

That said, while the middle of the issue is a bit tedious, the opening and finale are quite strong.  The finale goes without saying: it’s a huge development and a huge cliffhanger that’ll have you hankering for the next issue.  Mission accomplished.  More than that, however, it also involved a plot twist in which Logan does something that’s really heartless and quite a surprise.  It’s great how Hickman had us, along with Hope, believing one way in the opening of the issue, only for it to get all twisted up at the end.  Just an ice-cold move by Wolverine.
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Avengers vs. X-Men #0 – Review

by Brian Michael Bendis & Jason Aaron (writers), Frank Cho (art), Jason Keith (colors), and Chris Eliopoulos (letters)

The Story: The Scarlet Witch is back in action and Hope becomes a crime-fighter.

The Review: How much you enjoy AvX #0 is largely contingent on what you expect to get out of this issue.  In many ways, this is somewhat falsely advertised as a prelude to the big Avengers vs. X-Men event and, as such, both Brian Bendis and Jason Aaron’s stories kind of fail in this regard.  Barring a final page in Aaron’s story that doesn’t reveal anything we didn’t already know, this issue doesn’t particularly set up any significant story beats or give us too much of an idea of what that story is going to be.

Instead, what you get with this issue are two character sketches, one of the Scarlet Witch and the other of Hope.  It gives readers new and old to get a little better acquainted with both characters and where they’re at in their lives right now.

Bendis’ story with Wands is no doubt the stronger of the two.  The action scenes are fantastic and really play to Frank Cho’s strengths, at times quite literally leaping off the page.  And hey, it’s MODOK.  Not just that, but particularly with Cho’s illustrations, Wanda’s powers are really cool to see in action and they make for one hell of an entrance.  Really, that’s what this is all about: Wanda’s return to the stage; Bendis succeeds in ensuring that she makes one hell of an impression.

I can also tell that Bendis worked harder than usual on this one.  The dialogue never falls prey to Bendis-speak or out of character voices.  Instead, the dialogue is brimming with emotion and sincerity.  Ms. Marvel’s dynamic with Wanda is a lot of fun, with Carol clearly being well-intentioned but overly optimistic, and all the more lovable for it.  The real meat comes with Wanda’s meeting with Vision.  Bendis manages to make Vision ice-cold, but brutally truthful and, nonetheless, also makes Wanda a sympathetic figure.  It’s a conversation that’s been a long time coming, and it delivers, scars and all.
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Uncanny X-Men #9 – Review

by Kieron Gillen (writer), Carlos Pacheco (pencils), Cam Smith (inks), Guru eFx (colors), and Joe Caramagna (letters)

The Story: The X-Men team up with the Avengers to round up escaped prisoners from the Peak.

The Review:  I remember during Matt Fraction’s run on Uncanny that whenever Greg Land’s arc ended and the Dodsons returned, I always let out a big sigh of relief.  While Land’s last outing actually wasn’t too bad, I expected to get that similar feeling of comfort and relief with the return of Carlos Pacheco and yet….that didn’t happen.

Pacheco delivers a completely mediocre, forgettable, and unremarkable performance.  There aren’t any major errors to hang onto, it’s just so utterly and completely average with no one moment that truly impresses.  Also, while there are no major problems, there are minor quibbles:  Pacheco’s illustration of Emma’s face seemed off throughout the issue, Agent Brand’s breasts were conspicuously ginormous, and Pacheco struggled a bit to capture the specificities of some of the scenes Gillen narrates in the issue’s montages.

While Pacheco’s art may be underwhelming, this is a solid enough outing by Gillen.  He introduces a new villain, Unit, who really lets Gillen play to his strengths in writing dialogue.  Unit is arrogant, smarmy, and well-spoken, yet also cold and calculated.  Gillen gives him a voice that is full of personality and character yet also chilling and, despite that arrogant quality, slightly inhuman.  Suffice it to say, with his ear for dialogue, Gillen writes great villains and Unit gives him a stage to really show that.

