Heroes, Criminals, and Heroes Operating As Criminals: Astonishing X-men #15

The following is my review of Astonishing X-men #15, which was posted on PopMatters.com.

In principle, being a superhero is simple. You find criminals, you fight them, and you defeat them. If you can cooperate with the authorities along the way, then that's a nice bonus. When heroes have to operate as criminals, though, things aren't as simple. That doesn't just apply to vigilantes like Batman and the Punisher, who overtly operate outside the law. Sometimes, a superhero has to function in an environment where they're branded a criminal for the wrong reasons.

That is Alex Summers' situation in Astonishing X-men. Now that he's not inverted anymore from the events of AXIS, he's attempting to rebuild his superhero credibility. His timing is actually really good, in some respects. With both his brother, Cyclops, and Captain America also having to salvage their reputations due to events like Secret Empire and Avengers vs. X-men, he's following ongoing trend among heroes. With the way things play out, however, he's going in the wrong direction and it's not entirely his fault.

Matthew Rosenberg and Greg Land give Havok plenty of opportunities to channel his brother's leadership skills. He manages to assemble a new team of X-men to carry out heroics on their own terms. It's not exactly a team of A-list heavy hitters, though. Between Warpath's attitude in Weapon X and Colossus still recovering from his failed wedding in X-men Gold #30, Havok needs more than just leadership to get them on the same page.

The underlying plot of Astonishing X-men #15 starts off simple. The Reavers are on the loose again and the X-men usually don't have many qualms about fighting Reavers. However, some major complications emerge that would hinder Captain America on his best day. These aren't the traditional, mutant-hunting Reavers the X-men are used to. They're now directly sponsored by the government and operating under the guise of law enforcement. Given the government's tenuous history with policing mutants, it's only shocking that they didn't resort to killer cyborgs sooner.

This immediately puts Havok and his new team are already behind the curve. Their confrontation with these state-sanctioned Reavers goes so badly that even Kitty Pryde has dissociated the X-men from Alex's team. Logistically speaking, they can't even call themselves X-men. In the eyes of both the law and their friends, they're not superheroes operating as criminals. They're just criminals.

This isn't just bad press like the kind Spider-Man deals with every other day. Officially, Havok's team fight and evade government agents. That's both frustrating and jarring because it subverts the X-men's traditional approach to battles. Like Sentinels or evil clones crafted by Sinister, the Reavers are the kinds of enemies that X-men usually battle without a second thought. It's almost like a reflex akin to Captain America saluting the flag or Deadpool making a dirty joke.

The difference this time is that the Reavers are sanctioned by the government. It's not entirely a mutual partnership. The Reavers, led by Donald Pierce, make it abundantly clear that this partnership was imposed. They didn't cooperate with the government out of civic duty. They were essentially drafted into serving and Havok doesn't find that out until it's too late.

This creates an unusual, but interesting backdrop to the conflict. There's no mind control or inverted personalities at work here. The only alteration to the X-men/Reaver clash is that the Reavers are now operating under the whim of the authorities. Even if they do it unwillingly, they're still technically government operatives and Havok's team fought them. From a legal perspective, they assaulted agents of law enforcement. That's not what heroes do. That's what criminals do.

It's less about the ethics of heroism and more about the bureaucracy surrounding it. Any team of heroes, be they X-men or Avengers, can take down all the cyborg assassins they want. Both the public and those in government will gladly cheer them on. However, as soon as those same cyborg assassins start operating with the government's seal of approval, those cheers turned to outrage.

It puts Havok in an unusual predicament. He wants to redeem himself. Instead, he and his new team find themselves on the wrong end of the law and public opinion. The media doesn't frame the story as the X-men heroically defeating the Reavers before they can harm innocent mutants. They report it as a group of rogue mutant terrorists battling government forces.

Technically, that's not some misleading headline on the front page of the Daily Bugle. That actually happens, forcing Havok and his new team to lay low. That doesn't work either, though. The Reavers still find them, which means they have to defend themselves. Doing so means fighting back, but that only compounds the problem because they're still fighting government officials.

It's a no-win situation for Havok. Unlike his older brother, he doesn't have a boy scout reputation to fall back on. People may question a news story that claims Captain America sucker-punched a police officer, but they're less inclined to doubt that Cyclops' less capable brother did something awful, especially after being inverted for so long. He even acknowledges how bad it gets, escaping to a bar frequented by other colorful criminals. It seems every conceivable force is working against Havok's efforts to redeem himself and for once, that's not just brooding.

It's not completely hopeless. Rosenberg never lets the tone of the story get too bleak. Havok still gets a chance to do his brother proud, hatching a plan towards the end that requires him to embrace his new criminal connotations to some extent. It's bold, but fitting approach. Given how the plot is almost framed, it feels necessary.

That also feels like a flaw, of sorts, because neither Havok nor his team really have much choice along the way. There's never a sense that they have any agency in how they impact the plot. The same goes for the Reavers, as well. Having that government label really limits their agenda to serving whoever has the right emblems on their uniform.

Even with those limits, Astonishing X-men #15 succeeds in presenting Havok with a daunting, yet novel challenge on his path to redemption. Just forming a new team of X-men and following his brother's example isn't enough. He has to operate as a criminal in order to become the hero he wants to be. His brother would be proud, but probably just as frustrated.

Final Score: 7 out of 10

Righting the Romance and Loving the Love: Mr. and Mrs. X #1

The following is my review of Mr. and Mrs. X #1, which was posted on PopMatters.com.

These are difficult times in the history of superhero romance and for a history that includes marrying clones, spousal abuse, and deals with Mephisto, that's saying something. The summer of 2018 will go down as the summer of failed weddings. Marvel spent months hyping up the marriage of Kitty Pryde and Colossus in X-men Gold #30. DC also got into the spirit by promising to finally tie the knot with Batman and Catwoman in Batman #50. In both cases, though, the ceremonies don't go as planned and not because Magneto or the Joker crashed the party.

There is, however, one sliver of hope. Through the broken hearts and wasted wedding cake, one notable romance did manage to make their relationship official, tax benefits and all. Rogue and Gambit, a love story that will never be mistaken for a classic fairy tale, is now among the few superhero romances to make through the wedding.

Their journey to this point is somewhat sudden in how quickly it unfolded. Rogue and Gambit's romantic history is full of drama, complete with moments where they part ways, hook up with others, and generally avoid each other. Then, comics writer Kelly Thompson gets them back on track with Rogue and Gambit. Almost overnight, in the context of comic book time, their relationship is serious and now it's venturing into territory that few outside Reed and Sue Richards have ever gone.

As the one who brought them together, it's fitting that Thompson is the one to continue the story of Rogue and Gambit's unique love story in Mr. and Mrs. X #1. Having come so far so fast, it's easy to forget how much emotional baggage these two still have. Thompson doesn't avoid that baggage. If anything, she confronts it head-on before the happy couple get to the sexier parts of married life. By doing so, it doesn't just make the wedding seem like some reckless impulse on which every Las Vegas wedding chapel is built upon. It feels like a genuine evolution of a convoluted, but genuine romance.

The most important thing Mr. and Mrs. X #1 does is expand on disappointing outcome of X-men Gold #30. This ends up being critical because without that added context, Rogue and Gambit's wedding comes off as something they just do on a whim and don't really think about. While good impulse control have never been a defining trait for Rogue or Gambit, a little extra effort goes a long way towards giving weight to their wedding.

The fact that Thompson dedicates so much of the story to setting up the ceremony that already plays out in another issue shows that this marriage is serious. This isn't something that's going to get undone or overridden by time travelers or Mephisto, at least not yet. The fruits of that effort show in some of the sincere moments that Rogue has with Magik and Mystique, who makes a surprise appearance and doesn't attempt to shoot or seduce anyone for a change. It provides further proof that the Marvel universe is willing to give this marriage a chance.

Rogue and Gambit's is allowed to happen without something blowing up. They're also allowed to go on their honeymoon without someone getting abducted. They're even allowed to get frisky in bed, making for some sexy scenes that give Oscar Bazaldua a chance to craft some R-rated content. There's nothing subtle about it, but it never gets too crude either. It makes for a solid balance of sincerity and sex appeal, a rare combination in any comic book romance that doesn't involve Catwoman.

