Capping Off A (Somewhat) Extraordinary Journey: Extraordinary X-men #20

The following is my review of Extraordinary X-men #20, which was posted on PopMatters.com.

For certain eras, there are characters who become symbolic of the conflicts. Sometimes they are the catalyst for the conflict. Sometimes they are the reaction to it. In either case, these characters embody a certain mentality and perspective of a period in time. When the history is written about the post-Secret Wars, pre-Inhumans vs. X-men era of the X-men comics, no one character will be singled out as the sole symbol of the conflict. However, Storm and the time-displaced Jean Grey are likely  in the top five.

When Extraordinary X-men began under Jeff Lemire, Storm went out of her way to identify Jean Grey as the heart of the X-men. That alone says a lot about the state of the X-men, singling out a time-displaced version of a character that has been dead for over a decade. Oddly enough, it's entirely warranted. Jean Grey is very much an embodiment of the X-men's highest ideals, if only because time travel allows her to skip the many eras of setbacks, retcons, and evil clones.

When the story of Extraordinary X-men begins, both Storm and Jean Grey are reluctant, if not downright hostile, to the idea that they're now the greatest hope for the X-men. Jean is a time-displaced teenager. She has enough on her plate as it stands and not just because of acne. Storm is a reluctant leader who ended up in her role because the world believed, thanks to Emma Frost, that Cyclops is the worst thing to happen to the world since poor wi-fi.

Then, as Extraordinary X-men progresses, they both settle into their roles. They confront the challenges that come with being an inspiration for every generation of X-men. Now, in wake of Inhumans vs. X-men, Storm, Jean Grey, and the rest of their teammates faces a whole new challenge and a whole new era for the X-men as a whole.

Extraordinary X-men #20 acts as a bridge between these eras. The Inhumans/X-men war is over. The entire mutant race doesn't need to hide in a demon-infested realm anymore. Naturally, most in X-Haven are eager to leave for a home where killer robots are more likely than demon attacks. For Storm, however, there's a lingering sense of uncertainty that bothers her. Having lived in a demon realm, being bothered by anything is quite an accomplishment.

It's through Storm's point of view that the uncertainty unfolds. It's through a time-displaced Jean Grey that the X-men confront it. In many ways, it's fitting that that these two characters are the ones tasked with tying up the loose ends of Extraordinary X-men. They are still the main catalyst for the story. They bore most of the burdens throughout the series. Lemire acknowledges the extent of those burdens. However, the story itself doesn't do much to give them greater weight.

The primary plot in Extraordinary X-men #20 actually deals with some unresolved aftermath from Inhumans vs. X-men. In a sense, Lemire addresses a practical issues regarding Emma Frost's hidden agenda, which most of the X-men only recently uncovered. In world where magic and time travel are often used to cover plot holes, this is somewhat refreshing.

It also makes use of some lingering side-plots that have fallen to the wayside in Extraordinary X-men, namely those involving Cerebra and No Girl. Again, these are usually the kinds of side-plots that are first to get overlooked. Lemire's efforts to address them give the story an attention to detail that the X-men comics have lacked, due largely to the constant doom and gloom caused by other characters whose movie rights aren't owned by a rival studio.

Between Jean's efforts and Storm's inner musings, the story in Extraordinary X-men #20 helps make this transition from one era of X-men comics to another feel personal. It tries to do more than just shove the X-men into the next extinction-level plot. It tries to step back and take in the situation. In some respects, they don't step back far enough because they end up fighting killer robots. However, compared to demons, Inhumans, and sterilization, it still counts as an improvement of sorts.

It still makes for a very simple, very basic kind of story. The X-men fighting a host of killer robots, be they Sentinels or discarded Sentinel prototypes, is as classic a plot as any extinction story. This one isn't all that memorable or epic, nor does it try to be. However, it's not the kind of battle that is there just to give the X-men something to blow up. There is a purpose do it. It's a minor purpose, but a purpose none-the-less.

The battle in Extraordinary X-men #20 may be somewhat forgettable, but it doesn't change the underlying situation facing the X-men. They don't have to hide in a demon realm anymore. They're not facing imminent extinction anymore. Given how rare these moments are for the X-men these days, it's an important situation to take in. Storm offers the perspective. Jean Grey offers the catalyst. In the grand scheme of things, it uses all the right ingredients, even if there's not enough of them to make a cake.

What makes the outcome of Extraordinary X-men #20 most satisfying is that, while it does attempt to tie up loose ends, it tries to give the series closure without dropping one too many ominous hints about the next extinction plot the X-men will face. Lemire makes a genuine effort to end the series on an upbeat note. For a series that began with off-panel deaths, sterilization, mutant-hunting death squads, that's quite an undertaking.

Taken as a whole, the end of Extraordinary X-men #20 doesn't give the sense of a complete, satisfying journey. Given the exceedingly bleak circumstances of its beginning, it's hard to go from one extreme to another. To go from the brink of extinction to a friendly baseball game is a journey that requires a lot more than 20 issues and a crossover event. Even if details are lacking, the primary spirit of the X-men narrative is still there. The fact that a series like Extraordinary X-men can end in a friendly baseball game is a testament to the strength of that spirit.

Final Score: 7 out of 10

A (Not So) Bittersweet End: Inhumans vs. X-men #6

The following is my review of Inhumans vs. X-men #6, which was posted on PopMatters.com.

Most epic battles are epic because of the skirmishes that led up to it. Ideally, the tension grows and the stakes rise to set up a final showdown wherein both sides think they're Mario and neither side believes they're Bowser. This is what makes battles like Batman vs. Joker, Superman vs. Doomsday, and Deadpool vs. Short-Sighted Fox Producers so meaningful. It's also why the final showdown in Inhumans vs. X-men has everything working against it.

In the case of this latest clash between two superhero teams, the skirmishes are forgettable and the stakes as unbalanced as fight between Juggernaut and a sick puppy. From the events leading up to it, to the tie-in issues that try to add badly-needed depth, Inhumans vs. X-men fights an uphill battle that may as well be upside down. It tries to be epic. It tries to be balanced. It just doesn't have the style, substance, or setup to make it work. To be epic, at this point, would require Onslaught-level power and/or a deal with Mephisto.

Charles Soule and Jeff Lemire may not be willing to call Mephisto, but they still try to make the most of what they've got to work with, which isn't much. Through five issues, the tension is there. The drama is there. There's a genuine effort to mold the conflict into something that feels balanced on both sides.

With Inhumans vs. X-men #6, the proverbial shot clock is running out. The drama, tension, and every other concept that's lacking has to pay off. However, that payoff never arrives in full. It's not a total bust, but it doesn't feel like a worth-while investment either. It's an investment that the Tony Starks and Warren Buffetts of the world would never make in the first place, but it's not one of those investments that bankrupts either side.

The most that can be said about Inhumans vs. X-men #6 is that it ends the conflict. It ends in a way that doesn't make either side looks good. In fact, both sides come off as woefully inept. There are any number of opportunities to avoid or mitigate the conflict. These opportunities are either ignored, glossed over, or fumbled with comic ineptitude. It's an inherent flaw that has plagued the X-men/Inhuman conflict since before the event started and the final showdown that unfolds in this issue does little to resolve that.

That's not to say the conflict is completely without drama. Lemire and Soule do make a concerted effort to make Inhumans vs. X-men #6 feel personal for the characters. This is most apparent with Emma Frost and Medusa. These two characters are, arguably, the primary driving force of the conflict. What they do and the decisions they make help give the struggle the depth it needs to feel like more than just another superhero clash. At a time when superheroes are more likely to fight each other than aliens, killer robots, or Thanos, that's very important.

Medusa vs. Emma Frost doesn't have the same epic undertones elicited by Batman vs. Superman, Captain America vs. Iron Man, or even Wolverine vs. anybody who steals his beer. However, it still feels very personal. Emma Frost makes it personal. She blames the entire Inhuman race for killing Cyclops. She takes it upon herself to exact the kind of vengeance usually reserved for Wolverine. There's no doubting her dedication. At the same time, however, there's no denying the inherent flaw this creates.

In the end, it's also Emma Frost who makes the conflict feel so forced. The main driving force of the Inhuman/mutant clash is supposed to be the Terrigen Mists, which is poisoning mutants all over the world. That issue gets resolved with a level of ease that feels downright inane and not just because Moon Girl succeeds where Beast, Forge, and every genius mind in New Attilan fail. It ends up feeling like a secondary concern, a formality has to happen before Emma Frost can fight Medusa.

