(Re-)Reading Uncanny X-Men: Down Under and Earthfall

Brood Wolverine

Perhaps Silvestri’s best X-Men cover

The epic reading of Uncanny X-Men continues as the mutants relocate to Australia, battle cyborgs and aliens, and spread some Christmas cheer.

It was 1988. Chris Claremont was now in his 13th year of writing this comic book series, which had flourished into Marvel’s best-selling title. It had become its own franchise, with the spin-off series New Mutants and X-Factor, and limited series like Wolverine. A third and fourth spin-off, Excalibur and an ongoing Wolverine, were getting prepared to launch later in the year.

It sounds like everything was going great, but there was trouble. The launch of X-Factor over two years earlier had been done against Claremont’s wishes and without his or his editor Ann Nocenti’s participation. The book reunited the original X-Men characters from the 1960s but by doing so it resurrected Jean Grey, undermining both the celebrated ending of the acclaimed Dark Phoenix Saga, and the carefully executed retirement of her boyfriend and fellow X-Man Cyclops. The two books essentially agreed to ignore each other, but it was an untenable solution. As part of his retirement, Cyclops had married Madelyne Pryor, who just so happened to look eerily like Jean Grey. The two had a son. To go back to superheroing, it required Cyclops walking out on his family, a generally un-superheroic thing to do. As if that wasn’t enough, their infant son was kidnapped. Madelyne made her way back to the X-Men for help in tracking down her baby. Instead she became a supporting character in the book.

This all happened over the course of years, where Claremont’s legendary slow-burning subplots were getting more and more drawn out with each new unresolved thread. So Madelyne ended up hanging around with the X-Men seemingly not looking for her baby. I wonder if Claremont was letting X-Factor resolve the missing baby story as an opportunity to redeem Cyclops. Whatever the reason, that book didn’t forward the plot either. So both parents ended up not talking to each other while their son was presumably being held by mutant terrorists the Marauders. No ransom was demanded by the villains. Basically, everyone forgot about it, except the readers.

Now there had been some crazy stuff going on in Uncanny X-Men that would certainly prevent Madelyne from making good progress. And it’s possible efforts were happening off-panel. But it was a long time to let such a desperate plot point linger.

Storm flies in new costume

Storm flies again

By 1988, longtime editor Ann Nocenti wanted to transition out of editing and into freelance writing (she would go on to have a well-regarded run writing Daredevil). Coincidentally, several editors were making the same transition, so Marvel took the opportunity to promote some assistant editors and reassign books. Bob Harras had been editing X-Factor soon after its launch and had proven he could handle a franchise with his coordination of the successful G.I. Joe mini-line of comics. So he was given Uncanny X-MenNew Mutants and the reprint series Classic X-Men. The entire X-Men line was once again under one editor. He would also get the new Wolverine series and the X-Terminators mini-series scheduled for later in the year. Only the upcoming Excalibur would be excluded (and he would eventually take it over in 1993).

This gave the line greater coordination than it ever had before. Right away, letter columns in the back of each issue featured blurbs promoting the rest of Harras’ stable of X-books. The next summer crossover, Inferno, would more tightly weave through each book instead of the more isolated approach in Mutant Massacre and The Fall of the Mutants. No longer would X-Factor be ignored by the other books. And possibly most significant for Uncanny X-Men readers, the Jean Grey/Madelyne Pryor redundancy was forced to a conclusion and one that did not favor Madelyne.

Really, this is the beginning of the end for Chris Claremont’s tenure as main architect of the X-Men universe and his first tenure as Uncanny X-Men writer. Legend has it Harras did not share the same friendship and loyalty to Claremont like previous editors. But Claremont was too big of a name and couldn’t be replaced. Yet. It would be another 3 years before superstar artists made it easier for Claremont to be pushed off the book.

haunted treasures

Longshot and the haunted treasure

But we’re not there yet. Back in 1988, the X-Men had just been killed during The Fall of the Mutants and then, unbeknownst to the rest of the world, brought back to life by the mystical Roma. Still feeling the aftermath of the Mutant Massacre, the X-Men decided it was safest for their friends and allies if they were presumed dead so they could stealthily take the fight to their enemies. This set of issues, Uncanny X-Men #229-234, is the start of this new mission, affectionately named the Outback Era due to the team’s new base of operations in the remote Australian Outback.

The more aggressive strategy of the X-Men was very in-step with the increasingly “grim and gritty” approach of the industry at the time. The tsunami effect of Watchmen was still just getting started. Still, I was glad to see a step away from that for a moment with Uncanny X-Men #230, which unexpectedly turns into a rather charming Christmas story at the end.

This batch is highlighted by the return of the Brood. It was good to see a follow-up to the original Brood Saga but where that story really excelled with some excellent pacing and tension, this ended up feeling a bit one-note. I guess it was more going for a thrill-ride feel and on its own it was a fun adventure with some good creepiness in the beginning, but it just didn’t continue the strength of the original.

Madelyne Pryor gets stripped of humanity

Madelyne Pryor aloneProbably the best part was a twisted dream sequence of Madelyne Pryor getting stripped of her baby and her own facial features, which are given over to a blank cypher to restore “the original,” Jean Grey. It’s during these scenes that she ends up aligning with the demonic S’ym because she thinks she’s just dreaming. It’s messed up and positions the character for the Inferno event but it’s a cool visual.

Despite my decidedly Claremont-favoring summary of history above, I have to say his writing has gotten to a point where I find it a bit of a chore to get through. It’s very possible he’s chafing at the increasing editor oversight. Or it could just be the natural evolution of his style. Whatever the cause, his scripting is getting increasingly dense and stilted. Marc Silvestri is more than competent as artist on the book, with very fluid storytelling. Maybe their styles don’t mesh but the rhythm of Silvesti’s pages gets completely bogged off by Claremont’s dialogue. I’ve now taken to reading the issue, and then sometimes days later going back through the entire issue again just looking at the art and ignoring 90% of the dialogue. The storytelling is so sharp and effortless with too much of the script superfluous. Claremont’s plotting of individual issues and story arcs is generally still spot-on though, and even when it’s a mostly action-focused story, he continues to live and breathe these characters.

Next up: An apartheid analogy in the form of the fictional nation of Genosha.

(Re-)Reading Uncanny X-Men: The Fall of the Mutants

It’s been four months but I’m still here reading X-Men comics! Well… more or less. I got a bit sidetracked. And I’m about to get sidetracked again. But I wanted to get in one more post to finish up the long build-up to the Fall of the Mutants, which sets up the next sustained status quo for the book.

For those just joining, I’ve been (at times, very slowly), reading the entire Uncanny X-Men comic book series, from its start as X-Men by Stan Lee and Jack Kirby in 1963, to its resurrection by Len Wein and Dave Cockrum in 1975, to the legendary stories by Chris Claremont and John Byrne that turned it into Uncanny X-Men, the biggest-selling comic at Marvel Comics and the headlining title of a franchise.