The majority of Mr. and Mrs. X #1 is lacking in typical X-men conflict. From the beginning, Thompson and Bazaldua make clear that the purpose of the issue is to establish how serious the Rogue/Gambit marriage is. This isn't a gimmick. It's the next step for these two characters and the quirky romance that they've had since the mid-1990s. Eventually, a more standard X-men style conflict does enter the picture, but by that point, the romance is already easy to root for.

The particulars of the conflict that interrupts the honeymoon, though, are somewhat generic. It involves the Shi'ar and requires that Rogue and Gambit squeeze a space battle in between their romantic sexy time. It's understandable that they're reluctant, but their willingness to accept the mission reveals something else that's important for any robust superhero marriage. Even after the wedding, they're still committed to being superheroes.

That is probably the most important take-away from Mr. and Mrs. X #1. The heroism doesn't have to end once a couple ties the knot. Their status among heroes isn't diminished. The potential for new and intriguing conflicts isn't undercut, either. Contrary to many bad sitcoms, marriage doesn't have to be an endpoint. It can just as easily be a catalyst for something new.

Mr. and Mrs. X #1 only offers a hint about what that something can be. With so much of the content dedicated to solidifying Rogue and Gambit's status as married superheroes, there's not much room for them forward in this issue. That's not a flaw, though. That's just a byproduct of insufficient ink and not enough pages. Even though the conflict with the Shi'ar isn't fleshed out, it does plenty to build intrigue for the rest of the series. The arrival of another unexpected, but relevant character in Rogue's life at the end only adds to it.

Mr. and Mrs. X #1 isn't just a comic about Rogue and Gambit getting married. There is a ceremony and it's plenty romantic, but that's only a small part of a much larger story that has been unfolding under Thompson since her Rogue and Gambit series. She dares to take a long-running romance that has never quite attained the iconic status of a Superman/Lois Lane and makes it more than just a colorful a sub-plot.

The idea of putting a romance at the forefront of a plot is not new. Doing it in a way that doesn't feel like a gimmick or forced melodrama is something that superhero comics, and even superhero movies to some extent, have been struggling with for years. Mr. and Mrs. X #1 may not start a trend, but it definitively proves that it can be done and the results can be both romantic and sexy.

Final Score: 8 out of 10

Luck Be A Lady (and Then Some): Domino #1

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

Some heroes get all sorts of lucky breaks while others make their own luck in the crowded superhero market. As such, Neena "Domino" Thurman is unique in that she's able to do a little of both and not just because it's part of her mutant powers. Her superhuman lucky streak is on a bigger roll than usual. Between her upcoming role in Deadpool 2, the prospect of future roles in an X-Force movie, and a major presence in the X-men comics, these are good times for Domino.

That makes the idea of her getting a solo series, written by one of comics' most respected female writers in Gail Simone, all the more appropriate. Domino isn't just a colorful character with edge, grit, and attitude. She's the kind of character that requires a challenging story. She's not some hapless heroine whose only development comes through tragedy or loss. Her superhuman luck literally doesn't allow it. To make her mark, Domino's story requires a kind of nuance that Simone is in a unique position to pursue.

Like Red Sonja, another battle-hardened female character that Simone has written, Domino is fiercely independent. Since luck is always on her side, she's willing to take chances, be reckless, and explore uncharted territory. While that helps her survive the various rigors and frustrations that inherently come with the superhero genre, it rarely gives her time to pursue her own story. Domino #1 gives her the opportunity to really push the full extent of her luck. With Simone writing and David Baldeon providing art, she has even more going for her than usual.

Even with those advantages, Domino's story is a difficult one to tell. How does anyone go about making it interesting when luck is on her side in the most literal sense possible? Unlike the infamous Parker luck that plagues Spider-Man, Domino can usually count on the best case scenario. That means the particulars of a narrative have to be stronger than usual. Unlike Domino herself, Simone and Bladeon can't just throw this character into a series of action scenes and expect to get lucky.

That's exactly what makes the approach to Domino #1 so engaging because it doesn't rely on any one element of Neena Thurman's persona. She gets a chance to shoot things, as only she can. She gets a chance to self-reflect on who she is and where she's come from. She even gets a chance to show her softer side, but not in a way that feels forced or melodramatic. The plot doesn't rely on any one thing to flesh out Domino, but they all find a way to contribute. The fact a cute dog is somehow worked into the mix is just a nice bonus.

There specifics of the plot are somewhat chaotic. It starts with a cute dog, but builds itself primarily around some of Domino's most familiar traits. She's not a self-proclaimed superhero who sticks up for the little guy and hangs around adorable dogs. She's a mercenary who often works with other mercenaries to do gigs, make money, and shoot people who deserve shooting. It's not overly heroic, but it's hardly villainous either. It's not unreasonable to say that from a purely economic perspective, Domino maximized the value of her skills and powers more than any other Marvel character.

The business side of the story, though, is only a small part of a much larger narrative. She takes part in a gig that involves shooting people and teaming up with an old friend, Outlaw. There are guns, monsters, and even a fastball special. It's messy and violent, but not overly brutal. There's no Wolverine ripping out peoples' guts or Deadpool making R-rated jokes. For someone as inherently fortunate as Domino, those sorts of tactics aren't necessary.

To prove that she can still carry her own series without such tactics, though, Domino needs to show her more personal side. As a character who often finds herself in a supporting role to those with teams or movie franchises, she rarely gets an opportunity to reveal her thoughts, feelings, and insecurities. Outlaw ends up putting her in the best possible position when she drags to a surprise birthday party that ends up revealing more about Neena Thurman than any mercenary gig.

It doesn't end up being the craziest party that the X-men or a superhero team have thrown, but it plays out in a way that shows that Domino is capable of contributing more than quality marksmanship to a story. The surprise party doesn't just reveal that Domino is not that fond of celebrating her birthday or getting too close to anyone. It also reveals some of her insecurities, some of which are less obvious than others.

It helps give Domino #1 the kind of moment that demonstrates there is something to this character that's worth exploring. Domino may carry herself as a happy-go-lucky mutant mercenary who doesn't mind teaming up with the Deadpools of the world, but there are parts of her life and her personality that reflect deep scars. Simone doesn't probe too deeply, but does show the effects as Domino interacts with familiar X-men characters. Even when she encounters a cute dog, these insecurities show themselves.

It's a bit too subtle at times, but lays the foundation for more development. It also throws in a few larger conflicts that don't involve mercenary work or tolerating Deadpool's sense of humor. Those conflicts aren't as fleshed out as other elements of the story, so much so that the end is somewhat confusing, even if it is pretty jarring. Even so, Simone still leaves herself with plenty to work with in developing Domino's character.

Overall, Domino #1 offers a fairly diverse story that provides both basics and advanced refinements to a character on the rise. There's action, violence, and gunshots, as is often the case in any story involving Domino. There are also personal insights and unresolved issues that finally get to be part of a larger story for this character. She may not be Wonder Woman, Red Sonja, or Princess Leia, but Domino still finds a way to hold her own and she doesn't need to rely solely on luck.

Final Score: 8 out of 10

Mixing, Mashing, and Monsters: Weapon H #1

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

In an era of reboots, remakes, and re-castings, the bar for what constitutes overdone or overused seems to rise every year. Taking a chance and trying something new is just too risky and expensive. It's safer and easier to go with an established trend, even if it means leeching off its popularity to a point where it's so intentional that no one bothers joking about it. While it may frustrate those hoping for something new, it's hard to argue the power of the market. As long as it sells, it doesn't matter how uncreative it seems.

On paper, Weapon H sounds like a concept that is 95 percent gimmick and only 5 percent story. It combines Wolverine and the Hulk. The results are exactly what they sound like. In the pages of Weapon X, it emerges as a daunting threat from people who still aren't convinced that any effort to create a living weapon in the Marvel universe is anything other than an elaborate death wish. The idea that anything anything good could come from combining Wolverine and the Hulk sounds like the kind of thinking that requires repeated head trauma from Juggernaut.

