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 #3 - Marvel Comics

UNCANNY X-MEN No. 3, November 2024

Delightfully crammed full of pulse-pounding action, along with some utterly enthralling insights into both the “completely untrained young mutants” who Rogue has promised to coach, and the truly terrifying Hag, Gail Simone’s narrative for Issue Three of “Uncanny X-Men” should genuinely take long-term fans of the super-group’s franchise back to it’s ‘Golden Years’ under Chris Claremont’s prolific pen. In fact, the twenty-page periodical’s plot is pretty near perfect, with the American author even somehow managing to convincingly convey Anna Marie LeBeau’s deep-rooted love for Gambit within the space of just a few text boxes; “And I wouldn’t trade this bed nothin’. Nor this fella its loaded with. My rambunctious boy.”

Furthermore, the comic should keep any new readers hooked with its barbed warnings concerning Corina Ellis’ relationship with Sarah Gaunt’s emaciated alter-ego. Up until this point the good Doctor and her Sentry Team have been depicted as being all-powerful, most notably in their complete overhaul of Xavier's School for Gifted Youngsters mansion. However, despite all the so-called “most sophisticated A.I. security ever conceived”, it appears evident that the Hag can simply move from cell to cell without any problem whatsoever – an ability which intriguingly bodes ill for Captain Erza, or anyone else who may stand in the self-proclaimed witch’s way in the future.

Of course, the meat of this super-heroic sandwich rests with Nightcrawler testing out the Outliers remarkable abilities, whilst simultaneously giving the audience a little bit of background as to where the adolescents come from. This action sequence is really well paced, with Deathdream’s powers particularly proving memorable after the boy almost throttles poor Kurt Wagner to death. Indeed, the entire ensemble are all shown to be quite dangerous once the red mist of battle falls over their eyes.

Also worthy of a mention has to be David Marquez, who provides this publication with some proficient pencilling and well-planned layouts. The initial horizontal panels used for the comic’s dialogue driven opening set an even pace for the various conversations taking place, and doesn’t truly stop until Rogue takes her new charges in-hand with a dynamically-drawn farm-based interpretation of the famous Danger Room – complete with haystacks, a ship’s mast and plenty of wooden stakes.

The regular cover art to "UNCANNY X-MEN" #3 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

Marvel & Disney: What If...? Donald Duck Became Wolverine #1 - Marvel Comics

MARVEL & DISNEY: WHAT IF...? DONALD DUCK BECAME WOLVERINE No. 1, September 2024

Announced in April 2024 at the Bologna Children’s Book Fair in Italy, it was pretty clear straight from the start that Issue One of “Marvel & Disney: What If....? Donald Duck Became Wolverine” would very much be a tongue-in-cheek celebration of the two titular character’s impressively-long anniversaries. But whilst few fans were likely to take Luca Barbieri’s script even slightly seriously, this twenty-five page periodical’s plot still probably didn’t land with its audience quite as well as Senior Editor Mark Paniccia had imagined; “I want to sleep some more… A couple of hours… Even better, a couple of days!”

For openers, it’s never explained just how Pete-Skull has managed to rid Duckburg of both its super-heroes and their various “invincible weapons”, nor how he evidently missed Mickey-Hawkeye, Donald-Wolverine or (Lord help us) Goofy-Hulk during his unstoppable conquest. Instead, the narration simply states it as a fact and then subjects the reader to a long-winded sequence depicting Dick Lundy’s co-creation as a lazy loafer who simply wants to slob in a swinging hammock and eat copious slices of his Granma’s apple pie.

Such a scene is certainly endearing, and simultaneously emphasizes the duck’s ‘fowl’ temper which is at the very heart of the tale. However, it is so long-winded that many a bibliophile will surely have preferred a bit more backstory as to how Pete-Skull and his minions took over the fictional U.S. state of Calisota, rather than witness Donald perform a series of gruelling chores on an idyllic farm.

Furthermore, once the protagonists eventually do arrive at their red-faced foe’s headquarters, they appear to quite literally drive straight up to the Beagle Boys and immediately surrender without the slightest sign of opposition. Of course, this tactic is later shown to be a ruse by Mickey so as to get his feathered friend right beside their arch-nemesis before he bops him with a giant green paint bomb. Yet it also appears to have been another missed opportunity to inject the comic with some much needed action, even if the likes of a grey-skinned Goofy-Hulk were soon defeated.

