X-men Supreme Issue 155: Drug War Part 1 PREVIEW!

One of the biggest challenges in writing X-men is finding ways to apply their struggle for peace and understanding to the real world. I imagine it’s a struggle that the writers at Marvel also feel. From Chris Claremont to Joss Whedon, how do you develop the X-men in a way that makes their struggle feel relevant to that of other minorities? It has been a challenge throughout the X-men Supreme fanfiction series. There are times that challenge becomes secondary because the X-men do occasionally deal with cosmic elements like the Phoenix Force or the Shi’ar. There’s just no real-world parallel to the events in an arc like Starcrossed.

While I’ve done more than my share of cosmic arcs in this fanfiction series, going all the way back to X-men Supreme Issue 46: Paradise Mystery and the Phoenix Saga, I still make an effort to build the X-men’s struggle around conflicts that feel real. One of the greatest appeals of the X-men is how their struggles parallel that of real minorities, be it race, ethnicity, religion, or sexual orientation. The X-men were created in the early days of the Civil Rights movement. The case could be made that their struggle is more important now than it has ever been.

That struggle has gained a host of new complications since the beginning of X-men Supreme Volume 7: United and Divided. On one hand, Charles Xavier is being wholly pragmatic about how the X-men further their efforts at peace and understanding. He’s working with the authorities rather than against them, teaming up with President Kelly and General Grimshaw on the Mutant Monitoring Initiative. His intentions are good, as they often are. However, working with the government, especially when the President has a history of opposing the X-men, comes with significant risks.

That, in many respects, is why some of the X-men’s most loyal members, namely Cyclops and Wolverine, chose to break away from their mentor’s plan. They formed X-Force because they felt that peace and understanding can’t be imposed from the top down. It needs to be built from the bottom up. They’ve already shown Professor Xavier and the X-men, who are now led by Captain Freeman, how those efforts can be complicated. The Volatility Sensibility arc had them struggle to deal with a single mutant. What does that mean for them when they face a more daunting enemy?

Well, that enemy has arrived. Sebastian Shaw, who has already made his presence felt in his fanfiction series, is back. The events of Dark Legacy put him in a position to regain what the X-men took from him during the Phoenix Saga. With his son now out of the way and the Inner Circle disbanded, he’s ready to rebuild his power. He’s even enlisted help from familiar names in the Wyngarde sisters, whose ties to Jason Wyngarde can only mean trouble.

X-men Supreme Issue 154: Reaching Out revealed that Shaw is the one behind Kick, the mutant-enhancing drug that has already made its presence felt with X-Factor. However, his agenda is just beginning. Both the X-men and X-Force know better than anyone that Sebastian Shaw is not someone to take lightly. Between his history with the Inner Circle and his connections to Sage and Weapon Plus, he can only bring trouble. He will also bring a daunting, not to mention relevant, challenge to the X-men Supreme fanfiction series in its next major arc, Drug War. As always, I’ve prepared a preview to show the first sparks of that war.

Teon lingered around Jubilee’s feet a bit longer. At one point, he reached for her sunglasses and put them on. At this point, Idie waved him down. He was getting a bit too friendly in her eyes.

“Give them back, Teon,” she said with a light scold.

“Fight?” was all Teon said in response.

“No. Remember what I told you about thou shalt not steal?”

Teon whimpered a bit as if to show remorse. Then he put the sunglasses back on Jubilee’s head before returning to Idie’s side. Jubilee couldn’t help but green even as Idie expressed remorse.

“I apologize for that. He’s…curious at times,” said Idie.

“Don’t worry about it. He’s only slightly more ill-mannered than my ex-boyfriend,” said Jubilee, giving Teon a playful look.

“Friend?” said Teon.

“If those are the kinds of guys you’re into, no wonder he likes you,” said Laurie, rolling her eyes.

Jubilee laughed again. She wished she hadn’t though. She was getting a bit too friendly with these mutants. That was a dangerous position to be in. She put her whole mission in jeopardy.

‘So much for keeping it together. These guys have all had the kind of rotten luck. They think Shaw will give them a better life. I’m here to undermine him because we know he’s behind that MGH crap. It’s not like I can have second thoughts. Tessa had me swallow this special transmission beacon before I left District X. For all I know, it’s beaming my location to the X-men and the MSA. I just hope that when shit starts exploding, these guys aren’t caught in the crossfire.’

