Uncanny X-Men #16 - Marvel Comics

UNCANNY X-MEN No. 16, August 2025

It’s probably a safe bet that a fair number of this twenty-page periodical’s readers probably felt its series of almost sickly sweet conclusions were rather anti-climactic at best. In fact, apart from one magical moment where Doctor Theodore Sallis’ slime-covered alter-ego is sensationally launched against the death-like deity Shuvahrak, almost the entirety of “The Voice Of Darkness” is frustratingly filled with missed opportunities; “All I know for certain is whoever knows fear burns at the touch of the Man-Thing.”

For starters, the notion that perhaps having a farm load of super-powered refugees living nearby is not sitting all that well with the inhabitants of New Orleans, is finally revealed to be quite the reverse – with the metropolis’ mayor actually announcing that the "Big Easy” will from now on be “the country’s first mutant friendship city” due to all the ‘normal’ lives they’ve apparently saved. This concept is definitely a bit bemusing, considering that “the shoppers at a popular waterfront mall” wouldn’t have been in danger in the first place if it wasn’t for the Outliers visiting the plaza, and resultantly just smacks of Gail Simone creating an all-too convenient alternative to the safe haven of Krakoa.

In addition, the potential of a deranged robotic Bloodhound murderously bounding into Haven House and massacring its inhabitants is infuriatingly nipped in the bud within the space of three panels. Alongside disagreeable secret agent Miller simply being disbelieved by his fellow operatives that a mutant sanctuary exists in the Mississippi swamplands and resultantly getting sacked, these highly disappointing outcomes suggest that the American author suddenly just got tired of the sub-plots, and decided to wrap them up as soon as the comic's script allowed.

Lastly, but by no means least though, has to be the actual ending of the author’s long-running “Dark Artery” narrative, which sees the mysterious entity behind Deathdream’s journey into the accursed underground hell-town known as Penumbra, implausibly decide to give up her desire for a replacement on some emotional whim. This unconvincing call comes completely out of the blue, and is supposedly due to Jubilee – who up until this moment has had no interaction with the sinister spirit whatsoever – convincing Shuvahrak that she is sympathetic to the grieving goddess’ loss of a daughter..!?!

The regular cover art to "UNCANNY X-MEN" #16 by David Marquez & Matthew Wilson

Uncanny X-Men #15 - Marvel Comics

UNCANNY X-MEN No. 15, July 2025

Captivatingly claustrophobic due to so many of its sense-shattering shenanigans occurring deep down inside a long-buried crypt, there isn’t much wrong with Gail Simone’s narrative for Issue Fifteen of “Uncanny X-Men”. Indeed, the twenty-page periodical’s well-paced ‘potash’ of past, present and potential future sub-plots should see many a bibliophile utterly beguiled; “Oh, my dear, dear fellow. What makes you think you are free to leave.?”

Admittedly, this third instalment to the American author’s “The Dark Artery” storyline doesn’t really contain all that much adrenalin-fuelled action – at least not until this comic book’s end when Deathdream, Jitter, Calico and Ransom take-on the furious pitchfork-carrying residents of the realm of the dead. But the sheer sinister undertones of the dialogue-driven set-pieces beforehand, quite easily still carry this adventure ever onwards at an enjoyably brisk pace; especially during Miss Benjamin’s potentially deadly confrontation with the truly despicable secret service agent Mister Miller “nearly a century past.”

In fact, one of the dilemmas doubtless faced by this book’s Oregon-born writer was how she was ever going to cover as much of Lady Henrietta’s intriguing role as Penumbra’s current custodian as she does, whilst competing with the limited sheet-space required to also tell the mutant teacher-turned-caretaker’s brilliantly penned and emotionally-charged backstory.

Furthermore, Simone is also busy sowing the seeds of a potential massacre about to occur within the seemingly safe Haven House. This upcoming Sentinal attack might not have struck the audience as being particularly terrifying when the titular characters were residing there. However, rather cleverly, Gail has the X-Men depart to spectacularly save the Outliers’ day, and in doing so exposes the highly likeable little Chelsea and her mother to the flesh-tearing danger of a deranged mechanical Bloodhound back home.

