Tag Archives: x-men

Review: Extraordinary X-Men #2

Extraordinary_X-Men_Vol_1_2I was pleasantly surprised reading Extraordinary X-Men #2,  for a number of reasons.  First It felt like a homecoming of sorts.  I know how weird that sounds given what has been said on graphic policy regarding the “return of the same” with respect to X-Men story plotting, and to a degree I still hold on to the critique.

Additionally, The story in Extraordinary X-Men was interspersed with very good character moments,  and a sense of intimacy I have not seen for a long time. When Wolverine and he X-Men (volume 1) launched I was reminded of how much I had missed the grass roots level of mutant persecution. The X-Men had become so big and militant that I hadn’t realized it been years since something as small as school licensing/approval was a hurdle for the X-Men to jump.

A bit of that returns in this issue during  a scene where the young Jean Grey is flirting with a human class mate. It does not end well. During an after school social event, Jean mistakes a manifesting inhuman for a mutant. In addition to revealing herself as a mutant, Jean faces the brunt of human racism as well inhuman fear.  Despite the similarity to past events in this new status the concept of interspecies competition is somewhat a rarity. The last time I remember mutants having a viable rival was back with Mike Carey’s Children of the Vault. The revelation of M-Pox hearkens back to the Legacy Virus, and adds another nostalgic flourish to the story. Is it derivative? definitely,  but these elements are likely to make for a more interesting circumstance the more the post-Battleword era is revealed to us.

To my memory this is the first time the Inhumans and Mutants have been in direct conflict. What I find interesting about this new status quo is that the X-Men and Inhumans engaged in a role reversal of sorts. The previously sequestered Inhumans are on the rise and on the fast track to becoming earth’s dominant species. This was a position briefly held by mutant kind who now find themselves cloistered to their own Attilan-esque X-haven. (More on that in a bit).  The X-Men have a history of some very awesome headquarters. We’ve had them in the Australian outback, a decommissioned Weapon X facility, and even Magneto’s Asteroid M. The revelation of X-Haven’s location was one of my favourite hooks in this story. It not only sparks some intrigue for the state of Mutantkind going forward, it ties up some lose ends from the previous Uncanny X-Men arc. X-Haven was revealed to be in Limbo, and inexorably tied to Illyana Rasputin, shedding light on Storm’s misgivings on whether she has saved Mutantkind or damned it.

Humberto Ramos‘ art was also a nostalgic pleasure, the quirkiness of his style matches the topsy turvy status quo that the X-Men find themselves in. Further to this I believe my introduction to Humberto Ramos was around the Mike Carey and eventual Messiah Complex era.  A lot of the theme during this era centered an impending mutant extinction, so it feels right that Ramos is back when the X-men are facing much of same again. Additonally Ramos quirky art also reminds me of Chris Bachalo’s work. Work which takes me back to Wolverine and the X-Men Volume 1. Again familiar territory and perhaps appropriate given the new status quo of the Jean Grey School.

Final Thoughts

The whole  mutant refugee angle has some similarity to the current Syrian Refugee crisis I find. Not sure if this was intentional but the seeing the element of mistaken identity and mutants running from an all pervading threat they are also blamed for seemed to be an interesting commentary on current events.

The conflict between the Inhumans and Mutants has very Malthusian tones, and really sounds like a zero-sum state of affairs, . Calling it now…. Unless Beast can find a solution with his Inhumans team I sense a species war event of sorts on the horizon.

A classic X-Villain rears his head at the end of this issue and I thrilled to bits about it.

Story: Jeff Lemire Art: Humberto Ramos
Story: 9 Art: 10 Overall 9.5 Recommendation: Buy

Fashion Spotlight: Tour of Apocalypse 83′, I Want to Believe 100 Years, and Wilson 2016

Ript Apparel has three new designs! Tour of Apocalypse 83′, I Want to Believe 100 Years, and Wilson 2016, by tweedler92, Fishmas, and Eozen, are on sale today only! Get them before they’re gone!

Tour of Apocalypse 83′


I Want to Believe 100 Years


Wilson 2016











This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site.

Review: X-Men: No More Humans

X-Men_No_More_Humans_CoverAmong my fellow comic book peers it is no secret that I was not the biggest fan of Brian Bendis’ run with the X-Men flagship titles.  For me he failed to connect strongly with the rich tradition of the X-Men, presented some disjointed characterization and overall was just not able to invigorate the franchise. Bendis is a great breaker of toys, and lover of controversy. Where this worked to great effect on his run during Avengers, this ethos fell very flat with the X-Men. One of the outgrowths of Bendis‘ run was the arrival of the future brotherhood of evil mutants In the aftermath of Battle of the Atom.

