Comic Review: Fantastic Four – Masterworks, Vol. 4

Published: June 5th, 2014
Written by: Stan Lee
Art by: Jack Kirby

Marvel Comics, 272 Pages

Review:

I’ve been blowing through these Fantastic Four – Masterworks collections pretty fast. But these represent the collaboration of Stan Lee and Jack Kirby at its best while also showcasing the earliest stages of the Marvel universe, as it was still developing, taking shape and hitting its stride.

This one kicks off with the second Fantastic Four annual and then collects issues 31 through 40.

I’ve always wanted to read the second annual and man, it did not disappoint. It actually tells the origin of Doctor Doom, as well as showing him meet Rama-Tut a.k.a. Kang the Conqueror for the first time. I knew enough of what was in this massive 72-page issue but I never got to read it until now.

Beyond that, this gives us more Namor, the return of the Mole Man, as well as a great Skrull story. Probably my two favorite things come in the second half though, which sees the debut of the villainous Frightful Four, as well as the first time that the Fantastic Four meet Daredevil, which is a great story on its own.

This was a real high point for me in the overall grander Fantastic Four mythos. A lot of cool stuff happens and this just keeps building up the Marvel universe in a great way.

Rating: 9/10
Pairs well with: the other Marvel Masterworks collections.

Comic Review: Fantastic Four – Masterworks, Vol. 3

Published: March 6th, 2014
Written by: Stan Lee
Art by: Jack Kirby

Marvel Comics, 247 Pages

Review:

Man, I’m really glad that I started reading Fantastic Four from the beginning. There’s just something unique and truly special about Stan Lee and Jack Kirby creations and collaborations. And while these stories are hokey and not as refined as they would become, it’s really cool seeing the earliest version of the Marvel universe take shape.

Each volume in the Masterworks releases really builds off of the previous ones and expands the larger universe more and more.

Here, we get to see stories with the Avengers, as well as the X-Men, bringing several core Marvel characters together in their earliest days. I also liked that the Hulk came back for a multi-part story arc. Although, this one was lacking in Spider-Man magic. But I also just love old school Spidey and FF stories.

This brings back most of the main villains from previous issues and even introduces some new ones like The Hate-Monger. I actually own that comic in its original floppy form, so reading it here means that I don’t have to physically touch my already weathered copy.

Stan Lee really seems to be hitting his stride with these characters and these stories while Jack Kirby’s art seems a bit more fine tuned and dynamic. Granted, Kirby was one of the most dynamic comic book artists in history but his work in this collection really shows how much he’s enjoying drawing these characters. It just has this little extra flair that’s hard to describe. I guess it’s like eating a meal made with love, as opposed to eating a meal that was just made out of necessity.

Overall, this was thoroughly enjoyable and it kept moving the story forward while constructing a very young universe that would grow into something massive.

Rating: 8.5/10
Pairs well with: the other Marvel Masterworks collections.

Film Review: X-Men: First Class (2011)

Release Date: May 25th, 2011 (New York City premiere)
Directed by: Matthew Vaughn
Written by: Ashley Edward Miller, Zack Stentz, Jane Goldman, Matthew Vaughn, Sheldon Turner, Bryan Singer
Based on: X-Men by Stan Lee and Jack Kirby
Music by: Henry Jackman
Cast: James McAvoy, Michael Fassbender, Rose Byrne, January Jones, Oliver Plat, Kevin Bacon, Jennifer Lawrence, Nicholas Hoult, Jason Flemyng, Lucas Till, Edi Gathegi, Caleb Landry Jones, Zoe Kravitz, Michael Ironside, Ray Wise, James Remar, Hugh Jackman (cameo)

Marvel Entertainment, Dune Entertainment, The Donners’ Company, Bad Hat Harry Productions, Ingenious Film Partners, Twentieth Century Fox, 131 Minutes

Review:

“I can’t stop thinking about the others out there, all those minds that I touched. I could feel them, their isolation, their hopes, their ambitions. I tell you we can start something incredible, Erik. We can help them.” – Professor Charles Xavier

While I haven’t seen this picture since it was in the theater, it left a great impression on me and gave me hope for the future of the X-Men franchise in film. Granted, we’d get two pretty good movies and two mostly poopy ones, but the weak whimpering farts of the second half of the prequel series of films didn’t take away my satisfaction with this one and its followup, Days of Future Past.

