Published: December 10th, 2014 Written by: Chris Claremont, Peter David Art by: John Buscema, Gene Colan
Marvel Comics, 495 Pages
As big of a Wolverine fan as I am, I have never read his earliest solo stories that revolved around his time in Madripoor when he was going by the name of “Patch”. I knew enough about this era but nothing is ever as good as reading it for yourself.
I read this on Comixology after buying it pretty cheap during a Wolverine sale. Normally, it’s like $30 but I know I got it for less than $10 and it was well worth that price tag.
This is a beefy collection that covers the first 16 issues of his solo comic, as well as the story that came out just before it and another comic that takes place within the same time frame. It makes for one nice long epic of Logan’s life in Madripoor. I’m not sure if he sticks around there after this collection and for how long but this really gives you the important stuff from that era.
I also knew that Jessica Drew a.k.a. Spider-Woman was around for some of this but I didn’t realize that she wasn’t Spider-Woman here and that she was pretty much just herself, as a ninja badass. I also didn’t realize that she was actually a big part of the Wolverine Madripoor stuff.
We also get a cool plot that teams Wolverine up with the Gray Hulk a.k.a. Mr. Joe Fix-It for the first time. It’s a pretty cool tale and it also fits well within the larger tapestry that sees Logan trying to fight the criminal underworld in this fictitious Asian island nation.
Almost everything here is written by the great Chris Claremont, who probably knows Wolverine the best. Some of this is also written by Peter David but he’s a legend too and he knows how to write a story with great energy.
Ultimately, this wasn’t close to being my favorite Wolverine story, and it may actually be a bit underwhelming because of that, but it is still damn entertaining and really reflects a truly unique time in the character’s mythos.
Rating: 7.5/10 Pairs well with: other Wolverine solo stories from the late ’80s into the early ’90s.
Published: October 3rd, 2018 Written by: Gerry Conway, Chris Claremont, Gary Friedrich, Tony Isabella, Roy Thomas, Len Wein, Marv Wolfman Art by: Gene Colan, Ross Andru, John Buscema, Dick Giordano, Don Heck, Mike Ploog, Gil Kane (cover) Based on:Dracula by Bram Stoker, Frankenstein by Mary Shelley
Marvel Comics, 512 Pages
Over the last few months, I’ve been reading a lot of the ’70s Marvel Comics stuff. I dabbled in some of these stories when I was a kid but they were before my time and weren’t as easy to get when I really started collecting comics circa 1990. Plus, my attention, at that time, was focused on superhero stuff, as well as G.I. Joe.
I enjoyed the first volume in this massive collections of The Tomb of Dracula, so naturally I wanted to check out this one too. In the end, I liked this one even more. I think a lot of that has to do with this taking place more in the modern world, which allowed Marvel’s incarnation of Dracula to interact with some of Marvel’s famous superheroes.
In this collection we get to see Dracula meet Spider-Man, Werewolf by Night and Marvel’s version of Frankenstein’s Monster. We also get a small cameo by the Human Torch, as well as the debut of Dracula’s daughter, Lilith. This even had a swashbuckling tale in it.
Now this had a ton of different writers and artists, as it bounces around to different titles that featured Dracula, at the time. Despite this, the book feels consistent, which is a testament to how great Marvel’s editorial was in the ’70s. As far as that company has fallen in recent years, they wouldn’t be able to pull this feat off in 2020.
Most of the stories here were good, it was an energetic read with great art by several legends and it is a fantastic example of ’70s Marvel horror at its finest.
Rating: 7.5/10 Pairs well with: the other Marvel Dracula stories, as well as other ’70s Marvel horror titles.
Published: October 19th, 2016 Written by: Chris Claremont, Gerry Conway, Gary Friedrich, Steve Gerber, Bill Mantlo, John Warner Art by: Sal Buscema, Gene Colan, Ed Hannigan, Russ Heath, Jim Mooney, P. Craig Russell, Tom Sutton, Herb Trimpe, Sonny Trinidad, John Romita Sr. (cover)
Marvel Comics, 475 Pages
I always thought that Daimon Hellstrom was a cool character. When I was a kid, I saw back issues of The Son of Satan, his first miniseries, and thought that the art and style was really cool. My overly biblical mother, however, thought differently.
