• September 2018
    S M T W T F S
    « Aug    
     1
    2345678
    9101112131415
    16171819202122
    23242526272829
    30  
  • On Facebook

  • Archives

  • Categories

  • Comic Blog Elite

    Comic Blogs - BlogCatalog Blog Directory

  • Advertisements

Ultraverse Revisited: Mantra #3

ultraverse_revisited

mantra_0003Kismet Once…Kismet Twice…Kismet Deadly!

Writer: Mike W. Barr
Penciler: Terry Dodson
Inker: Al Vey
Letterer: Tim Eldred
Color Designer: Moose Baumann
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: September 1993
Cover Price: $1.95

We open on Lukasz–Eden–being held down by the Repo Men! They’re trying to get her mask, the source of her magical armor off, for their boss. Meanwhile, Eden’s kids are looking for her and don’t recognize her as the masked woman all the commotion’s about. Eden fries the Repo Men and makes her escape. She flies off and confronts their boss, eventually forcing a deal of sorts, pointing out that she’s the only person on Earth the mask will even work for, so it’s not in the guy’s interest to possess it anyway. She then–belatedly–remembers the kids, and collects them awkwardly from Child Services, deals awkwardly with them in the car and back at their house, and doesn’t quite convince Evie that everything’s alright. (In fact, Evie realizes quite a difference and goes to Gus–her brother–claiming this isn’t their mom!) The next day, the kids are handed off to their grandmother, after a brief run-in with Brent. Lukasz begins trying to track "the Judas" that betrayed Archimage, which leads to private investigator Dalmas. While in his office, a magical creation of Archimage’s–"Kismet Deadly"–challenges/tests Lukasz. Lukasz finds a ring in Dalmas’ safe that leads to Hamath…who in turn is killed when Kismet Deadly re-manifests, before Lukasz points out what "living" actually entails–including death! Mourning Hamath’s death but facing the practicality of it, Lukasz is decked from behind by someone whereing what looks like an Infinity Gauntlet knock-off. We then shift to someone else bound to a chair, and see that Warstrike is tracking Eden/Lukasz. Finally, Lukasz wakes to find himself before Boneyard, apparently to be a bride.

Since there’s no "previously" page, it was quite helpful that this issue basically opened right where #2 had left off…or close enough that opening on Lukasz being held down reminded me that we left off with these Repo Men pinning the body to take the mask. It’s interesting to see the development of the "superhero name" Mantra develop here: Lukasz thinking back to what he was told–to let "Change, growth, power" be his mantra; and someone overhearing the word "mantra" being spoken and taking it as the woman calling herself "Mantra." And thus, we have an on-panel, on-page explanation/reason for this body being called Mantra. Hokey as it may be, this is something I really enjoyed seeing here (and usually enjoy generally)–having some "moment" specifically reference something with its own title–book, movie, comic book–and yet not make a big deal of it. Someone hears this woman say the word "mantra," thinks she’s called herself "Mantra," tells others, and voila! Super heroine named Mantra! That Lukasz doesn’t quite "get" it and/or seems a bit annoyed by it is an added touch I like.

Story-wise, there’s a lot going on here…this is definitely a rather "compressed" issue (compared to the "decompression" in comics of the last 15+ years into 2018)…yet we still manage to have a sort of "subplot" and "immediate plot" dichotomy going on. There’s a lotta stuff happening, and we’re getting actual forward progression; Lukasz is actually going through tracking leads down and such rather than simply talking about it. As a single issue we get to see all sorts of stuff–Lukasz as Eden, Lukasz in action, Lukasz dealing with the kids, Lukasz interacting with the grandmother, and Brent; Lukasz putting this new body to use; we see Warstrike, we see Boneyard, we have references and context to Archimage and why Lukasz is in a woman’s body, etc.