The opening few pages are also very strong, focusing on Colossus’ complicated relationship and emotions towards his sister Magik and her somewhat odd position.  It’s easy to write Colossus very blandly, but Gillen succeeds with having Colossus narrate these scenes with true sincerity that really pulls you to empathize with the character.  It feels meaningful and actually made me care for the predicament of a character I’m usually a bit ambivalent towards.
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Herc #8 – Review

By: Greg Pak & Fred Van Lente (writers), June Brigman (penciller), Roy Richardson (inker), Jesus Aburtov (colorist)

The Story: Herc learns that even a hideous mutation can’t stop him from scoring with the ladies.

The Review: From what I’ve gathered, Spider-Island sure sounds like a fun romp.  But from the point of view of this title, the premise of the event comes across one-dimensional, random, and utterly pointless.  Having every Manhattanite, hero, villain, and civilian alike, transform into arachnid mutants may be a fun idea in theory, but once you have them, the question becomes: what do you do with them?  Cause a fly genocide?

Well, in Herc’s case, you can just sic him on a handful of X-Men for pretty much no reason other than because it pleases the Queen of Spider-Island for him to do so.  The ensuing action has its moments, like Storm whipping up a wind strong enough to launch Wolverine in a fastball special, but these hero-versus-hero battles rarely manage to gain much tension.  It’s not like there’s any real danger of them actually killing each other, so what’s to fear?

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Herc #7 – Review

By: Greg Pak & Fred Van Lente (writers), June Brigman (penciller), Roy Richardson (inker), Jesus Aburtov (colorist)

The Story: Spider-Herc, Spider-Herc, / does whatever a Spider-Herc does.

The Review: Once upon a time, crossovers were a rare, novel event.  Then they became frequent pleasures, then common fool’s errands.  Now they come about every other month, and the effect on all comics, be they solid ongoings or criminally under-promoted minis, has been irritating, pointless, or detracting.  As a newborn series, Herc hadn’t a chance to stand on its own two feet before Fear Itself dragged it along in its wake.  Now that it’s over, we finally have a chance to see Herc grow into the title it’s meant to be.

Just kidding.  Enter Spider Island, ably demonstrating the downside of having all the heroes operate out the same city; if one has an epic adventure, shared universe etiquette dictates everyone has to participate, or at least acknowledge it.  Here, Hercules gets to join in on the fun, which makes sense as an entertaining interlude to an already prospering title, but when you have one that hasn’t even established much of an identity yet, it doesn’t seem wise to let the star attempt to take on someone else’s.

Not that Pak-Van Lente don’t bring their trademark humor to the gimmick.  Herc has clearly established himself as second only to Deadpool in the mockery department, and while Spider-Man is no slouch when it comes to self-deprecating jokes, there’s still plenty of laughs to be had at the web-slinger’s expense.  In the midst of crowing over his extra surge of power, Herc wonders, “But what is this strange new feeling?  With this great power…comes great…angst?

Had the writers simply stuck with these kinds of gags, the issue probably would have worked better, but we also have three competing distractions: guest appearances by several X-Men (no telling why they had to show up in this title—don’t they have, like, eight of their own?), Anansi the African spider-god-trickster, and Arachne, who vaguely reveals herself for two panels and, aside from giving us a fine view of an arthropod behind, serves virtually no purpose to the issue.
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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.
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X-Men: Schism #3 – Review

By: Jason Aaron (writer), Daniel Acuña (artist), Jordan D. White (assistant editor), Daniel Ketchum (associate editor)

The Story: A trap is set for the X-Men at the Museum of Mutant History. We learn more (and are impressed by) the capabilities of the Hellfire Club’s junior division. Cyclops wears a jetpack and Wolverine steals a car.

