Wolverine #100

Wolverine #100
Writing: Larry Hama
Art: Adam Kubert

What Went Down: Genesis and the Dark Riders have captured Wolverine, and they are planning to re-bond his skeleton with adamantium, so he can serve their master Apocalypse as a Horseman. This adamantium was harvested from the Wolverine villain Cyber, so there are concerns that Wolverine might reject it because it is an inferior grade.

In a vent up above, Cannonball is hiding with woman named Zoe who claims she is an Expediter. She’s an employee of Landau, Luckman, and Lake, an interdimensional law firm that appears in Wolverine and Deadpool a lot. In another part of the base, they see hundreds of sarcophagi filled with live prisoners surrounding a single sarcophagus with Apocalypse’s image on it. This obviously means that the Dark Riders are going to try to resurrect Apocalypse.

Wolverine’s skin starts to excrete adamantium because they are flowing too much into him. Cannonball tries to get Zoe to help him, but she teleports away. Cannonball decides to attack the Dark Riders. As the Riders beat him, Cannonball apologizes to Logan. Wolverine starts yelling in his tube, and all of a sudden rejected adamantium shoots out of his body, freeing Wolverine and killing/wounding many of the bad guys.

Cannonball flies after Wolverine and picks him up. We don’t get a good look at him, but Cannonball tells him that they have to stop Apocalypse from rising. In a cabin in the mountains, Elektra and Stick sense Wolverine’s “fall.” Back in Genesis’ lair, Cannonball is about be killed by Spyne and Deadbolt, but Wolverine kills them both. He then uses Deadbolt’s glowing, severed head to lure Gauntlet into a trap. While Genesis fights Cannonball, they can hear the screams of the Dark Riders.

We finally get the reveal of the new, more savage Wolverine—part dog, part troll, all stupid. As Wolverine kills Genesis, Cannonball pries open Apocalypse’s sarcophagus, only to find that it is empty. Wolverine asks Cannonball to tell Cable that he’s sorry about killing his son, and then disappears. The issue ends with Elektra leaving to help Wolverine.

How It Was: Wolverine celebrates its 100th issue with a big, double-sized, character-altering story. Also, there’s a big reflective hologram thing in the middle of the cover. Now I can see where the writers were coming from with this one. Every reader and their mother was predicting that Wolverine would get his adamantium back in issue #100, so the X-office decided to do something different to surprise readers. And I can respect that; it’s good that the writers wanted to keep readers guessing. Hama even structures the villain’s plot to involve putting the metal back in Wolverine, right before pulling the old switcharoo.

And that’s where it all goes bad as the Wolverine creative team turns their eponymous character, arguably the most popular Marvel character of the time, into a giant troll with no nose, huge hands and feet, long nails, and no personality. This, to put it lightly, is terrible. Yes, all of the X-books had been dealing with Wolverine’s feral regression, and they wanted to make Wolverine even more tough and savage, but he looks absolutely ridiculous. This is easily the silliest looking version of Wolverine ever.

The whole story is a bit of misfire, especially since it focuses upon Genesis, who is supposed to be a Cable villain.  There’s no real sense of weight or closure after Wolverine kills him because we haven't ever seen him in this series up to this point. I guess turning Wolverine into a Horseman is as good a reason as any to try to put the metal back, but it leads to Logan spending half the double-sized issue in a glass tube. And there is way too much exposition while he’s in the tube with every member of the Dark Riders chiming in for no reason. Zoe is little more than a plot device who disappears when Hama runs out of exposition, but Cannonball does get to shine by taking on a far superior force on behalf of Wolverine. Too bad the twist of Apocalypse not being in the coffin is a total anticlimax.

The parts that work best in this book are right before the big reveal of “new” Wolverine. When he’s stalking the Dark Riders and murdering them one by one, you can’t help but feel like Wolverine is the most badass hero there is. Also, the scene where Wolverine’s body spits out shards of adamantium is kind of cool in a ridiculous, WTF sort of way. It’s unfortunate that this leads to such a boring and silly looking iteration of the old Canucklehead because Hama does manage to get a couple of neat moments out of this particular issue.

