Picking up at the swell of a whirlwind romance between Laura Kinney and Warren Worthington III after a night of clubbing and, well, clubbing (literally!), the two go through an impromptu DTR that challenges their notions of each other, especially for Kinney.
It’s hard for Laura to accept what’s going on now that she’s had time to think about it. Warren’s too pretty and too rich, while she’s been through too much.
Even if it’s a beauty and the beast type of situation, the pairing does make sense in the end — opposites do attract, especially when they turn out to be commonalities. Laura’s ugly past puts her on one side of a spectrum where Worthington’s enviable wealth places him on the other. Both are attractive, yet in some ways unwanted, and they both know what it’s like to be a mutant.
Once Laura realizes her past is past, she wonders what’s going on in the rest of the world to which Warren, living in the moment, responds with the exact words Laura needs to hear.
Elsewhere in the world and back at the Xavier School, Emma Frost has begun training Jean Grey with an interesting first assignment — she wants Jean to hit her. With some of the students covertly witnessing the strange session, Emma and Jean begin to discuss the biggest conflict in both their lives: Scott Summers.
There’s some enmity here, and they’re both willing to press the issue to get what they want. To get out of training, Jean points out Emma’s conflict — that Jean and Scott’s relationship was mutual and exclusive.
That only prompts Emma to retaliate and go for Jean’s jealousy button. It was Emma that Summers mentally cheated with during his marriage, and Frost projects explicit images of Scott. It’s the one when Summers says he chose Emma that makes Grey lash out, forcing the students to rush to Professor Kitty Pryde.
Pryde’s been busy building a long-distance relationship with Peter Quill who’s a billion miles away. The conversation between them is realistic, and there’s surefire chemistry between the two. Brian Michael Bendis doesn’t break each of the character’s personalities to force something onto them. The scene is a textbook example of how dialogue between two adults should be written — it’s full of charm, poignancy, and humor.
When Pryde follows the students to see what all the commotion is about, a psychic battle results in the scariest thing Illyana Rasputin has ever seen.
Emma and Jean are now friends.
Bendis comes through with an issue that gives readers a true X-Men experience. By piercing through the outer veil and giving us a behind-the-scenes perspective, we get to the nitty and gritty to learn more about their personalities — without which, the individuals are X-Men in name only.
The pairings are deliberate and speak to Bendis keen planning and plotting. In each scene, we get interactions between polar opposites. The contrasts between Laura and Warren are easy to spot, and the most compelling story this chapter is between Jean and Emma, two rivals with a rich history of turmoil between them.
For new readers, it’s easy to accept the premise as is and believe there’s bad blood between two women in love with the same man. But there’s an incredible amount of emotion and history that’s only hinted at.
Back in the ’90s when the X-Men first split up into Blue and Gold teams, it was Emma’s Hellfire Club that caused one of Jean’s physical deaths — Grey saved herself by possessing Emma with her consciousness. When Frost later came over to the X-Men’s side after Generation X, she began therapy sessions with a broken Cyclops which resulted in mental cheating.
When Grey died at the end of the New X-Men run, she got a glimpse of a very dark future. She reached back in time to influence Scott, telling him to move on and into Emma’s arms. The love triangle was no more until Beast decided to do some time-traveling of his own to bring the original X-Men to the present.
So now we have young Jean reeling and dealing with what the future holds, and her current incarnation in Marvel Comics does what no other version has been able to do: reconcile with her rival.
As the two most powerful psychics on the planet, the fact they’re friendly now only makes the cumulative outlaw X-Men squad a formidable force.
And while Professor X, knowing the potential for devastation to come, blocked out Jean’s powers until she was ready to handle them, it’s Frost who gets to bring out Jean’s best which could lead to several outcomes. As angry as Jean is now, what will happen when the Phoenix returns in full force to inhabit a younger, less mature, and more-powerful-for-her-age version of an Omega-level mutant?
It’s an issue that Pryde recognizes, and All-New X-Men #30 ends with the Jean Grey School X-Men making a surprise visit with news of Xavier’s last will and testament. As hated as Scott is for the things he did while being possessed, I wonder what Beast feels when he sees Jean.
Then, I begin to think of how this story possibly ends — with another sacrifice leading to redemption.
That’s the sort of thing that compels me to keep reading Bendis’ material. The past, when forgotten, tends to repeat itself, and X-Men stories have spiraled in and out of time away and onto themselves. What I most enjoyed about this issue are the discussions that perfectly reflect the inner minds of the characters speaking. They grow, feel love and hate, and challenge themselves and the readers. The X-Men are a microcosm of our society filled with viewpoints, differences of opinion, and those struggling to choose what’s right.
And without a great artist to capture the nuances of expressions, much of what we saw this issue could have been lost. And so it makes me grateful to see that if anyone had to take over art duties from Stuart Immonen, it’s Sara Pichelli.
Pichelli’s art style this issue is reminiscent of Immonen’s pencils and Wade Von Grawbadger’s inks. The heavy outlines are there as well as the clean and distinct facial expressions that tell their own share of the story. Pichelli’s Frost is perhaps one of the best I’ve seen — from the visuals alone we get a sense of how manipulative and seductive Emma can be.
And that’s one of the greatest strengths of All-New X-Men #30 — the brilliant display of visuals without need for words. The flashback of Laura and Warren’s first date is almost four pages of panels with no dialogue, and the pressure’s on for Pichelli. To her credit, the artwork is masterful in how it not only tells us how things went down, it also shows us how the characters are feeling. There’s a panel of Laura looking sublime during the melee, and it just captures the moment perfectly.
To bring it all into another level of cohesion, Marte Gracia’s colors adapt just enough to keep things similar yet distinct. Warren and Laura’s scene in the room has a romantic feel to it, and the shading on the faces creates not only more definition for expressions — it also creates mood through lighting.
All of these things put together makes up one awesome issue that doesn’t need a particular villain to create drama. The X-Men have proven, time and again, that they are their own worst enemies, and the numerous conflicts presented here are easy to relate to. It’s the deftness in the creator’s abilities that this issue comes to life.
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