By making the Terrigen Mists so trivial, it underscores everything motivating the X-men in this conflict. On top of that, they don't even get to make the decision that eliminates the threat of the mists once and for all. The Inhumans are the ones that do that. As soon as Medusa finds out that the mists will make the world uninhabitable to mutants, she doesn't even hesitate. She jumps at the chance to remove the mists from the atmosphere.

There's no argument with Storm. There's no fight with Emma Frost. Old Man Logan doesn't even need to insult her. She just learns something that the X-men could've easily told her in a simple text message and does the right thing. It makes the entire Inhuman/mutant conflict seem hallow. The fact that all anyone had to do was tell Medusa that the mists were about to exterminate an entire species makes every struggle in Inhumans vs. X-men #6, personal or otherwise, seem unnecessary.

In the grand scheme of things, neither the Inhumans nor the X-men come off as winners in Inhumans vs. X-men. They don't come off as losers either. The X-men do achieve their goal. The Terrigen Mists are gone. Mutants no longer have to worry about being gassed to death. They don't even need the Scarlet Witch to lose her mind again or cast some fancy spell to make it happen. That means they don't have to live in demon realms anymore for their own safety.

The Inhumans don't come off as losers either. Thanks to Medusa's hard choices, they come off as heroic and understanding. They make a sacrifice to prevent genocide. It does come at a cost, but New Attilan is still intact. No Inhumans died or suffered horribly. There's nothing stopping them from thriving again, albeit under different circumstances. Compared to being gassed to death, those circumstances aren't too bad. In that sense, it's still abundantly clear which side has its movie rights owned by Disney and which side does not.

With respect to creating a meaningful superhero clash, Lemire and Soule just don't have the ingredients to make Inhumans vs. X-men as epic as others before it. The circumstances, drama, and character motivations just aren't there. They are still able to make the most of it. Some of the flaws are inescapable. Others are just ignored. In the end, the resolution just can't be as epic as it needs to be. No amount of psychic manipulation from Emma Frost can change that.

Final Score: 5 out of 10

Underwhelmingly Misguided Underdogs: Inhumans vs. X-men #3

The following is my review of Inhumans vs. X-men #3, which was posted on PopMatters.com.

In sports, people love cheering for the underdog. In nearly every major sports movie, this underdog spirit is as common as the elaborate training montage that everyone since Rocky Balboa tries to emulate. It's not that hard to set up an underdog in a fight. They usually face harsh, unforgiving circumstances that puts them at a clear disadvantage. Having them overcome these disadvantages is a powerful narrative that often plays out in superhero comics as well, including those that involve superheroes end up fighting each other.

With Inhumans vs. X-men, it's not quite as easy for one side of the conflict. One side is fighting to prevent an entire species from suffering a horrible, painful death. The other is fighting to protect the big green cloud that is spreading this death. It's easy to make the former the underdog, as this is the position they've been in many times since their inception. For the latter, however, it's akin to making Emma Frost seem modest.

The circumstances of Inhumans vs. X-men are exceedingly unbalanced and have played out as such since before the conflict began. The clock is now ticking for the X-men. If they don't do something about the Inhumans' sacred cloud, every mutant on the planet will die a terrible death. If the Inhumans were agents of Hydra or just some ordinary villains who got tired of using killer robots, this doesn't even need to be an underdog story. It can just be a typical X-men story.

Unfortunately, the other side's movie rights aren't owned by Fox and Marvel has a vested interest in making them underdogs. Inhumans vs. X-men #3 tries to accomplish this as the conflict reaches a critical turning point. It doesn't fail miserably, but it certainly doesn't succeed either. The plot moves forward. The conflict gains new complications. From a narrative standpoint, however, that's about all this issue accomplishes.

Charles Soule and Jeff Lemire already have an impossible task on their hands. They're attempting to tell a story about a conflict where one side is fighting for survival and one side is fighting to preserve their current situation. This isn't a passionate disagreement on the merits of proactive justice. This is one side trying to survive while one tries to preserve the status quo. There's simply no way for that conflict to carry the same drama as Civil War, Avengers vs. X-men, or even the infamous Clone Saga.

With Inhumans vs. X-men #3, though, the story avoids any effort at creating meaningful drama around the conflict. There seems to be this unspoken acceptance that such drama is impossible. That may be a byproduct of the messy circumstances surrounding the story, but it doesn't change the outcome. There's no emotional weight to give impact of the story. It tries to roar like the Hulk, but hits with the intensity of a feather duster.

The action won't get anyone's heart racing. It won't get anyone to stand up and cheer for one side over the other. The only thing Inhumans vs. X-men #3 accomplishes is moving the plot forward. Even in this context, however, that progress is limited because it requires the story to ignore many of those messy circumstances surrounding the conflict.

At this stage, the Inhuman royal family is down for the count. The X-men have them contained in Limbo, thereby giving them the time they need to destroy the Terrigen Mist that's poisoning their species. Them having the advantage and the most to lose creates this strange situation where seeing the younger Inhumans rally against them doesn't generate the sentiment that most would associate with underdogs. There's no iconic training montage or Captain America speech to inspire them. They just call up some of their allies on a cell phone and go from there.

That's really the extent of the Inhumans' recourse. With the royal family neutralized, they turn to the other younger Inhumans like Ms. Marvel, Moon Girl, and Quake for help. There's no depth or drama to enlisting them. They literally just call them up, they acknowledge the situation, and they start making preparations. They put as much effort into crafting a counter-strike as most people put into ordering a pizza. They call each other up and just like that, they're a team ready to strike back against the X-men.

In addition to this being extremely bland, there's no effort on the part of the younger Inhumans to understand the conflict. They just see that the X-men attacked New Attilan and that's it. There's no heated debate on what to do, how to do it, or even why they're doing it in the first place. They react the same way they would if Hydra attacked New Attilan and that just compounds the underlying problem with the Inhumans vs. X-men conflict.

There's no getting around the implications. These young, inexperienced Inhumans are not just fighting the X-men, some of which are close friends with characters like Ms. Marvel. They're fighting against a desperate group of people trying to save their species from extinction. If the young Inhumans succeed, that means that countless innocent mutants suffer and die. If they fail and the X-men succeed, then no one dies. The Inhumans will face some difficult new challenges, but again, it wouldn't require that anyone die. There's just no way to be underdogs in that situation.

If there is an effort on the part of Soule and Lemire in Inhumans vs. X-men #3, it falls short by a wide margin. That's not to say there isn't substance within the story. It does succeed in adding new complications to both sides. The Inhumans do manage to hinder the X-men's efforts to destroy the Terrigen Mist and are able to buy time for their side to recover from the initial attack. Again, unless someone is a die-hard Inhuman fan, it's hard to root for them.

The Inhumans still try to carry themselves as though they're the underdogs and have just taken a few devastating punches to the jaw. On the surface, and only on the surface, it works just enough to keep the sequence of events going. Dig just a little bit deeper and the unpleasant truth is still there. The Inhumans are still trying to stop another species from saving itself. If the most they have to lose is not being able to create new Inhumans in a way that murders innocent mutants, then they can't be underdogs. Carrying themselves as such is just dishonest, misguided, and downright insipid.

Final Score: 4 out of 10

Marvelous Monstruous Mayhem: Monsters Unleashed #1

The following is my review of Monsters Unleashed #1, which was posted on PopMatters.com.

It says something about the current state of superhero comics when the idea of superheroes not fighting each other seems like a novel concept. It may seem like such a long time ago, but there was once a time when superheroes primarily fought villains, criminals, and monstrous manifestations ripped right out of old Roger Corman movies.

It's getting harder and harder to remember those times. These days, it seems every major superhero team, in both Marvel and DC, can't go a year without fighting one another. Cullen Bunn and Steve McNiven clearly remember those simpler times and if Monsters Unleashed #1 is any indication, they remember them fondly. The challenge for them is to remind readers that there's still a place for stories that don't involve superheroes fighting each other.

It's one of those concepts that shouldn't be such a challenge, but between Civil War II and Batman vs. Superman: Dawn of Justice, it may as well be a chess match with Dr. Doom. Bunn and McNiven are getting back to basics, having Marvel's premier heroes take a break from clashing with each other to confront a new threat. The end result is an over-the-top, action-packed thrill ride that pits iconic heroes against giant monsters. It's as basic a formula it can possibly be without Deadpool making a poop joke, but it works.

The story doesn't try to be overly complex or nuanced. Monsters start falling from the sky in cities all over the world. Marvel's various superhero teams, including the Avengers, the X-men, the Inhumans, the Champions, and the Guardians of the Galaxy, all get to step up and fight some monsters. There's no elaborate exposition. There is some mystery, but Bunn never lets it get in the way of the spectacle of heroes fighting monsters.

