Tag Archives: x-men

The One:12 Collective Cyclops is Available for Pre-Order

The One:12 Collective Cyclops features a light-up optic power function that illuminates his signature ruby-quartz visor, containing the uncontrollable energy blasts from his eyes. The born leader and gifted hero is outfitted in an aramid fiber x-suit with a utility belt and harness, and a removable leather-like jacket. Cyclops comes complete with a range of visor effects that light up when affixed to either head portrait, reflecting his devastating mutant abilities.

Scott Summer’s mutant power first erupted from his eyes as an uncontrollable blast of optic force. Rescued by Professor Xavier, he was recruited as the first member of the X-Men – a team of young mutants who trained to use their powers for the good of mutants, humans, and equality.


  • One:12 Collective body with over 28 points of articulation
  • Two (2) head portraits
  • Hand painted authentic detailing
  • Approximately 17cm tall
  • Six (6) interchangeable hands
    • One (1) pair of fists (L&R)
    • One (1) pair of posing hands (L&R)
    • One (1) combat hand (R)
    • One (1) visor activation hand (L)


  • X-Men issued mission suit
  • Utility belt with harness
  • Combat gloves
  • Leather-like biker jacket with functional zipper
  • Tactical boots


  • Four (4) visors
    • Standard visor
    • Smoking SFX visor
    • Optic blast SFX visor
    • Mega optic blast SFX visor
  • One (1) One:12 Collective display base with logo
  • One (1) One:12 Collective adjustable display post

Each One:12 Collective Cyclops figure is packaged in a collector friendly box, designed with collectors in mind. You can pre-order the figure now from Mezco Toyz, Entertainment Earth, and more.

Preview: X-Men: Gold #34

X-Men: Gold #34

(W) Marc Guggenheim (A) Michele Bandini (CA) Phil Noto
Rated T+
In Shops: Aug 22, 2018
SRP: $3.99

• Storm must battle a mysterious figure from her past!
• But with the true nature of Stormcaster revealed, can Storm trust her powers anymore?

Preview: Extermination #1

Extermination #1

(W) Ed Brisson (A) Pepe Larraz (CA) Mark Brooks
Rated T+
In Shops: Aug 15, 2018
SRP: $4.99

Cyclops. Iceman. Angel. Beast. Marvel Girl. The original team of teen mutants brought together by Professor Charles Xavier many years ago have been shunted through time to find a world they barely recognize but were determined to help. Now, finding themselves targeted for death, the future of mutantkind lies squarely in the hands of its past. Writer Ed Brisson (OLD MAN LOGAN, CABLE) and artist Pepe Larraz (UNCANNY AVENGERS, AVENGERS: NO SURRENDER) answer the biggest question of all: can the fate of the X-Men be changed?

The Uncanny X-Men… Disassembled with Uncanny X-Men #1 this November

This November, Uncanny X-Men returns with a new ongoing series and it all kicks off with a massive 10-part weekly story! X-Men Disassembled brings together nearly every mutant left on earth in a story that threatens to destroy them – an epic tale of mystery and tragic disappearance, with an adventure so earth-shattering, it could very well be the X-Men’s FINAL mission!

Following Uncanny X-Men’s initial announcement at this year’s San Diego Comic Con, Marvel is excited to announce the full Uncanny X-Men creative teams! Featuring fan-favorite creators fresh from their own X-projects, Uncanny X-Men brings together acclaimed writers Ed Brisson, Kelly Thompson,and Matthew Rosenberg. The three superstar writers will join forces with all-star artists Mahmud Asrar, R.B. Silva, Yildiray Cinar,and Pere Pérez. The first issue features art by Asrar, second by Silva, and third by Cinar. Covers are by Leinil Francis Yu.

Starting this November, the new ongoing series will launch with Disassembled, a stunning and spectacular 10-part weekly epic. Where the series goes from there?

That depends on who survives the experience…

Don’t miss Uncanny X-Men #1, coming this November 14th to your local comic shop!

Review: X-Men Grand Design- Second Genesis #1

X-MEN GRAND DESIGN SECOND GENESIS #1 (OF 2)Cartoonist Ed Piskor leaves the Silver Age and enters the Chris Claremont, Dave Cockrum, and John Byrne era in X-Men Grand Design: Second Genesis #1 retelling the story of the X-Men from Cyclops and Professor X’s assembly of the “All-New, All-Different” team of Storm, Wolverine, Colossus, Nightcrawler, Thunderbird, and Sunfire to rescue the original X-Men from the mutant island Krakoa to the conclusion of the classic “Dark Phoenix Saga”. The comic’s biggest strength is Piskor’s meticulous attention to craft including panel layouts and lengths, color choices, and lettering. With so much material to cover, there are no wasted beats in his storytelling, no filler. This does harm its emotional resonance which pales in comparison to Claremont’s original saga that partially worked because the longform storytelling created a connection between readers and characters and developed various relationships in more depth, like Wolverine and Nightcrawler, Jean Grey and Cyclops, and Professor X and Lilandra to name a few in this time period.

