First, a few things — one of which I should have pointed out before, but failed to include.
Inside the cover in the credits, you’ll see something that only recently started happening. At the bottom where the creator credits once only mentioned Stan Lee, a new name has been rightfully added. Though we don’t know the full details of the settlement between the Kirby family and Marvel, one thing we know is that Jack Kirby is finally getting creator credit.
That is awesome on so many levels.
The other thing — Chris Bachalo’s name is on the cover, but the art this issue belongs to Kris Anka.
And third — yes, Hank McCoy, Cyclops is right.
Scott Summers’ tried and not-so-true friend finally gets it, and for once, he doesn’t know what to do. It’s a bittersweet moment that’s filled to the brim with history between two characters, one named after a one-eyed mythological figure and the other whose callsign only described his physical capabilities. More on this later.
The plot thickens in Uncanny X-Men #19.NOW — S.H.I.E.L.D. infiltrates a former X-Man’s house for interrogation, Mystique and Sabertooth are up to something, an advanced Sentinel attacks, and Cyclops declares war!
If you feel a strong sense of deja vu, you’re not alone. Bringing back plot points that have been on the backburner for months, Uncanny X-Men #19.NOW — more like a revisiting than a retread — reminds us what we’ve been waiting for.
Cyclops’ Uncanny X-Men squad is the alpha team — the team with the heaviest hitters which is one significant member down since Magneto decided to go off in search of himself. Still, there’s been plenty of growth from even the youngbloods, and Cyclops looks more formidable than ever as a man on fire.
So while new readers jump on for Uncanny X-Men and get acclimated — after Cyclops’ team deals with the Sentinel threat, we’re reminded once again how people feel about mutants — steady readers won’t get much new this issue except for more teasing on what happened to Eva Bell in Uncanny X-Men #17 when she disappeared then returned a bit older.
Emma Frost knows enough about Bell to warrant a “You have to tell him” after Cyclops compliments Eva. There’s a suggestion of romance here, and it’s either a one-sided thing, or perhaps Bell saw something in her time displacement that’s so important, Scott Summers has to know.
As far as scripting goes, Brian Michael Bendis gets a good back and forth between S.H.I.E.L.D. director Maria Hill and Bond. Hill is written exceptionally well — she’s manipulative to a point, but she’s still well-meaning, if a bit threatening. As condescending as she gets with Bond this issue, it’s apparent she’s willing to do what it takes to save the world without crossing the line into supervillain territory.
The curtain on what happened to Dazzler is raised, and we see something a bit startling here as Mystique reveals where she gets her Mutant Growth Hormone. The visuals are played up with Mystique storing the illegally obtained substance in a Louis Vuitton bag which shows how far she’ll go to get what she wants.
Chris Bachalo’s pencils are fantastic this issue, though not without flaw. In one panel showing Eva, Emma, and two of the Stepford Cuckoos — all the women have the same face with only their hair and uniforms to differentiate them. Not that it looks bad — Bachalo’s attention to detail and backgrounds helps create some very dynamic panels with devastating spells and destructive explosions opening it up for how epic these battles can be.
And if I can say one thing about the costumes — Goldballs’ retro look is at the same time hilarious and a hot mess. I’m not sure if he’s a parody of something else — maybe on DC as a whole — but he’s basically the team’s de facto comic relief now.
Everything else about this issue is pretty pitch perfect — the inkers’ squad has another member this issue bringing the count to five. Tim Townsend, Al Vey, Jaime Mendoza, Mark Irwin, and Victor Olazaba all contribute on bringing those penciled sketches to bear with clean lines, dramatic shadows, and darkly dark backgrounds.
In terms of color, Bachalo handled 100% of the work before, but this time we get a few pages by Jose Villarrubia that are reminiscent of Frazer Irving’s filtered green textures. Seeing Villarrubia’s colors — if just for a page or two — on Bachalo’s work makes me wonder what kind of tone an issue would take if someone else was brought in for color. I’m still not totally keen on Bachalo’s choice of hues, but to each their own.