Marvellously managing all of this comic’s visuals is David Marquez, who impressively imbues all the various sequences with just the right amount of atmosphere and apprehension. Of particular note has to be the Illustrator’s prodigious pencilling of Mister Miller, whose arrogant superiority is brought down to Earth with a heart-stopping bump when the Mutie-hater shockingly realises that the people he was planning to cold-bloodedly gun down, might not actually let him leave the swamp in one piece.

The regular cover art to "UNCANNY X-MEN" #15 by David Marquez & Matthew Wilson

Uncanny X-Men #14 - Marvel Comics

UNCANNY X-MEN No. 14, July 2025

Somewhat slowly scratching away at “the history of the hidden landscape under the Louisiana swampland”, Gail Simone’s script for Issue Fourteen of “Uncanny X-Men” certainly contains an incredibly intriguing insight into a terribly trepidatious time when mutants in the United States of America were mercilessly hunted by the sinister “Service”. True, Miss Henrietta Benjamin’s  captivatingly penned adventure set during the early Nineteenth Century regrettably only occupies just over a quarter of this twenty-page periodical. But it so dramatically depicts a far less civilised time where any “Johnny Devil” is apparently shot on sight, that the young lady’s bloody confrontation with two heavily-armed ‘holier than thou’ government agents will surely stay in the audience’s mind well after they’ve put the comic down.

Furthermore, this book also features a pulse-pounding bout of pugilism between Rogue and the dragon Sadurang, which shows just how fearsome a fighter Anna Marie can be when she believes her husband is in mortal danger. As with Miss Henry’s aforementioned ruckus in New Orleans, this punch-up is sadly somewhat short-lived. However, considering that the super-strong mutant is going up against a gigantic Asgardian sorcerer who studied under the dread Dormammu himself, such a fight was always going to be swift (and one-sided), even when the mutant gets in two thunderous whacks before the ice-spewing serpent really knows what’s hit him; “Females. By the frosted peaks of Jotunheim, I will never understand them.”

Perhaps this publication’s weakest plot-thread therefore lies with the American author’s handling of the Outliers encountering the Man-Thing close to their supposedly safe retreat at Haven House, and debatably not doing much else except talk amongst themselves. This unexpected meeting undeniably gave this ongoing title’s previous edition a suitably scary cliff-hanger which potentially promised at least a modicum of sense-shattering shenanigans due to the X-babies’ terror at meeting a creature who “will melt your face off if you show any fear”. Yet rather than utilise Theodore Sallis’ terrifying alter-ego for any adrenaline-fuelled action, or a dynamically-charged momentary misunderstanding, Stan Lee’s co-creation is underwhelmingly referred to as “just a big, good doggie” by Deathdream, and rather perturbingly pencilled by artist David Marquez as the burial site’s sedentary doorman.

The regular cover art to "UNCANNY X-MEN" #14 by David Marquez & Matthew Wilson

Uncanny X-Men #11 - Marvel Comics

UNCANNY X-MEN No. 11, May 2025

As opening instalments go for a supposed "milestone X-Men crossover", Gail Simone’s narrative for “Echoes Of Madness” certainly seems to start out well with a shocking act of despicable treachery aboard the Shi’ar escort cruiser C’rylari by Navigator Elilan. But disappointingly, once poor Professor Xaiver is heavily sedated in his Graymalkin Prison cell, and his telepathic link to Xandra Neramani resultantly broken, this comic’s plot somewhat fatiguingly focuses upon (yet) another farmyard training session for the Outliers; “You go in the semicircle. And you stay on your feet. Three full minutes.” 

Admittedly, this sequence initially provides a bit of fun for the audience to enjoy as Nightcrawler quickly demonstrates to “little Calico” that the rookie mutant needs to always expect the unexpected, and the increasingly haughty Ransom taunts Wolverine over his 'old age'. However, the entire mood to so innocent-sounding a set-piece is suddenly turned upon its head by Rogue uncharacteristically commanding Gambit to take down one of the pupils “hard.” This bizarre order comes completely out of the blue, and is supposed to suggest that the team’s current leader is taking her responsibilities seriously.