The prospect of a future brotherhood had great promise, and presented a unique and unprecedented threat to the x-men and their mission. With the countervailing presence of the time displaced original five X-Men from the past, we had a very high concept status quo for this era’s X-Men, the struggle and legacy of Xavier’s dream played out on the landscape of space and time. This should have breathed new life into the X-Men, unfortunately under Bendis‘ pen it did not. For all their grandeur and theatrics the future brotherhood were quickly relegated to irrelevance.  Additionally further follow-up stories were beleaguered non sensical and flashy non sequiturs. Seriously, in what universe would Charles Xavier willingly procreate with Mystique?

All that said Mike Carey’s graphic Novel X-Men: No More Humans presents a brief yet enjoyable salve to these problems. In my opinion Carey’s primary strength has always centered on his portrayal of relationships and his dutiful and faithful approach to characterizations. All characters under Carey’s pen have their own voice, and the interactions amongst the characters he writes are authentic and reflective of all those voices whether harmonious or discordant.  In X-Men: No More Humans Raze a future brotherhood member (and mystique and wolverine’s future son)* uses his future knowledge to enact a sweeping and blunt solution to the problem of mutant-human relations. Stealing technology that was (or will be ) used against mutants in the future., Raze manages to temporally displace all humans away from the earth. He then begins the second phase of his plan by bringing repressed mutants from alternate dimensions. This is the kind of threat from the future brotherhood I was waiting for. Anti-human sentiment matched with future knowledge. This not only presents the X-Men with a pressing moral dilemma and refugee crisis, it provides them with a superordinate goal that temporally galvanizes all of the X-Men factions which gives everyone the opportunity to reassess their mission as well as the future for mutantkind.

Interactions among Magneto- Mystique, Magneto and the Maximoff twins are heartfelt, nostalgic and build on as well as affirms years of storytelling. They also provide some thought provoking philosophical argument.  Many characters get a moment to shine given their own unique take on the state of mutantkind and how they believe the solution should be approached given the current crisis.  What we get as a result is a stimulating commentary on mutant human relations and a refreshing X-Men reunion.

X-Men: No More Humans is not a perfect story. While it’s nice to see the X-Men discuss the philosophy of their seemingly splintered visions, and working together, the resolution arrives via deus ex machina with an intervention from the phoenix force. A very  overused plot element in my opinion. The flashy and cosmic muscle flexing of the Phoenix force are nice to  look at but its use and intervention ultimately renders all the philosophical considerations and plot progression moot. We essentially get a big reset button setting everything back to the same before the crisis began, with the exception of Raze being taken out of play with a cosmic spank from the Phoenix. (Perhaps a tongue in cheek commentary of the future brotherhood from Carey). While this was a plausible solution given the interdimensional nature of the crisis it ultimately felt uninspired and too easy.

The art was colorful and the extradimensional panels (i.e the null space) were amazing to look at. Larroca also captured the frightful eeriness of an empty Time Square quite well, it felt like you were there. I still have issue with how he draws faces ( I feel they can be uniform)  but this is a minor gripe that in no way detracts from his work on this book which look diligent and polished overall.  X-Men: No More Humans is not essential reading, but in my opinion it stands as the last great X-story/X-dilemma prior to Secret Wars.

Final Thoughts

* So in this apparent future Mystique has child with both Xavier and Wolverine, which is odd timeline wise and logistically given Wolverine’s recent death.

I loved that the secondary villain is a mere human employing stolen alternate dimension technology. For some reason I just loved the simplicity of that.

Story: Mike Carey Art: Salvador Larocca
Story: 8 Art: 9 Overall 8.5 Recommendation: Read

When Comic Book Film Costumes Stray

It’s an exciting time to be a fan of comic book-based films. New stories are optioned often, and the wait usually isn’t more than a couple of months for the next theatrical release. Part of the fun of following these adaptations is witnessing the choices made in transferring the bold costumes of the printed page to the silver screen. In any adaptation of material from one medium to another, changes are bound to happen, and sometimes for the better. Of course, it can also be disappointing when the choices unnecessarily stray from the established lore. Let’s take a look at a few of the most drastic examples of unfaithful costume choices in comic book films, and whether those changes were appropriate, or way off base.