What does seem clear, and is in many ways this book’s biggest draw, is that all the ‘heavy-lifting’ falls upon the shoulders of artist Giada Perissinotto, who repeatedly pencils Donald performing many of Wolverine’s more iconic poses via flashback sequences. Donning the mutant X-Man’s most famous costumes and guises, these sketches of the adamantium-clawed duck’s greatest moments are just superb and truly wonderful to behold. Though as aforementioned, appear to have been included in this “unexpected mashup adventure” at the expense of any particularly thought-provoking plot or storyline.

The regular cover art of "MARVEL & DISNEY: WHAT IF...? DONALD DUCK BECAME WOLVERINE" #1 by Giada Perissinotto & Lucio Ruvidotti

Uncanny X-Men #1 - Marvel Comics

UNCANNY X-MEN No. 1, October 2024

Weighing in at a hefty thirty pages, not including the giant gimmicky QR bonus panels code, Gail Simone’s script for Issue One of “Uncanny X-Men” certainly seems to offer plenty of bang for its buck, courtesy of some disconcerting intrigue, a pulse-pounding bout of pugilism with a giant dragon, and a genuine moment of sadness at the University of Mississippi Medical Centre. Indeed, the comic contains so many enthralling plot-threads that its perfectly clear just why its American author spent so much time “trying to keep my brain from exploding right out of my skull” whilst working on it.

Foremost of these character-driven storylines is arguably that of Rogue, who acts as both narrator and reluctant leader of the scattered super-team. Anna Marie’s doubts, worries and desperate desire for a purpose in her life are clearly causing the mutant all kinds of conflictions, and these misgivings provide the once head-strong slugger into a much better-rounded member of the group. Furthermore, Chris Claremont’s co-creation can clearly still throw a mean punch, as seen when she clobbers the gigantic Sadurang squarely across the Avenue of the Dead in Teotihuacan.

However, it is perhaps this book’s opening which provides the audience with their biggest chill, courtesy of Corina Ellis’ arrival at Xavier’s former school for gifted youngsters. The presumably politically powerful doctor’s dismantling of everything sacred to both the mansion’s former occupants and X-fans alike is as savagely penned as her arrogant authority is all-too evident - with perhaps her utter disdain for Cerebro proving particularly unpalatable; “Building a monument to these people. Their entire cult. Burn it. This entire foul cathedral. To the ground.”

Visually helping Simone in making this publication such a satisfying success is illustrator David Marquez and colour artist Matthew Wilson. Together the creative pair imbue all the central cast with a truly palpable, physical world-weariness, and also depict a truly classic battle sequence between “a core group of essential X-Men” and the aforementioned Asgardian Serpent. In fact, in many ways it’s a pity that the punch-up doesn’t last a little longer, as Rogue frantically attempts to figure a way to defeat the powerful sorcerer from Jotunheim without “ruining the nice cultural treasure” surrounding them.

The regular cover art to "UNCANNY X-MEN" #1 by David Marquez & Matthew Wilson

Ghost Rider/Wolverine: Weapons Of Vengeance Omega #1 - Marvel Comics

GHOST RIDER/WOLVERINE: WEAPONS OF VENGEANCE OMEGA No. 1, November 2023

Opening up with as bloodthirsty a welcome as any one new to this “brutal team-up” could want, Benjamin Percy’s script for Issue One of “Ghost Rider/Wolverine: Weapons Of Vengeance Omega” also arguably does a good job of bringing such oblivious bibliophiles bang up to speed with what’s occurred in this mini-series’ previous instalments. Admittedly, much of this context is established via a significantly wordy summary at the comic’s start. However, this initial ‘info dump’ is then enthrallingly built upon by Talia Warroad, when she decides to enlighten the hapless Jeff Bannister as to the birth of Bagra-Ghul, and the demon’s subsequent grafting onto baby Bram’s body.

Such ‘straight to the point’ penmanship easily allows the audience to subsequently experience Hellverine’s internal battle when it comes to the hellfire-flamed killer being ordered to murder an infant mutant, whose parents have just ruthlessly incinerated an innocent family simply for the crime of owning the “biggest house on the neighbourhood”. This diabolical dilemma really lies at the very heart of the thirty-page plot’s resolution, establishing a line in the sand that even a heavily mind controlled Logan won’t easily cross, and one that enables the X-Man to mentally fight back for command of his adamantium-laced body; “I got your pitchfork right here.”

