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I wasn't going to read this one, but again Jacob insisted. I guess I should trust his judgement, because he clearly knows me well! Once I started these, I read them all pretty quickly. The very first issue is full of action and a slight overload of information. There are so many things happening all at once, and I absolutely loved it!I've always been intrigued by Psylocke, so it was interesting to see how she would be portrayed in this comic. As expected, she kicks (a no-no word)*. Overall, it's an odd but awesome group of X-Men. I enjoy the banter between Rogue and Gambit (which is why I'm also reading their comic), and I don't often see Mystique and Fantomex. Bishop was new for me, too. I've seen him in one of the X-Men movies, but never in a comic. He is a very complex character. If I'm not mistaken, he's from the future and has the ability to jump through time. This knowledge allows him to scan events as they happen and cross reference them against future outcomes. He doesn't just see how it can effect the current reality, but every potential reality. Oh, and he can absorb energy and project it from his body. It's for this series, it's a literal (a no-no word)* (because they go to the Astral Plane). I never knew what was actually happening to the characters, and it gets pretty trippy. At the end of the seventh issue, something really shady happens, and now I don't know whether or not to believe it's real. It could be an illusion, or someone pretending to be something their not, and I'm not entirely sure where the story will go from tomex! I cannot believe he willingly makes a certain decision, but I was enjoying his time spent with Mystique. They would be an unusual couple, and I think it'd make a wonderful comic! Raven needs a little love in her life.*A "no-no word" is my personal substitution for words and phrases that Amazon finds offensive.Originally posted at Do You Dog-ear? on Sunday, February 11, 2018.
OK, I'll admit it: when I first heard of this book, the concept didn't sound very promising. The original five X-Men journeying from the past to our present? I honestly thought this was Marvel serving up another steaming pile of GIMMICK.I couldn't have been more l New X-Men is wonderful, and I'll tell you right now, if you're looking for a place to start reading modern-day X-Men comics, you've found your title. If you're new to the X-Men (or at least, new to X-Men comics), don't be afraid to jump right in. While there will be a few things on which you won't quite be up to speed, there's a short intro at the beginning of the book that tells newcomers what they need to know going into the this book, Brian Michael Bendis not only tells a story that is engaging, but he takes the X-Men franchise in a direction that brilliantly manages to be both innovative and a logical next step. While this book doesn't have loads of action, Bendis makes up for it with his excellent dialogue and characterization, and the action that does occur looks great thanks to the skillful, detailed, and colorful artwork of Stuart Immonen (as well as inker Wade Von Grawbadger and colorist Marte Gracia). The story takes its time, and that's not a bad thing. This first volume of All New X-Men left me excited for what's to come. There are so many marvelous places this story can go, and I can't wait to see what Bendis has in store for us. This is Marvel's new flagship X-Men title, and it's surely the beginning of what is to be a great and splendid story.
It’s been a while since I picked up an X-book. Sure, I’ve watched the movies, the Tv Shows, read the Claremont era comics, but around the time onslaught rolled out is the time I stopped reading the books. Needless to say, I have little Idea why Cyclops is now a rebel leader who murdered Professor X, or what’s going on in general. (you know, Avengers vs X-men, House of M, no new mutants being born, the phoenix force returning for the Nth time, jean dying for the Nth time, Scott being with Emma Frost... it’s really like jumping into a long running soap opera after staying away for six seasons.)This is probably what makes this book so great, it’s a perfect re-entry point for people like me who haven’t been keeping up with x-events post fatal ian Bendis writing is good, the gimmick doesn’t wear out its welcome, the dialog is natural, and both the character interaction and story are interesting. Scot needs to deal with an unfair amount of rage from his future Teammates, seriously, why he doesn’t just join apocalypse at this point is a great testament to his character. Jean gest hit full force with her until then dormant psychic powers (and the knowledge of dying. A lot.) Hank rises to the occasion and grows into a better beast than modern day beast. Angel is a whiner. Iceman is like that class clown everyone loved when they were in elementary school, but everybody wants to strangle in high school because he didn’t grow up. And that is a good : Stuart Imonen’s art style is also great, capturing both the more naive original x-men as the gritty modern day group’s moods perfectly enjoy ability: the pages look good on a 10 inch tablet pc, but you will need to use the zoom function on some pages to read the dialog. This happens on spread pages more than on normal pages.
In the first volume of his run on “All-New X-Men," Brian Bendis offers a unique take on Marvel’s premier team of mutants. Bendis is able to tie the classic X-Men characters of the early days with where the team has moved in recent years with conflict tearing the team apart. Bendis is able to blend new characters with old ones while offering an exciting plot. The art team led byStuart Immonen does a fine job in propelling this story along. It’s not a great jumping on point despite being the first volume in a series but newcomers should be alright here even if they will have to go online to get information on the characters and what has happened. A solid collection of comics. Highly recommended.
Do we really need another return to the original team of the X or another timeline bending to the Marvel 616 involving the X-men or even another plot-line involving the death of Professor X? All these strike me as not just gimmicks but tired gimmicks. Yet I agree, Bendis makes this delightful: the contrasting personalities, the changing of life goals, the knowledge of various futures. Bendis actually makes it feel fresh despite being the typical post-Claremont way to reset the various X-teams. Stuart Imonen's art is really great on this and keeps the contrast between classic, young X-men and their modern counterparts very clear. The dialogue is sound, the art is amazing, and the seemingly stale concepts really do produce something new.
Really an awesome start to a new series. I'm a long time comic book fan. Followed Marvel comics for over 25 years now, started reading them in elementary school. Followed Uncanny X-Men, since Junior high. I really liked how the original teen aged X-Men would react to the New Mutants of today. The story line follows after the events in A vs X: Aftermath, which was the immediate sequel to the A vs X 12 part series. Of the Mutant titles of Marvel Now, I like this the most, because of the mix of the old and new. The really neat twist here is "the new" are from an older era while "the older" characters are from the modern Marvel time. I also enjoyed the art. I thought the panel outlines were unique. Really enjoyed this comic.
Just read this for the second time and it's still amazing! When I first read it when it came out, I stopped after volume 1 and waited until the series finished so I could read it all the way through. I'm still blown away at how great Bendis' writing is. Over reading the X-Men on and off for the past 20 years this story really got me back into the universe. It's awesome to see the young X-Men meet their future selves and vice versa! One of the best things about this series is that it's great for long-time fans or newcomers.
There have been countless story arcs in both the Marvel and DC universes where heroes from the future come back to engage their counterparts in our time in either (1) correcting an issue in our present or (2) taking the current heroes into the future to fix a problem (sometimes with the heroes unborn children).Bendis takes a new slant on the timestream -- he has our heroes go back in time to bring characters from the past to our present. It's so compelling because we already have a prior relationship with those heroes, and it makes conversations and little comments so interesting (1960's Beast wondering what happened to present-Beast to make him so jaded and worn out).What's particularly interesting is for our Cyclops facing his past counterpart and realizing how far he has strayed from his dream and intent, and then plowing ahead anyway (although wracked with anger and guilt).The art is fine. The dialogue is very good.