Even if the concept seems basic and shallow, it somehow finds a way to be compelling. Greg Pak, who created Weapon H in the pages of Weapon X, uses the full range of his X-men and Hulk pedigrees to create a character who deserves to be more than just a gimmick. Weapon H is one of those characters that anyone who believes that Wolverine and the Hulk are too exposed can find an excuse to discount.

However, Pak finds a way to set Weapon H up for a compelling story that starts to unfold in Weapon H #1. It's story that has to take chances by being based on such a simple premise, combining Wolverine and the Hulk into a single character. It faces more obstacles than most in its effort to be compelling. Combined with the art of Cory Smith, it has more going for it than the concept may suggest.

In one issue, it establishes a narrative and a character that never feels too much like the Hulk or too much like Wolverine. Pak goes out of his way to put Weapon H on his own path. It's not entirely unique in that there are some elements that Hulk and Wolverine fans alike will recognize, but the story never feels too familiar or predictable beyond the messy monster battles. That's one element that can never be overdone.

Fighting monsters, however, is a very small part of the story in Weapon H #1. It may be too small to some extent, but necessary in order to establish who Weapon H and his alter ego, Clay, is in this story. He's not the smart, yet meek man with anger management issues like Bruce Banner. He's not a hard-drinking, womanizing brute like Wolverine either. He's a trained soldier who made the mistake of thinking a living weapons program wouldn't screw him over and leave him with lasting scars.

However foolish that assumption might seem to anyone who knows anything about the history of living weapons in the Marvel universe, Clay still carries himself like an honorable man and a dutiful soldier. These same traits are what helped him survive the events in Weapons of Mutant Destruction that play out in Weapon X and Totally Awesome Hulk. They're also what motivates his actions in this new phase of his story.

Clay is hardened at this point. He knows he's a target and not just because living weapons tend to draw out the worst kinds of people for the worst reasons. He also knows there are plenty of things that need smashing and stabbing. He doesn't put on a cape or a goofy costume and go out looking for it. He understands it's bound to come to him, which is why he tries to keep a low profile. He works odd jobs, pretending he doesn't speak English or Spanish. He avoids populated areas or established trails. He basically does what Bruce Banner does, but without as much whining.

That, in and of itself, makes Clay and Weapon H more appealing. His situation is bad, but he doesn't spend half his story lamenting or complaining about it. He's a trained soldier. He grits his teeth and toughs it out, fighting whatever problems come his way, including the non-monster variety. At a time when many soldiers aren't given the Captain America treatment, Clay's story feels more real, even when he eventually has to fight a monster.

To some extent, that kind of realism undercuts the monster-fighting spectacle of the story. A good chunk of that story is dedicated to telling the story Clay's family, who think he's dead. This is where the overall flow of the narrative loses some momentum. There's an effort to establish drama among Clay's wife and kids, but it comes off as flat. Their moments take away valuable time from what could otherwise be utilized for fighting monsters.

Along with Clay's family, there's another sub-plot involving Roxxon, one of the few organizations in the Marvel universe that are bold or foolish enough to get involved in living weapons. While there's a legitimate reasons within the context of the story as to why they would be interested in a claw-wielding Hulk, it only comes off as some generic evil plot from a James Bond villain. If nothing else, Roxxon gives Weapon H something other than monsters to smash.

There's certainly plenty of potential for smashing in Weapon H, as a whole. Clay's story is just beginning. Both Pak and Smith lay a solid foundation for a character who could easily be overlooked as just another rip-off/mash-up. However, Weapon H never attempts to replace the Hulk, Wolverine, or any other character. He doesn't even attempt to subvert their stories in pursuit of his own. He tries to chart his own path within the Marvel universe. That shouldn't be such a novel concept, but it's frustratingly rare in the current era of superhero saturation.

There's enough appeal with Clay and Weapon H to make the story in Weapon H #1 feel compelling. While there are plenty of familiar elements derived from established characters, Pak succeeds in making the story feel unique and personal. It just doesn't have enough spectacle or monsters to feel exciting or nuanced. That can certainly change, but he's going to have to fight more monsters if he wants to catch up to Wolverine and the Hulk.

Final Score: 6 out of 10

Heart, Soul, and Zombies: New Mutants Dead Souls #1

The following is my review of New Mutants Dead Souls #1, which was posted on PopMatters.com.

From a purely pragmatic standpoint, teenagers are uniquely qualified to take on paranormal threats. Most adults, be they ordinary people or iconic superheroes, have a certain level of life experience to forge what they see as a sense of normal. It's part of the basic maturation process. As kids grow into adults, they refine their perspectives into what they consider rational, balanced, and proper.

That may serve them well in function within an ordinary, civilized society. As soon as demons and paranormal monsters enter the picture, those mature people are more likely to buckle under the pressure. Teenagers can be irrational and melodramatic, but by lacking a secure grasp on the real world, they're actually more capable when it comes to facing paranormal threats. This plays out in many memorable ways throughout Chris Claremont's initial in New Mutants. Matthew Rosenberg now attempts to do the same with New Mutants Dead Souls.

In terms of timing, the market is ripe for teen mutants fighting paranormal threats. Rosenberg is coming off a successful stint with Phoenix Resurrection and with the cancellation of Christina Strain's Generation X series, there is an opening for stories centered around teenage mutants taking on the kinds of threats that would overwhelm functioning adults. If those threats involve paranormal creatures that require the leadership of Magik, a teenage girl with a colorful history that involves demons, then the potential entertainment value is beyond dispute.

X-men comics are well-known for providing unique opportunities for young mutants to establish themselves. In a world still populated by time travelers and refugees from dystopian futures, those opportunities are important. New Mutants Dead Souls #1 establishes a new team with familiar faces to take on the kind of threats that often pass under the radar for most X-men. That doesn't imply that paranormal threats are less important. It just acknowledges that mutants are more likely to get attacked by killer robots than demons.

The makeup of the team also acknowledges that some X-men that attract paranormal threats more than others. The fact the team is led by Magik proves that Rosenberg understands what makes the New Mutants unique. Any team of mutants can come together and fight giant robots. It takes a special team with a demon-loving teenage girl as leader to come together and fight paranormal threats. New Mutants Dead Souls #1 doesn't attempt to complicate the concept or overlook the appeal. Anyone just looking to see mutants fighting monsters will get what they want.

Magik's team, which consists of Rictor, Boom-Boom, Strong Guy, and Wolfsbane, is full of familiar names for New Mutants. They're young, immature, and don't hesitate to fight back when someone throws an empty bottle at them. When the threats are paranormal and there's more room for recklessness, that's both expected and refreshing. In the case of New Mutants Dead Souls #1 the threat involves zombies and when it comes to the undead, reckless is most prudent approach, even though it tends to get messy.

The specifics of the threat start off basic. There's a small town in Alabama that sustained heavy casualties due to a hurricane. Some of those casualties died, but didn't stay dead. It's a localized issue that isn't quite on the level of requiring the Avengers to assemble in full force, but it warrants enough concern to send a team of team of teenage mutants right into the heart of the conflict. It's simple enough to challenge the New Mutants while also maximizing their youthful recklessness.

It's not too simple in terms of story, though. This zombie attack doesn't just happen because those corpses all made deals with Mephisto. There's a reason why the dead are rising and that's what the New Mutants have to figure out, but not before battling a horde of zombies that allows Adam Gorham's art to maximize the paranormal ambience. It has the feel of both a horror story and a superhero story, which proves to be a potent combination in terms of raw entertainment value.

There's plenty of setup and tense exchanges, but there's plenty of memorable action-packed moments that are every bit as satisfying as the best moments on The Walking Dead. There's Magik cutting zombies up with her sword, Boom-Boom blowing them up with cherry bombs, and Strong Guy ripping them apart. It's visceral and brutal, but what makes it uniquely satisfying is how it gets resolved.

It's not one of those conflicts that only ends when the last zombie gets its head blown off. There are other forces at work driving the attack and those forces aren't as obvious as someone having worked for the Umbrella Corporation. It's a mystery, but not one that requires much sleuthing. When one of the members on that team spends much of her spare time with demons, the traditional sleuthing process is both tedious and unnecessary.

While the final resolution does come off as a bit rushed, as do other parts of the story, New Mutants Dead Souls #1 is one of those stories that doesn't try too hard to set up future conflicts or over-emphasize the first. It still takes some time to do a little world-building, establishing some infrastructure with the team. They have a base of operations. They have a larger mission and that mission is something even a team of teenage mutants can get behind.

