Written by: Scott Lobdell, Jeph Loeb, John Francis Moore, Mark Waid, Warren Ellis, Fabian Nicieza, Larry Hama, Howard Mackie, Terry Kavanagh
Art by: Roger Cruz, Terry Dodson, Steve Epting, Andy Kubert, Adam Kubert, Carlos Pacheco, Joe Madureira, Tony Daniel, Salvador Larroca, Chris Bachalo, Ken Lashley, Steve Skroce, Ian Churchill, Joe Bennett
Marvel Comics, 1462 Pages
I’ve really only heard great things about The Age of Apocalypse storyline since it started back in 1995, an era where I wasn’t really reading comics for awhile, except for Dark Horse’s Star Wars stuff.
In fact, the last major X-Men related event that I had read before this was X-Cutioner’s Song, a pretty good epic. But shortly after that, I got pretty burnt out once the top Marvel guys went off to form Image and then those comics were constantly hindered by delays and irregular schedules.
Based off of all the praise I heard, I always wanted to read this but it was such a massive story, spread over multiple collected volumes that I never really wanted to fork out the over $100 it would cost to buy the whole shebang. So, all these years later, I took advantage of a massive X-Men sale on Comixology and got the entire saga with its prelude for about $20.
Now that I’ve read it, I’m glad I only spent $20 because like Game of Thrones, all my friends and all the critics lied to me about how great this was. It’s not, it’s a clusterfuck of biblical proportions showcasing a lot of the things that were wrong with mid-’90s comic book art from the major publishers.
I’ll start with the art and just come out and say that this was mostly an eyesore to look at. The biggest reason was the colors, which relied so heavily on what I assume are digitally created gradients and overly vibrant colors that this was like staring into the asshole of a tropical fruit salad for hours. Everything is too busy, every single issue collected is made to be overly grandiose and if everything is larger than life and overly vivid, then that becomes the norm and thus, makes everything kind of boring.
Additionally, there is such a mix of different artistic styles that it becomes jarring as these collections jump from issue to issue every twenty pages or so. Some of the artists had great pencils but many of them illustrated in a style that didn’t feel like Marvel and instead felt like the artists were trying to emulate indie comics from Image and Valiant. Besides, the stuff that was illustrated well, ended up being wrecked by the primitive gradients and crazy colors that looked like a giallo film puked all over a box of Prismacolor markers.
When it comes to the narrative side of this, that’s also a mess.
This suffers from trying to be way more ambitious than it needed to be. The whole story is comprised of about seven or eight different subplots that are and aren’t intertwined. Some of them merge towards the end into the bigger story but some stuff just happens within this new timeline. But the story jumps around so much that it makes the whole thing hard to follow as a singular body of work. This is the same problem I have, right now, with all the new X-Men related titles that are tied to a bigger narrative but don’t feel connected as much as they should. But this is what happens when you have a half dozen different titles and different writers, all of whom want to explore different territory in their own way while being trapped within a common framework.
In fact, the only plot I actually enjoyed was the one that dealt with the characters that aren’t tied to the X-Men.
There was a two issue miniseries called X-Universe, which focused on what other Marvel characters were up to during this event. We check in on this timeline’s version of Gwen Stacy, some of the Avengers, Fantastic Four, Doctor Doom and a few others. I found this more interesting and it showed me that this alternate timeline could provide the right sort of environment for cool and refreshing takes on old characters.
While I should probably feel the same way about all the X-Men related characters and their stories, it is hard to focus on any of them because of how this jumps around so much. When I got to the non-X-Men characters, it felt like a nice break from the X-clusterfuck I was pushing myself through.
Ultimately, I was really disappointed in this. I kept powering through it because I was hoping that all these subplots and characters would unify into something coherent that clicked at the end but that didn’t happen. We eventually get to a resolution but it’s not all that satisfying.
On a side note (and spoiler alert): the way that Magneto kills Apocalypse is pretty f’n badass.
Pairs well with: other big X-Men crossovers of the ’80s through ’00s.
Written by: Chris Claremont, Peter David, Louise Simonson, Steve Englehart, Mark Gruenwald, Ann Nocenti
Art by: Marc Silvestri, Todd McFarlane, Bret Blevins, June Brigman, Kerry Gammill, Jon Bogdanove, Kieron Dwyer, Keith Pollard, John Romita Jr., Walt Simonson
Marvel Comics, 803 Pages
This was a story so big that it was collected into two massive volumes. But I figured I’d read both and give the whole thing a single review, as one body of work.
But that may have not been the best approach, as this crossover doesn’t really crossover in a way that makes one big story. This is more like an anthology of events that were going on in all the different X-books at the same time. And weirdly, this isn’t collected in chronological order but as separate stories without much overlap or characters meeting.
