X-Men and Dr. Doom Annual '98

X-Men and Dr. Doom Annual '98
Writing: Jorge Gonzalez

Art: Aaron Lopestri

What Went Down:  This story takes place shortly after Uncanny X-Men #5 from the sixties.  Dr. Doom is utilizing a Seer to see the future.  The Seer is showing Doom images of Onslaught.  Although they don’t know the specifics, Doom realizes the danger and power Onslaught represents, and vows to utilize it to the fullest.  Doom also learns that he is not likely to survive his encounter with Onslaught.

Noting a similarity between Onslaught’s armor and that of the new (for 60s Marvel Universe) villain Magneto, Doom decides to travel through time to various points of the villain’s life to discover his connection to Onslaught and steal his power.  Starting with the X-Men’s first battle with Magneto, Doom tells the Seer to lock onto Magneto’s bio-signature to travel to future Magneto battles in the hunt for Onslaught.  After witnessing Magneto’s next defeat from the X-Men, Doom then witnesses Magneto’s first battle with the Giant-Sized team.  Phoenix actually detects the cloaked time platform and confronts Doom, but as the base collapses, Doom is able to escape.  The platform is damaged, and Doom is forced to the Days of Future Past storyline.

Doom leaves the time machine to look for parts.  He witnesses the future X-Men battling Sentinels from Uncanny #143, then escapes with the parts.  After fixing the time machine, Onslaught actually reaches out to the Seer in the time stream, and the old man learns that he is actually Charles Xavier.  The Seer takes Doom to the death of Thunderbird, Xavier’s battle with Dark Phoenix, his transformation into a Brood, and his near-death where he turns over the school to Magneto.

The time travelers actually make it to the present (meaning 1998 Marvel Universe), where Magneto is sitting on a throne by himself.  Doom attacks Magneto to weaken his mental guards so the Seer can learn about Onslaught.  After the battle, Doom escapes, and the pair travels to the events of X-Men #25, where Xavier shut off Magneto’s mind, planting the seeds of Onslaught.  Doom tries to absorb the Dark Mass to increase his power, but the entity is too powerful, so Doom has to return to his own time.  Upon returning, Doom kills the Seer because knowledge is power, and Doom doesn’t share power. 

How It Was:  This is a strange one, but not necessarily in a bad way.  In 1998, the theme of all Marvel’s annuals was team ups.  For example the Avengers annual had them team up with Squadron Supreme, and Captain America and Iron Man shared an annual.  Some of the team ups even involved bringing back bizarre obscure characters like Devil Dinosaur and Machine Man to team up with more established characters.  Anyways, the annual for X-Men features Doctor Doom.

Instead of actually having the X-Men team up with or fight Doom, we have a Doom story taking place early in the Marvel Universe’s history where he goes through a clip show of X-Men events to put the histories of Magneto and Xavier into context.  Because it would be weird to have Doom talking to himself for the whole issue, we get the one-off side character of the Seer introduced to exchange exposition with Doom and then unceremoniously get killed off when his purpose is fulfilled.

The premise is also a little weak as well because it involves Doom going after Onslaught.  We’re to understand that Doom can travel into the future to see how Magneto lost a million battles with the X-Men, so why doesn’t Doom just travel to see how Onslaught is defeated, figure out how he dies, and prevent it?  Moreover, why doesn’t he just observe one of his battles with the FF in the future, note how he loses, and change it?  So it invites all the questions that time travel stories invite without giving any satisfying answers.  Also we know Doom isn’t going to alter history, so he can’t succeed, but it really is hard to believe that he would know about Onslaught for so long and do nothing until it resurfaced again decades later.

So what we have is Doom visiting big moments in X-history, commenting on how feeble or respectable the X-Men and Magneto are at any given moment, then jumping to the next moment.  It does sort of work in a weird nostalgia stroking way.  It is neat to see all these big moments back to back, seeing how far the X-Men have come in thirty years of continuity, and remembering all the weird and unexpected turns they’ve taken.  Plus Lopestri’s art is remarkable and really captures the Silver Age feel of the story.  Even better, Gonzalez’s script takes advantage of Marvel continuity.  It’s neat to see that the confrontation Doom has with Phoenix actually fits into the story in Uncanny #113 if you ever get a chance to read it.  He does miss a chance to give hints of the present day Magneto’s plans though; it’s obvious the X-office had no idea what they were doing with Magneto, since when Doom shows up in our present, Magneto’s just sitting on a throne by himself for no reason.