Mixing the old X-Men with the new X-Men? You’d think that had been done before, and if memory serves, it has been done before. But never like Brian Michael Bendis is now doing it in All-New X-Men, which seems like a weird choice for comic books that feature the “old” X-Men.When I’d first heard about the concept, I thought it would be a flash in the pan. A one-off that might be fun, might be a nice trip down memory lane, but Bendis is going way beyond any expectations I had. The two groups matter and interact in ways that I hadn’t foreseen. Therefore, there is a LOT of surprises for readers in All-New e plot device that brings it all together is present-day Hank McCoy’s sickness, which is another evolution of his mutation, only this time it looks like it’s going to kill him. So, unable to figure things out on his own, he hops a Doctor Doom and Mr. Fantastic time cube and goes back in time to get a young Scott Summers to talk to his future self, who has gone off the deep end.I’d been away from X-Men for a while. The series became too much of a soap opera and there were too many characters that ended up crossing over into each other’s series (too many series to keep up with, all of them continued from month to month with no end in sight) that I couldn’t deal with it it turns out, present-day Scott (Cyclops) killed Professor X at some point (what?) and has turned vigilante. Okay. Deep breath. Because with all of that in play, things just get weirder. But somehow Bendis pulls it all off because I kept up with all the old history while he made new history with what I thought was e book is really not as confusing as that last sentence sounds. There’s a lot going on, but somehow it’s all digestible. And fun. And exciting. And purely addictive. While in their future, Scott can’t imagine how his future self turned out the way he has, and Jean Gray has to face the fact that she turned evil and ended up getting killed. A couple bby Drake (Iceman) is the only character that really adapts quickly, but that’s just how he’s always been, a roll-with-the-punches kind of guy. Angel seems lost and more innocent than he ever e Hank problem gets worked out, but Bendis takes advantage of the mental communication to zip readers through many of the Marvel Girl costumes that Jean wore in the past, and to touch on all the emotional things that made the original run on the X-Men so good.I don’t know how long Bendis can keep up this series because it seems like things would get old after a while, or the time continuum would get so screwed up that things will never be able to be put back to rights. I don’t know. Right now I’m still wowed by everything going on with these characters.
I purchased this for the Kindle and found it to be very enjoyable. In a nutshell, the story was very engaging with many great elements of science fiction and drama. I haven't read any X-men comics since the late 90's and found that though this story dealt with something dramatic that has happened to utterly change the X-men for the worse, the telling of the story was so well written that you didn't need to read or know about the events prior to starting off with this book. In other words, this book is a great place to "jump off" to start reading the e art is awesome with great colors and sci-fi details that really draws the reader in. The pages look phenomenal on the Kindle with the lighting effects drawn combined with the lighting of the Kindle itself. Also, present were small elements of comedy within dialogue that helped enhance the drama from a character's perspective. Lastly, if I had to note any criticism at all is that the number of pages seemed a little short compared with other graphic novel titles I buy. However, it is also my understanding that Marvel tends to publish all of its books with this number of pages in mind- so this wouldn't be any reflection of this All-New X-Men title itself.
This was a great intro volume to the xmen. This series is different in that it's not just adding/subtracting characters or out right rebooting the series, it's one of the 2 current factions of xmen bringing the original 5 xmen from the past to the present.
This is an extraordinary story that was the basis of the movie of the same title. In an alternate future the Sentinels have enslaved human and mutant people. The atmosphere is very desperate and our heroes are long decreased, with the exception of a few. Artists John Byrne and inker Terry Austin, provide some extraordinary work here. Writer Chris Claremont is at the peak of his powers here. If you are an X-Men fan, this is a critical graphic novel and part of the mythology. After thirty five years, this saga still holds up as an example of one of the best!
Sort of the end of the beginning. The last issues with Cockrum as penclier, the first with Byrne. I can remember as a 12 year old seeing this strange title with even stranger characters. It is a decent story arc Clermont's story telling is evolving with his characters. The creative monster that would become Claremont and Bryne is born at the end this compilation.
The Uncanny X-Men, from issues #94 through issue #142, were perhaps the best collection of comic books that "Mighty Marvel" has ever created.....from story lines to the artwork, each issue was carefully and meticulously crafted, each building upon its predecessor, culminating in the Hellfire Saga and climaxing with the Jean Grey/Dark Phoenix tragedy. These issues are a must for any serious comic aficionado. 'Nuff said!
Growing up on the X-Men cartoon of the 90's, I spent more time focused on that than the comics. However, as I've grown older, my love and appreciation for the comics has grown a lot. While this story is a little different than the cartoon episodes I saw as a kid, I enjoyed them just as much. There were a few comics in here that I didn't care for, but read anyways as I had thought that they'd maybe fit into the DOFP storyline (I was wrong). The main story was great!! It's actually quite a short story, only consisting of a few issues, but this is a situation of quality more so than quantity. I loved this story, and the element of time travel and an alternate universe really made it fun for me.
Part of the reason I bought a Kindle was to slowly but surly reduce the physical space my comic collection takes up (kids will do that to you...that and living in Southern California where I'll never own a home due to housing costs haha). I've always know the basics about the Days of Future Past storyline but never actually owned the TPB.Happy to say this was a great buy on my Kindle. The panels looked good and were easy to read. There were only a few that must have been 2 page spreads from the originals that weren't able to resize but overall everything was e story line itself was very 80's and I loved how it's very "super hero" in the sense that the characters explain their powers before they use them. Just an interesting observation looking back on how comics have changed. Also it's funny how random some of the stories are leading up to the main event (Nightcrawler in Hell for example).Great book, great price, great piece of comic history!
I read this book on Kindle Fire HDX.Having just read the Dark Phoenix Saga, I was anxious to start its sequel: Days of Future Past. It didn't hit me as hard as the Dark Phoenix Saga did, but it was well-written. It was nice to see Storm leading the X-Men as e few hiccups I found were:A) Given it's a true sequel leading into an event, the first half of the book feels unrelated to the second half.B) There is a frame containing Senator Kelly, and his speech-bubbles are mostly black, with white specks. At first I thought he was speaking an alien language. Then I thought it might be Morse code. I came to the conclusion that it was a misprint, as you can almost see his words faded in the blackness of his l in all, for $4, this book is a bargain and I would highly recommend it.
X-men fans, you've got to treat yourselves, a guilty pleasure is in order, trust this classic Claremont story that the new X-Men film, Days of Future Past, is roughly based on and your appreciation for both the film and the original story-line will blossom. It really gave me renewed faith in the genius' over at Marvel. Their ability to adapt the original story into a feature length film that both complements previous X-men films and leaves the Universe wide open for future adaptations that can go in virtually any direction, is impressive. Now we've just got to convince them to do a film about the X-men battling the Brood.
Days of future past the trade consist of more than the arch "days of future past". The opening two archs are well written and entertaining . The other 2 stories that were not "days of future past" were below average. Now the main story is extremely well written and is able to stay relevant even in 2013 . I am really excited to see a more detailed rendition of the story in the upcoming movie because the arch in the trade teases you with a cool premise and for the most part tells a good story , but it is just to short when compared to modern story archs. If you are and X-men fan or are looking forward to seeing the movie in May then I highly recommend reading the source material . If you are not and X-men fan then this collection of archs won't bring you around.
What better way to end my "year of DC" than by reading up some of the most iconic Marvel? :) So having read most of the Ultimate Marvel Universe last year, and most major DC events this year, the Dark Phoenix saga felt like a good entry point into classic Marvel. I came away impressed and e art is dated, but still genius. Less dramatic and more frame bound than I was used to from Ultimate Marvel obviously, but the few large panels were used brilliantly, especially the 'Phoenix Rising' motif. I was a bit confused amid the action near the end, but the art served well up to the climactic e writing was what blew me away. The story is intricate, and well told; new characters are introduced and quickly established, while older ones are clearly on clearly defined arcs of their own. It was wordier than more contemporary comics, less show and more tell as opposed to the sparsely plotted, action-packed and 'tent-pole panel' filled style of today. It felt more novel-like as a result.I can see why this is one of the most enduring, iconic X-Men tales ever told, and I cannot wait to read the next major arc which follows on from this one - Days of Future Past are a coming!
