Joel Phillips
Sep 1, 2003, 01:39 pm
<a href="http://pages.sbcglobal.net/harahap/top40xs3.gif" target="_blank"><img src="http://pages.sbcglobal.net/harahap/top40xs3.gif" align=left alt="Top 40 X-Stories"></a>Greatest 40 X-Stories of All Time, Part 1: #40-31
Edited and assembled by Joel Phillips
This month marks the fortieth anniversary of the X-Men. In honor of this occasion we, the ComiX-Fan staff, have assembled our list of the 40 best X-stories those forty years have brought us. The list is the combined effort of a lengthy selection process that saw more than twenty members of the ComiX-Fan staff considering well over one hundred great stories, but in the end these were the forty that were voted to be the best of the best. This week features the bottom ten of the list, 40 through 31. We'll be bringing you another ten every week in September, right up to our pick for the #1 best X-story ever published.
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<a href="http://x-mencomics.com/xfan/4images/data/media/196/xmen-030.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/196/xmen-030.jpg" align=right alt="X-Men #30 - The Ties that Bind"></a> #40: The Ties that Bind
X-Men (Vol. 2) #30
Written By: Fabian Nicieza
Art By: Andy Kubert
In The Ties that Bind, Scott Summers and Jean Grey finally marry, after years of dancing around one another, dying around one another, and marrying one another's clones. It is one of those "a beginning and an ending" type stories: a landmark in the lives of two of the X-franchise's central figures.
But none of that is why I like it, or why it belongs on this list. Why do I like it? There are four reasons:
Something Old: Logan's pining for Jean. The Logan/Jean/Scott triangle, which is usually overplayed to the point where it becomes detrimental to all three characters, feels surprisingly genuine in this issue. Rather than having Logan either sit through the wedding in discomfort or simply abandoning his friends entirely, writer Fabian Nicieza has him write Jean a letter, explaining his absence. What takes this development from good to great is the fact that Logan isn't really totally honest with Jean in the letter. It would be easy for Nicieza to have Logan pour his heart out, but Logan would never do that... in fact, it would be the exact opposite of the spirit of the letter, which Logan means to lessen Jean's uneasiness rather than deepen it. Instead Logan skirts the issue, wishing Jean well, and not saying what everyone knows he really means.
Another key development can be found later in the issue, where Wolverine, in the way only he can, gives Sabretooth a not-so-friendly warning about crashing the wedding. Even in his absence from the festivities, Logan is watching over things, and Jean in particular.
Something New: The wedding in this issue functions like a real wedding. Every stage of the wedding is represented: from getting dressed and walking down the aisle beforehand, to tossing the garter and bouquet and pushing cake in each other's faces afterward. Not a single ritual is missed. What makes this new? A lot of depictions of weddings, in comics and elsewhere, start with the walk down the aisle and end with the kiss, skipping over the other less important rituals for the sake of expediency. But by including those little pieces here and there the wedding feels complete, and thus real.
Something Borrowed: This issue borrows characters from all the other X-teams. Of course, since it only makes sense for these people to be there, and Nicieza doesn't disappoint. What makes that a noteworthy accomplishment, however, is that several of the borrowed characters actually DO something, rather than just standing in the background as often happens with these events. What's more, they act like themselves: when Strong Guy is cracking-wise, never do I think "that's not how he acts in X-Factor". Nicieza manages to have the supporting players not only saying and doing things, but saying and doing things that actually make sense for the characters.
Something Blue: OK, this segue is terrible, but blue is a color and I wanted to talk about the art. Andy Kubert's talents are on display here, as he does an amazing job with a huge cast and the fancy setting of a wedding reception. Looking back at issues like this one reminds me of better times for comics, as it feels so complete: I'm hard-pressed to find the kind of errors and other artistic oddities that are all too common in many comics today. It's a real testament to Kubert's talent that he can, in a single issue, handle the majesty of high-class dress and a fancy party, contrasted with the stark simplicity of a man on a snowy hill. Excellent work all around.
The story does suffer one handicap, however: it's about Scott and Jean. Though that sounded like a dig, I simply meant that not everyone finds these characters particularly interesting, and that naturally limits the appeal of the story for those people. Of course I am one of those people, and I still found the issue worthy of inclusion, so it is admittedly a minor hurdle.
After years of spinning their wheels, Scott and Jean's relationship finally produced something wonderful for readers to enjoy. Though the characters would spend much of the time between then and now stuck in similar cycles, The Ties that Bind stands as an oasis in the middle of it all, a place where even non-fans of the Summers Clan can smile and appreciate what these characters do for one another.
This entry written by Joel Phillips
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<a href="http://x-mencomics.com/xfan/4images/data/media/194/xforce116.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/194/xforce116.jpg" align=right alt="X-Force #116 - Exit Wounds"></a> #39: Exit Wounds
X-Force #116
Written By: Peter Milligan
Art By: Mike Allred
When the May revamp of the X-Men titles came around, only X-Treme X-Men was a traditional take on the characters. Grant Morrison, Joe Casey, and Peter Milligan opened up doors for new visions of mutants in the Marvel Universe. Milligan, in particular, created an outlet for different teams with completely different themes than "sworn to protect those who hate and fear us."
Previously, X-Force was a title following Cannonball and his militant team. The revamp on this title caused much controversy because of the drastic changes. In the long term, the revamp proved to be successful.
Exit Wounds presents such a unique and entertaining story of mutants than ever before. We meet a team who is accepted by the general populace and is even celebrities. All the members live glamorous lifestyles, including sex, money, fame, power, cars, houses, champagne, talk shows, limousines, immortality, and luck, just how the characters themselves describe it. Although, having immortality was far from true. Milligan promised to create a team which has a high death toll and he delivered. In only the first issue, the whole team was killed besides now fan-favorites U-Go Girl, the Anarchist, and Doop. Even Zeitgeist, the leader, was killed! Also, the powers and mutants varied greatly. Zeitgeist had acidic vomit while Sluk had a face made of tentacles and lacked any real abilities to use in combat. The loveable green floating blob called Doop was nothing we've ever seen before too.
In addition, the team had an excellent dynamic like never before. These characters combined made a dysfunctional team with their outstanding personalities. For example, Zeitgeist was a complex and troubled leader. He continues to loathe the manifestation of his powers and the girl's face he ruined with it. Zeitgeist showed little remorse for the death of Sluk and preferred his team to look more "human" than mutant. U-Go Girl was the wild girl who had narcolepsy accompanying her teleportation powers. Tike Alicar was the rebel and new recruit of the team. Battering Ram, a large overgrown man with a skull structure similar to that of a ram, had issues about his role on the team. Gin Genie, like her name implies, relied on alcohol to increase her powers; thus, making her an alcoholic.
Essentially, this title was a satire on today's society. The team was orchestrated to maintain the attention of the public. An X-Force Café is unveiled during the issue also. The team's fatal mission required them to rescue a boy-band from terrorists. This boy-band had a striking resemblance to N'Sync. Throughout the issue, other subjects are parodied and even the characters are similar to pop culture icons.
Artist Michael Allred was also new to the X-Men titles, as well as Marvel. His style is unique in the industry as a whole. His work is similar to the classic styles of Jack Kirby and others yet maintains a modern pop feel. As apparent from the uniforms of X-Force, the two-toned suits reflected that retro look. Allred also illustrated a gruesome story of sex and outrageous violence. Allred's work is amazingly appealing and was one of numerous new styles used after the revamp.
Overall, Exit Wounds is a story like no other and deserves its place on the list of top X-Men stories of all time.
This entry written by Omar A. Safi
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen280.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen280.jpg" align=right alt="Uncanny X-Men #280 - Muir Island Saga"></a> #38: Muir Island Saga
Uncanny X-Men #278-280 & X-Factor (Vol. 1) #69-70
Written By: Chris Claremont, Fabian Nicieza, Peter David & Jim Lee
Art By: Paul Smith, Andy Kubert, Whilce Portacio, Kirk Jarvinen & Steven Butler
Occasionally, a story comes along that signals the end of an era...and thus the beginning of a new one. The Muir Island Saga punctuated an ending to the banner of the sense of darkness and separation that had flown over the X-Men and, indeed, all of the mutant titles for the years beforehand. The team was believed dead, and had used that status to go underground, striking at their enemies with force and severity...only to be subsequently scattered across the globe, separated from one another. The original students of Xavier had isolated themselves from the team and school, forming the new strike force of X-Factor. The younger students, the New Mutants, had adopted the more militant tutelage of Cable and just prior to this tale abandoned the school altogether to form X-Force. Looming over this darkness and separation was the Shadow King, a psychic villain who embodied fear, hatred and all of the negative thoughts and emotions of mankind...and who, in the guise of Amahl Farouk, first inspired Xavier to form a school and team that could combat such evil mutants and to inspire peace and respect between mutants and humanity. This is the tale that put an end to his threat, as well as a great deal many other things...yet in the team's tragic final victory, a new beginning was planted.