Don’t get me wrong, this double-sized story is really padded and stretched out, and the main conflict isn’t very interesting. But there is just something entertaining, at least on a base level, about revisiting these memorable moments.  You’d probably be better off just rereading the original stories (I have the Essential X-Men black and white collections because you get a lot of story for a small price), but this one is fun, if completely inconsequential. 

B-

Team X 2000 #1

Team X 2000 #1

Writing: Sean Ruffner and A. Smithee

Art: Kevin Lau

 
What Went Down:  Deathbird opens describing a vivid dream to Bishop where she is fighting Shi’ar vermin, then biting the head off of a bird.  Bishop attempts to interpret the dream while the two play chess; Deathbird cannot get over some of the rules of the game.  It is implied that the two have had relations with each other, though Bishop insists it was a mistake.  Their ship comes across an uncharted jump-gate, and then they are attacked by an Ursaa ship (the guys from Uncanny #358).  Bishop decides to chance going in the gate.

Upon exiting the jump-gate, the ship comes out in orbit around Earth, but the planet is surrounded by Shi’ar warships for some reason.  On Earth, it is revealed that Alanna Nermani, the daughter of Lilandra, is the ruler of a war-torn future version of Earth. Archangel, Sauron, Dazzler, and Vulture are all servants of Alanna.  The queen is alerted to the discovery of Bishop’s ship.

Taken aboard one of the warships, Bishop and Deathbird encounter some Shi’ar soldiers.  Deathbird attacks them, but she is shot by a stun blast; Bishop decides not to intercede, allowing himself to be taken prisoner.  Shi’ar scientists confirm to Alanna that Deathbird is the genuine article, so Alanna orders her released.  Deathbird learns that the year is 2018, and the Shi’ar have conquered Earth.  Meanwhile Bishop is stuck in a prison cell with a depowered Cain Marko, normally the Juggernaut. Cain isn’t sure whether Bishop is real, but explains some of the history of the planet.

Bishop is escorted to a healing pool where Deathbird is already bathing.  Bishop doesn’t trust Alanna, but Deathbird insists it is all right.  Alanna goes to a truth-seer, who informs her that Deathbird will be the key to her triumph or defeat.

The next day Alanna takes Deathbird and Bishop on a tour of New York to discuss restoring Deathbird’s name and royal title to her.  The people of New York are being starved by the Shi’ar for not turning in the rebels.  A disguised Longshot confirms Bishop’s identity and calls Cable.  Alanna is confronted by some starving peasants and demonstrates that she has psychic powers, due to the fact that her father was Charles Xavier.

The rebels of this world, the Morlocks, attack so they can liberate Bishop.  The group consists of  Cable, Longshot, Falcon, and Vertigo-the present day Jubilee. Vertigo is almost killed by Sauron, but Falcon sacrifices himself to save her, while Longshot is captured due to Deathbird’s interference.

Back at the Morlock base, Bishop is introduced to their leader, an eyepatch wearing Wolverine.  Dr. Doom is also a member of the rebellion. Wolverine explains that the Avengers, X-Men, Lilandra, and Professor X were all killed by Alanna, who studied the history of her aunt Deathbird.  This allowed her to take over the planet.  Beast, Doom, and Hank Pym planned on seeding the past with time gates to bring help from the past, but their plan was foiled by soldiers before they could finish; Bishop’s gate was a freak accident.

The Morlocks use Vulture to infiltrate the Shi’ar celebration for Deathbird.  When offered her birthright, Deathbird refuses saying that the title means nothing to her.  While Bishop takes on Sauron, Deathbird and Alanna fight as well.  Bishop sets off the explosives after the control is damaged, and uses Sauron to survive as they both absorb the energy from the explosion.  Alanna’s telepathic powers allow her to anticipate Deathbird’s moves, but Deathbird is able to defeat Alanna using a pressure point that Bishop taught her off-panel.  Deathbird shows mercy on Alanna and kisses Bishop.

With Alanna defeated, the Morlocks send Bishop and Deathbird back to their own time.  Doom leaves the base, telling Cable that next time they may not be on the same side. 