However, for the most part, Second Genesis #1 is beautiful, yet streamlined take on one of the most important pop culture icons from a talented writer/artist. Even though there are appearance from various secondary foes and antagonists and even mentions of and cameos from heavy hitters like Magneto and Galactus, Piskor establishes from page one that the Hellfire Club will be the chief opponent of the X-Men in Second Genesis while continuing the larger Ur-narrative of the Phoenix that he hinted at in the first volume of X-Men Grand Design. And the force or character that these two powers rotate around is Jean Grey and later the Phoenix force taking on the appearance of Jean Grey as Piskor agilely summarizes the retcon that allowed for Jean Grey’s “ressurection” and absolving of a murder of planets in a sequence of dark panels that show her go from a powerful mutant to almost a fetus. He even shows his horror chops in his recreation of the famous scene in the “Phoenix Saga” where Jean absorbs radiation and crash lands the X-Men team after they rescue Professor X from mutant hater and experimenter Stephen Lang. A classic countdown sequence combined with some shocked facial expressions builds the suspense that culminates in a firebird rising from Jamaica Bay.

Although Second Genesis #1 is much more plot-driven, and the best X-Men stories I would argue are more character driven (And Claremont managed to cram a lot of plots in too.), Ed Piskor still takes care to flesh out the individual X-Men’s flaws, personality traits, and memorable moments. There’s a baseball game with Nightcrawler playing catcher, early in the book, Colossus and Wolverine link up in a trademark fastball special, and there’s even a panel with Storm’s claustrophobia. Piskor writes and draws Kitty Pryde as plucky and ingenious without being annoying and accidentally saving the X-Men with her phasing ability as Claremont and Byrne were trying to finish off their great epic while also introducing an actual student for the Xavier institute per editorial mandate. She adds bursts of joy and energy between the shadow and flame of Dark Phoenix and whited out psychic duels between Mastermind and Cyclops. The Phoenix and Hellfire Club predominantly take center stage while Professor X’s deal with Lilandra and Shi’ar runs off to the side, and even though some of my favorite X-Men were on this incarnation of the team, they lack a strong identity unlike the original five plus Havok and Polaris in X-Men Grand Design.

Don’t get me wrong. For all its flaws in the characterization department (For example, Piskor puts Professor X and Cyclops at a graveyard at the top of the page, and Thunderbird’s death at the bottom and barely hints at his headstrong nature.) and lack of focus on the Jean/Scott dynamic when Jean is at the center of the story, Second Genesis #1 is the rare mainstream comic created auteur style by a single creator. Ed Piskor gives the subplot heavy, soap operatic narrative of the X-Men a strong thread to follow and lets his nostalgia and love for the source material shine on every page. His art style is retro without being simplistic, and there is a kind of minimalism to his use of captions and dialogue, especially compared to the overwrought style of Claremont. In fact, his strongest emotional beats involve few words at all like Jean and Scott spending one last night in bed before the X-Men’s honor duel against the Shi’ar, and he punctuates these emotional crescendos with the use of black and white instead of the colorful costumes, spaceships, and energy bursts that permeate this book and the X-Men canon as a whole.

Even if it focuses more on singular narrative building than the growth of one of superhero comics’ greatest ensemble casts, X-Men Grand Design: Second Genesis #1 is a wonderful example of the cyclical nature of myth as Ed Piskor filters the beginning of Chris Claremont’s run on X-Men through a lean, visually striking storyteller’s lens or his childhood fantasies through a steadier, yet no less energetic hand. I’d probably rather reread the “Dark Phoenix Saga” though.

Story/Art/Letters: Ed Piskor
Story: 7.2 Art: 9.0 Overall: 7.6 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE copy for review

Around the Tubes

We’re gearing up for San Diego Comic-Con but we still have lots on tap for the week including a new podcast and more! While you wait for all of that, here’s some news and reviews from around the web in our morning roundup.

AV Club – The modern era of the superhero movie begins in earnest with X-Men – Agree? Disagree?

L.A. Weekly – Black Mask Studios Is Dragging the Comic Book Medium Into the Politically Aware Era – A publisher that’s shaking things up.

IGN Comics – Warcraft Director Duncan Jones Reveals Comic Book Movie Rogue Trooper – More comics coming to the big screen.



Talking Comics – Superman #1

Review: X-Men: Magneto – Testament

There are few places, when it comes to museums, that weighs on you more than the somber history displayed in the United States Holocaust Museum. I visited the museum soon after it first opened and many times over the years. Not since the tragedy that took place there back in 2009 did I recently return. I just had some family from out of town visit Washington, DC for a few days and I met up with them for a day trip. This was my first time going in so many years and the exhibits remain just as harrowing as when I first saw them. The stories within that place transcends time and convention as the penance that Holocaust survivors require from the world cannot ever truly be repaid. Theleast we can do is to never forget.