This book brought back memories of feeling like a kid again. As I read it all the way through I was surprised how adult it was, I don't want to spoil the ending but it had an old classic love story feel to it, where everything does not end up perfect but more touching for it.
As a kid, I specifically remembered the Dark Phoenix Saga—on the animated TV series. It was a spellbinding series of episodes equal to that of the best of Game of Thrones (for a child, anyway). The world felt like it could end because of what happens to Jean Grey and you were captivated from beginning to end.I never got a chance to read the actual comics, but now that it's available in full-color glory, I bought it right away to watch on my iPad. I can now relive this in its original comic form, with my imagination filling in between comic panels. The feelings are still there: awe, fear, shock, omgs.If you've never seen or read this saga, do it today. Surely the next X-Men movie will be about it. Rrcommended.
This is the rebirth of the X-Men. After the creation of the original X-Men by Jack Kirby and Stan Lee in the early 1960's, the title lost its way, most of its readership, and eventually went into a reprint mode for several years - just barely avoiding out right cancelation of the series. Then in 1975, with the publication of Giant Size X-Men 1, the team was revamped with new members and a new direction. This led to the X-Men becoming the most popular comic and flagship superhero team for Marvel during the 1980s and 1990s. This collection reproduces Giant Size X-Men 1, X-Men issues 94 through 110, Marvel Team-Up Annual 1, Marvel Team-Up 53, 69 and 70, Iron Fist 14 and 15, and FOOM 10; it also includes the cover of Giant Size X-Men 2, which was a reprint issue, and artwork extras. These comics introduce many characters that have become staples of the Marvel Universe and the basis of the X-Men movie series. The art work and stories are very good, serving as a kind of bridge to the Bronze Age of comics, in fact some consider Giant Size X-Men 1 to be the dawning of the Bronze Age of comics. Marvel's Epic Collections are quality paperback books presenting the original comics in color (unlike Marvel's Essential line which are black & white) and are more affordable alternatives to their Omnibus and Masterworks collections. If you are an X-Men fan, this collection is a must!
I've been reading comics most of my life (34 years) and I've always preferred printed comics. After ordering some comics off of Amazon I received an email from them informing me I qualified for a free kindle download. I downloaded this and I'm reading it from my phone and I love it! Kudos to Amazon for making comics fun to read from a phone. Based on the reduced prices of other books from this same series I definitely look forward to getting more of these titles.
I didn't read comics as a child. I just started reading them after the age of fifty. But I've been making up for lost time fast with collections and graphic novels. One thing I've discovered is that Chris Claremont ' s work sometimes makes my head hurt. All the wordy dialog, endless speech bubbles, and thought bubbles! At times I can barely see the artwork. This collection is different. There's the perfect amount of dialog, thoughts and descriptions. It's an enjoyable history book filled with action and background on some of Marvel's most important characters. And it's a lot of book fo the buck.
The new X-men meet old and you can see the beginning of some of our favorites like Wolverine, Phoenix and Nightcrawler, while losing Icema, Angel and interestingly Marvel Girl. And, Professor X goes insane. That can never be good.
Chris Claremont's original run on the X-Men spanned seventeen years and saw the book propelled from a newly restarted and low selling title on a bi-monthly schedule to a colossal juggernaut in the comic world capable of supporting a number of spin-off books and a sister is is where the initial ride ends.I'd like to say it's all gravy and that Chris Claremont went out on the top of his game because... in a lot of ways he DID. His writing was still absolutely solid. His stories engaging. His characters charming. Unfortunately, he wasn't really ALLOWED to go out on top of his game because for most of this book, he only serves as scripter. A PHENOMENAL scripter, yes, but there's only so much you can do when you can't direct the 's also funny that this X-Men Epic Collection features a large chunk of non-X-Men books. There was a lot of tidying up to do before Uncanny and Adjectiveless X-Men could be soft rebooted into the Blue and Gold rosters we know and love and that meant situating the X-Factor team into a proper jumping off point so that the team could be reintegrated into the main X-Men books. Mostly, this means getting rid of Cyclops' son and the team's sentient headquarters while facing their greatest foe, Apocalypse, one last time. Don't worry folks. Apocalypse will be back but he won't be an X-Factor villain ever again. But X-Factor won't ever be the same X-Factor ever again, yond that, we see the second iteration of the Brotherhood of Evil Mutants (which was calling itself Freedom Force at the time) reach the end of it's road in the early chapters of this book. We see a premature conclusion to Claremont's long running Shadow King storyline towards the end (which was really a mercy killing because that story wasn't... awesome). We see Xavier resuming his place as leader of the X-Men (even though someone decided that the only way people would recognize him again was in a wheelchair).Claremont ducks out of Uncanny X-Men before the halfway point of the Muir Isle Saga, leaving everyone else, including Jim Lee, to scramble to the finish line of that story. It doesn't turn out badly but you can definitely tell when Claremont's "voice" has left the building. He co-writes and draws the first three issues of the brand new X-Men series, detailing the beginning of the new era of the X-Men and putting a bow on his Magneto storyline in the process. This is probably the best part of the book because he and Jim Lee collaborating is just a treat to read. There are still a few hiccups where the script and the art don't exactly match up (the two "Delgado" characters is the worst offender, here) but things run much more smoothly than they did in the X-Factor pages.Overall, this would be an excellent jumping off point for a lot of X-Men readers and I REALLY hope that that isn't Marvel's plan because I'd love the Epic Collection to continue after this. But at the same time, the deck is sufficiently clear. Most of the dangling plot threads of the previous few years are resolved. With Chris Claremont's departure, Jim Lee and Whilce Portacio would attempt to tell their own stories with the X-Men for almost another year before they, too, would leave the books (and Marvel!).This was all before my time, though. I didn't actually start reading X-Men until just prior to Fatal Attractions two years after this book. I quickly raided back issue bins to fill myself in on just what had happened before I jumped on, only learning of the incredible contributions to the title that Chris Claremont made after he had well and truly left. He would eventually return to the book but by then, the characters had gone in directions he wouldn't have taken them and become people he didn't recognize. And it wasn't the same because it couldn't be the same.But you can always go and read his earlier run. And you won't even have to raid back issue bins to do it! This collection is by far the best option to enjoying the last of Chris Claremont's initial X-run. The colors hold up very well and look better than they ever did in the original comics. The paper quality is solid. The extras include Jim Lee character sketches and magazine interviews as well and covers to earlier collected versions of this material. It's a great trip down memory lane with a lot of history to be had.
Though the X-factor comics are rather dispersed throughput multiple collections, besides X-factor vol one, this is a great way to complete that collection. Be it digital or physical, these stories hold up well and still give you plenty of excellent artwork and stories. Cyclops' son Nathan Summers being infected by the techno organic virus, the X-Men run in with the Shadow King, and the beginning of Chris Claremont's and Jim Lee's X-Men from the 90's. This is a good overview of what would become the explosive 90's scene for the X-Men.