Jubilee turned back towards the passing view outside. The desolate countryside finally started showing signs of civilization. They just entered what appeared to be a large plantation of sorts. It was entirely walled off, guarded by what looked like Mexican soldiers.

When the bus approached, the driver who hadn’t said a word to them since they got on signaled something through a radio. The soldiers simply nodded and opened the gates for the bus.

Passing through the gates, it was like entering another universe. Jubilee and the five young mutants found themselves in an opulent villa. The landscaping alone bore the markings of a very rich and powerful man, but it was the mansion itself that had them all in awe.

It stood a good four stories high and looked big enough to be its own neighborhood. It had a large fountain in the front and two smaller fountains on the side. They were part of a large circular driveway, which was manned by armed men who looked nothing like Mexican soldiers. As the bus approached, the true impact of their decision started sinking in.

“Wow…I didn’t know they made houses this big in Mexico!” exclaimed Gabriel.

“I didn’t know they made houses this big period!” said Laurie.

“It seems…excessive,” said Idie.

“House?” said Teon.

“That would be a profound insult to such an architectural marvel,” said Kenji.

While the five mutants admired the structure, Jubilee swallowed a touch of nervousness. If Sebastian Shaw was able to live in a place like this yet still evade people like Tessa and the X-men, then he was more resourceful than they thought. She maintained a confident poise as the bus pulled up to the front door. Once the doors to the bus opened and they made their way out, they were greeted by Shaw’s loyal associate, Warhawk.

“Welcome to the Villa del Fuego,” said Warhawk, “Mr. Shaw welcomes you to his humble facility.”

“I would say there is nothing humble about it,” said Kenji, “The architecture reminds me of Frank Lloyd Wright mixed with a late Victorian layout. Very elaborate and very pricy, I imagine.”

“I’d just settle for calling it rich,” chuckled Gabriel.

“Mr. Shaw feels it’s important to present a powerful image,” explained Warhawk, “As beings of powers ourselves, it’s only fitting that we carry ourselves as such.”

“Sounds a little egotistical,” commented Jubilee.

“Hey! We’re guests here,” scolded Laurie, “Don’t make light of his hospitality.”

“Indeed,” said Idie in a daze, “I doubt we’ll ever enjoy it again.”

“I wouldn’t presume too much,” said Warhawk, “Once you see what Mr. Shaw can do for talented mutants like yourself, you’ll have every opportunity to experience the finer pleasures of life.”

“Mate?” said Teon.

“Not sure if that’s his way of voicing his approval, but I think he likes it,” grinned Gabriel.

The five mutants were understandably excited. They were being welcomed into this rich, secure world after having endured such rotten luck in their previous lives. Jubilee certainly couldn’t blame them for being enthusiastic. She struggled to keep up with them as they followed Warhawk to the front doors of the massive facility. Once inside, the real danger of this mission could begin.

“You’ll have plenty of time to enjoy the sights later,” said Warhawk as he opened the main doors, “The six of you have arrived at a very exciting time. Mr. Shaw’s efforts to break the chains that bind mutants like yourselves has enjoyed moderate success. Now he plans on taking a much bolder step. With Mr. Shaw’s resources, you’ll become the shining lights of a new generation of mutants!”

The first few issues of X-men Supreme Volume 7: United and Divided have been steady in setting up the major conflicts between the X-men and X-Force. With this arc, things will begin escalating quickly. The stakes will rise. Greater threats will emerge. It’s all building towards another major event that will shake this fanfiction series to its core, but in the best possible way. I know Marvel says that about every major event. I want those words to mean something with X-men Supreme. As such, it’s critical that I continue to get feedback so that I can make sure that impact is awesome. Either contact me directly or post your comments directly in the issues. Ignore the spammers. I’m still working on that. It might be best to contact me for now. Until next time, take care and best wishes. Xcelsior!

Jack

Anger Across The Ages: Generations: Banner Hulk & Totally Awesome Hulk #1

The following is my review of Generations: Banner Hulk and Totally Awesome Hulk #1, which was posted on PopMatters.com.

There are few constants in the ever-evolving, constantly-retconning narrative that is the Marvel universe. Costumes may change. Marriages may be undone by deals with Mephisto. Characters may turn out to be from an alternate universe, a Skrull agent, or evil clones of characters that died years ago. The fact that anyone can accept that kind of convoluted continuity with a straight face is a miracle, in and of itself. That makes the constants that remain all the more important and few are as memorable or iconic as the Hulk's anger.

