Comics: Uncanny X-Men #242

UNCANNY X-MEN #242
March 1989
"Burn!"
Writer: Chris Claremont
Penciler: Marc Silvestri
Inker: Dan Green
Colorist: Glynis Oliver
Letterer: Tom Orzechowski
Editor: Bob Harras
Editor In Chief: Tom DeFalco

Wow, if ever there was a doubt about Marc Silvestri's artistic talent, that opening page shatters all of them. The closeup image of Wolverine kissing Jean Grey passionately has become quite iconic, and it makes for a doozy of an opening page. And then...there's the rest of this issue. This giant-size issue. Way too many pages are spent with the X-Men fighting X-Factor for...really no reason. Sure the X-Men are sorta under demonic control, but that doesn't seem to bother Storm whenever she's reunited with Jean Grey. And then everything is back to normal and both teams join up to defeat N'astirh. It's kinda ludicrous and I really could have done without all of it. Yeah the fanboys want to see the two teams fight, but when there isn't really any motivation besides petty name-calling and there's no resolution besides saying "hey, let's not fight," it's just silly. There are some cool moments during the fight to defeat N'astirh, like Iceman creating a slide to hurl a falling Colossus directly at N'astirh. The art is pretty great throughout, I just with this was a normal-sized issue with a lot less ridiculous in-fighting.

MY SCORE: 8.2/10

Comics: New Mutants #73

NEW MUTANTS #73
March 1989
"The Gift"
Writer: Louise Simonson
Penciler: Bret Blevins
Inker: Al Williamson & Mike Manley
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

This issue pays off Magik pretty well, as her character falls fully prey to her dark side and then goes back to the light in a final sacrifice for the greater good of the world. It's a fine story that's only hindered by being all mystical and seemingly nonsensical (I'm really getting bored with all this stuff). I love these characters, so that gets me through it. The art is highly kinetic, emotive and fun. They really did a good job of saying farewell to Magik. Her storyarc with the Mutants feels complete after this and it's a shame that she had to be resurrected last year. This issue sets up the new status quo of Magik being reverted to her six year old (right?) self, which she will maintain until her death in 1993. That will then be undone in 2008. Oh well.

MY SCORE: 8.1/10

Comics: X-Factor #37

X-FACTOR #37
February 1989
"A Matter Of Honor"
Writer: Louise Simonson
Penciler: Walter Simonson
Inker: Bob Wiacek
Letterer: Joe Rosen
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The length of "Inferno" seems to have taken its toll on Walt Simonson, who starts to turn in some lazier-than-normal pencils with this issue. Proportions are off, faces are weird, it's not that bad but also not as great as he usually is. Plus the entire issue is X-Factor and Madelyne Pryor playing hot potato with baby Christopher. It gets old and definitely didn't need a whole issue devoted to it. Once again, so much mystical mumbo jumbo is tossed around it's all kind hard to follow. The last page has a decent cliffhanger, with Wolverine's hand plopping down on Marvel Girl's shoulder. Who wouldn't want to read Uncanny X-Men #242 with the promise of a reunion?

MY SCORE: 7.9/10

Comics: X-Factor #36

X-FACTOR #36
January 1989
"Transformations!"
Writer: Louise Simonson
Penciler: Walter Simonson
Inker: Bob Wiacek
Letterer: Joe Rosen
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

This is a fine issue. Beast and Iceman battle a demonized subway train while Marvel Girl and Cyclops re-enter Manhattan by mini-jet and fight their way through tons of airborne goblins. Beast and Trish Tilby face each other after Beast's re-furry-ization and deal with that (she's okay with it eventually) and the original five X-Men are once again reunited on the last panel when Archangel (or Angel...or Death...can't remember what he's going by at this point) swoops in. Trish Tilby is a well-rounded character with as many strengths and weaknesses as the main cast and there's a real sense of importance in that last panel when the core X-Factor unit is reunited after almost a year's worth of issues spent apart.

MY SCORE: 8/10

Comics: Uncanny X-Men #241

UNCANNY X-MEN #241
February 1989
"Fan The Flames"
Writer: Chris Claremont
Penciler: Marc Silvestri
Inker: Dan Green
Letterer: Tom Orzechowski
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

Yeah, I'm about eight issues behind with these reviews. I'm going to try and speed through them and since they're all part of "Inferno," you can apply the following to pretty much every issue:

1. Including all the build-up, this story has gone on way too long.
2. I think Limbo and all the magic stuff is generally annoying and uninteresting.
3. It's cool seeing a lot of big and iconic plot points happening.