And while I’m not the best at judging at a letterer’s work — Joe Caramagna should be commended for his work this issue. Explosions, laser blasts, and power beams get their own personalities, and it makes the battle sequences feel very epic.
The previous issues with their character sketches were a good detour, but it’s time for the Uncanny X-Men to get back on track. While new readers joining the rest of us will benefit the most this issue, it’s a good reminder for the pull-list subscribers of the particular threads left untied and loose. For some, it’s an “about time” moment when the story they’ve waited patiently (or not) for is finally getting its round.
And while the training is never over — at least from Cyclops’ perspective — it’s time for these kids to use what they’ve practiced. The threat is there, whether it’s S.H.I.E.L.D., the mysterious Sentinel builder, or both, and these X-Men have proven themselves to be more than apt for the task.
Uncanny X-Men #19.NOW (2013)
Words: Brian Michael Bendis
Pencils: Chris Bachalo
Inks: Tim Townsend, Al Vey, Jaime Mendoza, Mark Irwin, and Victor Olazaba
Colors: Chris Bachalo and Jose Villarrubia
Letters: Joe Caramagna
A few years into the future — a future in which the classic X-Men have not returned to their original time — Jean Grey persuades Disco Dazzler Alison Blair to run for President of the United States of America.
It’s not like Grey hasn’t ever put a thought into someone’s head before — and the last time she did so, it came from a more future Jean who gave Scott Summers her blessing so he could pursue a relationship with Emma Frost.
This idea, like her other, gains traction, and Blair gives her victory speech. The world rejoices as mutants and humans alike celebrate their unity.
And then, there’s fire.
Readers get to see the moment where things went so wrong for the presumed X-Men of the future who have traveled back in time to warn the others. To complicate matters even further, the X-Men of the future are … impostors? Or worse: Traitors?
After a slow-roast of a story the first few issues into the Battle of the Atom crossover, things have been set to flash-burn as Magik’s field trip to the future reveals plenty of surprises and plot twists.
In a world where Sentinels protect mutants, and Jubilee is the leader of the X-Men — the real X-Men — something has happened to make Henry McCoy and his associates turn. What it is, no one will say, but when another X-Men team comes to the present time, it looks like three generations of teams will meet for an epic standoff.
Brian Michael Bendis picks up the pace and turns it to 11 this issue. The assassination of the first mutant President and the subsequent chaos looks like it sets something into motion, but there’s more to it than that.
What looks like an attack by the forces of Limbo suggests Magik could be responsible for what’s happened, though there are other questions. If the classic X-Men never returned to the past, it’s assumed their present counterparts ceased to exist because the time-displaced versions grew old from their teenage selves into this very different future.
But why is older young Jean Grey angry at her younger self, besides the fact that her younger self’s decision to stay led to this version of the future? There must be more to it, and the next month’s worth of X-Men issues will hopefully bring more answers.
Stuart Immonen’s pencils are a sight to behold, and he is arguably Marvel’s best artist in their stable. There’s a polish to the art with an amount of detail and thought suggesting Immonen is invested in telling a great story through visuals. It’s not just the character designs — the character expressions and panel composition makes All-New X-Men a cinematic experience with emotion. Take a look at Beast’s angered grimace, and it’s plain to see when and why he turned rogue along with the other former X-Men members.
Marte Gracia’s colors are beautiful, and the brighter colors showcase a future that’s optimistic. Gracia’s high-contrast colors along with Wade von Grawbadger’s inks give the art depth in shadows and a textured feel. Seeing the difference in Colossus’ sheen versus Beast’s fur, and there’s a craft to the art that’s present in the different dimensions of it.
That said, All-New X-Men #17 serving as chapter six of the Battle of the Atom storyline finishes the first act of the crossover. Next month, there will be six more issues. How grand will the finale be? Only a few can say, but as it rolls out to the general public, one can hope it snowballs into something epic.
So far, Bendis has gone counter, flipping the status quo on its head. The future, as bright as it is for many, has a few enemies in the form of a splinter X-Men group. The sides are many — the ones that want the classic X-Men to go back, those who want them to make up their own mind, and the different sets of X-Men in the future who know the outcome. By the looks of it, this X-Men vs. X-Men vs. X-Men story could easily wipe away the bad taste left by last year’s AvX.
