X-Men review – Page 5 – Author Carlo Carrasco

A Look Back at Wolverine #75 (1993)

September 1, 2021August 12, 2024carlocarrasco

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back, superhero enthusiasts, comic collectors, 1990s culture enthusiasts and fans of the X-Men! We go back to the year 1993 when the 30^th anniversary of the X-Men was celebrated with the 6-part Fatal Attractions storyline. Already I reviewed Uncanny X-Men #304 (Part 3) which was not worthy of the X-Men’s 30^th anniversary celebration. X-Men #25 (Part 4) meanwhile was not only great but also shocking and had a years-long impact on X-Men comics.

So now the focus is on the 5^th chapter of the Fatal Attractions storyline handled by the Larry Hama-Adam Kubert team on the Wolverine monthly series of the time. With those details laid down, here is a look back at Wolverine #75, published by Marvel Comics in 1993 with a story written by Larry Hama and drawn by Adam Kubert.

Early story

The story begins in outer space. Carrying Charles Xavier, Wolverine, Gambit, Jean Grey, Rogue and Quicksilver (who participated in the dangerous mission in X-Men #25), the X-Men’s jet (piloted by Bishop) struggles mechanically as it was not designed for space travel. Worse, Wolverine is under very serious condition and the medical unit has been operating in full capacity dealing with his intense trauma.

In an attempt to alleviate Wolverine’s psychic trauma, Charles Xavier and Jean Grey enter his mind and discover that there is a world full of pain and horror. They see visions of a restrained Wolverine (from his Weapon X days) being attacked by Sabretooth and Lady Deathstrike. Xavier explains that they are at the epicenter of Logan’s most suppressed cataclysmic memories which were clearly triggered by the physical damage Magneto inflicted on him (see X-Men #25).

As the X-Men’s jet attempts to enter Earth’s atmosphere, its exteriors heat up dramatically shaking everyone inside. This complicates the situation on stabilizing Wolverine…

Quality

*The other X-Men team members at their headquarters expressing worry and concern about the situation of their teammates struggling to come back home from space.*

To be clear, this story continues the events of Fatal Attractions but with a bit more focus on Wolverine (compared to the earlier chapters of the storyline that is). There is no real battle between good and evil at all. It’s really all about Wolverine struggling to survive just as his teammates struggle to arrive home.

Before the stories of this comic book and X-Men #25 happened, Wolverine has often been portrayed to be very tough, brave and a walking machine of violence which has been reflected in other X-Men stories told in video games and movies. In this very comic book, Wolverine has been presented to coming close to death. This means Logan, at this particular stage of the history of the literary X-Men, was at his most vulnerable state. In my experience, this was both alienating and shocking to see.

With regards to the writing, Larry Hama did an excellent job with pacing the story from start to finish. Right from the beginning, the story pulls you into the X-Men’s tough situation and as each page gets turned, the tension as well as the suspense builds up until the execution of the climax. Along the way, the comic book not only portrays Wolverine struggling on the edge, it also works to make you care more or be more concerned towards him. Oh yes, the shocking moment near the end of this comic book remains very powerful and you who read this retro review should read Wolverine #75 and see it for yourselves.

Conclusion

*Wolverine at his most vulnerable state.*

By today’s standards, Wolverine #75 (1993) is still a very great comic book to read. In fact, I can say it is not only one of most defining chapters of the Fatal Attractions storyline as well as one of the most significant X-Men comic books of the 1990s, it is indeed a true illustrated literature classic ever published by Marvel Comics. In retrospect, this comic book marks a major turning point in the life of Wolverine who is still one of the most iconic characters in all of superhero literature. All of these were achieved thanks to the creative team of Larry Hama and Adam Kubert (whose are here was great and stylized at the same time). Hama succeeded in writing the continuation of the Fatal Attractions storyline while balancing all of the exposition and still putting Wolverine in the center. That itself is a very great work of writing.

If you are seriously planning to buy an existing hard copy of Wolverine #75 (1993), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $60 while the near-mint copies of the signed-and-numbered edition and the newsstand edition cost $300 and $180 respectively.

Overall, Wolverine #75 (1993) is highly recommended!

+++++

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A Look Back at Uncanny X-Men #130 (1980)

August 23, 2021August 21, 2021carlocarrasco

Welcome back, X-Men fans, superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today, we look back at the year 1980 specifically the time when the Uncanny X-Men monthly series was spearheaded by legendary creators Chris Claremont and John Byrne. In fact, we will examine here the comic book debut of Dazzler, a mutant with the ability to convert the vibrations of sound into light and energy beams. Dazzler is quite unique among all superheroes as she has been portrayed as a singer, an actress, a model and got associated with other Marvel superheroes. Marvel Comics went on to actually publish a regular comic book series about Dazzler which lasted over forty issues.

To say the least, the creation of Dazzler is quite intriguing as it involved a commission by an American record label for a special project with a disco queen character as the core concept and that Marvel Comics itself would develop the superhero (in the form of a singer) and that an actual singer will be produced by the said record label. Then Marvel editor-in-chief Jim Shooter wrote a treatment for the project which turned from an animated special into a live-action film. As creative process for Dazzler went on at Marvel, Tom DeFalco (who later succeeded Shooter as editor-in-chief) wrote her creation while John Romita, Jr. did the character design. The name Dazzler was the result of a suggestion by Roger Stern. There also was some Bo Derek influence on the creation of Dazzler.

While the special project did not happen due to the financial problems of the record label, Marvel went on to formally introduce Dazzler in the pages of an Uncanny X-Men comic book handled by Claremont-Byrne team.

With those details laid down, here is a look back at Uncanny X-Men #130, published by Marvel Comics in 1980 with a story co-written by Chris Claremont and John Byrne. Byrne drew the art.

Early story

The story begins on Delano Street in Lower Manhattan. Scott Summers/Cyclops, Jean Grey and Nightcrawler had just arrived on a mission to locate a mutant (detected by Cerebro) not knowing that they themselves are bring monitored by a hidden sinister force. With Nightcrawler left in-charge of guarding their Rolls Royce, Scott and Jean enter a deteriorating building only to find a club on an upper level full of lights, loud music, dancing and a lot of people. They begin to start searching for the detected mutant.

Outside, a truck parks on the other side of the same street where the X-Men’s Rolls Royce was parked at. Inside the truck one of the operators communicates to a certain Mr. Shaw who states that the Hellfire Club is proud. Over at the Hellfire Club’s headquarters, Sebastian Shaw and Jason Wyngarde talk about the X-Men members searching the disco. Wyngarde moves on with his plan to subvert Jean Grey and gather her into their fold…

Quality

The storytelling is great which is not surprising as this was done by Claremont and Byrne. It is clear that there was a good amount of preparation done which explains this comic book’s excellent ways on emphasizing the following story points: the build-up of the Hellfire Club as a potent force of evil that await the X-Men, Kitty Pryde/Shadowcat’s growing involvement, the vulnerability of Jean Grey, the build-up of the Phoenix, and the debut of Dazzler. Along the way, the creative team also ensure that the dialogue was rich (the same thing also with the thought balloons Claremont came up with), the emphasis of super powers made sense, the action scenes were satisfying and there was a good amount of suspense here.

I love the way Dazzler’s first-ever appearance was handled as it happened just after an intriguing scene about Jean Grey’s vulnerability took place. Her debut also occurred at a point when Jean and Scott seemed to be failing to find her. Of course, the 1970s disco vibe was very strong with Dazzler.

Conclusion

Without a doubt, Uncanny X-Men #130 (1980) is a classic X-Men tale by the Claremont-Byrne team who succeeded in not only introducing Dazzler into Marvel’s comic book universe but also with strongly emphasizing the Hellfire Club as a powerful opposition which went on to have a key part in the legendary Dark Phoenix storyline that followed. Dazzler meanwhile became a very popular superhero of Marvel’s going into the 1980s. For the modern-day comic book reader, this comic book can be quite challenging to read as it is very wordy (typical of Claremont).

If you are seriously planning to buy an existing hard copy of Uncanny X-Men #130 (1980), be aware that as of this writing, MileHighComics.com shows that the very fine copy of the regular edition costs $1,407 while the fine copy of the newsstand edition costs $1,013.

Overall, Uncanny X-Men #130 (1980) is highly recommended!

+++++

A Look Back at What If #46 (1993)

August 17, 2021August 15, 2021carlocarrasco

Welcome back, X-Men fans, superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! It’s time to revisit the What If monthly series of comic books of Marvel Comics that lasted from 1989 until 1998. The old comic book I’m about to review involves the X-Men, Cable and more.

Before starting with this newest retro comic book review, I should state that I was never a fan of Cable even though I read lots of X-Men-related comic books that included him. When I think of Cable, I immediately think of the New Mutants and X-Force comic book series.

You must be wondering what has Cable and the X-Men have to do with the old What If issue I’m focusing on. We can all find out in this look back at What If #46, published by Marvel Comics in 1993 with a story written by Kurt Busiek and drawn by Tod Smith.

Early story

The story begins inside a tavern in New York’s famous Central Park. Inside, Charles Xavier, Scott Summers (Cyclops) and Jean Grey have a discussion about mutant matters until a small saucer-shaped device flies inside and disrupts everything with its sonic frequency. Suddenly a second flying saucer comes in, touches Scott’s shoe and explodes powerfully killing him, Jean and Xavier. Others got injured by the explosion and the tavern ends up burning.

Outside the tavern, Cable is seen running away and someone points at him as someone who must be responsible for the bombing. As it turns out, the deliberate killing of Xavier, Cyclops and Jean Grey was the result of a division between Cable’s New Mutants and the X-Men in connection to the recent return of Xavier from deep space.

Quality

I’ll start with the story Kurt Busiek came up with. This one explores an alternate time in which Charles Xavier returned to Earth (after escaping from the Skrulls in deep space) only to find the X-Men in disarray which compelled him to restore things the way they were. This is not to be confused with his return in the canon storyline of the Muir Island Saga.

That being said, Busiek explored what would it be like had Xavier tried to resolve mutant matters not only with the team of mutants he founded but also with other teams such as the New Mutants (already led by Cable), X-Factor (Cyclops, Jean Grey, Iceman, Beast and Archangel) plus several other mutants. I really liked the way the mutants reacted to Xavier given his long absence from Earth, how his dream matters and turned out irrelevant to them as individual mutants, and if he still has what it takes to lead them. In some ways, Xavier looked like a politician trying to convince his constituents that his vision is still the best for them and their interests.

