Thursday, September 29, 2011

X-Men #59

X-Men #59
Writing: Scott Lobdell and Ralph Macchio
Art: Andy Kubert

What Went Down: Cyclops is in a near-empty theater watching Mr. Smith Goes to Washington. Instead of drawing scenes from the movie, the art department has decided to Photoshop screen shots of the movie onto the screen. Jean shows up and surprises Scott, even though he knows that she’s a telepath. Although the theater is empty, someone tells them to be quiet. Jean asks him about Alex, but he just wants to watch the movie.

Back at the Institute, Bishop is getting beat up again by the second guest hero in two issues. Hercules has thrown Bishop through the wall and seems confused as to how his greeting could have hurt Bishop that much. Beast explains the Onslaught storyline to Hercules, and Bishop threatens to beat up Herc, but is held back by Beast. Hercules has stopped by looking for Quicksilver because he wants to team up with the remaining Avengers, since he has been condemned to Earth by his father Zeus.

Quicksilver is outside wondering how he’s going to face his daughter and tell her that her mother is dead. Wolverine gives him a pep talk about being strong for her like Crystal and Wanda would have wanted. Quicksilver runs into Joseph, who is busy building a machine to block Rogue’s powers. Quicksilver yells at him for not realizing all the lives he’s ruined, and then runs away.

Back in the theater, Scott tells Jean how he always liked movies as a way to escape from the reality of being a sickly orphan whose brother was adopted. The two kiss each other. At Creed’s campaign headquarters, Iceman reads a fax that says his father was arrested after Trish Tilby’s talk show and refused to give his name. Cannonball walks in on Creed talking on the phone; he claims he was discussing strategy with his parents. Sam knows who his parents are so he wonders what Creed meant. Outside, Bobby asks Carly if she thinks Creed is going to be elected. Carly responds, “What is, is,” which is the motto of the Askani in the future.

As Quicksilver and Hercules depart, Joseph flies up to the plane and apologizes to Quicksilver, who responds that maybe someday it will mean something. Hercules cautions the dangers of holding a grudge, but Pietro is distant. Cyclops and Jean exit the theater and he wonders if it’s silly that he wasted the day watching movies. He realizes that the fate of the X-Men is up to him, but he’s hopeful because Jean is by his side.

How It Was: Alright, Hercules stops by the mansion for no good reason other than to force a recap of the Onslaught storyline and write Quicksilver out of the book. Hercules comes off as a bit of a tool here, throwing Bishop through a wall and then acting surprised by it. Quicksilver gets some nice development, although it’s a couple of months too late in my opinion. Shouldn’t he have gone to visit his daughter many issues ago? Wolverine’s speech to Pietro feels a lot more like common sense than pearls of wisdom, but how else can Lobdell explain why Quicksilver is still around unless he goes the route of fear.

The Creed storyline is still around, and a whole lot of nothing is still happening there. The reveal that Carly Alverez might be an Askani from the future is interesting, but like so many things in this era, it is totally forgotten about later. Cyclops’ scenes are an unexpected choice. There’s nothing really special about his interactions with Jean, but it’s nice to see him acknowledging the weight of being in charge of the X-Men in the Professor’s absence.

At this point it’s been three months since Onslaught wrapped up, and it still feels like nothing significant has happened at all. Instead of following up on Archangel’s transformation or Havok’s terrorist activity, we’re left with the very boring Creed storyline, and Hercules’ unnecessary visit. This is just filler until somebody can come up with a proper direction for the books to take, and it’s a shame because there are so many possible directions. Very weak plotting, and Macchio’s script can’t compare to Lobdell’s normally insightful character interaction.

D

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