He seems to understand the audience. He knows there's too much entertainment value in giant monsters. It should be as obvious as a temper tantrum by the Hulk, but it still feels refreshing in that it provides a simple, entertaining story that allows heroes to just be heroes. Nobody has to worry about characters acting strangely, timelines being tampered with, or reputations being ruined. It's just heroes fighting monsters. No fan need agonize over their favorite characters and in at a time where Captain America can be a Hydra agent, that counts for something.

That's not to say that the narrative in Monsters Unleashed #1 is overly simple. It does have some refinements that make it more engaging than a typical Power Rangers rerun, although not by much. While Bunn does make it a point to emphasize the battles between heroes and monsters, he does squeeze in some mystery behind the wanton destruction.

The details of that mystery, which involves a kid who enjoys drawing monsters more than fighting them, are somewhat ambiguous. It involves Elsa Bloodstone and another dime-a-dozen doomsday prophecies, of which there are plenty in the Marvel universe. It's not nearly as engaging as seeing the Hulk punch a giant eye monster, but does add a sense of purpose to the hero vs. monster clash. There is a larger story behind it, even if that story offers as few hints as necessary. At the very least, it ensures that Monsters Unleashed #1 never devolves into a glorified Michael Bay movie.

The main appeal of the story is still its simplicity. McNiven's art further supplements that appeal, providing rich and colorful battles that give a diverse cast of heroes plenty of opportunities to shine. These are the kinds of scenes that will never make it into a Marvel movie, if only because even Disney's pockets aren't bottomless. That helps add to the overall spectacle in Monsters Unleashed #1 and in a story that involves giant monsters, that's saying something.

There's something to be said about the overall context of this story. In real estate, it's all about location. That's the key to making a project work. In comics, the closest equivalent is timing. While some stories are indeed timeless, as those of Superman and Captain America have proven, work best when the time is just right in both the real world and the fanciful world of comics.

Stories like the Phoenix Saga and the first Civil War have an impact because they reflect a certain time and sentiment with the audience. Monsters Unleashed is one of those concepts that could be shrugged off in the extremes of the '90s, the macho grittiness of the '80s, or the psychedelic mindscape of the '60s. However, its presence in 2017, a time when audiences are burned out on superheroes fighting each other, feels both right and overdue.

Comics don't need to blow minds, break hearts, and shatter spirits every other week. They just need to entertain. Bunn and McNiven succeed in delivering just that with Monsters Unleashed #1. They go out of their way to avoid complicating the plot. They also avoid crafting a story that devolves into shameless disaster porn as well. There is story. There is mystery. Some details are lacking, but it still works. No major characters are getting reinvented, retconned, or replaced by clones. In this particular era of comics where everything gets shaken up every other year, that counts for something.

Monsters Unleashed #1 is not a story that's going to get anyone thinking too hard about real-world parallels or blurred lines between good and evil. It's not going to reinvent an entire genre either. This story caters to the kid in everybody who plays with action figures, imagines giant monsters attacking big cities, and comes up with over-the-top battles full of fiery explosions and crumbling buildings. Anyone's inner child, especially those that pestered their parents for action figures every Christmas, will be thrilled with this story.

Final Score: 7 out of 10

Winning Streaks and Resolutions: Civil War II #8

The following is my review of Civil War II #8, which was posted on PopMatters.com.

Every major sports dynasty in every meaningful sport learns at some point that a winning streak has to end. Whether it's the Russians in the 1980 Winter Olympics, the undefeated New England Patriots in Super Bowl XLII, or the New York Yankees every five years or so, they learn that no winning streak can last forever. More often than not, learning that lesson is pretty painful.

In the context of Marvel Comics, Tony Stark is very much on par with the New York Yankees. He's been managing a winning streak that dates back to the conclusion of the first Civil War back in 2005. Within the Marvel/Disney hierarchy, he's right up there with princesses and talking animals in terms of importance and prominence. He's not just the character that revived Robert Downey Jr.'s career. He's very much the catalyst for the modern Marvel universe, as it has manifested over the past decade.

With Civil War II, he faces the biggest threat to his losing streak to date. Once again, he finds himself leading a team of heroes against another team of heroes, caught up in a powerful philosophical struggle on how heroes should conduct themselves. This time, it's not just Captain America or the American legal system he's up against. He's taking on Captain Marvel, who has a winning streak of her own, and the very forces that shape the future of the Marvel universe. Even with the star power of Robert Downey Jr., Tony Stark faces extreme odds.

He finally puts his vision and his winning streak on the line in Civil War II #8 for the final struggle. It has the fixings of a dramatic struggle, ripe with the same high emotions as Mark Millar's memorable narrative in the first Civil War. Unfortunately, those high emotions that worked so well for Millar end up falling much flatter with Bendis.

That's not to say that Civil War II #8 doesn't deliver in terms of drama and high emotions. Those factors are definitely in place and they do give the story plenty of weight. However, the actual mechanics of the story and the way everything gets resolved just come off as rushed and contrived. Nobody will be gasping for air or picking their jaw up off the floor with the big climax of the story here. The most anyone will probably do is shrug and sigh, but not necessarily in a bad way.

There are some powerful moments that play out here. These moments highlight the sheer strength and weight that Captain Marvel and Iron Man wield in the context of the current Marvel hierarchy. These are two of Marvel's most popular characters fighting over a conflict that Bendis made sure was every bit as balanced as the one Mark Millar molded in the first Civil War. The clash never feels like a glorified street fight or something that can be written off as a product of mind control, clones, or Skrull agents.

Captain Marvel and Iron Man are literally fighting for the future of the Marvel universe and their place in it. Over the course of that fight, it's clear that neither character harbors a seething hatred of the other. They don't insult each other. They don't engage in the kind of trash talk usually reserved for a rap battle. They carry themselves with the utmost conviction that they're right. They both believe they are the New York Yankees on the cusp of another championship.

In the end, only one can win out. Eventually, one does win out, albeit in an outcome that feels somewhat hollow. After all the high emotions that helped make Civil War II so impactful, from the first battle against a rogue Celestial to the death of Bruce Banner, the end result feels muted because the battle doesn't really resolve the main issue. In some respects, the issue resolves itself, which makes the conflict seem more trivial than it actually is.

Nothing that Captain Marvel and Iron Man do, either through fighting or through the hard choices they make, influences what happens to Ulysses. As the Inhuman who started this all, his role in the final conflict is surprisingly minimized, which really undermines the narrative. It's like Wolverine trying to win a fight without his claws. It is possible, but it lacks that a certain touch that gives the conclusion its satisfying feel.

Absent this satisfaction, the conclusion in Civil War II feels so rushed. If the conflict does affect Ulysses, it's an indirect influence at most and that influence is not really clear. Unlike the first Civil War, neither side gets a chance to really prove that their side was right. There's no way to actually put into practice all these the passionate arguments that Captain Marvel and Iron Man make throughout the conflict. They still fight, but they don't get to find out whose ideas actually win out.

Despite this lack of resolution, Civil War II still tries to establish a clear winner. It succeeds in this to some degree. It makes clear who comes out ahead and whose winning streak comes to an abrupt end. However, establishing the winner in the story doesn't necessarily explain why they're the winner in the first place. There's an argument to be made that nobody really won Civil War II. In the end, one person is still standing. That's more a technicality than a win, but it still counts. It's like a championship game ending in a tie, but one side still gets to act like a winner.

On the whole, Brian Michael Bendis and Oliver Copiel succeed on numerous levels in making Civil War II the same high-stakes, high-drama conflict as its predecessor. The heavy emotions and painful losses are there. The impact of those losses are felt. Civil War II #8 does nothing to underscore those emotions or those losses. The characters never feel insincere. There's never a sense that one of them could be a Skrull agent. The refinements are there. It's the overall resolution that's lacking.

One winning streak ends. Another winning streak continues. There are impacts, scars, and plenty of arguments to be had on message boards for years to come. In the grand scheme of things, Civil War II counts as a success. It's just not the kind of success that will make anyone less tired of superheroes fighting each other.

Final Score: 6 out of 10

First Shots and Fatal Flaws: Inhumans vs. X-men #1

The following is my review of Inhumans vs. X-men #1, which was posted on PopMatters.com.

What does it take for a clash between two superhero teams to be interesting these days? That's an increasingly relevant question because modern comics, as well as the movies they inspire, have gotten to a point where heroes fight each other more often than they fight actual villains. It seems an entire generation of comic book fans and creators have read Mark Millar's Civil War and desperately want to recreate that success, much to Mr. Millar's chagrin.