Considering how we have X-Factor Epic Collections, I find it odd that X-Factor #65-68 are contained. I mean #69 is part of the Muir Island Saga, and #70 is epilogue to the saga. And it's nice that they put X-Men #1-3 in here as well as all the promotional material, though it makes me think we're not going to see X-Men Epic Collection. I mean honestly, this volume for Uncanny X-Men has three issues of said title, and one annual which is the whole point of this ngs of Pain is a four part storyline that ran through New Mutants Annual #7, New Warriors Annual #1, Uncanny X-Men Annual #15, and X-Factor Annual #6. When you see "material from" you'd think it is of the Kings of Pain storyline. WRONG. New Mutants Annual #7 reprints part one of The Killing Stroke, a backstory that shows the end of Freedom Force that runs through the other mutant annuals. No Kings of Pain storyline. Nothing from New Warriors Annual #1. Then you get all the stuff from the Uncanny annual of course. X-Factor reprints the Kings of Pain chapter, and the Freedom Force chapter. So bizarre in them choosing to reprint Kings of Pain from X-Factor but not New Mutants. If you want the fully storyline, buy New Warriors Classic vol 2 which reprints all four e writing and art is up and down. When you have Portacio, Kubert, and Lee doing art you have your up. But for the annuals, and X-Factor #70 you have the art down. And the writing is kind of all over the place too. I really wish though I could have sat in on the meeting for them deciding what to include in this volumen/
The Kings of Pain Annuals crossover (from the New Warriors, New Mutants, X-Factor, and X-Men Annuals from 1991) included at the beginning of the volume are the worst comics in this collection. Heck, they're probably some of the worst comics published, ever. No lie, they're trash. I'm sure someone out there liked them but they were so bad, art & story, that I (barely) skimmed them and kept on chugging thru the book. I didn't like these at all. I couldn't make heads or tails out of what was going on and they looked terrible. This section of the book would have benefited from a "previously in X-Men..." intro as some of the non-X-Men Annuals are only partially reprinted. As is, it made very little sense. This section gets an e next part of the book consists of X-Factor issues plotted by Jim Lee & Whilce Portacio and scripted by Chris Claremont. The art by Portacio has not held up over time & looks overly complicated, and chock full of 90s cliches . In these issues you will find page after page of open mouthed screaming, clenched teeth and tech, tech, tech, everywhere! I guess microchips and excess computer cabling were all the costuming rage for heroes & villains back in the day. Oh! And lots of overly aggressive posturing & poses ... basically everything bad we remember from the 90s comics are included here. That being said, the scripting by Claremont kept these issues readable, and read all together in one setting they were okay. In re-reading I noticed that there was lots of foreshadowing that Nate would eventually become Cable. Whenever there would be mosaics of future images, you'd see Cable in some of the broken shards of the timeline, etc. I'd grade this section a solid C+.Next up is the Muir Island Saga which was an editorial mandated storyline to clean up the various long-running subplots from the X-books ahead of the 1991 X-Men comic relaunch. Before they could do a "back to basics approach" they need to do some serious house cleaning. At that point in time, the X-Men were largely believed dead and had spent the past 2+ years (real time) running around the globe, slowly coming back together as a team, finding out they were all alive again (or something ... comics, what can you say). I'd read some of these issues when they were originally published but it was nice to read them all together in one sitting. When originally published I was only a casual X-reader so I was lost & confused about the various subplots, but re-reading it all today and knowing the history of the books I understood things much better. In all, it was a fairly decent conclusion to the story. Some of the writing is by Claremont, but the bulk is by Fabian Nicieza or "Fabian Nicieza with lots of help" (seriously check the credits page). The epilogue issue by Peter David was well done, dealing with all the fallout of the Muir Island saga conclusion. David features some nice, low key, character moments with Rogue & Mystique, Strong Guy & Polaris, Cyclops & Jean returning to the X-Men, Professor X's thoughts on returning to the series after several years away, etc. My only complaint is that the plots seemed ... rushed for lack of a better word. I know editorial was keen to clear the slate for the upcoming X-Men (1991) series and that's the reason for the rushed nature, but it is really evident in reading these issues all together. I'd give this story arc a B-.Finally, the last three issues of the collection feature the Mutant Genesis story which kicked off the new X-Men comic book series in 1991. Back in the day the first issue sold over EIGHT MILLION COPIES (woah, mama!). These issues still hold up well today and Claremont really left the book with a bang. The art by Jim Lee is great, and we get some nice character beats featuring Magneto. You can tell Claremont held him in high regard. He muses that "he does not wish to harm the X-Men" or that "we were once brothers in arms fighting the same fight", etc which is nice considering only a few years earlier he had led the X-Men in Xavier's absence. My only (minor) gripe is that basically the entire slate was wiped clean for this new series launch and all the familiar tropes of the X-Men were back with little build up ... the X-mansion & danger room are fully restored off-panel, Xavier is crippled yet again (sheesh give the guy a break), Magneto is villainous again and so on. Overall these issues get an A-.Overall I give this collection a positive recommendation for fans of 1990s X-Men comic books. Just know what you are getting into ahead of time, as it is not very new reader friendly.
Mojo and his Mojoverse aren't my favorite aspects of X-Men lore and this collection didn't really change my opinion. Mojo's biggest problem is that his television references give way to him essentially breaking the fourth wall and reminding you (constantly) that this is a story. An imaginary tale. And, yes, he's right but it doesn't really help get you immersed in the story the creative teams are trying to is is further hurt by a feeling that nothing happening really MATTERS. Sure, there are some consequences to this issue. Status quos are changed forever and all that fun stuff. But the stakes never really feel that high and they SHOULD feel high considering that Mojo is attempting to invade and alter New York City. Unfortunately, the story quickly pulls the rug out of the idea that anything happening can be lethal and while Mojo TRIES to reestablish just how deadly everything can be, after proving it's NOT, you can't really put that genie back in the t that I wanted a character to die or anything but e costume changes that accompany our heroes revisiting past storylines are fun but the confuse everything when the casts of both main X-teams feature a LOT of duplicate characters. You've got two Storms, two Wolverines (kinda), and Rachel AND Jean Greys. So it hurts readability when you're not sure which character is at being said, Cullen Bunn particularly writes the hell out of his chapters of this book. The material he's given to work with is weak but the character work is very solid. There's also some very pretty art in this collection, even though it opens with some rather weak art (which is more because of the coloring than anything else).It just doesn't seem like this crossover really MATTERS. There's no sense of urgency. The scope is lost. Really, I found myself barely being able to pay attention to the shenanigans. And DOES it matter? Instead of being released as a crossover style book, this collection is specifically labeled "X-Men Gold volume 3" making it part of the Gold storyling even though half the book is X-Men Blue. This helps me place it on my shelf but also makes me wonder how important this will be to X-Men Blue's story. I mean, it's THAT team that faces the more severe repurcussions but even then, it's just a change in nuance more than something front and ter solid starts for both X-Men teams in their volume ones, the stories of both groups have quickly dropped into forgettable territory culminating (hopefully) with this shared storyline. Hopefully, both books get their act back together for their next respective volumes. I love X-Men books but I also like them being on top of their game reads. Get better, guys!