There's a subtle tension to this story, and many of the conflicts could be fittingly described as "shadow" conflicts. The X-Men must sneak on to Muir Island to confront their counterparts and former allies who had...only to be absorbed into his influence. Xavier must prevent the possessed Colossus from killing him and Stevie Hunter by leading him into the Danger Room, and plunging deep into his psyche to tear apart his "new" life as artist Peter Nicholas and return him to the life of an X-Man. And, having reunited with their former teacher, X-Factor must join with those who've broken free of the Shadow King's influence to hold off the combined forces of Moira MacTaggert's Muir Island mutants, their own teammates in the X-Men and the Shadow King himself. Every action is covert, all the struggles personal...until everything kicks into high gear with the explosion (for the first time, anyway) of Muir Island itself. And even then, in the climactic final battle between Xavier and the Shadow King, the essence of the struggle can easily be boiled down to Xavier putting his own personal dream against the nightmares that oppose it. Or since the Shadow King had taken Xavier's own estranged son Legion as his host, it could even be seen in a much simpler way as an abandoned son lashing out as his father makes a final desperate attempt to reach out to the child he had sacrificed for his own ideals and ambitions.
The very interesting storytelling tactic that Claremont and Nicieza use in the first part of the story is that while the conflicts are rather intimate and isolated to Muir Island and the devastated grounds of Xavier's school, the stakes of the story are global. The Shadow King is spreading his influence across the world, feeding humanity's own inherent tendencies towards violence, hatred and fear to create strife and discrimination...and in turn feeding off of those negative emotions to power himself. Xavier and his X-Men must in a sense defeat the abstract representation of everything they have worked to fight for years, lest it overpower the world and spread to the stars. And as we all know, high stakes make for good drama.
Peter David's low key epilogue is, in and of itself, noteworthy...featuring each of the X-Men dealing with the aftermath of what they've done and each asking the question of, "where do we go from here?" Xavier's introspective quest to save the psyche of a comatose Legion utilizes a great deal of dream imagery, foreshadowing such phenomenal tales as Silence: Psychic Rescue in Progress. Yet the humor and tenderness expressed between the characters as they attempt to recover merely enhances the fact that for all of their troubles, for all the separation and angst they had suffered over the past several years, these individuals are truly a family. An element that would dominate the books in the ensuing years.
The art used in the stories has a sense of progress all its own, and one that in hindsight could not have been all that intended. The first chapter of the story is illustrated by veteran X-Men artist Paul Smith, only to be contrasted by an early Andy Kubert (in a style more reminiscent of his first run on X-Men during the 90s than of his more evolved style on Origin and 1602) and Whilce Portacio, two artists who would each leave their own mark on the title in the decade to come. And if the story falls short in any way, it is somewhat in the art department...some confusing and rather rushed looking art at points hurts the narrative flow, but also adds to the sense of urgency and tension that this story wanted to establish.
Also to blame is the resolution of the tale. This in the end is a story about dreams, Xavier's versus the Shadow King's, love versus hate. With such high minded themes and abstract concepts playing in opposition to one another, one would think that the final confrontation would be more about those dreams. Yet it all boils down to rather standard superheroic fare, which while well done for what it was causes the story and its themes to stumble somewhat when they should be at their most powerful. Still, when all is said and done, the Muir Island Saga put an end to the Shadow King and the darkness he represented which had enveloped the books for so long. It brought Xavier back into the fold (at the expense, once again, of his ability to walk or engage more physically in the realization of his dream), regularized the original X-Men with the generation that followed, and brought about a great change in direction for both Uncanny X-Men, which now required the spin off title X-Men (pre Newness) to handle the expansion of characters, as well as X-Factor which flourished under the pen of Peter David.
This entry written by Jordan T. Maxwell
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<a href="http://x-mencomics.com/xfan/4images/data/media/256/uxmen-2001a.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/256/uxmen-2001a.jpg" align=right alt="Uncanny X-Men 2001 Annual - Absolute Progeny"></a> #37: Absolute Progeny
Uncanny X-Men 2001 Annual & Uncanny X-Men #408-409
Written By: Joe Casey
Art By: Ashley Wood & Sean Phillips
With much attention on the New X-Men and X-Treme X-Men reboots, the X-Men's flagship title was left in the proverbial dark. Uncanny X-Men had the least amount of characters, and with the least "big gun" appeal. Archangel, Chamber, Iceman, Nightcrawler, and some new scaly prostitute character hardly comprised the most exciting cast for any X-Men storyarc. Moreover, scribe Joe Casey was on his way out after negative fan and editorial feedback. So what was a writer to do? Go out with a bang, of course.
Beginning in Uncanny X-Men 2001, with the conclusion in Uncanny X-Men #408-409 (Casey's final issues), Absolute Progeny opened many doors for X-Men stories that had previously been untapped, or at least not scribed to its utmost potential. Darker themes were the order of the day. Previously playing around with prostitution in Stacy X's introduction, Casey and X-fans were now ready for another social taboo -- drugs. But these were not like any "real life" drugs you could find on the street. In a brilliant interpretation of the social problem, Casey injects these "designer genes" drugs with the chemical ability to give regular humans -- or "flatscans" as they've come to be known in the context of homo superior -- the high of temporary mutations. And although these mutations differed from individual to individual, at times giving some very unpleasant changes, most "flatscans" just couldn't get enough of any new abilities/powers they gained.
In the world of the X-Men, Casey's concept of the designer gene drugs not only touched upon valid and relatable social issues such as drug addiction and peer pressure, but it also changed the way the mutant population would be viewed in the Marvel Universe canon. Although somewhat rushed without gradual change in its effects on the canon as a whole, slices of society were now envious of mutants, even to the point of adoration and wanting to become like them. Yes, the status quo of mutants radically changed, seemingly overnight, which caused many cries of inconsistency. But it was also a welcome refreshing change from the bigotry stories that had almost become cliche in the X-books.
Great plots aside, Absolute Progeny also notes the glorifying return of the once "lame" villain, The Vanisher. Once a second-rate teleporter, Casey transformed the character of The Vanisher into a true threat. Not so much in any physical sense. Although, his shedding of the laughable red and purple costume helped complement Casey's intended image. But more so because of the effects of his designer genes. He was now a big bump on the path to the dream of peaceful coexistence between humans and mutants, which was what catapulted his character to new heights.
But Casey didn't ignore the X-Men either. At the forefront of this storyarc Archangel, as multimillionaire Warren Worthington III, waged corporate war on The Vanisher's drug cartels -- a side to Archangel rarely ever seen in the past, if at all, but which seemed natural for the businessman in his character. The conflict of methods between Archangel and Wolverine was also a highlight of the storyarc, which emphasised the diversity of characters within the X-Men themselves. Not to mention the first inklings of a power struggle between the two pseudo-leaders of this particular team, Archangel and Nightcrawler. This does, however, repeatedly prove to be a point of confusion as to the leadership of the team, even to this day. Although, having the problem be addressed on the page, in canon, at least makes it count as valid conflict and development.
Overall, Absolute Progeny is an, well, absolute progeny of many elements in X-stories past. Aspects of the storyarc may not have been original in the X-books, as drugs and social idolatry of mutants had been ongoing themes of the satellite book, X-Statix. However, Casey's treatment was groundbreaking for a mainstream core X-title, along with its core characters, to deal with the subjects. So much so that future plots in New X-Men, such as the drug "Kick" in the Riot at Xavier's storyarc and the concept of publically open mutants in Mutant Town, are supposedly homages to Casey's short run by buddy Grant Morrison. No doubt, Absolute Progeny has opened many doors for other future stories in the annals of the X-books.
This entry written by Al Harahap
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen303.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen303.jpg" align=right alt="Uncanny X-Men #303 - Going Through the Motions"></a> #36: Going Through the Motions
Uncanny X-Men #303
Written By: Scott Lobdell
Art By: Richard Bennett
"Since I been hanging with you guys, I got to mix it up with Brood-things, Sentinels, Acolytes and everything. So how is it ya can save the world every morning, pre-wheaties...but when it comes to savin' one little girl... zip?!"