What’s Good: Daniel Acuña’s art is very stylized, but if you like his style, then this issue is for you. I found myself comparing the art favorably to his work on the Eternals. His shots are moody, so much so, that I almost found the tone on the first page to be oppressively so. This is a good thing though, because this is the middle of a 5-issue arc, so if things aren’t bad now in tone and mood, something is wrong. The darkness on the edges and background of the art also contributed to a feeling that I didn’t have all the information, and that the characters were without options. And knowing the way Schism is going to have to go, this is again excellent art chores to propel the theme and taste of the story. Acuña’s mini Hellfire Club was creepy, far more so than the other artists in the series have done and the weird background in their meeting felt almost Steranko-ish in flavor. And, most importantly, the action, in this donnybrook of an issue, was clear and dynamic. Check out the energy Acuña puts into Magneto walking towards his target with hellfire goons flying all around him.

On writing, Aaron brings his trademark grittiness to a story of continuing bigotry and persecution. He did this with snappy banter, generally tight dialogue filled with real personality (none moreso than the pint-sized Hellfire people, underlining once again Aaron’s comfort with writing those characters that a twisted and off-kilter). I’d also like to give an A for effort on how the Hellfire Club took out Magneto. I’ve thought before about how a magnetar could be used in a story, and this certainly is a creative way. It’s not plausible to shoot a collapsed star out the barrel of a gun, but it is creative. Shooting face-sucking, power-draining aliens out of T-shirt guns looked almost logical by comparison.
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X-Men: Schism #2 – Review

by Jason Aaron (writer), Frank Cho (art), Jason Keith (colors), and Jared K. Fletcher (letters)

The Story: The X-Men race to deal with the global rash of out-of-control sentinels, Cyclops and Wolverine butt heads over Quire, and Kade Kilgore makes plans.

What’s Good: Like many kids who grew up in the late 80s to early 90s, I was an avid X-fan growing up.  That said, I’ve felt increasingly alienated by the last few years of X-Men stories to the point where I only cursorily followed what was going on in the X-verse.  The various creators, many of them quite talented, just weren’t telling the kinds of X-Men stories that I wanted to read.

And so, the first issue of Schism was a revelation as, out of nowhere, Aaron began telling a story that I was interested in.  With this second issue, we get more of the same.

In many ways, with Schism, Aaron appears to realize that a lot of what worked in the past for the X-Men didn’t need fixing and so, we’re getting a story that really brings back the basics of what makes for a compelling X-Men comic.  Namely, we’re getting Sentinels and anti-mutant hysteria.  More importantly, we’re not getting outlandish or bizarre reactions from the X-Men to all this either.  Instead, the mutants are heading out, kicking robot ass, and suffering the slings and arrows of those who hate and fear them all the same.  It’s not re-inventing the wheel on Aaron’s part, but there’s no mistaking that this works.  It’s a central conflict that makes for a relatable and enjoyable comic that pulled me in.

There’s solid character work as well.  An early scene between Wolverine and Idie of Generation Hope is tragic, haunting stuff that his the mark of an excellent writer.  It’s a scene that really punches you in the gut, and Wolverine’s reaction (and how he carries himself, as a result, through the rest of the issue) is a testament to his heart and empathy, beneath all the gristle.
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X-Men #15 – Review

By: Christopher Yost (writer), Paco Medina and Dalibor Talajic (pencillers), Dalibor Talajic, Juan Vlasco (inkers), Marte Gracia (colorist)

The Story: First To Last, Conclusion: The past and present encounters with the Evolutionaries converge on Cyclops and his choices, past and present. At stake… the survival of humanity.

What’s Good: I continue to be delighted with the artwork, and the stylistic differences between past and present. The less heroic, and even anti-heroic, tone and physiques in the past really give a sense of how far the X-Men, the Brotherhood of Evil Mutants, and by extension, the Marvel Universe, have come. Magneto is wider, less sleek, and less in command of himself and the world, due in large part to Talajic’s unique pencil and in work. Cyclops is similarly a shadow of the impressive leader he will be in the future. In the present, modern heroism is shown in its full glory with tight action, exciting layouts and swift action.
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X-Men: Schism #1 – Review

By: Jason Aaron (writer), Carlos Pacheco (penciller), Cam Smith (inker), Frank D’Armata (colorist)

The Story: Cyclops, as leader of the world’s mutants, goes to an arms control conference, bringing Wolverine as his security. Midway through Cyclops’ speech advocating peace and disarmament (in this case, not for nukes, but for sentinels), a telepathic mutant comes in and creates an international incident, making governments all over the world mobilize their anti-mutant weapons.

