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General Mills Presents: Justice League (2017) #4 [Review]

general_mills_2017_justice_league_0004Alien Justice

Writer: Tony Bedard
Penciller: Tom Grummett
Inker: Keith Champagne
Colorist: Sotocolor
Letterer: Wes Abbott
Cover Artist: John McCrea
Cover Colorist: Mike Spicer
Assistant Editor: Brittany Holzherr
Editor: Steve Buccellato
Group Editor: Marie Javins
Design Director: Larry Berry

This is the fourth and (presumably) final issue this time around. Several years ago, they did a run of #s 1-4, and the next promotion had #s 5-9…so I would not be shocked if that happens again (or not, either way). But to my knowledge, for the current promotion, there are only four different issues, of which this is the last.

For me, personally, this is also the most common and plentiful…as of this typing I have something like 9 or 10 copies! It’s become the one to LOATHE seeing when I pull it from a cereal box. That said…

This was probably my favorite read of the four. Perhaps its the immediacy of it–the most recent one I read–as well as the generic feel of #3 that this certainly topped by far. But I really enjoyed this in and of itself.

A giant alien ship shows up over San Diego, and begins sucking up the ocean just offshore. Aliens broadcast to the world what they’re doing and why–they’re taking Earth’s water, as Earth has too much of it and their world doesn’t have enough, and that’s just a huge injustice! The League springs into action, attacking this threat on multiple fronts, each to their strength/specialty. As this is an Aquaman-centric issue, he gets more page time and we get stuff more from his point of view…including the requisite (for this series) “flashbacks” to his youth. As the present-day situation continues, we flash back to see a young Arthur dealing with being of mixed heritage–part surface-dweller, part Atlantean. He sees people react to the notion of someone different, and then talks with his dad, who advises him on the wisdom of finding common ground when one is so different from another. Young Arthur gets a tangible opportunity to put that advice into practice when he encounters some Atlanteans threatening some local fishing boats. The lesson apparently stuck with him, as back in the present, he devises a solution and quickly acts to implement it. With help from (perhaps unexpected) sources beyond “just” the League, a bad situation is halted, with a bit of potential redemption coming out of it, with elements of a win/win scenario.

I was comparatively quite disappointed with the last issue and its feeling of being so generic after the first two issues of this “series.” This issue gets us back to “Name Creators” that I recognize, and is a second Bedard-written issue…with art from Tom Grummett, another creator whose work I quite enjoy, period. As such, it should not have surprised me to enjoy this story as I did. It’s a self-contained piece, and does include a bit of that “special message” peachiness to it…but that’s mitigated quite a bit by my relative lack of familiarity with details of Aquaman…he’s a character I’m pretty aware of while having quite the significant blind spot. Though I’m certain this issue’s flashbacks are “new” and involve a version of the character perhaps different from others…it doesn’t bother me as I have so very little to compare it to.

That lack of familiarity also lent itself to my being able to TRULY appreciate this as I believe one would hope the target audience would/could: this makes me a little more familiar with the character and his background, shows me some important elements of the character, and generally serves as a bit of a touch point for me. It sets some of my character-specific expectations for Aquaman in a way that the other issues did not do for the leading characters…and reminds me a bit of the impact The Untold Legend of the Batman had on me as a kid and my then-knowledge of Batman, or that The Man of Steel #3 “audio comic” did for my understanding of Superman.

Grummett‘s art carried a definite sentimentality for me…the visuals for this issue reminded me of other work he’s done, particularly his prior work on Superman, as well as Robin and Superboy. That’s certainly a good thing–as is the art in itself. This is not just a good-looking “cereal comic,” but a good-looking comic, plain and simple!

Though I’d be inclined to choose Superman or Batman first…this Aquaman issue is definitely THE treat of the set, and very well worth reading if you find it!