Jubilee asked the above question in this story, Going Through the Motions, which shows why the Legacy Virus started out as such a good story device. In this issue, little Illyana Rasputin dies of the then-new mutant plague, the Legacy Virus (so new, in fact, that it had yet to be named at this point). This story is about life and death, but not in the same way as most X-Men stories. This story is about the enemies you can't fight, the battles you can't win, and the cost of losing those battles.
Jubilee is really the focus of the story. She's our narrator, and it's through her eyes that we see the deterioration and demise of Illyana. More importantly, however, she is the voice of the helpless witness, the person who can't do anything but stand back and watch their loved one wither away.
This issue is powerful because it boils down the entire illness into a shorter time frame, presenting us with this story in a single issue. The processes involved in someone dying of a terminal disease are slow and painful, taking months or even years in the real world. But writer Scott Lobdell takes that whole ordeal and presents it as taking mere hours... not to be untrue to the reality of such a situation, but to magnify it, to present it in a format that is so sudden that we as readers are as unprepared for it as the characters. That theme is also prevalent in the story: no matter how well prepared you think you are, no matter how far ahead of time you know the blow is coming, it still knocks you out. There are some things you just can't prepare yourself for.
The entire range of reactions to tragedy and loss are presented here. Jubilee is the casual observer, who is affected no matter how hard they try not to be. The Professor is the father figure (Jubilee calls him "the father of all mutants"), the one who cannot bear to lose either the child or the battle. Moira is the doctor, the one who is unable to arrest the progress of the disease, and who must ultimately resign herself to that inability. Kitty is the friend, the one who both falls apart and tries to be strong enough to know when it's time to let go. And finally there is Illyana's older brother, Peter, who only arrives at the very end of the issue, once Illyana has already passed away. His reaction is the other extreme from Kitty's; as his attempts to be strong, to not fall apart, cause him to undergo an internal collapse that leaves him cut off, lost.
This issue is great not only for the powerful and surprisingly realistic way in which it portrays illness, death and the grief that follows them, but also for the groundwork it laid for future stories. Everything that Colossus did after this issue... EVERYTHING... was affected by this story. The character would never escape the pain this brought him, just as many real people can never escape the pain of losing someone close to them. That pain would be the driving force behind all his subsequent storylines, right up to and including his demise. It's a strong, moving story that provided one character with years of strong character motivation, and provided another with a memorable send-off.
This entry written by Joel Phillips.
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<a href="http://x-mencomics.com/xfan/4images/data/media/172/dpool-65.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/172/dpool-65.jpg" align=right alt="Deadpool #65 - Healing Factor"></a> #35: Healing Factor
Deadpool (Vol. 2) #65-69
Written By: Gail Simone
Art By: UDON
Yes, believe it or not, a Deadpool story beat out countless other standby's of the X-canon to be named one of the Forty Greatest of all time. That alone should tell you how good the Healing Factor arc was.
In the July, 2002, ComiX-Fan review of Deadpool #69, we said something that pretty much wraps up what made this story so special: "Every once in a great while, there comes a truly rare comic book. This is the kind of book that packs so much in story-wise that it seems like it's double-sized... but it still manages to tell the story completely. This is the kind of book where the art tells the story so well that you think you're watching it on TV. This is the kind of book that, when you finally get to the end, you stare at the last couple of pages for a few seconds. You think to yourself... 'Wow....' Then you go back and read it again."
Deadpool was in search of direction when Gail Simone and UDON Studios took it over, so this new creative team opted to remove Wade Wilson from the heavy X-continuity he'd been mired in, to instead focus on his core character: a deranged mercenary who took excessive joy from causing violence. Gone were the hard-nosed gritty action and Weapon X tie-in's... Simone and UDON envisioned something closer to the title's original vision - a fun but very twisted romp through a mercenary's life in the honestly ridiculous Marvel Universe. The creative team gave us pure Wade Wilson... arguably the best, funniest, most compelling, and most entertaining Wade Wilson we'd ever seen.
But what made Healing Factor a contender for this list was the fact that it wasn't just hilarious comedy... it was a dramatic and compelling story of a man losing his mind. The readers knew that these were the last days for Deadpool, that something terrible was going to happen to him by the arc's end... and Simone and UDON perfectly mingled those grim undertones with the book's twisted humor. Through this arc, the character of Deadpool was made realistic... they made us really care about him... because he wasn't just some tough-as-nails merc: he was a human. We saw him at his best and at his worst. We saw him killing for money, and we saw him showing empathy for others. We saw him playing cruel jokes on the innocent, and we saw him saving the innocent at the cost of his own life.
This arc had real moments, the kind that you remember for years after you read the story: our hero accidentally killing four crime-lords... a miniaturized Rhino attached to a key-chain... Deadpool himself riding a motor-scooter... and possibly the best moment of all, the final amazingly climactic showdown between Deadpool and the man who destroyed him: the Black Swan.
Actually, no, I take it back. The best moment of all was when Wade asked Rhino, "Happy Trail or Fun Ball?"
Regardless, Healing Factor was a story that could make you laugh, and make you cry. It was a hilarious comedy and a moving tragedy. Gail Simone and UDON brought to Deadpool a level of story depth and artistic excellence that the title had never seen before. This is the kind of arc that is intelligent enough for the experienced reader but accessible enough for the newbie... I've seen several former non-comics-readers converted by these five issues of Deadpool.
This entry written by Jim Lemoine
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen183.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen183.jpg" align=right alt="Uncanny X-Men #183 - He'll Never Make Me Cry"></a> #34: He'll Never Make Me Cry
Uncanny X-Men #183
Written By: Chris Claremont
Art By: John Romita Jr.
He'll Never Make Me Cry is about what happens when a relationship ends even when nobody's feelings have really changed. Usually in comic books relationships only end one of two ways: either the characters are stuck in a perpetual cycle of break-ups and make-ups (i.e. Gambit and Rogue), or the relationships are quickly, and often sloppily, cast aside by writers that don't want to deal with them anymore. Neither is the case here.
First, some set up: during the Secret Wars crossover, Colossus' life was saved by an alien healer woman. For whatever reason, Peter decided that he was in love with her, and thus not in love with his then girlfriend, Kitty Pryde. In this issue, after returning home, Peter finally breaks the news to Kitty and ends their relationship.
What makes the issue so good is that all the reactions feel so real. Kitty is devastated by the break-up, as we would expect a young girl to be, but she is also a strong enough person that she controls her emotions... at least while in front of Peter. On the other side of the break-up is Peter, who clearly still loves Kitty despite what he has just done.
Much of what Peter is going through would probably be missed were it not for Logan, who takes Peter out on the town to tell him what a jackass he's being. Though the presence of the more rational Kurt prevents him from saying it outright, Logan is still surprisingly upfront with Peter about his displeasure with the way the situation was handled. And what is Peter's response? Peter's response is to drink too much and pick a fight with another bar patron: the Juggernaut. Logan suggests Peter isn't thinking straight, and we have no problem agreeing with him.
Claremont's true appreciation and, yes, affection for these characters really shines through in this issue. And there would be no quick reversals on this one: Claremont continued to use both Peter and Kitty, together but separate, the wounds still apparent, if not open.
He'll Never Make Me Cry is a wonderful story because of the respect it has for its characters and the reality of the experiences they have been through. Claremont remains true to that, and true to them, and the result is one of the best depictions of an ending relationship ever offered in the pages of a comic book.
This entry written by Joel Phillips
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen200.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen200.jpg" align=right alt="Uncanny X-Men #200 - Trial of Magneto"></a> #33: Trial of Magneto
Uncanny X-Men #200
Written by: Chris Claremont
Art by: John Romita, Jr.
The setting is Paris. Magneto has finally been captured and is to be tried for his many atrocities against humanity. His two lifetime friends and sometimes enemies, Gabrielle Haller and Professor Charles Xavier are his defense. The X-Men of course pop in from their sojourn to Asgard and provide extra support. To add to the mayhem, Baron Wolfgang Von Strucker's twin offspring, Fenris, (who blame Magneto for their father's death), are planning on assassinating Magneto. Another vastly important sidebar is that Professor Xavier's heart has been rapidly deteriorating. At the end, Charles Xavier is whisked away by his love Lilandra (who at the time was an unseated Empress) and the Starjammers to aid in his ailing health, but before he leaves, he makes Magneto promise to take his place as the headmaster of the school.
What is so masterful about this issue is that this represents Chris Claremont at his best. Leaving the story aside, he showed how to self-contain a high level plot with exquisite characterization. What adds to the depth of this issue is the real world type of conversational interactions that takes place, which is complemented by some well placed witty banter as opposed to the banter being the main vehicle of interaction that is somewhat prevalent today in his writing. There are no holes in this issue whatsoever. No plot points or dialogue are rushed through, glossed over, or drawn out. The balance is perfect.