It makes for a story that feels complete and dense. A lot happens quickly. Even when it's a bit too quick in some areas, it still comes together in a concise, coherent manner. It's less an origin story and more a reminder, one that belabors how Chris Claremont's idea of having teenage mutants take on paranormal threats can be fun and entertaining. Rosenberg and Gorham take that idea and run with it, establishing a unique appeal with a colorful cast of characters that is sure to attract more than just zombies. Teenage mutants or not, that appeals to every age group on some levels.

Final Score: 8 out of 10

Transcending Time-Tested Tropes: X-men Blue #20

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

Time travel stories are kind of like those needlessly loud stereo systems that some people put in their cars. From a purely functional standpoint, there's not much to gain by having the ability to project music at volumes that make most peoples' ears bleed. However, the functionality of such a system is hardly reflective of its value. There are other, less tangible reasons why someone would want those systems in their cars. More than anything else, such elaborate systems create equally elaborate spectacles.

Time travel plots are similar in that they rarely function as a means to simplify or clarify a story. Most of the time, they create additional complications that only get more complicated when time paradoxes enter the picture. Such stories may not be simple, but they can work even in light of those paradoxes, as multiple Back to the Future movies have proven. The X-men also have a better track record than most when it comes to compelling time travel stories, going all the way back to Days of Future Past from the Chris Claremont era. Cullen Bunn and R.B. Silva are making a concerted effort to channel Claremont's skills with Cross Time Capers in X-men Blue.

In some respects, this is a story that had to happen sooner or later. Going all the way back to the early days of All-New X-men, when the original five X-men first ventured into the future, those inescapable complications that come with time travel continue plaguing the young X-men. They can't avoid the fact that their presence in the future and their absence in the past is bound to have serious ramifications. Some of those ramifications play out over the course of their story, particularly in events like X-men: Battle of the Atom.

With Cross Time Capers, though, Bunn puts the time-displaced X-men in a position to confront the consequences of their time-traveling shenanigans. It may have taken longer for them to feel those consequences, but they finally get a sense of perspective throughout the arc. It's only in the concluding conflicts in X-men Blue #20 that they gain a better understanding of how they're affecting the space-time continuum.

If there's any lesson the original five X-men should learn from this, it's that when there's a gaping hole in the timeline, someone or something will come along to exploit it. Biff Tannen did it in Back to the Future. The future Brotherhood of Mutants, led by Charles Xavier Jr. and his omega-level daddy issues, do the same. While they're not quite as ambitious as Biff Tannen, they are every bit as devious. What they do to exploit the time-displaced X-men's absence is neither subtle nor minor. It leaves an impact, one that goes beyond the usual lessons learned by messing with time travel.

Bunn closely follows the traditions of Chris Claremont in that respect in that the sci-fi elements associated with time travel are secondary to the dramatic elements. The story is less about the original five X-men traveling through time to fix the past than it is about them confronting the consequences of their actions. Their continued presence in the future has consequences and these are the kinds of consequences that literally fight back.

It's that element of drama that helps subvert the usual complications and confusion often associated with time travel. Classic stories like Days of Future Past show that this is an effective way to give time travel stories a genuine impact without making every other conversation an existential crisis on time paradoxes. Those conversations still happen in X-men Blue #20, but the assorted techno-babble is kept to a minimum.

Instead, Bunn relies on converging the various elements seeded throughout the journey that unfolds in Cross Time Capers, throwing a many of them as possible in the final battle. It's a battle that Silva effectively turns into a colorful, vibrant spectacle that feels epic in both size and scope. While it unfolds quickly, it hits on all the necessary dramatic elements, from confronting Xavier Jr. to the original five X-men reuniting with their mentor. Each moment carries weight and without incurring more time paradoxes.

That's not to say the time travel elements don't also carry weight in this story. Given the circumstances and context of the original five X-men's time displacement, those aspects of the conflict are unavoidable. The story clearly establishes that their decisions in the future have an impact on the past. It also provides some ominous, albeit not too surprising, foreboding about the decisions they'll have to make at some point.

Like Battle of the Atom before it, Cross Time Capers makes clear that what the original five X-men are doing still has an impact on the overall timeline. The choices they make, the battles they fight, and the impact they have on the past and future all matter. It also puts the team in an awkward position because to some extent, they already know what they'll end up having to do. It's like reading an unwanted spoiler in that they can't unread it.

This is where X-men #20 stumbles a bit into the inevitable complications of time travel stories. Even with the drama, there are some details that don't get fleshed. There are moments that have the potential to become very emotional and impactful, but some of that potential is lost for the sake of keeping the story going. Certain elements from the early parts of the story don't really play a role in the final battle, but they aren't rendered meaningless by the final conclusion.

In terms of the most critical elements, X-men Blue #20 handles those very well. There's reason and purpose behind every decision. The motivations and emotions of each character is clear. The events of previous issues influence the outcome of the final battle. Even with the complications of time travel and the erratic pacing of that final battle, the end result is a concise, cohesive story that satisfies as much as any time travel story can without getting too caught up in paradoxes.

That's not just an accomplishment that honors the standards set by Chris Claremont. It's a testament to the unique challenges of time travel stories. They have so many moving parts and so many potential complications that may or may not result in someone like Biff Tannen messing up the timeline. Being able to tell that story and not lose track of all the frustrating time travel tropes that derail so many stories is quite a feat. While Cross Time Capers may not be in the same league as Back to the Future, it certainly makes the case that those stories are still worth telling.

Final Score: 8 out of 10

Personal Connections and Alien Invaders: X-men: Gold Annual #1

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

The greatness of a character is often proportional to the amount of connections they make over the course of their history. No character ever becomes great just by hanging out with a handful of people and never really interacting with anyone else. Even The Three Stooges make an effort to connect with others in between slap-stick humor and casual violence. In the Marvel universe, connections are hard to keep up with, but some find ways to create their own elaborate web of friends, enemies, and frenemies over the course of their narrative.

While some, namely Wolverine and Spider-Man, end up sleeping with too large a portion of their connections, others manage to expand their web in a variety of ways. With respect to the X-men, few characters network better than Kitty Pryde. Even though she isn't among the original five X-men and had a lot of catching up to do after her debut during Chris Claremont's iconic run, she somehow finds a way to establish herself in every superhero social circle she's in.

Some of it comes from her natural charisma. Some of it comes from her tough, yet likable attitude. Having a pet dragon probably doesn't hurt either. Since taking on a leadership role in X-men: Gold, Kitty Pryde is often in a position to reconnect with old friends and forge new ones. It has already helped her rekindle things with Colossus, a relationship that is still a developing part of the narrative in X-men: Gold. It also gives her more opportunities to reach out to older connections, which she does in X-men: Gold Annual #1.

Marc Guggenheim and Leah Williams work together in an singular, extra-sized story that puts Kitty and her gold team back in touch with the likes of Captain Britain and the Braddock family. It's a connection that she hasn't explored in quite some time, but the story makes clear that the connection remains as strong as ever. Like old friends getting together after life gets in the way, the reunion feels real and genuine. The only difference with the X-men is that life getting in the way often takes the form of superhero civil wars.

The circumstances surrounding the reunion aren't elaborate or contrived. In fact, it adds to the overall realness of the reunion because it involves Brian and Meggan announcing that they've had a baby. Even though the circumstances with such major life events take on some twisted quirks, which is all too common with the X-men, it's still one of those unique moments that feels personal. It only becomes more fanciful when aliens attack.

While that may seem contrived in most other narratives, it's downright inane in an X-men comic. The only way to make it seem meaningful is to give an alien attack some context and that's what Guggenheim and Williams attempt to do in X-men: Gold Annual #1. The attack isn't entirely random, nor is it impersonal either. It actually involves the D'Bari, an alien race with strong, albeit antagonistic, personal connection with Rachel Grey and the entire Grey bloodline. Those familiar with the events of the original Phoenix Saga don't need much context as to why that animosity exists.