How It Was:  This is actually a fun little diversion for X-fans.  Regular readers will know that I’m a sucker for alternate reality/future stories, and for such a brief one, this does deliver some neat alternate moments.  I especially like the all too short visit with crazy Cain Marko, and the little touches like Falcon’s importance in the resistance, or Wolverine and Sauron’s rivalry.  Some aspects never get the room to pay off: Dr. Doom is introduced as an unknown quantity, but never affects the resolution one way or the other.  Also Jubilee has been renamed Vertigo for no particular reason, and I can’t tell if the team of rebels is supposed to be called the Morlocks or Team X because the script uses both.

I am wholly unfamiliar with the writers of this story, but I’m happy that they continue the solid relationship established between Deathbird and Bishop.  The romantic tension mixed with utter contempt and unpredictable motivations makes for great reading.  What I really like is that while Uncanny #358 focused mostly on Bishop’s history and perspective, Team X is much more about Deathbird.  From her cryptic dreams to confronting her relationship with her identity and family, it’s nice to see the character struggle with these conflicting aspects.  Although the reader can probably assume that Deathbird will side with Bishop, it’s still interesting to see how it all plays out.

The plot mechanics are a little frustrating.  The Morlocks’ plan to use time traveling gates to bring heroes from the past makes no sense; why not use them to travel back and change the future?  Plus I really don’t understand why they needed other heroes to implement their straightforward plan at the end.  It feels like the plot itself could’ve been resolved without Bishop or Deathbird; somebody else would’ve just had to kill Alanna.  Still, the fighting is solid and there are some hastily constructed, but solid character interaction.

The art style is manga, but for some reason it doesn’t bother as much as the style normally does.  Sure it does slip into ridiculousness with the scantily clad Shi’ar servants, and Jubilee’s redesign is super-cyberpunk anime influenced, but the action is clear, the expressions are never distorted or exaggerated, and just about all the characters are on model.  To tell you the truth, I like Lau’s work slightly more than I like Joe Madureira’s.

This is a little story that continues to build on the relationship between Bishop and Deathbird.  I like where it takes the characters, and I like the time travel gimmick because it doesn’t overstay its welcome.  Bishop traveling through time works a lot better with the character’s roots than Bishop in space.  This is definitely a peek if you can find it for cheap.

B+

X-Men #56

X-Men #56
Writing: Mark Waid and Scott Lobdell
Art: Andy Kubert

What Went Down: A giant Sentinel foot descends on a mother and child, but fortunately Joseph and Rogue show up to save the day. Joseph uses his powers to stop the Sentinel, but it adapts and swats him out of the sky. Rogue tries to help, but it is Dr. Doom who saves them both. Doom addresses Joseph as Magneto, and Joseph relates his impressions of Doom to Captain America. Cap reiterates that Joseph is doing a good job as a hero and tells him that really he should be talking with Xavier.

In Onslaught’s citadel, Onslaught’s forces have captured Nate Grey, the X-Man from the Age of Apocalypse. Nate mentions that he has beaten all of Onslaught’s minions, causing the villain to contemplate their worth. Onslaught explains that Nate’s psionic powers make him stronger and that he will use them to usher in an age of mutant sovereignty.

Xavier talks with Joseph about how they both share some blame in the origin of Onslaught. They have a good talk about the man Magneto used to be, and Xavier sends Joseph to the hero strategy meeting. The Professor claims that he will fight Onslaught in his own way.

Inside Nate’s mind, Onslaught sees images of the Age of Apocalypse. He’s quite disappointed with how a world run by mutants turned out, even though it was really a world run by Apocalypse. Onslaught reconsiders his plans for mutant rule.

Inside the strategy meeting, the heroes are getting ready to attack. Jean telepathically communicates with Cyclops that the Professor has gone off to fight Onslaught himself. Cyclops tells Jean to summon the rest of the X-Men in secret to go after him.

After absorbing Nate Grey’s power, Onslaught throws him in with Franklin Richards. Onslaught senses Xavier and goes to meet him below. Xavier tries to reason with Onslaught, imploring him on behalf of any part of Xavier that might still be in the villain. Onslaught smashes Charles’ hoverchair and announces that he has decided to kill everyone since neither race deserves the planet.

How It Was: This is both the penultimate chapter of the Onslaught crossover (Thank God) and Mark Waid’s swan song on the book (Aw Crud). Waid had been voicing concerns about editorial mandates restricting creative freedom for quite some time. Plus, after having to write the stories that meant his leaving Avengers and Captain America, I don’t think he was a very happy camper, and rightfully so. So, like Fabian Nicieza before him, Waid ends his run on X-Men…after only six issues. In fact, he’s only credited with the script on this one.