His enemies may not like it when he's angry, but the Hulk's destructive rage makes for some of the best entertainment that the Marvel universe can offer. That anger, as blinding as it can be sometimes, takes many forms over the course of the Hulk's illustrious life. The rage that begins under Stan Lee's legendary pen is not the same as the one that continues under Greg Pak. That's what makes the concept of mixing the past and present so intriguing. That's the premise behind the Marvel Generations series. That's how the rage of one Hulk meets the rage of another in Generations: Banner Hulk and Totally Awesome Hulk #1.

In terms of context, the differences between Bruce Banner and Amadeus Cho are considerable. While both carry the burden of the Hulk, the weight of that burden is different for both characters. The death of Bruce Banner in Civil War II and the emergence of Amadeus Cho in Totally Awesome Hulk puts both characters on a different path. Pak, with the skilled art of Matteo Buffagni, brings those paths together in a story of shared anger.

The premise of the story is somewhat unclear. The mechanism by which Cho ends up in the past, confronting the Hulk during one of his earliest clashes with General Ross, is not overtly explained. Cho is in the present one moment. Then, he's in the past. That's the extent of the explanation.

That's not to say it's wholly contrived. In a world routinely driven by reality-bending hardware like the Cosmic Cube, the Infinity Gauntlet, and editorial mandates, it's not that much of a stretch that Cho would find himself unexpectedly in the past. That sounds like the sort of thing that happens to anyone who hangs out with Cable too much.

The lack of a premise does little to undermine the gamma-powered action, though. Pak doesn't waste any time giving Hulks from two different eras to start smashing something. He understands that if there are going to be two hulks in a story, then there needs to be twice the smashing. Generations: Banner Hulk and Totally Awesome Hulk #1 does plenty to fill that quota. Buffagni also does plenty to give it the distinct visual elements that make a Hulk story stand out. There are open spaces, raging monsters, and hard-nosed old men trying to solve problems by blowing them up.

In terms of checking the boxes for a classic Hulk story, Generations: Banner Hulk and Totally Awesome Hulk #1 covers most of the basics. However, the boxes it doesn't check are arguably the most important and that represents the most significant flaw in a story that otherwise has ample entertainment value. It's not enough to just have two Hulks smashing things. That's all well and good, but smashing without any greater meaning or drama behind it is just empty smashing. Even with the Hulk, that kind of smashing only goes so far.

 

It's when Cho and Bruce Banner aren't bulky green behemoths where the story really stalls. There's some initial confusion, as is to be expected whenever someone not named Dr. Doom warps time and space. Then, they start interacting, but not much comes of it. They try to avoid General Ross. They attempt to conceal themselves in populated areas. They even talk about their respective struggles to control the Hulk and the rage that drives him.

However, not much really comes from those conversations. Cho and Banner don't tell each other anything that they don't already know about themselves or the Hulk. There's not much dramatic impact in anything they do. Cho barely references the Hulk's future death in Civil War II, nor does he show much emotion when interacting with Banner. Given their history and their various connections throughout the Hulk's mythos, it feels downright muted.

There's still an underlying theme. There's still a sense of connection between Amadeus Cho's version of the Hulk and Bruce Banner's version. Concepts of anger, burdens, and dealing with inner monsters are all there. There's just no melodrama behind it. It may as well be an unnecessary reminder. Anyone who reads a Hulk comic from any era will get that same message, albeit with different varieties of smashing.

There's nothing about the narrative in Generations: Banner Hulk and Totally Awesome Hulk #1 that's out of place in terms of characterization, plot, or style. Both Banner and Cho get a chance to be their own Hulk. Pak, whose Hulk pedigree is beyond dispute, handles both characters as well as he has in previous efforts. Buffagni's artwork helps supplement those efforts. That's what makes the utter lack of impact so glaring and for a character who specializes in smashing, that's saying a lot.

Mixing elements from the past and present creates opportunities to explore classic themes while expanding on the dramatic weight that has built up to such a massive extent over the years. Generations: Banner Hulk and Totally Awesome Hulk #1 feels like one of those opportunities that was only partially realized. It does enough to smash all the right things. It just doesn't add enough merit behind the smashing.

Final Score: 5 out of 10

Sexy Side-Project Preview: The Red Queen Chronicles: The Surprise

I know this is usually when I announce the release of my new sexy side-project, complete with all the immature innuendo of every high school locker room in the western hemisphere. Make no mistake, I am still hard at work on those sexy side-projects. I have more than one in the works and I've every intention of completing them in as sexy a manner as possible. Sometimes, though, it's hard to pump them out regularly. Perhaps that wasn't a good choice of words, but you get the idea.