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General Mills Presents: Justice League (2017) #3 [Review]

general_mills_2017_justice_league_0003Truth Hurts

Writer: Ivan Cohen
Penciller: June Brigman
Inker: Roy Richardson
Colorist: Jeremy Lawson
Letterer: Wes Abbott
Cover Artist: Dan Panosian
Assistant Editor: Brittany Holzherr
Editor: Steve Buccellato
Group Editor: Marie Javins
Design Director: Larry Berry

I like these semi-yearly promotions, with DC Comics in cereal. However, this has been THE worst one yet, from two prior Justice League sets and last year’s Batman v Superman: it took an absurd 19 or so boxes of cereal for me to get ONE copy of this 3rd issue. (Meanwhile, I have 9 of #4!) And contrary to the first two issues by what I would consider "name creators" that I recognize, this issue is the worst of the three so far. Or perhaps "worst" is a "strong word," but this is the most generic of the three so far, and comes off worse for comparison to the first two issues.

This one focuses on Wonder Woman where the previous two focused on Superman and Batman, respectively. The Justice League arrives at the site of a volcano that’s about to erupt. The team splits up to approach the situation in their own ways to try to minimize destruction. Aquaman winds up unleashing an underground stream, dousing the League. Then everyone turns on each other, apparently selfish and irritable and downright mean. Wonder Woman–Diana–reflects on an incident from her childhood where she was hurt by stuff her friends had said about her and fled to another island, where she faced the wrath of a minotaur. Based on that experience, she applies the lesson to the present and ultimately the group discovers that something in the water had affected them all, and they resolve the conflicts by admitting the truths that were brought to the surface, and are able to deal with the volcano, preventing any loss of life, though there’s plenty of property damage. Finally, Diana proclaims that real friendship can survive any revelation, and the Justice League are the truest friends of all.

Again, this is the most generic of the issues for this promotion, and comes off that way both story-wise and perhaps even moreso, visually. The story reeks of the "very special episode" and such…perhaps I’m also annoyed and more sensitive to it given the number of duplicates of the other issues I amassed just trying to get this one. But I didn’t feel like the other two issues were nearly as "preachy" on the "special message," though I had noticed a "message" to each of those as well.

The art here is ok–not horrible, but far from wonderful. The characters and designs are recognizable but seem a bit inconsistent, and lacking the "big name" or "recognized" creators, this comes off all the more as what it is–a generic freebie from a box of cereal that happens to have "current" versions of costumes with characters that aren’t given room for much depth (a one-off single-issue story with numerous characters and an attempt to "focus" on Wonder Woman).

That I went through the hassle I did, accumulated a year’s worth (or more) of cereal goes to show my personal OCD and such (and marks me as an ideal "target" for this sort of promotion!). Though the numbering of these–#s 1 through 4–makes for a "complete mini-series" of sorts, if you’re NOT interested in having all four, I would not worry about trying to get this issue unless you want the specific focus on Wonder Woman (a focus that is more of a "gets more pages" than being a Wonder Woman STORY).

Ultimately, for a "free" comic from a box of cereal, this isn’t horrible, but is far from wonderful. I found myself recalling the likes of The Untold Legend of the Batman, which I believe had a "cereal edition" in the mid-1980s. Those were reprints of an actual in-continuity story…I think I’d almost rather see something like that (re)-attempted…or at least, I think something like this (offering miniature editions of comics in cereal) would be ripe for promoting some of DC‘s actual #1 issues to try to hook readers.

I certainly would not begin to consider this issue "worth" a standard cover price, and not worth the boxes of cereal I bought to acquire it…though at least the variety and quantity means I’m not going to have to buy cereal again for a long time, as I will actually (eventually) use it all.

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General Mills Presents: Justice League (2017) #2 [Review]

general_mills_2017_justice_league_0002Dark Reflections

Writer: Fabian Nicieza
Penciller: Rick Leonardi
Inkers: Bob Wiacek and Scott Hanna
Colorist: Rex Lokus
Letterer: Comicraft
Cover Artist: Scott Koblish
Cover Colorist: Val Staples
Assistant Editor: Brittany Holzherr
Editor: Steve Buccellato
Group Editor: Marie Javins
Design Director: Larry Berry

This is the "second" issue of four being made available to the public "blindly" via insertion into specially-marked boxes of General Mills cereal. Though the issues ARE numbered, the first issue and this one do not seem to draw on each other or lead into the other with any singular story, so the numbers are–I’m pretty confident in saying–there to stimulate collectors’ OCD to collect ’em all.

This issue focuses on Batman, though it guest-stars the rest of the Justice League.