Okay, with all that out of the way I can say that this is another above-average issue of Uncanny. Even though the issue is essentially not much more than an extended fight scene between the X-Men and Marauders, the "not much more" involves Mr. Sinister telling Madelyne Pryor her origin. For that alone the issue is exciting, since as someone who came along way after Pryor's death it's interesting to see the beginning of her end. My biggest problem with this issue is the "demon" Colossus fights on page 19. It's...not a demon. It's one of the Right's armored goons from the pages of X-Factor that, well, looks nothing like a demon. It looks like a robotic egg with a smiley face and Colossus says that he's seen "his kind" before in Limbo. No, I don't think he has. Unless I'm missing something, there was some sorta miscommunication between editorial, Claremont and/or Silvestri.

So, a fine issue with a really weird error.

MY SCORE: 8.6/10

Comics: Uncanny X-Men #240

UNCANNY X-MEN #240
January 1989
"Strike The Match"
Writer: Chris Claremont
Penciler: Marc Silvestri
Inker: Dan Green
Colorist: Glynis Oliver
Letterer: Tom Orzechowski
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The X-Men all begin their descent into madness in this issue. It starts with Madelyne Pryor and Havok on a date at the Rainbow Room in NYC, which turns bloody when the demonized building starts eating people just barely off-panel. Gateway teleports the couple back home and Madelyne then goes out, alone, in full Goblin Queen gear to visit and pout at Jean Grey's grave. Jean's parents happen across the grave and Madelyne turns them into demon henchmen out of anger. Back at the X-Men's Australian headquarters, Dazzler gets extremely mad when Rogue flirts with Longshot. And then Longshot gets upset when he realizes Dazzler considers him hers and, after being a slave for Mojo, doesn't like the idea of being possessed. Cut to the Nebraska orphanage that Cyclops and Jean visited a couple issues ago in X-Factor and Madelyne starts uncovering some secrets about her history. The X-Men then track the Marauders to the Morlock Alley and start getting some revenge. The issue ends with the reveal that Mr. Sinister believes Madelyne should call him...father!

Overall this is a good issue. Several plotlines lurch closer towards their climax, and the issue also includes a lot of slam-bang action. At first I was wondering why the X-Men were all of a sudden so blood thirsty for the Marauders. Sure the Marauders kicked the crap out of them before, but the X-Men have never really been about revenge. It's hinted at later that all of this is dark energy influencing the team. I like that Alex is insecure about his new relationship with Madelyne and I like that Colossus still feels remorse for killing Riptide (who is alive again, shockinlgy) back during the "Mutant Massacre." The end reveal is bold and it feels like all the loose threads that have been dangling for the last few years are coming together...even if this isn't what Claremont envisioned.

The art is fun. Silvestri turns in solid action work, even if his faces tend to be fairly flat when he shows them from a low angle...which he does a lot. But anyway, it's still fresh and crisp. Solid inking from the vet Dan Green helps, definitely. I don't really get why Madelyne Pryor's dress changes from panel to panel during her date with Havok. I'm assuming it's to show her dark mastery over matter, or evil sorcerous ways, and maybe to highlight the surrealness and creepiness of the date and her control over Havok's perception...but none of that is mentioned. It's subtle, so I will take it as intentional.

Good issue, and a lot better than the New Mutants and X-Terminators issues of this crossover since it doesn't focus on the demons as much as it does on the characters.

MY SCORE: 8.7/10

Comics: New Mutants #72

NEW MUTANTS #72
February 1989
"Demon Reign"
Writer: Louise Simonson
Penciler: Bret Blevins
Inker: Al Williamson
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The New Mutants side of X-Terminators #4 is shown here, with us following Magik as she flees through the demonized Manhattan and the rest of the Mutants help dissolve the portal to Limbo above the city. I'm almost always a fan of comics that show other sides of the same story (like the improv form Tracers...and no one reading this review gets that reference...) so I got some enjoyment out of that. But on the whole, I feel that this issue is really just average. The characters are all acting like themselves, the plot is fine, and I get a geek thrill out of seeing the seeds of X-Force planted here with Boom Boom and Rictor going on their first mission with Cannonball and Sunspot. Nerd grin! Also Blevins' art wins me over as always. It's so youthful and kinetic, I really enjoy it. Where'd he go after New Mutants was up?