Likewise, the American author delivers when it comes to pitching the two titular characters against one another in an exhilarating, dynamically drawn action sequence by artist Geoff Shaw. Indeed, this ‘white knuckle ride’ repeatedly ‘wrong-foots’ the reader by persistently suggesting that perhaps one of the finale’s onlookers is about to die during the conflict - Whether that be Bram, Father Pike, or the gun-toting C.I.A. agent who “really preferred my life before I met you and Johnny”.

Lastly, Percy should be congratulated for providing both the aforementioned Warroad and Bannister with plenty of beguiling personality throughout the sense-shattering shenanigans on show. It would have been all-too easy for the writer to solely focus upon just the Ghost Rider and Wolverine for this book. But instead, both the former S.H.I.E.L.D. agent and her slightly reluctant partner-in-crime prove integral to infiltrating Weapon Plus’ Headquarters, and bringing the programme administrator’s deadly plans to a fiery end.

The regular cover of "GHOST RIDER/WOLVERINE: WEAPONS OF VENGEANCE OMEGA" #1 by Ryan Stegman

Murderworld: Wolverine #1 - Marvel Comics

MURDERWORLD: WOLVERINE No. 1, March 2023

Fans of Stan Lee’s co-creation Leap-Frog will doubtless have taken some satisfaction from Jim Zub and Ray Fawkes’ narrative for Issue One of “Murderworld: Wolverine”, due to the collaborative pair penning an incredibly serious incarnation of Vincent Patilio rather than the ordinarily somewhat tongue-in-cheek criminal. In fact, the revelation that one of Arcade’s “two hundred willing contestants” is actually the failed Daredevil foe from the Sixties arguably soon becomes one of this comic’s biggest moments, especially when the middle-aged ex-con continues to demonstrate some modicum of care for his fellow beleaguered competitors; “He doesn’t ask me why I’m helping. I’m not sure what I’d say if he did.”

So surprising a disclosure, wonderfully exposed via a prison-based flashback sequence and then later reinforced when the crook instinctively leaps away from the deadly claws of a remorseless robot, also strangely appears to act as the cement to bind the rest of the survivors together into a cohesive band. This camaraderie genuinely helps win over the readers’ sympathy for the fast-dwindling cast, and resultantly makes any subsequent deaths or life-changing injuries, all the more impactive. 

Frustratingly, what isn’t debatably quite so enthralling is the use of Wolverine as little more than a mechanical gimmick. The sudden arrival of the “mindless mutant animal” momentarily proves quite mesmerising, as “the best he is at what he does” attempts to skewer Leap-Frog on a snow-caked cliff-top. But this effect is then completely deflated when in the next panel it becomes clear the incredibly dangerous X-Man isn’t actually present, and is just one of several colourfully-costumed robots designed to repeatedly shout the anti-hero’s catchphrase “Bub!”

Perhaps just as ‘hit or miss’ as elements within this publication’s plot is its artwork by Carlos Nieto, which in the main is perfectly proficient to aid in the storytelling. However, doubtless some bibliophiles were slightly confused by the similarities between Black Widow and the design of Marina Komarova, courtesy of the “real piece of work” looking very similar to Natalia Romanova in both hair style and predominantly-black costume. Indeed, if not for the slightly different colours applied by Matt Milla the pair are almost identical.

Writers: Jim Zub & Ray Fawkes, Artist: Carlos Nieto, and Inker: Victor Nava

Ghost Rider/Wolverine: Weapons Of Vengeance Alpha #1 - Marvel Comics

GHOST RIDER/WOLVERINE: WEAPONS OF VENGEANCE ALPHA No. 1, October 2023

Packed full of spine-chilling supernatural shenanigans, and some truly disconcerting physical horror, most bibliophiles perusing Issue One of “Ghost Rider/Wolverine: Weapons Of Vengeance Alpha” probably agreed with its New York City-based publisher that its “hotshot writer” Benjamin Percy was indeed “a master at crafting hair-raising sagas for Marvel’s most hardcore anti-heroes.” In fact, those readers caught up with its narrative about “a demonic serial killer [who] is murdering innocent mutants” would be hard-pressed to find any faults with this thirty-one-page periodical.