In writing this article, I made a few rules to help keep things focused: 1) No animation, only live-action projects. 2) Nothing before Superman: The Movie in 1978, just to keep the comparisons relatively similar. 3) Any cases where the alter-ego of a comic character was introduced but not exhibiting powers (such as Dr. Curt Conners in Sam Raimi’s Spider-Man trilogy; he never became The Lizard) was not eligible. 4) Characters created with heavy CGI (like The Hulk) were also in a different category, so they were out.

comic-punisherTHE PUNISHER, Dolph Lundgren, 1989.

1) Dolph Lundgren as The Punisher, The Punisher (1989): A cornerstone of most iconic superheroes is a symbol that sums up their mission and their persona. In the case of The Punisher, this is especially true. The skull emblazoned on his costume is a harbinger of death. And yet, in the first feature adaptation of The Punisher starring Dolph Lundgren, his black tactical gear featured no skull at all. There were tiny skulls on the knives that he used as weapons, but that was all. While this film debuted at a time when comic book films (especially those few licensed by Marvel) were not even a shadow of what they have become, it still doesn’t excuse the omission. Beyond the skull, the other parts of the costume are negotiable and variable, but the skull really ties it all together (to paraphrase The Dude). Whatever you may think of the 2004 and 2008 versions of the character, the filmmakers at least had the good sense to include the skull.

comic-x-men x-men-film-cast

2) The Main Cast of X-Men, X-Men (2000): After Blade became a surprise hit in 1998, Marvel upped the stakes by adapting the much-beloved X-Men. Under Bryan Singer’s guidance, the key word was realism, and that extended to the costumes. For the X-Men team, Singer decided on black leather uniforms with hints of color. While the idea of coordinated battle uniforms remained from the earliest comics, otherwise they were quite different from anything seen on the characters before. While at first it seemed that Singer’s choices unnecessarily toned down the bold world of the X-Men, it proved to be a wise choice in the bigger picture. X-Men was a pivotal film in legitimizing the comic book film to worldwide audiences. While Blade may have cracked the door, X-Men pushed it further so that 2002’s Spider-Man could kick it open. Viewing it through that perspective, the care that Bryan Singer and his team took in creating an X-Men film for the masses seems downright prophetic. A film that completely tackled all the outrageousness of the X-Men comics could have alienated some viewers, perhaps causing a much different comic movie landscape.

comic-witchbladeWitchblade Complete TV Series on DVD, starring Yancy Butler as Sara Pezzini

3) Yancy Butler as Det. Sara Pezzini/Witchblade, Witchblade (2001 – 2002): Of all properties to be adapted to basic cable television, Witchblade must have been far down most people’s list. But it was adapted for TNT, where it aired for two seasons. While the show had a decent share of fans, the realization of the Witchblade itself left a bit to be desired. While in the comics a self-aware organic gauntlet/armor, the Witchblade of the show took on the look of a medieval knight’s armor. Perhaps it was inevitable on a television budget, yet the result was still disappointing. The subsequent anime adaptation presented a truer version of the Witchblade, though it wasn’t Sara Pezzini wearing it in that series. Plans for a feature film reboot have been floated, but nothing has yet landed.

comic-huntress tv-huntress

4) Ashley Scott as The Huntress, Birds of Prey (2002 – 2003): Smallville debuted in 2001, and proved to be a decade-long success for the WB network (which became the CW). In response to the success of that show, Birds of Prey came along one season later. While some aspects were very faithful to the comic book series (Dina Meyer as Oracle, formerly Batgirl), others were wildly divergent (Dinah Lance as a psychic teenager rather than martial artist Black Canary). In the latter column was Ashley Scott’s Huntress, a curious mixture of old and new versions of the character. Her costume, however, favored neither version. A strange mix of club wear that included no mask or other source of identity concealment, this Huntress looked like she had just finished crime-fighting and was headed downtown to blow off some steam. While on the show Batman was her biological father, he obviously never instructed her in the importance of anonymity.