And if this turns out worse? Well, there’s a few working at Marvel who know how this story goes, and it’s in their hands to make sure the present leads to a better future.
All-New X-Men #17 (2012)
Writer: Brian Michael Bendis
Pencils” Stuart Immonen
Inks: Wade von Grawbadger
Colors: Marte Gracia
Letters: Cory Petit
It seems wherever Cyclops goes, someone’s asking him what happened with Charles Xavier.
It’s a valid question, and it’s an issue Scott Summers has been dealing with internally as he holds on tight to this second chance of his. Though the fans have chanted, Cyclops is right, past events have had a major effect on him, altering him from pure leader to tainted freedom fighter.
Alison Blair, former X-Men in charge of PR for Cyclops’ extinction team, now works for S.H.I.E.L.D., and her first assignment involves taking Fabio Medina into custody for questioning. Blair takes advantage of a fangirl, and uses her powers to subdue the family, freeing herself up so she can bring Medina onto the helicarrier.
Too bad for Maria Hill and her underlings — David Bond’s new affiliation with Cyclops’ X-Men squad has given him time with some of the most powerful mutants on the planet. Bond began to understand his ability to take control over machinery last issue, and he’s been spending time with some of the greatest teachers. It all pays off when Bond takes control of the helicarrier after the X-Men teleport to Fabio’s side.
It’s an issue filled with tactical maneuvering, trick surprises, and changes. Irma, one of the Stepford Cuckoos, has changed her hair style, prompting her sister Celeste to “freak out.” It’s an interesting dynamic because the X-Men books have long tackled issues concerning prejudices, but even the X-Men aren’t immune to tiffs and fighting over expections of “normality.”
By the looks of it, Brian Michael Bendis is having loads of fun drafting the Uncanny X-Men series — the dialogue is witty, the tempo is brisk, and the characters have momentum going forward. The heavy hitters of the team still command presence, but the cast feels fuller now even if the elder teammates have to deal with being broken. It leaves the younger recruits room to grow and show they can handle their own as they fight for the spotlight. Credit Bendis for giving readers a reason to care for the new teammates who don’t feel disposable.
Chris Bachalo’s pencils remain top notch, and each page is filled with fully loaded panels. There’s tension and great composition, and Bendis’ doesn’t make it easy for Bachalo with all of character interaction. There’s been a lot of story in the past few issues, and Bachalo’s artwork isn’t lazy — it’s actually pretty frenetic. Character expressions are Bachalo’s strength, and body language is easy to read.
If there was a major gripe, it’s Bachalo’s penchance for backsides. There are at least four prominent “butt” shots, and each issue seems to have at least one. It can be distracting, and Bachalo could be a candidate for the Hawkeye Initiative Award if there was one.
As for inks — Tim Townsend gets help from three other inkers. Lines look fluid and smooth, and the dark black shades add thick contrast without feeling sloppy or overwhelming.
Bachalo’s colors get a nice boost with some more variance in colors. There’s more blue to this issue, and the palette switching is more attractive compared to the melange of orange Bachalo used last issue.
The Uncanny X-Men series has been strong — more or less — on a month to month basis, and Mystique’s appearance here after a stint in All-New X-Men shows she’s part of a bigger picture. Mystique proves you can’t stop her — you can only hope to contain her — and she’s a threat that’s been deserving of a bigger challenge.
Kudos to the creative team for pushing the pace and creating an issue that puts some of the most powerful mutants on Earth in harm’s way. Bendis could have chosen higher-profile characters, but he’s bringing in solid and dangerous foes capable of making a huge impact on the X-Men universe.
Uncanny X-Men #9 (2013)
Words: Brian Michael Bendis
Pencils: Chris Bachalo
Inks: Tim Townsend, Mark Irwin, Al Vey, and Jaime Mendoza
Colors: Chris Bachalo
Letters: Joe Caramagna