Yet poor Sofia’s brush with a devastating kinetic energy-filled playing card probably just caused many a reader to scratch their heads in disbelief as to just how potentially injuring one of the X-Men’s proteges is apparently an example of strong governance. Indeed, at the very start of the exercise Jubilee even refers to the workout as being a “game”. So just why Anna Marie LeBeau gets all agitated as to the children’s playful attitude towards the challenge, and therefore questions whether they could survive a genuine threat to their existence, is a bit baffling – particularly as the quartet have literally just come back from besting a pack of killer Sentinel dogs at a local shopping precinct.

Furthermore, Remy’s smart-mouthed personality appears to have been completely sucked away by the American author, with the former Thieves Guild member acting more like a sycophant robot to his wife’s incongruous instructions, than the flamboyant, swashbuckling adventurer most fans will favour. Of particular note is how coldly he obeys Rogue’s directive to harm one of their wards, with artist Javier Garron pencilling the Cajun from New Orleans almost nonchalantly choosing his unsuspecting target, and then cold-heartedly flicking his deadly missile towards them without a trace of emotion upon his dead-pan face.

The regular cover art to "UNCANNY X-MEN" #11 by David Marquez & Matthew Wilson

Uncanny X-Men #10 - Marvel Comics

UNCANNY X-MEN No. 10, April 2025

Containing plenty of pulse-pounding punch-ups, and an enthrallingly tense political nightmare for the highly dislikeable Corina Ellis, it’s arguably easy to see just why this particular issue of “Uncanny X-Men” was the fifteenth best-selling comic of February 2025 – at least according to “ICv2.Com”. In fact, some bibliophiles may well have expected “Off The Leash” to have done even better, as Gail Simone’s script manages to deliver a nail-biting battle between the Outliers and “a new, vicious and unstoppable anti-mutant weapon initiative” without just resorting to the rookie super-heroes unthinkingly battering their robot opponents into submission.

This decision to have the mutant recruits outwit their dog-based Sentinel foes really lies at the heart of this book’s successful storytelling, with Jitter’s decision to imbue herself with all the knowledge and wisdom of a combat medic causing the ‘X-Babies’ to work together as a team, rather than just’ smack the snot’ out of Larry Trask’s latest creations. Furthermore, the American author generates a real, palpable sense of danger for the potential X-Men recruits, with all four of the adolescents coming within a whisker of being savagely slaughtered by their assailants’ “chainsaw-like teeth.”

Enjoyably though, a good portion of the pleasure readers should experience from this twenty-page periodical’s plot doesn’t come from the aforementioned sense-shattering shenanigans either. But is somewhat surprisingly generated by the Warden of Graymalkin Prison, who completely loses her mind over the unauthorised assassination attempt, and furiously berates the likes of Captain Erza, Jerry Greentree and Trask when she realises the strike has “gone and made them [the Outliers] all heroes” with both the press and general public. Indeed, Ellis’ rapid meltdown may well be the highlight of this comic for some within its audience, considering how conceitedly calm and unpleasantly confident the malicious Doctor ordinarily is; “I want him running in the Danger Room by morning. Punitive mode.”

Also well worth a mention is Andrei Bressan, who along with colour artist Matthew Wilson, does a solid job in sketching all the highs and lows of Sofia Yong’s trip to the local shopping mall. The Brazilian illustrator is clearly capable of drawing some incredibly tender moments, such as Miss Deneer graciously thanking Nightcrawler for saving her daughter’s life, as well as create this comic’s more intense action sequences, and definitely helps add to an already stressed situation by prodigiously pencilling all the combatants with some highly emotional facial expressions.

The regular cover art to "UNCANNY X-MEN" #10 by David Marquez & Matthew Wilson

Uncanny X-Men #9 - Marvel Comics

UNCANNY X-MEN No. 9, March 2025

Arguably containing some of the most blood-crazed, stone-cold killer Sentinels seen within the Marvel Universe, Gail Simone’s opening action sequence for Issue Nine of “Uncanny X-Men” is certainly not for any faint-hearted fans. However, despite such an incredibly grisly introduction to Larry Trask’s cybernetically-enhanced stray dogs, the bulk of this twenty-page book is disappointingly just filled full of word-heavy conversations between the titular cast and the young, predominantly unlikeable mutants under their guardianship; “Each one of y’alls gonna take one Outlier to mentor. Get close. But be the adult, not their buddy.”