The Review: First of all, this was a thick issue. $4.99 thick. There’s a lot of story here, and Aaron starts it off close and personal, hinting at some of the struggles that are going to divide Logan and Scott by the end of this series. The conflict will be something that will bring the reader closer to Wolverine, while respecting Cyclops more, a brain versus heart sort of split. This will be a conflict of men not only making different choices, but making them based on different values. Cyclops is thinking the long game with a Messianic resolve to see his people through this, while Wolverine cares about the people having to suffer through the wandering in the desert. I love that it’s not going to be a superficial conflict. And Aaron is making it more flinch-worthy for the reader by reminding us how much water has passed under the bridge with these two standing back to back against the world, going so far as to show a glimpse of their early relationship. (And a no-prize goes to readers who remember that their relationship was really rocky until Uncanny X-Men #126, when Cyclops cleaned Wolverine’s clock without trying, to snap him out of a self-destructive mood.) By now, years later, they are close to brotherhood. This is a beautiful setup for lots of drama! And the addition of Kade Kilgore was great, but I won’t say any more for fear of spoiling.

Artwise, I was delighted with everything Pacheco drew, except Wolverine. Wolverine seemed to shape change from a short, muscular guy, to a block-like thing, to a miniature version of Guido from X-Factor (all this on pages 2 and 3!). His shifting proportions didn’t stop throughout the book, but strangely enough, everything else was awesome. Iceman on the beach was classic, with his little cushion of fog, while Cyclops and the conference were first rate and suggestive of Scott’s greatness. The cameo by the leader of Iran (sorry, I can’t spell his name without Wikipedia) was a beautifully-done artistic touch, right down to the open collar. The faces throughout were evocative and I have to take my hat off to D’Armata’s color work during the attack on the conference especially, but elsewhere, he chose some interesting dominant colors for backgrounds that signaled the grimness of the mood through encroaching shadows.
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X-Men #14 – Review

By: Christopher Yost (writer), Paco Medina, Dalibor Talajic (pencillers), Dalibor Talajic, Juan Vlasco (inkers), Marte Gracia and Wil Quintana (colorists)

The Story: “First to Last, Part 4″ opens up more of the past of the Evolutionaries (2.7M years ago) and of the original X-Men in the Brotherhood of Evil Mutants era. And in the present, for good measure, the X-Men are getting their tails kicked.

What’s Good: We’re in high second act here. The action and the revelations are hitting quickly. Yost is doing one of the more difficult things in serial storytelling, which is to successfully pull off a big retcon by stitching new events and plots into the old X-Men tapestry without tearing or unbalancing anything. Some places this has been done well have been Deadly Genesis and Uncanny X-Men First Class (see WCBR’s coverage). As things are going, I would certainly put “First to Last” up there with those well-done retcons. The revelations coming from two time periods is pretty cool. I’m wondering if we’re going to see the Eternals as part of this and what made Phaestus set in motion this genocide tool. Yost makes the present more tense with things really going downhill (“We need Cyclops!” and “Cyclops, what did you do?”). What other hidden sins (on top of creating the X-Force death squad) does Cyclops have in his closet?

Artwise, I was very pleased. The juxtaposition of Medina’s and Talajic’s styles for the time periods was awesome and both the Evolutionaries and Magento in the past and present were artistic scene-stealers. Medina and Talajic imbued both with such restrained menace and danger that I kept waiting for the shoe to drop. And the poses and expressions of Magento and the Brotherhood in the past were excellent. I’m a full-on fan of the artwork.
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X-Men #13 – Review

By: Christopher Yost (writer), Dalibor Talajic, Paco Medina (artists), Dalibor Talajic, Juan Vlasco (inkers), Marte Gracia, Wil Quintana (colors)

The Story: First To Last, Part 3: The evolutionaries continue to attack and we see, through emerging memories, the origin of the evolutionaries. At the same time, their last visit is further illuminated, while their fight to take out Cyclops continues.