Those efforts, and the desperation behind them, don't often yield results. In fact, in the decade since Civil War, it seems as though that one stunning success was lightning in a bottle and trying to capture it again is like keep up with a race between Flash and Quicksilver. It's a losing battle, but one that still inspires more superhero clashes.

Avengers vs. X-men went to great lengths to match the scope of Civil War, leading to mixed results at best. Inhumans vs. X-men, the latest attempt to make heroes fighting heroes compelling once more, can't go to those lengths or match that scope. In some ways, this is a good thing because it means that Charles Soule and Jeff Lemire, the writers who have been developing the Inhumans and X-men respectively, can't follow the same formula.

The ingredients this time are very different. This is not about proactive justice or superhero legislation. Inhumans vs. X-men is set up with the simplest of circumstances. One team's very existence threatens to destroy another. Now, it's no longer possible for both teams to occupy the same world and not just because of clashes involving movie rights. This clash finally manifests in Inhumans vs. X-men #1 and while there's a lot of plotting, there isn't much drama or impact. Mark Millar can probably sleep easy for now.

The story doesn't hit the ground running. It doesn't drag either. Lemire and Soule are very careful, if not too careful, to set up the internal politics guiding the X-men. Unlike the Inhumans royal family, they must deal with the grim prospect of either going to war, leaving the planet, or being gassed to death. The most the Inhumans have to worry about is being mildly inconvenienced by the prospect that they'll be responsible for purging the whole planet of mutants. That may upset those who work at Sentinel factories, the stakes for them aren't quite as high.

This is the inherent flaw of the underlying conflict in Inhumans vs. X-men and this flaw has plagued every story leading up to this one to some extent. The conflict tries to frame the situation as balanced. For one side, the Terrigen Mist is life. For the other, the mist is death. In principle, it makes for a balanced conflict. In practice, however, it highlights a disparity that undermines any drama this conflict tries to inspire.

This is where the mentality of Inhumans vs. X-men clashes with the actual mechanics of the conflict. Beast makes it clear to his fellow X-men that the mutant will die if they stay remain on a planet where the Terrigen Mist roams unencumbered. It's not a matter of preserving their culture or their way of life. It's a matter of avoiding a horrible, painful death and the extinction of an entire species.

For the Inhumans, the particulars of the conflict can't be less similar. They're not facing extinction. They're not facing the death of their people. At most, they're facing a major inconvenience in that the future of their species will face uncertainty. However, uncertainty is a far cry from dying a horrible death at the hands of a poison cloud. Given that there are mutants like Magneto, who have direct experience with the horrors of a minority being gassed to death, it ensures this conflict remains utterly unbalanced.

Now that's not to say that the Inhumans make no effort to aid the X-men. They do show that when they detect a mutant in the path of the Terrigen Mist, they will go out of their way to get that mutant to safety. The X-men even use this policy against them in instigating the conflict. However, their unwillingness to let anyone taint this cloud that is bringing so much death to a minority that has subject to one too many Sentinel attacks still makes the conflict feel unbalanced.

To their credit, Jeff Lemire and Charles Soule still make an effort to navigate the conflict in a way that demonstrates a certain level of substance. Leinil Yu's art skills also add a distinct style as well. They highlight the high emotions of certain characters, especially Emma Frost and Beast. It gives the sense that Inhumans Vs. X-men #1 is a seamless extension from the story that has been unfolding since Death of X.

Along with these emotions, there's a distinct attention to detail that other superhero clashes like Avengers vs. X-men lacked. There isn't just some elaborate rallying cry ripped from the Braveheart movie. The X-men don't just blindly attack the Inhumans. They actually employ some strategy, which is kind of important in any conflict that is likely to involve explosions. They single out powerful Inhumans like Black Bolt and Karnak. They find ways to neutralize them. There's no magic to it. There are no cosmic forces disrupting the story. It actually feels like a substantive conflict.

Inhumans vs. X-men #1 has all the basics of a superhero clash. It even has a few refinements here and there. However, it doesn't have enough to make the conflict feel balanced. The biggest flaw in the story has to do with the larger circumstances surrounding it. In following this story, it's still painfully obvious which franchise's movie rights aren't wholly owned by Marvel and Disney. This limits the impact. Nobody's heart will be racing here because it's too obvious which side has the most to gain.

Some flaws are inescapable. Whether or not these flaws will undermine the conflict remains to be seen. Lemire and Soule have an uphill battle ahead of them and they may only be able to go so far up that hill. At the end of the day, the conflict between the Inhumans and the X-men still comes off as uneven and petty. At the very least, it also means that Mark Millar's title as the last writer to craft a decent superhero clash is safe for now.

Final Score: 6 out of 10

Setting Up An Ominous (And Overdue) Conflict: Inhumans vs. X-men #0

The following is my review of Inhumans vs. X-men #0, which was posted on PopMatters.com.

Some epic struggles need no setup or backstory. If the story involves a knight and a dragon, then it's usually fairly clear who must be slayed and who is doing the slaying. There is certainly a need to establish the setting for such a struggle. Sometimes that setting is as big a part of the story as the proverbial dragon-slaying. When it comes to the X-men and the Inhumans, the setting for a conflict is basically a formality at this point.

This is a setup that doesn't need to be belabored. The events of Death of X, as well as the various events that unfolded in the pages of Extraordinary X-men and Uncanny X-men, make it abundantly clear that these two teams are going to try and kill each other at some point. It's just a matter of when, where, in what circumstances, and how unbalanced it's going to be.

Since the conclusion of Secret Wars, the tension between the X-men and Inhumans is anything but balanced. Once side has the benefit of movie rights and an ongoing TV show. The other side's movie rights are being held hostage by a rival company who managed to help Josh Trank ruin his directing career. Logistically speaking, there's no way this conflict can ever be balanced.

Jeff Lemire and Charles Soule have an impossible task with the Inhumans vs. X-men event. With Inhumans vs. X-men #0, they can at least put the pieces in place on the proverbial chessboard. The first shot isn't fired. The first ultimatum isn't issued. Nobody from the X-men or Inhumans even starts trash talking one another on social media. However, the story makes clear that these two teams are on a collision course and Emma Frost has her foot on the gas petal.

In essence, Inhumans vs. X-men #0 is both a setup issue for a larger conflict and an Emma Frost story. It acts as a continuation of the events that unfolded in Death of X. In wake of Cyclops' death, she is the one who carries on the fight that he began. However, this is not one of those conflicts where a few extra hours in the Danger Room and a few team-ups with Deadpool can will equip the X-men for the coming battle.

Emma Frost doesn't try to be Cyclops in this story. She's going to fight his battles, but she's going to do it her way. That means using her wit, her cunning, and her willingness to do immoral things for moral reasons. It's what makes her the White Queen. It's what makes her a dangerous enemy and a questionable ally. Most importantly, though, it helps add some level of balance to the coming conflict.

It's still not balanced by any objective measure, but Emma Frost navigates this narrative in a manner that makes clear this won't be a simple shouting match between Storm and Medusa. This won't be a battle that Black Bolt can end just by whispering either. She gathers allies, makes deals with shady characters, and even trains herself to be ready in case her cunning and deceit just isn't enough. In the grand scheme of things, Emma Frost is the only one in the X-men who is actually prepared for a battle with the Inhumans.

Her story in Inhumans vs. X-men #0 carries the bulk of the dramatic weight and provides most of the substance. The role of the other characters involved, however, aren't quite as engaging. If anything, they reinforce the ongoing imbalance between the X-men and the Inhumans. It gives the ominous impression that one side still has way too many advantages for this to be a fair fight.

Throughout the narrative, the Inhumans carry themselves with an aura of selfish arrogance. They seem less concerned about helping an entire population of innocent mutants and more concerned about the possibility that they might have to fight a larger war with the X-men. They give the impression that they're more worried about being inconvenienced than saving lives. Even without the inherent imbalance between the two sides, it's hard to root for the Inhumans, given how they conduct themselves.

That's not to say the X-men are any easier to root for. Other than Emma Frost, Beast plays a major role in setting up the conflict, albeit indirectly. He's the only other character besides Emma who contributes to the drama, but his story is far less effective. His efforts to work with the Inhumans to resolve this conflict without violence are entirely noble in terms of intentions. Those intentions, however, clash with the unforgiving imbalance between the two sides. He's not the only one realizes that either.