So how does this one measure up? More of the same; heroes fighting Sentinels, Onslaught alluding to his master plan to save mutants that makes no sense, and heroes standing around and talking about how awful this all is (the destruction mind you, not the story). Unlike most penultimate issues of stories, this one has absolutely no momentum; it doesn’t really feel like it’s building towards anything special, just the main fight with Onslaught that we’ve been waiting three freaking months for. There’s a lot of talk about the psi-armor being finished, but it was already finished issues ago, so this is mostly padding.

The plot is virtually non-existent. There are some scenes of the captive Nate Grey, captured in his own series, who was needed for Onslaught’s master plan…for some reason? Really we already knew that Onslaught had targeted Nate Grey from the first chapter of this story, so it is mind boggling why the writers waited until now for him to show up because it certainly isn’t a big surprise before the end of the story. Also having Onslaught change motivations at the last minute seems rather silly; he’s been ranting the whole series about how he’s helping mutantkind, even though it’s completely unclear how he’s doing that, and then at the last second he sees the Age of Apocalypse and decides to destroy the planet. No, I’m sorry there is just no logic or sense to back up that plan at all. And Doom shows up out of nowhere, which is kind of neat, but he doesn’t really contribute anything to the overall story; he’s only here to get sucked into the Heroes Reborn world next issue.

So what does work? Well, the dialogue from Waid is spectacular; these are seriously some superb interactions between characters. Whether it’s Joseph and Cap bonding over the sheer absurdity that is Doom’s personality, to Xavier’s thoughtful deconstruction of his friend Magneto, all of the characters ring true in their exchanges. The art is pretty fantastic, even if this is the zillionth Onslaught issue Marvel has put out involving fighting Sentinels. While the characterizations are great, I can’t really understand a lot of the behaviors different characters choose. Xavier’s decision doesn’t make much sense, unless they’re going for an Xavier that feels so guilty that he can’t live with the repercussions of Onslaught, which actually would be an interesting take on the character. And I can’t understand why Cyclops doesn’t just tell all of the heroes that they need to go rescue Xavier. Surely they have a better chance of surviving with more people, and don’t they need that fancy psi-armor? Apparently not as we learn in the conclusion.

While there is some good writing to be found, this story is still poorly organized at this point, which is just about the end. It’s not just that there are too many characters; it’s the fact that nothing compelling has happened in any of the issues to impact the story. Everyone is writing character side stories, which is fine, except that nobody has bothered to write the main story. Thankfully, next month things get back to normal, because while there were some nice moments, this just isn’t that great. Although I will say that this is above average for an issue of Onslaught.

B-

Fantastic Four #416

Fantastic Four #416
Writing: Tom DeFalco
Art: Carlos Pachco

What Went Down: Dr. Doom’s servant begins by explaining to his master the Onslaught storyline up to this point, including the capture of Franklin and the EMP. Doom declares that this situation requires his personal attention.

At Four Freedoms Plaza, a number of heroes are trying to rest in between going out and fighting Sentinels. The Invisible Woman finds some of Franklin’s toys and feels depressed. Ant-Man, who is working for the FF at this point, regains consciousness, but he is too weak from the EMP frying his helmet, and because of it, part of his brain. The Beast also brings up the fact that he was recently rescued over in X-Factor. Mr. Fantastic’s father Nathaniel tells Sue that the FF need to flee or they will die; he knows this because he is a time traveler who has seen the future. Sue refuses without Franklin, and she goes off with her husband to have a talk.

Inside Onslaught, Franklin is using his powers to send projections to warn his family where he is. It is explained that he was tricked into luring Nate Grey into a trap over in Nate’s book X-Man. On the roof of FF Plaza, Hawkeye and Iceman complain about how boring recon is. Inside, Sue and Reed have a conversation about whether they’ve neglected their responsibility to their son by putting him in danger all the time. Mr. Fantastic swears they will figure it out after they defeat Onslaught.

The Thing contemplates how alone he is as he watches the Torch and Lyja talk alone; Ben has a crush on Lyja at this point. Alicia Masters and her father the Puppet Master show up to offer their help against Onslaught. In another room Ant-Man’s daughter Cassie Lang is busy talking with Kristoff Vernard, a twelve-year-old boy who had all of Dr. Doom’s knowledge and memories implanted in him. They discuss a friend of Cassie’s who was being abused, and Cassie says that he finally told a teacher and got help for him and his mother from his abusive father. Kang the Conqueror appears, but Kristoff punches him once and the Conqueror dissolves.