What’s Good: This issue had several eye-opening (or popping, depending on how unjaded you are) reveals that were quite cool. Our no-spoiler policy keeps me from enthusing, but I’m definitely going to reread this issue, not because I missed something, but because the implications are thick enough to reward another look. I got the impression that Yost was having fun with his characters in this issue, which colored the overall feel. Old Ice Man, Wolverine, Old and New Cyclops, and Old Beast all showed their little personality quirks and the sum is so much more than a patchwork of familiar reactions. There’s a soap operatic social web of friendships, tensions, conflicts and overt and hidden respects that has been a trademark of Marvel since Spiderman was created, and brought to a much higher levels by such X-masters as Claremont. Yost is drawing on that wealth to create sitcom-esque joisting, double meanings or clever ambiguities. Although I loved the original X-Men moments in this issue, my favourite scene was where all the young mutants are “keeping” Cyclops safe and he flatly says “I’ll give you one more minute, then I’m leaving.” In response, Rockslide asks, “You think you can take all of us?” and Cyclops just answers “Yes. You’ll be first.” You can totally sympathize with this adolescent powerhouse being intimidated by a leader whose position is becoming increasingly legendary. And the reader shares Rockslide’s awe when you think ‘Yeah, Cyclops can be knocked unconscious with the leg of my dining room table, but shit…what trick has this strategic genius got that he’s not even a little scared of Rockslide and half a dozen other mutants?’
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X-Men: First Class – Movie Review

One of the most fundamental sticking points of the X-Men is their outsider status.  It’s what defines a lot of how we view the team and mutants in the Marvel U in general, but it’s also the very thing that limits real progress for their fictional civil and social rights.  To preserve the X-Men as unappreciated outcasts, most writers have maintained the human intolerance of them for decades, offering them few truly human, non-heroic allies in their quest for peace.

Ultimately, First Class largely overlooks this human element, and that’s what prevents the film from being better than it is.  Nearly all the human characters in the film get portrayed as either easily manipulated buffoons (Emma Frost making the Russian general grope thin air) or overly rash decision-makers (the entire higher US military).  This almost forces you to sympathize with the mutants in the film, even the obviously twisted ambitions of Shaw.

Part of the problem lies in using the Cuban Missile Crisis as a premise, or at least inspiration, for the plot.  Anyone who’s put some effort in studying that volatile period knows how many complicated political/intelligence factors were involved.  The film depicts the event by making it pretty much the results of Sebastian Shaw’s manipulations, making the ugliest, most dire nuclear confrontation in history the outcome of mutant meddling.

This really undermines the climactic finale of the film, which serves to dramatically play Xavier and Magneto’s conflicting ideologies.  Humanity gets brought to the brink of global apocalypse by mutant whims, and they’re saved by mutants more personally motivated by vengeance (the deaths of Mag’s mother and one of the X-Men’s own) than by justice.  Any way you look at it, humans became pawns and near victims in this deadly game, fairly just cause (in addition to the atrocities committed against US soldiers in the second act) for the resentment, which encourages their hasty actions at the end.

What the film really should have done was give Moira MacTaggert, the sole non-mutant with a significant role in the film, more interaction with the X-Men than mere tagalong.  She is the character driven most to do what’s right (her actions are basically responsible for saving everyone, human and mutant alike), and her sensitivity and even love for the mutants gets grossly unappreciated and unacknowledged by them, even by Xavier to a certain extent.

The film’s plot also gets hampered by several major logistical gaps.  Given Shaw is obviously a psychotic megalomaniac, maybe we should be unsurprised that his plan to simultaneously destroy humans and uplift mutants is so incredibly ill-conceived (it would’ve likely doomed both races).  His logic is simply bad; if atomic energy caused mutation, then wouldn’t all mutants be largely Japanese, Pacific Islander, or American Southwesterners?
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X-Men #12 – Review

By: Christopher Yost (writer), Paco Medina, Dalibor Talajic (pencillers), Juan Vlasco, Dalibor Talajic (inkers), Marte Gracia (colors)

The Story: First to Last, Part 2: In three different times (2.7 million years ago, in the early issues of the original X-Men, and now) we learn about the evolutionaries. They are looking for the leader of mutantkind to speak for all mutants, to prevent homo superior from going extinct.

