Written by Jeff Parker. Pencils by Roger Cruz, with Paul Smith. Inks by Victor Olazaba. Written by Jeff Parker. Pencils by Roger Cruz, with Paul Smith. Inks by Victor Olazaba.
Reprinting: the eight issue mini-series (2006-2007)
Rating: * * * * out of five
Number of readings: 1
As the X-Men have become mega-popular over the years, there have been occasional forays into telling retro stories featuring the founding team (Cyclops, Marvel Girl, Beast, Angel and Iceman) from before the comic was one of the pillars of Marvel's publishing line. There was X-Men: The Hidden Years, which told stories set just before the formation of the "new" team, and X-Men: Children of the Atom, which was a prequel to the original stories. And then there's Jeff Parker's X-Men: First Class.
This TPB collects the original mini-series (which was successful enough it led into an on going series -- of the same name! Which can definitely be confusing if you come upon the issues in the back issue bins). And it's an odd mix of intents.
Unlike so many projects that arise these days, this is not a "reimagining", per se -- this isn't meant to retell previously told adventures, or give radical new spins on old origins. These are basically "lost" tales that fit inbetween the old issues. At the same time, Parker and artist Cruz aren't rigorously recreating the old comics' milieu -- the time period has been modernized with contemporary expressions ("Dude!") and technologies that didn't even exist back when Stan Lee and Jack Kirby first created the team (John Byrne did the same thing in The Hidden Years). Cruz has even slightly redesigned their costumes! (Though a character refers to their "other" costumes, as if maybe these adventures take place on days when their regular costumes are at the cleaners!) And the Cerebro room is modelled after the "big round room" of the movies. While Cyclops and Marvel Girl are clearly an item...whereas in the original comics, the mutually unspoken love between the two was stretched out for a long time.
Yet, in other respects this is meant to act as "lost" stories. This isn't an eight chapter epic, but eight independent stories (if you only found one or two issues at a comic shop, they'd still be eminently readable on their own), where the characters will make references to adventures from the original comics. In one issue Quicksilver and the Scarlet Witch make an appearance...and it is mentioned that they used to be members of the disbanded Brotherhood of Evil Mutants -- a group who otherwise doesn't appear in these issues.
The result is a comic which continuity purists might find a bit annoying, whereas those wholly unfamiliar with the early X-Men might find it a bit confusing (though it's generally explained as you go).
But if you can forgive those problems...it's actually a whole lot of fun.
Because another way Parker breaks from tradition is that these stories are told with a heaping dose of humour, seeming like the X-Men meets Buffy the Vampire Slayer. Or even, the X-Men as sitcom. There is still an adventure aspect to the stories, and it doesn't stray over into self-parody or anything. But it's meant to be a fun, light-hearted series. Though there are character-focused undercurrents, angst isn't really the order of the day.
This was part of Marvel's "All Ages" brand, telling stories deliberately meant to get away from the grit and the violence of their regular line (but unlike the other All Ages series, this is still sort of meant to be in regular continuity). So no one dies, or gets seriously injured, and though there are action-adventure tales (the team's encounter with Spider-Man foe the Lizard is one of the most suspenseful portrayals of the character I've seen!) some stories are more about misunderstandings, where conflict is resolved with dialogue more than fists.
It's family friendly in a way that can endear it to older, adult readers, rather than alienate the same.
The art by Roger Cruz is energetic and enjoyable. It's slightly cartoony, but in a way that suits the light-hearted tone, while also being dramatic enough to capture the action and adventure scenes, as well. It's open and detailed without being cluttered.
The first few issues, inparticular, boast some clever ideas and intriguing plotting that makes you want to turn the pages, to see where it's all headed. Parker's "tell it in one issue" stories are refreshing in an age of protracted stories where thin plots are stretched out over multiple issues. It's in that way more than anything that he evokes the spirit of the old comics. (Ironically, the subsequent on going series did start to employ "to be continued" stories).