Visually, this is definitely a pretty issue to look at, and I really like the coloring–especially for the stuff with Kismet Deadly. It’s just a sort of bright-and-colorful that I don’t feel I often see in comics, period (new OR old). As a late-30s male, and whatever other factors one may want to bring to the table, I do feel that I have a different sort of "appreciation" for the art than I did even as a kid…despite the art definitely grabbing and holding my attention even then! There’s that "cheesecake" element to this stuff without being graphically gratuitous…and I rather like the line it walks where a straight up live-action adaptation would almost certainly be PG-13…but it doesn’t cross the line into R-rated territory. One panel when Eden snaps at Evie threw me outta the story for a moment…Evie does not look AT ALL like a child to me, and taken out of context I’d absolutely swear her face is that of a full-grown woman, on the page. So, pretty as the art is generally and all that, it’s not perfect. But this is a comic book, and from the ’90s at that, and when it’s really one single panel and not even a page that does this, that’s not bad.

pinups_mantra0003

In addition to the story-art of the issue (and there are 24 pages of the issue itself!) we have a letter column page, and a random "pinup" with art by Paul Pelletier and Al Vey. Just a static pose of Mantra standing amidst some rocks or such, some mist floating, sword drawn…nothing particular going on, just an image of the character. We do not tend to see this sorta thing anymore, unfortunately–today, publishers seem absolutely incapable of doing something like this, as if they absolutely cannot possibly have a non-story image that ISN’T a variant cover. I love seeing this–another artist’s take on a character, shown within an issue featuring that character…yet it is NOT a variant!

I felt like this series’ story’s engaged me more than a lot of others…maybe it’s nostalgia, maybe it’s the art and having 25 more years on me, maybe all that and other factors. Something about the way I read this and enjoyed the issue as a whole makes me think it was no fluke that this was one of my favorite titles back then, as it’s quickly reasserting itself as a favorite of the bunch NOW as well.

mantra_0003_blogtrailer

Advertisements

Ultraverse Revisited: Mantra #2

ultraverse_revisited

mantra_0002The Woman Behind the Mask

Creator-Writer: Mike W. Barr
Penciller: Terry Dodson
Inker: Al Vey
Letterer: Patrick Owsley
Colorist: Moose Baumann
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: August 1993
Cover Price: $1.95

I had a bit of deja vu opening this issue…the first page feels like it mirrors the exact cliffhanger of the first issue! Warstrike–the man who killed Lukasz–is at the door,and Lukasz is in the seemingly-weak body of a woman. Turns out that Warstrike is here to offer his aid–Notch tricked him as well, and he doesn’t take kindly to that. They part, and Lukasz–now Eden Blake–deals with kids (s)he doesn’t know what to do with, a job (s)he only knows the address (not what tasks to perform), and so on…while elsewhere, Boneyard and Notch torture Archimage, who refuses to give up his last warrior. Later, Lukasz/Eden crashes a party/auction and bumps into Warstrike in his civilian guise–Brandon Tark. The mask that Archimage and Boneyard have been after is there, and when Notch goes for it, Lukasz leaps into action, and manages to get the mask…while also discovering some new powers this Eden Blake body has. Emerging apparently victorious, Lukasz later takes the kids to a movie, figuring why not? It’s not like they’d be a problem much longer…he aims to pawn them off on the father as soon as possible. Unfortunately, the "Repo Men" encountered at the auction are also here…and the battle doesn’t go nearly so well. Combined with having to protect the kids…Lukasz–Mantra–is not in a good situation.

The Dodson art is a bit "cheesecake" and such with several panels (AND the cover) NOT being shy about how well endowed Eden’s body is. Despite that, the art overall is quite good, and pretty distinctive on the characters…particularly where costumes are involved.

I am pretty sure I’ve never read this issue before, but enjoyed it. There’s something almost cinematic about it, something that could definitely work for tv, and I’m surprised it hasn’t been picked up FOR tv given current vibes on stuff.

It makes sense to have some time seeing Lukasz adjust to the new body as well as the hints of fear that weren’t present while in other bodies: knowing there will be no next body makes everything far more dangerous than they seemed when he had endless reincarnation to keep going with. While it’s not much "development," we get to check in on Boneyard and Archimage to keep that fresh in mind, that they and their war are why we’re here.

In some ways, this could BE a first issue, had the previous issue been doled out as a #0 or a serialized bit. Still, as with other titles…this being "only" the second issue, I’d highly recommend getting the first issue along with this, as the story would be far more meaningful than specifically going for this issue in isolation. As a second issue, I definitely liked this, as it continues to develop the main character and flesh out the world/supporting cast and build on the previous issue, while also leaving some stuff to be wondering about for the next issue, along with the cliffhanger leaving us to wonder how Mantra will get out of the situation and if the kids will also make it out, etc.