C-

X-Men '95 Annual

X-Men ’95 (Annual)
Writing: J.M. Dematteis, Ralph Macchio, Scott Lobdell, and Matt Idelson
Art: Terry Dodson, John Paul Leon, and Ramon Bernardo

What Went Down: Starting with 1995, all Marvel Comics annuals discard their old numbering systems and are solely distinguished by the year…for a while at least. It’s hard to say when exactly this one takes place; it’s sometime after X-Men Prime, but before X-Men #45, which is still a really large time frame.

The issue starts off in a convalescents’ home where an old woman disappears from her room. We cut to the Beast running through the woods and diving off a cliff into a river for fun. Jean Grey is at the bottom, and the teammates joke with each other and reflect on recent events. Beast has invited the original X-Men to a cabin to reconnect, and Jean empathizes with his need to immerse himself in the comfortable and familiar.

Back at the nursing home Nathaniel Essex, who is really Mr. Sinister, is visiting the old woman from earlier, Faye Livingstone. A nurse leads Essex into her room, but the only person in the room is Genesis. For those who don’t know, Genesis is Cable’s stepson that was abducted in the future by Apocalypse and brainwashed. Genesis kills the nurse, and tells Sinister that he has observed Sinister visiting this woman every year. Thinking that he has discovered Sinister’s weakness, Genesis has abducted Faye and used genetic engineering to temporarily de-age her. Also, Genesis has gained the leadership of the Dark Riders.

After Genesis and the Dark Riders teleport away, Sinister has a flashback to when he first met Faye. Posing as Nathaniel Essex, Sinister lived in a large mansion in Hollywood during the 1930s. Essex throws a party and Faye Livingstone, a radio comedienne of the time, gets to dance with the host. Faye finds Essex very attractive and ends up staying over. In the middle of the night, Faye finds Sinister in his lab with his normal white skin.

Back at the cabin, Beast eats popcorn with his feet, and Jean goes to bed. Beast stays up and contemplates his bachelor status. The Dark Riders teleport in and tell Beast that they are going to kidnap Jean Grey. A fight ensues, and Jean is captured, but she is able to leave a psychic trail for Beast to follow in the Blackbird.

Genesis, Sinister, and Faye are located at Sinister’s old lab in Hollywood. Jean is suspended above them in a power cage, but she breaks out after a page. Genesis hides behind Faye, and Sinister asks Jean to stay back.

The flashback continues with Sinister holding Faye in his mansion for weeks while he conducts experiments on her. Her DNA has the potential to have a powerful mutant offspring. After weeks of her being terrified and imprisoned, Sinister sets her free without a word.

Beast arrives at the mansion and is attacked by goblin creatures engineered by Sinister. The scene ends with Beast appearing to be overwhelmed, but later he shows up and is fine. Inside, Genesis wants Jean to mind-link Sinister and Faye to force Sinister to reveal his feelings. Jean refuses, and Beast shows up to rescue her. Jean tries to lift Faye out of there, but Sinister begs her to let it play out; Beast tells Jean to listen to him after seeing distress on Sinister’s face.

In the mind-link, Faye and Sinister dance. Faye tells Sinister that she knows he loved her and he couldn’t find a way to express it. Faye then turns old again and dies. Sinister claims that her final thoughts were delusions and he shows no emotion at all. Genesis admits he was wrong and teleports away. Sinister tells the X-Men to leave. Beast puts an arm on Sinister’s shoulder, showing that he empathizes with his pain.

After the X-Men leave, the mansion bursts into flames. Sinister stares off in the distance silently. Genesis talks with one of the Dark Riders about his next plan, which deals with Wolverine and occurs in Wolverine #99-101. The next day, Cyclops and Archangel show up at the cabin. Cyclops wants to clean up after the battle with the Dark Riders, but Jean tells him there is nothing wrong and they kiss.

What Else Went Down: In the back-up story, Captain Britain—aka Brian Braddock is at a post office while the postmaster searches for a letter from Brian’s sister Psylocke. Brian then reads Psylocke’s letter about her new relationship with Archangel.

With the letter serving as Psylocke’s narration, we get a scene of Warren and Betsy at a carnival and discussing their relationship. They get cotton candy from a vendor who has a crush on Warren. Then the couple talks about their relationship some more, and they go off to ride the Ferris Wheel. The ride jams, they talk about their relationship some more, and Archangel flies off carrying Psylocke. While flying, they talk some more and determine that they really care about each other. After reading the letter, Brian feels inspired and flies off, leaving his boat behind for some reason.