Indeed, in many ways it seems as if the Oregon-born writer simply needed some storyline with which to pad out the majority of this comic, so decided upon a straightforward ‘pen-by-numbers’ sub-plot which allowed her to individually pair the central cast up with a fledgling character, and then uninspiringly have the duo discuss their future plans together. Such a technique certainly helps fill the sheet space. But it also makes the entire ensemble feel more like an understandably unused storyline from Chris Claremont’s run on the “New Mutants” during the 1980s - in which the fledgling X-Babies impatiently rebel against their well-meaning, highly-experienced tutors.

Thankfully though, things definitely do hot back up once Ransom, Calico, Jitter and Deathdream take a trip to the local shopping mall, and are almost immediately attacked by an unauthorised deployment of the aforementioned Wolfpack. This savage scrap is as enthralling as it is ferociously fought. Albeit the American author’s determination to depict Valentin Correa as some sort of major big hitter by him referencing that he's previously “knocked down Wolverine” with a single punch is rather clunkily-delivered, and shows a disagreeably arrogant side to the super-strong student.

Proficiently pencilling all of this comic’s highs and lows is Andrei Bressan, who undeniably adds an element of gratuitous body horror to its pulse-pounding proceedings which has seldom been seen before. In addition, the deadliness of the Bloodhounds attack upon the unsuspecting Outliers is extremely well-sketched, with many a bibliophile doubtless able to hear the disconcerting clank of the homicidal canines’ robotic frames on the plaza’s tiled floor as they encircle their intended target.

The regular cover art to "UNCANNY X-MEN" #9 by David Marquez & Matthew Wilson

Uncanny X-Men #8 - Marvel Comics

UNCANNY X-MEN No. 8, March 2025

Outrageously announcing this particular twenty-page periodical as being “an all-out action issue” of “Uncanny X-Men” in its solicitation synopsis, Gail Simone’s actual narrative for “Finale” must have resultantly fallen very flat with its readers due to the comic essentially consisting of numerous word-heavy, conversational pieces and nose-to-nose discussions. Indeed, apart from Doctor Corina Ellis shamefully slapping her minion Scurvy squarely across the chops during the book’s opening, a proper physical blow in anger isn’t thrown amongst any of this publication’s numerous combatants until Professor Xavier’s mental image finally wallops Phillip’s psychological projection straight up into the stratosphere towards the end.

Up until this point, the vast majority of the sedentary storytelling is heavily reliant upon the considerable cast of characters disagreeably bickering with one another, and then supposedly ridding themselves of some malignant influence which has caused them all to be irrationally ireful. Just how the mutants manage to do this isn’t really explained, except through Rogue’s insinuation that the founder of the X-Men is somehow keeping ‘skinny boy’ too distracted to keep up this emotional assault upon her fellow team-mates.

Perhaps even more infuriating though, has to be this four-part storyline’s ending, which rather than show the likes of Cyclops, Jubilee, Wolverine and Gambit absolutely batter the over-confident military might of Graymalkin Prison, simply has the super-heroes impotently walk out of the correctional facility and leave their fellow incarcerated mutants behind. Such a conclusion is arguably far from satisfactory, and genuinely raises some important questions as to just how formidable these two teams supposedly top-tier rosters are when both completely fail to achieve so important a goal; “To Hell with your promises! You’re leaving him to rot. And worse!”

Possibly just as confused by so much talk and so little dynamism is Javier Garron, who undoubtedly does his best to provide this comic’s layouts with some semblance of pace. However, even the most proficient of pencillers can only repeatedly sketch Magik, Juggernaut, Nightcrawler and the Outliers inexplicably floating about in thin air for so long, before eventually resorting to a carousel of largely lack-lustre side-on shots of the two squads just waxing lyrical to one another about how they’d each do things entirely differently.

The regular cover art to "UNCANNY X-MEN" #8 by David Marquez & Matthew Wilson

Uncanny X-Men #7 - Marvel Comics

UNCANNY X-MEN No. 7, February 2025

Despite the first instalment to this comic’s “Raid On Graymalkin” storyline actually featuring in another “Marvel Worldwide” title entirely, Issue Seven of “Uncanny X-Men” still packs a surprising amount of punch. Admittedly, much of the twenty-page periodical’s opening third is understandably focused upon bringing anyone omitting to purchase Jed Mackay’s book bang up to speed with the mini-event’s overall plot. But the tense atmosphere between Rogue and Cyclops is so palpably penned by Gail Simone, that there is still plenty of entertainment to be found from the two former team-mates arguing over the phone.