What really made the story running was the start of the division between the mutants when Cable rejects Xavier and points out that the X-Men founder’s devotion to appeasement is dooming mutants. All of these led to the shock opening scene and in terms of writing quality, it was all justified.

The scenes that happened AFTER the burial of Xavier, Cyclops and Jean Grey literally raised the stakes for the rest of the comic book. I don’t want to spoil further plot details but I can assure you all that Kurt Busiek’s script is very sold and there is so much to enjoy here especially if you are knowledgeable enough about the X-Men and the other parts of the Marvel Comics universe (note: the Avengers, Stryfe, Freedom Force and Fantastic Four also appeared).

Visually, the work of Tod Smith looks a bit rushed. His art here is not bad but I felt it could have been better had there been more time to polish his work. In fairness to Smith, his drawings on most of the characters still made them recognizable and he showed pacing with regards to the panels and angles used. I should say he does a decent job showing multiple characters fighting each other simultaneously.

Conclusion

*If you were a mutant, would you follow Charles Xavier or Cable?*

If you ask me, What If #46 (1993) is pretty entertaining and engaging to read thanks to the strong writing as well as the daring exploration of how the comic’s main story impacts others within the Marvel Comics universe. It has drama, action, intrigue and most notably it explores a new concept about how the X-Men would turn out after the death of their founder. It also raises questions on whether or not the X-Men are doomed without Charles Xavier’s presence.

If you are seriously planning to buy an existing hard copy of What If #46 (1993), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $40 while the near-mint newsstand edition costs $120.

Overall, What If #46 (1993) is recommended.

+++++

A Look Back at X-Men Adventures #7 (1993)

August 10, 2021June 7, 2025carlocarrasco

Welcome back, X-Men fans, superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today, we take a look at the topic of slavery and its connection with the mutants within the universe of Marvel. To be more specific, slavery was emphasized in one of the episodes of the popular X-Men animated series which itself had a monthly series of comic book adaptations – X-Men Adventures!

With those details laid down, here is a look back at X-Men Adventures #7, published by Marvel Comics in 1993 with a story written by Ralph Macchio and drawn by Chris Batista.

Early story

The story begins in Genosha, an island nation where mutants are designated as slaves constantly monitored by armed personnel of the state. X-Men team members Gambit, Storm and Jubilee are forced to do hard labor as they have been rendered powerless (with high-tech collars on their necks). Along with many other mutants, they are working on a key infrastructure project of the state.

As soon as the local authorities deactivated the collars of the slaves, Storm immediately attempts to escape by flying. Immediately, the collar on her neck got reactivated which neutralized her powers and caused her to fall down to the water below. As soon as she climbs up on a rock to rest, a cable wraps itself on her right leg. Suddenly, a huge Sentinel rises above the water and pulls her…

Quality

Like the TV episode it was based on, this comic book does a decent job of portraying slavery and oppression with mutants in mind while avoiding the very sensitive topic of racism. To see Gambit, Storm and Jubilee portrayed as much more vulnerable characters is a nice change from their usual portrayals. While the story has a strong slavery theme, it also sheds light on the ongoing, secretive development of the Sentinels program which clearly emphasizes the growing danger that await not only the X-Men (the prime target of Trask and his team) but mutants in general.

When it comes to the art, Chris Batista did a nice job drawing not only the characters (all recognizable) but also their surroundings, the Sentinels and the framing of action scenes.

Conclusion

*Gambit, Storm and Jubilee as slaves on Genosha.*

I personally find X-Men Adventures #7 (1993) somewhat fun and slightly engaging to read. As this is an adaptation of the X-Men animated series episode about Genosha and mutant slavery, it clearly has a strong wholesome approach to its presentation. That being said, its depth is actually limited as it presented its themes with younger readers and new X-Men readers in mind. Unsurprisingly, the action is limited and was portrayed to avoid violence. If you want a more serious and grittier portrayal of Genosha and mutant slavery, you should read Uncanny X-Men #235 to #238, and the X-tinction Agenda storyline.

If you are seriously planning to buy an existing hard copy of X-Men Adventures #7 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $30, while the near-mint copies of the newsstand edition and the Greek edition cost $90 and $200 respectively.

Overall, X-Men Adventures #7 (1993) is satisfactory.

+++++

A Look Back at Uncanny X-Men #304 (1993)

July 27, 2021October 25, 2023carlocarrasco

Welcome back, X-Men fans, superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the 30^th anniversary celebration of the X-Men which took place in 1993. Back then, Marvel Comics went full blast with the anniversary celebration of their mutants by releasing related merchandise, posters and comic books with gimmick covers (note: read my retro review of 1993’s X-Men #25) that came with high prices.

To put things in perspective regarding 1993, Marvel’s X-Men line of comics had monthly series of Uncanny X-Men, X-Men (Volume 2), X-Force, X-Factor, Excalibur, Wolverine and Cable. X-Factor #92 marked the start of the Fatal Attractions storyline which was the basis for the X-Men 30^th anniversary celebration. X-Force #25 was released and it not only brought Cable back but also Magneto.