How It Was: This is a pretty big character piece for the Beast and Mr. Sinister; Jean’s around but she doesn’t get as much characterization to work with. Beast is presented with all of his personality and humor intact, and it’s nice to see him get the spotlight since over in the main titles he hasn’t had a lot to do other than work on the Legacy Virus.

The real surprise of the issue is the attempt to turn Sinister into a sympathetic character. It’s a decent attempt, but it’s hard to empathize with a guy that locks a woman in a room, experiments and degrades her for weeks, sets her free, and calls it love. It works if you look at it as exploring Sinister’s inability to express love and emotion, but Faye’s admission of love really makes her look weak and pathetic; sure it could be written off as Stockholm Syndrome, but Faye would have come off as a stronger character if she stood up to her abuser instead. And it’s really difficult to believe that the Beast would put his hand on Sinister’s shoulder as a sign of understanding, given all of the ways that Sinister has manipulated and threatened his friends over the years.

The other anomaly to this story is the presence of Genesis, Cable’s son. The reasoning behind his attack is pretty faulty, and the story seems to present Sinister as more powerful than him, so I can’t understand why Sinister doesn’t just kill him at the end. The end is silly with Genesis essentially apologizing for wasting everyone’s time and teleporting away. Plus Genesis brings the Dark Riders with him, one of the worst super villain groups ever; so bad in fact that they disappear midway through the story so that the Beast can fight some generic, but visually interesting monsters instead.

The art is really the star here. Leon’s dark, almost scratchy style works incredibly well for the gothic interiors and horror movie tone of the flashbacks, while Dodson’s smooth, clean style works fantastic with the scenes of Jean and Beast having fun and the flashy super hero battles.

If you couldn’t tell from my synopsis of the back-up story, it’s terrible…truly terrible…possibly the worst thing that Scott Lobdell has ever written. It’s good that Lobdell is keeping up with his vow to play the couple completely straight and realistic, but this is a little too realistic in that it is as boring as listening to two people talk about their relationship in real life. Plus there are so many pointless moments that serve to slow that story down even more, like the cotton candy girl with a crush on Warren or the postmaster who loses Brian’s letter. Worst of all is probably the portrayal of Brian Braddock as an apathetic loser, who basically has lost the will to live until he reads a letter about the boring, mundane happenings of his sister and her relationship. It’s hard to see what he finds so invigorating about this story whatsoever. So, this leaves us with an average main story and a terribly below average back-up all in one.

C+

X-Men #23

Chronologically I have the Gambit mini-series after this.  So read this, then go here.

X-Men #23
Writer: Fabian Nicieza
Artist: Andy Kubert

What Went Down: Cyclops starts off the issue by blasting a hole in Mr. Sinister’s midsection; however, Sinister is actually immune to Scott’s optic blasts, and his death after the Inferno Saga was just a ruse to allow him to lie low. But Sinister isn’t here to fight. He wants to tell Cyclops about the Legacy Virus that Stryfe created and Sinister accidentally unleashed at the end of the X-Cutioner’s Song. We also learn that Sinister’s head geneticist died of the virus. When asked why he is telling Cyclops this, Sinister slips that he wants to protect Cyclops and his “brothers,” before correcting himself, since at the time Cyclops only had one brother, Havok of X-Factor. Some people also speculate that Sinister himself was infected, but this is never confirmed. This is the beginning of the “third Summers brother” subplot that goes on and on until it is answered in a little over a decade in X-Men: Deadly Genesis. As they talk, the Dark Riders ambush the pair to test them.

At Nyorin’s residence, the X-Men have Nyorin and Silver Samurai restrained and are interrogating them. Nyorin reveals that both women are Betsy Braddock, in that they are both a mixture of Betsy and Kwannon’s attributes that somehow fused after they touched. Nyorin also tells the X-Men about the Upstarts and Shinobi Shaw.

Back in the states, Wolverine and Rogue are telling Xavier that they found evidence that Magneto is still alive in the Savage Land during Wolverine #70-71. Xavier doesn’t want to believe it. Wolverine gets angry—you can tell because he is drawn with his angry red eyes.

For the first, and only, time ever, Sinister and Cyclops team up to beat the Dark Riders. After they are beaten, Sinister tells them not to kill Scott Summers before teleporting away. The Dark Riders take this command literally by trying to cripple Cyclops instead.