comic-dracula film-dracula

5) Dominic Purcell as Dracula/Drake, Blade: Trinity (2004): When the third Blade film rolled around, he had already battled and defeated Deacon Frost and a horde of mutant bloodsuckers. So what could up the stakes? How about Dracula? Yes, I know Dracula isn’t originally a comic book character, but he was published by Marvel in Tomb of Dracula in the 1970s, and that comic was where Blade debuted (he didn’t headline his own book until after the original Blade film became a hit). Marvel’s version of Bram Stoker’s big bad took a page from Bela Lugosi, Christopher Lee and even Jack Palance, whom his facial features were based upon. He also had a jaunty mustache. But in David Goyer’s take on him, Dracula (here using the name “Drake” as an alias) wore no cape, nor evening wear, nor even a mustache. Instead, he settled for a silk shirt and leather pants like he was shooting a 90’s R&B video in the desert. He did have another, more demonic-looking form that was cooler, but it was underused. Couldn’t they at least have kept the mustache?

comic-catwoman film-catwoman

6) Halle Berry as Catwoman, Catwoman (2004): It felt weird typing “Halle Berry as Catwoman”, because this film is a concrete example of using a familiar name to sell an unfamiliar character. Berry’s character in this film, Patience Price, has no affiliation to Batman or any previous version of Catwoman. And then there’s the costume. A goofy mask that sits too high like a trucker hat, a bikini top with mismatched straps, and ripped leather pants create a look that doesn’t make sense even in the weird pocket universe of the film. At least there is a whip involved; as much a trademark of any Catwoman as of Indiana Jones. A creative misfire added to the list of misfires that comprise this deeply misguided film.

comic-dark-phoenix film-dark-phoenix

7) Famke Janssen as Dark Phoenix, X-Men: The Last Stand (2006): After the exciting tease for The Dark Phoenix Saga at the end of X2, fans were piqued to see Jean Grey take a walk on the wild side. Unfortunately, the combination of two major plotlines in X-Men: The Last Stand left only half the space for the Phoenix story, and so her debut wasn’t all it could’ve been. That included to her costume as well. The comic story featured a maroon and gold bodysuit complete with a gold sash and a flamebird emblem. For the film, Famke was outfitted with a red dress that alluded to the comic costume, but without the gold, sash or emblem. A choice that paid a bit of service to the look, but minus any of the detail. Would something a bit more bold have worked better to sell her character as a being of incredible power? It couldn’t have hurt.

comic-green-goblin film-new-goblin

8) James Franco as New Goblin, Spider-Man 3 (2007): The film costumes of the Green Goblin have always been offbeat choices, from Willem Dafoe’s shiny lime-green armor to Dane DeHaan’s grotesque cyborg combination. But perhaps the most off-the-wall was James Franco as the New Goblin. Harry Osborn’s turn to super-villainy had been progressing for two movies, and by the third film the idea was ripe. If only the execution had been better. The New Goblin opted for a suit based on extreme sports, including a flying snowboard-like glider and a modified paintball mask. While Dafoe’s suit was on the goofy side, it did possess elements of intimidation. But the New Goblin simply came off as the drunken creation of a pissed-off ski patrol douche. Hopefully in the future a more traditional route may be attempted.

film-wanted wanted-comic

9) James McAvoy as Wesley Gibson, Wanted (2008): Now this choice runs perilously close to breaking my rule of “no alter-ego characters”. In the original Wanted comic series, Wesley was outfitted with a very tactical costume that looked like a high-tech cross between Snake Eyes and SWAT team. Because of the change from super-villains to assassins for the film, he never wears anything other than street clothes. However, since he uses and exhibits his skills in those street clothes, he is in full “super” mode. It is definitely the most unfaithful costume choice on this list, since there was no particular attempt made to replicate the comic’s costume. It’s a shame, too, as that costume would’ve looked slick onscreen.

comic-deadpool film-deadpool

10) Ryan Reynolds as Deadpool, X-Men Origins: Wolverine (2009): I feel much the same way about Deadpool in this film as I do about Halle’s Catwoman – i.e., I just wish they were named something else. In my opinion, the Wade Wilson scenes in this film were good – funny, while also showcasing the character’s powers. But then there’s that troublesome climax, with the eyebeams, the teleportation and the absence of a mouth. It isn’t enough to awkwardly suggest the look of Deadpool’s comic costume. If it’s only half-Deadpool, then it’s not Deadpool. Thankfully, it really does look like Fox is correcting their mistakes with the upcoming solo film. Ryan Reynolds is great casting, but there has to be commitment to the character.