This issue also in some ways represents part one of three in Magneto's journey with himself and the Dream (see All New, All Different....Here We Go Again & Crossroads). Chris Claremont by this time had already established Magneto as one of the noblest and most three-dimensional "villains" in the comic book industry. Trial of Magneto with the help of John Romita, Jr. portrayed Magneto as a human soul pitting his inner opinions with his need to now do what is right. The panel at the end of the issue depicting a crouching and crying Magneto promising to uphold his vow to Xavier is very powerful.
The problem is sometimes events that transpire later taint a great work. Unfortunately the 1990's regressed Magneto into a 2-D human hating monger. Magneto's progression was halted thus negating the significance of this issue. If Chris Claremont had stayed on with the X-Men, killed off Xavier, and permanently installed Magneto as the headmaster as he planned to do, would this issue be more memorable? Maybe. However, in the end, this issue can and has stood as a masterpiece in its own right.
This entry written by Tan K.
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen294.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen294.jpg" align=right alt="Uncanny X-Men #294 - The X-Cutioner's Song"></a> #32: The X-Cutioner's Song
Uncanny X-Men #294-297, X-Men (Vol. 2) #14-16, X-Factor (Vol. 1) #84-86 & X-Force #16-18
Written By: Scott Lobdell, Fabian Nicieza & Peter David
Art By: Greg Capullo, Andy Kubert, Jae Lee & Brandon Peterson
The X-Cutioner's Song illustrates a crossover of epic proportions. At this time, the various teams of mutants were separate and divided. X-Factor was sponsored by the government while X-Force was a rogue group. Although, each group believes in the dream of Professor Xavier, to unite humans and mutants peacefully. An attack on their headmaster is enough to unite the teams to avenge their mentor.
This crossover can be confusing, as most are, but a milestone in X-Men history. The crossover essentially is Stryfe's bid to avenge himself and exact revenge on the ones who have made his life miserable, particularly Scott Summers and Jean Grey, who he believes to be his biological parents. Stryfe is actually Cable's clone, kidnapped by Apocalypse who believed him to be the original. Apocalypse raises Stryfe and becomes Cable's rival and opponent in the future they are from. Moreover, Apocalypse traveled to the pasat to infect Nathan Summers, the child of Scott and Jean, with the techno-organic virus. In the future, Nathan learned to use his telekinetic powers to halt the spread of the virus; consequently, he could never reach his full potential. Stryfe was an uninfected clone and obtained more power than Cable.
The plot is that Stryfe, posing as Cable, shoots Prof. X during a speech and the teams are now after him. The bullet is carrying the tecno-organic virus. Xavier is then taken to the hospital and is alive but in critical condition.
There truly are some great moments in here, as would be when the teams align. X-Factor #84 was quite enjoyable. Peter David maintains a comedic quality during this crossover and the character interactions are fun. The battle between X-Factor and X-Force was excellent also. Apocalypse's tribulations during this story are unforgettable. He is betrayed by Stryfe, his adopted son, and the Dark Riders, his henchmen. The characterization was done excellently, like when he cured Xavier to battle alongside the X-Men. Archangel's support for Apocalypse was interesting. Also, his decision to not kill Apocalypse near death gave him some closure and enabled him to control his wings. Just seeing Apocalypse and the X-Men fight together was exciting. The trio of Bishop, Wolverine, and Cable was great and a fanboy's dream. Scott and Jean's struggle within the lunar base was moving.
The final battle of the Summers family versus Stryfe was my favorite part. Scott mentions that they sacrificed Nathan twice, which was touching. Again, the battle itself was fun to see, with Stryfe using destructive powers and Havok pitching in.
I also thought Stryfe was interesting. He might not be the most original villain but his differences, similarities, and history to Cable create a nice dynamic.
The X-Cutioner's Song leaves a lasting impression on the X-Men universe. Stryfe leaves the X-Men one last gift before being defeated and that is the Legacy Virus. The container exchanged for Scott and Jean's capture was seemingly empty; yet, it contained the Legacy Virus, becoming a problem for years to come. As mentioned before, Archangel was able to control his wings after confronting Apocalypse.
The artistic contributions were also amazing. Early work of many now famous artists can be seen in this crossover. Andy Kubert (1602, Origin), Jae Lee (Sentry), and Greg Capullo (Spawn) all did outstanding jobs particularly. The renditions of Cable by Kubert and Capullo were definitive and one of the best. Lee's X-Factor had his signature style while depicting the comedy and battle. Capullo's fight scene was incredibly detailed and gritty.
The X-Cutioner's Song is a story not to miss, clearing up the Summers family (somewhat) and introducing new threats.
Oh yeah, I liked those collectors' cards that were inserted in the polybags too ;).
This entry written by Omar A. Safi
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<a href="http://x-mencomics.com/xfan/4images/data/media/174/exiles-08.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/174/exiles-08.jpg" align=right alt="Exiles #8 - A World Apart"></a> #31: A World Apart
Exiles #8-10
Written By: Judd Winick
Art By: Mike McKone
I had the distinct pleasure of reviewing these three issues of Exiles for ComiX-Fan back when they first came out, in February and March of 2002. Here are a few things that I had to say about this arc back then.
On Exiles #8: "In this issue, as a writer, Judd Winick calls to mind folks like Alan Moore and Jim Shooter. As an artist, Mike McKone is comparable to Alan Davis and Bryan Hitch."
On Exiles #9: "Exiles is the best old-school superhero comic book being produced today."
And on Exiles #10: "... few comics have managed to haunt me like Uncanny X-Men #137 (the original death of Phoenix) did... and now, Exiles #10."
Exiles was a book that was never supposed to last. Relative Marvel newcomers Judd Winick (writer) and Mike McKone (penciller) had created a series featuring one mostly-ignored B-list character leading a bunch of other little-known characters (ranging from the brand new to the D and E lists!) through a neverending cycle of What If... scenarios. No ties to modern continuity, no regular X-Men guest appearances, no hot characters, no stable environment, and somewhat low-profile creators: all of this led to abyssmal expectations for the series. And yet, for the first seven issues of its existence, Exiles managed to stay in print by featuring impressive scripts and solid art. But nothing that we'd seen in those seven issues, as decent as they were, could have prepared us for A World Apart.
The Exiles had been to some twisted alternate Earths before, but this one took the cake: a world where the Skrulls had invaded before there were any superheroes to stop them, where Earth was no more than a slave planet and superheroes no more than gladiatorial entertainment. From the beginning, Winick and McKone set a darker tone: the usually well-adjusted and happy-go-lucky Exiles were shown as captives, desperate for release from their long imprisonment and slowly losing their sanity. The fact that we all knew that one of the Exiles wouldn't be making it through this one made the atmosphere all the more suspenseful and tense.
We were treated to powerful scenes of our heroes battling hopelessness, facing betrayal, and struggling to hold on to their minds. Winick gave us some of the most moving and realistic dramatic dialog you could find in the graphic medium at the time. McKone gave us art that spoke volumes in believability and raw emotion. The superhero arena had the feeling of a Holocaust prison camp, and Blink and Morph's attempts to rescue the team called to mind images of Custer hopelessly making his last stand.
In the end, the Skrulls were indeed driven off of Earth... but only because of the imminent arrival of the planet-devouring Galactus. In an amazing action-packed yet thoughtful battle scene involving many of the greatest heroes of any universe, Galactus was defeated... but at the cost of an Exile. John Proudstar, the tragic Exile Thunderbird, fell in final heroic battle saving the planet and all of its inhabitants. Proudstar's injuries from defeating Galactus (Galactus, mind you!) left him comatose and near death... and he was left behind when the Exiles were instantly teleported to their next alternate dimension. This would have been emotional enough as it was... but add to this the fact that Nocturne had just announced her pregnancy with Proudstar's child, and you're left with an extremely memorable tear-jerker.
A World Apart had absolutely no impact on standard X-continuity, nor did it feature glow-in-the-dark radioactive covers or Wolverine guest appearances. Instead, it was a true epic (comparable to the great epics we've seen from the Avengers series) and a masterpiece of Marvel storytelling. It made you care about the characters in a very realistic way, by showing their all-too human sides and proving to us that the good guys don't always win the day. It was the very rare kind of story that left you dying for the next issue, the kind that made you feel like the characters were your close friends.
And I still miss John Proudstar.