Gambit and Beast surprise Shinobi Shaw while he is taking a bath with many beautiful women. They tell Shinobi that they know about the Upstarts and make a couple of jokes about his nudity. Outside, Matsuo attacks Psylocke and Revanche, but is soundly beaten within two pages.

Poor Cyclops has to take on the entire Dark Riders team by himself. After losing his glasses, Tusk hits him and then the team returns his glasses claiming that the test is complete. The Dark Rider Hardrive announces that Cyclops has passed and that he is worthy to face the coming storm. This is a lead into the Ascension of the High Lord—a battle between Apocalypse and Stryfe…that never happens and gets forgotten about after the next issue. The Dark Riders teleport away, leaving Cyclops all alone.

How It Was: My, this issue is more of a mixed bag than a bag of delicious Chex mix. Ouch, that was painful to read, but not as painful as the double Psylocke storyline. Nyorin fills in a couple of blanks that the readers have already guessed, Silver Samurai contributes absolutely nothing, and then Nicieza remembers that Matsuo has something to do with this story, so he has the villain appear in a weak two page attempt to kill the Psylocke twins. The part where Gambit and Beast barge in to intimidate Shinobi Shaw is pretty entertaining, but since the Upstarts story is about to completely disappear from the X-Men books, now it reads as completely worthless material.

On the other hand, the scenes with Sinister and Cyclops are really good. These scenes manage to maintain some tension since Sinister is obviously a threat, but Scott knows that if what he is saying is true about the Legacy Virus, all of mutantkind could be threatened. The Legacy Virus is a solid storyline that dragged on way too long for its own good before becoming an on again, off again focus of the X-books for the rest of the decade. The fight with the Dark Riders also works really well; those poor losers just can’t win one. However, once again these scenes just serve as set up for plot threads that get forgotten about. In fact, I think this may be the last time we see the Dark Riders anywhere in the X-Men titles. Oh well, at least the X-office did set up one storyline with this issue that actually gets resolved—the Magneto thread that obviously leads into the Fatal Attractions crossover—coming soon to Illegitimate Children of the Atom. So we have three plot lines that go somewhere and two that go nowhere, which is really not a great way to run a comic book.

B-

X-Men #21

X-Men #21
Writer: Fabian Nicieza
Artist: Brandon Peterson

What Went Down: We open on an awesome page spread of Wolverine’s claws pinning Psylocke’s head to the wall. She is asked whether she is really a spy for Lord Nyorin, an accusation that she refuses to acknowledge. Surprisingly, most of the X-Men believe that Revanche might be telling the truth, despite her having no proof other than her body. Psylocke doesn’t help her case by refusing to be scanned telepathically, although she claims that is because she is tired of being violated after her experiences with Mojo and Slayback; this is also meant to explain her more aggressive attitude in the X-books. Wolverine tells Xavier that neither of the Betsys is lying or telling the whole truth; since Revanche knows Ninja moves that only Psylocke/Kwannon should know, there is reason to doubt her story as well. Xavier decides that the team needs to go to Japan.

Up north in Alaska, Cyclops’ plane arrives at the airport, and his grandparents Phillip and Deborah Summers arrive to pick him up. After arriving at the cabin, Scott announces that he is going to tell his grandparents the truth about the deaths of his wife and child.

Slightly less north, in Seattle, Mesmero is being chased by the Dark Riders. Mesmero is able to hypnotize one of the riders, Psynapse, but he is killed by another member (actually years later he turns up alive, claiming that he hypnotized the Dark Riders to make them think he was dead). The remaining Dark Riders kill Psynapse, believing he is unfit because he is sick. Actually, he is supposed to be another mutant infected with the Legacy Virus.

Jumping around the globe again, this time to Tokyo, Lord Nyorin visits a drunken Shinobi Shaw. Shaw makes a deal that he will petition to reinstate Clan Yashida (the clan formerly run by Wolverine’s deceased girlfriend Mariko) if he receives help killing the X-Men.

Outside the Nyorin Estate, Gambit, Beast, and the two Betsys are sneaking in—Wolverine decided not to go because the memory of Mariko Yashida’s death is too fresh, so he goes off to the Savage Land with Rogue and Jubilee in Wolverine #70-71. The group in Japan is attacked by ninjas, which they easily defeat. Afterwards they discover a painting depicting Psylocke with two swords called “Kwannon in Repose.” Back at Shaw’s Tokyo estate, Shaw learns that Matsuo Tsuryaba has petitioned the Gamemaster to have Psylocke spared. Shaw is angry but agrees there is nothing he can do.