Even more so than the previous year’s Mutant Massacre event, each participating comic book series pretty much kept to itself. So I didn’t read New Mutants or X-Factor, only the Uncanny X-Men issues (#225-227) of The Fall of the Mutants, which were originally released in late 1987. I’m also including the semi-epilogue issue 228.

Storm in exiled world

In many ways, these three issues are the culmination of some long-percolating sub-plots. Anyone jumping on with this event was probably pretty confused. But for those that had been following the book, the Storm and Forge thread gets some good pay-off. In one of those great comic book oddities, they spend a year exiled on a fake Earth in the span of a night on the normal Earth. At this point, the two are doomed lovers who keep getting close to a happily-ever-after, only to find out it’s not the real thing. While there is tragedy to them, Storm gloriously and finally gets her powers back, another subplot that’s been running through the books for some time.

Colossus is backColossus also makes a return to the book. Apparently he was planned for the upcoming spin-off book Excalibur until it was decided his powers would be redundant once Captain Britain was added to the cast. After so deliberately being shuffled off the book, he’s shuffled right back on, at last finalizing the X-Men roster that will be in place for the next year or so.

Speaking of changed plans, the original plot was intended to use elements of a story by Alan Moore that had appeared in Marvel UK books. Apparently, Moore’s contract with Marvel was unique from State-side freelancers, giving him more authority over what he’d created, so Claremont had to make some big changes to his story. Probably the Adversary story would’ve ended in the previous issues, and this would’ve been an entirely new threat.

Still, the mystically cosmic battle may seem like a mismatch for X-Men adventures, which usually work best when dealing with themes of racism, bigotry and alienation. But it ends up serving as a good juxtaposition against yet another long percolating subplot, the Mutant Registration Act. Anti-mutant hysteria is at an all-time high, and the X-Men’s classically heroic sacrifice ends up being the best pro-mutant propaganda. Unfortunately it doesn’t show that any real change came from it, although that’s probably a more realistic ending.

Blob vs Wolverine part 1

The Blob lands on Wolverine

Pencil/ink team Marc Silvestri and Dan Green continue an enjoyable run of issues, adding some fun and even funny visuals. Silvestri particularly shines during the battle with Freedom Force in the first issue. The only real downside is that his pages sometimes feel a bit cramped with small panels crowded by excessive dialogue from Chris Claremont. This might be more on Claremont’s shoulders, as his scripting approach has solidly taken on the verbose style that really defines the book for a long time. Letterer Tom Orzechowski hits his 100th issue on the book and continues to be a vital element of the book’s winning look and feel.

The epilogue issue is a bit forgetful. It seems like a leftover plot from Dazzler’s solo series, and is mostly a flashback from before the Fall of the Mutants story. Only the last page has reference to the X-Men’s death. Rick Leonardi’s art is nice though.

These stories weren’t my absolute favorite but the Storm stuff is great, the inclusion of Freedom Force was fun, and I’m intrigued to see the new status quo get rolled out. The next batch of issues see the X-Men start a new life in Australia.

Blob vs Wolverine part 2

Wolverine’s revenge

But first… As I said in the beginning, I’m going to be putting my Uncanny X-Men re-reading on hold while I join my fellow Part-Time Fanboy podcasters for a re-reading of Fantastic Four #1-100 by Stan Lee and Jack Kirby. This is the comic that created the Marvel Universe, so I’m really excited to be diving in to this book. We plan on recording early this week, with the first episode to go live pretty quickly after that.

(Re-)Reading Uncanny X-Men: Unfinished Business

It’s 1987 and the Fall of the Mutants is almost here. But first we have some set-up to do. There’s some good stuff in these issues, Uncanny X-Men #220-224, but it’s definitely a lot of arranging the chess pieces for the big summer event.

Storm gets most of the focus, as her subplot finally boils to the top. Meanwhile the rest of the team continues to establish themselves as the new official line-up, with Dazzler usually getting highlighted.

I’ve been reading the entire Uncanny X-Men series (very slowly) from it’s start in 1963 and am trying to make it all the way through to 2011 when the original series ended. If I can make it through that, I may continue on. We’ll see. You can read all of the entries here.

I have to confess, I’m not digging this period as much as I thought I might. I’m not really connecting with the new team members and part of that feels like it’s mostly The Dazzler and Friends Show. In this batch particularly, if an issue is going to focus on a single member of the team, it’s always Dazzler. Maybe she’s meant to be the POV character, similar to Kitty Pryde’s original role, but it just ends up feeling very unbalanced as an ensemble book. She’s OK as a character but I’d sure like to learn more about the others.

Longshot is basically in a constant state of staring wide-eyed at the world, which is amusing as a supporting character role, but nothing has been done with it. In fact, nothing has been done to fill in his back story at all for those that hadn’t read the Longshot mini-series or the Uncanny X-Men Annual that brought him onto the team (like myself). We’ve gotten very little insight into how he feels about his situation or why he’s even on the team. Emotionally, he’s pretty much in the same state in every scene. Even in battle, his luck powers help everything work out fine for him, so he never seems to be in any danger. This flat character state suggests there’s nothing else to him. I know that’s not the case but it’s approaching a year and we’ve really gotten nothing on him other than he has no memory and this world is strange and wondrous to him.

Havok vs. Lorna

Havok has girlfriend problems

Havok certainly makes up for Longshot’s lack of emotional depth. He’s been forced back into the mutant world and his girlfriend seemingly betrayed him to go lead the bad guys. Like his brother Cyclops, Havok can get a bit cloying and winy but he at least wins sympathy points. In one scene, his girlfriend just taunts him to strike at her as she escapes. He finally does and then she just laughs at him as her powers block his powers. It was a tad over the top in how evil she was being, but to be fair, she is being mind-controlled by a character named Malice.

Psylocke is probably the most interesting to me, of the new members. I like the juxtaposition of her pull to be more cold-blooded despite her look with her frilly pink costume and hair. But she hasn’t gotten all that much focus since she officially became a member of the team. She’ll make a comment here or there that reinforces she’s willing to go further than other members of the team, but we get little insight on her internal push and pull.

Poor Rogue really hasn’t been doing anything other than acting as a foil to inspire Dazzler stories. Other than that, she was used as a plot device: she got a warning that the X-Men are going to die in Dallas while helping Storm, which of course promptly inspires all of the X-Men to immediately run to Dallas.

Naze by Kerry Gammill

Kerry Gammill has a great fill-in issue

What’s crazy is that this is a very turbulent time for the X-Men. They are without a home, the Marauders are hunting them and their loved ones, mutants are feared and hated more than ever – there’s a lot there for characters to reveal themselves through their response. And we don’t get that like we used to.

I don’t want to make it seem like I’m hating the new team, though. While not as strong on character development and exploration, there was a fun X-Men vs. the Marauders rematch in this batch of issues, that was mostly well choreographed. And Marc Silvestri makes for a good regular artist with this cast (especially when inked by Bob Wiacek). It just doesn’t seem to explore the characters quite like it did in years past.