Batman arrives home after a "typical" night out. After talking with Alfred and having a flashback to his youth where his parents were still around, Bruce catches a glimpse of a reflection in the mirror that is most certainly not him looking back! Turns out that Mirror Master (one of Flash’s Rogues) has expanded his reach (with the unintentional assistance of Flash himself) to vex the entire Justice League. Using mirrors as gateways, interdimensional counterparts of our heroes are brought through, and the heroes square off with them. While everyone tangles with their mirrored counterparts, Batman (through recalling an incident from his youth) develops a plan to deal with this threat and stop Mirror Master.

Nicieza and Leonardi are a couple more names that I’m definitely familiar with, though I’m far moreso with the former than latter. I’m honestly impressed at the way this issue–and this round of GM Justice League as a whole–has the talent and appearances of something much bigger and less generic than "just" cereal-box comics. At the same time, unfortunately (by seeming necessity) these ARE rather smaller and more generic than non-cereal counterparts.

The story itself is fairly basic, drawing on some basic tropes of comics in general…particularly the lead-in with Batman having just gotten back from a night out, talking about the off-panel adventure, remembering something from his childhood while his parents were alive, and that conveniently being relevant to the current story at hand. Yet, while that may come off as a negative…it fits perfectly into what these comics can and might be–someone’s first. These days, it’s not hard to imagine that there are countless staunch fans of even "obscure" comic book characters…yet said fans may never have actually experienced a comic book! So while these are overdone, overly-familiar things to me as a nearly-30-years comics reader, they may well be someone’s first exposure and be at least some small part of their journey into comics.

The story elements overall do not particularly contradict what I know of the characters, and particularly Batman in this case, though this definitely comes detached from the nuances of recent continuity that I’m familiar with. My biggest eye-opener is the notion of the characters nonchalantly hauling the moon out of its orbit with zero repercussions to the Earth. Perfect for a comic like this, maybe, but epic event-level stuff in general continuity.

Visually, if the pages were "regular" sized and I didn’t see a cover, I wouldn’t really know this was "just" some cereal-box comic…it has "established talent," and does not look like some generic thing. The art is quite good in and of itself, though as with a lot of comic book art, its primary drawback is simply in not being by one of a handful of my favorite comic artists. Once again, these characters look like they’re right out of early-2017 full-size DC comics, down to Batman’s current gold-outlined black bat symbol. Superman’s look is about to be out of date, but fits well into the past ten or so months’ worth of DC Rebirth.

As with the first issue, this was an ok read with good art. It’s a cereal comic and certainly worth reading, but it in no way affects continuity nor particularly draws from it. You might appreciate this more if you’re NOT up on current comics, as you may be less likely to do hard comparisons. I wouldn’t go out of the way to hunt this down, but if you like the cereal and it’s in the box, definitely give it a read-through!

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General Mills Presents: Justice League (2017) #1 [Review]

general_mills_2017_justice_league_0001Power Play

Writer: Tony Bedard
Penciller: Jerry Ordway
Inker: Juan Castro
Colorist: Guy Major
Letterer: Comicraft
Cover Artist: Ale Garza
Cover Colorist: Luis Guerrero
Assistant Editor: Brittany Holzherr
Editor: Steve Buccellato
Group Editor: Marie Javins
Design Director: Larry Berry

Once again, DC Comics and General Mills have teamed up to put comics in boxes of cereal. And, once again, I’m buying cereal specifically to get a copy of all four issues available as part of the promotion. This is the fourth such promotion I can recall in "modern" comics’ times–two prior Justice League runs, last year’s Batman v Superman, and now this. As with the previous ones, these LOOK like they fit in with contemporary issues, just that these are missing UPC boxes, and are atrociously TINY. But hey…they’re "free" with the purchase of a specially-marked box of cereal, and no hassling with coupons, mail-aways, shipping/handling, etc.

As with previous promotions, though these issues are numbered, I’m almost certain there’s no sequential "continuity" to them–this first issue is self-contained with no cliffhanger or anything "driving" one to the next issue. I’m pretty sure the PRIMARY purpose of the issue number is to help "legitimize" the thing as a miniature comic book (and not just some mini-magazine/"insert" or such) and to–as successfully accomplished with me–trigger the OCD to track them all down, because darnit, there are FOUR numbered issues, so I want all 4 issues, and won’t want to have a #4 withOUT 1-3 and so on.