Medusa, the current ruler of the Inhumans, goes so far as to adopt some of Emma Frost's tactics. She also understands that a conflict between the Inhumans and X-men is inevitable and that concerns her far more than any suffering the Terrigen Mists are inflicting. Even if her intentions are ethically suspect, her understanding of the situation is every bit as pragmatic as Emma's. Whether or not she can be as cunning as the former White Queen remains to be seen, but it definitely adds some intrigue to the coming conflict.

Inhumans vs. X-men #0 does succeed, albeit in a limited capacity, in creating some compelling stakes for the coming conflict. Both sides are preparing. Neither side wants to be caught off-guard. However, the issues that manifested in Death of X remain.

There are still inconsistencies between the events surrounding this conflict and the events that have unfolded in other X-books since Secret Wars. The strange and unwarranted hatred of Cyclops that seemed to fuel the X-men's narrative remains unexplained, which makes the conflict and the setup surrounding it feel incomplete and lacking in context.

In addition, characters not named Emma Frost do little to stand out. As a result, the impact of Inhumans vs. X-men #0 doesn't offer anything novel or groundbreaking. It just reinforces the inevitability and imbalance of a clash between the X-men and the Inhumans. One is poised to thrive. One is poised to die. One has Marvel's unconditional support with movie rights. One remains stuck under the thumb of Rupert Murdoch. At this point, it a sentiment that need not be reinforced.

Final Score: 6 out of 10

Incomplete Moments With Shallow Revelations: Death of X #4

The following is my review of Death of X #4, which was posted on PopMatters.com.

If a fight is rigged and rigged well, then it's usually hard to tell which side has the advantage. Those fights can be quite entertaining, as the success of WWE wrestling routinely demonstrates.  When the rigging is too obvious though, the entertainment value suffers. It's just not very fun or interesting when it's easy to tell who is getting an extra shot of Hulk blood on the side.

This is the biggest flaw in the Death of X narrative. It isn't a passionate disagreement between Iron Man and Captain America over methods for administering justice. It's a cage match between one side that has the unconditional backing of Disney's lawyers and another that remains under the boot of a rival company. The X-men and the Inhumans are not on a level playing field and haven't been since Marvel Studios began churning out billion-dollar blockbusters on a regular basis.

This means there's little to no suspense in the outcome of Death of X #4. It's a foregone conclusion that the X-men will lose, the Inhumans will come out on top, and the lawyers negotiating movie rights will keep getting billed by the hour. It gives Charles Soule and Jeff Lemire a poor foundation to build on, but it's a foundation that can still fill in some unresolved issues. They just have to build carefully because they don't want to give the X-men more reasons to resort to clones and time travel.

There's a genuine effort to extract every ounce of drama from this final issue, but there's not much worth extracting here. There's a distinct absence of detail and polish to the overall story. It does not complete the narrative that began in the first issue, nor does it fill in the blanks left by the various X-men titles that spun out of Secret Wars. There is some intrigue. There are some heated, passionate moments. It doesn't fall flat, but it does feel distinctly incomplete.

If there is a defining moment in Death of X #4, it manifests during the confrontation between Cyclops and the Inhumans royal family. This moment feels very much like a trailer of sorts, complete with ominous warnings and angry pleas. The trailer may lack the star power of Hugh Jackman or Sir Patrick Stewart, but it effectively ensures that there will be a war between the Inhumans and the X-men. It's not just inevitable at this point. It's overdue.

While this moment is vital in giving Death of X #4 the necessary impact, it's pretty much the only moment that's memorable or impactful in any way. Every other moment throughout the narrative is either lacking in substance or devoid of style. There's little else in terms of drama. None of that drama feels like an emotional gut punch either. For a comic where a major character dies, that's pretty telling.

It's also the most frustrating aspect about Death of X #4 and the X-men comics as a whole since Secret Wars. The lack of drama and the lack of details ensures this story adds little context to the overall narrative surrounding the X-men. Much of that narrative is crafted around this idea that Cyclops did something so horrific and so despicable that it would make James Marsden violently ill if someone said it out loud. That idea, however, becomes exceedingly complicated here.

It's not just because Soule and Lemire try to throw in a twist at the end that effectively ensures that Cyclops can die with some credibility intact. It's also because the sequence of events that unfold throughout Death of X do little to warrant such an idea. There's no overt atrocity here. Cyclops doesn't suddenly become Thanos, Victor Von Doom, or whoever canceled the last X-men cartoon. He does what he and the X-men always do and tries to protect innocent mutants.

Now this does draw the ire of the Inhuman royal family for reasons that are understandable, albeit petty. However, it's worth emphasizing here that what Cyclops does, be it overt or indirect, can't qualify as an atrocity. He doesn't kill anyone. He doesn't destroy anything. He doesn't even make a joke about Medusa's hair. There really is nothing here that warrants the hatred and disdain that is so prominent in the current X-men comics.

If there are any unforeseen consequences to Cyclops' actions, they aren't revealed. They aren't even hinted at. What Cyclops does simply prevents a cloud of Terrigen Mist from descending upon a populated area and killing every innocent mutant in its path. No human or Inhuman dies as a result. In fact, only one other person dies and that person dies willingly in a heroic sacrifice that the Inhuman royal family tried to prevent.

In terms of a balanced, albeit rigged, conflict, the entertainment value really suffers here. Death of X does little to create even the illusion of balance between mutants and Inhumans. If anything, it only shows that the Inhuman royal family is disturbingly comfortable letting an entire minority suffer horribly so their race can propagate. While Cyclops did make clear to them that he was just as comfortable letting the Inhumans stagnate, there's little effort to have a passionate, balanced discussion.

In terms of the bigger picture surrounding the X-men/Inhuman conflict, Death of X #4 has too many blanks to fill and not nearly enough ink to make a concerted effort. It does what it can, but not much else. There is a sense of rhythm and flow to the narrative. It never becomes too chaotic and it avoids completely denigrating certain characters, although there will likely be a certain segment of fans that will passionately disagree on message boards. There is a sense that this story is part of a much larger narrative that has yet to unfold.

Death of X #4 doesn't read like the end of an event so it's not going to check every box before the final page. While it manages to be coherent and revealing in some respects, it still comes off as woefully incomplete. If it were a school project, it couldn't be adequately graded because it doesn't present a finished product. This may be okay for a movie trailer, but for a complete story that kills off one of the most iconic X-men in history, it's not even close to being enough.

Final Score: 4 out of 10

Death of X #4: Nuff Said!

Well, it's here. The (unofficial) final review of nuff said. I've been looking at it the same way a cow looks at an oncoming train. I know it's coming. I know it's close. I'm just too bloated with hormones, illegal chemicals, and fatty foods to give enough shits. I want to say it's fitting that a series called Death of X is the final review for nuff said. However, with a title like Death of X, it's only fitting in the same way that a colonoscopy is a fitting way to end taco eating contest.

This is it. This is where we find out what the fuck Cyclops did that made him more hated than Chuck Austin, Brett Ratner, and the assholes that canceled Wolverine and the X-men after just one season. We know he's trying to stop the big green fart cloud that the Racist Xenophobic Slave-Owners refuse to do jack shit about. We know he's trying to save his species from extinction and sterilization yet again after having already gone through that shit before. At this point, who can blame him for losing his fucking mind and going evil?

It's still a big fucking blank to fill into just one issue. Death of X #4 has a fuckton of questions to answer if the events of Extraordinary X-men, Uncanny X-men, and All-New X-men are to make half a piece of dog shit worth of sense. I'm skeptical that it can do this in a way that won't piss off X-men fans, Cyclops fans, and fans of anything that actually makes sense. This being my last review for nuff said, I'll either have to be extra drunk or extra sober to get through it.

I get the feeling that Storm could use a few shots of bourbon on her end because she now has to contend with a determined and pissed off Magneto. She, and everyone else in the entire fucking Marvel universe, should know by now that he's not a fan of genocide by toxic gas. That shit is kind of a sensitive issue for him. Even those on the alt-right wouldn't push his buttons when there's a big green mutant-killing cloud on the loose.

He effectively ends the little spat between the X-men and the Racist Xenophobic Slave-Owners in Madrid. He doesn't kill or maim anyone, which for Magneto requires a level of self-restraint that would allow a guy like me to walk through a whiskey distillery and come out sober. Crystal and her genocide-enabling people better fucking count their blessings. The fact they have intact assholes in this situation should make them want to go out and buy an extra lotto ticket.

With Crystal's crew of Racist Xenophobic Slave-Owners neutralized, Cyclops and his team go to work stopping the big green cloud of death that's going to maim countless innocent mutants. Yet somehow, he's going to become the monster? No, it still doesn't make sense and spoiler alert, it's not going to no matter how much weed you smoke. If you have some though, fill your bong because you're going to need it.