And the humour and witty banter works quite well, so that you can find yourself grinning, even chuckling, without totally losing the sense of these being the X-Men, and therefore characters you're supposed to take seriously.
Of course part of the gimmick -- seeming inevitable with these sorts of retro projects -- is to work in existing Marvel characters the team never met the first time their stories were told. So we have encounters with The Lizard and the shape-shifting Skrulls, and guest appearances by Thor and Doctor Strange (though from the context, it's obvious the team had met him in their original run). And, admittedly, tying stories too much into the Marvel Universe and familiar characters can rob the plots of some of their freshness.
Ultimately, the first half (also collected as an over-sized comic New Beginnings) seem the strongest, Parker's plotting just a little sharper and original, the intriguing hooks just a little more intriguing. Once we get into the second half, the issues are still fun and enjoyable...but seem to lack that extra edge. Admittedly, maybe that's partly the inevitability of familiarity. When I read the first few issues, I didn't know what to expect, and so was pleasantly surprised by how delightful it all was. And maybe I was just becoming jaded by the later issues.
But overall, this emerges as definitely a "feel good" collection -- a refreshingly fun and funny romp with the merry mutants of yesterday.
This is a review of the issues as they were originally serialized in the monthly comic.
Cover price: ___
X-Men: From the Ashes 1991 (SC TPB) 218 pages.
Written
by Chris Claremont. Drawn by Paul Smith, with John Romita, Jr, Walt Simonson. Inks by Bob Wiacek.
Original Colours: Glynis Wein. Letters: Tom Orzechowski.
Editor: Louise Jones.
Reprinting: Uncanny X-Men #168-176
Rating: * * * 1/2 out of five
Number of readings: 1
This collects a run of X-Men comics through which is threaded the sub-plot of Cyclops -- at that point on leave from the team -- meeting and falling in love with Madelyne Pryor, the spitting image of Jean Grey (at that point believed dead). But the likeness is so uncanny, and combined with other curiosities, it has Cyclops wondering/worrying whether Madelyne is the reincarnation of Jean...and more specifically, the evil Dark Phoenix. And, interestingly, though sub-plots in comics can have a tendency to amble on indefinitely, these issues do indeed comprise the complete saga, with Madelyne making her first appearance in #168, and the story arc climaxing in the double-sized #175 -- with #176 even tying up a few other loose threads (while, inevitably, also hinting at future threads).
Along the way, since the Maddy Pryor plot is a sub-plot, often amounting to only a page or two per issue, there are other, shorter adventures along the way, including some pivotal ones, such as former villainess, Rogue, joining the ream, and the introduction of Callisto and the underground mutants, the Morlocks. This also features Storm's transformation into "punk" Storm that seems a bit forced, like the concept was driving the character, not vice versa.
And the result is a solid, enjoyable collection. Not, perhaps, exceptionally brilliant as, despite my above referring to "pivotal" stories, they aren't necessarily "classics" simply as stories -- the issue where Rogue joins is basically...well, an issue where Rogue joins. The exception being the taut and excitingly suspenseful #175.
But comics can be fun precisely for the idea of brewing sub-plots -- plots that tend to be hard to collect. So the fact that the Maddy-Phoenix plot is basically complete here makes for a nice run of stories. Admittedly, such sub-plots can be problematic when collected. The story unfolds in basically just a few pages here and there, with Cyclops meeting Maddy, then proposing marriage in a breathlessly short time. But one has to remember, when first published the story was teased out in a monthly publication, where it presumably could read as a long, subtly progressing story. And the climactic chapter is a genuinely exciting, suspenseful tale. Albeit, those familiar with the players involved in the original Dark Phoenix Saga won't have much trouble guessing the solution from some obvious "clues".
It's largely drawn by Paul Smith, who has an appealingly simple, clean style that is considerably removed from the hyper-detail of John Byrne (who drew the classic Dark Phoenix Saga) but is effective in its own way. Walt Simonson pinch hits and issue, and John Romita Jr. handles the final tale -- to good effect (and I often have mixed feelings about Romita Jr). Romita Jr. would then be the regular artists for the next few years.