As I write this, I do have another sexy side-project in the works. It's yet another spin-off from my Red Queen Chronicles series. I feel as though the response I got from "The Red Queen Chronicles: The Alien," this sexy world is worth expanding and I'll continue to do so. I was hoping to be ready with the next entry today. Unfortunately, time just moves too damn fast.

I will announce, though, the contents of that story. It involves a pairing I feel is extremely underrated in Spider-Man and Carol Danvers. Granted, the love of Spider-Man and Mary Jane will always be iconic, no matter what the Mephistos of the world say, but there's something uniquely appealing about these two. They did have a few dates in the comics, but as far as I can tell, they've never seen each other naked. That's going to change with the Red Queen Chronicles.

That's why I'm proud to announce that the next story in this series will be called "The Red Queen Chronicles: The Surprise." In it, Captain Marvel enjoys a very special birthday celebration that Spider-Man makes even more special in exactly the way you're thinking.

Again, I'd hoped to complete the story by now. However, it ended up being longer than I expected and I was unable to finish it. I also ended up revising parts of it to ensure sufficient sexiness. So for now, the best I can do is this sexy preview.

‘Oh my God! Am I actually horny for Spider-Man? Of all the attractive men I work with – including freakin’ gods, for crying out loud – is Spider-Man the one that gets me wet? Or has it just been too damn long since I’ve been laid?’

She felt another shiver course down her spine, but for a very different reason. That feeling soon found its way to her lower body, triggering an arousal she hadn’t let herself feel in a long time. Captain Marvel would’ve found a way to repress it. However, Captain Marvel was taking a breather. For the rest of the night, Carol Danvers would take over.

“Tell me something, Spider-Man…are there any other reasons Mary Jane is so fond of you?” she asked, now with a hint of seduction in her tone.

“Um…you’ll have to ask her,” said Spider-Man with an awkwardness befitting of his immaturity.

“Actually, I’d rather find out for myself,” she told him. “Everyone else tonight has been letting go, loosening up, and doing something crazy. Maybe it’s time I do the same.”

To prove how serious she was, she scooted in closer and draped her legs over his lap. She also let go of his hand and caress the shrouded outline of his face, feeling through the mask to reach the man inside…a man she now found herself wanting.

‘Fuck it. It’s my birthday. I’m getting some tonight. If Spider-Man’s the one who’s gonna give to me…so be it.’

I know it's not much, but I hope it tides everyone over until the story is complete. While X-men Supreme still has priority, rest assured this story will be complete. When it's ready, I will post it. I hope it's worth the wait. Until then, take care and let this sexy image of Carol Danvers tantalize your dreams in the meantime.

Plots, Premonitions, and Pitfalls for an Empire: Secret Empire #7

The following is my review of Secret Empire #7, which was posted on PopMatters.com.

Every evil empire, from Star Wars to all the organizations in a James Bond movie, goes through a cycle of self-destruction. It's part of a tried and true narrative wherein an authoritarian regime tries so hard to secure absolute control that they strain themselves and their resources. It doesn't help that these regimes tend to make a lot of enemies, many of which have little to lose and an abundance of targets. For a Hydra-affiliated Captain America, he's achieved a greater level of success than the Red Skull ever could, but he also made himself a huge target in the process.

Throughout the course of Secret Empire, as well as the events that led up to it, Nick Spencer puts Captain America in a high-risk, high-reward position. He is the unambiguous leader and visionary for Hydra, but he's also the perfect target for his enemies and former friends. His role in Secret Empire is akin to the design flaw in the Death Star. It's not very big and it's surrounded by all sorts of machinery, but the flaw is still there. The Avengers, the X-men, and everyone who doesn't enjoy living under Hydra's boot has a clear target and an easy rallying cry. No matter how powerful an empire is, this kind of vulnerability will create cracks.

With each issue of Secret Empire, Spencer reveals and widens certain cracks. Like the plot that put Captain America at the head of Hydra, the vulnerabilities of Hydra's empire are emerging subtly and steadily. The Avengers understand what they have to do to take Hydra down. Cap understands as well, but also has to contend with growing mistrust and distension among Hydra's ranks. Like any evil empire, unity and organization is a luxury and not a given.