Of course, the biggest hook to this publication occurs once Anna Marie LeBeau and Scott Summers have decided to attack Professor Xavier’s former home independently of one another, and some of the two squads' biggest hitters plough into the prison with an unbridled passion. These subsequent action sequences are absolutely chock full of pulse-pounding pugilism, such as when Rogue takes out the Blob within an instant of the Brotherhood of Evil Mutant-turned-Trustee making a startling appearance, or a brutally battered Beast finding the physical strength to renew the fight with his overconfident jailers, and should resultantly take any long-term fans back to the glory days of Chris Claremont, when his co-creations took few prisoners and arguably asked even fewer questions.

Another intriguing aspect to the American author’s script though is undoubtedly the short-lived tussle between Rogue and Cyclop’s ‘opposing’ squads. Misunderstandings between some of the New York City-based publisher’s top tier super-teams and the X-Men were always occurring during the Bronze Age of Comics. Yet it’s rare (and thoroughly enthralling) to see the veteran comrades-in-arms slugging it out amongst themselves, even if the kerfuffle is sadly rather short-lived; “This ain’t done, Scott. We both know it. You laid hands on mine.”

Disappointingly, what does probably let this comic down is the decision to intermittently utilise the artistic skills of both David Marquez and Edgar Salazar in the same book, as the two proficient pencillers arguably have disconcertingly different drawing styles. These differences debatably jar the reader from out of the adventure whenever a swap occurs, with Fred Dukes’ tubby alter-ego most notably suffering one of the more overt changes in appearance.

The regular cover art to "UNCANNY X-MEN" #7 by David Marquez & Matthew Wilson

Uncanny X-Men #6 - Marvel Comics

UNCANNY X-MEN No. 6, January 2025

For those readers able to wade through this twenty-page periodical’s predominantly plodding plot, Issue Six of “Uncanny X-Men” will most likely prove something of a disappointment overall. Indeed, many a bibliophile will probably feel that Gail Simone was somewhat struggling to decide whether the publication’s storyline was going to predominantly follow the exploits of its titular characters, or instead feel like an early instalment of Chris Claremont’s hugely popular comic book series “The New Mutants”.

Unfortunately, the Eisner Award Winner’s inability to wholly commit to either of these narratives means that “The Change In Ourselves” arguably won’t completely satisfy either potential audience, and the end result creates some infuriating cutaways back to the students’ school life just when things are seriously hotting up for the main characters; “I can’t find Jubilee. I was - - I was distracted. There’s red on the floor. Everywhere. I think some of it’s blood.”

Furthermore, the American author appears intent on making Calico rather disagreeable, especially when the spoilt brat can’t have her own way. This unpleasant attitude towards the people who saved the young girl’s life actually results in the adolescent giving a blind Wolverine a concussion, and yet later, simply because the Outlier finally accepts that she is a mutant, the writer suddenly expects the audience to be sympathetic when Becca Simon-Pinette is ambushed by Doctor Ellis' men in the gym.

Perhaps this comic’s greatest crime though is in its failure to show Jubilation Lee battling it out against the likes of the Blob, Siryn and Wild Child inside a local supermarket. The X-Man’s mouth-watering “fateful solo mission” is even promised by the book’s solicitation synopsis. However, having shown the combatants squaring off against one another, absolutely nothing of Jubilee’s actual tussle against the so-called Trustees is seen, thanks to Simone preferring instead to simply pen a scene showing Logan struggling with Post-traumatic stress disorder (P.T.S.D.).

Sadly also grating upon the nerves is Javier Garron’s pencilling, which whilst proficient enough, is debatably a little ‘short of the mark’ from time to time, such as when Calico has her first big temper tantrum and commands her horse Ember to kick Wolverine into next weekend. In addition, the style of the apparently “renowned comic book artist and illustrator” appears to inconsistently leap all over the place, from a rather cartoon-like looking supermarket scene, to a much more seriously sketched tone whenever Rogue is involved.