I didn’t get to read some of the character’s earlier stories until I was a teenager but I’ve never had the complete run of his earliest stuff, so this is the first time I’ve read it as a larger, more complete body of work.
This was a cool read and it ties nicely to the larger Marvel universe with the inclusion of Ghost Rider and the Fantastic Four. It would’ve been cool to see Hellstrom cross paths with Doctor Strange, this early on, but maybe due to the two characters having a lot of similarities, they didn’t want them to sort of cancel each other out.
This collection covers Hellstrom’s debut in Ghost Rider, his stories from Marvel Spotlight, as well as his first miniseries and team-ups with The Thing and the Human Torch.
That being said, this collection has different creative teams, throughout. Marvel editorial was really good back then, though, and everything reads and looks pretty seamless. This feels like one body of work with multiple arcs, as opposed to an anthology with bits pulled from varying sources.
If you like classic Marvel, especially ’70s horror and occult stuff, this is definitely worth a read.
Rating: 7.5/10 Pairs well with: Marvel’s horror and sword and sorcery comics of the ’70s, as well as Ghost Rider, Doctor Strange and early Moon Knight stuff.
Published: 1988 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.
Rating: 5.5/10 Pairs well with: other major X-Men crossover events from the ’80s and ’90s.
Published: 1986 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.
Rating: 6.25/10 Pairs well with: other big X-Men crossover events from the ’80s and ’90s.
Published: September 25th, 2019 Written by: Chris Claremont Art by: Bill Sienkiewicz
Marvel Comics, 32 Pages
Being an old school fan of The New Mutants, this was a pretty cool one-shot that took my brain right down memory lane in the best way possible.
This re-teams the creative duo of Chris Claremont and Bill Sienkiewicz, who were the guys that gave us so many New Mutants stories from their original run.
The story here fits well with their work from thirty years ago. I’m not sure where this would fit, as I don’t remember the details from issue to issue but this is in that great period between the debut of Magik and her eventual (but not permanent) death in the Inferno mega crossover event. This certainly takes place well before Rob Liefeld came in and changed the direction of the title, evolving it into X-Force.
I’m assuming that this was made because The New Mutants are being relaunched in a few weeks on the heels of Jonathan Hickman’s pretty beloved House of X and Powers of X miniseries.
And while I look forward to the new New Mutants comic series, I’d rather just have more of this. I wish that this wasn’t a one-shot and could have been expanded into a miniseries. But the quality of this would have been difficult to pull off in multiple issues on a schedule.
Sienkiewicz’s art has never really fallen off. He’s not a guy that’s been phoning it in later in his career like some of the other greats have done. This is a stunning and beautiful book to look at. Additionally, I thought that Claremont penned a good story that was a throwback to his glory days writing multiple X-comics.
I don’t want to say too much regarding the plot, as I’d rather people pick this up but it mostly revolves around Warlock and Cypher and the fear that Warlock has about losing himself to his nature and hurting his friends.
Old school New Mutants fans will probably dig the shit out of this. I did. And as I said, I just wish there was more.
Rating: 8/10 Pairs well with: the original New Mutants comic book run.
Also known as: X-Men: Dark Phoenix (alternative title) Release Date: June 4th, 2019 (Hollywood premiere) Directed by: Simon Kinberg Written by: Simon Kinberg Based on:X-Men by Stan Lee and Jack Kirby, The Dark Phoenix Saga by Chris Claremont, John Byrne Music by: Hans Zimmer Cast: James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Tye Sheridan, Sophie Turner, Jessica Chastain, Kodi Smit-McPhee, Alexandra Shipp, Evan Peters, Halston Sage
Marvel Entertainment, TSG Entertainment, The Donners’ Company, 20th Century Fox, Walt Disney Studios, 114 Minutes
“You’re always sorry, Charles. And there’s always a speech. But nobody cares!” – Magneto
Well, I guess there’s a new rule. That rule is that if an X-Men film tries to tell a Phoenix story, it’s going to be the worst movie in the series.
I honestly didn’t think that the regular X-Men films of the rebooted/prequel era could get worse than Apocalypse but this one takes the cake.
That’s not to say that I didn’t enjoy parts of it, I did. However, for the most part, this movie is a fucking mess and ignores previous continuity more than any other X-film from either era and this comes after they tried to course-correct five years ago with Days of Future Past.