There are all sorts of conflicting plots surrounding Hydra, Captain America, and the Avengers. A few have a foundation going back to the events of Civil War II. Some of those plots are finally starting to converge as the event nears its conclusion. Secret Empire #7 acts as both a turning point and a clear sign that the cracks in Hydra's world are about to turn into gaping wounds. As far as evil empires go, Spencer makes sure that Hydra is right on schedule.

From the very beginning of Secret Empire, and even a little bit before that, Captain America goes out of his way to make sure he's in a position of strength while his former allies are not. He arguably pulls off the greatest tactic in the history of the Marvel universe, dividing every major hero and using all the trust they ever put into Captain America against them. Nobody not armed with the Cosmic Cube, a time machine, or a cozy relationship with Marvel's editorial staff can hope to match that kind of subversion.

At the same time, however, Captain America's elaborate efforts have an unavoidable side-effect that even the Cosmic Cube can't avoid. It both humbles and enrages the heroes he worked so hard to defeat. From Captain Marvel to Black Widow to Squirrel Girl, every hero opposing Hydra's regime is battered and wounded, both physically and mentally. They're all in an impossible situation where they're fighting more than just Hydra. They're fighting someone who exposed their greatest vulnerabilities and exploited their trust.

It is, by every measure, a major low point for all those not on board with Hydra. Spencer uses this dire situation to give certain characters a moment of self-reflection. For many, it's overdue. For some, it's unavoidable. It's this self-reflection that helps make Secret Empire the kind of conflict that feels both epic and personal. It also hits hard in terms of drama, making the grim situation feel that much more intimate.

Of all the characters who feel the gravity of the situation in Secret Empire #7, it's Captain Marvel and Miles Morales who get hit hardest. Arguably, Captain Marvel's solemn admissions of failure and humility are overdue. For a character who has a movie coming out in two years and always seems too ambitious for her own good, it's a powerful moment that feels reflective of how many heroes feel after Hydra's triumph. It may not make it into a movie, but it's the kind of insight that can only be shown when a character is at their lowest.

For Miles Morales, the stakes are a bit more pressing. Since Civil War II, he lives with the burden of being destined to kill Captain America, according to a vision of the future. Granted, that vision occurs before Captain America is exposed as a Hydra agent, but it still haunts him. He and Black Widow have a chance to change how that vision plays out. It culminates in one of the most dramatic, and bloody, moments in Secret Empire to date. Vision or no vision, it's a moment meant to strike an emotional chord and it succeeds, albeit in part.

It's that same moment that also exposes some of the flaws in Secret Empire #7. While it succeeds in tying the events of Secret Empire with the events of Civil War II, the path the narrative follows is uneven and chaotic at times. While it never feels rushed, it does feel messy in the sense that there's so much going on between each moment and it's hard to follow the journey for certain characters. That ensures some of those dramatic moments feel hollow.

It's not that the moment has no impact at all. It just comes off as too easy. Given all the drama the entire Marvel universe endures in avoiding the visions in Civil War II, the choices that characters like Miles make and the impacts of those choices don't strike enough of those emotional chords. It creates connections, but not much else. In the end, it feels more like a teenager who just doesn't want to be told what to do rather than someone making the right decision.

Even with the chaotic plot structure, Secret Empire #7 makes clear that Hydra's hold is weakening. Even Steve Rogers is starting to crack under the pressure. Like so many other evil empires before them, he and Hydra are starting to realize that managing a chaotic world full of angry superheroes who don't enjoy being tricked is not easy. At some point, the chaos overwhelms even the mightiest armies. Hydra may be as powerful as any evil organization, but even they can't micromanage beyond a certain extent.

While certain moments struggle to create an impact, the overall story of Secret Empire remains on track. Like a slow-building firestorm, it's finally getting noticeably hot and the artwork of Leinil Francis Yu ensures it's a spectacle to behold. With only a few issues left, Hydra is facing many headaches and for an army that claims to have so many heads, that's saying something.

Final Score: 7 out of 10

Alpha and Omega Mutant Narrative: Astonishing X-men #1

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

Even in a mythos as vast and diverse as the X-men, there's still a place for a definitive A-team of sorts. The makeup and purpose of that team may change over time, but its presence still carries a special impact. Whatever happens to them or whatever path they chart tends to affect the X-men mythos as a whole. Like a major summer blockbuster or the premier of a new Vince Gilligan show, it's an event that sets the bar for others to achieve.