As I walked through the museum I was reminded of the millions of people who suffered, the mostly unknown heroes, and even some known like Oskar Schindler. Rarely has comics, with the major exception of Art Spiegelman’s epic Maus, risked exploring the subject in the light it deserves. Which brings me to one of the most interesting and complicated villains of the Marvel Universe, Magneto. As complex as Eric Killmonger was portrayed in the recent Black Panther movie, this is not the first time a villain was more than some silly obstacle. Magneto has proven in every incarnation, in the comics, the TV shows and the movies, that he, much like Killmonger, is more than a villain. He’s tragic, he also has his own sense of morality, and ultimately is as much a protagonist as an antagonist. The one part of his origin story that is pretty much glossed over and has never really been explored throughout the years is his past as a Holocaust survivor. It’s a subject both still raw and controversial. That all changed in 2009 with some help of some meticulous research and consultations with a series of experts, the team of Greg Pak and Carmine Di Giandomenico dared to tell his origin story in X-Men: Magneto – Testament.

We meet a young Max Eisenhardt, AKA Magneto, a prodigious student at his school in Germany in 1935, where him and his family try to live a peaceful life, but in a time where the Nazi Movement catches fires in a listless Germany still feeling the effects of World War I.  Max also meets a young girl, who he ends up falling for, but whom finds ostracization herself in Germany, as she and her family, are also Gypsies, a group of people who faced extermination from the Nazis as well. Soon, the Eisenhardts finds living in Germany, to be a death sentence, as Jews become targeted by the new Nazi regime, through first identification, then condemnation, and eventually isolation into the “ghettos”, where their food rations were never meant to sustain them but to starve them to death. As the Nazis looked to further isolate the Jewish population, eventually they moved them to concentration camps, they put to death, those who opposed the rule, Eisenhardts being one of them, they exterminated the whole except for Max, whose powers showed for a moment, and saved his life. He would eventually be sent to Auschwitz, where he is reunited with one of his teachers, and who guides him. He is soon put to work, in the gas chambers, where thousands of men and women were exterminated day after day and he could not help not one. He is also reunited with Magda, the young Gypsy girl, who he likes and who he uses some of his leverage with a Nazi officer, to send her away from Auschwitz, to another camp, where she may survive. As World War II ends, so does Max’s stay, as the Nazi Resistance takes the camp, and frees all the prisoners. By book’s end, Max buries all remnants of his life in a marked grave, as he begins life anew, as the nightmare he lived, should never happen again.

Overall, a comic that not only educates but astounds as the persecution felt during “Shoah” stands as the moral imperative by which all evil is still compared to. The story by Greg Pak is dense, moving, and thoroughly researched. The art by Carmine Di Giandomenico is captivating and captures each moment as if they came from a movie. Altogether, a comic which gives reader another dimension to this complex character, one that makes you realize everyone has a story.

Story: Greg Pak Art: Carmine Di Giandomenico
Story: 10 Art: 9.6 Overall: 9.7 Recommendation: Buy

Underrated: Age Of Apocalypse

This is a column that focuses on something or some things from the comic book sphere of influence that may not get the credit and recognition it deserves. Whether that’s a list of comic book movies, ongoing comics, or a set of stories featuring a certain character. The columns may take the form of a bullet pointed list, or a slightly longer thinkpiece – there’s really no formula for this other than whether the things being covered are Underrated in some way. This week: Age Of Apocalypse. And no, not the movie.

aoa.jpgThe year was 199-something, and Charles Xavier had been murdered by his son, Legion, who had attempted to go back in time to kill Magneto before he became a villain. When he was still Xavier’s friend. That obviously didn’t turn out so well. In this reality Apocalypse attacked ten years before he did in the “main” Marvel Universe and conquered North America, although he is opposed by various mutant groups, he ultimately succeeds in instituting his Survival Of The Fittest mantra within his realm.

For four months Age Of Apocalypse took over the regular X-Men books, replacing the likes of Uncanny X-Men with Astonishing X-Men, Wolverine with Weapon X and so on across the board. I won’t list all of the series substitutions because you can find that on Wikipedia, and I’m lazy. No, today I’m not talking about the story told in a comic, but rather the way the story was presented to us, the readers. You see too often these days a major event spanning 6-10 issues in an entirely separate miniseries that will vaguely tie in to the ongoing series. No, instead Age Of Apocalypse replace the current ongoing series for four-ish months, only for those to pick back up again at the conclusion of the story.