The Thing and Alicia talk, and he explains that recently he’s been utilizing a machine to change back and forth into a normal human. The couple is attacked by the Psycho-Man. Meanwhile Lyja explains that she has been posing as another woman to date Johnny without him knowing, but they are interrupted by Paibok and the Super-Skrull. Fortunately for them, the Inhumans show up to help in defeating the aliens. In another hall, Mr. Fantastic and the Invisible Woman fight Wizard, Mad Thinker, and Devos the Devastator. Namor the Sub-Mariner turns up to help.

Nathaniel Richards is being attacked by the Red Ghost, but he is saved by the Black Panther and members of the Fantastic Force. Reed realizes what is happening—these enemies are really projections from Franklin warped by Onslaught, and he goes off to build a machine that can stop it (just like every other FF story you’ve ever read). She-Hulk appears to help out the Thing against Tyros the Terrible. Reed’s machine needs a power source, so the Thing pulls the power source from the machine that lets him turn back into a human.

Outside the Torch is fighting Annihilus and the Dragon Man, but Doctor Doom shows up to save him. Johnny thinks Doom is another adversary to fight at first. The Invisible Woman is attacked by her Malice persona, but Agatha Harkness appears to rescue her. Reed flips the switch on his machine and all the villains disintegrate. Sue tells Reed that Harkness claims Franklin is still alive, and everybody gets excited. Johnny shows up and tells everyone that Doom is now on their side. The team does the traditional hands in the middle pose, and the series ends on a spread of the FF and all their allies, old and new, ready for action.

How It Was: Groan…yet another double-sized issue. Yet this one doesn’t feel as extraneous since this is supposed to be the formal end to Marvel’s oldest and longest running comic (at the time). Poor Tom DeFalco had obviously been doing a fine job of setting up different subplots for his characters that all had to be hurriedly rushed to completion in time for the end of Onslaught. Cassie Lang’s friend who was being abused by his father is all wrapped up with two panels of exposition, the Torch just forgives Lyja for impersonating another woman because there isn’t any time for a different resolution, and Alicia Masters is wheeled out randomly to bring some closure to the ongoing ordeal of the Thing’s loneliness. This all feels really, really rushed. I will admit though that I do love the part where the Thing tears the power source out of his changing machine, not just because I feel the machine lessens the inherent drama of a great tragic character, but also because it’s just a really great example of Ben Grimm stepping up and being a hero.

As for the plot, well… this has absolutely nothing to do with Onsluaght, and it doesn’t really fit the tone of the other crossover books. Instead DeFalco seems more interested in giving the Fantastic Four a proper sendoff by going through a number of past villains and having a bunch of allies show up for absolutely no reason at all. And really, without Dr. Doom or Galactus as potential adversaries, this book is limited to some pretty weak villains, even before you add in the part about dissolving with one punch. Tyros the Terrible? Devos the Devastator? These really aren’t the strongest characters from Marvel’s back catalog. And the Inhumans show up completely out of nowhere. Some of the appearances are kind of neat, but there are just so many that none of them feel significant in any way. And of course it has to end with Reed flipping the Deus Machina switch to save the day, although this comes off more as an homage to tradition, rather than purposefully stale writing.

The other major problem with the plot only matters if you read Avengers #400, which came out two months prior to this issue. In it Loki uses magic to attack a team of past and present Avengers characters with artificial avatars of villains from throughout the team’s history. Does that sound in any way familiar? Now I’m not accusing DeFalco of blatant plagiarism, after all I’ve read similarly structured stories in Spider-Man and the X-Men, but it still isn’t a really a stupendous issue. Plus all the Avengers and X-Men are completely ignored for the sake of giving the FF a proper sendoff; Iceman and Hawkeye are shown observing the villains approaching, then they are never seen again for the entire double-sized issue.

Pacheco is perfect for drawing this kind of issue with lots and lots of different characters. If you want to see how good he gets at drawing giant epic scale battles, go buy Avengers Forever. Still, his Onslaught looks even more out of place now that he isn’t drawing the “evolved” version of the bad guy, although he’s not really in the issue long enough to care. The art definitely elevates the story above the shallow plot structure and hurried subplot wrap-ups that DeFalco is editorially forced to endure. It’s not an ideal ending for the team, especially in the middle of a larger storyline, but I guess it gets the job done.

C-