Mr. Sinister revealedSpeaking of the Marauders, this batch of issues features the introduction of Mr. Sinister. This villain was teased as the mastermind behind the murder of the Morlocks during the Mutant Massacre. (Wow, there are a lot of m’s!) He is quickly established as being very powerful, easily subduing Sabretooth. This becomes a common trick. Whenever you want to establish a new character as a big deal, have him easily handle one of the cool characters like Wolverine or Sabretooth. Mr. Sinister is a goofy name, and apparently the original plan was that he was going to be the manifestation of a little boy’s idea of a bad guy. That also fits in with the crazy flamboyant design of the character, complete with jagged teeth and a cape made of streamers. At this point, we don’t get any real clarity on why he wanted the Morlocks killed, but now he’s obsessed with eliminating Madelyne Pryor, who ends up semi-joining the X-Men in this arc.

Madelyne Pryor continues to be an odd character. She was created with very strong hints that she was Jean Grey reborn following that character’s death at the end of The Dark Phoenix Saga. Then those hints were dismissed as mere coincidences, allowing Cyclops to retire from superheroing so he could marry Madelyne and then have a baby together. Fortunately those hints haven’t been forgotten. There’s even a panel with a Phoenix-like bird in flames over Madelyne during a flashback to her mysterious plane crash. Cyclops has left Madelyne to reunite with Jean Grey on X-Factor, and unbeknownst to him (I think) their baby has been kidnapped. Madelyne rightly blames Scott for a lot of this because it’s generally not cool to walk out on your wife to go hang out with your ex-girlfriend. She and Havok bond over having their significant others abandon them, and Madelyne proves herself to be tough despite having no powers.

Storm vs. Wolverine

Wolverine is the best there is at what he does and what he does is have doubts

But back to that character development stuff. Fortunately, the two mainstays on the team, Storm and Wolverine, are getting more attention in this department, although lesser so Wolverine. He is well established as the most popular character on the book, but most of his character development has been happening almost in the background or as as small nods within a scene. He’s the reluctant leader of the team during Storm’s absence. Recent injuries have made him doubt his skills. He’s also more tired and doesn’t seem quite on his game like he used to. He’s moving into the wise, old samurai role. These are all little hints dropped in, which make for a nice touch.

Storm vs. Forge

*sad trombone* as Storm realizes she blew it

Storm gets some really good focus in this set of issues. For a bit too long, she’s been searching for Forge, the man who invented the high-tech gun that took her powers away. There’s a great sequence of her going back to his old penthouse in Dallas, and her discovering how obsessed he might’ve gotten about her after she left him. (Although there’s a really lame metaphor sequence with two birds, with one that has a little white mohawk. Guess which one is supposed to be Storm.) To help find him, she teamed up with his old mentor, Naze, who believes Forge has been corrupted by an evil Native American spirit called the Adversary. In truth, the Adversary is disguised as Naze, and she’s being manipulated to stop Forge. It’s kind of a classic setup, and I kept waiting for her to discover she’s been duped and for her and Forge to team up and defeat Naze/Adversary. Surprisingly, she finds out too late, and they actually lose. While I was disappointed that Storm was duped, it made for a more exciting read, and of course sets up the big encounter to come in the Fall of the Mutants event.

Up next: The X-Men’s second official summer event, The Fall of the Mutants.

(Re-)Reading Uncanny X-Men: Old Soldiers and Charge of the Light Brigade

Reading the entire Uncanny X-Men comic book series really illustrates how the team and its characters have evolved over time, and how they both reflect and influence comics of the time.

I’m now up to 1987, right after the first official X-Men crossover event Mutant Massacre, and the fall-out of that story sees a darker shift toward paranoia and a grim chance at a hopeful future for the characters. The specter of death and doom hangs over them more heavily now, and it’s affecting how they act. The art is also becoming more moody and intense with darker colors.

The industry as a whole was responding similarly to the previous year’s surprise hits, Alan Moore and Dave Gibbons’ Watchmen and Frank Miller’s Batman: The Dark Knight Returns. They redefined how comics creators approached telling superhero stories. While those two stories took a more dark and grim approach to superheroes, it was a tone used to enhance specific themes and devices that really made those two classic comics resonate. Ultimately, I think the industry learned the wrong lesson and replicated the wrong elements from these milestone works. Some creators got it, but too many devolved their stories into gritted teeth and anguish, mistaking it for realism, with no real foundation of character, thematic exploration or even structure. In improv comedy, players are encouraged to “play to the height of your intelligence,” and I think too many writers and artists did not write or draw to the height of their intelligence during this period. In the 1990s, the comics industry nearly drowned from this content. While Marvel’s X-Men franchise was far from the most guilty, it had its fair share of going for the low-hanging fruit. Fortunately X-Men as a concept and its classic stories were strong enough, and enough quality creators added worthy stories to carry the book through this period.

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Storm looks awesome (Davis/Green)

This batch of issues, Uncanny X-Men #215-219, definitely reflects a transition into this darker era. Being a transitional period, there are a number of fill-in artists and new characters as we move toward settling into a new status quo.

The first two-parter focuses on Storm and Wolverine, the only two members of the team still in the line-up since X-Men was re-launched in 1975. The story is a bit odd because while trying to deal with the threat of the Marauders, Storm is kidnapped by a trio of old World War II superheroes-turned-vigilantes. So it kind of feels like a distraction from the main story of the Mutant Massacre aftermath. At the same time, it’s probably more realistic that the rest of the world is still happening and the X-Men are bound to run into unrelated threats. I like how Storm is conflicted over working with another person that’s been kidnapped who is clearly not a very good person. She also wrestles with how far she’s going to go to escape, and whether she’ll take a life to do it. Storm originally held life to be precious, but then following the Brood Saga went through an evolution where she embraced a darker side of herself where she was willing to kill. Now she seems to be looking for a balance between her original naivete and her more recent cynicism. This kind of nuance perhaps shows a rejection to the simplistic death wish mentality that will permeate the ’90s, and maybe reflects Claremont second-guessing his own contribution to this trend.

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Wolverine doesn’t kill (Guice/Green)

Even Wolverine, who is again struggling with his animalistic regression during this two-parter, doesn’t kill when he has the chance in this story. In fact, since Wolverine’s battle with Lady Deathstrike, he’s being drawn to look older and more tired, and it’s reflected in the script. His transition into the wise old samurai is really taking shape now, and it’s interesting to now see what triggered this transition in the character. Wolverine will eventually be revealed to be extremely long-lived, with his healing power dramatically slowing his aging. Miller’s The Dark Knight Returns starred an old Bruce Wayne many years in the future coming out of retirement as Batman, and it’s possible this is where the Wolverine as a veteran superhero concept came from. Also interesting is that years later, this idea is carried further by Mark Millar and Steve McNiven’s Old Man Logan (and this year’s movie Logan), where an even older Wolverine roams the future Marvel Universe.