Getting to the issue itself, as an issue…I’m quite impressed with the main creative team. Tony Bedard‘s name is definitely recognizable to me, and even topping that is artist Jerry Ordway, who is an old favorite from my earliest days in comics.

The story is rather prescient given its timing–at least for me as I read this. We open on the Justice League (current Rebirth incarnation, with everyone looking on-model for Rebirth year one) in Metropolis, being celebrated for all their work and constant saving of Earth. A large group statue is unveiled, and almost immediately comes to life, forcing the Leaguers to face off against their giant bronze counterparts. The mischievous antagonist is quickly revealed: Mr. Mxyzptlk! Muddying matters, the League must summon Bat-Mite–another 5th-Dimensional imp–to counter Mxy’s fun. Tricking Mxy yet again into saying his own name backwards, Bat-Mite extracts a promise from the League and then disappears himself…a small bronze addition left with the once-more-inanimate statue, celebrating Bat-Mite side-by-side with the rest of the League.

This story comes outta nowhere: no prologue, nothing setting it up. Just the "typical" generic "our heroes gather to be celebrated by the common people they’ve saved, however reluctant they may be with such adulation and then must save them yet again." Of course, this is NOT some issue partaking in any crossover or event, nor is it "merely" some reprint of just any random issue from within a run…and it’s not anything someone reading the regularly-published comics needs to track down to get a full story, so it’s rather necessary, then, for this to be its own thing in a relative "vacuum." Additionally, there is no cliffhanger, nothing left hanging to "force" or "coerce" someone (while many adults may track these down, I’d assume a large majority of readers are children whose parents had to provide the cereal for them to have the comic) to "have to" get the other issues.

Yet, while the story is pretty simplistic, and doesn’t necessarily play up individual character elements that’d be present in solo books, the characters are recognizable as who they are, and the lineup seems to fit in such that someone reading this and then walking into a comic shop would easily find current DC issues featuring these very characters. Bedard doesn’t really get room to shine as a writer, but he doesn’t play the characters as fools or overly talk down to the audience (though there’s a little bit of that "special lesson" to be imparted to kids: "don’t run from your problems, own up to them…and sometimes you will have to ask for help from others, and that’s ok."

The cover’s art is a bit "off" and generic to me….Superman’s costume (at least on my copy of this issue) seems a bit weirdly-colored and the whole image is basically generic poses of the characters on a yellowy-orange burst-effect…no background setting or situation (though also nothing to give away the antagonist from within). Ordway‘s art on the interior is a huge treat for me, and I really like the depiction of the characters. I don’t much care for Simon’s version of the Green Lantern costume–never have–but it looks as good as is possible here. And somehow most notable to me, Mxyzptlk looks really good in this issue–much like in my first conscious exposure to the character back in 1989 or so.

I imagine I’d have quite loved this as a kid. As an adult, it’s simplistic but pretty…and as something "free" in a box of cereal, it’s much better than it has any "right" to be. Even if you’re not a fan of the cereals, I’d recommend this as a quick-read novelty item…especially as I doubt this or any of the previous ones will ever warrant a full-size collection of their own, so this is likely the only way to read ’em!

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The ’90s Revisited: Uncanny X-Men #308

uncanny_xmen_0308Mixed Blessings

Writer: Scott Lobdell
Penciler: John Romita Jr.
Inkers: Dan Green, Al Vey
Letterer: Chris Eliopoulos
Colorist: Steve Buccellato
Editor: Bob Harras
Published by: Marvel Comics
Cover Date: January 1994
Cover Price: $1.25

This issue brought back a number of fond memories, as well as a new feeling as I “noticed” the art rather consciously this time. Having this issue relatively on-hand for this reading is something I must credit to fellow blogger Chris Sheehan, whose comments/discussion of the issue prompted the purchase and encouraged making the time for the re-read. It was his post that prompted me to re-purchase the issue (for the convenience of immediate availability in print without digging through umpteen unorganized longboxes to locate my original copy).