Cyclops' plan doesn't involve genocide, bloodshed, or anything that may make Wolverine horny. It involves using Alchemy, the nerdy D-list mutant he recruited in the last issue, to turn the big green fart cloud into something that won't horribly maim innocent mutants. For some reason, the Racist Xenophobic Slave-Owners don't like the idea of their big green fart cloud NOT killing innocent mutants so they shoot him right out of the sky before he can read the cloud. Yes, a team of super-powered racist, xenophobic, slave-owners is pro-genocide and Marvel wants to give them a fucking TV show. Even the most bigoted neo-Nazi skin-head would be paralyzed by the WTF on display here.

However, an attack by a group of racist, xenophobic slave-owners who are okay with the idea of gassing an entire minority to death has never stopped the X-men before. Cyclops manages to find Alchemy, who now has a broken arm and no whiskey to dull the pain. He then gives him the kind of pep talk that would make high school football coaches envious, which helps Alchemy's balls grow ten times bigger so he can get another shot at giving a big middle finger to the Racist Xenophobic Slave-Owners. If I were a woman, I'd have jumped Alchemy's bone on the spot.

The Racist Xenophobic Slave-Owners are decidedly less horny. They somehow think in their racist, xenophobic, slave-owning minds that they've won. They've saved their big green fart cloud of mutant-killing death. They're fucking wrong. With Sunfire's help, Alchemy gets another shot. I assume he gave them all the finger somewhere along the way.

With help from Magik and the Stepford Cuckoos, the royal family of Racist Xenophobic Slave-Owners remains distracted. They can't take Alchemy down this time. Instead, he makes it into the big green fart cloud and uses his powers to turn it into a big red fart cloud, but it's a cloud that doesn't kill or maim anyone. To the rest of the non-racist, xenophobic, slave-owning population of the planet, that's a good thing. To the Racist Xenophobic Slave-Owners, it may as well be one big kick in the dick. Now I'd definitely jump Alchemy's bone, even if I'm not a woman.

Unfortunately, Alchemy isn't very bonable after this stunt. After turning the big green fart cloud into a harmless red fart cloud, he returns just in time to find out he's now dying of M-pox. That means he sacrificed himself to stop a big cloud of mutant-killing death. That's objectively awesome on every level. Again, this a D-list X-men character who hasn't been relevant since the Regan administration and he just gave the finger to the Racist Xenophobic Slave-Owners.

This issue is to Alchemy what the Dark Phoenix Saga is to Jean Grey. He sacrifices himself to save countless innocents. Alchemy, you are a true hero. May the next life be filled with endless pools of whiskey and endless hordes of naked Emma Frost clones. You've earned it.

It's a true hero's end for Alchemy. For Cyclops, however, it's not so noble, but it's every bit as heroic. He calls out the Racist Xenophobic Slave-Owners and the royal family responds. They're still shocked and appalled that someone would stop their big green fart cloud from maiming innocent mutants. I guess genocide and the suffering of minorities is important to the culture of the Racist Xenophobic Slave-Owners. Even the most ardent Bernie Sanders supporter would call bullshit on this and so does Cyclops.

The Racist Xenophobic Slave-Owners do and say nothing to justify their bullshit. They still act all appalled and offended that someone would dare to stop their big green fart cloud from killing innocent mutants. Cyclops boldly confronts them, flexes his nuts, presumably makes the red-headed Medusa extremely horny, and tells the royal family to fuck off. He makes clear that he's going to keep fighting these big green fart clouds of mutant-killing mayhem and if they don't like it, then they and their shitty movie rights can just go fuck themselves.

Naturally, the Racist Xenophobic Slave-Owners' first instinct is to just kill him. Yes, that's how Racist Xenophobic Slave-Owners solve problems. They kill those who want to stop an ongoing genocide. Hell, even racist skin-heads have the decency to just beat the shit out of minorities and say shitty things on message boards. For the Racist Xenophobic Slave-Owners, they don't even try to see things from Cyclops' side. They just let Black Bolt kill Cyclops so their big green fart clouds can continue maiming mutants.

Cyclops doesn't do anything to fight back. He just lets it happen. He doesn't really need to do anything. He claims that he's not just a leader now. He's an idea. He's an idea that inspires mutants and makes beautiful telepathic women horny. That idea can't die, no matter how much Black Bolt whines about it. It's one last epic middle finger that should make all the telpepaths, blondes, and redheads both proud and horny. It may be a somewhat inglorious way for Cyclops to die, but he dies giving the finger to Racist Xenophobic Slave-Owners. That means he dies with a hell of a boner.

A week later, the shit storm is settled. The big green mutant-killing fart clouds are still out there and the X-men bury their leader. There's a small ceremony on Muir Island. They even have the decency to give Cyclops a gravestone. Nobody spits on that gravestone though. Nobody shows any of the vehement Cyclops hatred we've seen in the post-Secret Wars X-men comics. It's almost like Cyclops didn't do anything that shitty. He just tried to destroy a mutant-killing gas cloud. So how the fuck is he now the most hated mutant that didn't appear in the Wolverine Origins movie?

That's not just a drunken remark. That's an honest fucking question and it's a question that doesn't get answered. That's a big fucking deal too because that means all this Cyclops-hatred that fueled so many shit storms still makes no fucking sense. It also means that everybody just agreed to let the Racist Xenophobic Slave-Owners keep their mutant-killing gas cloud. They're all suddenly okay with mutant genocide and yet Cyclops is the asshole? Seriously, what the everloving fuck?

Still confused? Well sit back and tuck your nuts in people because it's about to get even more fucked up. Remember all the nut-flexing and bravado that Cyclops had been demonstrating for the past few issues? Well, it turns out that Cyclops isn't the one doing the flexing. In fact, he was never even in a position to. Instead, that shit was all an illusion. I'm not talking about a David Blain/David Copperfield type of illusion that makes people pay several hundred bucks for a glorified stage show. I'm talking about a real actual mass delusion the likes of which would give British tabloids multiple orgasms.

Emma Frost, right after Cyclops' funeral no less, meets up with Havok, who was apparently too busy to participate in stopping mutant genocide. She reveals that Cyclops did pretty much none of the shit that has transpired in this series. He actually died in the first issue the second he entered Muir Island. There was no epic sacrifice. There was no final message from Jean Grey. He just took a whiff of the big Inhuman fart cloud and died. That's it. It's as inglorious and unfitting as it sounds.

Naturally, Emma Frost had a big fucking problem with this. She let this man see her naked without paying, damn it. He deserves better than that. So with the help of the Stepford Cuckoos, she projected a psychic image of Cyclops and that image is the one that did all the crazy shit that everyone in the world hates him for, even though there's no fucking reason given for that hatred. Even if there was, it still wouldn't be warranted because Cyclops still didn't do anything. He just went to Muir Island looking to help mutants and died, all because the Racist Xenophobic Slave-Owners didn't know their big fucking fart cloud maimed innocent mutants.

It's a big fucking blow to Emma Frost. Even though they broke up, she still makes clear that she cares about Cyclops more than she does most men who see her naked. The idea that an ex-lover of her's dies and it has nothing to do with her being pissed off and vindictive really fucks with her. She knows better than most that Cyclops is the only X-man with the balls to lead mutants against pro-genocide racist xenophobic slave-owners. Hell, she's probably licked them so she knows their power. Now, he's dead and she has to have the biggest balls in the X-men from now on. I guess she accepts that challenge.

It still makes for an unsatisfying, callous end for Cyclops. He doesn't die fighting to save his people. He dies because of some big green fart cloud. It's the kind of end that seriously fucks with Emma Frost's head because now she's intent on carrying on this idea she's created. She makes clear that without Cyclops, someone needs to have the balls to take on the Racist Xenophobic Slave-Owners and their big green fart cloud. It might as well be her. She knows how to bust balls. Now, she gets to flex them. In that sense, the Racist Xenophobic Slave-Owners are truly fucked in the long run. It's one thing to kill Cyclops and protect mutant-killing fart clouds. It's quite another to piss off Emma Frost.

So...is it awesome?

Short answer? Not really. Shorter answer. Not fucking close. Is it terrible? Well, that actually requires a longer answer because I can't just spit out my whiskey and say fuck yes. Even at my most drunk, that wouldn't recognize the full context of the story here. I can't say Death of X #4 is fucking awful because it isn't. It doesn't horribly butcher Cyclops' character like it promised. Hell, it makes him a victim of shitty luck, which is kind of appropriate for the guy who was lucky enough to see Emma Frost and Jean Grey naked in his lifetime.