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Storm and Wolverine question the team’s next steps (Guice/Green)

At the end of this two-parter, Storm is still reflecting on the attack from the Marauders and decides the X-Men need to take a more proactive approach. This more revolutionary or militaristic angle to superheroes will become the modus operandi for several comics in the future, including the X-Men spin-off title X-Force. The Avengers and Justice League comics will also sometimes take this approach, and it’s another concept I associate with the advent of this dark and gritty era.

The three World War II heroes are presented as ultra-conservative and some of the language particularly used by the Crimson Commando eerily echoes modern nationalistic messaging.

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Crimson Commando justifies it all (Davis/Green)

Madelyne Pryor shows up in a subplot. She was seen, although not explicitly identified, several issues back being brought into a hospital as an unidentified Jane Doe. Through some flashbacks, we find out that she might’ve been one of the Marauders’ first targets, and after being in a coma for some time, now wakes up. In the interim, over in the pages of X-Factor, her husband Cyclops has left her to go back to superheroing. While editorially mandated so the original X-Men could be back together again, it will be a black mark on the character for a long time.

Alan Davis shows up against for the first half and is just wonderful. I especially love how he draws Storm here, which is good since she’s the central focus of the story. It really is too bad he wasn’t brought on as the main artist at this point but I think he was also working on Detective Comics at DC Comics at this point. Jackson Guice jumps in for the second part, as well as the first part of the next two-parter. He’s not as strong or distinct here as Alan Davis before him or the artist that comes next (more on him later). Guice is a fantastic artist but the first of two might’ve been a bit rushed or maybe not the best pairing with the inker. The second is good but he goes on to do much stronger work in his career (persona favorite: Ruse).

The next two-parter features the rest of the team, now relocated to Muir Island, a fictional location just northwest of Scotland. We’ve seen this place before, most prominently during the Proteus Saga from 1979. It is the site of a research and medical facility run by Dr. Moira MacTaggert, a scientific colleague and ex-girlfriend of the X-Men’s former mentor Professor Xavier (still presumed dead from mortal wounds when he was rushed off into deep space with his space girlfriend and her space pirate friends). All of the injured X-Men and surviving Morlocks from the Mutant Massacre were moved here for treatment. Moira is dating Banshee, who was a part of the X-Men before he lost his mutant powers of hollering. He never really resonated with me during his time on the team, in part because writer Chris Claremont went overboard with phonetically spelling his accent. But I liked him here, where he’s serving as a trainer for the new X-Men. It’s a brief appearance, so maybe that helps too.

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Longshot eats “burned animal flesh and unborn baby birds” (Guice/Leialoha)

The new X-Men are training while Storm and Wolverine are off doing their thing. The new recruits have a lot of catching up to do. Rogue is the senior member, as she’s been around since 1983. The new members are:

  • Psylocke – the telepath Betsy Braddock just joined toward the end of Mutant Massacre after surviving an attack from Sabretooth
  • Dazzler – the pop singer Alison Blaire generates light and lasers out of sound, and while she’s been a friend to the X-Men since 1980, she finally joined in the Mutant Massacre epilogue when her career and reputation were destroyed by the possession of Malice
  • Longshot – an extradimensional oddity who just joined in an Uncanny X-Men Annual that I don’t have
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Cool sequence of Dazzler absorbing background noise to recharge (Silvestri/Green)

These three members replace longtime X-Men Nightcrawler, Colossus and Shadowcat, who were seriously injured during the Mutant Massacre. Psylocke was a supporting character in British Marvel comics but was largely unknown in the United States until her introduction in a recent New Mutants Annual story. Dazzler had a solo series of her own that ran for 5 years, but while the character first appeared in the pages of Uncanny X-Men, there didn’t appear to be a lot of readers that followed the character into her own adventures. Longshot had only been seen in his mini-series by Ann Nocenti (coincidentally, editor of Uncanny X-Men) and Art Adams (who is the cover artist of the second part of this two-parter), released in 1985. While these characters aren’t complete blank slates, it’s not unrealistic to assume these are complete strangers to readers. It’s a big gamble to jettison half the cast all at once, and this two-parter is dedicated to winning readers over on the new members, especially Dazzler.

Callisto is still around too, but mainly as a device to get Dazzler to storm off in a huff. She shows up in the last issue of this batch to be grumpy again, which seemed a little forced. But I guess if I lost all of my friends to a band of murderers, I’d probably be a little grumpy too.

It’s a bit odd that Dazzler gets the spotlight, as she and Psylocke were heavily featured revery recently when they joined the team. Longshot is the biggest stranger and since these issues are the first time he’s being seen in the main book, it’s strange how peripheral he comes across. I was largely won over by Psylocke last time, and while previously ambivalent, here I’m mostly won over by Dazzler. As you might expect from a one-time celebrity, she’s a bit of a diva, prone to tantrums, and really only on the team because she has no other options. It’s a unique approach to a superhero team member’s inclusion. She’s certainly not the first reluctant superhero or reluctant member of a superhero team by any means, but because of the higher calling intrinsic in the mutant rights aspect of being an X-Man, there is an extra layer to it that feels unique within these pages. It’s also funny that she runs into the Juggernaut (even if her recognizing him out of costume as he speeds by in a car is a little much), who happens to be a huge fan of hers.

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Juggernaut is a closet Dazzler fan (Guice/Leialoha)

Of course, the four come together in time to defeat the Juggernaut and save some locals in Scotland. It’s a fun story that doesn’t feel incredibly consequential other than establishing these characters. Again, it feels a bit like a distraction from the impending Marauders threat, which is now starting to feel like maybe their attack on the Morlocks was it and the X-Men are just imagining that they’re still in danger.

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Longshot vs. Juggernaut (Silvestri/Green)

More noteworthy is the second half of this two-parter being drawn by Marc Silvestri. After one more fill-in artist, he will become the new regular artist on Uncanny X-Men, which has been rotating through a stable of fill-in artists since John Romita Jr.’s departure not even halfway through the Mutant Massacre. Silvestri is the first of a generation of artists that would become rock stars in the late 1980s and early ’90s, so I suppose it’s fitting in a way that his first issue of Uncanny X-Men focuses on the rock star Dazzler. Along with later stars Jim Lee, Todd McFarlane, Rob Liefeld, Whilce Portacio, Erik Larsen, and Jim Valentino, Silvestri will eventually help form Image Comics, a huge force in establishing creator-owned comics as a viable publishing strategy. As part of Image, he launched Cyberforce and eventually formed his own imprint, Top Cow Productions, which had huge success in the mid-’90s with Witchblade and The Darkness. But we’re getting ahead of ourselves. Here, Silvestri brings a refreshing look to the characters. There is a degree of fun to his layouts and characterizations that help counter the darker tones seeping into the book post-Mutant Massacre. He also has a sleek and sexy edge that prevents it from tipping into too silly. Maybe for the first time since John Byrne and Paul Smith, the characters just look cool doing what they’re doing. They’re expressive, dynamic, and it looks exciting. Really, his arrival is probably the best part of this batch of issues, although probably more for the promise of what is to come.