Collecting:----X-Men Gold #13-15----X-Men Blue #13-15This crossover episode picks up where X-Men Gold Vol. 2: Evil Empires (X-Men Gold (2017-)) and X-Men Blue Vol. 2: Toil and Trouble left off. The time-displaced young X-Men and the veteran X-Men are caught up in Mojo's insane attempt to take over the jo's plot pits the X-Men against "classic" foes in a series of scenarios that takes readers on a retrospective tour of the all the "greatest hits" of X-Men history. This playlist is both the strength and weakness of this book. Readers are shown glimpses of (**inhales deeply**): X-Men: Asgardian Wars ,X-Men: Inferno ,X-Men: Days of Future Past X-Men: Mutant Genesis ,X-Men: X-Tinction Agenda ,Avengers vs. X-Men ,X-Men: Mutant Massacre as well as Apocalypse, the Shi'ar, the Savage Land and Krakoa. (**whew!**)The strength of Mojo's twisted tour through X-Men history is that it was an equal mix of fun and nostalgia to see how many of Mojo's battlegrounds I knew from years past. Unfortunately the scope of the tour is also the weakness of this issue: all the references are ridiculously short, lasting anywhere between a couple panels and a handful of pages. There is no space to even explain why the scenario is noteworthy. If you don't have a familiarity with the scenarios, then they are meaningless and repetitive. A little editorial eye could've paired the list down and made it much more meaningful for both new and veteran at said, I've loved Mojo since he first appeared in X-Men: Longshot. He lives in a world of sensationalism, media manipulation, viewership, and ratings and offers not a little sly commentary on our own media-saturated world. Longshot's YouTube channel was an smart counterpoint to Mojo's broadcast-based media ere is a lot to like here, even if it was a little effusive. The relationship between Kitty and Jean's teams will certainly be impacted by the revalations in this book. I hope some of the threads dropped in the is novel are picked up in the next ter this crossover issue, the adventures of Kitty's Gold team continue in X-Men Gold Vol. 4: The Negative Zone War and Jean's Blue team continue in X-Men Blue Vol. 3: Cross-Time Capers
I wish Marvel would stop bringing Mojo back. I know he's a stand-in for the hated corporate types who ruin creativity, but it is always the same old story. Let it go, is one has the time-lost young X-Men meet Mojo for the first time, but it did not do anything new. Mojo is a part of the 90s we can do without. Since he basically has unlimited power, it is not a real battle, similar to so, the X-Men Blue suffers from new artists every issue.
Total filler. Even the Bunn issues feel like filler but its obvious this was total is arc just crams as much fanwank as possible but its not charming or satisfying just incredibly contrived. Mojo is supposed to be seen as somewhat of a serious threat but its not a lot of Kitty shouting orders as if being a Captain America/Cyclops level technician has always been her mutant power GROAN
“X-Men Gold volume 3 – Mojo Worldwide” collects issues #13-15 of BOTH X-Men Gold and X-Men Blue (6 issues).As all good X-Men stories do, this starts with the two teams at a softball game, when stuff happens. From the title of the collection, you will already know who is behind the e stuff involved dropping various teams of X-Men into scenarios from their long history – Goblin Queen, Apocalypse, X-tinction, Asgard Wars, futures, pasts and alternate presents, spite the two titles being written by their respective writers (and 4 artists/teams), it genuinely is a smooth-flowing 6-part story where you don’t notice the joins.When I reviewed the opening volumes of these two series, I said –“So what can you do when it’s all been done before, more than once, with every variation you can think of?Do it all again, and have fun doing it.”Well, they have taken my suggestion to heart, and here they actually do throw everything at us – but it is done well, and genuinely is entertaining, which is all we should expect from a comic book.
I do not know what is going on with the X Men lately. This felt like every single trope badly mashed together. The art is good in spots. The storytelling is very rushed. The scene where Rachel Summers ([email protected]#$%!&? Jean Grey) scolds young Scott Summers (dressed as 90s Scott Summers) for siding with Magneto was just bizarre. I keep reading but I just do not feel the stories are working.
The second volume of X-men Gold loses some of it's luster from the first volume. The art is still what makes the book but the stories are short and adds nothing to the overall scheme of things. The first two chapters introduces a new X-Cutioner, a concept character from the nineties. A fill in chapter has Kate testifying before Congress followed by two chapters resurrecting the nineties villain Omega Red. The final chapter is another filler looking at the background of an alien mutant that was a minor character from the first is review is for the kindle edition and truthfully it's hard to recommend even the five dollars for it, but better than purchasing the paperback for more. For X-Men fans only, otherwise skip it.
Marc Guggenhiem has the dubious distinction of capturing the spirit of Chris Claremont-lite. The characterization is better here than the first volume, but the plots just don't feel new or original. Part of the problem is the weight of all the cannon Guggenhiem appears to be respecting, which other X-titles have largely cleared out in from a new focus or a plot constraint (time displaced original X-men) which removes some of the four decades of plot baggage. This saddens me because of this mixture of my favorite characters from Claremont and Alan Davis era Excalibur and early 90s X-men should really speak to me, but the appeal does seem to be mostly nostalgia. Guggenhiem almost seems aware of the repetition: . Kitty how her with Peter again is old ground and not progressing, and this mirrored by the mutant decoration bill, Russian occultists resurrecting Omega Red, and Nightcrawler and Rachel Summers rekindling a possible old connection. All of these plots could be so much more than they are if they were allowed to have some space and develop into new and original ways. I feel like Guggenhiem is aware of this though and is almost commenting on the editorial control's limitations. This has a similar feel to the problems of the X-books around the time of Jim Lee took the mantel as Chris Claremont left out. This saddens me because the attempts to bring life back into X-men titles since it looked like Marvel was trying to have Inhumans replace them. It seems to take a name larger than even Jeff Lemire to breathe life into these books, and Marvel seems to cancel the ones with promise. There are some hints with the Demon plot line that could be VERY interesting if and only if it doesn't end up being an Inferno re-thread. While I didn't love all the Joss Whedon and Grant Morrison level arcs, but they did seem to attempt to do what late Claremont did, which is push the status quo ahead and breathe new life into the books. Guggenheim seems like he is not allowed to do that here.
Collecting:---X-Men Gold #7-12This book continues from the inaugural X-Men Gold Vol. 1: Back to the Basics. The Central Park based team of X-Men treads some familiar ground in this book as writer Marc Guggenheim gives readers the "classic team with a twist" theme that Marvel aimed for when the X-teams got assic romantic pair Kitty and Colossus furtively explore the possibilities of a romance or something more while explicitly suggesting that this time around the relationship has to be something "different". Another pair of teammates, former Excalibur members, also explore the possibility of a romantic spark. These apprehensive steps towards relationships are set against the familiar back drop of a world that hates and fears mutants. There is pending "mutant deportation" legislation that Kitty travels to Washington to argue against...however things never go according to plan! Meanwhile back at the X-Mansion the students and staff have a killer with a grudge stalking the e strength of the book is the cast. I really enjoy these characters who have a rich backstory, and I felt that Guggenheim walked the the line between carrying that backstory and keeping it fresh rather well. The artwork in these issues wasn't especially is book ends on a cliffhanger as the Gold team is scheduled for a crossover with the Blue team in X-Men Gold Vol. 3: Mojo Worldwide
This was an utter disappointment especially considering that vol 1 was almost a return to form to who the xmen where. The stories felt very lazily written and the art was all over the place. I was really hoping that I was going to see a brand new and better xmen stories because marvel has been basically writing them as antagonist rather than the heroes they used to be.