Even those unfamiliar with such classic moments in X-men lore won't be too lost because the story makes it a point to establish some emotional stakes, alongside the connections. The angry D'Bari involved, Starhammer, has a valid reason and an understandable motivation for dropping in on Rachel, the X-men, and the Braddock family. That motivation gives the conflict that unfolds some dramatic weight. It's not overly elaborate, but there are personal undertones, which is critical in making any generic alien attack more interesting.

While the connections and the context are there, the depth is somewhat lacking. There's actually more story built into Kitty Pryde, Rachel, and Nightcrawler catching up with Meggan and Brian than there is with the fight against Starhammer. This isn't necessarily a bad thing because those moments make for some of the most meaningful interactions in the story. They're cute, they're heartfelt, and they're even pretty funny at times, which is entirely appropriate when adults gush over a new baby.

However, those moments aren't necessarily balanced or complemented by the conflict that unfolds with Starhammer. If anything, it comes off as detached. It just interrupts Kitty, Rachel, and Nightcrawler's efforts to catch up with old friends and nothing more than that. Even with the personal connections there, the narrative does little to expand or enhance on them. It doesn't undermine them either, but that still results in a great deal of untapped potential.

Some of that lost potential is a byproduct of the pace. While there is plenty of time allotted to exploring the newly-expanded Braddock family, the battle against Starhammer comes off as rushed or condensed. It never gets a chance to be dramatic or epic. For conflict built around a very personal moment that spun out of a very iconic X-men story, it feels like a missed opportunity.

That doesn't stop the resolution from being fitting. Rushed or not, the way in which the X-men and the Braddock family resolve the conflict is very much in keeping with the traditions of both the X-men and Excalibur. The story doesn't try to reinvent or subvert these themes. It just doesn't provide enough depth to make the resolution more memorable.

Despite this, X-men: Gold Annual #1 never feels like an incomplete or empty story. True to the tradition of annuals, it offers a simple, self-contained narrative that leaves no loose ends or unanswered questions. It doesn't attempt to be bigger than it needs to be. It just offers a simple narrative built around strong personal connections. The fact that it somehow manages to squeeze in an alien attack is almost secondary.


Final Score: 6 out of 10

The Pressing Pitfalls of Powerful Minds: Astonishing X-men #6

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

While death tends to be a revolving door with well-oiled gears in comics, there are many ways in which characters cheat it. Some are more compelling than others. By and large, clones and time travel are akin to overused cheat codes. They essentially circumvent the agency of a character and all those around them by forcing that character into a situation. It's akin to Photoshopping wherein the contrivances can be cropped, but not removed entirely.

That's why when a character cheats death in a way that doesn't involve time travel or clones, there's a greater sense of intrigue. It's more akin to watching an escape artist survive a death-defying stunt in broad daylight. If they can do it without the aid of cosmic power or a deal with Mephisto, that makes it all the more impressive. In that context, it says a lot about Charles Soule and his work on Astonishing X-men in that he's resisted the temptation.

The death of Charles Xavier at the hands of Cyclops in Avengers vs. X-men remains one of the most impactful moments for the X-men that doesn't involve movie rights. That death is what shaped the course of the X-men for the past several years, from the arrival of the original five X-men from the past to the mutant/Inhuman war. His return to the world of the living is not unexpected since he has come back from the dead before, but his presence is such a powerful force in the overall X-men mythos that it's bound to have an impact.

Soule and Michael Del Mundo are laying the foundation for that impact and Astonishing X-men #6 acts as the final layer of bedrock. The substance of that bedrock is build around another epic psychic battle between Charles Xavier and the Shadowking. While it's a battle that has played out many times before, it's still more compelling than one involve clones or time travelers. For this particular battle, though, the stakes feel even higher than usual.

Every psionic attack, psychic illusion, and telepathic trash talk counts in this battle. It doesn't just play out on the astral plane either. Some of it manifests in the non-psychic world as well, with Shadowking taking over the likes of Gambit and Old Man Logan. It creates battles on multiple fronts, which also creates multiple opportunities for Del Mundo to craft brutal, visceral struggles that take on a very psychedelic ambience. In terms of psychic battles, it's the perfect combination.

Even though a psychic battle between Charles Xavier and Shadowking is something that has played out many times before with the X-men, as a rivalry on par with that of Wolverine and Sabretooth, Soule finds a way to make this one feel more meaningful. It isn't billed as the final psychic showdown between two bitter rivals. It doesn't even try to be some sort of over-hyped, pay-per-view style event either. What makes it and the story around it work so well is how it brings out the more cunning aspects of Charles Xavier.

From the first issue of Astonishing X-men, Soule establishes the battle between Xavier and Shadowking as one driven by wit as much as psychic prowess. In a sense, Xavier dying at the hands of Cyclops finally levels the playing field between him and Shadowking. They're both disembodied spirits now. They're both stuck in a state of limbo, having limited influence on the physical world. Like having Iron Man fight without his armor, both powerful minds must now rely on other skills.

As a result, Xavier ends up relying on tactics that Shadowking has a history of exploiting. He  has to fight for the hearts and minds of his X-men in a very literal sense. He can't just flash his "world's most powerful mind" card and win the battle by default. He has to reduce himself to his enemy's level, which usually gives someone like Shadowking the edge. Up until Astonishing X-men #6, he seemed to have that edge every step of the way.

This is where the true extent of Charles Xavier's cunning reveals itself. It's also what makes Astonishing X-men #6 a major addition to Xavier's resume as Marvel's most powerful mind. Even when he's stuck playing by Shadowking's rules, having next to no advantages from the beginning of the battle, he finds a way to one-up him. He's able to blend his tactics with that of his enemy to win the day in a way that never feels cheap or contrived. Soule makes it clear that Xavier earns this triumph over his greatest psychic rival and Del Mundo helps make it a sight to behold.

It's the kind of triumph that Charles Xavier hasn't had in quite some time, going back to the Grant Morrison era in New X-men. For years, it seems, Xavier's greatest enemy is his declining credibility in the eyes of his fellow X-men. From keeping secrets to battling his own students, he's had few opportunities to be the mind and the mentor that only the likes of Patrick Stewart can hope to embody.

Xavier's inglorious death in Avengers vs. X-men further limits his ability to be the character that the X-men need him to be. Like the charm of Patrick Stewart, though, certain characters have traits that give them the ability to forge new opportunities out of rough situations. Between Shadowking and dying at the hands of his first student, the situation is pretty bad for Charles Xavier. That only makes watching him and his assortment of A-list X-men beat the odds feel that much more satisfying.

That satisfying victory, along with the profound implications revealed at the end, helps put Astonishing X-men #6 in a special category in terms of quality. From the first issue of the series, this latest psychic clash between Xavier and Shadowking carries the risk of being another generic battle with stakes no higher than that of an arm-wrestling match between the Hulk and Squirrel Girl. That's the challenge of any rivalry. Everyone knows that Captain America will beat the Red Skull, Batman will defeat the Joker, and Deadpool will make a dirty joke. It's giving those battles real stakes and nuanced circumstances that give them impact.

Soule and Del Mundo put in the necessary time, effort, and psychic mind games to make Round 616 of Charles Xavier versus Shadowking feel like the telepathic equivalent of a heavyweight prize fight. Each round feels brutal and bloody, but the style and substance behind it make it more than just a spectacle. It's a testament to mind and will of Charles Xavier. There's a reason why he's the visionary behind the X-men, as well as the perfect medium for Patrick Stewart's charm.

Final Score: 9 out of 10

Doubling (And Tripling) Down On Time Travel: X-men Blue #16

The following is my review of X-men Blue #16, which was posted on PopMatters.com.

There's a certain point in a narrative where a certain subplot either needs to be abandoned or shoved back into the spotlight. It's like that point in a poker game where pushing all the chips to the center of the table is the only sound tactic left. It's a major risk and one that potentially undermines the entire foundation of a story, but the payoff is significant. For the time-displaced X-men in X-men Blue, the time is right for that kind of gamble.

There's no getting around it. Since arriving from the past in the pages of All-New X-men, the mission of the original five X-men seems to change every other week. One week, they're trying to stop Cyclops from ushering in a full-blown mutant genocide. The next, they're joining Cyclops to become mutant revolutionaries. The week after that, they're working with Magneto, the same guy who tried to kill them on their first mission. While it's not uncommon for teenagers to have erratic priorities, time travel seems to exacerbate the situation for the time-displaced X-men.