The last issue in this set brings Havok onto the team, which you’d think they would’ve done before the team-building two-parter with Juggernaut. Havok is Alex Summers, the younger brother of Cyclops, the first X-Man (retcons aside). Alex was first introduced way back in 1969, a couple of issues before the arrival of the legendary artist Neal Adams attempted to save the beleaguered original X-Men series from getting cancelled. Unfortunately it didn’t quite work, and the book was put on hiatus about a year later (and then successfully relaunched in 1975). But during that time, Alex was revealed to have the ability to convert ambient cosmic energy into cool looking blasts of concentric circles. Like his brother Alex, he has poor control over his powers. While he briefly served as an X-Man, he has mostly wanted to try to live a normal life. His girlfriend the green-haired Lorna Dane is also a mutant. Of course the two invariably get sucked back into mutant shenanigans and that’s exactly what happens here.

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Suspicion and paranoia (Blevins/Green)

A few other odd things happen (or don’t happen) in this issue. First, the issue right before it ends on a cliffhanger of Alex and Lorna discovering one of the big fish that serve as the spaceships for The Brood (last seen during the Brood Saga). If the Brood are back, that is seriously bad news, and Alex and Lorna acknowledge this. Then, in the next issue, no mention of this is made whatsoever. It’s revealed during this issue that Alex’s memories were tampered with by Psylocke (more on that soon!) so it’s entirely possibly his memory of why he was going to visit the X-Men was erased too. But Lorna makes no mention of it either. Apparently this whole plot point is left dormant for years, which is crazy to me. Why introduce it the way it was if nothing is going to be done with it? Alex could go visit the X-Men for any number of reasons that lead to him joining. To me it is indicative of how Chris Claremont isn’t quite on top of things as a plotter as he once was. Smaller clues suggest that Claremont’s awareness of the character’s history, even history that he himself wrote, is not very strong. Again, this could be chocked up to Psylocke’s mind-wipe, but it seems like a convenient excuse rather than a choice made for the story.

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Havok twists and turns through his own paranioed confusion (Blevins/Green)

Despite this, the use of Alex’s narration and his discovery of his own former teammates’ treachery at altering his memory present a good tale of paranoia and increasing anxiety that also play into the post-Mutant Massacre tone the book is taking. Fill-in artist Bret Blevins provides a suitably creepy, twisted and unsteady style that really serves the story here. The X-Men gather in the abandoned tunnels of the Morlocks to plan how to fake their own deaths so the Marauders will leave them and their loved ones alone. This makes it seem like Storm might’ve changed her mind after deciding to be more proactive a few issues earlier. Although I guess there’s no real reason why both plans can’t still be in place.

Meanwhile, in case we forgot that the Marauders are still a threat, Lorna is being attacked by them, and is eventually taken over by the mind-controlling Malice. Ultimately, story is showing both Alex and Lorna as they’re forced back into the X-Men’s world, but end up on opposing sides. Neither is entirely making their choice of their own free will. One is straight-up mind-controlled, and the other is somewhat coerced and somewhat left with no other option.

Speaking of lack of free will: the mind-wipe. Years later, DC Comics revealed a similar mind-wipe among teammates in the pages of Identity Crisis by Brad Meltzer and Rags Morales. This was a big event for DC, and an extremely controversial moment. Here, it’s kind of brushed aside as a failed attempt to keep Alex safe and everyone moves on. It’s quite bizarre and reminiscent of Professor X’s ethically dubious use of his telepathy back in the very beginnings of the X-Men comic. This is a big red flag that the X-Men are losing their way without their mentor (who eventually took a more ethical approach to his powers).

Another controversial moment comes from Psylocke when she suggests killing Alex when Storm asks for any additional alternatives of what to do with him. From what I understand, this got a lot of angry letters but this didn’t ring as troubling for me. First, the story is told from Alex’s perspective and he’s obviously pretty suspicious and shaken. There’s always the unreliable narrator factor, and it’s clear his state of mind is frazzled and panicked, clouding his judgement and clarity. I don’t think the option was as seriously considered as he feared. Second, he’s only recently met Psylocke. Even Storm isn’t a close friend to him. So it’s very possible he’s misreading them. I think it’s more likely Psylocke is offering it as an improbable alternative to highlight that they really have very few options.

But even if she didn’t propose it as a genuine option, this is still another hint at what Psylocke will eventually become. Even in her previous encounter with Sabretooth, she longed to be tougher, and demonstrated a willingness to risk Wolverine to get information out of Sabretooth. There is a cold-bloodedness to her that is easily missed because of her pink costume and prim British appearance. So while I don’t think Alex was in any real danger of being murdered by the X-Men, it is a clue of what Betsy will become.

That kind of disciplined foreshadowing is what makes writer Chris Claremont impressive. But at the same time, plots get away from him, and juggling the hints and mysteries he’s setting up can clearly get away from him. There is something to be said for clarity and straightforward storytelling without all of the winding diversions and distractions. This batch of issues was a mixed bag of his strengths and weaknesses colliding.

Amid this transitional period, letterer Tom Orzechowski and colorist Glynis Oliver continue to be the bedrock of the series. As artists come and go, they have held down the fort for years now. Orzechowski has been on the book since 1977 and Oliver since 1978 with only occasional interruptions. With about a decade on the book each, they’re both only surpassed by writer Chris Claremont’s legendary duration. Just look at the colors above that add to Blevins’ bug-eyed delusions, and the lettering that sells the scene of Dazzler using countryside sounds to recharge herself. Those are some of the more obvious displays of their talent, but they are continually serving the stories and characters well with their skills.

Next time: Marc Silvestri officially settles in as the main artist in the build-up to the next crossover event.

(Re-)Reading Uncanny X-Men: Mutant Massacre

What? Another post so soon? Yes!

I continue my epic read-through of Marvel’s Uncanny X-Men comic book series, which started all the way back in 1963. I’m up to the end of 1986 and the very start of 1987 with the very first crossover event for the X-Men titles, Mutant Massacre.

Marvel had done events and crossovers before, notably with Secret Wars and its sequel Secret Wars II, but this was the first event where it was mostly centered around a family of titles. Also unique was that there wasn’t a mini-series or other comic released as the main narrative. There are no comic books titles Mutant Massacre, the whole story is told as part of regular issues of ongoing comic book series.

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Uncanny X-Men #210: one of the more effective scenes of the X-Men encountering an anti-mutant mob

It was such a hit that the X-Men comics franchise would refine and recycle this publishing strategy every year for a long time. For a while, it was like clockwork.

In some ways, this was the first big step toward the bloated X-Men line with its convoluted interconnected storylines that eventually became impenetrable for more casual readers. It’s the beginning of a slippery slope, but what’s actually here isn’t as bad as what comes of it. Mutant Massacre is well constructed from an accessibility standpoint. Each comic book series looks at their own characters’ perspective of the event and largely stays in its lane. I only read the Uncanny X-Men issues. While it drops in acknowledgements that there are things happening elsewhere (in issues of X-Men spinoff titles X-Factor and New Mutants, and less X-Men-centric titles like Power Pack, Thor, and Daredevil), it wasn’t a disruption and it largely read well.