It’s got to be a tricky assignment for costume designers to create the film version of characters with such striking ensembles. You have to pay homage to the source material to please the fans, but you can’t make beloved characters look goofy for their mass-audience debuts. The most successful projects seem to walk the thin line of heightened reality leavened by common sense and real-world input. But make no mistake, it doesn’t take much more than a misstep to lose that line. Still, much of the outside wrappings can be forgiven if the structural integrity of the characters’ personalities are intact. When both are missing, you have Catwoman or the first attempt at Deadpool. When both are present, you have Iron Man or Hellboy. We can only hope that as comic book-based films continue to evolve, more filmmakers will find ways to exhibit both in a satisfying way.

New X-Men: Apocalypse Photos

More official photos are being released for next year’s X-Men: Apocalypse. Check out a better look at some of the new characters and actors in the role of some classic characters.

Review: Age of Apocalypse #1

aoa001Secret Wars has been so noteworthy thus far for its ability to incorporate other crossovers into its stories.  While the quality of these tie-ins has varied wildly, it has nonetheless been somewhat comprehensive in its attempt to give some exposure to all the major crossovers from the past.  It would be nearly impossible therefore to leave Age of Apocalypse off of this list.  Although this story occurred in the pages of X-Men related titles, it was nonetheless one of the bigger crossovers that Marvel has seen, as well as being in part responsible for the upcoming sequel to the X-Men movie franchise. As it was told at the time it featured the introduction of the mutant Apocalypse, a mutant of extreme power who undertook a plan for world domination and very nearly succeeded.  In the original story Charles Xavier is removed from the scene early on, and Magneto takes his place as the mutant championing compromise between mutants and humans, while equally being responsible for trying to stop Apocalypse’s tyrannical and genocidal reign where he attempts to wipe out regular humans from existence.

As opposed to other tie-ins which have attempted to re-imagine or recast some of the major aspects of the stories, this one instead seems to be looking for more of a pure retelling.  Apocalypse’s Horsemen are sent to the Savage Land to track down Cypher, although he is defended by a group of core X-Men.  After he is captured he is taken to Apocalypse, who is revealed to be employing several other mutants, many of whom have joined his side.  Standing against them are still Magneto and his mutants, as well as a group of humans led by Carol Danvers.  Apocalypse grows restless to wipe out his opposition, but it will not necessarily be as easy as he planned.

This first issue most sets the conditions for what will follow, and it does so in a meticulous way.  It is a challenging enough task, condensing a huge story arc into a few issues, but at least a proper job is done at this if if this issue ends up being a bit clunky at times.  There is enough action mixed in with establishing the scenario that it doesn’t become too heavy in the dialogue and concept, but it also seems to be leaving a lot of potential for the following issues.  It bodes well for the tie-in, and while this issue is a bit too conceptual to get through at times, it still excuses it for what is bound to come.

Story: Fabian Nicieza  Art: Geraldo Sandoval
Story: 8.3 Art: 8.3 Overall: 8.3 Recommendation: Read


Fashion Spotlight: Stray Dog Strut, Cooper, and Pawns Go First

Ript Apparel has three new designs today. Stray Dog Strut, Cooper, and Pawns Go First from adho1982, kgullholmen, and ArtBroken will be for sale on July 7, 2015 only!

Stray Dog Strut by adho1982

Stray Dog Strut

Cooper by kgullholmen


Pawns Go First by ArtBroken

Pawns Go First



This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site.

Review: Years of Future Past #2

years002The Secret Wars crossover has perhaps been the unkindest to the X-Men.  Part of the underlying concept behind the huge crossover is to take story arcs and other crossovers from the past and to rework them into the Secret Wars framework.  While this has worked well for some series, for others it has not, and the X-Men versions are perhaps among the most distorted.  This is because the mutants often serve as analogies for what is wrong in society, and with that as a theme, it tends to make a lot of the best X-Men stories into the best of the genre.  In this case Secret Wars hgas grabbed what is one of the best comic book story arcs ever written, so popular in fact that it was chosen as the story line to revive the movie franchise.

This story follows along some basic plot elements from the original series while leaving other important parts behind.  This has been the case with other X-Men tie-ins to Secret Wars where a lot of the characters remain, if not for the baseline being altered in minor, though fundamental ways.  The changes here are thus similar and different as a similar group of characters struggle against the sentinels of the future who have eliminated most mutants already and the few remaining mutants who struggle to maintain their lives and their kind against this threat.  One of the highlights of this issue is a monologue by Colossus which evokes the famous quote by Martin Niemöller about the Holocaust.