I don't really like most of the bits with Magik, like her getting a demonic makeover, and I also just generally don't care for magic based stories. So, "Inferno" is going to be rad, I can tell. I just think that magic based stories have no real rules that the reader knows. Like as a reader I can put a terrorist story or a bank robbery or anything that actually happens in real life in context. Magic based stories feel like you're playing a game with someone who keeps making up rules. Of course this defeats that, sure why not. There's no realism to back it up and it all just feels kinda fake. That's what most any battle between Magik and N'Astirh feels like. Also I have to wonder what modern coloring would do to this book. Reading these old comics I'm realizing how spoiled I am. Nowadays N'astirh would probably have texturized skin and scales, with gradients of disturbing brown. In 1989 he's just one big color block of brown. I'd love to see this stuff touched up now.

So another okay issue. Characters I'm biased towards liking and snappy art barely outweigh the fact that I'm getting tired of all this demonic mumbo-jumbo.

MY SCORE: 7.9/10

Comics: X-Terminators #4

X-TERMINATORS #4
January 1989
"Finale!"
Writer: Louise Simonson
Penciler: Jon Bogdanove
Inker: Al Milgrom
Letterer: Joe Rosen
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

Preposterous magickal computer aside, this climax is executed pretty well. The book's light-hearted side brings us some slapstick of Artie and Leech trying to, literally, unplug the magickal computer and also has Taki creating a huge gestalt of six flying planes for the X-Terminators to use in their assault on the demons and their mission to rescue to captured infants. It's all a lot of fun and, when put in context with the rest of the series, justified. The stakes are actually so high that I really felt that some characters were in jeopardy even though I knew no one was going to die. Skids' selfless declaration that she was going to save the infants was well-played and had the gravitas of a last act, as did Taki's last minute near self-sacrifice to stop N'astirh. And considering what Taki would go on to do (you know, nothing) he probably should have died in this issue.

This is also the first time that the New Mutants and X-Terminators meet, thus chaning all of their lives forever. With this team-up, the seeds of X-Force have been planted as all the characters invovled (except Warlock, Wolfsbane and, ugh, Gosamyr) would go on to be involved in the book as either members of the MLF or X-Force. It's a big moment, in a good way for us X-Force fans. Fans of the older New Mutants status quo probably felt that the intrusion of those other X-Teens was a jump the shark moment. But really, why are there two teams of teen X-Men running around? Maybe it's because I grew up considering Rusty, Skids, Boom Boom and Rictor all New Mutants, but I had to keep telling myself through this issue that the X-Terminators weren't New Mutants. The cover of this issue just looks like a New Mutants team photo.

I also have to note that Rictor still doesn't have much of a personality, but his new punk look is a step in the right direction. It seems that in most issues of X-Factor he was merely the other guy, with no personality. I don't know whose decision it was to have Ric dress himself in a leather vest and studded gloves, but that bad boy image would soon become his main character trait. I'm excited to watch his character grow into what I know him as, and I am curious as to which writer first started writing him that way.

Good issue, and a nice end to a fun mini-series.

MY SCORE: 8.1/10

Comics: New Mutants #71

NEW MUTANTS #71
January 1989
"Limbo"
Writer: Louise Simonson
Penciler: Bret Blevins
Inker: Al Williamson
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The fantastical side of the X-Men universe has never really grabbed me, so spending all this time reading about Limbo and demons and spells is getting kinda tedious. Luckily all the great characters make it tolerable and somewhat entertaining. In this issue, the New Mutants try teleporting back to Earth by way of Limbo, but get stuck there due to the spell N'astirh's casting over in X-Terminators.

This issue mostly goes over stuff that was covered in Uncanny X-Men a hundred issues prior, but it's necessary since apparently Magik's teammates didn't even know her origin. These parts are well done, with Magik going just crazy enough and the rest of her teammates acting justifiably horrified.

And while I don't really care for all the demon stuff, it is still terrifying to see the transformed objects of Manhattan wreak havoc on tourists. The binoculars stealing a man's eyeballs for its own personal use and the elevator filled with blood and bones are illustrated with a manic glee by Blevins. Good work.

The stakes are set up well by Simonson, who ends the issue with a gateway to Limbo being left open over Times Square, raining demons all on it. This is essentially Magik's last story and it feels like it. There's a sense of dread and urgency, and the character feels like she's coming to a climax. It's well done. So, of course, she was resurrected earlier this year. Thanks, Marvel. Whooooah brother.