This was one of my favorite Ultraverse series back in the ’90s, and so far on re-read, nothing is changing my thoughts on that. As said above, this title seems all the more "relevant" or poignant in 2018, like it would surely be championed now more than ever before. Regardless…it’s simply a fun read, with art that’s hardly bad on the (male) eyes.

mantra_0002_blogtrailer

Ultraverse Revisited: Mantra #1

ultraverse_revisited

mantra_0001Reversal of Fortune

Writer: Mike W. Barr
Penciller: Terry Dodson
Inker: Al Vey
Letterer: Tim Eldred
Color Design: Paul Mounts
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: July 1993
Cover Price: $1.95

This is an interesting issue, starting at the cover. The coloring overall gives it a sort of pink look, and makes it instantly (to me) identifiable as what it is at a slight glance. The main character–Mantra–is in some odd mid-air motion like a jump-kick or sideways fastball-special…can’t really tell. But it’s from the ’90s, so doesn’t have to totally make sense, apparently…but at least you can see she has feet! Almost as much so or more prominently, you have Warstrike (a Cable-like huge overly-muscled character with a huge gun) firing away at something "off-panel" of the cover. While in the background, partially obscured by the cover dress–the title logo and the corner box stuff–you have a ghostly image of the villain Boneyard. So this is hardly a great cover in design…its being recognizable and iconic comes from being a #1–a #1 that does NOT have umpteen variants, as this was only the ’90s and not modern 2010s. The cover matches the ads that preceded it, advertising its pending arrival, and contributes to its recognizability.

As I’m essentially "over-familiar" with Prime #1 due to the audio comic, of the early #1s, this was the issue I was most looking forward to getting back to. I don’t actually recall the last time that I read this issue cover to cover rather than skimming it to verify certain details (Lukasz’s final death and the specific killer, for example), but it’s absolutely safe to say I don’t recall reading this within the last 10-15 years, if not longer. So there was some surprise on my part at stuff I’d forgotten, along with certain familiarity that’s stuck with me since the very first time I read the issue back in 1993!

We open on a frontispiece…no actual action or identification of characters, just an image of Mantra as a body/mask/cloak/armor, a black man to the upper left, a ark-haired woman to the upper right, and green energy/lightning and smoke billowing at the bottom. The creator credits and issue title are here as well. Turning the page, we meet Bill Cooper interacting with a Mr. Dalmas, apparently finalizing paperwork for a divorce. The wife has tailed the lawyer and manages to get in, appealing to Cooper to at least not turn his back on his son. While they’re dismissed, we have the growing sense of something supernatural or at least abnormal going on. A ghostly image of an old mane addresses Cooper as Lukasz, and in turn is addressed as Archimage. Cooper makes his way to a club, and getting reacquainted with Yaron, Hamath, and Thanasi. Meanwhile, someone is tied up and being questioned by a garishly-dressed man apparently called Notch. He has a ghostly image of another old figure–Boneyard! Cooper–Lukasz–and his fellows burst in, and battle commences! While the men struggle, we get a momentary glimpse of Boneyard and Archimage hand-to hand struggling themselves…as blood is shed on both sides. Cooper lays dead as the others escaped, and Notch cuts the heart from the body…making it quite official the notch he’s cut in his staff. We meet Warstrike as he answers a call, and then the scene shifts to show us a couple–Marla and Carl, apparently recently-reconciled arriving at a house…and we meet Eden Blake (the dark-haired woman from the frontispiece) interacting with her kids, mother, and her own date. Marla’s gone in while Carl properly parks the car. The view shifts to a trippy/cosmic "hall of bodies" called The Soulwalk, as we find Lukasz’s soul preparing to go into its next body…which he does as it rings a doorbell, and we see he’s displaced Carl. Breaking another heart, he walks out on Marla and an angry Eden. In Carl’s body, we follow Lukasz as he meets up with the rest of Archimage’s group–12 in all–and they get a final speech from the old man as he reveals that they’ve been betrayed by one of their own.