Beyond these varying missions and allegiances, though, there remains one common, unresolved thread. These time-displaced X-men are, for reasons not yet explained, cannot go back to the future. The events of X-men: Battle of the Atom establish that there is something keeping these time traveling teenagers stuck in the future. The nature of that mechanism is vague and rarely hinted it. For the most part, it's like Spider-Man's marriage in that it's overtly ignored for the most part.

In X-men Blue #16, Cullen Bunn and Thony Silas finally revisit this issue in a way that requires them to push those proverbial chips to the center of the table. It all happens quickly and under the backdrop of some typical teenage melodrama that always seems to find its way into the pages of X-men Blue. The mixture and transitions aren't always seamless, but few things involving teenage melodrama are.

That melodrama is only a small part of a much more serious conflict that has roots that extent back to X-men: Battle of the Atom and beyond. Anyone who has seen Back To The Future more than once understands the erratic and chaotic nature of time travel. Mess with the timeline too much and eventually, it'll get impatient. Whatever patience kept the original five X-men intact in the future seems to have run out, albeit quite suddenly.

There's little build-up or foundation to the sudden fracturing of time. It just starts happening, forcing the time-displaced X-men to react on the spot. Part of that reaction involves them engaging in more time travel. On the surface, that seems like fighting fire with napalm. In this rare instance, though, it makes sense and it addresses an important issue that has remained vague since X-men: Battle of the Atom.

Even those who haven't seen Back To The Future understand on some levels that time travel, especially one that involves changing the past, tends to incur an unpredictable impact on the present. For the most part, the impact of the original five X-men being in the future hasn't been that significant. The final few issues of Dennis Hopeless' run on All-New X-men even imply that their presence may not affect the timeline at all, which undermines the entire premise of a time travel story to begin with.

Like the events of X-men: Battle of the Atom, the temporal details remain vague. However, X-men Blue #16 ditches much of those subtleties and makes one thing very clear. The original five X-men's presence is indeed having an impact on the timeline. They aren't just a bunch of clones or alternate versions of themselves from a dystopian future, of which the Marvel universe already has plenty. They are from the same timeline and what they do does effect the present. That reaction may have been delayed, but it's happening.

It's an important facet that Bunn and Silas belabor, which helps establish the premise and the stakes of the Cross Time Capers arc that begins in X-men Blue #16. It's an overdue dose of clarity for an issue that many recent stories involving the time-displaced X-men go out of their way to ignore. It's both refreshing and profound in that sense that it gives the story genuine stakes, but still doesn't forget that those involved are teenagers. That means that no matter how serious the story may be, there's going to be some entertaining awkwardness along the way.

There is some of that in X-men Blue #16, but not nearly enough. Much of the melodrama involves ongoing emotional entanglements between Cyclops and Jean Grey. While those kinds of entanglements are a major part of X-men drama, regardless of timeline, they seem somewhat forced. It's as though these two always have to have the same kind of drama thrown in, as though that's the only drama they know. Being teenagers, that's less believable than anyone shooting lasers from their eyes.

Even if the melodrama is forced and the pace is quick, the sheer intensity of X-men Blue #16 make it a solid beginning to what promises to be a chaotic arc involving time travel. Given how X-men Blue is coming off an event that involved Mojo, that's saying something. Bunn's concise storytelling and Silas' colorful lay a solid foundation that has the potential to incur more significant implications than anything the time-displaced X-men have experienced to date. Like Marty McFly though, they will likely have to learn about those implications the hard way.

Final Score 6 out of 10

Shaping A Sibling Rivalry: All-New Wolverine #25

The following is my review of All-New Wolverine #25, which was posted on PopMatters.com.

In many superhero comics, sibling rivalries are right up there with love triangles in terms of shallow plots that bring out the worst in certain characters. It's one thing for families to bicker. That's the premise of almost every sitcom, Simpsons rip-off, and Fantastic Four comic. Rivalries, however, often act like open scars that never truly scab over. They come to define certain characters, so much so that it that it undermines their ability to evolve on their own.

X-23 and Daken have a major advantage, in some respects, because much of their development occurs independently of one another. The story of Laura Kinney and Daken Akihiro unfolds in vastly different circumstances and go in very different directions. Whereas Laura eventually ascends to take on her father's mantel, Daken falls to the wayside for a while. Even after the Death of Wolverine, his story essentially stagnates while Laura's accelerates.

That's what makes the premise behind All-New Wolverine #25 so risky, yet so intriguing. Tom Taylor is taking a chance on tying Daken's story with Laura's once more. While they had clashed in the past during Marjorie Liu's run on X-23, these two characters don't ever establish a functional relationship. They don't forge a bitter rivalry either, but the tension is there. It has the potential to either expose their worst traits or forge new ones. The difference between the two is as thin as a simple swipe of the claws.

Taylor puts both characters on a collision course, of sorts, and it's one that doesn't just involve more slashing and stabbing. It builds on the events of the previous arc, which first see Laura and Daken reunite under dire, yet amicable circumstances. They never get a chance to catch up, fight each other, or address any of the past instances where they try to kill each other. A lot is left up in the air, but All-New Wolverine #25 offers new opportunities for Laura and Daken to connect. Doing it in a series that also includes a pet wolverine named Jonathan is just a nice bonus.

Taylor keeps the continuity of the series tight, having the events in this issue play off those of previous issues. Recent events don't play too big a part in the chaos that unfolds, though. After those connections are made, the fighting begins and it's not a fair fight, even for Daken. While he's a long way from deserving the same sympathy as Laura, the battle he faces sets a specific tone, one that feels unique to Wolverine's overly burdened offspring.

Part of being tied to Wolverine in any capacity involves attracting the kinds of enemies that require more than an adamantium claw to the face. His violent, illustrious life is full of super-powered samurai, killer robots, undead ninjas, and married women he can't stop attracting. With the exception of married women, Laura and Daken attract those same dangers. However, the specifics of that danger are only teased in All-New Wolverine #25, but not in the same overtly ominous ways that just promise more stabbing.

This is where the Orphans of X come in, which is both the title of the arc and the name of the danger. They establish early on that they know how to hurt both Daken and Laura. Daken is somewhat easy to hurt, given his crass attitude and utter apathy for regular heroics. It's Laura who requires a more elaborate approach. Having recently fought Brood armies and spent time in the stomach of Fing Fang Foom, her threshold for pain is much higher.

They still find a way to test it by taking Laura back to her roots. That means returning to the pages of X-23: Innocence Lost, the tragic origins that have come to define Laura since her arrival to the X-men comics. Despite all her abilities, including those that allow her to survive the stomach of Fing Fang Foom without permanent physiological scarring, the details of her tortured origins still haunt her.

More than any other threat she faces throughout her relatively brief history, it's one of the few things that really hurt her. The fact that the Orphans of X use that against her shows that they've done their homework on her. The use of a few flashbacks, which evoke just the right impact thanks to Juann Cabal's art, help belabor just how much these memories hurt Laura. They're so troubling that she risks upsetting both Gabby and her pet wolverine by striking out on her own. Given Gabby's capacity for frustrating Laura and looking adorable while doing it, that's a not a trivial risk.

It's not initially clear how much that risk pays off because, even though Laura's recourse is directly tied to what happens with Daken, the narrative stalls somewhat once it ventures into that the bloodier parts of her past. While belaboring a painful past is an important ingredient in any Wolverine story, it can be overdone. Instead of learning why the Orphans of X think it's wise to torment two characters with a history of poor anger management, much of the story unfolds as a mystery with too few clues to follow.

There's still plenty of melodrama, which is true to the spirit that Taylor has established with All-New Wolverine. There's never a sense that either Laura or Daken are just angry, vengeful brutes who are just eager to stab something. All-New Wolverine #25 establishes deep, personal stakes. However, it doesn't do much to establish who is making such risky bets against them.

The ending sets the stage for a lot more melodrama and heartache. The connections that will eventually require Laura and Daken to team up again are there. Given the high standards that Taylor has set with All-New Wolverine, though, the impact of the conflict isn't felt yet. Too much of it relies on old scars that Laura has been carrying with her since her days as an extra in the X-men Evolution cartoon. While those scars are sure to deepen, the Orphans of X will need to hit much harder to leave a lasting impact on Laura and Daken.