The regular cover art to "UNCANNY X-MEN" #6 by David Marquez & Matthew Wilson

Uncanny X-Men #5 - Marvel Comics

UNCANNY X-MEN No. 5, January 2025

Most certainly delivering a "brutal conclusion to the Red Wave storyline”, Gail Simone’s script for Issue Five of “Uncanny X-Men” probably had the vast majority of its readers holding their breath in anticipation of how a well-beaten Rogue was physically going to look once the Hag had finished scalping the unconscious mutant. However, such engrossment must surely have waivered once the American author suddenly reintroduces an already dead telepath known as Harvey X into the mix, and far too conveniently has the youth miraculously re-energise the fallen super-hero to the point where she instantly bests a monster who previously was comprehensively cleaning Anna Marie LeBeau’s clock.

In fact, this rather bizarre reversal in fortunes comes so completely out of the blue that some bibliophiles will doubtless feel that the Oregon-born writer so badly penned herself into a corner by having Chris Claremont’s co-creation fall unconscious, that all she could come up with was this unconvincing 'miracle' to get the former member of the Brotherhood of Evil Mutants back upon her feet; “I’ve got a bit of healing power, too. It kept me alive, you know.? Down to my last li’l bit. Been saving it for you.”

Similarly as dissatisfying is debatably the swift effect Rogue defeating Sarah Gaunt has upon the rest of the titular characters – who up until this point were quite literally on their last legs fighting off the Hag’s killer army. Just like LeBeau’s aforementioned confrontation, this last stand appeared to be going very badly for Gambit, Wolverine, Nightcrawler and Jubilee. But just as the protagonists are about to bravely fall before far superior numbers, the action cuts away from the battle and disappointingly doesn’t return until after Remy has supposedly just told their murderous assailants “to go home." - Something they apparently very obligingly do..!?!

Much more persuasive than this twenty-page periodical’s plot is David Marquez’s artwork, which does a tremendous job of showing just how seriously wounded Anna Marie actually is. Such trauma is really important to this comic’s storytelling as it greatly contrasts with the much more positive look upon the mutant’s face when Charlie X has restored her vitality, and the Hag is kicked into next week with a single, well-placed boot. Furthermore, there’s a palpable sense of desperation to be found in the pulse-pounding panels depicting the rest of the X-Men’s last stand, and this is predominantly down to the illustrator giving the leading cast some wonderfully dynamic poses.

The regular cover art to "UNCANNY X-MEN" #5 by David Marquez & Matthew Wilson

Uncanny X-Men #4 - Marvel Comics

UNCANNY X-MEN No. 4, December 2024

Featuring a genuinely tense tussle between Rogue and the truly terrifying Sarah Gaunt, it is easy to see just why Gail Simone’s script for Issue Four of “Uncanny X-Men” landed so well with its audience in October 2024, and became the fourth best-selling comic book of the month. Indeed, the Oregon-born writer pens this pulse-pounding punch-up so expertly, that many a reader will doubtless tremble whenever they need to turn a page towards its end, for fear that the fight will depict poor Anna Marie LeBeau’s demise; “An’ here she went and found a way to make the concussion seem like a tropical vacation.”

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.

The regular cover art to "UNCANNY X-MEN" #4 by David Marquez & Matthew Wilson

Uncanny X-Men #2 - Marvel Comics

UNCANNY X-MEN No. 2, November 2024

To be honest, many an X-fan was probably a bit despondent having read the opening half to this twenty-page periodical. Sure, Gail Simone paints a wonderfully touching picture of how a young Charles Francis Xavier found his first love whilst at University. But alongside this heart-warming flashback the titular characters’ are disconcertingly mullered by a group of young mutant children who simply walk up to them during the dead of night and deck Wolverine with just a single punch.

To make matters even muddier though, this initially one-sided fracas in the swamps of Louisiana is due to the super-abled adolescents claiming they want help from Rogue’s freshly-formed squad, and then almost unforgivably give in to their unfounded fears that the heroes are actually going to harm them; “You see it, Ember? They’re mean. Like mother said. Goblins.” Such an irrational assault upon the X-Men debatably makes the Outliers particularly dislikeable, adding to the audience’s sense of woe when even the likes of Gambit are bested by a boot to the face by the somewhat scatty-brained Jitter.