Even if Cyclops doesn't go down in history as the worst thing to happen to the X-men since Chuck Austin and Brett Ratner, Death of X #4 is still an incomplete issue at best. It does set the stage for a future clash between the X-men and the Racist Xenophobic Slave-Owners. It even raises the personal stakes of that clash. It just doesn't fill in enough blanks in a satisfying way. Like a porn star using a dildo that's too small and doesn't vibrate, it just doesn't get the job done.

It doesn't shit all over the job and light it on fire either. These days, that's the best the X-men can hope for. Death of X #4's biggest shortcoming is that it doesn't give a damn good reason for why Cyclops is so hated. He didn't kill anybody. He did cause panic, but he didn't kill anyone. Hell, he wasn't even in a position to kill anyone. None of his fellow X-men came out and spit on his grave. Nobody was so disgusted by what he did that they wanted to vomit violently into the nearest trash can. All he did was turn a big green fart cloud into this creepy red mist. The worst he did was make it too easy to film a shitty horror movie.

Death of X #4 isn't going to traumatize X-men fans, but it's not going to get anyone's heart racing like the death of Jean Grey, the death of Charles Xavier, or the realization that X3 is officially retconned now. It is going to confuse the fuck out of many of them. It's also going to annoy the fuck out of Emma Frost fans and make the Cyclops-hating shit show that emerged after Secret Wars all the more confusing. Then again, if that's the worst that X-men fans have to endure these days, then that in and of itself is a win.

Final Score: 4 out of 10

PS: I really wish I could make my last profanity-laced, drunken rant of a review more uplifting. At the very least, it's not overly depressing, but I still feel like this is a good way to cap this off. I've enjoyed writing these reviews and I hope you've all enjoyed reading them, hopefully while both drunk and sober. Thanks again to everybody who supported my drunken ramblings. From the bottom of my failing heart, I thank you. Nuff said!

Death of X #3: Nuff Said!

I'm of the firm belief that anyone is capable of becoming a total asshole. I don't care if you're a pacifist nun who nurses sick animals back to health. Get stuck in traffic for three hours, get overcharged by your cable company, or get the wrong order from Starbucks and your inner asshole is going to emerge. You may not be the kind of asshole that takes a baseball bat to a window, but you'll still show you have it in you.

Cyclops has been an asshole at many stages of his life. Nobody is really shocked by that shit anymore. They haven't been since he got shit for marrying a clone. However, the key to being a true asshole is to take it out on those who don't deserve your assholery. In that sense, it's debatable how much of an asshole Cyclops is in Death of X because he's taking it out on the Racist Xenophobic Slave-Owners. These are a team of unapologetic assholes who never did shit for anyone until it became too much of an inconvenience, but thanks to movie rights bullshit, they're treated as though their shit doesn't stink.

I say all of this because Marvel is making a concerted effort to turn Cyclops into the ultimate asshole. That shouldn't be too hard because he's been an asshole before, but against the Racist Xenophobic Slave-Owners, Marvel is really pissing into the wind. They start going for broke in Death of X #3 and let's just say I'm not standing downwind of them in anticipation.

Just as in the last two issues, you can really tell which group has their movie rights with Marvel and which has their rights held hostage by a bunch of crack-addicted Fox lawyers. The Racist Xenophobic Slave-Owners decided it's too damn inconvenient to just go to Madrid, work with the X-men in containing the riots that Cyclops helped trigger, and do actual hero work. Instead, they used the powers of their newest recruits to knock every single mutant and human out cold in Madrid. On top of that, they did it with a goddamn smile as though they just brought a sick puppy back to life.

Crystal and her team of fellow Racist Xenophobic Slave-Owners stand over a messy, decimated city full of unconscious people and smiles. She and her buddies just shrug this shit off, thinking they just succeeded because they didn't have to unnecessarily inconvenience themselves. This is what passes as heroic for these guys. Never mind that they knocked all these people out without asking and didn't even warn the X-men, who were actually trying to get their hands dirty in saving lives. You know, like actual heroes.

I guess that concept is retarded Latin for them. Instead of actually getting their asses in gear, looking to mitigate the damage they caused by knocking everyone unconscious, they focus more on giving their new recruit a fucking code-name. Seriously, that's a higher priority for the Racist Xenophobic Slave-Owners in this situation. Even so, we're still supposed to think these asshats are the heroes. I don't think there's enough whiskey or weed to make sense of that.

If nothing else, it continues the same theme that Death of X #1 established. It's basically an unspoken rule that the shit of Racist Xenophobic Slave-Owners doesn't stink. In fact, they don't even fart. They cough breath mints and spit imported vodka. Nothing they do is bad, but nothing they do is all that heroic either. Never-the-less, the X-men are supposed to work with them to fix this problem. I may be a drunk, but even I know when some relationships are just doomed to fail.

Storm and her team of X-men can keep trusting that a team of Racist Xenophobic Slave-Owners will go out of their way to help a vulnerable minority. Hell, she can trust that Lindsey Lohan won't fail another drug test. That still does mutants a disservice. Emma Frost understands this. That's why she's trying a different approach. That approach probably doesn't require her to be damn sexy every step of the way, but that's never stopped her before.

She and Cyclops are already hatching a plan and she's even recruiting Magneto to help them. It's not a complicated plan. It just involves Magneto keeping the Racist Xenophobic Slave-Owners in Madrid so they can do what they need to do. Given Magneto's history with other groups that have a legacy of racism, xenophobia, and genocide, it's safe to say he'll be plenty motivated. Emma doesn't even need to flash him her tits.

Another part of this elaborate plan involves the Stepford Cuckoos recruiting the services of another mutant. This takes them to England, home of Dr. Who, James Bond, and countless James Bond rip-offs. There, they meet up with Thomas Jones, also known as Alchemy. He's a mutant. He's not the kind of mutant who jumps at the chance to wear skin-tight spandex uniforms, but he's in a position to help. He also doesn't need to have to be knocked out or psychically manipulated to help a situation. That alone makes him more likable than every Racist Xenophobic Slave-Owners not named Kamala Khan.

As this plan goes into motion, the rest of the X-men in Madrid wake up and realize that there may be some risks to working with Racist Xenophobic Slave-Owners who don't like being inconvenienced. Considering they got knocked out in a city that's supposed to be ground zero for a big green mutant-killing fart cloud, that's bound to make some of them anxious. Storm certainly understands that. Having been the one to reach out to the Racist Xenophobic Slave-Owners, I imagine she's a little pissed, especially when Iceman points out that everybody got knocked out except Crystal and her Racist Xenophobic Slave-Owner buddies.

If we didn't already know how badly this shit would play out for the X-men and the entire mutant race, this scene might have had more impact. Sadly, we do know how it plays out. We do know that the Racist Xenophobic Slave-Owners come out of this smelling like Jennifer Lawrence's panties while the X-men come out smelling like Johnny Depp's last three movies. It does at least sew the seeds of doubt in the heads of the X-men that maybe the Racist Xenophobic Slave-Owners aren't going to do shit to help them when their species is going extinct. They may not know this now, but it does set them up to learn the hard way down the line.

After wasting plenty of time fawning over the code name of their newest recruit, Crystal and her fellow Racist Xenophobic Slave-Owners finally feel inclined to get their asses in gear and help out all the people they knocked out without permission. Storm and her team of X-men decide to confront them first, if only to point out that what they did was an omega level dick move.

Crystal acts as though it's not a big deal. They knock out a bunch of innocent people and accomplished heroes without permission. She treats it like she just overcharged them for a burrito at Taco Bell. Apparently, Racist Xenophobic Slave-Owners don't understand that knocking out innocent people is a bad thing. Does it really take a lecture from Captain America to teach these assholes what constitutes a dick move?

Naturally, things get more tense than one of Tom Cruise's divorce settlements. The Racist Xenophobic Slave-Owners, still averse to being inconvenienced in any way, decide the best way to deal with the X-men is to knock them out again. If anyone still has any sympathy for the Racist Xenophobic Slave-Owners, then I can't help you and neither can my weed dealer. Just stick to watching reruns of Duck Dynasty.

This time, however, the Racist Xenophobic Slave-Owners don't get to do things the easy way. This comes courtesy of Magik, who drops by and snatches up the Racist Xenophobic Slave-Owner who knocked everybody out. This confuses both sides, but at least it makes things more balanced. The Racist Xenophobic Slave-Owners probably aren't used to that shit so that's fitting. It says a lot about them that a demon-loving teenage girl is more likable than they are. She makes this conflict feel balanced for once, which can't sit well with the Racist Xenophobic Slave-Owners. It's the first time where they can't carry themselves like their shit doesn't stink.