Final Score: 6 out of 10

Rising Ashes From Two Eras: Generations: Phoenix & Jean Grey #1

The following is my review of Generations: Phoenix and Jean Grey #1, which was posted on PopMatters.com.

It's usually a sign when a certain character becomes best known for dying, not staying dead, and having large chunks of their history retconned and rewritten. It's rarely a good sign, but a select few can manage more balanced results. Jean Grey functions better than most with that kind of legacy. She dies, comes back to life, dies again, gets cloned, travels through time, and somehow finds a way to deal with a cosmic force. That may very well be another sign, but one that speaks to the strength of her character.

In a sense, Jean Grey is one of those characters who's always torn between two opposing forces. Sometimes it involves her being on the wrong end of a love triangle. Other times, it involves wanting to forge her own path while still confronting the many conflicts in her history. She knows she ends up dead, an icon to some and a walking resurrection joke to others. Since her arrival from the past in All-New X-men, Jean's story seems to fluctuate from one conflicting force to another.

One day, she's trying everything she can to avoid the same obstacles that doomed her adult self. The next, she's determined to face them. Given that she's a teenager and teenagers are known to have erratic methods in dealing with problems, this is understandable. It also makes Jean Grey's story somewhat chaotic. There's not a clear understanding of what she hopes to accomplish, so long as she's stuck in the future with the rest of the time-displaced X-men. Unlike her teammates, though, she can't reach out to her older self for guidance.

Now, thanks to space-time machinations for Marvel Generations, a teenage Jean Grey finally gets the chance to interact with her older self and learn from the icon herself. What plays out in Marvel Generations: Phoenix and Jean Grey #1 is not an illusion. It's not some twisted memory either. This is the real Jean Grey of X-men lore who goes onto devour a star, cheat death, get clones, and inspire any number of fights between Cyclops and Wolverine. It's as big a moment as a teenage girl can ever face outside her prom night.

Cullen Bunn and RB Silva don't just rip a teenage Jean Grey out of the present and stick her into some contrived point in the ever-changing, constantly-reconnected timeline of the X-men. Bunn shows that he's done his homework by putting the young Jean Grey in a specific moment within the original Phoenix Saga between that ran between Uncanny X-men #101 and Uncanny X-men #138. It's the kind of attention to detail that Chris Claremont himself would be proud of.

In a sense, it's the most optimal moment Jean and her older self could've chosen for their respective stories. Within the context of the original Phoenix Saga, it's that brief period where Jean had control over the Phoenix Force. She isn't corrupted, twisted, or devouring entire star systems just to see what it feels like. She's still very human in her perspective, but vulnerable to the corruption that comes with the god-like power of the Phoenix Force.

It's a narrow window for her teenage self to explore, but one that's vital within the context of her own story. It provides a clear and effective link between the conflict unfolding in Jean's solo series and the events unfolding in Marvel Generations. Once again, Jean faces the prospect of dealing with the Phoenix Force again.

She knows as well as anyone who tries to follow convoluted timelines and never-ending death/rebirth plots that it's bound to cause cosmic headaches for everyone. In order to deal with it, she needs to learn about it. She'll find no better source than this particular version of herself at this particular point in her history. Even a cosmic version of Wikipedia can't provide information that comprehensive.

As a result, Marvel Generations: Phoenix and Jean Grey #1 takes on a very personal undertone. Bunn dedicates significant parts of the narrative to exploring the inner conflict within the teenage Jean Grey. She recognizes from the beginning that this is an important opportunity, one that she can't afford to pass up. She needs to learn everything she can about the Phoenix Force. On top of that, she has spoilers to the tragedy that lies just ahead for her adult counterpart.

Despite all the implications this meeting has for both characters, Bunn resists the urge to turn teenage Jean Grey into Marty McFly from Back to the Future in that she doesn't mindlessly mess with the timeline. She actually establishes a personal connection with her older self. She doesn't attempt to deceive her or impede her. She presents herself as a friend and ally. It may seem redundant since they're the same person, but it serves an important purpose.

By becoming an ally, teen Jean gets a chance to learn about her older self outside the tragedy, heartache, and retcons that exist only in the memories of her fellow X-men. She sees that, like her, the older Jean Grey is also struggling to make sense of this cosmic power. However, her older self clearly has a different perspective of that power, which she eagerly demonstrates in ways that maximizes the visual appeal of Silva's art.

It leads to a cosmic clash between the Phoenix and Galactus. It's the kind of clash that's inherently epic on paper, but easy to mess up in a story. Bunn achieves a fitting balance of sorts, giving Jean and her adult counterpart a chance to shine and learn from each other. In doing so, it sets up a unique moment between two characters from different periods in a vast mythos. That moment carries with it a dramatic impact that maximizes the opportunity that Marvel Generations creates.

It's a moment that Marty McFly botched in Back to the Future. For Jean Grey, it's a moment of clarity that takes place at the best possible time. That's not just an outside observation either. The Watcher himself shows up to let her know just how important her decision is in the grand scheme of the never-ending chaos that is the Marvel universe. She has a chance to make the easy decision that will most definitely incur all sorts of complications and consequences. She ends up making a different choice. The fact she makes that choice as a teenager, whose natural inclinations gravitate towards easy solutions bereft of consequence, speaks to the strength of her character.

Marvel Generations: Phoenix and Jean Grey #1 is in a position to literally rewrite the history of one of the X-men's most iconic stories. It's also in a position to add even greater complications to a story that has had more than its share since the 1980s. Bunn doesn't draw the ire of Chris Claremont, nor does he completely nullify the potential of the moment. The Jean Grey from the past and the Jean Grey from the present both get something out of their encounter. It's not the same as a retcon or a time paradox, but it has a genuine impact and that impact feels relevant to both characters.

There's still a sense that teenage Jean didn't do as much as she could've. It could be argued that she didn't do as much as she should've either. However, what she ends up doing is probably the most responsible decision she could've made in that situation. For a teenager constantly looking for ways to avoid the destiny that fate has laid out for her, it speaks volumes to the strength of her character. Even if the circumstances of Marvel Generations are unclear and the overall impact is uncertain, Jean Grey shows why, no matter which era she's in, she's still the heart of the X-men.

Final Score: 9 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

A Real (And Relevant) Coolness: Iceman #1

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

No character ever becomes iconic without doing something to set themselves apart. For years, going all the way back to the Lee/Kirby era of Uncanny X-men, Iceman never gets that chance. Despite being a member of the iconic Original Five X-men, he never gets his own Phoenix Saga. He never undergoes a transformation like Angel or Beast. He never even goes through the twisted melodrama of marrying a clone or have a time-displaced child. In a sense, Iceman is like a capable backup quarterback on a team of pro bowl players. He can hold his own. He just never gets a chance to show his skill.

That all changed after the events of All-New X-men #40. In what is, without a doubt, the biggest upheaval in Iceman's 50-plus year history, Jean reveals that he's gay. Now, there's a lot that can be said about how his outing was handled. Jean's somewhat callous approach to the situation, as well as the circumstances in which it occurred, are somewhat troubling. There's also the issue of Iceman's past entanglements with women. Some of them even count as serious. One of them, namely Mystique, almost got him killed.

However, that only makes the reveal more powerful because it reflects the real-life conflicts that many homosexuals deal with. Sometimes, they spend decades of their lives pretending to be something their not. Adding this on top of the underlying themes of the X-men, which is somewhat analogous to LGBT issues, it puts Iceman's story in a whole new context. It does more than set him apart from the rest of the Original Five X-men, who've already done plenty to distinguish themselves. It puts Iceman in a position to forge a unique path, one that few characters of his status have ever attempted.

Iceman #1 isn't entirely structured around Bobby Drake's homosexuality or how he deals with it. It's not built around him just going on solo adventures either. He's not Wolverine, Iron Man, or even Squirrel Girl. His path has the potential to be both unique and revealing. Sina Grace doesn't try to fit Bobby into another Phoenix Saga, a Dark Angel Saga, or any kind of saga. More than anything else, Grace tries to focus on Bobby's very human struggles while still giving him a chance to be Iceman.