In a rather shorter Underrated than normal (maybe? I don’t track the length as much as I should), I wanted to talk about this method of delivering an event story. What was essentially a collection of miniseries that each told a piece of the story replacing the comics you would be buying anyway is, to my mind, a genius idea. In theory, you have those buying the monthly comics already picking up the event as a continuation of the series they read and collect as well those who are curious about the event diving in and, hopefully, sticking around after it ends.

Obviously the opposite is equally true; the temporary cessation of the X-Books would have allowed those to ignore Age Of Apocalypse only to resume when the X-Books returned with their regular numbering (Wolverine #91*  would have been released in February, with Wolverine #92* appearing in July – *exact numbering may be different). This is something that I’ll be looking into in the future and exploring further outside of this column. In the meantime, I still maintain that the idea of stopping the monthly series is, at the very least on paper, an underrated idea.

Join us next week when we look at something else that is, for whatever reason, Underrated.

Review: Dazzler X-Song #1

In the one-shot Dazzler X-Song #1, writer Magdalene Visaggio, artist Laura Braga, and colorist Rachelle Rosenberg deliver a powerful story about facing down hate and bigotry using the power of music (and cool light shows) just in time for Pride Month. (I seriously wish that Alison Blaire’s new band Lightbringr was playing my local Pride festival.) They use the “rivalry” between mutants and Inhumans that has been simmering in stories like Death of X, Inhumans vs. X-Men, and even in the recent Secret Warriors series as a metaphor for intersectionality in marginalized communities adding layers to the frankly, quite old mutant=minority. And, along the way, Braga and Rosenberg craft hip, energetic visuals and an explosive color palette worthy of the disco Dazzler even though she’s going by Alison these days and doesn’t really want to be a superhero or X-Man for now despite Colossus begging her to join the new look team.

Visaggio and Braga kick off the book with a beautiful establishing page: a four panel entry into the world of Alison and her bandmate Farley setting up for their show; an Inhuman Nora, who has similar powers to Dazzler, and her pal Zee getting ready for the Lightbringr gig, and a member of the Mutant Action ready to get his hate on. Dazzler X-Song #1 has plenty of stylized music video touches, especially in Rosenberg’s colors when the crowd at Alison’s show is overwhelmed by pink, but the narrative is fairly grounded in overcoming  hatred through the power of music. Alison wants the “others” of the Marvel Universe to enjoy their music and have an opportunity to be themselves for one amazing night. But, sadly, like the “no fats, no femmes”, white gay men on dating apps (and sometimes at the club), some folks just wanted to be bigoted and not share the love and enjoy the scene.

One interesting part of Dazzler #1 is Magdalene Visaggio and Laura Braga’s nuanced approach to violence. Many X-Men comics are known for their big, pitched battles to show off the various mutants’ cool powers, but Alison only fights when it’s necessary. Thanks to a sobering tip from Nora after a show, she is aware that the Mutant Action members are at her show and staves them off with a no violence tolerated policy and focusing on the music and de-escalation. In the long run, this doesn’t work, and the Mutant Action starting act worse and even bring power dampeners to gigs so they can assault Inhumans. Seeing a helpless Nora causes Alison to return into action in a a powerful splash page from Braga where you can see the Mutant Action member’s cheek wobble as she decks him Richard Spencer style with Rosenberg adding pink speed lines. Maybe, Alison isn’t ready to put on a spandex costume yet, but she has a good heart and cares about protecting people, who are discriminated against. And her fans end up giving her an assist in the big climax where their vocals amplify her light abilities, and Alison scares away Mutant Action once and for all.

What makes Dazzler #1 refreshing is that Magdalene Visaggio and Laura Braga gives readers a mutant/Inhuman perspective on the Marvel Universe in a way that doesn’t involve folks wanting to be superheroes in a similar manner to the late, great Patsy Walker AKA Hellcat. Nora doesn’t want to beat up supervillains; she wants to use her light abilities to make the dance floor an even more epic place. However, when threatened by mutant bigotry (In a great metaphor for white members of the LGBTQ community being racist towards people of color.), she confronts it directly without getting all superhero clubhouse about it, and Dazzler does the same and even makes a big speech about how mutants and Inhumans can stand together and be powerful without being a part of a superhero team. Their abilities might be fantastic, but they can find community in a way that doesn’t involve costumes, codenames, and Danger Room training.

Dazzler X-Song #1 light show visuals from Laura Braga and Rachelle Rosenberg that perfectly fit a book starring Alison Blaire and a strong message of pride and intersectionality from Magdalene Visaggio. It shows that cool mutant/Inhuman powers, social commentary, characters arc, and sassy humor can co-exist in one great comic book. Now, I need a follow up comic where Alison meets Karen O…

Story: Magdalene Visaggio Art: Laura Braga
Colors: Rachelle Rosenberg Letters: Joe Sabino
Story: 9.5 Art: 9.0 Overall: 9.3 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

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