Boneyard arrives, Archimage is captured, his men are killed…Carl/Lukasz killed by Warstrike. Lukasz thinks this is it…before discovering Archimage–even captured–is bringing him back. Lukasz wakes up in bed next to a man, and discovers that this time, he’s been reincarnated as a woman. The woman he saw earlier–Eden Blake!  As Eden, he makes a hasty exit, and immediately experiences the some changes on the streets of LA as a woman instead of man…including being pulled into an alley for an attempted rape, before the would-be-rapist’s cigarette sets him ablaze. Eden makes it to a hospital to meet the last of Archimage’s helpers, who reveals that this is the final reincarnation, Lukasz’s soul was put into this body as a last-ditch backup failsafe, and after centuries of technology, must now embrace magic. A mask charm suddenly flips Eden into the scantily-armor-clad figure of Mantra with a cloak, thigh-high boots and arm-length gloves. As Katinya dies, police enter and assume this figure is a murderer, forcing Eden to escape. Getting home to the address on her driver’s license, she dismisses mother and kids for the night, finds this body doesn’t like whiskey, and answers a late night doorbell to find Warstrike…who knows who (s)he actually is!

Maybe it’s largely nostalgia, maybe it’s the analytical reading for this post and going back through the issue for this overly-lengthy summary of the issue. But this strikes me as a darned good first issue! We have foreshadowing in the frontispiece, a cold build from some arbitrary scene as things quickly come together, showing us good guys and bad guys, and that both sides have a master figure behind them…a 15-century struggle comes down to this final night, as Boneyard gains the upper hand…and the last surviving chance for Archimage is Lukasz, now in the body of a woman and apparently host to mystical/magical powers. We’re introduced to a number of characters on both sides, to the situation, how this battle has lasted over a millennia, and so on. We see how easily Lukasz is killed–twice!–which shows how extremely imperative it is that he be more careful than ever when he learns he can no longer simply be brought back in a new body. And like Lukasz himself…we’re left wondering at the end of the issue what’s coming next. Immediately in terms of Warstrike’s showing up to finish what he started, and whatever is to come in the ongoing battle.

Visually, this is maybe the strongest Ultraverse issue thus far to me, of the five titles. Of course, it’s Terry Dodson art, so that’s a lot of it! Barr crams so much into the story and the art so beautifully conveys it all that I feel little wonder that this is one of my favorite issues of the line.

I did not originally read this in August of 1993 when it came out–at least, I somehow have a memory of reading it in December that year. 25 years and family stuff could definitely have scrambled the timing in my memory, though. But I distinctly remember the surprise of that page when Lukasz wakes up in Eden’s body…quite an image for a barely-13-year-old, and probably a bit of an immediate imprint for the title character.

Like Freex #1, this issue came with a "bonus coupon," which could be substituted for one of the first-month coupons to redeem for Ultraverse Premiere #0. I remember having to make use of that due to being unable to get the Wizard #23 coupon for whatever reason.

All in all, this is a strong first issue well worth getting if you find it in a bargain bin, and I’m definitely looking forward to getting into #2 and onward as things develop, and filling in some of the details and such I missed when the issues were new, as it’s been in the years after the end of the Ultraverse line that I was able to fill in the early gaps in my collection!

mantra_0001_blogtrailer

From the Archives: Superman #650

superman0650Up, Up, and Away! (part 1)

Writers: Kurt Busiek & Geoff Johns
Artist: Pete Woods
Colorist: Brad Anderson
Letterer: Rob Leigh
Associate Editor: Nachie Castro
Editor: Matt Idelson
Cover Artists: Terry & Rachel Dodson
Cover Colorist: Alex Sinclair
Publisher: DC Comics

[ This review originally written for and published at comiXtreme/cxPulp some time back while the issue was new–within the first days to a week that the issue was available for sale. ]

It’s been a year since Superman apparently disappeared, and the fine folks of Metropolis have moved on, though many take an evening to revisit the past, watching a retrospective on the life and times of their favorite son. Among the spectators are Lois Lane and Clark Kent, who discuss the authenticity of the retrospective with a couple different viewpoints. Shortly after, other familiar elements of the Superman story are reintroduced–Jimmy Olsen, Lex Luthor, Perry White. A familiar "villain" is introduced here as well–one that may be familiar to older readers, but I’m not sure this character has appeared in the Superman comics since the mid-80s reboot. As this villain is attended to, we as readers are clued into at least part of why Superman has been absent for a year.