For a single issue, there’s a lot packed into so few pages. Essentially, though, we have Scott and Jean–Cyclops and Phoenix–walking the grounds outside the X-mansion. For once, there’s no overt threat, no villain interrupting, the world-at-large doesn’t need immediate saving, etc. Just a young man and woman spending time together, enjoying cool fall weather (well, Thanksgiving Day) and doing so amidst a larger group also living on the premises. So we get a bunch of “moments” between characters…and while the couple reminisces, they also come to a decision about their future.

This issue is one of a handful of X-Men comics I recall from the early/mid 1990s where we basically just have the characters hanging out at the mansion, interacting with each other in down-time withOUT having to deal with some villain or crossover or whatever. And reading this in 2016 where every story is written for the trade, and every trade is part of some big event and every event leads into the next with no time between…this issue is highly refresshing. There just aren’t issues like this anymore (at least not from Marvel/DC!).

The story itself is very much what I prefer in comics, giving us the characters, “quiet” “moments” and generally giving us a glimpse of what these characters do, how they might interact when not in the midst of fighting for their survival. We get to see them presented as actual people…which makes them that much more truly relatable (at least, to me!).

I remember thoroughly enjoying this issue over 20 years ago…and I enjoyed the story now. Unfortunately, while I don’t recall noticing the art–back then, if I did it didn’t throw me–but this read-through I REALLY consciously noted the art…and between this and bailing on a Superman story some time back for so disliking the art, I must conclude that as a general thing I dislike Romita Jr.’s visual style. There’s something to the style–sometimes a sense of sketchiness, other times something to faces and lips particularly that just doesn’t work for me and proved flat-out distracting to me, taking me out of the story itself. Which, while a complaint that I have, myself, is not to suggest the art is bad…it’s just definitely not to my taste, and it now being a conscious thing, it’s something I can watch out for.

And then, regardless of the linework and such itself, I had consciously forgotten (but hey, deja vu or such!) how much I dislike the flipping and flopping one must do to read certain ’90s comics, when the artists played fast ‘n loose with the “traditional” comic page and layouts. Some pages read fine, but rather than just varying panels across one or two pages, where one can just page through the issue with a single physical orientation and be fine…here, we’re given some instances with a double-page piece where you have to turn the comic sideways for a top-to-bottom experience with the issue physically turned sideways; others where the issue must be turned on its side for a then-typical left-to-right experience, and so on. Rather than being able to just lay the issue flat and page through, reading, while say, eating a bowl of cereal as breakfast it requires an active, physical experience of manipulating the book, which gets distracting and kicks one out of the story.

All in all, though…this is an excellent X-Men comic that I paid less than $4 for, and got so much more from it than any $3.99 new comic I can think of. If you know your X-Men and enjoy such stories, or have never read this, I’d urge you to give it a shot, if you can get the issue for (or less) that $4. If you find it in a 25-cent or 50-cent bin, all the better!

The ’90s Revisited: X-Men Prime

90s_revisited

xmenprime001Racing the Night

Writers: Scott Lobdell & Fabian Nicieza
Pencilers: Bryan Hitch, Jeff Matsuda, Gary Frank, Mike McKone, Terry Dodson, Ben Herrerr, Paul Pelletier
Inkers: Al Milgrom, P. Craig Russell, Cam Smith, Mark Farmer, Mark McKenna, Tom Palmer, Tim Townsend, Hector Collazo
Letttering: Richard Starkings and Comicraft
Coloring: Steve Buccellato and Electric Crayon
Cover: Bryan Hitch
Editor: Bob Harras
Published by: Marvel Comics
Cover Date: July 1995
Cover Price: $4.95

With this issue, we’re back to the “real” reality/universe/timeline/whatever. The 616 Marvel Universe. Bishop and his mission was a success, and by stopping Legion from killing Xavier…the Age of Apocalypse never happened, things have been set right. Or have they?

We have a bunch of plot points sharing this issue…while the various Age of Apocalypse mini-series led into X-Men: Omega, this issue now serves as the focal point for the return of the “regular” X-Men titles…as a “regular universe” Alpha issue to introduce readers to the current status quo of the characters and teams that make up the X-side of the Marvel Universe and send the readers into the mix of titles having had this bit of setup for where things are moving forward.