This volume collects issues #7-12 of the latest X-Men core-team book. This one, however, is just not quite an interesting as the first volume, not helped by having three different artists who don’t blend in with each other at all my review of the first volume of this series, there’s not much you can do with 40-year-old characters who have been everywhere and done everything, other than do it all again, but with enthusiasm and fun.Unfortunately, while we (old people) have seen the stories before, the artwork is not as good as in some of the original stories; not all of it, but not enough of is just felt rtunately, I read a library copy, so I didn’t spend any money directly on it.
I'm reviewing both volumes together in one entry since I read them back-to-back. I applaud Byrne's efforts to fill in the "missing years" of the X-Men, stories set during the time when their monthly title was in reprint-only at time, leading from the last story featuring the original X-Men into the debut of the All-New X-Men (Wolverine, Storm, Nightcrawler and company) years later, as a reader has always had me curious. Byrne, having co-authored and drawn some of the best, most-lasting X-Men stories of the 80s, should have been the right pick for this project. I ended up being a bit disappointed when I finally got to read the run in these two collected volumes (especially after the favorable reviews from several friends). Byrne's art is as open and airy as ever, a nice change from the ever-darker current comics art market (which I also like, but a breather is nice occasionally). But his story pacing suffers from what I perceive to be two rst, there's the modern penchant for "decompressed" storytelling, which is sometimes a boon and sometimes a curse. In Byrne's hands here, storylines drag out interminably before any conclusions are reached -- at one point in volume two I think there were 5 different major plots all going on at once. I'm fine with small character moments hinting at the next storyline to come (as with Candy Southern's appearance at the X-Mansion to deliver important news to The Angel), but when the author is juggling major plot action for 4 different groups of characters at once (Havok, Lorna, Iceman & Ka-Zar in the Savage Land; Cyclops, Candy, Angel and Marvel Girl in the hands of The Promise; Xavier and Beast with the Girl Who Controls Sentinels; and then the Fantastic Four vs. Magneto & Namor retelling from FF 102-104), something really has to give. Anyone one of these four storylines, or the ones that preceded, could have been shortened/compressed and still would have had room for character growth and Byrne's all-out fight e second problem, which rolls of of the first, is that it seems like this series came along during that time when Editors still felt like they could leave Byrne to his own devices and not lend some constructive criticism. At this point in the X-Men's history, the team had 5 regular members (Cyclops, Angel, Beast, Iceman and Marvel Girl) plus Prof. Xavier and probationary members Havok and Lorna Dane. A small enough roster that should/could have been shown working together as the tight unite they'd become, dealing with the addition of two new members. And yet, in these two volumes representing 22 monthly comics, the team spends far more time apart than they do together, starting in the very first issue. I [email protected]#$%!&?mer editorial hand would have convinced Byrne to keep the team together, and still tell the stories he tells -- which might have helped make the stories feel less drawn-out and ere are some great characterization moments, and I'm glad I read the book simply for the early Cyclops-Havok sibling dynamic, for the look at Beast's concerns that he would "go wild," and especially the way Byrne uses Iceman as the youngest member / hothead of the group. I also liked Byrne's appropriation of mutants from early 1960s Marvel comics, linking the company's pre-FF past to its present.I liked these stories, but felt they could have been so much better.
Collecting: X-Men The Hidden Years #1-12The X-Men are Marvel's top-selling super team, and the characters are some of the most recognizable comic book characters in the world. However, the X-Men were nearly cancelled. After some low sales figures the X-Men series went into reprints. X-Men #67-93 simply had new covers and old material between hn Byrne helmed the Hidden Years series to tell the story of what the X-Men were doing during those lost issues. Byrne wrote some of the most iconic X-Men issues between 1977 and 1981. Byrne & Claremont's writing influenced the direction of the series for decades. Byrne returned to X-Men with the Hidden Years in e twelve episodes of the Hidden Years collected in this graphic novel are a superb blend of nostalgia and new. The style of the comics is very modern with asymmetrical panels and much less reliance on inner-dialogue than would have been the case in a true "retro" series. However the original X-team recently "graduated" from school play the protagonists. Of course, epic battles with Magneto abound in these pages.What I especially enjoy is Byrne's clever use of hindsight. We catch glimpses of Sunfire, Storm and other X-men before they were X-Men. Readers will see Marvel Girl's first shiver of the Pheonix power.If you've followed the early X-Men episodes in the Marvel Masterworks series, the Hidden Years graphic novel is a great addition. Read the Hidden Years after Marvel Masterworks: The X-Men Vol. 6 (Hardcover). The Hidden Years takes place during Marvel Masterworks: X-Men - Volume 7. If you're a long time x-fan, I believe you will enjoy these nostalgic episodes as much as I did.
As someone who read the original series, back in the 60s and was disappointed when it ended, I was excited to learn about these booklets. The quality of the tales and the artistry was, however, a disappointment. As to the latter, Mr. Byrne writes that he's not Neal Adams - well, no one is, but still, his interpretation of the characters made them strangers, rather than "old friends".I found the story lines weak, mostly a re-hashing of old themes with little originality. The few sub-plots that could have developed in interesting directions were never followed up on, such as the effects of re-animation on the Professor and the development of the characters' personal lives.Or, perhaps I've simply out-grown the medium...
This is the slowest moving X-Men story I think I've ever read. I can't believe it was only written in 2012. It feels like reading a comic from the 60s. I don't know if that's what they were going for or not, but this book is just bad!
Best X-men book in years!And easily the best book since Bryne and Claremont's original run in the 1970's. I adore this series and [email protected]#$%!'d gone on for a full run. Here's some info lifted from Wiki:"The series attempted to fill in the period in the early 1970s when the original X-Men comic was publishing only reprints of earlier issues. The series was intended to fill in the team's chronology during the reprint issues of the original X-Men series (#67-93). According to Byrne, the series "was clearly finite, since [Giant-Size X-Men #1] was out there as an "end point" for my series, but the way I had it worked out, I could have easily done 100 issues or more before I had to send the team off to Krakoa." However, as part of a retooling of the X-Men line, X-Men: The Hidden Years was cancelled, prematurely ending its run with issue #22."If you're a longtime X-fan, you simply must read this volume. It'll be the most Marvel fun you'll have all year.