This big event also has some short stories focused on Hulk, Captain America, Daredevil, Black Widow and the Fantastic Four. In those tales, it shows what they’re up to during the events of what is happening in some of the X-books.
The Fall of the Mutants takes place between Mutant Massacre and Inferno. It is also the last of the ’80s X-Men crossovers that I hadn’t read in its entirety.
Out of all the tales here, I thought the X-Factor one was probably the best as it concludes the Apocalypse and Angel storyline, as it introduces Archangel for the first time. Also, the X-Factor arc showcases Cameron Hodge turning on the team, revealing his true agenda to set up what would eventually be the superb crossover event X-Tinction Agenda.
The New Mutants part was the weirdest but it also featured Hodge’s heel turn and kind of sets things in motion for X-Tinction Agenda and Inferno. This is also where the New Mutants dump Magneto as their teacher and return to the ways of Charles Xavier.
Ultimately, this was kind of a mess when read as one body of work. But it does do a proper job of bridging the gap from Mutant Massacre and the next two big events to follow.
Pairs well with: other major X-Men crossover events from the ’80s and ’90s.
Also known as: X-Men: The Animated Series
Original Run: October 31st, 1992 – September 20th, 1997
Created by: Eric Lewald, Sidney Iwanter, Mark Edens
Directed by: Larry Houston
Written by: various
Based on: X-Men by Stan Lee, Jack Kirby
Music by: Ron Wasserman, Shuki Levy, Noam Kaniel, Amotz Plessner
Cast: Norm Spencer, Cathal J. Dodd, Lenore Zann, Iona Morris, Alison Sealy-Smith, George Buza, Chris Potter, Tony Daniels, Alyson Court, Catherine Disher, Cedric Smith
Saban Entertainment, Graz Entertainment, AKOM, Fox Kids Network, 76 Episodes, 22 Minutes (per episode)
This animated show was the absolute highlight of my week back when it first came out and for a few years until high school took over my life and with it, the pursuit of other things. Honestly, I kind of checked out on this show around the same time that I checked out on comics because I was playing sports and trying to impress girls.
I did end up watching the show in its entirety, years later, after it was all available to stream on Netflix some time ago. I liked it and I thought that the show mostly maintained its consistency till the end, minus a few bad episodes, here and there.
Now that it’s on Disney+, I felt compelled to revisit it, as its been awhile and my memories of it are so fond.
However, despite still recognizing its greatness, it doesn’t quite resonate the same way for me anymore. I don’t blame the show, though, I blame the age of the viewer: me.
As I’ve gotten older, it’s harder for me to sit through long bursts of animation. I’m not sure why but I watched a handful of episodes and found my mind wandering, looking at my phone, looking at the clock and then thinking that I’d rather just read the comics that these stories are trying to adapt.
Again, it’s not X-Men, it’s me.
I then talked to a friend about it and he said that he feels the same way with most of the cartoons he used to watch. He’s 44 and I’m now 41. So I wonder if 40 is some sort of point where the mind severs itself from this type of entertainment? But then, I can still watch Batman: The Animated Series and the Marvel/Sunbow era of G.I. Joe: A Real American Hero.
That being said, I can’t shit on the show for my personal inability to sit through it now.
It’s a stellar animated series, one of the best of its era. The stories were well adapted, even if they took a lot of liberties and didn’t follow the same sequence as the comics.
Pairs well with: the other Marvel animated shows from the ’90s.
Published: April 10th, 2013, August 29th, 2013
Written by: Rick Remender
Art by: Mike McKone, Phil Noto, Julian Totino Tedesco, Jerome Opena, David Williams
Marvel Comics, 271 Pages
Well, I have finally reached the end of Rick Remender’s highly respected Uncanny X-Force run.
I’ve got to say that this end was fairly satisfying and that the series, as a whole, was good. However, I don’t quite feel the same about it as many of the others who hyped it up for me. I mean, I’ve only heard great things about it. But I wouldn’t call it great, I’d just call it good, sometimes solid but sometimes aimless. Or, at least, sometimes it felt aimless.
And I guess that some of what seemed aimless wasn’t but not all of those things were resolved and some of them didn’t really seem to have much of a point when looking at the whole picture.
The series, I thought, ended up putting so much emphasis on Psylocke that this didn’t feel like a team book. It felt like a Psylocke book with recurring side characters. That’s not to say that Wolverine, Archangel, Nightcrawler, Fantomex, Deadpool, etc. weren’t pretty involved in the proceedings but it’s to say that sometimes I forgot they were involved unless I was reminded by them showing up in a panel.