Another peculiarity to this event is that it isn’t clearly branded. In the first part of the event there was a guide of what issues to read but that’s basically all you got. The event isn’t referenced by name on the cover. There’s no “Part 1 of 4” language used anywhere. Even the structure of the plot is somewhat ambiguous in its conclusion. The main action happens fairly early on and the rest is mostly aftermath. There’s no big climactic conclusion, the characters just continue on the best they can. This soft ending is reinforced by some printings of collected editions disagreeing on the final chapter of the event. For the sake of my reading, I’m including Uncanny X-Men #210-214, which matches more recent collected edition reprints. Even though the original promotion for the event had it finishing with 213, I think the whole thing reads better by adding 214.

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One of the more brutal attacks: Riptide’s flying weapons

Many events in the future will brag that “nothing will ever be the same again” but before that became a marketing cliche, this event actually did it without really saying it was going to do it. The title’s status quo and cast get seriously altered and won’t really get restored until the ’90s, and in some cases, not until the 2000s.

The big inciting incident is that a brand new band of villains called the Marauders slaughters the majority of the Morlocks, the mutant civilization living in abandoned subway tunnels under Manhattan. They’re basically a band of homeless squatters and only some of them have any notable mutant powers to speak of. There’s no real explanation of why, except that the Marauders’ mysterious boss considers them an unknown quantity and wants them removed. Since Storm is supposed to be the leader of the Morlocks, the X-Men go to help. They assist the escape of several surviving Morlocks, and get pretty beat up in the process. They’re followed back to their home, the Xavier school, and are left pretty defenseless.

It’s some of the most death the comic has seen so far. Hundreds of Morlocks are seen dead. Wolverine and Nightcrawler were already in poor shape from recent adventures. Colossus and Shadowcat also get seriously injured. Of course Wolverine heals because that’s what he does, but it’s clear he’s still struggling and not in the best shape. That really only leaves Storm, still with no powers, and Rogue. With half the team decommissioned, the event ends with two new recruits, the British telepath Psylocke and the laser-light generator Dazzler, who after several past recruitment attempts finally joins the team for real.

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Colossus loses any innocence he had left

The carnage clearly leaves the characters rattled.

Storm seriously considers quitting as X-Men leader due to the losses. She’s talked out of it by her rival Callisto, the previous leader of the Morlocks. Callisto and Storm have had a begrudging respect for each other for some time and this nicely builds on that. I was really hoping that Callisto would join the X-Men. At this point, she’s one of my favorite recurring characters of the series. Storm remains one of my favorite X-Men and she continues to be the glue holding the team together through some pretty rough times.

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“Logan old son…”

Wolverine finally has his milestone encounter with Sabretooth. They’re establishing as longtime rivals. The mysteries of Wolverine’s past are starting to stack up and it’s a bit obvious in retrospect that they often had no idea what half of this stuff actually meant. Whatever makes him seem cool, just throw it on the pile. From interviews of the time though, we know that Sabretooth was meant to be Wolverine’s father. Some of Sabretooth’s dialogue in these issues makes this pretty clear too. But as with too many of Claremont’s long percolating plots, he never got around to confirming it. After all, he only had 15+ years writing Uncanny X-Men and many of its spin-offs to get around to this stuff. Later writers naturally wanted to put their own stamp on things so they did something different with the hints. Usually this results in retroactively causing some dialogue in the older stories to be a bit discordant with what is to come. It doesn’t outright contradict but it doesn’t quite line up either.

Rogue doesn’t seem to do too much in this story, emotionally. She’s around a lot to use her powers but she doesn’t get a lot of character moments.

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Shadowcat fading away

During the initial battle with the Marauders, Shadowcat’s powers are disrupted somehow, causing her to slowly fade away. She eventually can’t even talk and we don’t even get any thought bubbles from her, making it extra creepy and sad. She’s put in some kind of container, although it’s not made clear exactly what it’s supposed to be doing since she could theoretically pass right through it. Nightcrawler also gets seriously injured and ends up in a coma. The two characters, along with Rachel Summers, who was written out in the last set of issues, will all star in the spinoff series Excalibur, although it doesn’t launch for another year.

Colossus sadly snaps during the fight and actually kills one of the Marauders. This is one of the most memorable moments of the story and really drives home how grim things are getting in the midst of the massacre. While he makes it out of the Morlock tunnels, it’s discovered that his injuries are actually worse than they seemed and he ends up being paralyzed. He’ll vanish from the series for a time too. Apparently he was also intended to be in Excalibur but during the development of that series, Captain Britain took Peter’s spot as the strong guy. So he’ll eventually return but it’s too bad we don’t get to see him dealing with his actions during the fight.

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Psylocke’s first knife, not the focused totality of anything

Betsy Braddock is a semi-new character. She was new to American readers, but she first appeared about ten years earlier in Marvel’s UK comics. She gained the name Psylocke in her first US appearance for New Mutants Annual #2, where she is kidnapped and given bionic eyes so she can be an unwitting spy for the extra-dimensional villain Mojo. She hangs around the Xavier school for a few months as everyone, including herself, debates what to do with her. While clearly older than the teenaged New Mutants cast, she’s considered for that team instead of the X-Men. But when Sabretooth invades the mansion, Psylocke proves herself and she earns a spot as an X-Man. This issue was really interesting because I mostly know the character in her ninja guise she’s given later. It always seemed like a random juxtaposition between the two versions of the character, but there are a lot of clues in this issue that indicate Claremont might’ve actually planned the transformation all along. She tries to use a knife in self-defense (she’ll later have a psychic knife), and her own narration has multiple references to her wanting a darker side to her prim exterior. This fight with Sabretooth gets a sequel years later. I’ve read that issue and never knew the characters had a history like this.

Dazzler was outed as a mutant a couple of years ago, which ruined her singing career. A subplot in these issues shows her taking a job as a musician in Lila Cheney’s band. Lila is a character that only had a few appearances in New Mutants up until now. This is her first appearance in Uncanny X-Men and she probably could’ve been introduced a bit better. There’s nothing to indicate that she knows the X-Men until they get a call from her letting them know Dazzler is acting weird. But anyway, what seems like an unrelated incident ends up being another of the Marauders mind controlling Dazzler. They eventually free her but now her career is completely ruined, so without really any other options, she agrees to join the team.

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A mind-controlled Rogue isn’t helping the X-Men’s already bad reputation

Speaking of the Marauders, aside from Sabretooth and the mind-controller Malice, we don’t get a lot on them. They’re obviously brutal but they’re mostly just different flavored foot soldiers serving someone named Mr. Sinister. It seems like most of them are mutants but other than their boss vaguely wanting to get rid of “wild cards,” there isn’t much explanation for why this is all happening. And since this is mostly mutants killing mutants, it’s not really furthering the building theme of the growing anti-mutant hysteria. From what I’ve heard, the original plan for this story was that Nimrod was going to be the main villain slaughtering the Morlocks. This probably would’ve been better thematically. Of course, there was just a big battle with Nimrod, but I assume if the original Mutant Massacre plans held, those issues would’ve played out differently.

