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UNCANNY X-MEN No. 4, December 2024 |
Furthermore, this simply isn’t a narrative which solely relies upon bone-breaking violence to entertain its audience. But instead has a good deal of character development intertwined with all the close combat – most notably that of the Hag’s emotionally touching backstory which concerns the harrowing loss of both her helpless nine-year-old son, as well as herself, to a rain-lashing hurricane. This particular flashback sequence is very convincing, especially when it suggests the young woman may well be a mutant herself, and quite surprisingly imbues the “self-proclaimed witch” with plenty of pathos.
Similarly as well-crafted is all the chaos occurring back at Gambit’s hideaway in Louisiana over Wolverine’s life-threatening injuries. Understandably, Logan’s sudden arrival, courtesy of Nightcrawler’s teleportation powers, causes quite the dilemma for the remaining X-Men, as they must decide between rescuing their team leader or protecting “the young mutants being targeted by Sarah.” The arguments for and against one course of action rock back and forth throughout this publication, to the point where it only becomes clear at its very end as to just what Professor Charles Xavier’s super-group are going to do.
Doubtless making many a bibliophile squirm in sympathy as Rogue is mercilessly brutalised, and her love-torn Remy is pulled between 'pillar and post', are David Marquez’s marvellous layouts. The sheer physical gravitas behind the punches being thrown during Gaunt’s slugfest with Anna Marie are oft-times eye-wincingly good. However, it is surely the illustrator’s pencilling of the Hag’s origin story, along with colour artist Matthew Wilson’s haunting palette, which really leaves a lasting impact upon any onlookers.
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The regular cover art to "UNCANNY X-MEN" #4 by David Marquez & Matthew Wilson |