MY SCORE: 8/10

Comics: X-Terminators #3

X-TERMINATORS #3
December 1988
"Guess Who's Coming To Dinner?"
Writer: Louise Simonson
Penciler: Jon Bogdanove
Inker: Al Milgrom
Letterer: Joe Rosen
Colorist: John Wellington
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The all-ages fun of a bunch of demons kidnapping babies and trying to eat them keeps on rolling with the latest issue of X-Terminators. I think this is the problem with mini-series; they are usually designed to tell a single story with a singular vision and tone, so for the most part the problems you have with one issue are there for all four. This one has the fine art that see-saws between overly cartoony and a classic workman style like the other two issues. It also has the same creepy mix of cartoony action and demons. The slapstick battles between the big kids and all the animated inanimate objects of New York City are fun, until you realize that it's hell energy animating them. Then it's creepy.

I do have a problem with N'astirh seriously thinking that a computer can help his spells because they have spell checkers on them. Now...I know that computers were as common as Bigfoot back then (man, 1988 you guys, Stone Age!) but doesn't N'astirh at least know that spell has two different meanings? Really? But looking past that, Taki's interactions with him are great and really show him having a cunning mix of snotty whininess and tactical thinking. I like Taki. Why did he disappear?

So yeah, it's an okay issue. It seems like it's an essential part of "Inferno" so far, but then again I might get into the actual story later and realize that all this could be covered by narration captions. For now it's fun. And way better than Fallen Angels.

MY SCORE: 7.9/10

Comics: X-Terminators #2

X-TERMINATORS #2
November 1988
"Speed Demon!"
Writer: Louise Simonson
Penciler: Jon Bogdanove
Inker: Al Milgrom
Letterer: Joe Rosen
Colorist: John Wellington
Editor: Bob Harras
Editor In Chief: Tom DeFalco

This issue continues the weird mix of light-hearted slapstick and dark demonic hijinks that started last issue. Really most of this issue is like reading an adaptation of a fun Saturday morning cartoon (the kids use their powers to get money out of a Pepsi machine, they try on clothes, ride around in a flying car, etc). That's totally fine. I'm always a fan of comics addressing both where money AND costumes come from, as they seem to just be on hand when needed at all times. I like that this issue is dedicated to the team getting costumes, although I have no idea what store would sell the spandex top Rusty is wearing.

The light-hearted events are interrupted by a pretty harrowing subplot involving N'astirh's demons stealing babies. One kidnapping is preceded by a two-page build up that realistically introduces us to a young couple trying to cope with an economic downturn and a move to the suburbs. The two pages are really involved, with tons of dialogue that makes you sympathetic to the couple...only to have demons bite the crap out of the father's neck, spewing blood everywhere, before they fly off with the couple's baby. It's crazy dark and effective in selling the serious stakes of this mini even if it does come in between pages from Saved By The Bell: The Mutant Years.

So another okay issue with decent art and a quirky mix of the serious and the silly.

MY SCORE: 8/10

Comics: X-Terminators #1

X-TERMINATORS #1
October 1988
"Invasion Of The Baby-Snatchers"
Writer: Louise Simonson
Penciler: Jon Bogdanove
Inkers: Al Williamson & Al Milgrom
Letterer: Joe Rosen
Colorist: John Wellington
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The wards of X-Factor star in their own limited series and play a part in launching "Inferno." This doesn't seem that gratuitous, although it surely must have at the time. Just five years earlier only Uncanny X-Men existed. Then in 1988, X-Fans all of a sudden have New Mutants, X-Factor, Wolverine and Excalibur to get every month. And now there's this, another mini-series. X-Fans of 1988, get ready. It only gets worse.

After reading X-Factor I have to say that the kids steal the show in most cases. Simonson clearly has fun writing them and they're a relief from some of the more melodramatic elements of the title. So here they are, in their own limited series. This issue, which follows Artie and Leech to a special school for younger kids and the four teens to a boarding school, is both fun and juvenile. It's very much an all-ages book with lots of slapstick and sometimes "Archie" like art from Jon Bogdanove. It is odd to have a book have both goofy action sequences and baby-snatching demons, and X-Terminators barely pulls it off. It never swings too heavily in either direction and plays down the middle as both an all-ages romp and an installment in a very sinister linewide crossover.

Taki's power is somewhat over the top and he reacts pretty calmly to finding out he's a mutant. Plus I'm shocked that that random school employee knows so much about demon lore to identify that Artie and Leech have been captured due to the effigies left behind. Maybe that was common knowledge in the '80s?