The X-Men have had a number of incarnations. The first was in the 1960s, when Lee and Kirby came up with the premise (a school for fledgling superheroes who had been born with unusual powers), and created the original characters. The series ran for a few years then fizzled out, and was replaced with reprints for about 1/3 of its print veral years later, Len Wein, Chris Claremont and Dave Cockrum collaborated in reviving the book, which was retitled Uncanny X-Men. They threw out several of the original characters, brought in some new ones, and took the narrative in exciting new directions.A couple of years later, Cockrum was replaced by John Byrne, who helped shape the book visually and was instrumental in co-plotting the series through some of its most seminal issues, including the original Dark Phoenix rne is a skilled writer and artist, as he demonstrated in his work on several major comic books over the years, so I had high hopes for X-Men The Hidden Years, which he had almost total control over. So I have to confess that I was a little disappointed, not by the art or storytelling, but by the writing, which is not Byrne's rne's artwork is wonderful, clear, beautiful and vibrant, on par with his best work on Superman/Man of Steel. Tom Palmer's inking, assisted on some pages by Joe Sinnott, is also wonderful. But the stories in this book feel like a kind of pablum compared Byrne's work on titles like Fantastic Four and Superman, which he also wrote and ose stories were compelling and had depth; the characters felt real and three dimensional. The ones in this book are fast-moving and have some clever elements, but by and large are not in the same e main problem is that things drag. There's a lot of action but very little character development -- a problem that plagued the original X-Men series, because the characters and their relationships were inherently dull. Uncanny X-Men had the tension between Cyclops and Wolverine, and the troubled love story between Scott Summers and Jean Grey/Phoenix to make it compelling; this book, like the first X-Men series that fizzled, has a lot of nice characters being nice to each other issue after issue. That's all well and good but it means any drama has to be external, and not affect the characters on a core level.Of course Byrne was constrained, restricted by the (already published) stories on either side of the continuity gap this series tried to fill. But he could have revealed more about the characters' lives, pasts and personalities. It's hard for a reader to stay interested when there's not even a remote possibility of character development or change.Another problem is that the dialogue is a little stodgy. The characters tend to stand around talking about and explaining things we've already seen. We see Iceman leave the team for a while, and we see why. We then see other characters talking for a page or two about the fact that he's left, and speculating about his reasons for leaving, which were made clear at the time. We see the Angel fly a dying character up into the sky; the character thinks he's taking her to heaven. All well and good, but then the other characters have a little conversation remarking on the fact that he's just flying her into the sky, not really taking her to heaven. Which we just saw. It's not that the scene is bad, but the dialogue is redundant, tells us things we already know, and should have been trimmed. Byrne could have used a more active editor to deal with moments like these, because they do drag the book down after a e result is what I'd call "X-Men Lite"... stories with a lot of action and color, but a dearth of emotional substance. If the series had continued I expect Byrne would have realized this, but it ended after the 22 issues reprinted in this volume and in Volume 2.On the plus side, both books do work as an homage of sorts to the previous writers and artists. The layouts remind me of some of the most innovative page and panel compositions of Neal Adams. Tom Palmer's inking is still extraordinary after all these years. Even Joe Sinnott drops by to lend a hand.If you don't mind the repetition and lack of character development, these stories can be fun to read, and nice to look at. John's come a long way as an artist; his work on a visual level in this series is extraordinary. I hope he'll return to comics soon with a series where he can show his strengths as a writer again. He is a wonderful one, on the right series, when he's free to surprise readers and make changes.
When John Byrne, pretty much a legend in the comics industry, was set to launch this book, telling the stories of the original X-Men's activities after their cancellation with issue 66 and before their relaunch with Giant Size #1, I couldn't have been happier. After all, Byrne paired with Chris Claremont built the X-Men into a popular comic between the late 70s and early 80s. This ought to be fantastic. And honestly, it's not. John Byrne wanted to write these stories in the same way that Roy Thomas and future Batman art legend Neal Adams had on their brief tenure with the X-Men. I suppose that's all well and good, but this book had a retro feel for all the wrong reasons. Much of the storytelling did not leave my jaw dropping or inspire eagerness to find out what the next page would hold. Byrne's art sadly left much to be desired as well. Without the smooth inks of Terry Austin, Byrne's pencils look unpolished and scratchy. I wish he would have gotten a newer artist to join him so he could just write the stories. And with all of the lore that he could have played with regarding the past and future of the X-Men, he only showed an early encounter with Storm. He left two doors open that maybe future writers of the current X-books could pursue, like the surviving members of The Promise, or young Ashley Martin, but who knows if they will ever becomerelevant in the continuity again. Also, other than referencing Star Wars or Schwarzenegger (to sort of set this timeline possibly in the 80s) the dialogue at times is painful. I get that silver age writing wasn't exactly Proustian, but some of it just sounds damn corny. Magneto, who I view more sympathetically in current continuity, comes off like a posturing dope of asuper villain. Beast, the muscle and brains of the X-Men, has a big vocabulary, granted, but he's written like a verbal show off a majority of the time. If you prefer an authentic X-Men experience based on the original run, maybe you will like this series. As someone who read post Giant Size era X-Men where the characters are better developed with more depth, this run wasn't for me. I expected much better from John Byrne.
John Byrne wrapped up his run on “X-Men: the Hidden Years” and the second volume is stronger than the first one. Byrne moves the action out of the Savage Land and, thankfully, stops the foreshadowing since the Phoenix force and Storm do not appear here as they did in the first one. Byrne knows these characters well and he guides them through some interesting plots, even when they end up as supporting characters for a classing Lee and Kirby Fantastic Four story (which is included here). Byrne also leads the art team up with some solid work. This is a nice wrap up and a fun collection of comics, even if they don’t make much sense without reading the first volume. Recommended.
Collecting: X-Men: The Hidden Years #13-22--Fantastic Four (1961) #102-104--Yellow Claw #2 (excerpts)--Amazing Adult Fantasy #14 (excerpts)This graphic novel completes the Hidden Years series (see also X-Men: The Hidden Years - Volume 1 for the first half). The Hidden Years is a lot of fun for long-time X-Men readers such as myself, but it requires a bit of situating to understand "why" there is a Hidden Years series. During the early 1970s X-Men was cancelled: issues 67-93 were reprints of older issues with new covers. Between 1999 and 2001, after X-Men had become a pretty big success, writer John Byrne was able to tell the story of what the original X-Men were up to during those missing episodes. Byrne was able to craft this series with all the benefits of hindsight in order to craft a series that really could have fit into Marvel is graphic has exactly what readers would expect of the X-Men from the early 1970s: Sentinels, Kraven, a Yeti, Mole Man, and even a crossover event with the Fantastic Four. If you look closely the "Mr. President" that Reed Richard addresses bears a striking resemblance to Richard Nixon!The problem, of course, with creating a "period piece" is that it does have a feeling artifice. The lines are a bit corny, the enemies can be ridiculous (Mole Man), but there is a lot to enjoy here as well. X-Fans really should get this issue to find out how it REALLY started. There is always something nostalgically fun about watching the X-Men under Prof X battle the Brotherhood of Evil Mutants under Magneto.
John Byrne managed to do further work of Neal Adams in X-Men. The style of the graphics, art, colors and uniforms closely resemble the work of Adams and it was with great joy that I read these "lost adventures". The compilation album has good graphic quality. I like and recommend.
As someone who read the original series, back in the 60s and was disappointed when it ended, I was excited to learn about these booklets. The quality of the tales and the artistry was, however, a disappointment. As to the latter, Mr. Byrne writes that he's not Neal Adams - well, no one is, but still, his interpretation of the characters made them strangers, rather than "old friends".I found the story lines weak, mostly a re-hashing of old themes with little originality. The few sub-plots that could have developed in interesting directions were never followed up on, such as the effects of re-animation on the Professor and the development of the characters' personal lives.Or, perhaps I've simply out-grown the medium...
Loved this. John Byrne's contribution to the X-men storytelling when he was with Chris Claremont was overlooked. Glad he got to return to this title. He's very creative and it shows in this series. And as always his artwork is excellent. He's one of my very favorites.
Tom Taylor is doing something both adventurous and beautiful with this book. He's respectful of the characters (especially Jean, Nightcrawler, and Honey Badger) while at the same time brining the X-Men into new and exciting territory. It's a wonderful read.