What’s Good: I thought that the art in the now (and 2.7 mya) by Medina and Vlasco was pretty strong. Although some of the early primates seemed a bit plastic, the wolves were not, and the Eternals were visually impressive. The modern scenes were even stronger. The evolutionaries facing Cyclops in the debris of Utopia seemed to live in the kind of chaotic, gritty atmosphere that makes the best use of the styles of Medina and Vlasco. The heroes are dynamic, the villains menacing and the smoky background looks to be crumbling around the story. The quick switches from character reaction to character reaction were effective and the choice of camera angles and zoom-ins were powerful. Check out the close-up on the evolutionary leader’s eyes right before the splash page attack on Cyclops.

Writing-wise, I’m loving this arc. Yost is surfacing an ancient mystery with huge stakes (the survival of the two extant species of homo). The slow reveal, the bubbling anger and impatience on the side of the heroes, plus Cyclops’ mysterious orders drive the tension right up. And the toggling between the past and present is very effective in unfolding the coolness of this story and revealing the true menace of the evolutionaries. Also, seeing Magneto in any setting is a treat, but seeing him in his full villainous glory brings a nostalgic pang to my heart.
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X-Men Giant-Size #1 – Review

By: Christopher Yost (writer), Paco Medina and Dalabor Talajic (pencillers), Juan Vlasco and Dalabor Talajic (inkers), Marte Gracia and Wil Quintana (colorists), Daniel Ketchum (associate editor), Axel Alonso and Nick Lowe (editors)

The Story: First to Last, Part I: In this new arc, the Neos, another mutant offshoot of humanity (different from homo superior) is attacking the increasingly misnamed Utopia. The neo’s have lost the ability to reproduce, as homo superior had done for a while, and now that mutants are being born again, they want the secret to what’s up. This battle royale drudges up some buried memories in Scott, really old ones, from the original X-Men’s first year: He suddenly remembers a run-in with the evolutionaries that he was supposed to have forgotten.

The Review: My first reaction to reading X-Men Giant-Size #1 was: “That was pretty cool.” Superb art led the way, starting with a planet-scape, then dipping under the cloud-deck, and into a cave and some newborns. The detail, draftsmanship and colors were beautifully natural and the following action dramatic and clear. In the present-day, the clouds in the background of the giant neo were spectacular and the fight scene pretty awesome, although from time to time, the “cameras” zoomed in too close, and it was tough to follow the blow-by-blow. The shift in art teams between past and present was a useful tool to highlight the change in setting and there were some nice old-school touches to the scenes in the past. My favorites were the Kirby-esque action poses, Magneto’s not-form-fitting costume, Magneto’s general portliness (you get a no-prize if you remembered that he started off as a middle-aged man before being turned into a child by Mutant Alpha in Defenders #16 and then aged back to his prime adult strength by Eric the Red just before Uncanny X-Men #104), and even Wanda’s sixties sort of physique (instead of the ultra-svelte pneumatic women that populate comics since the 80s). All-in-all, some very fine artwork.

Writing-wise, Yost has brought a piece of high-concept sci-fi to the X-universe. The introduction of the mystery of the evolutionaries, the hurtling fight scene right out of the gates, and the neat resolution of the plot challenge of the neo’s all launched this arc strongly. I felt propelled along the story and wanting more of this *big idea*. The dialogue worked, and the characters were mostly honest. Where they weren’t honest (Bobby’s exaggerated quipping in two time periods, Wolverine’s idiotic back-stabbing on the neo and Emma’s inexplicable failure to wake up their best strategist while they’re being attacked), I could see why Yost had chosen to fudge a bit, for dramatic effect, but since I’ve read some pretty flawless books by this writer, I felt he’d cut a couple of corners he didn’t need to.
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