Ultimately, this is a neat series with an ending that tied up the important bits but I don’t feel like it adds much to the X-Men mythos and that it spent more time trying to be edgy and cool than actually trying to better the X-franchise.
Pairs well with: the earlier volumes in Rick Remender’s Uncanny X-Force run.
Written by: Chris Claremont, Louise Simonson, Walter Simonson, Ann Nocenti
Art by: John Romita Jr., Walter Simonson, Sal Buscema
Marvel Comics, 319 Pages
Well, not all giant X-Men crossover events can be created equal.
This one started off with a bang though. Sadly, it withered away in the second half, as it crossed over into non-X-Men-related titles and became a narrative clusterfuck that slowed down the story’s momentum to a complete halt.
The main reason I wanted to read this was to have a bit of background context before jumping into the following big event The Fall of the Mutants. While I had never read either crossover in their entirety, I had read parts and I knew that the stories had a very close association.
The focal point of the story shows the Marauders invading the Morlocks’ sewer hideout where they murder the shit out of them. Only a few actually survive and that’s mostly due to the X-Men, X-Factor and the New Mutants involving themselves in the ordeal.
As this collection rolls on, the story spins off into issues of Thor, Daredevil and Power Pack. This is where the narrative starts to become a mess. And once we get to this point, a lot of the issues rehash some of the same shit, over and over.
What I was excited to see was Apocalypse show up and the actual breaking of Angel. I thought that he would actually be turned into Archangel in this story but I guess that happens just after, which was kind of disappointing, as I’ve never got to read that actual story. I assumed it would happen here once Angel had his wings destroyed and was nailed to the sewer wall with about half the story left.
There were a lot of deaths in this but none that really hold any weight or matter to the bigger picture.
But I guess this helped plant the seed for The Fall of the Mutants and the introduction of both Archangel and Mister Sinister.
Pairs well with: other big X-Men crossover events from the ’80s and ’90s.
Published: June 24th, 2019 – October 9th, 2019
Written by: Jonathan Hickman
Art by: Pepe Larraz
Marvel Comics, 400 Pages
Let me preface this review by saying that this is the best new comic book story that I have read in ten years.
That’s absolutely a bold statement but let’s be honest, Marvel and DC haven’t really been bringing their A game for awhile, other than a few things, here and there.
Overall, modern comics just aren’t great anymore. But this is in a league of its own, as Sean Gordon Murphy’s recent Batman work at DC Comics is also on its own plane of existence when compared to what else is coming out from its publisher the last few years.
That being said, it’s been a really long time since I’ve been engaged by X-Men stories. That’s kind of depressing, as the X-Men pocket of the larger Marvel universe is one of my favorite franchises of all-time.
Jonathan Hickman has made me care again.
In fact, this made me care so much that I added every new X-comic to my pull list, as I am hoping that this carries over into something larger, richer and more spectacular. This sort of prologue to the larger X-universe is going to be a hard thing to beat or live up to over the long haul but it’s obvious that Hickman has a plan and I want to see how this all unfolds.
There are some things in this story that seem weird and out of place and I believe that these things are intentional. Primarily, many of the characters are acting uncharacteristic. I don’t think it’s an oversight or the product of a writer that doesn’t know what he’s actually writing about, as many modern writers seem to do.
If I’m wrong, I’ll be pissed and heartbroken but there is real intelligence to this writing and Hickman has a fantastic track record.
Also, this is a great jumping on point. You don’t really need to read what happens before. This is a true starting point for new readers or old readers that tapped out on the X-Men books long ago.
Plus, Pepe Larraz’s art is some of the best I’ve seen in a long time.
Pairs well with: old school X-Men mega crossover events.
Published: May 23rd, 2012 (Vol. 3), August 15th, 2012 (Vol. 4)
Written by: Rick Remender
Art by: Rich Elson, Billy Tan, Mark Brooks, Scot Eaton, Andrew Currie, Andrew Hennessy, Jerome Opena, Robbi Rodriguez, Dean White
Marvel Comics, 274 Pages (total)
This is the big story arc where this highly regarded comic series really came together for me. I was patient, I liked the build of the two volumes before this and I was happy to discover that this was going somewhere solid.
The Dark Angel Saga is broken out into two volumes but I’m reviewing it as one body of work because that’s the best way to talk about it and because these Uncanny X-Force TPBs are too short.
Overall, the story reminds me of the late ’80s/early ’90s X-Men crossover events. This is actually smaller in scale and didn’t crossover with multiple books but it just had that feel, as the story itself is pretty grandiose. And frankly, I’m surprised it was contained in just one comic.