Back at Nyorin’s, Psylocke is getting ready to attack Revanche again when the Silver Samurai sneaks up on the Beast and slashes him in the back. He reveals that he must kill the X-Men for the sake of Clan Yashida.

How It Was: More Betsy Braddock battling. Alliteration aside, this story is amounting to be less than spectacular. Psylocke is really angry, understandably, because none of her friends are taking her side. At the same time, the rest of the X-Men have nothing better to do except for question who is telling the truth and yelling at the two to stop fighting. Even Gambit and Beast seem fed up with this storyline, focused more on getting the job done than uncovering the truth.

The other subplots don’t fair well either. The Cyclops thread is completely standard as all he does is go on to do what he said he was going to last issue. The Dark Riders subplot is actually really interesting, revolving around the Riders testing characters to see if they are worthy and killing the ones who are not. Unfortunately this entire subplot gets dropped after the next four issues and is never brought up again, so the “death” of Mesmero really happens for no reason. Matsuo’s machinations really make no sense in this initial version of the origin of Psylocke/Revanche; the later version clears up this inconsistency, but it is hard to rectify it at this point.

Peterson is filling in on art and it looks decent for the most part. The ninja fighting scenes, as well as the Mesmero chase scene, are all very nicely organized and depicted. However, his Revanche doesn’t look as good as Andy Kubert’s, and once again some of his characters look stiff and robot-like, particularly the panels with the drunken Shinobi Shaw. And there is definitely a problem when Shinobi Shaw is trying to kill Matsuo, and it is impossible to tell one character from the other.

This story continues to chug along at an all right pace. Because most of this story is retconned later, and it was never really that exciting to begin with, it’s hard to recommend this book to anybody other than X-completists.

D+

X-Men #16

X-Men #16
Writer: Fabian Nicieza
Art: Andy Kubert

What Went Down: Part 11 of the X-Cutioner’s Song. This issue opens up with a really amazing fight between Bishop, Cable, and Wolverine and a bunch of cannon fodder soldiers plus the Dark Riders. Lots of shooting and stabbing ensues. Just when it appears that the good guys are about to be overwhelmed the rest of the X-Men’s forces show up to bail them out.

As the fight continues, Stryfe and his silent android servant Zero observe a hologram of it. Stryfe admires the ferocity and bravery of the X-Men, and then laughs at the fact that he has been able to “manufacture” his own past. He strolls to another room, grabs Cyclops and Jean, and drags them outside the walls, encased in a telekinetic bubble.

Down at the mansion, the Beast is cataloguing Xavier’s recovery.

After the X-Men defeat all of the soldiers, they split off into different strike teams to find Scott and Jean, as well as keep the villains from escaping. Apocalypse goes off by himself.

Wolverine, Storm, and Psylocke track the prisoners to a room in the base; Psylocke insists that they are beyond the door, and when they open it they are all almost sucked out into space.

Apocalypse encounters the Dark Riders, who now work for Stryfe since he beat up their previous master. So Apocalypse attacks them all.

Cable, Cannonball, Polaris, and Havok use Apocalypse’s spacecraft to track Stryfe to a big energy tower thing.

Xavier wakes up screaming after having had a nightmare. He claims that Cable, Stryfe, Cyclops, and Jean are all connected, which all of the readers pretty much knew at this point.

Havok’s crew put on space suits and venture out to the tower. They pass through a force field that knocks out Polaris and Cannonball, yet lets Havok and Cable through (because they’re both part of the Summers’ bloodline). A very nice splash page ends the issue featuring the main villain, the prisoners, and a bunch of flashback scenes that have absolutely nothing to do with this story. Stryfe calls Cable his failed brother and beckons the group to continue.

How It Was: A fantastic issue filled to the brim with action. Penultimate issues usually have the blessing of being able to pull off a fast pace in order to set up the final confrontation. This issue is no exception. So the remaining uninjured X-Characters finally confront the Dark Riders, and everything starts to fall into place.

There isn’t really a lot going on here storywise, so the art definitely carries this issue. Which is fine, since we haven’t really had a full out action issue for a while. Nicieza also throws in some nice little character moments, such as Sam’s anger at Cable for keeping X-Force in the dark, or the banter between Wolverine and his squad at the beginning of the issue. Even Apocalypse gets a rather exciting last stand against his former minions, the Dark Riders. Really, this issue just continues the trend of giving each character one or two very solid moments while focusing mostly on the animosity between Cable and Stryfe.