I love Boom Boom and Rictor and have a soft spot for Artie and Leech, so that adds a lot to my enjoyment of this issue. It's fine. And as long as it doesn't get as out of hand crazy as Fallen Angels, this will be a fun mini.

MY SCORE: 8/10

Comics: Uncanny X-Men #239

UNCANNY X-MEN #239
December 1988
"Vanities"
Writer: Chris Claremont
Penciler: Marc Silvestri
Inker: Dan Green
Letterer: Tom Orzechowski
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

And so it begins. After reading months of buildup in various titles, "Inferno" starts up here. This is a relatively quiet issue, with a decent amount of time spent on all the main team members and setting up the inner struggles that are plaguing them during this stretch of issues. The pacing works at building up tension since the issue starts with a very dark scene between Mr. Sinister and Malice. Just knowing that Sinister is out there scheming affects all the scenes with the X-Men that follow. The readers know a horrible challenge is coming and seeing all of our heroes in such emotional turmoil doesn't lead us to believe this is going to be a pleasant action romp. This is going to be tough.

The first couple pages of the issue follow a family visiting the Empire State Building in the slowly demonized New York City. An elevator eats the entire family, and a clueless janitor accidentally mops up all their blood. Wow, 1988, epic bloody win right there. Shock of shocks.

Havok is a very complex character and I like that Claremont has dusted off his old paranoia about his power using instances that recently occurred, like him trying to kill his possessed ex-girlfriend and a couple Brood aliens. I'm glad that his reckless actions are taking a toll on him.

Other than that, Storm gets freaked out because she finds out that Wolverine has been keeping the news of Jean Grey's resurrection secret and a sparring match between Psylocke and Rogue and Colossus gets a little too serious. Yep, our team isn't in the best of shape, putting them square into the underdog category. The issue ends with Madelyne's downright creepy seduction of Havok, which is expertly laid out by artist Marc Silvestri who manages to capture a dark atmosphere in the middle of a bright and scorching Australian summer. We then find out that Madelyne has gone nutso and is working with the demon N'astirh to kidnap a buncha babies.

Claremont's strong characterizations are again running amok all over this issue, and his wordiness is only a small problem (like during Havok's dream sequence, the art explained it all perfectly and was only hurt by all those flowery words). Silvestri's art is solid and despite my dislike of aspects of his sketchy style, it tells the story beautifully. Although seeing art like this in 1988 and knowing it's leading to the insane art of the early '90s...it's hard to appreciate something knowing it's going to inspire tons of crap imitators. It's like trying to listen to Nirvana and not hearing a bit of Puddle of Mudd in there.

MY SCORE: 8.6/10

Comics: Excalibur #5

EXCALIBUR #5
February 1989
"Send In The Clowns"
Writer: Chris Claremont
Penciler: Alan Davis
Inker: Paul Neary
Colorist: Glynis Oliver
Letterer: Tom Orzechowski
Editor: Terry Kavanagh
Editor In Chief: Tom DeFalco

So pretty much all my complaints about last issue are in this one, since it's a continuation and conclusion of the story. Courtney Ross is still a solid character. I think I understand who Meggan was, personality wise. She was just a standard X-Woman when I read Excalibur in the mid-to-late '90s with no personality, but here I think I understand what made Claremont like her. She's very dependent, which is shown through her powers, and doesn't know her own strengths. It's good. The epilogue with Nightcrawler and Captain Britain's discussion about Meggan is tops, where they actually analyze a relationship that has real faults and isn't perfect. This stuff isn't addressed in comics...ever really. People date, then they sorta break up, get back together, etc. Or all their problems are power based or super hero based. Captain Britain and Meggan's relationship has a very real problem (Meggan needs Cap and he fears she doesn't exist outside of him). Nice. Also the ending, with Coutrney getting zapped by her other dimensional twin, is a great twist and pretty dark. Just what the issue needed after a dozen pages of silly running around with Alice in Wonderland characters.

And yeah, that's the problem with this issue. All mind-swapping and brainwashing malarky. I don't even get how Shadowcat frees Phoenix from mind control. She merges with her mind by actually phasing into her? Um? Does that work?

Also, this issue has talking custard pies.

A mixed bag. Claremont should stick to the drama, since that's what he does best.

MY SCORE: 7.8/10

Comics: Excalibur #4

EXCALIBUR #4
January 1989
"Still Crazy After All These Years"
Writer: Chris Claremont
Penciler: Alan Davis
Inker: Paul Neary
Colorist: Glynis Oliver
Letterer: Tom Orzechowski
Editor: Terry Kavanagh
Editor In Chief: Tom DeFalco

I can't think of any other issue in recent memory that contains both everything great about Claremont and everything frustrating about him. I'll start with the great.

The main cast is great. Claremont expertly builds friendships between cast members that were previously strangers, like with Meggan and Nightcrawler. Their flirtation is so palpable and believable yet subtly done. Nightcrawler has received a new lease on life with this title. Alan Davis was born to draw him, it seems, and Claremont is really rejuvenating everything that made the character such a winner. With Wolverine and Storm taking center stage in Uncanny, Nightcrawler was getting overshadowed. Here he's front and center and deserving of the attention.

The friendship Phoenix and Shadowcat began forging in their previous title has carried on across the pond and to Excalibur. I love that Claremont so bluntly states what each character's viewpoint is on each other's fashion choices and has them play off each other. It's kinda simplistic, but it's so rare that readers get these personal glimpses into superheroes' lives. We never hear what music or movies or books characters like, and most every hero has absolutely zero fashion sense outside of their spandex. They usually just wear a t-shirt and converse.

Lastly, Courtney Ross grows as a supporting character in ways few other writers could accomplish. Claremont was never content at just letting his core team members get personal growth. He was always striving, either with Moira MacTaggert, Amanda Sefton or Stevie Hunter, to have the supporting and powerless players be as strong and fleshed out as the top billed names. Courtney Ross is fierce, independent and totally charming. I like her. She's much more than Captain Britain's ex-girlfriend.

And now on to the stuff that Claremont fails at. The Crazy Gang. I know this is supposedly a comedy book (the cover is comedically meta), but a team of villains who dress up (or are?) characters from "Alice in Wonderland"? Seems like another idea that only Claremont is interested in. Was anyone really that psyched to see a Tweedledum analogue named Tweedle Dope? No? Believe it or not, these characters were actually created by Alan Moore...pre-Watchmen. Tying them to Arcade makes some sense, and Arcade does have a known vendetta against Captain Britain so that's all sound, I just don't want to read about the Crazy Gang.

This issue ALSO features body swapping and mind control. I'm actually tired of complaining about how much Claremont uses these two story devices, so I'm just going to say that he uses them too much, wag my finger, and move on.

So this was a mixed effort, which was definitely bumped up due to Alan Davis' impeccable art. Was this guy ever bad? It seems that he started out as strong as he is now. That's amazing.

MY SCORE: 8.5/10

Comics: X-Factor #35

X-FACTOR #35
December 1988
"Go To The Orphan Maker!"
Writer: Louise Simonson
Penciler: Terry Shoemaker
Inker: Joe Rubinstein
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

Cyclops and Jean Grey, Nanny and her forces and N'Astirh's demons all convene at the orphanage of Cyclops' youth with the same goal: steal some babies. This storyline has been building up for months and Louise Simonson has woven the various ongoing stories in X-Factor in with the wider scope of "Inferno" quite well. Cyclops' lost son Christopher is the main target for N'Astirh's demons, who were working alongside X-Fator foes Right until last issue, when they splintered off after finding out where a ton of mutant babies were. It's all well done.

This issue is really exposition heavy and melodramatic, two things which tend to plague Simonson's work on this title. Both Cyclops and Jean talk in powerful and bold statements that are clearly executed, which doesn't fit well with how comics are written now...or how people talk. Plus knowing more about Cyclops' past now, all these flashbacks to his orphanage make me wonder how well they fit in. Is the bully that's picking on him supposed to be Mr. Sinister? Cyclops mentions how cloudy his memories of the place are, which is a big red flag too that something is wrong. I also don't know how orphanages work, but his brother Alex is just shipped away as soon as possible while Cyclops is in a coma. That's rough, right? Do orphanages do that, just split up siblings after they lose their parents? That's cold!

Nanny as a villian has never excited me or worked, so I'm glad that her prevalence in the late '80s gave way to near-non-existance in the '90s and now. This issue introduces some more of Nanny's hench men, none of whom get clear code names or powers. Two of them turn out to be Jean's neice and nephew, which is kinda random (was her sister killed by Nanny? Can't remember that far back right now). Still, the scene where Cyclops finally sees his son again is touching and Simonson sets up the stakes for "Inferno" pretty well.

Terry Shoemaker turns up as fill-in artist again after doing (or maybe before doing) this month's issue of New Mutants. He does a fine job, but when a book is so defined by Walt Simonson's peculiarly energetic style it's hard to fill-in. I also liked the fill-in work Shoemaker did in the '90s more than the everyman-esque stuff he's doing here.

Overall, not the strongest issue of X-Factor dialogue wise, but the plot is fine.

MY SCORE: 7.8/10

Comics: New Mutants #70

NEW MUTANTS #70
December 1988
"Self-Fulfilling Prophesy"
Writer: Louise Simonson
Penciler: Terry Shoemaker
Inker: Al Milgrom
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

This is still Louise Simonson, right? Yup, her name's on the book. Can't figure out where the stilted dialogue suddenly came from. The issue begins with the Mutants imprisoned by Spyder on the alien world. Spyder then delivers two pages of exposition explaining who each New Mutant is by saying "Ah, ____, you do ______ and feel _____." Yep, he actually says "ah" and then the name of a character three times in a row. Is there a rule about not repeating words or vocal patterns back to back, because it's something I always eliminate from my creative writing and hate when I read it.

Gosamyr's family is stirred early and are "born" prematurely, thus unleashing their crazy giant monster modes on the team. They're only thwarted by Lila Cheney, who apparently teleports them into a nearby sun (which obviously doesn't stick as she is back alive as early as 1992, maybe even before). As Spyder sics his forces on the Mutants, Illyana decides to risk her soul and teleport the kids home by way of the ever-worsening Limbo. The issue ends with the team stuck in Limbo against the foces of S'ym, thus preparing their involvement in "Inferno."

This issue wasn't as much fun as the previous ones, mainly due to the less enthusiastic art of Terry Shoemaker and some clunky dialogue. Plus this story has gone on far too long. Simonson is at her best when she's treating these kids like kids and putting them in fun/realistic drama. This has been way too much, especially since it follows the almost exact same Bird-Brain story arc (mysterious inhuman needs help, thus leading team to exotic locale and tragedy). I'm looking forward to the X-Terminators joining this book after "Inferno."

MY SCORE: 7.7/10

Comics: Excalibur #3

EXCALIBUR #3
December 1988
"Moving Day"
Writer: Chris Claremont
Penciler: Alan Davis
Inker: Paul Neary
Letterer: L. Lois Buhalis
Colorist: Glynis Oliver
Editor: Terry Kavanagh
Editor In Chief: Bob Harras

Excalibur and Wolverine have always been the biggest holes in my X-Knowledge. Both series were harder to find and more expensive when you did (this issue's cover price is fifty cents more than the standard Marvel Comics at the time). I also have to note that this issue has held up amazingly for being ten years old. The pages are all still very crisp and white, unlike every other comic I'm reading from this era. I don't know what's different with the paper stock, but that extra fifty cents has somehow made all the issues of Excalibur that I've read so far hold up far better than all the other comics I have from this time. Interesting.

This is also my first time reading Excalibur's early issues and I'm quite surprised by how good they are. Claremont's run on Uncanny at this time was by no means poor, but all the characters had very much settled into their stereotypical Claremont voices and all the crackle and energy of the John Bryne and Paul Smith years have faded away into something a bit more amorphous (but still good). It might be Alan Davis' gorgeous art or the fact that the creative team is obviously excited by this new series, probably both, but this series so far and this issue in particular is really fun and holds up amazingly well today.

The issue opens up with that stuffy/slutty old English lady we saw last issue busting Juggernaut out of a prison and putting him in the path of Excalibur. The fight scene that follows is almost as funny as some of Giffen and DeMatteis' run on Justice League International, with Captain Britain stubbornly thinking he can take on Juggernaut and Shadowcat using her phasing powers in creative ways against a car full of escaped convicts. The team displays effortless teamwork and it's really a joy to behold.

The second half of the issue mixes light moving in comedy (Kitty in the bathroom too long, Nightcrawler's morning exercise making noise) with serious character moments (Captain Britain gets an impromptu intervention because of his drinking and almost gets with lady pal Courtney Ross). Shadowcat also stumbles across a parallel universe/wacko version of herself and Lockheed, thus giving the team more evidence that something fishy is up in their new lighthouse home.

Overall, this issue was ten times more entertaining than I expected it to be, and I'm now looking forward to reading the next issues of Excalibur.

MY SCORE: 8.8/10

Comics: X-Factor #34

X-FACTOR #34
November 1988
"Death!"
Writer: Louise Simonson
Penciler: Walter Simonson
Inker: Bob Wiacek
Letterer: Joe Rosen
Colorist: Petra Scotese
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The newly created Archangel comes face to face with X-Factor's former publicist and current arch-enemy Cameron Hodge in this issue. Hodge has kidnapped Candy Southern due to a weird mix of hating her because she fell in love with a mutant and also being a bit jealous that Archangel started ignoring him when he fell in love with her way back when. Undertones? The issue's main story consists of Archangel slicing his way through hordes of demons (thanks to Hodge partnering up with N'Astirh) until finally reaching Hodge, who pulls the plug on the comatose Candy, and beheading him.

Simonson gets some nice mileage out of Hodge's Christian anti-mutant viewpoint and his partnership with the demon N'Astirh. She really sells Hodge as a big time threat...and then keeps on selling him for a couple more pages. The issue is bogged down in a lot of posteuring and recap (do we have to actually see Angel lose his wings and be reborn as Archangel on panel if it's referenced constantly by Hodge and Archangel?). Still, the issue pushes "Inferno" one step closer to fruition and continues to build momentum to the big event.

I also have to say that the Right robot-people look way too much like Nanny, leading me to always believe that they're the same. I guess all egg-shaped googly-eyed robots look the same to me. But really, the whole Orphan Maker bit is so dark. A villain who murders the human parents of infant mutants so that the babies won't be persecuted by their parents? That's intense.

The art is the usual Walt Simonson style, very angular and expressive. The only part that I didn't get was Hodge's beheading. It really looks more like Archangel's wing has taken a chunk out of his shoulder. I guess the comics code preventing blood kinda gets in the way of depicting an accurate decapitation.

MY SCORE: 8.1/10

Comics: New Mutants #69

NEW MUTANTS #69
November 1988
"Bad Company"
Writer: Louise Simonson
Penciler: Bret Blevins
Inker: Al Williamson
Letterer: Joe Rosen
Colorist: Glynis Oliver
Editor: Bob Harras
Editor In Chief: Tom DeFalco

The trek I began through the X-Canon after my birthday on July 6th, 2006 rolls on after a bit of a lull. I received the first Uncanny X-Men Omnibus and began reading every X-Men comic in chronological order, starting with Giant-Size X-Men #1 from 1975. This also includes all the spin-off ongoing series that I own (New Mutants, X-Factor and now Excalibur). So here I am, at the end of 1988 after almost three years of reading. I've covered a lot of ground.

This issue of New Mutants finds the teens in the thrall of Gosamyr, a sexy alien who the Mutants are trying to aide, and in the clutches of Spyder, the sadistic arachnid-esque alien who has kidnapped mutant rock star Lila Cheney. The issue begins where the previous one left off, with Spyder's minions threatening to blow up the incoming space yacht carrying the Mutants and Gosamyr. Spyder intervenes and allows them to land so he can capture them as well, which he does by the issue's end. Cliffhanger!

Louise Simonson continues her strong grasp on each character with this issue, even if the book reads a little heavy at times. There's a lot of arguing and angst, but at least those characteristics align more readily with teenagers. Yeah, Illyana constantly moaning about being evil is annoying, but it does work with her and especially her age. Teenagers are whiny and annoying. Gosamyr's emotional trickery also brings some fun rivalries out, like Sam and Bobby's machismo-off and prudish Rahne's worry about having feelings for Sam. Simonson has a very tight cast that all plays off each other very well. With Karma, Magma and Cypher out of sight, she's really getting a lot of mileage out of the remaining six and how they all play off each other. It's all done well.

There are some minor problems with the plot, like the whole fact that the New Mutants have left the planet on a whim to help some total stranger alien who isn't that interesting of a character. Spyder's also incredibly generic and only has his odd repo man angle to set him apart from other spider-like alien baddies. Also, Dani's immature fleeing from the ship as soon as it lands because of how mad she is isn't in character, but I assume that's Gosamyr's effect.

Bret Blevins' art continues to be the best this book has had, outside of Bill Sienkiewicz's abstract take on the teens earlier in the series run. His pages crackle with energy and his characters all look young and mix physical vulnerability with emotional strength. It's good stuff.

I also like the general hints and foreshadowing that are popping up in all the X-Books right now, leading up to "Inferno." Illyana's sword is acting wonky and Emma Frost senses something horrible coming. There's a real sense of foreboding in the line right now, and it's selling the upcoming crossover very well. Looking forward to getting to it.

So a mediocre story is saved by some fun art and believable characters.

MY SCORE: 8/10