Joss Whedon's Cyclops is not straight-laced Cyclops of the Claremont run nor the Cyclops as worse than Magneto of the most recent runs by Lemire and Bendis. Whedon also makes Emma Frost's move into the mainline of X-men very interesting. I particularly like Shadow Cat's role in this team and the primary viewpoint character for the comic. The battle X-men and Ord and the inclusion of S.H.I.E.L.D is interesting and very cinematic, but aside from Kitty Pryde, there is not a lot of levity to this comic, although there are more character growth movements than some of the more "action pact" arcs of the X-men. Whedon's dialogue is good but not flashy, he is very comfortable in the media. John Cassaday's figure work is good without the "Beefcake" sins of 1990s X-men, but sometimes his female face work is a little silted. However, the quality of the art here is consistent despite those problems and it is enjoyable. Solid, particularly the character perspective work Whedon does, but also not as developed as I thought it would be.
The consistency of the writing and the exceptional quality of the art (personal preference) make this one of the best comics/graphic novels I've ever read. I was an avid collector growing up, but it's been years since I felt the urge to read this kind of stuff. So, when I jumped back in, I started with some Frank Miller stuff and I started waxing nostalgic about my old favorites, the X-Men. With Whedon behind the wheel, I quickly became engrossed in the story that has an amazing balance between the action and dialog that is light-years ahead of the comics of yesteryear. Whedon understands these characters and I never felt that they were "comic book" characters as I read through this series. These were well developed characters with nuanced emotions and distinct personalities; mutants that are inherently human. John Cassaday's art style is definitely in line with my personal preferences, he has a sharp edge and less cartoonish approach that plays well to Whedon's deeper character development. I only wish these two would partner up again (and again). Amazing series and among all of the others I've read, it still stands alone as the best of the best. Buy it. Read it. Love it.
Collects issues 1-6 of Astonishing X-MenI'm no X-Men expert, but I'd rate the Whedon/Cassady run up there with the Morrison/Quietly run (and now some of you out there hate me.) The story takes place some time after the Morrison run. Jean Grey is dead again and Xavier is absent. Kitty Pryde is invited to return to Xavier's school to teach. Cyclops and Emma Frost (and who is in charge, exactly?) decide to put together a new team of X-Men that will actually do super-heroic stuff, consisting of themselves, Kitty, Wolverine, and the e Run: Kitty Pryde is apparently Whedon's favorite X-Man, and it shows. Rumor is, the character Buffy was inspired by her, although Kitty in this story is now possibly in her early 20's. Most of the focus is on her, Scott, and Emma. Wolverine is there mostly for violence and comic relief. There are two main plotlines, intertwined: a scientist has developed a "cure" for being a mutant (and it seems to work), and an alien race wants to invade the earth in order to defeat a prophecy that we'll destroy their planet. As the series progresses, we'll find out that a previously thought dead X-Man isn't (no, not Jean this time), we'll meet a new X-Man (Armor), meet S.W.O.R.D (the extra-terrestrial counter-part to S.H.I.E.L.D.) and meet various villains, new and is Volume: The "cure" plot is introduced, and the scientist behind it truly seems to be benevolent. Mostly. Naturally, Hank (the Beast) is tempted to use it. (I understand Whedon came up with this cure concept before it was used in the movie X-3). An alien shows up and seems to be involved with the cure as well. The X-Men invade the lab in which the cure is being developed. They discover...somebody there. Then, they're interrupted by...somebody else. Hey, I don't want to tell you too much of the plot, now. Oh yeah. Kitty has a pet dragon, if you didn't already know that.If you've read Planetary, you might want to give this a chance just to see some more awesome Cassady art. And did I mention Joss Whedon?
This is a review of basically both Astonishing X-men Trade Paperbacks, "Gifted" and "Dangerous".First, I'll admit that I very much disliked Grant Morrison's run on New X-men. The whole, let's make the X-men more "realistic" was interesting, but I think that Morrison took it too far in points. And what also bugged me is that for all the talk of taking the team in new directions and what-not, he plodded out the same stuff that people have been using in X-men for forever. "I'm so new and different that I'll reintroduce the Phoenix Force, kill Jean Grey, reintroduce and kill Magneto" *sigh*What I really like about this particular series is that Whedon doesn't muck about with it. He's taking the X-men back to what he thinks is their best and he let's you know that he's doing that in the first couple of pages. If you didn't get that, or didn't want to see the X-men of the "Glory Days" basically retold in what I for one think a splendid fashion, then the book is wrong for you.I personally think that Whedon does it admirably. I don't know what to tell the people who don't like his wit, because frankly, I think that it's brilliant, and well-placed throughout. The pacing is great, and for all the grumbling about it being obviously paced for a TPB...um, you're reading a TPB. What's the big deal?Oh, and while the basic ideas for the story aren't brand new, I think that Whedon does a good job of putting a cool spin on it all. Sure, alien invasion isn't exactly the newest thing ever. But WHY this particular alien is invading is a very interesting twist. True, the general hatred of mutantkind by humankind is certainly not new, but this whole thing of casting it as a disease that can be cured and what that does to the mutants themselves as a community is new and interesting. Indeed, an evil AI bent on the X-men's destruction is pretty stale stuff. But the particular AI that is evil in this and WHY it's evil is a pretty cool development. Especially since it calls into question the motives and trustworthiness of a VERY IMPORTANT X-man (without resorting to the cheap trick of making it some deep, dark recess of the mind that's responsible -- and all about 5 mins after you were just cheering for this person). How does one not see the freshness in all this?All while staying true to the core ideas of the X-men. It's good stuff.Whedon also has a knack for humanizing characters and making them sympathetic and believable. Beast, to me, is the best example of that talent in this collection. It really is interesting to see the Beast's true feelings about his current state portrayed so well. And not just him bucking up and taking his newest mutations in stride in "true X-man fashion". It makes him an interesting character. Kitty was also given a great treatment as well, obviously, and the Kitty-Colossus thing just doesn't get old. And even somewhat minor characters like "Wing" get a GREAT treatment by ssady's art is very impressive. VERY. I've seen someone compare it to Frank Quitely. While I might see where they get the comparison from (with both of them going at a somewhat more realistic style), I think that Quitely is a terrible artist -- he's consistent, I'll give him that, but all of his characters in the New X-Men, for lack of a better word, looked very ugly to me, and all about 20 years older than they should have -- whereas Cassady actually has some real talent. Actually, I take back part of what I said about Quitely. His Beast looked very good. I remember liking him a lot, but that's about it.Anyway, I think that this is a very entertaining book that, in a sort of backswing from Morrison's run, succeeds marvelously at taking the X-men back to their roots as a real superteam. It shouldn't be passed up. YMMV, as this, like every other review, is my personal opinion, but I really think that the two TPBs that make up the Whedon-Cassady run of Astonishing X-Men (Gifted and Dangerous) are definitely worth a read. And I mean a read, not a skim.
Joss Whedon writing X-MEN? Sign me up! Since he's stated that Kitty Pryde was an inspiration for the Buffy Summers character, it's interesting to watch him write for an adult Katherine Pryde. He brings wit to a comic that doesn't always get good dialogue (Grant Morrison and Chris Claremont's late 70s/early 80s heyday excepted). Also, how can you resist an Emma Frost written with the sharp tongue that Whedon gave to Cordelia on BUFFY and ANGEL? The plotting isn't especially clever, but there are little twists and surprises that delight, e.g., the villain entering the X-Mansion ... you expect him to start attacking the kids when the adult team is absent ... instead he's rubbing his eyes and groaning disappointedly, "Are you sure they're not here?"
First discovered the motion comic and then bought this. Very good read with humor throughout. Beats the story of any movie so far with the exception of Day of Future Past which I felt Wolverine and The X-Men did a better job of but that is another story.