The big narrative problem for me is that it was established that the Phoenix Force in the film universe was dormant in Jean Grey all along. When Days of Future Past corrected the wonky timelines of the film, that shouldn’t have been a reboot of every aspect of the film series. Otherwise, that’s just some J. J. Abrams Kelvin Timeline bullshit.
In this film, Jean Grey gets infected with the Phoenix Force during a space mission. It’s more in line with how it happened in the comics but it doesn’t make sense with what was already established. Also, in just the previous movie, she sort of taps into the Phoenix Force when she’s battling Apocalypse. So it was in her but then it wasn’t? Fuck, these movies are a goddamned clusterfuck of epically biblical proportions!
Anyway, like the three films before this one, this takes place in a new decade: the ’90s. Somehow though, no one fucking ages in these movies even though First Class was thirty years earlier than this chapter. Cyclops and Quicksilver were in their late teens in the ’70s in Days of Future Past. Here they look like they’re maybe in their early twenties. But whatever, it’s not like the filmmakers cared, as Dazzler is wearing her disco outfit in 1992 and everyone else is dressed like its 2019.
Another thing that irked me somewhat, is that I love Michael Fassbender’s Magneto but it took an hour for him to show up. Also, three movies into the subplot with Quicksilver and Magneto still doesn’t know he’s the kid’s father and it’s actually just dropped in this movie and not mentioned.
It seemed pretty apparent that the regulars didn’t want to do this movie. Other than McAvoy’s Professor X, the rest of the main cast were only in half the movie, got killed off or got beat up and put on the shelf. That being said, Jennifer Lawrence’s Mystique was insufferable in this installment and I’m glad she got impaled.
The main characters that did actually appear for the entirety of the film were completely misused, however. Professor X was a careless prick and didn’t act like himself, Beast was super emo and almost became Dark Beast and Magneto switched his allegiances on a dime because he conveniently didn’t have all the information.
The threat in the film other than the Phoenix Force was a bunch of shapeshifting aliens that were obviously written to be the Skrulls but probably got changed late in production because Disney bought Fox and they couldn’t have Skrulls in an X-Men movie just after they introduced them in Captain Marvel.
Everything in this film feels scaled down as well. Every big battle is in a small area. There’s the fight at Jean’s daddy’s house, the confrontation on a small island, the big second act battle in front of a modest sized New York City building and its generic lobby and then the big finale which takes place on a train. They definitely didn’t do anything epic in scale, which seems like a missed opportunity considering that this is a movie that features the Phoenix Force trying to cleanse the Earth with fire.
Sophie Turner is also the focal point of the movie and I’m still not sure if she can act or not. This movie doesn’t help her case, as she was monotone in every scene, barely conveyed emotion and just acted like she was completely disinterested in the whole project.
While it sounds like I’m bashing the film and honestly, I probably am, I did like a few things.
For one, the Hans Zimmer score was damn incredible. It’s rare that I even notice music in movies anymore but I noticed it here and it actually made some scenes better and more emotional when some of the actors couldn’t even do that themselves.
I also liked the opening sequence, even if these teens going into space, untested, at the request of the United States President seemed strange.
Some of the new mutants in Magneto’s camp were also pretty cool additions in the New York and train battles but they were just kind of there and then discarded. The dude with the killer dreads was pretty badass; think Omega Red… but with dreads instead of hand tentacles.
I was really happy to see Dazzler show up too but she’s completely wasted in a cheap cameo. She sort of just hangs out in the background and doesn’t do anything else. Fans that have wanted Dazzler since 2000’s X-Men will probably feel cheated, especially since she was played by Halston Sage, who is dynamite on The Orville.
Additionally, I can’t say enough about how good Michael Fassbender and James McAvoy are in these films. Their bond transcends the screen, it truly does. It just sucks that the material they had to work with here was so fucking lackluster.
On a side note, I really liked Nicholas Hoult too. He’s a solid Beast, even if I wasn’t initially keen on the casting. But like the other two great actors in this, he also had shit to work with in this picture.
To be fair, a lot of this film’s issues might not be the fault of the actual filmmakers. Simon Kinberg can do some solid stuff and he’s mostly handled this franchise well. However, Disney bought Fox just before this movie was slated to come out. It’s pretty well known now that they meddled with it in post-production because they thought it was too similar to Captain Marvel, which they were banking the entire future of the Marvel Cinematic Universe on.