Then came the 3^rd chapter of the Fatal Attractions storyline which was published in Uncanny X-Men #304. Not only did that particular comic book bring together many mutants and moved the storyline forward to a crucial stage (note: tension leading to it was built up in Uncanny X-Men #300, Uncanny X-Men #303 and also in X-Men Unlimited #1), it also served as the very celebration of the 30^th anniversary of the X-Men (although it was not the storyline’s conclusion as the plot continued in X-Men #25, Wolverine #75 and Excalibur #71).

So did this particular, anniversary celebrating issue of the Uncanny X-Men succeed with its objectives? Has it aged well through the decades? We can all find out in this look back at Uncanny X-Men #304, published in 1993 by Marvel Comics with a story written by Scott Lobdell and drawn by John Romita, Jr., Jae Lee, Chris Sprouse, Brandon Peterson and Paul Smith.

Early story

The story begins with division among the Acolytes who learned that their lord Magneto actually survived (note: refer to 1991’s X-Men #3 by Chris Claremont and Jim Lee). They ganged up against their leader Fabian Cortez for betraying Magneto. After pushing his now rebellious team members away, Cortez reminds them that for several months already, they have been continuing Magneto’s work on behalf of mutantkind. Suddenly Exodus appears to them and describes himself as the voice of Magneto and will guide mutants to rise and mentions paradise for the faithful mutants. After subduing Cortez and tempering the tension among the Acolytes, Exodus tells them to prepare themselves for ascension. This frustrates Cortez who realizes that he no longer holds leadership.

Over at the X-Men’s headquarters, Charlez Xavier is personally disturbed over the death of Illyana Rasputin, the sister of Colossus. He starts questioning himself as Illyana’s death under his watch makes his years-long mission (of convincing his fellow mutants to leave their old lives to take risks to fight for a world that fears and hates them) doubtful and tries to figure out how he could present himself in front of them. A holographic image of Lilandra appears to him.

In outer space, inside the space station called Avalon, Magneto stares at planet Earth. With nobody around him, he speaks apologizing to his followers for he cannot save them all. He also mentions that he was wrong in previously believing that he could rescue each and every one of them from humanity as he recently realized that Earth, for the moment, is doomed.

After walking an unspecified distance inside Avalon, Magneto picks up his old helmet and wears it…

Quality

*This 2-page art by Brandon Peterson is easily the best looking part of the comic book.*

I will start with the visual aspect of this comic book. The artistic quality ranges from fine to weird which should not be surprising since this one involved five artists. The 4 pages drawn by Brandon Peterson (who was once a regular artist on Uncanny X-Men) made the X-Men, Magneto and the Acolytes look not only good but also intense. The Peterson art here is artistically similar to the respective styles of Marc Silvestri and Jim Lee of that particular time. Jae Lee’s art on the flashback of Magneto’s life (during the time of the Nazi occupation in Europe) is undoubtedly very stylized. While his art brings out the intensity of Magneto’s painful past, certain images can be a little challenging to understand especially to readers who focus strongly only following the plot and details. John Romita, Jr.’s art, for me personally, often looks rough and there were times I hardly recognized the characters. The other artworks by Paul Smith and Chris Sprouse have cartoonish aesthetics.

*This is Jae Lee’s artistic contribution to the comic book. I found it weird that Magneto’s hair was shown as white during his past with the Nazis.*

As for the plot, I can clearly see that a hard effort was made to compose a story that would push the Fatal Attractions storyline forward, establish a turning point and still become worthy of celebrating the 30^th anniversary of the X-Men franchise. I can say that the storytelling is somewhat bloated. Early in the story, it was made clear that the respective sections showing Exodus with the Acolytes, Charles Xavier and Magneto pointed to an eventual confrontation that happened during the funeral of Illyana Rasputin.

As the build-up continued with the flashback of Magneto’s life, the fan service short scene of Kitty Pryde and the unfeeling Colossus (note: their romance was highlighted in Uncanny X-Men many years prior), and the talk scene between Bishop and Banshee, the pace of the story slowed down dramatically. By the time the attempt to move the narrative back to the core plot was made with the funeral scene (composed of the X-Men, X-Force and X-Factor), the pace was still really way down. By the time the conflict with Magneto, Exodus and the Acolytes stated, the pace recovery was incomplete and as such, seeing the scene unfold was very jarring (and not even the pages of Colossus’ frustration towards Professor X could solve the narrative pacing problem).

Unsurprisingly, the conflict was written to be overly dramatic complete with lengthy pieces of dialogue here and there. That being said, references to past comic books were established as Magneto once again emphasizes his beliefs about the human-mutant conflict using violence (while also side-stepping Jean Grey’s psionic powers to allow the Acolytes to come in undetected).

Human-mutant conflict aside, themes about faith, religion, idolatry salvation are clearly used. Magneto, who has a tremendous record of villainy and his previous leadership of the X-Men proved useless, was portrayed to be a walking wicked idol whose followers cannot do anything except idolize him and cause violence out of dedication to him. They really could not realize that idolatry is foolish and unholy which further adds to chaos on the world. As Magneto deceived himself to be the savior and lord of mutants, he further causes more pain and destruction to others around him. In short, Magneto will always be stuck with his wicked nature and clearly does not deserve heavenly authority no matter how hard he believes himself to be a savior.