This entry written by Jim Lemoine
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Be sure to check back next week for Part 2, #30-21! For more special articles, features, and columns celebrating the 40th Anniversaries of the Avengers and X-Men, click here! (http://www.comixfan.com/xfan/forums/showthread.php?s=&threadid=21464)
Edited and assembled by Joel Phillips
This month marks the fortieth anniversary of the X-Men. In honor of this occasion we, the ComiX-Fan staff, have assembled our list of the 40 best X-stories those forty years have brought us. The list is the combined effort of a lengthy selection process that saw more than twenty members of the ComiX-Fan staff considering well over one hundred great stories, but in the end these were the forty that were voted to be the best of the best. This week features the bottom ten of the list, 40 through 31. We'll be bringing you another ten every week in September, right up to our pick for the #1 best X-story ever published.
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<a href="http://x-mencomics.com/xfan/4images/data/media/196/xmen-030.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/196/xmen-030.jpg" align=right alt="X-Men #30 - The Ties that Bind"></a> #40: The Ties that Bind
X-Men (Vol. 2) #30
Written By: Fabian Nicieza
Art By: Andy Kubert
In The Ties that Bind, Scott Summers and Jean Grey finally marry, after years of dancing around one another, dying around one another, and marrying one another's clones. It is one of those "a beginning and an ending" type stories: a landmark in the lives of two of the X-franchise's central figures.
But none of that is why I like it, or why it belongs on this list. Why do I like it? There are four reasons:
Something Old: Logan's pining for Jean. The Logan/Jean/Scott triangle, which is usually overplayed to the point where it becomes detrimental to all three characters, feels surprisingly genuine in this issue. Rather than having Logan either sit through the wedding in discomfort or simply abandoning his friends entirely, writer Fabian Nicieza has him write Jean a letter, explaining his absence. What takes this development from good to great is the fact that Logan isn't really totally honest with Jean in the letter. It would be easy for Nicieza to have Logan pour his heart out, but Logan would never do that... in fact, it would be the exact opposite of the spirit of the letter, which Logan means to lessen Jean's uneasiness rather than deepen it. Instead Logan skirts the issue, wishing Jean well, and not saying what everyone knows he really means.
Another key development can be found later in the issue, where Wolverine, in the way only he can, gives Sabretooth a not-so-friendly warning about crashing the wedding. Even in his absence from the festivities, Logan is watching over things, and Jean in particular.
Something New: The wedding in this issue functions like a real wedding. Every stage of the wedding is represented: from getting dressed and walking down the aisle beforehand, to tossing the garter and bouquet and pushing cake in each other's faces afterward. Not a single ritual is missed. What makes this new? A lot of depictions of weddings, in comics and elsewhere, start with the walk down the aisle and end with the kiss, skipping over the other less important rituals for the sake of expediency. But by including those little pieces here and there the wedding feels complete, and thus real.
Something Borrowed: This issue borrows characters from all the other X-teams. Of course, since it only makes sense for these people to be there, and Nicieza doesn't disappoint. What makes that a noteworthy accomplishment, however, is that several of the borrowed characters actually DO something, rather than just standing in the background as often happens with these events. What's more, they act like themselves: when Strong Guy is cracking-wise, never do I think "that's not how he acts in X-Factor". Nicieza manages to have the supporting players not only saying and doing things, but saying and doing things that actually make sense for the characters.
Something Blue: OK, this segue is terrible, but blue is a color and I wanted to talk about the art. Andy Kubert's talents are on display here, as he does an amazing job with a huge cast and the fancy setting of a wedding reception. Looking back at issues like this one reminds me of better times for comics, as it feels so complete: I'm hard-pressed to find the kind of errors and other artistic oddities that are all too common in many comics today. It's a real testament to Kubert's talent that he can, in a single issue, handle the majesty of high-class dress and a fancy party, contrasted with the stark simplicity of a man on a snowy hill. Excellent work all around.
The story does suffer one handicap, however: it's about Scott and Jean. Though that sounded like a dig, I simply meant that not everyone finds these characters particularly interesting, and that naturally limits the appeal of the story for those people. Of course I am one of those people, and I still found the issue worthy of inclusion, so it is admittedly a minor hurdle.
After years of spinning their wheels, Scott and Jean's relationship finally produced something wonderful for readers to enjoy. Though the characters would spend much of the time between then and now stuck in similar cycles, The Ties that Bind stands as an oasis in the middle of it all, a place where even non-fans of the Summers Clan can smile and appreciate what these characters do for one another.
This entry written by Joel Phillips
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<a href="http://x-mencomics.com/xfan/4images/data/media/194/xforce116.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/194/xforce116.jpg" align=right alt="X-Force #116 - Exit Wounds"></a> #39: Exit Wounds
X-Force #116
Written By: Peter Milligan
Art By: Mike Allred
When the May revamp of the X-Men titles came around, only X-Treme X-Men was a traditional take on the characters. Grant Morrison, Joe Casey, and Peter Milligan opened up doors for new visions of mutants in the Marvel Universe. Milligan, in particular, created an outlet for different teams with completely different themes than "sworn to protect those who hate and fear us."
Previously, X-Force was a title following Cannonball and his militant team. The revamp on this title caused much controversy because of the drastic changes. In the long term, the revamp proved to be successful.
Exit Wounds presents such a unique and entertaining story of mutants than ever before. We meet a team who is accepted by the general populace and is even celebrities. All the members live glamorous lifestyles, including sex, money, fame, power, cars, houses, champagne, talk shows, limousines, immortality, and luck, just how the characters themselves describe it. Although, having immortality was far from true. Milligan promised to create a team which has a high death toll and he delivered. In only the first issue, the whole team was killed besides now fan-favorites U-Go Girl, the Anarchist, and Doop. Even Zeitgeist, the leader, was killed! Also, the powers and mutants varied greatly. Zeitgeist had acidic vomit while Sluk had a face made of tentacles and lacked any real abilities to use in combat. The loveable green floating blob called Doop was nothing we've ever seen before too.
In addition, the team had an excellent dynamic like never before. These characters combined made a dysfunctional team with their outstanding personalities. For example, Zeitgeist was a complex and troubled leader. He continues to loathe the manifestation of his powers and the girl's face he ruined with it. Zeitgeist showed little remorse for the death of Sluk and preferred his team to look more "human" than mutant. U-Go Girl was the wild girl who had narcolepsy accompanying her teleportation powers. Tike Alicar was the rebel and new recruit of the team. Battering Ram, a large overgrown man with a skull structure similar to that of a ram, had issues about his role on the team. Gin Genie, like her name implies, relied on alcohol to increase her powers; thus, making her an alcoholic.
Essentially, this title was a satire on today's society. The team was orchestrated to maintain the attention of the public. An X-Force Café is unveiled during the issue also. The team's fatal mission required them to rescue a boy-band from terrorists. This boy-band had a striking resemblance to N'Sync. Throughout the issue, other subjects are parodied and even the characters are similar to pop culture icons.
Artist Michael Allred was also new to the X-Men titles, as well as Marvel. His style is unique in the industry as a whole. His work is similar to the classic styles of Jack Kirby and others yet maintains a modern pop feel. As apparent from the uniforms of X-Force, the two-toned suits reflected that retro look. Allred also illustrated a gruesome story of sex and outrageous violence. Allred's work is amazingly appealing and was one of numerous new styles used after the revamp.
Overall, Exit Wounds is a story like no other and deserves its place on the list of top X-Men stories of all time.
This entry written by Omar A. Safi
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen280.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen280.jpg" align=right alt="Uncanny X-Men #280 - Muir Island Saga"></a> #38: Muir Island Saga
Uncanny X-Men #278-280 & X-Factor (Vol. 1) #69-70
Written By: Chris Claremont, Fabian Nicieza, Peter David & Jim Lee
Art By: Paul Smith, Andy Kubert, Whilce Portacio, Kirk Jarvinen & Steven Butler
Occasionally, a story comes along that signals the end of an era...and thus the beginning of a new one. The Muir Island Saga punctuated an ending to the banner of the sense of darkness and separation that had flown over the X-Men and, indeed, all of the mutant titles for the years beforehand. The team was believed dead, and had used that status to go underground, striking at their enemies with force and severity...only to be subsequently scattered across the globe, separated from one another. The original students of Xavier had isolated themselves from the team and school, forming the new strike force of X-Factor. The younger students, the New Mutants, had adopted the more militant tutelage of Cable and just prior to this tale abandoned the school altogether to form X-Force. Looming over this darkness and separation was the Shadow King, a psychic villain who embodied fear, hatred and all of the negative thoughts and emotions of mankind...and who, in the guise of Amahl Farouk, first inspired Xavier to form a school and team that could combat such evil mutants and to inspire peace and respect between mutants and humanity. This is the tale that put an end to his threat, as well as a great deal many other things...yet in the team's tragic final victory, a new beginning was planted.