In the end, though, we got a really mediocre movie made by people that don’t seem like they care anymore. I guess it’s fitting that this incarnation of the cinematic X-Men franchise is now dead.
So I guess we’ll have to wait a few more years (or longer) to see what Disney does with the X-Men once they are rebooted into the MCU.
Rating: 5.25/10 Pairs well with: all the other Fox X-Men films and spinoffs.
Published: 1991 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.
Rating: 10/10 Pairs well with: other major X-Men crossover events from the era: X-Tinction Agenda, X-Cutioner’s Song, etc.
Published: 1980-1981 Written by: Chris Claremont Art by: John Byrne
Marvel Comics, 176 Pages
I read the collected trade paperback of this famous story but I was surprised to find that Days of Future Past is only a two issue story arc. The majority of this collection is padded out with a few different stories around that saga. However, everything in this collection directly follows The Dark Phoenix Saga.
Days of Future Past is a story I have never read, until now, but it’s been heralded as on of the best in the decades since it came out. But if I’m being honest, I didn’t think it was a real classic of a story. At least, not in how it has been sold to me over the years.
It’s a good, fun story but I think it’s severely over hyped. I think that it’s fondly remembered because it introduced the idea of possible dark futures to the X-Men mythos and that’s a storytelling device that never really went away after this tale. We’ve had time travelling characters showing up in X-Men stories all the time ever since Days of Future Past.
That being said, one can’t deny the impact that this story had and anything with lasting power like that is going to always be a pivotal point for fans to go back and reference. But looking at it objectively, without any actual nostalgia for it, allows me to rate the story on its own merit, detached from decades of nostalgia and hype.
Also, maybe I’m a bit less impressed than I should be because I read this just after The Dark Phoenix Saga and that story is legitimately a real classic, in my eyes. But that’s not to say that Days of Future Past isn’t a milestone, it is.
Ultimately, this is still a solid collection of stories where the two issue Days of Future Past story arc is the high point. But I was surprised to discover that it wasn’t a long, massive epic like I always thought that it was.
Rating: 7.5/10 Pairs well with: other X-Men stories from the Chris Claremont/John Byrne era.
Published: 1980 Written by: Chris Claremont Art by: John Byrne
Marvel Comics, 200 Pages
Does it make me a terrible X-Men fan that I have never actually read The Dark Phoenix Saga?
I’ve tried to round up all the single issues over the years but some of them are pricey and there’s nine issues that make up this arc. But in my defense, I know the story very well, as it has been referenced a million times over throughout X-Men history. I’ve also seen various interpretations and adaptations of the plot. Granted, none of them are really accurate in regards to this, the source material.
This is free for Comixology Unlimited subscribers though, so I thought that delving into it was long overdue and that I really didn’t have an excuse anymore.
I expected this to be enjoyable but it still took me by surprise, as it was better than what I anticipated and all the years of hype I’ve experienced, didn’t diminish it in anyway.
The Dark PhoenixSaga is quintessential Chris Claremont. I can’t say that this is where he peaked but this is certainly a very elevated highpoint in his long run writing X-Men related stories.
This also came out in a time when Marvel wasn’t addicted to big crossover mega-events. This was a mega-event for its time but it wasn’t marketed or structured in the way that these things are now. It was just a good, lengthy story, limited to one already existing comic that found a way to utilize a lot of characters but in a way that balanced them all out and made them all useful to the plot.
One cool thing about this arc, is it also features the first appearances of Kitty Pryde, Emma Frost, Sebastian Shaw, the Hellfire Club and Dazzler. There’s a bunch of stuff going on within this story but it doesn’t off track and still builds towards the big battle between Jean Grey as Dark Phoenix and her X-Men family. It’s, at times, heartbreaking and tragic but it also makes you love all these people all over again in an organic, natural and emotional way. This hits emotional notes in the reader in ways that comic books never seem to come close to in 2019.
I can’t just give credit to Chris Claremont and his stupendous writing though. The art by John Byrne is absolutely superb and it is just as rich, colorful and meticulously crafted as the story its telling.
The Dark Phoenix Saga is one of the greatest Marvel stories ever told. It’s classic Marvel and truly represents what I loved about the era and how I fell in love with this creative medium in the first place.
Rating: 10/10 Pairs well with: other early Chris Claremont X-Men comics.