As mentioned, I can't say too much of this is "classic" -- save perhaps the very good #175 -- but it is enjoyable, eminently readable. And if, as is inevitable with the continuity heavy X-Men, there are plot threads that relate to prior events not collected here, at least others are begun and resolved in these pages. And there's something refreshing about it because, as much continuity as there is, it maybe isn't as hopelessly mired in tangled continuity threads as the series would become (Madelyne Pryor's backstory would get particularly twisty in the coming years).
So as a nice, unprepossessing collection of older X-Men -- a window on a long ago era -- From the Ashes is an enjoyable collection.
This is a review of the story as it was originally serialized in the monthly comics.
Cover price: ___
The
Astonishing X-Men: Gifted
X-Men:
God Loves, Man Kills 1982 (SC GN),
64 pgs.
Rating: * * * * * (out of 5)
Number of readings: 4
Televangelist Rev. Striker, sincerely convinced mutants
are agents of the devil, is developing a way to destroy all mutants, and
kidnaps Professor Xavier, Cyclops and Storm to put it into effect. The
rest of the team, consisting of Wolverine, Nightcrawler, Colossus and Kitty
Pryde, temporarily allied with their arch foe, Magneto, must rescue their
comrades (unaware who has them or why) and stop Striker and his armed goons,
the Purifiers.
Perhaps only the 3rd graphic novel ever published using
mainstream comic book heroes; The Death of Captain Marvel and the New Mutants
being the first two, if you don't count Lee and Kirby's 1978 Silver Surfer
opus. It was originally released in over-sized tabloid format as Marvel
Graphic Novel no. 5. It has since been reissued in conventional 8.5" by
11" (with a new cover), and holds up very well all these years later.
Highly recommended, this 64 page story does a nice job
of encapsulating the essence of the X-Men, without burying the reader in
references to past adventures or becoming mired in continuity points. This
might even be one of those "if you don't read the X-Men (or even comic
books in general) this might change your mind" sort of things. But no guarantees.
This is just on the edge of being labelled "mature readers",
but ultimately I'd say not. There is some mild profanity, though, and definitely
intense scenes, like an early scene of two kids being killed by the Purifiers.
And the tackling of, not just bigotry, but religious fanaticism, won't
win it any friends on the far right.
Original cover price (tabloid): $6.96 CDN./$5.95 USA
Cover price (standard format re-issue): __/$6.95 USA
X-Men:
Inferno 1995 (SC TPB), 312 pgs.
Reprints: Uncanny X-Men #239-243, New Mutants #71-73,
X-Factor
#36-39 (1988)
Rating: * * (out of 5)
Number of readings: 1
Additional notes: intro by Mark Bernardo; covers
This mammoth crossover storyline has a demon invasion
of New York, the strategies of the vile Mr. Sinister, and the machinations
of the by-now thoroughly evil Madelyne Pryor (Cyclops' estranged wife)
all coming together to make life difficult for our various bands of merry
mutants. And, frankly, I found it an incoherent mess.
Reading "Inferno" was like swimming through quicksand,
or listening to music on a tape being chewed up; you're trying desperately
to grab on to anything that seems coherent, in both writing and art, only
to have it slip through your fingers once again. Even the backstory is
confusing: like, why had the X-Men faked their deaths, letting even their
closest friends and relatives think they were kaput?
To be honest, maybe for hard-core X-fans, intimately familiar
with these issues and the surrounding events, my reaction may not be representative.
However, I've read an X-book or twenty in my time, both before and after
the events depicted in Inferno, so that makes me a casual fan at least.
The story relies heavily on events that transpired outside
of what's contained in this collection (even concurrent events: the story
crosses over with a title called X-Terminators...but those issues aren't
reprinted here!). But it offers precious little within its own 300 plus
pages to form a meaty read. There are endless battles with demon hordes,
and pointless conflicts between the X-Men and X-Factor, but when you actually
consider what happens, in terms of plot twists, story developments, characterization,
etc., there's not much. Most of the twists are related to the pre-existing
X-mythos: rewriting of X-Men history in light of startling new revelations.