The classic rivalry between Xavier and Magneto here was portrayed dramatically and yet I cannot help but think that their conflict was nothing more than a repeat of past encounters with the state and future of mutants at stake. To be fair, what happened here served as a logical build-up for the shocking encounter between Professor X and Magneto in X-Men #25.

Conclusion

*Nobody among the X-Men (except Charles Xavier), X-Force, Excalibur and X-Factor cared to dress properly for the funeral.*

To be clear, even though I am an avid X-Men fan, I find Uncanny X-Men #304 (1993) hard to be engaged with and hard to enjoy. Efforts to make it a worthy celebration of the X-Men are very clear but it’s just not entertaining nor compelling to read. As for the X-Men traitor scene, the revelation was not that shocking as the foreshadowing made it too obvious. At best, this comic book served as a warm-up for X-Men #25 which itself paid-off nicely. Being more than sixty pages long (including the advertisement and bulletins), this comic book has too much creative baggage which ultimately hampered its storytelling. It’s not terrible. It’s really not that great to read. What I experienced way back in 1993 with this comic book is just the same as I re-read it. It has not aged well.

If you are seriously planning to buy an existing hard copy of Uncanny X-Men #304 (1993), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $20, while the near-mint copies of the signed-and-numbered edition and the newsstand edition cost $120 and $60 respectively.

Overall, Uncanny X-Men #304 (1993) is satisfactory.

+++++

A Look Back at X-Men 2099 #5 (1994)

May 3, 2021May 2, 2021carlocarrasco

Welcome back, superhero enthusiasts, comic book collectors, 1990s culture enthusiasts and fans of Marvel Comics! This is the continuation of a look back at the Marvel 2099 crossover storyline The Fall of The Hammer which started in Spider-Man 2099 #16 followed next in Ravage 2099 #15. The 3^rd chapter of the said crossover filled the fifth issue of the X-Men 2099 monthly series.

For the newcomers reading this, a few of the X-Men of the far future were officially involved in this 5-part crossover storyline that was meant to celebrate the Marvel 2099 franchise back in the 1990s. This was the reason why Skullfire, Meanstreak, Krystalin and Bloodhawk were separated from their team leader Xi’an and the remaining teammates. Last time around, three of the mentioned X-Men got involved with Ravage and eventually reached the floating city of Valhalla together only to get separated.

With those details laid down, here is a look back at X-Men 2099 #5, published in 1993 (cover dated 1994) by Marvel Comics with a story written by John Francis Moore and drawn by Ron Lim.

Early story

The story begins in New York City where a vehicle moves at high speed until it hits a wall and stops. Out comes Tim Fitzgerald/Skullfire who moves away and spots Valhalla above him. In the floating city, Krystalin, Meanstreak and Bloodhawk are in confrontation with a powerful enemy called Heimdall who tells them to bow to him and swear allegiance.

Bloodhawk attacks Heimdall only to get pushed back. Krystalin fires crystal bits at him but to no success. Thinking that he’s too fast for Heimdall, Meanstreak tries a sneak attack from the side only to be hit hard, lose control and crashes to a wall. As the X-Men’s fastest member is down, a shadowy figure approaches him nearby…

Quality

*This quick flashback explains how the four X-Men 2099 members went to New York.*

As an X-Men 2099 tale, this one felt like a catch-up for Skullfire who was absent in the first two parts of The Fall of the Hammer storyline even though it was confirmed in X-Men 2099 #4 that he joined his teammates and help Meanstreak find his friend Jordan. That being said, there is a good amount of scenes focused on Skullfire as he makes his way up to Valhalla. There is also a quick flashback showing that indeed he was with his teammates as they arrived in New York only to get separated (which explains why only Krystalin, Bloodhawk and Meanstreak approached Ravage). More importantly, the flashback also contains additional details that explain what the X-Men discovered before arriving at Valhalla and why they decided to approach Ravage.

As the 3^rd chapter of The Fall of The Hammer storyline, this comic book barely moved the present-day narrative forward mainly due to having to use a few but precious pages to tell the short flashback to explain the X-Men’s involvement. Still, key revelations related to what happened behind-the-scenes added a lot of depth to the narrative and this properly sets the stage of for the remaining chapters. The 2099 major figures like Spider-Man, Punisher, Doom and Ravage all appeared here but very sparsely.

Conclusion

X-Men 2099 #5 (1994) pushed the narrative of the crossover a few notches forward but the revelations written saved it from being a throw-away story. For fans of X-Men 2099, there is a lot to like here and Skullfire’s late entry into the crossover will delight them. The writing was good enough and by the end of the story, the explanations were satisfying and the ending suggested that the stakes would be raised for the final two chapters of the crossover. Those who missed the presence of Thor 2099 should be happy to see him here, even though it was clear that he was being conserved for the last two chapters.

If you are seriously planning to buy an existing hard copy of X-Men 2099 #5 (1994), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $6 while the near-mint copy of the newsstand edition costs $18.

Overall, X-Men 2099 #5 (1994) is recommended.