That is the case with this issue though.  Although it works well enough as a story, it also is a story which has a few defining moments with other material in between which almost feels like filler.  It is an unconventional format for a story as it moves between moments which are either strong for character development or artistically impressive, but such is the lot of the X-Men tie-ins to Secret Wars.  It is good, but not much else, and more than anything makes the reader want to re-read the original as opposed to continuing with this.

Story: Marguerite Bennett Art: Mike Norton
Story: 8.3 Art: 8.3 Overall: 8.3 Recommendation: Read

Extraordinary X-Men #1 – Still Hated. Still Feared. Still Standing

The fate of mutantkind is decided here! Prepare for a new team of X-Men for a new set of threats this fall as the Marvelous Mutants return in Extraordinary X-Men #1! Eisner Award-nominated writer Jeff Lemire joins chart-topping artist Humberto Ramos for the flagship X-Men title of the post-Secret Wars Marvel Universe!

Eight months have passed. The X-Men are in dire straits. A cataclysmic event that has altered the destinies of both Mutant and Inhuman. Many of the X-Men have gone missing – including their wayward leader Scott Summers. It will take the remaining X-Men to forge mutantkind into something stronger. Something…extraordinary! Now – Storm, Colossus, Magik, Nightcrawler, Iceman, Jean Grey and Old Man Logan will lead mutantkind headfirst into tomorrow.

In an upcoming interview with Marvel.com, Lemire says:

The chance to write the flagship X-Men book is a once in a lifetime opportunity. It’s both exhilarating and somewhat intimidating. The X-Men have a staggering legacy and an extremely devoted fan base, so this is not an assignment I am taking lightly. I’ve poured everything I have into making this book something special. I don’t want to write just another X-Men run. I want the work Humberto and I do to stand up with the truly great X-Men runs.

Welcome to the new Marvel Universe, X-Men – hope you survive the experience!

Written by JEFF LEMIRE
Coming Fall 2015!


Review: X-Men ’92 #1

X-Men92The 90’s are back, and so are the X-Men most of us woke up to on Saturday mornings.  I have to admit, when I saw the solicits for this Secret Wars tie in I thought we would be seeing the X-Men from the comics in the 90’s… but it is very clear this book is more like the cartoon version of our merry mutants. And I’m more then ok with that.

We open to our team engaging in a training session… playing lazer tag at the local mall. Plenty of character references from the cartoon are thrown at us here, from Storm referring to Jubilee as ‘child’ and giving out nature themed speeches before using her powers, to Jean Grey doting all over Cyclops, to Wolverine contradicting everything Cyclops says. The two, of course, have a disagreement and Wolverine decides he has better things to do… like go shopping?? (this  felt way out of character to me, cartoon or not… so did the scene where he is shopping and talking with the sales girl… a Wolverine I haven’t seen before). But I digress. The training session is interrupted when a group of Sentinels attack, seeking to terminate the mutants. Our team comes together and defeats the ‘free range Sentinels’ in time for Baron Robert Kelly to arrive.

His arrival gives us some background to this part of Battleworld, telling us about the Westchester wars where Magneto and his brotherhood rose up to fight for mutant rule, and the X-Men stood against them. The X-Men were victorious, are now seen as saviors and the mutants left after the war were sent to a camp called “Clear Mountain”; a place where mutants can be rehabilitated to live as accepted members of society. Of course, the X-Men are suspicious of this and Cyclops insists on investigating… and then quit the team to live a normal life. The X-Men arrive at Clear Mountain and are greeted by its director… Cassandra Nova.

As I said earlier, I was expecting the comic book version of the team, not the Saturday morning cartoon version, but I have to admit this was really fun to read. As I turned the pages, seeing the team in the costumes we all know and love, I couldn’t help but play the cartoon theme song in my head as I read. The shopping Wolverine, and the sugary sweet exchanges between Jean and Cyclops not withstanding, Chad Bowers and Chris Sims give us the X-Men we remember, as well as some background to this region of Battleworld, something a lot of the other tie in books don’t explain. Scott Koblish’s art is perfect for this title, giving it the cartoon feel that sells the feel of the animated series. I am curious to see more about Clear Mountain, Casandra Nova and the sinister secret I’m sure this rehabilitation camp is hiding.

If you’re as big an X fan as I am and looking for a throwback to Saturday mornings, I recommend checking this title out.

Story: Chad Bowers and Chris Sims Art: Scott Koblish
Story: 8 Art: 8 Overall: 8 Recommendation: Read

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