Astonishing X-men has an established history of being that A-team. Under Joss Whedon and John Cassaday, it acts as the gold standard by which all other X-men comics were measured. In other eras, Chris Clarmeont's work on Uncanny X-men or or Scott Lobdell's work on X-men carry the same weight. Creating a series with such an impact is difficult to achieve, but the ingredients are fairly simple. It needs only a cast of top-tier, well-known characters. If they've been played by major actors in an X-men movie or get fans talking about more than who can lift Thor's hammer, they're a candidate.

After the latest round of relaunches that spun out of Marvel's ResurrXion effort, the X-men comics still lack that definitive A-list book. X-men Blue and X-men Gold contain major characters and prominent stories for the greater X-men narrative. However, they still lack a lead blocker of sorts to pave the way for the future of X-men.

Now, Charles Soule and Jim Chung, two of Marvel's most prominent talents, attempt to create that book with Astonishing X-men #1. They have all the ingredients, namely a strong cast full of familiar and prominent faces. They even have major stakes already in play with Marvel Legacy just on the horizon. It's not unreasonable to say that Astonishing X-men is the most critical X-men comic to come along since Secret Wars. The stakes are high and the margin for error is low, but Astonishing X-men #1 really rises to the occasion.

The story hits the ground running like a summer blockbuster movie, complete with a monster attack, random explosions, and snarky remarks from beautiful women. Short of including transforming robots, it's hard to imagine a series beginning with more style. That's not to say it's lacking of substance though. Soule and Chung don't rely too much on spectacle. The structure of the story is built on establishing the stakes and that's where Astonishing X-men #1 shines brightest.

The story doesn't try too hard to build off the events of another book. It does mention some recent events in the X-men comics, but it doesn't try too hard to act as a connecting point. If anything, it avoids the kinds of complicated tie-ins that tend to make some books too confusing. It's presented as a story that anyone can pick up, not be too lost, and be entertained. It's a simple formula, but one that proves potent.

Even those who haven't kept up with X-men comics in recent years won't be too confused. So long as they know that attacks by Shadowking are bad and giant psychic monsters in the middle of London are dangerous, they'll be able to follow the story. So long as they also like fast-paced action, high stakes, and Chung's colorful art, they'll enjoy that story as well.

On the surface, the plot isn't very groundbreaking. Shadowking, a well-known X-men enemy who has been while the mutant race overcame their latest extinction plot, is back in action and attacking psychics. With Charles Xavier dead, he doesn't go for the biggest, most powerful mind first. Instead, he attacks psychics who are isolated and ill-prepared, using them as preseason games, of sorts, to get himself ready for prime time. Then, he gets a little bolder and attacks Psylocke. The spectacle only escalates from there.

It's the kind of plot that can easily fall flat. With Chung's artwork, the visual appeal alone is usually enough to give it value. Soule, however, never lets the story become too devoid of substance. From the first few pages, he uses every opportunity to provide context and depth. He does this primarily through a mystery narrator who provides insight early on, helping to establish the setting and identify the characters involved. The identity of that narrator isn't revealed until the end, but he still serves an important purpose that helps make Astonishing X-men #1 feel like more than just a generic summer blockbuster.

Despite all the action, explosions, and snooty remarks made by Fantomex and Gambit, there's a sense that there's a larger vision for the story and the series. It's not just throwing together all these A-list X-men characters and expecting it to sell itself. That's a tempting trap that many X-men comics have fallen into over the years. Soule makes a clear effort to avoid that by setting up a larger conflict for the characters to take on.

That's not to say those efforts are entirely seamless. There's not a lot of rhyme or reason as to how and why these particular X-men characters are where they are when explosions start going off. There are some small connections between characters here and there. However, the story never tries to overthink certain details. It provides just enough to make the more explosive, action-oriented elements more meaningful than a typical Sentinel attack on a Tuesday afternoon.

Soule and Chung have an rich batch of ingredients to work with in Astonishing X-men #1. They have plenty of chances to overuse one at the cost of the other, but they don't. They still manage to take each element, mold it into a story, and let it cook until it has the look, taste, and feel of an A-list blockbuster. The final result couldn't be more potent without casting Hugh Jackman and Patrick Stewart.

Even in an age where superhero blockbusters capture a huge chunk of the pop culture market, there's still a place for Astonishing X-men. The story is still unfolding, but if the final page is any indication, there's plenty of potential for astonishment.

Final Score: 9 out of 10