To begin with, the American author decides to depict the titular characters’ “(never before seen!) first meeting” via a well-penned flashback, and in doing so transports this comic’s audience back to a classic era of the Uncanny X-Men, when Professor Charles Xavier was busy mentoring the likes of Colossus, Storm, Angel, Nightcrawler and Shadowcat. These scenes set “many years ago” genuinely tap into an ultra-nostalgic vein, and also help sell a significant plot twist when it at first appears that super-powered little Bram Straub will swiftly receive safety inside the School for Gifted Youngsters; “Nobody wants him… including the Orphanage he keeps returning to.”

Just as enthralling though is the terrifying creature which lurks within the poor boy’s soul and seemingly comes out whenever the youngster is disappointed or upset. Somehow able to readily defeat the most formidable of Logan’s team-mates within a matter of minutes, this giant, flame-headed entity readily grabs all the attention whenever it manifests itself – especially when his appearance results in the formation of a stomach-churning flesh column which consists of various hapless children’s twisted corpses.

Readily willing and able to assist Percy in this book’s storytelling is “acclaimed artist Geoff Shaw” of “Thanos” and “Guardians Of The Galaxy” fame. The illustrator does a first-rate job of making the ordinarily warm and welcoming X-Mansion as creepy as possible once tiny Straub crosses its threshold during an electrical storm. Whilst simultaneously prodigiously pencilling Johnny Blaze’s jaw-dropping attempt to break the record of jumping eighteen burning buses on a motorbike. In addition, the University of New Mexico graduate wonderfully captures both the fiery menace of the Ghost Rider and dangerous, quick-moving mannerisms of Wolverine, once the pair clash heads towards this publication’s end.

The regular cover of "GHOST RIDER/WOLVERINE: WEAPONS OF VENGEANCE ALPHA" #1 by Ryan Stegman

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

Crypt Of Shadows #1 [Part Two] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2022

Padding out the middle of this predominantly pedestrian-paced publication is the implausible “Skin Crawl” by Chris Cooper, which sees Doctor Michael Morbius being plagued by a race of “immaterial parasitic beings that feed on fear” which only he can see and hear – at least until an occult investigator enters the fray that is. Apparently able to induce the vampiric physician into an even more murderous blood rage than normal, the unimaginatively named Troids momentarily look set to cause Roy Thomas’ co-creation to launch himself on a chilling, dynamically driven murder-fest. But disappointingly, are then pencilled by Ibrahim Moustafa as being all-too easily defeated by Louise Hastings’ young grandson and an infuriatingly simple spell of revocation.

Far more engaging, and perhaps a storyline which should have been enlarged so as to populate the entire comic book, Chris Condon’s “Down Came The Rain” shows plenty of promise in its initial presentation of Spider-Man and the Human Torch’s unsuccessful infiltration of Siodmak Pharmaceuticals. Boasting a couple of jump scares and a pulse-pounding foot-chase, as well as an amusing appearance by the badass Elsa Bloodstone, it’s highly like many readers will have wished Fran Galan was tasked with pencilling much more than just seven pages – especially when a fast-recovering Peter Parker hints at an insanely-tense fistfight that happened off screen just before this printed escapade begins.

Rounding off Issue One of “Crypt Of Shadows” is the disconcertingly downbeat “Endless Slaughter In The Infinite Swamp” by writer/artist Adam Warren. Essentially a tale-long, no-holds barred gorefest between Laura Kinney and Man-Thing, this ultimately wearisome battle appears to have been contrived simply so the freelancer can repeatedly sketch Wolverine gratuitously slicing through Ted Sallis’ alter-ego without a care in the world for millions of years; “And that, you see, is how the ultimate predator became a vegetarian for the rest of her biologically immortal life.”

Perhaps therefore this comic’s biggest highlight surprisingly lies in Al Ewing’s well-penned linking narration starring the Master of the Mystic Arts’ dead brother, Victor Strange, and a bevy of grotesque undead creatures. Well-drawn by Ramon Bachs, these splash-pages provide an intriguing introduction to each of the anthology’s yarns, and just like Condon’s contribution, probably make the audience wish editor in chief C.B. Cebulski had given this element much more ‘screen time’ rather than include some of the other more sedentary storylines.

Writers: Chris Cooper, Chris Condon & Adam Warren, and Artists: Ibrahim Moustafa & Fran Galan