On the art side of things, it’s a bit inconsistent, averaging one artist per issue. After three years as the main artist, John Romita, Jr. departs. He’ll return to the series in 1993 for another stint, at which point his distinctive style will be firmly in place. Bret Blevins steps in for several pages on Romita’s last issue. He will later show up for a run on New Mutants. Rick Leonardi, who wonderfully handled Cloak and Dagger, does a fill-in. Alan Davis arrives for a fill-in issue as well, and his issue looks wonderful. I wish he took over as the regular artist but his style may not quite fit the darkening tones. Barry Windsor-Smith shows up again for his fourth issue of the series. Although here he only does pencils, the first time he didn’t also handle inks and colors. It was strange to see him hop in on something more conventional but it still looks great. Those are all fantastic artists but their styles vary somewhat, weakening the cohesive unity of the overall story. As w get to later crossover events, this will become more of a problem. Here it seems like Romita was maybe removed from the book before they had a new regular artist in place, causing a bit of a scramble.

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Wolverine demonstrates just how rattled they are

While the X-Men are trying to rebuild, they are both physically and emotionally battered, both individually and collectively. While there have been harrowing moments and the threat of danger hanging over the series for a long time, this is among the most permanent repercussions they’ve had to face. Half their team is medically unstable, the mansion is serving as both a morgue and trauma unit for the Morlocks, their mutant-detecting equipment Cerebro is beyond repair, and they are in no shape to defend themselves from an attack, which they expect could come from the Marauders any day. In many ways, the series had been coasting on the momentum of the classic John Byrne era of 1978-1981. This seems like the strongest step toward bringing the book into a new era.

While I’m sad to see this era of the X-Men end and some of these characters move on, I have to admit some elements were getting a bit tired. Most of the characters getting removed were directionless for awhile, as if Claremont had run out of things to say with them, so it seems like a good move. I’m liking Psylocke more than I expected already. Dazzler I can take or leave so far but we’ll see. This kind of deck clearing is rare in any kind of franchise, so I appreciate the bold move and am excited to see what happens next.

Next time: More new characters, and moving out of the X-Mansion

AMA: What happened to the CrossGen stuff?

Last summer, I did a month of Ask Me Anything posts. The beauty of the internet is that it remembers everything. Last week, I got a new submission from those old posts. It asked:

What happened to your CrossGen stuff?

Scroll down to the last paragraph for the answer if you know the CrossGen story. If not, read this first:

meridianSoooo… for context, CrossGen Comics was a comic book publisher that ran in the late 1990s and early 2000s. At the time, I was pretty burnt out on Marvel. They offered a great alternative without being too alternative. They were mostly action/adventure tales using similar storytelling techniques seen in superhero comics but they were set in different genre trappings or remixes, like sci-fi, high fantasy, Victorian mystery, kung-fu, etc. Like Marvel and DC, the comics were all set in the same universe, but to give breathing room, independence and accessibility, each comic was set on a different planet, instead of a different city or part of New York. This allowed a lot of unique world building and stylistic freedom. But because there was some shared mythology and the possibility to visit other planets, it still had the appeal of shared universes. For the most part, this allowed readers to read as little or as much of the publisher’s line as they wanted. When characters did crossover, they were initially very good at presenting it so it held up regardless of how much of the line you read.

That unique approach to publishing was already intriguing to me, but to add to that was the unique business model. At the time, and for the most part still today, comic book creators work as freelancers. There will be exclusive contracts here and there, but for the vast majority, comic creators still almost entirely work from home project to project with little job security. CrossGen Comics was bankrolled and led by a comics fan who just so happened to have been a CEO for a previous non-comics company that had been bought. He took a decidedly corporate approach to running CrossGen. Creators were hired full-time to work in the office headquarters in Tampa, Florida. They were given a salary and full benefits like a real full-time employee. This led to a collaborative bullpen, like the mythological Marvel Bullpen. At the same time, the company innovated in how it handled reprint editions to bookstores, establishing a format and release schedule that has become industry standard, and digital comics well before the launch of comiXology.

It all sounded pretty exciting, so I jumped right in early on. I bought every book and built a fan-site that tracked each character and their appearances. It was pretty barebones design-wise, and I never got around to actually dressing it up, but it became a good resource for those getting into the company’s universe, especially as it grew. Around the same time, I started writing for the short-lived online resurrection of The Comics Reader (another site sadly no longer online), and interviewed CrossGen’s CEO for one of the first in-depth articles on the nonprofit organization that would become The Hero Initiative. I interviewed several others on the initial board for The Hero Initiative, but CrossGen’s CEO was the most generous with his time. We spoke on the phone and he was very charming, generously sending me a few prints.

Good times.

Abadazad1So what happened? Long story short (too late), the company overreached. The CEO’s ambitions outstretched the limitations of the comics industry at the time. Plus, from what I understand from various interviews, there were some significant clashing of egos at the CrossGen Compound in regards to how much the shared universe elements should play a part in each book. Risks were taken that didn’t pay off. Paychecks started to slow down. Creators started to leave. Finally, they went into bankruptcy. Because of the corporate structure, all of the properties were either fully or partially owned by CrossGen (aside from a few partnerships with other publishers). When the properties went to auction, Disney’s Hyperion Books showed up and bought the entire line just so they could get J.M. DeMatteis and Mike Ploog’s Abadazad, a beautiful fantasy series that riffed on classic children’s books like Alice’s Adventures in Wonderland and The Wonderful Wizard of Oz. The comic was a late entry in the publisher’s output intended for an imprint set outside the CrossGen Universe line. Only 3 issues were published before the company went under. The book was relaunched by Hyperion Books in 2006 as a comics/illustrated children’s book hybrid that sadly didn’t find an audience and was discontinued after the third book in the series. Also in 2006, Checker Books licensed reprint rights to try to get unreleased collected editions to market. At the time, there were rumors of Checker trying to also publish unreleased stories, such as the highly anticipated Negation War. But alas, Checker seemed poorly equipped to really promote the line properly and their production quality couldn’t match the original books. Plus, the bad taste of the company’s end was probably still too fresh.

Then in 2009, Disney acquired Marvel Comics, which means that ironically CrossGen Comics is now part of the same company it once wanted to supplant. The following year, Marvel announced a CrossGen revival, and a few mini-series were released in 2011 minus the shared universe element. Historically, Marvel has not done well with marketing non-superhero comics, with the most notable exception of Star Wars, which basically markets itself. So needless to say, that relaunch fizzled. It’s been nothing since.

Every so often I’ll get an email asking me about that old site proving that either old CrossGen fans are still out there or new readers are somehow still finding the old books. As I said in the beginning of this post: the internet remembers.