+++++

A Look Back at X-Men #5 (1992)

April 8, 2021April 7, 2021carlocarrasco

Welcome back, superhero enthusiasts, comic book collectors, fans of 1990s culture and fans of Marvel Comics! Today we revisit the adjective-less X-Men monthly series (Volume 2) that started in 1991 with the combined talents of Chris Claremont and Jim Lee. For those who are unaware, Chris Claremont had his conflict behind the scenes with then X-Men comics editor Bob Harras which led to him departing the X-Men series with issue #3.

Previously I reviewed X-Men #4 which by today’s standards is highly significant and very expensive to acquire as it marked the literary debut of Omega Red who made quite an impact with X-Men fans. It should be noted that Wolverine and Omega Red had encountered each other far back in time and issue #4 marked the renewal of their rivalry.

With those details laid down, here is a look back at X-Men #5, published in 1992 by Marvel Comics with a story written by Jim Lee (plot) and John Byrne (script), The art was done by Lee with ink work done by Scott Williams, Art Thibert, Bob Wiacek and Joe Rubinstein.

Early story

*This for me is the money shot of the comic book. Although Wolverine is absent, you get to see the entire Blue and Gold teams with Charles Xavier as drawn by Jim Lee.*

The story begins with Cerebro detecting an unidentified mutant signature in the presence of X-Men members who were out of the mansion. Forge tells Cyclops about the disturbance happening less than five miles away from their mansion. Colossus and Psylocke join in and quickly they leave the mansion with Cyclops using the Blackbird.

Not too far away, Gambit, Rogue, Jubilee and Beast are held captive inside a vehicle with an armed man in their presence. Gambit starts the effort to free his teammates using one of his charged cards.

Elsewhere in a snowy place, Wolverine is seen struggling thinking he defeated his old rival Omega Red. Suddenly the Russian mutant jumped at him and the two resumed fighting. Their fight is being monitored from a distance…

Quality

*The Wolverine-Omega Red rivalry is a must-see.*

When it comes to storytelling, it is obvious that the writing duo of Jim Lee and John Byrne did their best to push the envelope and break new ground as far as telling an X-Men story goes. For one thing, there is the presence of paramilitary elements which are common with Jim Lee’s creations. There are even flashbacks into the past in which Wolverine (then called Logan) actually took part in a special forces operation with a few notable others. These flashbacks expands further the personal history of Wolverine in a really intriguing way. With the way the story was presented, it is clear that the new creative team pulled off serious moves in modernizing the way X-Men stories were told in comparison to the way Chris Claremont told all those many such stories during his long run.

When it comes to the visuals, Jim Lee did another great job as each page looks great and he proved to be clever with the way he visualized the script. As this comic book was inked by more than one inker, there were subtle differences with regards to contrast as well as ink intensity.

Conclusion

X-Men #5 (1992) is another great comic book that involved Jim Lee’s art. Apart from the modernizing of the storytelling, this comic book further expanded the past of Wolverine while successfully giving readers more of Omega Red who is now a major supervillain of Marvel’s.

If you are seriously planning to buy an existing hard copy of X-Men #5 (1992), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $27 while the near-mint copy of the newsstand edition costs $79.

Overall, X-Men #5 (1992) is highly recommended!

+++++

A Look Back at X-Men 2099: Oasis

June 11, 2020January 16, 2024carlocarrasco

According to the online edition of Merriam-Webster Dictionary, an oasis is something that provides refuge, relief, or pleasant contrast. In the case of X-Men 2099, the open areas of the southwestern region of the United States is a dangerous place to be in even though they are free from oppressive systems of control that dominate cities. As such, it is the southwestern region in 2099 can be compared to the Old West in history where there are lots of desolate places as well as lots outcasts and outlaws. Unlike their mainstream counterparts, the X-Men of the far future are nomads and they don’t have a long-term place of residence they could call home. Considering how dangerous the region is for the mutants, a haven of peace, security and prosperity is always ideal to them but only if it is indeed real.

That is what we will explore in the one-shot comic book X-Men 2099: Oasis here.

But before proceeding with the review, it has to be emphasized first that the one-shot comic book which was made special with the painted art of the Hilderbrandt brothers Greg and Tim. For long-time X-Men 2099 scribe John Francis Moore, Oasis was like a big dream come true. When asked during an online interview about his recollections on making X-Men 2099: Oasis and working with the Hildebrandt Brothers, Moore stated:

I was a fan of the Hildebrandt’s fantasy illustration, and I was blown away when Joey told me that they wanted to do an X-men 2099 project. I met with them in Joey’s office and they were both really great guys. I think they said they really liked Bloodhawk, so I knew he’d be a major player in whatever story we developed. They didn’t enter the project with a lot of conditions. They seemed genuinely happy to get to play in this corner of the Marvel universe.

I can’t remember ever writing a full script for any of my Marvel work. I gave them a plot and sometime later received Xeroxes of pencil art (Hildebrant art!) to dialogue. Then it went back for them to paint, and they did a phenomenal job. I only wish that it could’ve been published before the 2099 line was axed. It was a beautiful book that I think was sadly under promoted.

To find out if it is any good, here is a look back at X-Men 2099: Oasis published in 1996 by Marvel Comics with a story written by John Francis Moore and painted art done by Greg and Tim Hildebrandt.