B+

X-Men #15

X-Men #15
Writer: Fabian Nicieza
Artist: Andy Kubert

What Went Down:  Part 7 of the X-Cutioner’s Song. This issue starts off right where last issue ended: Reaper standing over the fallen Quicksilver and Gambit, about to deliver the killing blow. Fortunately for them, Psylocke and Havok show up and save them. Storm, Polaris, and Rogue are once again chasing Dragoness (even though they took her out in the last issue). Once again, they defeat her. Also, the fight is now taking place indoors, even though the fight was outside in X-Factor.

Cannonball and Boomer chase down brainwashed allies Rusty and Skids to capture. Before being apprehended, Skids breaks Boomer’s jaw, and a humorous scene proceeds with Boomer still talking despite the fact that nobody can understand her.

While fighting the army of MLF henchmen (now wearing armor suits, even though they weren’t last issue), Rogue is blinded by villain Strobe. This takes Rogue out of the crossover, and her blindness persists for a couple of months after the crossover ends. Iceman confronts Archangel about killing Kamikaze, but Warren just brushes it off as an accident. They agree to talk about it later, but to the best of my knowledge they never do.

Over in Canada, Bishop, Cable, and Wolverine are running from Department K airships. After they’re surrounded, Cable teleports them to his space station, Greymalkin.

Outside the mansion, Colossus is feeling sorry about the death of his brother, Mikhail. X-Factor’s Strong Guy brings him some coffee with whisky in it. Inside, the Beast and Moira are still stumped by the disease that Charles is infected with.

Stryfe is overseeing everyone from monitors in his base. Then he goes into Cyclops and Jean Grey’s cell and forces them to eat some brown goop that is supposed to be warm milk supplement. He drops some more hints about raising children, which indicate that he may be Nathan Summers, Cyclops’ lost son from the future.

After this, Stryfe decides that he needs to kill Apocalypse because he has a grudge against him, too; this also lends credence to the Nathan Summers theory since Apocalypse is the one who infected Nathan with the virus that made it necessary for Cyclops to send his son to the future. Stryfe easily defeats the Dark Riders and then breaks into Apocalypse’s chamber. Apocalypse has no idea who Stryfe is, but it is clear that both of them are about to fight before the issue ends.

How It Was: I’ll admit that this issue holds a special place in my heart since it was the first X-Men comic I ever got; special thanks to my mother for purchasing it at the A-Plus gas station back when I was eight years old. This comic is the one responsible for starting me off on a hobby that continues to consume what little money I have. Quite frankly, I still love this comic.

Trying to look objectively at the issue, outside of my own nostalgia, it isn’t particularly significant. It contains fights with not one, but two obscure C-list nineties super villain teams that are both defeated incredibly easily by their opponents. All that really happens is that the MLF are defeated and a couple of X-characters are knocked out of commission for the duration of the story. The pages spent on Cable’s team are a waste; it’s just two pages of filler before Cable decides to Easy Button the team to his base.

The only real tension in this issue comes from the Stryfe sections, and the fact that Professor X is still “dying,” although that hardly counts since everyone knew he was going to make it. Stryfe has a cool design, and I’ve always found him interesting even though most people probably see him as just whiny. I think he’s perfectly justified in feeling betrayed for being sent to a post-apocalyptic future to be raised in hardship, and I like the idea that Cyclops made the wrong call and turned his son into a petty, twisted super villain. Maybe it doesn’t come off as well in this story, but I always thought it had loads of story potential. Of course this was all before the X-offices decided to make Cable the true son of Cyclops, completely negating the purpose of Stryfe and forcing him into triviality.

The continuity between issues of the crossover could have used another editorial once over since many environment and character designs, as well as events, don’t match up with the previous issue. It’s nothing severe; it’s just annoying. Andy Kubert’s art looks really nice, especially his Iceman, Colossus, and Stryfe portrayals. Unfortunately, his penchant for drawing weird giant clouds of dust behind characters is also present: on the first page no less.

It’s really just an okay issue, but I like to think of it as an above average middle chapter. And it was obviously good enough to convince an eight year old kid to spend the next sixteen years of his life buying comics, so bonus points for that.

A-