Rick Remender had a vision for this title and this is where that truly becomes clear.
This is a team made up of several characters I love, as well as Fantomex, who I didn’t know before this but have grown to like over the course of this comic.
The focus of the story is on the continued inner turmoil of Angel/Archangel. Now that Apocalypse is dead, his body and mind are slipping into darkness, as he is supposed to evolve into the next Apocalypse.
The story also takes us into the dimension from the Age of Apocalypse epic. Our X-Force team finds allies in the X-Men team of that dimension, which adds some really cool subplots to the story, as characters are reunited and some are very different than their regular versions.
The Dark Angel Saga is well choreographed and written, balancing a ton of characters, introducing new ones but still giving us something pretty focused that tells its story well and isn’t bogged down by a large ensemble and the problems that come with that.
Pairs well with: the rest of Rick Remender’s Uncanny X-Force run.
Written by: Chris Claremont, Jim Lee, Fabian Nicieza, Whilce Portacio, Peter David, Len Kaminski
Art by: Jim Lee, Whilce Portacio, Kirk Jarvinen, Tom Raney, Terry Shoemaker, Paul Smith, Andy Kubert, Jerry DeCaire, Ernie Stiner, Steven Butler, Art Thibert
Marvel Comics, 437 Pages
I’m pretty excited for the current Jonathan Hickman run on the X-Men titles. I haven’t started reading them because the two miniseries that are coming out are doing so just about weekly. So I want to wait to have all twelve issues before giving it a read. But from what I’ve heard, it’s absolutely solid and quite refreshing.
However, before getting into the new stuff, I wanted to travel back to the height of my time reading and buying X-books: 1991.
The reason I wanted to go back there was because it was a transitional period, as the original X-Factor team came to an end, the New Mutants became X-Force and two new X-Men teams formed, each with their own ongoing monthly series. It was also a transition from the Chris Claremont era into the era of Jim Lee.
This thick trade paperback collects multiple story arcs but all of the arcs are unified in their purpose, which was to end an era and to create a new one.
Here we have the final stories of the first X-Factor team, as well as stories involving the newly formed X-Force and New Warriors, Freedom Force and the X-Men team as it existed when Claremont moved on from the series.
This almost feels like an omnibus.
It also features a lot of great creatives on the writing side and art side.
Ultimately, this was a hell of a fun read that flew by despite its meaty 437 pages.
We get dozens of heroes and a whole slew of major X-villains like Magneto, Apocalypse, the Shadow King, Proteus and Fabian Cortez, just to name a few.
While a lot of the ’90s comics I go back to don’t have the same effect on me as they did when I was twelve, this is a solid f’n read. Seriously.
And what’s really surprising is that it has all these creatives working on it and it still turned out to be a really well managed and fully realized vision that brought an era to its end, quite epically, and generated real excitement and enthusiasm for what was to come.
Pairs well with: other major X-Men crossover events from the era: X-Tinction Agenda, X-Cutioner’s Song, etc.
Published: September 28th, 2011
Written by: Rick Remender
Art by: Leonardo Manco, Jerome Opena
Marvel Comics, 108 Pages
I’ve wanted to pick up Rick Remender’s run on X-Force for a long time. But there are so many comics I want to read that the mountain is always growing. I finally got around to this one though, the first of seven volumes and a good setup for the series.
If you’ve read the X-Force series where the team becomes a black ops squad for Cyclops, handling the really dark shit that the X-Men can’t, then you should know what you’re getting into here. This picks up after that run but Remender shuffles the group’s members and makes things more interesting.
Where I’ve been critical of Deadpool in the past, these are the types of stories that he tends to flourish in. He is still comedic and has his quips but it works better having him lighten the dark mood than just starring in his own comic and giving us straight comedy or superhero parody.
I really like the duality that is explored here with Warren Worthington, as he phases between his Angel and Archangel personas and because of that, has real trust issues in his relationship with Psylocke.
This team also features Wolverine in a leadership role, as well as Fantomex, who I honestly don’t know. But he seems like an interesting enough character and I’m looking forward to learning more about him.
The threat in this story sees the emergence of a new Four Horsemen of the Apoclypse, as X-Men baddie Apocalypse has returned in an interesting form.
Where this is going is hard to tell and this volume doesn’t work as its own story. It reads like the first chapter to a much larger book. And while that may irritate some people that want a resolution within the covers of their trade paperbacks, I’m committed to seeing this whole series through.
That being said, this lays the groundwork without giving you too much of an idea as to what’s on the horizon. I hope the surprise is a pleasant one.
Pairs well with: the rest of Rick Remender’s Uncanny X-Force run.