It was nice to revisit this, all these years later, as it holds up fairly well, even if I’m not as optimistic about the franchise now.

To start, this was much better than the last of the first run of films, X-Men: The Last Stand. That movie left such a bad taste in my mouth that anything better would have made me happy. Luckily, this was a lot better but I think that my original impression was a bit over-inflated due to the precedent set before it.

That’s not to say that this isn’t solid, it is. This is, in fact, a damn good superhero film and one of the best in the schizophrenic X-Men series.

What really sets this one on a pedestal is that the story was pretty good and the acting, at least from the core actors, was convincing and impressive. I didn’t know much about Michael Fassbender, before this, and I wasn’t yet sold on James McAvoy, but this picture cemented both men as two of my favorites over the last decade.

On the flip side of that, you also had some really weak performances from January Jones, who felt out of place and awkward, as well as the younger actors in the cast. A few of them would become better actors over time but they all mostly felt green, here.

I did like the inclusion of Kevin Bacon and Oliver Platt in this, as well as character actors Michael Ironside, James Remar and Ray Wise. While the character actors had small roles, they added an extra level of legitimacy and coolness to the picture.

I loved that this took place in the ’60s, tied to the Cuban Missile Crisis and also went back into Nazi Germany to establish the relationship between Magneto and Sebastian Shaw. The general look and aesthetic of the film were really good and it actually fits with the previous X-Men films, despite those being set over thirty years later. One thing Fox did well, while they managed the X-Men movie franchise, was that they kept everything sort of visually consistent.

My only real gripe about the film is that there isn’t enough emphasis on the actual “first class” of students, which this film is named after. They all felt generic and disposable, cast to play archetypes and nothing more. Sure, some of them are major comic book characters but they didn’t feel that way in this movie.

Overall, this was a good, fresh, soft reboot of the series. It eventually ties to the older films and the series becomes an even bigger continuity clusterfuck but at least this generation of the franchise started out on the right foot.

Rating: 8.25/10
Pairs well with: the other Fox X-Men films.

Comic Review: X-Men: Phoenix In Darkness

Published: 2004-2005
Written by: Grant Morrison
Art by: Phil Jiminez, Marc Silvestri

Marvel Comics, 234 Pages

Review:

Well, this started out fairly interesting and strong but then it tried to go out with an explosion but instead, came out like a bathtub fart.

Written by Grant Morrison, a legend, with some of the art done by Marc Silvestri, another legend, this was pretty underwhelming and far from the best work that either man can do.

The story taps into the Phoenix Force, a plot device that was already done to death before this came out, and it doesn’t really offer up anything all that worthwhile to try and justify bringing it back into an X-Men story.

In fact, I actually enjoy Phoenix tales when done well but just like it’s been overused in movies now, it’s been overused in comics for a lot longer.

This story was a disjointed mess and in fact, it’s basically two different arcs collected into one book like it’s one plot. The first half was good and intriguing, the second half which shows a potential future for the X-Men was shit. And just like Phoenix-centric stories, potential X-Men futures have also been overused. In fact, it’s been overused and completely bastardized more than Phoenix plots.

Overall, this felt like a complete waste of time and the only real thing memorable to come out of it is that this appeared to be the start of the Cyclops and Emma Frost relationship.

Rating: 5/10
Pairs well with: other story arcs about Jean Grey as Phoenix.

Comic Review: X-Men: The Age of Apocalypse – The Complete Epic

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

Review:

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.

TV Review: X-Men (1992-1997)

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)

Review:

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.

Comic Review: Uncanny X-Force, Vol. 6 & 7: Final Execution – Books I & II

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

Review:

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.

Rating: 7.75/10
Pairs well with: the earlier volumes in Rick Remender’s Uncanny X-Force run.

Comic Review: House of X/Powers of X

Published: June 24th, 2019 – October 9th, 2019
Written by: Jonathan Hickman
Art by: Pepe Larraz

Marvel Comics, 400 Pages

Review:

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.

Film Review: Dark Phoenix (2019)

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

Review:

“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.

Comic Review: X-Men: Mutant Genesis

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

Review:

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.