I wasn’t sure what to expect going into this issue. I’ve been concerned at the idea of "my" Superman–that is, the character (re)introduced in Byrne‘s Man of Steel mini-series–being shuffled off to the side in favor of yet another/different reimagining of the character. While this is only the first of an 8-parter that re-establishes the character post-Infinite Crisis, the writing team of Busiek & Johns has assuaged some of my concerns as several aspects that have defined the character and supporting cast for the last 18+ years are re-established here. However, there seem to be a number of minor or subtle shifts that distance things from the past, settling the characters very much in a sort of "timeless" present.

Busiek wrote my favorite Superman story in 2004’s Superman: Secret Identity. Johns on the other hand has written some other very compelling stories that I have really enjoyed over the past several years (including pulling me into following The Flash for 30 issues after never previously caring for the character). That said, both writers have a lot to live up to in my eyes, and for the moment, I’ll cautiously advance the idea that yes, they have lived up to those high standards.

The writing here is clear and definitely gets across the idea first of the broad strokes of Superman’s history that just about anyone will be vaguely familiar with (whether you know the character solely from last month’s issues, the Christopher Reeve films, Smallville, Lois & Clark, a parent/grand-parent’s stack of older comics, or just picking up on elements from years of the character’s suffusion of popular culture. If this is the first-ever comic starring Superman that you’ve read, you’ve got yourself a good starting point. If you’ve been following these comics for 20 years, you’ve got a good read that revalidates the character for the present, showing that both the old and newer elements can come together in a single well-written manner that gives us a story of Superman.

Offhand, I am unfamiliar with Pete Woods‘ art, but this issue makes for a good introduction. Everything seems nice and clear/clean–reading along with the story, the art shows exactly what is going on and pretty much just does it’s job of enhancing the written word to contribute to the overall look and feel of the issue. The art’s not perfect–but very little is. The main quibble I have is the depiction of the S-shield; it comes across a bit too "shiney" or metallic for my own tastes.

However–whether in Woods‘ art itself or the coloring (or both)–this issue somehow has a "brighter" feel to it than a lot of recent DC issues–by design or not, this lends itself to this being an upbeat, bright start to a new "generation" of Superman.
I very much recommend this issue, whether you are a new, old, or an on-the-fence reader.

superman0650_blogtrailer

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: Factor X #4

aoa_revisited_logo

factorx004Reckonings

Writer: John Francis Moore
Pencilers: Steve Epting w/ Terry Dodson
Inker: Al Milgrom
Lettering: Richard Starkings, Comicraft
Colorist: Glynis Oliver
Cover: Steve Epting
Editors: Kelly Corvese, Bob Harras
Published by: Marvel Comics
Cover Date: June 1995
Cover Price: $1.95

The order has been given–the pens of humans are to be culled. The newly "promoted" Alex Summers lords it over the others to enforce the order. Meanwhile, Cyclops and Jean are trying to save the humans, help them escape. This leads to the two having to fight through multiple obstacles (though they find unexpected allies). Things ultimately come down to brother vs. brother, and a new leader of the would-be-culled humans. Also meanwhile, Angel’s club is shut down, while Worthington himself ditches the place, essentially laying aside his neutrality in things.

This issue really does not offer any true finality or closure to what’s been set up throughout…more, it’s the fourth chapter of this side-trip following Alex, Scott, and (Dark) Beast and whatnot–our glimpse into things going on within Apocalypse’s ranks with characters we’re familiar with from the "regular" universe. To get finality for these characters and their arc within AoA, one definitely needs to follow this with X-Men: Omega.

The story, though, is good, and AS a story I don’t really have much to say on it; the writing is solid and consistent and not unexpected. I can’t quite put my finger on it, but there’s also something to Cyclops as written here that made me think he’s portrayed as a lot more interesting than I recall his being at the time in the regular Marvel universe. Perhaps the notion of his having served with Sinister and Apocalypse at all, or a number of other potential angles of the character that could be explored to answer "Why is he where and how he is now?"