The situation gets unbalanced again, but this time in the X-men's favor. Seeing as how they got knocked out against their will when they went out of their way to work with the Racist Xenophobic Slave-Owners, I'd say this makes them even. However, this imbalance comes courtesy of Magneto so we have to grade this situation on a curve.

He comes packing plenty of Magneto-level heat. He also brings backup like Colossus, Wolfsbane, Rockslide, and Warpath. These are X-men who can do way more than just inconvenience the Racist Xenophobic Slave-Owners. He makes clear that they're not going to do shit at this point. They just proved that they like to solve problems by knocking people out and treating it as though they just cured a sick baby. He even keeps Storm's team from interfering because they already lost their credibility by thinking they could trust the Racist Xenophobic Slave-Owners. It's often hard to take Magneto's side when he's got a rage boner, but in this case, I don't even need to be high to sympathize with him.

With the rest of the X-men and the Racist Xenophobic Slave-Owners restrained, Cyclops and his people put their plan into motion. They arrive outside of Madrid, staring down a massive green fart cloud that's on its way to maim innocent mutants while strengthening Racist Xenophobic Slave-Owners. It's the kind of sight that would make a lawyer at Disney squee with joy, but for mutants, it's the kind of pants-shitting terror that hasn't been seen since Brett Ratner.

Before it hits, Cyclops has a word with Alchemy. In doing so, he actually sounds like the Cyclops we know and love from the past several years. He doesn't come off as someone whose about to commit the worst atrocity since Joel Shumacher. He comes off as someone who just wants to save his people. He doesn't even force Alchemy to help them. That alone makes him much more credible than the Racist Xenophobic Slave-Owners, who jump at the chance to knock innocent people out cold when the situation becomes too hard.

It still feels hallow though. We know how this is going to end. We know Cyclops is still going to become the most hated person in Marvel comics who isn't a secret Hydra agent. At the very least, we're getting one last glimpse into who Cyclops is. He's not out to commit atrocities. He's out to save his people. If that's going to make him a monster, then so be it. He'll still be more likable than any Racist Xenophobic Slave-Owner not named Kamala Khan.

So...is it awesome?

The story is coherent. Things move forward, tensions rise, and nobody is more an asshole than they need to be. Given that the bar is so damn low with the Racist Xenophobic Slave-Owners, that's probably the best we can hope for these days. At the very least, the rest of the X-men start to recognize that the Racist Xenophobic Slave-Owners can be assholes who will only ever do what is least inconvenient to them, even if it means knocking people out against their will.

If Death of X #3 accomplishes anything, it lays the foundation for future conflicts, namely Racist Xenophobic Slave-Owners vs. X-men. It also provides a greater hint for what sort of horrifically evil shit Cyclops will end up doing that makes him so hated. It's still overly vague, but at the very lease, his motivations are the same as they've always been. He wants to save the mutant race from yet another extinction. After the last one killed Charles Xavier, his reputation, and his relationship with Emma Frost, I'm pretty sure he's extremely motivated to avoid another shit storm like that.

There are still a lot of problems with the setup, characterization, and context of this story. We know how it ends. We know mutants get an omega-level screw job thanks to Cyclops. Death of X has a chance to provide context to it all. For now, all it's doing is showing that the Racist Xenophobic Slave-Owners can be assholes and nobody gives a shit. That, more than anything, sums up the current state of the X-men.

It's like watching a football game where you know the Patriots are cheating, but nobody does shit about it. Even Roger Goodell would see the issues with this setup and you wouldn't have to bribe him. This makes for a hallow story, but at least Death of X #3 tries to be more coherent and balanced than previous issues. It still fails, but it doesn't fail miserably and that's as close to a win as the X-men can get these days.

Final Score: 5 out of 10

Heritage, Identity, and Idols: Ms. Marvel #12

The following is my review of Ms. Marvel #12, which was posted on PopMatters.com.

What happens when our idols fail us? That's a question we have to answer more and more these days when all it takes is an embarrassing tweet to undermine a reputation. Our idols may elevate themselves to levels most ordinary people can only dream of, but at the end of the day, they're still human. Sometimes, that humanity can make reality feel like a gut punch from the Hulk.

Over the course of Civil War II, Kamala Khan endured multiple gut punches from multiple proverbial Hulks. Her best friends push her away. Her idol, not to mention the inspiration for her life as a hero, betrays her ideals. On top of all this, she's still a Muslim-American teenage girl in Jersey City, dealing with all the messy complications that entails. Most teenagers have to make up excuses to be miserable and angsty. Kamala Khan needs none.

While the conflict in Civil War II is still unresolved, Ms. Marvel #12 skips a few steps to deal with the impact this conflict had on Kamala. It's an impact that affects every aspect of her life, from her role as a superhero to her role as a teenage girl trying to live her life in a world where Hulks die and famous Avengers are Hydra agents. There are all sorts of dynamics in play for this narrative, but it comes back to a central theme that further highlights all the things that make Kamala Khan so lovable.

That theme is true whether someone is Pakistani, American, Wakandan, Bolivan, Swiss, Russian, or Chinese. As teenagers, the biggest challenge after surviving high school and puberty is finding a place in the world where they fit in. Not fitting in is to a teenager what an arc reactor is to an Iron Man suit. It's a key component that powers someone's identity. Throughout Ms. Marvel #12, it's clear that Kamala's identity is in a state of uncertainty.

It's not enough for Kamala to just sulk in her room, as many teenagers are prone to do after a few very bad days. This isn't just failing a test, being dumped by a boyfriend, or getting on Maria Hill's bad side. This involves ditching the Avengers, watching her best friend abandon, and losing her faith in her idol. For this reason, she decides to get away. She decides to visit her family in Pakistan, if only to get away from SHIELD Helicarriers and Iron Man sightings.

It makes for some strong personal moments that explore Kamala's Pakistani heritage. For much of Ms. Marvel's brief history, a big part of her struggles involve being a Pakistani-American girl in Jersey City. The Pakistani part of that heritage easily gets lost when that struggle ties in with Avengers, Jersey City traffic, and American high schools. Ms. Marvel #12 goes out of its way to highlight the importance of this heritage to Kamala Khan's identity.

Her family, her culture, and her home country all contribute to giving Kamala Khan a break from secret identities, proactive justice, and superhero civil wars. Kamala literally has everything she needs to clear her head. She has her family's love, the hospitality of her home country, and no Hellicarriers in sight. She should be as relaxed as Captain America at a 4th of July parade.

Unfortunately, it's not enough. All this love, support, and hospitality is still not enough to make Kamala feel less broken. It's somewhat fitting in that it's symbolic of how many teenagers struggle. They can have all the right support from their home, their family, and their culture, but they'll still find a way to feel miserable and broken. In terms of the things that make being a teenager so terrible, it exceeds acne and standardized tests.

Much of Ms. Marvel #12 is spent establishing Kamala's life and heritage in Pakistan, but in the end she still goes back to being Ms. Marvel. She still sees injustice in the world and feels inclined to become a hero. It's a testament to the kind of character Kamala Khan is at heart. She can be broken, upset, and lost as any angst-ridden teenager in any part of the world. She'll still feel inclined to be a hero when a hero is needed.

Her heroics, in this case, are fairly basic. She gets to fight a kind of injustice that isn't typical in the streets of Jersey City. In the process, she meets another Pakistani hero named The Red Dagger who has the luxury of not being so torn. His presence lowers the stakes somewhat in that it lessens the need for Ms. Marvel's heroics. She still helps, but there's never a sense that her contributions are needed.

As such, there isn't much depth to this fight or any of the action in Ms. Marvel #12. G. Willow Wilson doesn't attempt to make it more epic than it needs to be. This issue is about Kamala Khan more than it is about Ms. Marvel. It succeeds in developing other, unexplored aspects of Kamala's character. It doesn't succeed quite as much in developing Ms. Marvel as a hero in the post-Civil War II world. However, developing both may be asking a bit too much of a teenage character.

The primary theme of the issue still works. The underlying message is both clear and relevant. Kamala Khan is in a state of transition. Like many struggling teenagers who don't understand or even want to understand the complexities of the real world, she struggles to find her place in it. She's still torn and conflicted, but Ms. Marvel #12 establishes that she's still a hero. More than anything else, she'll still strive to be a hero. With her idol having failed her, she's going to be that hero on her terms and it's hard not to cheer her on.

Final Score: 7 out of 10