There's a subtle tension to this story, and many of the conflicts could be fittingly described as "shadow" conflicts. The X-Men must sneak on to Muir Island to confront their counterparts and former allies who had...only to be absorbed into his influence. Xavier must prevent the possessed Colossus from killing him and Stevie Hunter by leading him into the Danger Room, and plunging deep into his psyche to tear apart his "new" life as artist Peter Nicholas and return him to the life of an X-Man. And, having reunited with their former teacher, X-Factor must join with those who've broken free of the Shadow King's influence to hold off the combined forces of Moira MacTaggert's Muir Island mutants, their own teammates in the X-Men and the Shadow King himself. Every action is covert, all the struggles personal...until everything kicks into high gear with the explosion (for the first time, anyway) of Muir Island itself. And even then, in the climactic final battle between Xavier and the Shadow King, the essence of the struggle can easily be boiled down to Xavier putting his own personal dream against the nightmares that oppose it. Or since the Shadow King had taken Xavier's own estranged son Legion as his host, it could even be seen in a much simpler way as an abandoned son lashing out as his father makes a final desperate attempt to reach out to the child he had sacrificed for his own ideals and ambitions.
The very interesting storytelling tactic that Claremont and Nicieza use in the first part of the story is that while the conflicts are rather intimate and isolated to Muir Island and the devastated grounds of Xavier's school, the stakes of the story are global. The Shadow King is spreading his influence across the world, feeding humanity's own inherent tendencies towards violence, hatred and fear to create strife and discrimination...and in turn feeding off of those negative emotions to power himself. Xavier and his X-Men must in a sense defeat the abstract representation of everything they have worked to fight for years, lest it overpower the world and spread to the stars. And as we all know, high stakes make for good drama.
Peter David's low key epilogue is, in and of itself, noteworthy...featuring each of the X-Men dealing with the aftermath of what they've done and each asking the question of, "where do we go from here?" Xavier's introspective quest to save the psyche of a comatose Legion utilizes a great deal of dream imagery, foreshadowing such phenomenal tales as Silence: Psychic Rescue in Progress. Yet the humor and tenderness expressed between the characters as they attempt to recover merely enhances the fact that for all of their troubles, for all the separation and angst they had suffered over the past several years, these individuals are truly a family. An element that would dominate the books in the ensuing years.
The art used in the stories has a sense of progress all its own, and one that in hindsight could not have been all that intended. The first chapter of the story is illustrated by veteran X-Men artist Paul Smith, only to be contrasted by an early Andy Kubert (in a style more reminiscent of his first run on X-Men during the 90s than of his more evolved style on Origin and 1602) and Whilce Portacio, two artists who would each leave their own mark on the title in the decade to come. And if the story falls short in any way, it is somewhat in the art department...some confusing and rather rushed looking art at points hurts the narrative flow, but also adds to the sense of urgency and tension that this story wanted to establish.
Also to blame is the resolution of the tale. This in the end is a story about dreams, Xavier's versus the Shadow King's, love versus hate. With such high minded themes and abstract concepts playing in opposition to one another, one would think that the final confrontation would be more about those dreams. Yet it all boils down to rather standard superheroic fare, which while well done for what it was causes the story and its themes to stumble somewhat when they should be at their most powerful. Still, when all is said and done, the Muir Island Saga put an end to the Shadow King and the darkness he represented which had enveloped the books for so long. It brought Xavier back into the fold (at the expense, once again, of his ability to walk or engage more physically in the realization of his dream), regularized the original X-Men with the generation that followed, and brought about a great change in direction for both Uncanny X-Men, which now required the spin off title X-Men (pre Newness) to handle the expansion of characters, as well as X-Factor which flourished under the pen of Peter David.
This entry written by Jordan T. Maxwell
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<a href="http://x-mencomics.com/xfan/4images/data/media/256/uxmen-2001a.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/256/uxmen-2001a.jpg" align=right alt="Uncanny X-Men 2001 Annual - Absolute Progeny"></a> #37: Absolute Progeny
Uncanny X-Men 2001 Annual & Uncanny X-Men #408-409
Written By: Joe Casey
Art By: Ashley Wood & Sean Phillips
With much attention on the New X-Men and X-Treme X-Men reboots, the X-Men's flagship title was left in the proverbial dark. Uncanny X-Men had the least amount of characters, and with the least "big gun" appeal. Archangel, Chamber, Iceman, Nightcrawler, and some new scaly prostitute character hardly comprised the most exciting cast for any X-Men storyarc. Moreover, scribe Joe Casey was on his way out after negative fan and editorial feedback. So what was a writer to do? Go out with a bang, of course.
Beginning in Uncanny X-Men 2001, with the conclusion in Uncanny X-Men #408-409 (Casey's final issues), Absolute Progeny opened many doors for X-Men stories that had previously been untapped, or at least not scribed to its utmost potential. Darker themes were the order of the day. Previously playing around with prostitution in Stacy X's introduction, Casey and X-fans were now ready for another social taboo -- drugs. But these were not like any "real life" drugs you could find on the street. In a brilliant interpretation of the social problem, Casey injects these "designer genes" drugs with the chemical ability to give regular humans -- or "flatscans" as they've come to be known in the context of homo superior -- the high of temporary mutations. And although these mutations differed from individual to individual, at times giving some very unpleasant changes, most "flatscans" just couldn't get enough of any new abilities/powers they gained.
In the world of the X-Men, Casey's concept of the designer gene drugs not only touched upon valid and relatable social issues such as drug addiction and peer pressure, but it also changed the way the mutant population would be viewed in the Marvel Universe canon. Although somewhat rushed without gradual change in its effects on the canon as a whole, slices of society were now envious of mutants, even to the point of adoration and wanting to become like them. Yes, the status quo of mutants radically changed, seemingly overnight, which caused many cries of inconsistency. But it was also a welcome refreshing change from the bigotry stories that had almost become cliche in the X-books.
Great plots aside, Absolute Progeny also notes the glorifying return of the once "lame" villain, The Vanisher. Once a second-rate teleporter, Casey transformed the character of The Vanisher into a true threat. Not so much in any physical sense. Although, his shedding of the laughable red and purple costume helped complement Casey's intended image. But more so because of the effects of his designer genes. He was now a big bump on the path to the dream of peaceful coexistence between humans and mutants, which was what catapulted his character to new heights.
But Casey didn't ignore the X-Men either. At the forefront of this storyarc Archangel, as multimillionaire Warren Worthington III, waged corporate war on The Vanisher's drug cartels -- a side to Archangel rarely ever seen in the past, if at all, but which seemed natural for the businessman in his character. The conflict of methods between Archangel and Wolverine was also a highlight of the storyarc, which emphasised the diversity of characters within the X-Men themselves. Not to mention the first inklings of a power struggle between the two pseudo-leaders of this particular team, Archangel and Nightcrawler. This does, however, repeatedly prove to be a point of confusion as to the leadership of the team, even to this day. Although, having the problem be addressed on the page, in canon, at least makes it count as valid conflict and development.
Overall, Absolute Progeny is an, well, absolute progeny of many elements in X-stories past. Aspects of the storyarc may not have been original in the X-books, as drugs and social idolatry of mutants had been ongoing themes of the satellite book, X-Statix. However, Casey's treatment was groundbreaking for a mainstream core X-title, along with its core characters, to deal with the subjects. So much so that future plots in New X-Men, such as the drug "Kick" in the Riot at Xavier's storyarc and the concept of publically open mutants in Mutant Town, are supposedly homages to Casey's short run by buddy Grant Morrison. No doubt, Absolute Progeny has opened many doors for other future stories in the annals of the X-books.
This entry written by Al Harahap
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen303.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen303.jpg" align=right alt="Uncanny X-Men #303 - Going Through the Motions"></a> #36: Going Through the Motions
Uncanny X-Men #303
Written By: Scott Lobdell
Art By: Richard Bennett
"Since I been hanging with you guys, I got to mix it up with Brood-things, Sentinels, Acolytes and everything. So how is it ya can save the world every morning, pre-wheaties...but when it comes to savin' one little girl... zip?!"
Jubilee asked the above question in this story, Going Through the Motions, which shows why the Legacy Virus started out as such a good story device. In this issue, little Illyana Rasputin dies of the then-new mutant plague, the Legacy Virus (so new, in fact, that it had yet to be named at this point). This story is about life and death, but not in the same way as most X-Men stories. This story is about the enemies you can't fight, the battles you can't win, and the cost of losing those battles.
Jubilee is really the focus of the story. She's our narrator, and it's through her eyes that we see the deterioration and demise of Illyana. More importantly, however, she is the voice of the helpless witness, the person who can't do anything but stand back and watch their loved one wither away.
This issue is powerful because it boils down the entire illness into a shorter time frame, presenting us with this story in a single issue. The processes involved in someone dying of a terminal disease are slow and painful, taking months or even years in the real world. But writer Scott Lobdell takes that whole ordeal and presents it as taking mere hours... not to be untrue to the reality of such a situation, but to magnify it, to present it in a format that is so sudden that we as readers are as unprepared for it as the characters. That theme is also prevalent in the story: no matter how well prepared you think you are, no matter how far ahead of time you know the blow is coming, it still knocks you out. There are some things you just can't prepare yourself for.
The entire range of reactions to tragedy and loss are presented here. Jubilee is the casual observer, who is affected no matter how hard they try not to be. The Professor is the father figure (Jubilee calls him "the father of all mutants"), the one who cannot bear to lose either the child or the battle. Moira is the doctor, the one who is unable to arrest the progress of the disease, and who must ultimately resign herself to that inability. Kitty is the friend, the one who both falls apart and tries to be strong enough to know when it's time to let go. And finally there is Illyana's older brother, Peter, who only arrives at the very end of the issue, once Illyana has already passed away. His reaction is the other extreme from Kitty's; as his attempts to be strong, to not fall apart, cause him to undergo an internal collapse that leaves him cut off, lost.
This issue is great not only for the powerful and surprisingly realistic way in which it portrays illness, death and the grief that follows them, but also for the groundwork it laid for future stories. Everything that Colossus did after this issue... EVERYTHING... was affected by this story. The character would never escape the pain this brought him, just as many real people can never escape the pain of losing someone close to them. That pain would be the driving force behind all his subsequent storylines, right up to and including his demise. It's a strong, moving story that provided one character with years of strong character motivation, and provided another with a memorable send-off.
This entry written by Joel Phillips.
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<a href="http://x-mencomics.com/xfan/4images/data/media/172/dpool-65.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/172/dpool-65.jpg" align=right alt="Deadpool #65 - Healing Factor"></a> #35: Healing Factor
Deadpool (Vol. 2) #65-69
Written By: Gail Simone
Art By: UDON
Yes, believe it or not, a Deadpool story beat out countless other standby's of the X-canon to be named one of the Forty Greatest of all time. That alone should tell you how good the Healing Factor arc was.
In the July, 2002, ComiX-Fan review of Deadpool #69, we said something that pretty much wraps up what made this story so special: "Every once in a great while, there comes a truly rare comic book. This is the kind of book that packs so much in story-wise that it seems like it's double-sized... but it still manages to tell the story completely. This is the kind of book where the art tells the story so well that you think you're watching it on TV. This is the kind of book that, when you finally get to the end, you stare at the last couple of pages for a few seconds. You think to yourself... 'Wow....' Then you go back and read it again."
Deadpool was in search of direction when Gail Simone and UDON Studios took it over, so this new creative team opted to remove Wade Wilson from the heavy X-continuity he'd been mired in, to instead focus on his core character: a deranged mercenary who took excessive joy from causing violence. Gone were the hard-nosed gritty action and Weapon X tie-in's... Simone and UDON envisioned something closer to the title's original vision - a fun but very twisted romp through a mercenary's life in the honestly ridiculous Marvel Universe. The creative team gave us pure Wade Wilson... arguably the best, funniest, most compelling, and most entertaining Wade Wilson we'd ever seen.
But what made Healing Factor a contender for this list was the fact that it wasn't just hilarious comedy... it was a dramatic and compelling story of a man losing his mind. The readers knew that these were the last days for Deadpool, that something terrible was going to happen to him by the arc's end... and Simone and UDON perfectly mingled those grim undertones with the book's twisted humor. Through this arc, the character of Deadpool was made realistic... they made us really care about him... because he wasn't just some tough-as-nails merc: he was a human. We saw him at his best and at his worst. We saw him killing for money, and we saw him showing empathy for others. We saw him playing cruel jokes on the innocent, and we saw him saving the innocent at the cost of his own life.
This arc had real moments, the kind that you remember for years after you read the story: our hero accidentally killing four crime-lords... a miniaturized Rhino attached to a key-chain... Deadpool himself riding a motor-scooter... and possibly the best moment of all, the final amazingly climactic showdown between Deadpool and the man who destroyed him: the Black Swan.
Actually, no, I take it back. The best moment of all was when Wade asked Rhino, "Happy Trail or Fun Ball?"
Regardless, Healing Factor was a story that could make you laugh, and make you cry. It was a hilarious comedy and a moving tragedy. Gail Simone and UDON brought to Deadpool a level of story depth and artistic excellence that the title had never seen before. This is the kind of arc that is intelligent enough for the experienced reader but accessible enough for the newbie... I've seen several former non-comics-readers converted by these five issues of Deadpool.
This entry written by Jim Lemoine
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen183.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen183.jpg" align=right alt="Uncanny X-Men #183 - He'll Never Make Me Cry"></a> #34: He'll Never Make Me Cry
Uncanny X-Men #183
Written By: Chris Claremont
Art By: John Romita Jr.
He'll Never Make Me Cry is about what happens when a relationship ends even when nobody's feelings have really changed. Usually in comic books relationships only end one of two ways: either the characters are stuck in a perpetual cycle of break-ups and make-ups (i.e. Gambit and Rogue), or the relationships are quickly, and often sloppily, cast aside by writers that don't want to deal with them anymore. Neither is the case here.
First, some set up: during the Secret Wars crossover, Colossus' life was saved by an alien healer woman. For whatever reason, Peter decided that he was in love with her, and thus not in love with his then girlfriend, Kitty Pryde. In this issue, after returning home, Peter finally breaks the news to Kitty and ends their relationship.
What makes the issue so good is that all the reactions feel so real. Kitty is devastated by the break-up, as we would expect a young girl to be, but she is also a strong enough person that she controls her emotions... at least while in front of Peter. On the other side of the break-up is Peter, who clearly still loves Kitty despite what he has just done.
Much of what Peter is going through would probably be missed were it not for Logan, who takes Peter out on the town to tell him what a jackass he's being. Though the presence of the more rational Kurt prevents him from saying it outright, Logan is still surprisingly upfront with Peter about his displeasure with the way the situation was handled. And what is Peter's response? Peter's response is to drink too much and pick a fight with another bar patron: the Juggernaut. Logan suggests Peter isn't thinking straight, and we have no problem agreeing with him.
Claremont's true appreciation and, yes, affection for these characters really shines through in this issue. And there would be no quick reversals on this one: Claremont continued to use both Peter and Kitty, together but separate, the wounds still apparent, if not open.
He'll Never Make Me Cry is a wonderful story because of the respect it has for its characters and the reality of the experiences they have been through. Claremont remains true to that, and true to them, and the result is one of the best depictions of an ending relationship ever offered in the pages of a comic book.
This entry written by Joel Phillips
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen200.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen200.jpg" align=right alt="Uncanny X-Men #200 - Trial of Magneto"></a> #33: Trial of Magneto
Uncanny X-Men #200
Written by: Chris Claremont
Art by: John Romita, Jr.
The setting is Paris. Magneto has finally been captured and is to be tried for his many atrocities against humanity. His two lifetime friends and sometimes enemies, Gabrielle Haller and Professor Charles Xavier are his defense. The X-Men of course pop in from their sojourn to Asgard and provide extra support. To add to the mayhem, Baron Wolfgang Von Strucker's twin offspring, Fenris, (who blame Magneto for their father's death), are planning on assassinating Magneto. Another vastly important sidebar is that Professor Xavier's heart has been rapidly deteriorating. At the end, Charles Xavier is whisked away by his love Lilandra (who at the time was an unseated Empress) and the Starjammers to aid in his ailing health, but before he leaves, he makes Magneto promise to take his place as the headmaster of the school.
What is so masterful about this issue is that this represents Chris Claremont at his best. Leaving the story aside, he showed how to self-contain a high level plot with exquisite characterization. What adds to the depth of this issue is the real world type of conversational interactions that takes place, which is complemented by some well placed witty banter as opposed to the banter being the main vehicle of interaction that is somewhat prevalent today in his writing. There are no holes in this issue whatsoever. No plot points or dialogue are rushed through, glossed over, or drawn out. The balance is perfect.
This issue also in some ways represents part one of three in Magneto's journey with himself and the Dream (see All New, All Different....Here We Go Again & Crossroads). Chris Claremont by this time had already established Magneto as one of the noblest and most three-dimensional "villains" in the comic book industry. Trial of Magneto with the help of John Romita, Jr. portrayed Magneto as a human soul pitting his inner opinions with his need to now do what is right. The panel at the end of the issue depicting a crouching and crying Magneto promising to uphold his vow to Xavier is very powerful.
The problem is sometimes events that transpire later taint a great work. Unfortunately the 1990's regressed Magneto into a 2-D human hating monger. Magneto's progression was halted thus negating the significance of this issue. If Chris Claremont had stayed on with the X-Men, killed off Xavier, and permanently installed Magneto as the headmaster as he planned to do, would this issue be more memorable? Maybe. However, in the end, this issue can and has stood as a masterpiece in its own right.
This entry written by Tan K.
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<a href="http://x-mencomics.com/xfan/4images/data/media/188/uxmen294.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/188/uxmen294.jpg" align=right alt="Uncanny X-Men #294 - The X-Cutioner's Song"></a> #32: The X-Cutioner's Song
Uncanny X-Men #294-297, X-Men (Vol. 2) #14-16, X-Factor (Vol. 1) #84-86 & X-Force #16-18
Written By: Scott Lobdell, Fabian Nicieza & Peter David
Art By: Greg Capullo, Andy Kubert, Jae Lee & Brandon Peterson
The X-Cutioner's Song illustrates a crossover of epic proportions. At this time, the various teams of mutants were separate and divided. X-Factor was sponsored by the government while X-Force was a rogue group. Although, each group believes in the dream of Professor Xavier, to unite humans and mutants peacefully. An attack on their headmaster is enough to unite the teams to avenge their mentor.
This crossover can be confusing, as most are, but a milestone in X-Men history. The crossover essentially is Stryfe's bid to avenge himself and exact revenge on the ones who have made his life miserable, particularly Scott Summers and Jean Grey, who he believes to be his biological parents. Stryfe is actually Cable's clone, kidnapped by Apocalypse who believed him to be the original. Apocalypse raises Stryfe and becomes Cable's rival and opponent in the future they are from. Moreover, Apocalypse traveled to the pasat to infect Nathan Summers, the child of Scott and Jean, with the techno-organic virus. In the future, Nathan learned to use his telekinetic powers to halt the spread of the virus; consequently, he could never reach his full potential. Stryfe was an uninfected clone and obtained more power than Cable.
The plot is that Stryfe, posing as Cable, shoots Prof. X during a speech and the teams are now after him. The bullet is carrying the tecno-organic virus. Xavier is then taken to the hospital and is alive but in critical condition.
There truly are some great moments in here, as would be when the teams align. X-Factor #84 was quite enjoyable. Peter David maintains a comedic quality during this crossover and the character interactions are fun. The battle between X-Factor and X-Force was excellent also. Apocalypse's tribulations during this story are unforgettable. He is betrayed by Stryfe, his adopted son, and the Dark Riders, his henchmen. The characterization was done excellently, like when he cured Xavier to battle alongside the X-Men. Archangel's support for Apocalypse was interesting. Also, his decision to not kill Apocalypse near death gave him some closure and enabled him to control his wings. Just seeing Apocalypse and the X-Men fight together was exciting. The trio of Bishop, Wolverine, and Cable was great and a fanboy's dream. Scott and Jean's struggle within the lunar base was moving.
The final battle of the Summers family versus Stryfe was my favorite part. Scott mentions that they sacrificed Nathan twice, which was touching. Again, the battle itself was fun to see, with Stryfe using destructive powers and Havok pitching in.
I also thought Stryfe was interesting. He might not be the most original villain but his differences, similarities, and history to Cable create a nice dynamic.
The X-Cutioner's Song leaves a lasting impression on the X-Men universe. Stryfe leaves the X-Men one last gift before being defeated and that is the Legacy Virus. The container exchanged for Scott and Jean's capture was seemingly empty; yet, it contained the Legacy Virus, becoming a problem for years to come. As mentioned before, Archangel was able to control his wings after confronting Apocalypse.
The artistic contributions were also amazing. Early work of many now famous artists can be seen in this crossover. Andy Kubert (1602, Origin), Jae Lee (Sentry), and Greg Capullo (Spawn) all did outstanding jobs particularly. The renditions of Cable by Kubert and Capullo were definitive and one of the best. Lee's X-Factor had his signature style while depicting the comedy and battle. Capullo's fight scene was incredibly detailed and gritty.
The X-Cutioner's Song is a story not to miss, clearing up the Summers family (somewhat) and introducing new threats.
Oh yeah, I liked those collectors' cards that were inserted in the polybags too ;).
This entry written by Omar A. Safi
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<a href="http://x-mencomics.com/xfan/4images/data/media/174/exiles-08.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/4images/data/thumbnails/174/exiles-08.jpg" align=right alt="Exiles #8 - A World Apart"></a> #31: A World Apart
Exiles #8-10
Written By: Judd Winick
Art By: Mike McKone
I had the distinct pleasure of reviewing these three issues of Exiles for ComiX-Fan back when they first came out, in February and March of 2002. Here are a few things that I had to say about this arc back then.
On Exiles #8: "In this issue, as a writer, Judd Winick calls to mind folks like Alan Moore and Jim Shooter. As an artist, Mike McKone is comparable to Alan Davis and Bryan Hitch."
On Exiles #9: "Exiles is the best old-school superhero comic book being produced today."
And on Exiles #10: "... few comics have managed to haunt me like Uncanny X-Men #137 (the original death of Phoenix) did... and now, Exiles #10."
Exiles was a book that was never supposed to last. Relative Marvel newcomers Judd Winick (writer) and Mike McKone (penciller) had created a series featuring one mostly-ignored B-list character leading a bunch of other little-known characters (ranging from the brand new to the D and E lists!) through a neverending cycle of What If... scenarios. No ties to modern continuity, no regular X-Men guest appearances, no hot characters, no stable environment, and somewhat low-profile creators: all of this led to abyssmal expectations for the series. And yet, for the first seven issues of its existence, Exiles managed to stay in print by featuring impressive scripts and solid art. But nothing that we'd seen in those seven issues, as decent as they were, could have prepared us for A World Apart.
The Exiles had been to some twisted alternate Earths before, but this one took the cake: a world where the Skrulls had invaded before there were any superheroes to stop them, where Earth was no more than a slave planet and superheroes no more than gladiatorial entertainment. From the beginning, Winick and McKone set a darker tone: the usually well-adjusted and happy-go-lucky Exiles were shown as captives, desperate for release from their long imprisonment and slowly losing their sanity. The fact that we all knew that one of the Exiles wouldn't be making it through this one made the atmosphere all the more suspenseful and tense.
We were treated to powerful scenes of our heroes battling hopelessness, facing betrayal, and struggling to hold on to their minds. Winick gave us some of the most moving and realistic dramatic dialog you could find in the graphic medium at the time. McKone gave us art that spoke volumes in believability and raw emotion. The superhero arena had the feeling of a Holocaust prison camp, and Blink and Morph's attempts to rescue the team called to mind images of Custer hopelessly making his last stand.
In the end, the Skrulls were indeed driven off of Earth... but only because of the imminent arrival of the planet-devouring Galactus. In an amazing action-packed yet thoughtful battle scene involving many of the greatest heroes of any universe, Galactus was defeated... but at the cost of an Exile. John Proudstar, the tragic Exile Thunderbird, fell in final heroic battle saving the planet and all of its inhabitants. Proudstar's injuries from defeating Galactus (Galactus, mind you!) left him comatose and near death... and he was left behind when the Exiles were instantly teleported to their next alternate dimension. This would have been emotional enough as it was... but add to this the fact that Nocturne had just announced her pregnancy with Proudstar's child, and you're left with an extremely memorable tear-jerker.
A World Apart had absolutely no impact on standard X-continuity, nor did it feature glow-in-the-dark radioactive covers or Wolverine guest appearances. Instead, it was a true epic (comparable to the great epics we've seen from the Avengers series) and a masterpiece of Marvel storytelling. It made you care about the characters in a very realistic way, by showing their all-too human sides and proving to us that the good guys don't always win the day. It was the very rare kind of story that left you dying for the next issue, the kind that made you feel like the characters were your close friends.
And I still miss John Proudstar.
This entry written by Jim Lemoine
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Be sure to check back next week for Part 2, #30-21! For more special articles, features, and columns celebrating the 40th Anniversaries of the Avengers and X-Men, click here! (http://www.comixfan.com/xfan/forums/showthread.php?s=&threadid=21464)