Early story

The comic book begins with a flashback set in Hong Kong in the year 2090. A much younger Shakti/Cerebra is on the loose trying to reach a ferry to Kowloon with a plan to hide in the back alleys of Tsimshatsui. Suddenly Lokjaw intercepts her and grabs her. They had a short history together and Lokjaw insists that Shakti should be grateful to her father who raised her to run his bio-shops. After a brief chase, something hits Lokjaw who fell into the water. It turns out Ryu Kobolt helped Shakti, and he has been instructed by his boss to offer her asylum.

In the present day of 2099 in New Mexico, Bloodhawk flies to his desert home not knowing he is being monitored. Two people, an old man with white hair and a lady, work together to stun the X-Men member and take him with them. A short time later, inside a high-tech facility, Bloodhawk wakes up finding himself restrained and being watched over by the lady and the old man. They tell him he is in the Promised Land, a place where the sins of the old world will be washed away. Using her powers, she touches Bloodhawk’s head and slowly turns him into his normal human form.

Meanwhile outside a deserted town near the border between Colorado and Kansas, Shakti, Tim/Skullfire and Luna arrive riding motorcycles. They are checking the potential presence of a mutant nearby…

Quality

*Really great visuals by the Hildebrandt brothers!*

It is very safe to say that this is one very ambitious X-Men 2099 story ever told by John Francis Moore. It sure has an epic concept showing that Oasis in the open region not only exists, but also serves as the closest thing humanity in America has to imitating Heaven built on top of the land. Oasis is the indoor paradise where mutants and humans gather together, live in peace and work together in tremendous ways that the X-Men could only hope to achieve in Halo City (note: this story is set some time after X-Men 2099 #25).

The titular place is clearly the centerpiece of the story backed with characters and threads from the past that explain how it got established. Part of the creation of Oasis is connected with Ryu Kobolt whom Shakti got close with many years back. Of course, someone else got involved with Ryu which directly connects with the creation of Oasis.

While it is also clear that the story took some inspiration from Christianity, I should say that the approach was done by rehashing old storytelling concepts like emphasizing a charismatic person who looks godly or messianic, people getting converted with ways that are not holy, false prophets misleading those seeking salvation, etc. With the ages-old concept of the mad scientists added, then there is conflict here for the X-Men to engage with. The story touches on themes like destiny, conversion, having the power to judge people and committing genocide.

As for the characters, John Francis Moore made the right move to utilize Shakti, Bloodhawk, Skullfire and Luna of the X-Men, however the other new characters such as Memphis, Pandora and Ryu pale in comparison with regards to importance (even though Memphis and Ryu each had a good amount of the spotlight and even some character development).

When it comes to the artwork, this is one great looking superhero, sci-fi story in painted form thanks to the Hildebrandt brothers! Not only is their painted art beautiful to look at, there are also eye-catching shots of scenery, very detailed facial expressions and a very lively presentation of the action scenes and explosions! Each and every character painted – specifically Shakti, Skullfire, Bloodhawk, Luna, Memphis, Pandora and Ryu – has that touch of visual realism (note: not photo realism) that make them look more human to the eyes (especially the X-Men members when compared to how they were drawn by Ron Lim and Jan Duursema in the monthly series). This is one great looking comic book and easily one of the very best of the X-Men of 2099!

Conclusion

X-Men 2099: Oasis is a one-shot comic book that did not match its high ambition. While it has some of the best painted superhero art of the 1990s ever, the storytelling just did not engage me that much. For one thing, its approach on taking inspiration from Christianity is very flawed not only due to rehashing storytelling concepts but also due to the fact that everything – including the titular Oasis – had to be concluded already. Even though there was a build-up leading to a final conflict, the payoff was not that great and ultimately there was a sense of rush in the 2^nd half of the story.

What is also disappointing is the fact that the events told here did not really impact Shakti, Skullfire, Luna and Bloodhawk at all, nor was there anything added to the narrative of the X-Men 2099 monthly series. This is too bad because the existence of a haven where people can live in and be protected from the prejudice and violence in the region fits nicely with the concept of X-Men 2099 in the first place. Even though there was a reference to issue #25 during the first half, this comic book ended up looking like a dream story or a parallel universe tale with a $5.95 cover price! It seems to me like this was more like a cash-grab attempt to exploit comic collectors and the fans of X-Men 2099.

If you are seriously planning to buy an existing hard copy of X-Men 2099: Oasis, be aware that as of this writing, MileHighComics.com shows that the near-mint copy costs $14.

Overall, X-Men 2099: Oasis is a serviceable one-shot comic book. That being said, if you really intend to buy it, you should not pay more than $5 for it.

A Look Back At Logan

May 11, 2019March 8, 2021carlocarrasco

What a journey it has been! When I first saw then newcomer Hugh Jackman play Wolverine in the first X-Men movie back in 2000, I was not that impressed. In X2: X-Men United, Jackman outdid himself and established Wolverine as a very defining action hero for 21st century Hollywood cinema that moviegoers can keep coming back for more.

Then Jackman played Wolverine (referred to as Logan) several more times in the X-Men movies plus the standalone Wolverine movies. His most defining performance as the cinematic icon happened in 2017 with the release of Logan directed by James Mangold.