I do think that if Free Comic Book Day had been around in 1995, this would certainly have been a Marvel offering…an in-continuity quasi-anthology to get readers to jump aboard the entire line of X-comics.

I can’t say I’m honestly all that thrilled with this issue on this re-read. I certainly appreciate that there are “only” two writers credited, offering a bit of consistency to the story side of things. The issue is quite a mix visually due to the numerous pencilers and inkers getting their chance to work on pages presumably germane to the individual titles. Reading through this time, I noticed a bit of wonky art at points, but somehow was not particularly jarred by the shifts…perhaps for familiarity with the Age of Apocalypse stuff as a whole.

After the shiny “chromium” covers for X-Men: Alpha and X-Men: Omega, seems Marvel felt the need to give this a special cover as well–a clear plastic-ish thing with an inner orangey background. We also get the “alternate” X-Men logo, with the Prime part next to it…and the whole thing is a wrap-around (which I very much appreciate 20 years later in an age of VARIANT “interlocking” covers).

The story introduces or re-introduces some characters–and I even see hints of Onslaught in this reading. We find out that several characters–Nate Grey, Dark Beast, Sugarman, and Holocaust–escaped the Age of Apocalypse and wound up in the real timeline. Nate first appears in the “present,” while Magneto’s Acolytes only now in the present discover what will be revealed to be Holocaust…but Beast and Sugarman arrived 20 years ago, and were responsible for the Morlocks and Genosha’s Mutates, respectively. Marrow is reintroduced, aged twenty years from a prior appearance…Rogue and Iceman are on a roadtrip, the former haunted by whatever she saw in Gambit’s memories (Gambit’s in a coma). Trish Tilby reveals the Legacy Virus to the public along with the knowledge that it’s affecting humans as well as Mutants. X-Factor chases Mystique and Havok’s powers act up on him; X-Force’s base is destroyed. Wolverine is living in the woods outside Xavier’s mansion (refusing to reside under the same roof as Sabretooth) and Bishop is having unconscious outbursts as a result of the visions he’s having as a result of his temporal status in relation to the Age of Apocalypse. Amidst all this a mutant seeks the X-Men but winds up victim of humans lashing out against something they fear and do not understand.

This certainly sets up the various X-titles moving forward, so for that alone is pretty much an “essential read.” Yet, unless one intends to pursue those issues from mid-1995 that this is immediately germane to, there’s not much to really dig into singularly with this issue. Outside of characters involved and how they now will interact in the 616 universe, there’s no actual story-content directly tied to the story of the Age of Apocalypse timeline.

Given that, my covering of this issue is much like why I covered the non-Legion Quest X-books that preceded Age of Apocalypse: this is stuff coming out on the “other end”, the border, “bleed,” or whatever butting up against the Age of Apocalypse without actually BEING an issue of that..

While rarer than the Alpha or Omega issues in bargain bins, I certainly would not pay much more than cover price for this (and that would be a grudgingly-paid price). I’d seek this out to use as a starting point diving into any or all of the X-books of the time but certainly not if you’re only interested in the Age of Apocalypse.

Unlike contemporary Marvel, this does not kick off “the next” EVENT but rather gives the individual titles time to flex and explore their own things for awhile before everything heats up again with the following year’s Onslaught stuff.

xmenprime_wraparound

Age of Apocalypse Revisited: X-Men Omega

aoa_revisited_logo

xmenomega001_front…Endings

Story: Scott Lobdell
Dialogue: Mark Waid
Pencils: Roger Cruz
Inks: LaRosa, Townsend, Kesel, Candelario, Hanna, Milgrom
Letters: Richard Starkings and Comicraft
Colors: Steve Buccellato, Electric Crayon
Cover: John Romita Jr., Klaus Janson
Editor: Bob Harras
Published by: Marvel Comics
Cover Date: June 1995
Cover Price: $3.95

While not nearly as "iconic" as the Alpha issue to me…this issue is still one of THE most iconic comic issues of my youth. Though the majority of the context comes from the various individual titles that make up the Age of Apocalypse, this is THE issue they all led into, after spinning out of X-Men: Alpha. As such, while I didn’t remember details of most of the individual series, I remembered where things wound up because of this issue.

We open on a full-page of Magneto, bloodied and energy crackling around him, standing defiantly against an off-page foe, who we find is Holocaust, battering the leader of the X-Men for Apocalypse’s amusement before the villain reveals his final plans. Meanwhile, Angel finds Karma, while in the pens, the X-Men arrive via Blink’s portals. As they contemplate the lack of opposition and come across Beast, we move to see Cyclops and Jean leading freed humans across the bridge away from Apocalypse’s stronghold. Apocalypse’s forcefield is taken down by Angel’s suicide bomb…his sacrifice allows Nate (X-Man) access to Apocalypse…where he finds and is recognized by Magneto as The One that Forge had long ago promised to deliver.

while Nate takes on Holocaust, the X-Men have found the M’Kraan crystal, and Destiny confirms Bishop’s claims and everything comes down to Illyana choosing to help restore broken reality. The three enter the crystal, leaving the X-Men to fight Apocalypse’s forces. On the bridge, Jean realizes the bombs have been launched and throws up a psi-shield…holding them back as long as she can. In the crystal, Destiny guides Illyana in unlocking her powers, getting Bishop back to the moment things went wrong. Back on the bridge, Havok reveals himself, unleashing his powers to take out Jean and Scott before being taken out himself by Weapon X. The X-Men rescue baby Charles, mess up Beast’s escape attempt, while others have fallen in battle and misunderstanding.

In the past, Bishop confronts his past self and Legion, preventing Legion from killing anyone…and closing a loop that sees the X-Men ripped back to their own time and the chronal energies erasing their presence and Legion’s from the memories of all left behind…that events would unfold as they had with no taint from Legion’s obtrusive presence.

Nate finally gets to Apocalypse before being attacked again by Holocaust…using a shard of the M’Kraan crystal he and Holocaust are unexpectedly removed from the equation. The distraction is enough for Magneto to summon the power to rip Apocalypse apart, finally killing the evil mutant and ending his reign. In the last few moments left to him, he rejoins Rogue and his son, while reflecting on the importance of one man to the world itself…as the nuclear blast is about to engulf them. Hope is left behind, in Bishop accomplishing his mission…and preventing any of this from ever having happened.

This issue being what it is, as mentioned above…there’s little separating its nostalgic and emotional, lasting impact on me from the technicalities of the issue itself.

At this typing, I don’t particularly recognize Cruz‘ name or art…and would have sworn there was someone else on the art. Looking back, Cruz contributed to a couple previous X-issues, and was the penciler on the Alpha issue as well…so while the art isn’t ENTIRELY consistent with the individual series, it provides a definite consistency to the other bookend issue of this entire mega-arc. In and of itself, I really don’t have any complaints on the art…everyone is recognizeable and obvious for who they are…and though many of the characters don’t look quite as well-done as they were in the individual books, given this issue involves so many without being a "jam book," that’s hardly an issue for me. We have numerous inkers and a full roster of Letterers and Colorists…whether that was to get the book out "on time" or to allow more hands to touch the project, be a part of it, I don’t know. It’s really something I mostly notice for specifically scoping out the credits to write this up.

Story-wise, I see Mark Waid on dialogue, as with X-Men: Alpha…which is interesting again as before given I wasn’t consciously aware of him 20 years ago but know him as a writer whose work I like present-day…and realize how much I like his dialogue through this issue, hokey and cheesey as parts are. Magneto’s final moments in the issue resonate particularly for me.

Given the specific issues that things unfolded in, this is the first we’ve "seen" of the "regular" X-Men in the entirety of the labeled Age of Apocalypse issues. The brief bit we get with them–specifically of Storm realizing the true battle was fought elsewhere–is something that has stuck with me since originally reading the issue, and worked its way into my head over the years as a concept that truly influences my understanding and conception of time travel and alternate reality stories…really in a way I can’t quite put to typed words.

The Age of Apocalypse ends, the "true reality" is restored…but this story left lasting repercussions (and characters) on the X-universe and the Marvel universe in general. Fitting in a way, perhaps, that present-day 2015 we’re about to get major changes to the very fabric of the Marvel universe, as I’ve just finished re-reading this tale.

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