Happily however, the stunning situation is eventually taken well in hand by James Howlett’s team-mates, and the newcomers are shown how to chew on a knuckle-sandwich or two. This ‘victory’ is arguably made all the sweeter by the arrival of Jubilee, and the potential promise of both Cyclops and Nightcrawler joining the comic to form a truly classic line-up. Yet, the ill-will lurking within the minds of some bibliophiles may well make the notion of the still fractured protagonists taking their “uncontrollable and wild” attackers under their protection sting quite a bit – especially when the majority of the unruly quartet come with a disagreeable attitude too.

Pencilling all this pugilism with great aplomb is David Marquez, who imbues Ransom and Deathdream with all the haughtiness expected from a pair of teenagers who apparently feel they can take on anybody; even after just being beaten by them. Of particular note though has to be the American illustrator’s marvellous pencilling of Xavier’s aforementioned romance, and the soft-looking visuals he creates for these tender scenes with the help of Matthew Wilson’s subtle colorwork.

The regular cover art to "UNCANNY X-MEN" #2 by David Marquez & Matthew Wilson

Free Comic Book Day 2024: Blood Hunt/X-Men #1 - Marvel Comics

FREE COMIC BOOK DAY 2024: BLOOD HUNT/X-MEN No.1, May 2024

Described by its New York City-based publisher as the “thrilling first steps” into Marvel Worldwide’s “next monumental crossover event”, Jed MacKay’s script for this early glimpse into “Blood Hunt” definitely should have whetted the appetites of any bibliophiles anticipating the Structure’s all-out undead assault upon the living. In fact, the ten-page preamble debatably does an incredible job of informing its audience as to just how the vicious vampires are able to stalk their prey during daylight, and quickly hurling some of the Big Apple’s most recognisable super-heroes headfirst into the frightening fray; “Horray. Another unproblematic win for old Spidey.”

Furthermore, this “Free Comic Book Day” celebration shows straight from the start just how gory this multi-title epic is likely to be, by depicting the Man Without Fear almost nonchalantly disembowelling and beheading his ferociously fanged foes using the cable holding together his billy club. So violent an opening seemingly bodes incredibly ill for the survival rate of those wretched bystanders facing the blood-drinker’s series of “ambitious, coordinated attacks that put humanity on the defensive”, and this strong sense of desperation is only worsened when it becomes evident that Blade’s daughter, Brielle Brooks, is going to have to team-up with her father’s most hated nemesis, Dracula, if she hopes to escape the streets of Atlanta unscathed.

Equally as intriguing as MacKay’s “nocturnal war” though, is this publication’s second yarn “The Fire Still Burns”, which sees Eisner Award Winner Gail Simone essentially pen a solo Jubilee story in preparation for the American author’s upcoming run on “The Uncanny X-Men”. Initially focusing upon the government’s apparent dismantlement of Charles Xavier’s School For Gifted Youngsters, this enticing insight into Chris Claremont’s co-creation could so easily have become a disconcertingly dark reading experience.

Happily however, despite the firework-generating pyrotechnic encountering a rather unpleasant quartet of young mutant-haters in an all-star diner, the story does eventually end on a much more positive note, with the former gymnast finding the motivation she needed to rejoin Wolverine and Rogue. Indeed, coupled with David Marquez pencilling some mesmerising insights into the villainous antagonists now utilising Professor X’s home as their own headquarters, and this “glimpse of the future of mutant-kind” enjoyably establishes the two opposing sides for the battle to come.

Writers: Jed MacKay & Gail Simone, and Artists: Sara Pichelli & David Marquez

X-Men Legends #8 - Marvel Comics

X-MEN LEGENDS No. 8, December 2021

Pushing a plot which is predominantly obsessed with pulse-pounding pugilism, Larry Hama’s narrative for Issue Eight of “X-Men Legends” probably pleased the vast majority of its readers after a debatably shaky start. True, the American author should certainly have got any perusing bibliophile’s senses reeling with Wolverine’s early battle against an entire crew of thugs who were hired to secure a Shanghai pier for the mysterious Jie Jie. But once “Ol’ Canucklehead” has sliced his way through the low-tier minions, this twenty-page periodical’s tempo somewhat slumps as its panels are packed with exposition explaining such unconvincing contrivances like Yurei just happening to also be able to conveniently time travel, as well as teleport Logan to the southern estuary of the Yangtze River.