In setting up the story, Grace establishes a distinct difference between Iceman and his time-displaced counterpart. Whether due to recklessness or immaturity, the teenage Iceman does a much better job of accepting his sexuality. He even has a male love interest that he's been exploring in other X-men comics. Ironically, the older, adult Iceman is behind the curve of his teenage self. He's admitted that he's gay, but he hasn't done anything with it yet. He's still more focused on being Iceman rather than Bobby Drake.

Iceman #1 puts him in a position where he has to be both. He doesn't face a cosmic entity or a killer robot. Instead, he faces a very real, very relevant issue with his parents. Unlike the rest of the X-men, they don't know that he's gay. His mother even asks about whether or not he has any girlfriends. It establishes that while Iceman may be out as a gay character, he's not quite out with the world at large.

It's the kind of situation that real homosexuals with real families deal with, not knowing how to talk to their parents about their sexuality. Bobby's parents make it even harder because they're not necessarily proud of his mutant status either. They give the impression that they'd much rather see him holding down a steady job as a garbage man rather than regularly saving the planet from Apocalypse. It's not so much that they have unreasonable standards as much as it is they want a "normal" son.

It's a concept that resonates with both mutants and the LGBT community, the idea of being so not normal that it undermines friends, family, and everything in between. In Bobby's case, he's got a double dose of non-normalcy. He's a minority within a minority, a homosexual man and a mutant. That means he can expect double the hate from every racist bigot, of which there are plenty in both the real world and the Marvel universe.

Fittingly enough, the main conflict in Iceman #1 isn't a killer robot or invading aliens. It's a wannabe Purifier, who are basically Marvel's that anti-mutant version of the KKK. While they don't make their position on homosexuality known, it's hard to imagine that would make them any less hostile to someone like Bobby.

It gives Bobby a chance to be a hero and, strangely enough, that's the most normal thing he does. When he's fighting a rogue Purfier, he's the same Iceman that people have known and loved since the Kennedy Administration. It's only when he has to be Bobby Drake that he faces an insurmountable conflict, of sorts. His parents don't accept him. The world, as a whole, doesn't accept him. Even other mutants seem more "normal" by comparison.

It's a powerful message that makes for a story that feels real and relevant. That's the greatest strength of Iceman #1. Grace tells a story that real people can relate to and Alessandro Vitti's artwork makes it visually appealing. Anyone who is LGBT, an outcast, or just not "normal" in a classic sort of way will find something to appreciate.

While the story may feel real, it also lacks the kind of dramatic impact or emotional upheaval that so many other major X-men characters have enjoyed in their 50-year plus history. That may be too much to hope for in one issue of a solo series for a character who hasn't had one before, but while the plot feels real and relevant, the substance is somewhat lacking. It's a competent, cohesive story that delivers a powerful message. It just doesn't go much further than that.

What gives this series promise, though, is the way Grace and Vitti frame Bobby's story at this point in his history. He's a minority within a minority, still trying to be a hero while trying to find his place. Being a hero is the easy part for him. Trying to find his place is a far greater challenge, one that he's very uncertain about. It's easy to be certain when there are killer robots to smash and evil mutant racists to fight. It's much harder to live a distinctly non-normal life that still feels normal. For mutants and LGBT individuals alike, it's an important story to tell.

Final Score: 7 out of 10

A (Badly Needed) Golden Touch: X-men Gold #1

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

Every era of X-men is defined by an eclectic mix of situational quirks, new uniforms, and re-shuffled lineups. Sometimes the Xavier Mansion, or whatever base of operations the X-men happen to be operating out of at the time, blows up along the way. In any case, these eras usually have definitive traits that set them apart. More than any other franchise, the X-men find unique ways to make certain eras distinct.

The '70s had the All-New, All-Different lineup with fresh faces, new threats, and Chris Claremont's knack for creating over-powered, reality-warping threats. The '80s had X-Factor and Uncanny X-men, the original five X-men and an emerging generation of X-men that would one day make Hugh Jackman a super star. The '90s had the Jim Lee-inspired costumes, two main X-men teams, and an uncanny tendency to make any and all issues in the Marvel universe a mutant issue by default.

These generations stand out in their own unique way, some more than others thanks to iconic art, iconic stories, or whatever non-so-iconic gimmicks slipped through the cracks. By these standards, it's hard to assess the current generation of X-men comics because a great many of those not-so-iconic gimmicks came to define the series. From sterilization plots to a glut of time travelers, it's hard to define this era as all that iconic.

This is why X-men Gold #1 is so vital to current and future generations of X-men. Marc Guggenheim and Adrian Syaf have a golden opportunity, if that's not too loaded a word, to redefine the X-men for a new era, hopefully one that relies less on sterilization, time travelers, and clones. That opportunity never feels wasted as the story that unfolds forges multiple paths into a new era.

The X-men enter this era with a more tarnished reputation than usual. It's not enough that they're mutants, a loaded word that generates the kind of reaction usually reserved for internet trolls and spam email. They're mutants who recently went to war with the Inhumans and didn't exactly conduct themselves in a respectable manner.

They can blame Cyclops, Emma Frost, and fake news all they want. It doesn't change the fact that the X-men come into X-men Gold #1 as those mutants who have gone to war with two separate superhero teams already and didn't exactly come out looking like polished adamantium. That's not a good foundation for peace and understanding. At this point, the public is more inclined to give Victor Von Doom a chance than the X-men.

Kitty Pryde, the X-men's new leader and arbiter of this new era, goes out of her way to acknowledge this in the X-men's battle against Terrax. She rightly points out that if another superhero team had fought this battle, they would be getting smiles, cheers, and positive hashtags. Unfortunately, they're mutants. They're still associated with starting wars, screwing with timelines, and one too many clones. In a city that already deals with Spider-Man's clones, the public is right to be someone muted.

It's the most important feature to the story in X-men Gold #1, as well as the overall theme of the X-men comics moving forward. For years now, they've given the public way too many reasons not to trust them the same way they do other superhero teams. Beyond warring with other superhero teams, mutants are a constant source of chaotic. Regardless of whether or not they put on costumes and try to be superheroes, their powers and their conflicts are like the weather. Sometimes it can be a simple gust of wind. Sometimes it can be a full-blown hurricane.

It's one of those understated, but inescapable aspects about the X-men that sets them apart from other superhero teams. No matter how much good they try to do, the X-men are still mutants and mutants are a chaotic force of nature. People fear that chaos for the same reason that they fear hurricanes.

Guggenheim doesn't hide from this distinction that keeps the X-men from being adored like the Avengers, the Guardians of the Galaxy, or whatever other superhero team doesn't have its movie rights tied up by another studio. By acknowledging it, the new host of challenges the X-men face feel genuine.

X-men Gold #1 throws multiple challenges at the X-men from the get-go. Some are of the personal kind. Some are of the kind that require Kitty Pryde to phase a collapsing building through another. The mix of personal issues and public spectacles is very much the gold standard, so to speak, of what gives the X-men their appeal. After so much of their stories have been mired by extinction and sterilization plots, it's a welcome reprieve.

While the themes are refreshing for any jaded X-men fan, the structure of the story is somewhat choppy. The narrative jumps around from moment to moment, rushing through various scenes without taking the time to tie them together in a cohesive way. This makes the story feel rushed. There are many moments, especially the personal moments for Kitty Pryde, that don't get as much depth as they need. It makes X-men Gold #1 feel like one of those comics that needs to be at least 10 pages longer to really work.

Despite the inconsistencies in the story's progression, it's still a satisfying story that offers overdue promise to cast of characters that badly needs it. There's no more fending off extinction, avoiding poison gas clouds, or getting mixed up with one too many cosmic forces. This is just the X-men fighting for peace and understanding in a world that has plenty of legitimate reasons not to give them another chance.

It's the same fight that Charles Xavier led the X-men into back in the days before civil rights was more than just a hashtag. Kitty Pryde and her revamped, revitalized team of X-men, one of which is her ex-boyfriend, carry on that fight in X-men Gold #1 after one too many interludes. It gives hope that the X-men are back to doing what they do best, provided nobody gets sterilized again.

Final Score: 7 out of 10