My surprise with the issue’s creative side is just how much I really like the art. My one actual "problem" with the visuals is Jean’s hair–I’d swear she’s had much shorter hair in prior appearances, where Jean in this issue has the longer hair of her 616-counterpart of the time. I could be annoyed at the inconsistency…but I prefer long-haired Jean as depicted here, so I like it.

I’m not nearly as familiar with Havok in general, and it’s been rather strange seeing him as so thorough a villain in the Age of Apocalypse (same for Beast). Still, there’s a lot more than could be explored between just Alex and Scott’s relationship, that it’s sort of regrettable this four-issue journey is over.

I’ve enjoyed the series, and enjoyed this issue. Were it a self-contained mini-series I’d almost certainly be quite disappointed at the ending. As-is, it leads into X-Men: Omega, and I recall a definite end-point for Jean, Scott, and Alex as well as the fate of the Beast; looking ahead to that, it occurs to me that Omega serves in many ways as a #5 for the various minis, with Alpha having served as a #0.

Age of Apocalypse Revisited: X-Universe #2

aoa_revisited_logo

xuniverse002Dying Breath

Story by: Scott Lobdell
Script: Terry Kavanagh
Pencilers: Carlos Pacheco, Terry Dodson
Inkers: Cam Smith, Robin Riggs
Colorist: Kevin Tinsley
Color Separations: Electric Crayon
Lettering: Richard Starkings and Comicraft
Cover: Pacheco & Smith
Editors: Marie Javins, Bob Harras
Published by: Marvel Comics
Cover Date: June 1995
Cover Price: $3.50

We open on a new/arbitrary character–a father holding his child, as people are given over to Rasputin for upgrading, a last chance to stand with mutants without being eradicated. We then move to our Phenomenal Five (I saw THAT term in the monthly checklist on the X-Books This Month section) who have been captured and are helpless…at least until a contingency plan kicks in. Meanwhile, no one’s told the humans of the atrociously low survival rate of the upgrade process, that only one in a hundred-thousand survive any length of time and few of those survive indefinitely. Stark’s plan kicks in, and the humans begin breaking free, and the rebellion is on. After the battle, few humans are left, but they’ve acquired technology from Mikhail’s ship and make a last bid for permanent escape from Apocalypse’s rule.

This issue is all over the place. And when it ends…I only know it does because there are simply NO MORE STORY PAGES. There’s no particular icon or note or any indication the last page is the last page. It has all the makings of a second-to-last page, that you’d turn the page for some full-page image to finish out the series, but instead it turns to a double-page ad, then a double-page info/profile section, another couple ads, and that’s that.

The art’s so-so…not bad, not spectacular, and a bit minimalistic at points and just somehow looks a bit "off" from the rest of the Age of Apocalypse. Of course, multiple pencilers and inkers, suggesting (to me, with contemporary sensibilities) that this issue had run behind and needed to be caught up in a hurry to get it out on time. That’s also something that suggests further to me that this series was an afterthought of sorts, a late addition to the AoA stuff.

The story’s also only so-so. It could certainly be worse, but it doesn’t really feel like it has any real significance, given we’ve had no real reference, even, to these characters, nor any dealings with Rasputin elsewhere in the AoA, so this is just stuff going on "in the World of the Age of Apocalypse" and can be pretty safely ignored in the grand scheme.

Another element that lends the notion of this X-Universe series being set apart from the rest of the AoA is the covers. These are $3.50 cover price with cardstock covers and foil-ized logos. The chromium double-size bookend issues make sense as they’re "special," kicking off and concluding the entirety of the story. But the issues in-between have all been standard covers with no fancy enhancements or foiling or such. This mini just reeks of typical ’90s saturation.

Unless you’re–like me these last number of weeks–specifically determined to read the entirety of what was published as part of this original Age of Apocalypse series, this seems like a safe mini to skip. And I’m thankful to be through this because now I can jump into the #4s and the final parts of the story, as the various threads in the minis begin to–finally–pay off.

%d bloggers like this: