Original Run: November 19th, 1994 – January 31st, 1998 Created by: John Semper, Bob Richardson, Avi Arad, Stan Lee Directed by: Bob Richardson Written by: John Semper, various Based on:Spider-Man by Stan Lee, Steve Ditko Music by: Kussa Mahchi, Jeremy Sweet, Shuki Levy, Joe Perry, Shuki Levy, Kussa Mahchi, Udi Harpaz Cast: Christopher Daniel Barnes, Ed Asner, Jennifer Hale, Roscoe Lee Brown, Mark Hamill, Hank Azaria, Joseph Campanella, Martin Landau, Richard Moll, Don Stark, Dawnn Lewis, Majel Barrett, David Warner, Earl Boen
New World Entertainment Films, Genesis Entertainment, Marvel Enterprises, Fox, 65 Episodes, 23 Minutes (per episode)
After the success of the early ’90s X-Men cartoon on Fox, it was natural for the network to ask for more Marvel properties to adapt for their Saturday morning audience. The Spider-Man series was the longest running and most successful of these animated spinoffs.
While the X-Men show still stands as my favorite of these animated Marvel series, Spider-Man is a very, very close second and nearly as good.
The stories are generally well written and even if they have to take some liberties and alter the plots from the comics. This was due to time constraints and by trying to wedge in the debut of Venom really early in the series, which changes the overall timeline of events in Spider-Man’s life, greatly. Also, the showrunners probably wanted to get as many villains added into the mix, early on, so that each new episode felt fresh.
Spider-Man has a massive rogues gallery and this show utilized the core villains really damn well.
The tone of the cartoon is pretty perfect. Sure, there are cheesy and hokey bits in every episode because this is a kid’s cartoon but it does stay pretty true to the tone and style of the source material. Most importantly, it’s true to the characters and the writers obviously knew the Spider-Man mythos well.
I love this show and it’s still fun to have minimarathons of episodes. Honestly, to me, it’s one of the highlights of Disney+.
Rating: 8.25/10 Pairs well with: the other animated Marvel television series from the ’90s.
Published: 1995-1996 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.
Rating: 5/10 Pairs well with: other big X-Men crossovers of the ’80s through ’00s.
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
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.
Rating: 8.5/10 Pairs well with: the other Marvel animated shows from the ’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.
Rating: 10/10 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.
Rating: 8.5/10 Pairs well with: the rest of Rick Remender’s Uncanny X-Force run.
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: 2016-2017 Written by: Chad Bowers, Chris Sims Art by: Mirati Firmansyah, Coby Hamscher, David Nakayama (cover) Based on: the X-Men animated series by Fox Kids
Marvel Comics, 240 Pages
If you were a kid in the ’90s, you probably watched the X-Men cartoon that used to be on Fox on Saturday mornings. It was solid, did a pretty good job of adapting some of the comic book’s big storylines and introduced a lot of non-comic reading kids to the X-Men franchise.
It ended after a few seasons and never really had a proper follow up. Well, that is until recently, as the show moved into the medium it was born out of: comic books.
Maybe this took its cues from DC Comics and how they came out with Batman ’66, a comic book series that revisited the 1960s Adam West Batman TV series. But one can’t deny that Batman ’66 was a cool comic, a great idea and with that, should have inspired other comic books that continued the stories of comic book characters as they were presented in other mediums. Hell, I’m still waiting for that Batman ’89 comic that was once teased and then had those teases retracted.
But this is about X-Men ’92, which was a decent follow up to the animated series.
Overall, this was a fun read but it didn’t wow me in the same way that Batman ’66 did. Where that Batman comic felt tonally right and as if it was a true continuation of the series, X-Men ’92 throws some weird curveballs and also tries to force in way too many characters just for the sake of the creators trying to give you the animated series’ versions of these characters.
Maybe they knew this series would be short lived and therefore, they wanted to wedge in every character they could but it really becomes too much to process in the second half of this series. Also, I wasn’t a fan of devoting so much time to a Dracula/vampire story. None of that was central to the core of the cartoon and it shouldn’t have been central to the core of this comic.
Also, this feels like it is just borrowing the visual style of the TV show but it doesn’t seem to understand the tone or the spirit of it.
It’s still entertaining for fans of the source material but I wouldn’t call it a must read or all that necessary. Die hards should check it out but I can see why this didn’t make it a year where Batman ’66 has still been hanging on for quite awhile with a long running series and several crossovers.
Rating: 6.75/10 Pairs well with: the animated series it’s based on, as well as ’90s X-Men comics and various spinoffs.
Published: 1992-1993 Written by: Scott Lobdell, Fabian Nicieza, Peter David Art by: Brandon Peterson, Andy Kubert, Jae Lee, Greg Capullo
Marvel Comics, 336 Pages
This was one of my favorite big crossover events when I was really just getting deep into comics. This blew my middle school mind at the time and it had a lot of influence over my creative output in the comic book medium.
I was worried that revisiting this story would be a big disappointment. A lot of the stuff from this era that I reread now, usually lets me down, as my palate is more discriminatory than it was at thirteen years-old.
I’m happy to say that this was still pretty f’n solid!
In fact, I think it is slightly better than X-Tinction Agenda, which I used to place ahead of this one.
What I really liked about it, is that it features three of my absolute favorite villains: Apocalypse, Mister Sinister and Stryfe. They are all well balanced and they aren’t here to come together in an effort to finally take out the X-Men, X-Factor and X-Force (formerly the New Mutants). Each one of these baddies has their own purpose and agenda within the story and it all just comes together in a really cool way that even sees the X-Men have to turn to Apocalypse in order to stop Stryfe’s chaos.
This is the best big story to come after the epic Chris Claremont run on X-Men. But if I’m being honest and this certainly isn’t a dig at the legendary Claremont, whose work I love, X-Cutioner’s Song was really refreshing and it showed that new blood could liven things up. Granted, Peter David didn’t hang around too long, Scott Lobdell and Fabian Nicieza also moved on to other things, but this was a weirdly perfect storm considering all the changes happening on Marvel’s X-books following Claremont’s departure and many of the top creatives leaving for the newly formed Image Comics.
The art is also top notch, but Brandon Peterson, Andy Kubert, Jae Lee and Greg Capullo are all fantastic and three of those men have become somewhat legendary in their own right.
X-Cutioner’s Song is well crafted, well balanced and it should be a primer on how to write massive crossovers featuring dozens of characters all competing for their moment.
Rating: 9.25/10 Pairs well with: previous big X-Men crossover events like X-Tinction Agenda, Muir Island Saga, Inferno and Fall of the Mutants.
Published: March 29th, 2008 Written by: various Art by: various
Marvel Comics, 344 Pages
This follows the major event in X-Men and Avengers lore that was House of M, which itself followed Avengers: Disassembled. While the Scarlet Witch is no longer the focal point here, the effects of what she did in the two previous stories is still felt and the central focus of this large crossover event’s plot. This is also an X-Men-centric story as it doesn’t crossover with Avengers characters or titles this time.
In a way this does a good job of closing out what some call the House of M trilogy but it also sets up an event that is a direct sequel to this called Second Coming.
The story is pretty good but it may be hard to follow for someone who just jumps in or for an old school X-Men fan that will be bombarded with a bunch of newer characters, as this came out when The New X-Men was going strong.
Overall, this is pretty good but the story jumps around a lot and if you don’t binge through it fairly quickly, you’ll probably forget some details. Also, some threads within the larger plot aren’t as great as others.
I didn’t care so much for the New X-Men Team and was more intrigued by what was going on with the main X-Men and the Marauders. Although, I had hoped that Mister Sinister would really get his moment to shine brightly and he’s just sort of there, leading the Marauders, and then he’s out of the story. Although, the twist that sees him taken out of the plot was pretty neat and it’s not something that I saw coming.
If you like classic X-Men, this more modern event will still probably resonate with you. It feels more like a ’90s X-Men event than something made within the last decade or so.
Rating: 7.75/10 Pairs well with: Avengers: Disassembled and House of M.
Published: July 25th, 2018 – November 21st, 2018 Written by: Kelly Thompson Art by: Oscar Bazaldua, Terry Dodson (covers)
Marvel Comics, 136 Pages
I didn’t have much urge to read this, as all the X-Men books over the last few years have been terrible. It’s sad but one of my favorite parts of the Marvel universe has not produced anything I’ve cared about, outside of Old Man Logan, in serveral years.
Also, I’m not a big fan of Gambit or Rogue, even though they were front and center in the era where I read X-Men titles like a church lady reads that King James book.
However, a few people whose opinions I respect said that the first issue was a nice departure from the humdrum world of the modern X-Men and that the story was pretty fun. Fun?! “Fun”, they say?!
Well, their assessment was correct, as I thoroughly enjoyed the issue so much that I added this title to my pull list.
Now, five issues deep, I have reached the end of the first story arc, which is being collected into the first trade paperback. That won’t be out for several months but since I’ve read this, I’m reviewing it now, while it’s fresh in my memory.
I have always been a sucker for the cosmic side of the Marvel universe and this is two mutant honeymooners on a cosmic adventure. The sum of all the parts equaled something enjoyable.
I liked the story and I even liked the Deadpool cameo despite being really over the character. We also got to see the Starjammers in action and there was some good Shi’ar Empire stuff.
This brought me back to the place I was at when I was first reading cosmic X-Men tales.
Mr. & Mrs. X hit all the right notes for me, the art was pretty good and I even enjoyed the humor in this. I also thought that Gambit and Rogue were written better than they have been in quite some time.
Rating: 7.5/10 Pairs well with: current X-Men stuff but this is better than that, as well as the recent Rogue & Gambit miniseries.