Thankfully, such manufactured moments are soon forgotten once Jubilee has impressively broken free of her bonds, and teams-up with her fellow X-Man for a serious showdown with Lady Deathstrike. This action-packed sequence is absolutely spot-on, with all the combatants attempting to best one another with plenty of insanely fast punches, a bellyful of serious physical damage and some highly enjoyable quips; “Is a frog’s butt watertight?”

Perhaps however the surprising star of this comic is the mutant adolescent Yurei, who soon demonstrates a deliciously sadistic persona when it comes to selecting a location to abandon her would-be assailants in. Ranging from a zoo’s tiger pen just as feeding time approaches to a deadly mine-laden swamp, the politely spoken schoolgirl is equally as entertaining when it also comes to a killer quip just before she leaves her latest victim stranded.

Far less impressive is probably Billy Tan’s artwork, which due to the sparsity of this book’s script, definitely needs to shoulder the lion’s share of work. Indeed, at times it appears the Malaysian illustrator is desperately attempting to pad out his layouts by monotonously pencilling numerous cargo crates, forklift trucks and empty loading bays. Such ‘filling’ genuinely starts to bog down the storytelling and proves particularly noticeable once Jie Jie arrives at Shanghai supposedly in a hurry to complete her sale only to spend an eternity walking along the disconcertingly empty pier in an effort to liaise with her buyer’s Russian agent - Omega Red.

The regular cover art of "X-MEN: LEGENDS" #8 by Billy Tan & Chris Sotomayor

X-Men Legends #7 - Marvel Comics

X-MEN LEGENDS No. 7, November 2021

Proudly proclaiming that “the ultimate team-up is back, bub!” this twenty-page periodical’s script is arguably packed full of the violent, no-nonsense close combat which helped make Wolverine “Wizard” magazine’s top Comic Book Character in 2008. In fact, Larry Hama’s writing for Issue Seven of “X-Men Legends” is arguably so good at promptly transporting its 27,254 strong audience back to the American author’s celebrated run on “Wolverine” in the Nineties that it is hard to believe the book was only the one hundred and seventh best-selling title of September 2021; “I hear there might be somebody here interested in some fresh merchandise.”

For starters, “Kidnapped!” drops the reader straight into its “all-new adventure” by having both Logan and Jubilee immediately face deadly danger on the rain-soaked streets of Osaka, Japan. Obviously, the super-powered pair’s apparent enfeeblement is all a ploy to lower the guard of their overconfident ‘captors’. But with so many blades being bandied about, and their owners' evident willingness to lethally stick them into the “Gaijin” without any remorse, it is debatably difficult to peruse the resulting fracas without at least worrying a little about Jubilation Lee’s wellbeing.

Indeed, one of this narrative’s most enthralling threads is Hama’s incarnation of Wolverine almost flat out refusing to dodge any incoming sword slice or stabbing motion, as he seemingly prefers to just rely upon his healing factor to survive the torrent of chops, hacks and cuts he receives whilst fighting his way through an almost overwhelming number of the Hand’s deadly assassins in an aquarium. This utter abandonment provides some mesmerising moments, not least of which is one of this publication’s earliest incidents when a child trafficker nonchalantly ‘befriends’ the seemingly unsuspecting Logan and sticks him with a long knife straight through the chest.

Capturing all the frantic, fast-paced flavour of this tale in the Kansai region of Honshu with his prodigious pencils is Billy Tan, whose ability to project the sheer loathing Lady Deathstrike holds for her colourfully costumed rival is genuinely palpable. Likewise, the Malaysian artist does a corking job in illustrating the sheer number of voiceless assassins who suddenly descend upon the X-Men with their furious, brutal ninjatō swords and Wolverine's evident frustration at "these ladies" blocking his path to Yuriko Oyama.

Writer: Larry Hama, Artist: Billy Tan, and Colorist: Chris Sotomayor