And for a crisis that affects all of New York, there's precious little
sense of the impact on the "real world".
The characterization is weak and insubstantial. Claremont
and Simonson seem heavily into original sin gobblygook. The characters
are "corrupted" by the demon intrusion, and spend endless passages bemoaning
their dark sides (not to mention infighting simply because they seem, well,
bitchy)...I expected self-flagellation and hair-shirts any minute. If characters
go bad, surely it should be as a result of tangible events, not just nebulous
concepts like demon magick, selling pieces of their souls, or because they're
not a real "person". The characters are told they are bad, so they are.
Of course, all this may just be part of moving the X-Men
in line with the new Right. In the old days, the X-Men were pretty noble
people, with only Wolverine a dark, anti-hero. But Wolvy became hugely
popular, so, of course, marketing demanded the rest of the characters follow
suit. Even prior to the events in this storyline, we are told that (what
seems like half) the X-folk have killed people. And since the "corruption"
of these issues is still lingering with the characters at the end, presumably
Claremont and company could indulge in even nastier "heroics" in future
issues (remember, Claremont wrote the first issue of Wolverine's own comic,
where our feisty hero massacres an island of 30 pirates -- probably a comic
book record).
The art? As someone who grew up with the crisp, clean,
Byrne/Austin stylings, the art here struck me as just...messy. Characters
would spout mid-battle clichés like "Now I can do...this!" -- and
I couldn't tell what "this" was. The potentially eerie concept of New York
metamorphosing, of mail boxes and the like coming alive, and the characters
themselves subtly changing into twisted versions of themselves, is lost
because the artists aren't particularly disciplined. You often can't recognize
the contrast between a normal car and a "demonized" car, or a character
prior to, and after, their transformation. I have to compliment Hilary
Barta, whose "guest" inking on one of Silvestri's issues actually forced
some definition onto his art (or should I be criticizing Green for ruining
his work?)
In the end, maybe I'm judging X-Men: Inferno wrongly.
Maybe it's intended solely for fans who missed some of the crucial issues
and no one else. But as a trade paperback/Graphic Novel, the publishers
have to expect some readers like myself to pick it up, expecting in its
300 pages a story, more or less, with a beginning, middle and end, a sense
of character arcs and thematic threads tying the thing together, like a
novel or movie. Maybe more extensive editorializing would have helped.
It doesn't even close satisfyingly (Polaris is still bad -- yet another
corrupted character -- and I have no idea where Prof. X was in all this).
Cover price: $34.95 CDN./$24.95 USA
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Written
by Chris Claremont. Art by Brent Anderson. Painted by Steve Oliff.
Letters: Tom Orzechowski. Editor: Louise Jones.
Anderson's
pencil and inks are very, very good, and Oliff's dark, painted colours
superbly moody, combining to give the thing a powerful, hauntingly sombre
atmosphere. Claremont's script is very strong; the story unfolds well and
builds tension, not just pulling the reader toward a technical climax,
but an emotional one, as well. There's plenty of action, but it's not just
mindless stuff that overwhelms the plot and human drama (a criticism I
could level at some of Claremont's other work, particularly from that period).
Instead, the elements are well-balanced, with the climax being a moral-ideological
confrontation more than a physical one. Perhaps because the comic is a
self-contained one-shot, with villains created solely for this story, structurally
it seems richer, allowed to unfold and build like a good novel or movie
rather than feeling broken up and compartmentalized, or as if plot threads
are left hanging, as it might if it was spread over three or four issues.
Written
by Chris Claremont & Louise Simonson. Illustrated by Mark Silvestri,
Bret Belvins, Walt Simonson (inks Dan Green, Al Williamson, Bob Wiacek,
Mike Manley, Al Milgrom, Hilary Barta).
Colours/letters: various. Editor: Bob Harras.