*Hugh Jackman delivered his best superhero movie performance in Logan.*

Set in what is the near future, Logan takes place in a time (note: the X-Men cinematic universe timeline was revised as a result of X-Men: Days of Future Past) when mutants are dying off as a human species. Wolverine/Logan works as a limousine driver and lives at a smelting plant in Mexico with Cabal and a very old Charles Xavier (Patrick Stewart) who has dementia and has been unstable with his telepathic powers which make him a danger.

The future is bleak for them. Logan is very old and his healing factor has weakened a whole lot and the adamantium coating of his skeleton has poisoned him. Xavier meanwhile needs be provided with medication to prevent him from having a seizure which, combined with his telepathic powers, affects all others around them negatively. It has also been confirmed that an incident was caused by Xavier’s seizure which killed off several X-Men members leaving them three. Logan has to work and earn as much money as he could to keep providing the medication.

One day, a lady approaches Logan to try to hire him to drive her and a young girl named Laura (X-23 in the comics, played by Dafne Keene) to a refuge in North Dakota to escape from danger. Logan accepts reluctantly but discovers that the lady got killed. He returned to the smelting plant and learned that Laura stowed away by discreetly riding his limo. Eventually mercenaries led by Donald Pierce (who met Logan early in the film) arrive at the smelting plant. From this point, Logan realizes why the lady and Laura are targets and then mayhem begins when the little girl fights the mercenaries.

When it comes to storytelling, Logan emphasizes the violent and bitter journey of Wolverine who, at a very late stage in his life, has to accept the reality that he has to make another hard adjustment as a key element from his past comes into his life which is Laura who is actually a clone of him produced from an extracted sample of his DNA. The movie has some parallels with the 1950s cowboy movie Shane (which has some scenes in the film) which added depth to the story.

Logan also emphasizes the element of aging which has not been fully explored in the superhero movie genre until now. Wolverine lived lonely, had no people to love and his personal journey has been marked with violence and death. He could only move forward with whatever opportunities he could find but no matter what he does, happiness will always be unreachable to him. For Charles Xavier, age really tore him down and being almost 100-years-old in the story, he really has nowhere else to go to but death. Not even his legacy of brilliance and teaching mutants to use their powers for good could make any profound changes.

The long journey of Logan, Xavier and Laura in the film is where the character developments really set in. Along the way, there is a scene in which Logan, holding X-Men comic books (made specifically for the story), expressed his displeasure about how people perceive the X-Men and that the pharmaceutical company fed their young cloned mutants with fantasy and lies. Also striking to me as a viewer and a geek were the scenes showing how unethical the company has been with developing the young mutants (X-23’s pals) who decide to fight to escape.

In terms of presentation, Logan was rated R and for good reasons. It was rated R not simply because of very brutal violence and swearing but because its concepts are clearly meant for adults to see. If you combine the concepts of unethical science experiments, mercenary brutality, human rights violations and unchecked destruction, clearly Logan is NOT the superhero movie made for parents and their little kids to watch together. When it comes to action and spectacle, this movie has more than enough stuff to keep viewers entertaining while at the same time it has this particular 1980s R-rated Hollywood action film feel to it.

*Dafne Keene as X-23/Laura. Her great act will be remembered for a very long time.*

Performances of the actors were top-notch, specifically Jackman, Stewart and Dafne Keene. Hugh Jackman as a superhero cinematic artist truly evolved! If you disregard the timeline alteration of the X-Men films, you will realize how Jackman’s Wolverine gradually changed in terms of style and expression. In 2000’s X-Men, Wolverine was trying to figure out his place among the mutants as Charles Xavier helped him. In X2, he decided to be with the X-Men and help them out in their situation. In X-Men: The Last Stand, he has to deal with helping the X-Men tackle Magneto who has Dark Phoenix/Jean Grey (the lady Logan has feelings for). In X-Men Origins: Wolverine, he struggles morally and dealt with his relationship with his “brother” Sabretooth. In The Wolverine, he moves away from the X-Men and got himself involved with a conflict (plus an old friend) in Japan. In X-Men: Days of Future Past, Wolverine of the dark future goes back through time to his younger self with the pressure to alter history.

Patrick Stewart’s dying Xavier in Logan shows a new dimension to the cinematic art of the actor. He really makes Xavier look hopeless and yet he successfully made viewers more sympathetic to his character than ever before. Last but not least, Dafne Keene as Laura/X-23 proved how talented she really is when it comes to dramatic scenes. Even though she got yelled at by Hugh Jackman, Keene still moved on with her strong performance. Definitely her performance is something to be remembered for a very long time in cinema.

Conclusion

I have seen a whole lot of superhero movies in my life. Just over a week ago I managed to watch Avengers: Endgame and it was a true epic like Infinity War. Even by today’s standards, Logan is a standout superhero movie that delivers spectacle, action, solid performances, some humor and the distinct vibe of 1980s R-rated Hollywood action cinema combined. In fact, I should say that Logan is a modern day classic among all superhero movies.

As such, Logan is highly recommended and I urge you readers to watch it on Blu-ray disc format to get the best visual and R-rated viewing experience.

Thank you for reading. If you find this game review engaging, please click the like button below and also please consider sharing this article to others. Also my fantasy book The World of Havenor is still available in paperback and e-book format. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

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