To (finally) answer the original question, somewhere mid-2000s I switched a few services in how my sites are hosted. Sadly, the CrossGen site was lost. I thought I had locally saved the information, but even that seems to be gone now, probably swallowed up in a computer transfer. It’s one of those things in the back of my mind that I’d like to try to rebuild but honestly it’s not a priority as I don’t really relish the idea of redoing all that work, and I don’t really know if there’s still enough CrossGen fans out there that would care. Maybe someday… Heck, if Valiant can come back…

EDIT: Oh yeah, and sure, I’ll keep the Ask Me Anything open:

(Re-)Reading Uncanny X-Men: Wounded Wolf and Ghosts

I’m still here! I’ll be honest, getting through the Secret Wars II period was a bit of a challenge. But I’m glad I kept going because on the other side of it are some stories that prove there’s still some worthwhile comics with these characters.

In case you can’t tell, I’m reading (or in some cases, re-reading) Marvel’s entire Uncanny X-Men series, starting from the original X-Men comic book from the 1960s, through to its relaunch in the 1970s and its rise to the best-selling comic of the 1980s and ’90s until… well, I guess we’ll see. I’m obviously not very prolific, but slow and steady wins something or other.

Anyway, I’m up to 1986, right before the very first X-Men event, Mutant Massacre. This batch of issues covers Uncanny X-Men #205 to 209.

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No words left in the final battle

The standalone Uncanny X-Men #205 is one of the best issues of the era, thanks in large part to the return of extraordinary artist Barry Windsor-Smith. This is his third assignment on the series, previously handling the two Lifedeath stories starring Storm. It seems like a pretty good gig. He gets to show up once a year and really spend the time on creating a beautiful book, leaving the month-to-month grind to others. He provides pencils, inks and colors, which is unusual at the time for an artist on a big superhero book to get such ownership over so much of a comic’s visuals. But it pays off, with an atmospheric and tense story.

This may be the most primal and animalistic we’ve seen Wolverine yet, and this is nicely juxtaposed with the innocence of 5-year-old Katie Power, the youngest member of the pre-teen superheroes Power Pack, who first met Wolverine in issue #195. The issue is told from Katie’s perspective for a good portion of the book, which helps present Wolverine as more scary than we’ve seen him.

(Aside: I love how the adult with Katie in the beginning is never fully seen, keeping the perspective on Katie. It reminds me of the charming POV trick used on the animated Muppet Babies show, where we almost never see the Nanny above the height of the childlike main characters. Muppet Babies had already been airing for a couple of years by now, so I’m going to go ahead and claim that Windsor-Smith was inspired by it for this scene.)

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Katie is clean and bright, Wolverine is bloodied with muted tones

Another nice juxtaposition device is the initial POV on the villain Lady Deathstrike before shifting to the innocence of Katie. I thought Lady Deathstrike first appeared here but apparently she had been bouncing around Daredevil and Alpha Flight for a few months. This is where she adopts the look she will maintain for a long time. The first scene shows her grotesque transformation into a cyborg with creepy fingers that extend out into long razor sharp claws. It’s left a bit vague but Lady Deathstrike believes that her late father will somehow be redeemed by her confronting Wolverine, to the death if need be. “The key is Wolverine, and the secrets locked within his gaijin brain,” she explains in narration. The mystery of his tortured mind and his feral regression depicted here still seem novel at this point but they become more common devices to amp up Wolverine’s cool factor with increasingly diminished returns. Apparently, Deathstrike believes that Wolverine somehow stole her father’s process to bond adamantium to a person’s skeleton. Geez, Lady Deathstrike, how about just hire a patent attorney?

After that issue, we return to regular artist John Romita, Jr. where the X-Men are still in San Francisco from the events of the last batch of issues. Freedom Force (formerly Mystique’s Brotherhood of Evil Mutants but with a government pardon and deputized as federal agents) chases them down and actually beats them, wrecking the neighborhood in the process, and only the intervention of local police buy the X-Men time to flee. It’s a decent fight scene but the X-Men fighting this batch of characters is starting to wear a little thin, even with the addition of Spiral and Spider-Woman. The issue ends with Rachel deciding to finally reveal herself to Scott as his daughter but then the next issue the X-Men are back in New York with no mention of that trip. Maybe that scene happened in the recently launched X-Factor? Either way, it’s a bit weak that there’s no follow-up on it in the next few issues, especially considering their focus on Rachel. This era in particular is muddled by too much interactions between books and not enough awareness that people may not be reading every book. Essentially, if you don’t read it or miss the connection, too bad, you’re on your own.

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Nice use of colors and angles for Rachel’s nightmare

Once the X-Men return to New York, recuperating with the Morlocks, they all remember that they’re mad at Rachel for co-opting their life essences to fight the Beyonder during Secret Wars II. This is one of the increasingly odd Chris Claremont ticks where the leapfrog approach to plotting has these delayed responses to things. In the previous issue, it seemed like everyone was fine with Rachel but now everyone’s giving her the cold shoulder. Regardless, there’s some good stuff here, including cool dream sequences (enhanced by Glynis Oliver’s colors) of Wolverine hunting Rachel down as she struggles with her survivor’s guilt and even some suicidal thoughts (echoing Jean Grey committing suicide in the Dark Phoenix Saga). Rachel’s dreams foreshadow the final encounter, with Wolverine, dragging himself out of bed while recovering from his fight with Lady Deathstrike, to try talking Rachel down from murdering Selene. The scene abruptly ends with one of the best cliffhangers the series has had in a long time.

The final two issues show the aftermath of that encounter where the Hellfire Club prepares a retaliation and the X-Men and Morlocks search for Rachel. Everyone tracks Rachel to Central Park, and then must also fend off the random arrival of Nimrod, the pink mutant-hunting robot from Rachel’s future. Aside from some goofy costumes (Leland, what are you wearing?!), there is some really creative moments with the different powers and nice juggling of multiple parties with distinct motivations and objectives. Where the Freedom Force battle was kind of boring, this had higher stakes with better choreographed set pieces.

UX208-Rachel-awakens

Creative use of lettering by Tom Orzechowski to show a telepath waking up

Spiral’s Body Shoppe, which debuted in the first issue of this batch of comics to transform Lady Deathstrike into a cyborg, appears again at the end, luring Rachel into a way to escape from her own guilt. Nightcrawler, who finally returns to the team, appears to be removed again from the playing field (although only temporarily). So the story ends with the team down to five: Storm, Wolverine, Colossus, Shadowcat and Rogue. (I can’t really figure out what Colossus is still doing here. He maybe had five lines in this run of issues. I like him but he’s being wasted and could be swapped out for virtually any other super-strong person.)

John Romita, Jr., and Dan Green continues to be a good visual storyteller. He’s more interesting in dream sequences and other strange scenes where he seems to give himself permission to be more unconventional.

All told, while plotting coordination is slipping, resulting in some uneven issues, this is a mostly decent set of comics, with the Barry Windsor-Smith issue in particular skewing the average up considerably. Next is the first X-Men-centric event: Mutant Massacre! I’ll try to take less than 6 months this time.