Uncanny X-Men #16 - Marvel Comics

UNCANNY X-MEN No. 16, August 2025

It’s probably a safe bet that a fair number of this twenty-page periodical’s readers probably felt its series of almost sickly sweet conclusions were rather anti-climactic at best. In fact, apart from one magical moment where Doctor Theodore Sallis’ slime-covered alter-ego is sensationally launched against the death-like deity Shuvahrak, almost the entirety of “The Voice Of Darkness” is frustratingly filled with missed opportunities; “All I know for certain is whoever knows fear burns at the touch of the Man-Thing.”

For starters, the notion that perhaps having a farm load of super-powered refugees living nearby is not sitting all that well with the inhabitants of New Orleans, is finally revealed to be quite the reverse – with the metropolis’ mayor actually announcing that the "Big Easy” will from now on be “the country’s first mutant friendship city” due to all the ‘normal’ lives they’ve apparently saved. This concept is definitely a bit bemusing, considering that “the shoppers at a popular waterfront mall” wouldn’t have been in danger in the first place if it wasn’t for the Outliers visiting the plaza, and resultantly just smacks of Gail Simone creating an all-too convenient alternative to the safe haven of Krakoa.

In addition, the potential of a deranged robotic Bloodhound murderously bounding into Haven House and massacring its inhabitants is infuriatingly nipped in the bud within the space of three panels. Alongside disagreeable secret agent Miller simply being disbelieved by his fellow operatives that a mutant sanctuary exists in the Mississippi swamplands and resultantly getting sacked, these highly disappointing outcomes suggest that the American author suddenly just got tired of the sub-plots, and decided to wrap them up as soon as the comic's script allowed.

Lastly, but by no means least though, has to be the actual ending of the author’s long-running “Dark Artery” narrative, which sees the mysterious entity behind Deathdream’s journey into the accursed underground hell-town known as Penumbra, implausibly decide to give up her desire for a replacement on some emotional whim. This unconvincing call comes completely out of the blue, and is supposedly due to Jubilee – who up until this moment has had no interaction with the sinister spirit whatsoever – convincing Shuvahrak that she is sympathetic to the grieving goddess’ loss of a daughter..!?!

The regular cover art to "UNCANNY X-MEN" #16 by David Marquez & Matthew Wilson

Uncanny X-Men #15 - Marvel Comics

UNCANNY X-MEN No. 15, July 2025

Captivatingly claustrophobic due to so many of its sense-shattering shenanigans occurring deep down inside a long-buried crypt, there isn’t much wrong with Gail Simone’s narrative for Issue Fifteen of “Uncanny X-Men”. Indeed, the twenty-page periodical’s well-paced ‘potash’ of past, present and potential future sub-plots should see many a bibliophile utterly beguiled; “Oh, my dear, dear fellow. What makes you think you are free to leave.?”

Admittedly, this third instalment to the American author’s “The Dark Artery” storyline doesn’t really contain all that much adrenalin-fuelled action – at least not until this comic book’s end when Deathdream, Jitter, Calico and Ransom take-on the furious pitchfork-carrying residents of the realm of the dead. But the sheer sinister undertones of the dialogue-driven set-pieces beforehand, quite easily still carry this adventure ever onwards at an enjoyably brisk pace; especially during Miss Benjamin’s potentially deadly confrontation with the truly despicable secret service agent Mister Miller “nearly a century past.”

In fact, one of the dilemmas doubtless faced by this book’s Oregon-born writer was how she was ever going to cover as much of Lady Henrietta’s intriguing role as Penumbra’s current custodian as she does, whilst competing with the limited sheet-space required to also tell the mutant teacher-turned-caretaker’s brilliantly penned and emotionally-charged backstory.

Furthermore, Simone is also busy sowing the seeds of a potential massacre about to occur within the seemingly safe Haven House. This upcoming Sentinal attack might not have struck the audience as being particularly terrifying when the titular characters were residing there. However, rather cleverly, Gail has the X-Men depart to spectacularly save the Outliers’ day, and in doing so exposes the highly likeable little Chelsea and her mother to the flesh-tearing danger of a deranged mechanical Bloodhound back home.

Marvellously managing all of this comic’s visuals is David Marquez, who impressively imbues all the various sequences with just the right amount of atmosphere and apprehension. Of particular note has to be the Illustrator’s prodigious pencilling of Mister Miller, whose arrogant superiority is brought down to Earth with a heart-stopping bump when the Mutie-hater shockingly realises that the people he was planning to cold-bloodedly gun down, might not actually let him leave the swamp in one piece.

The regular cover art to "UNCANNY X-MEN" #15 by David Marquez & Matthew Wilson

Uncanny X-Men #14 - Marvel Comics

UNCANNY X-MEN No. 14, July 2025

Somewhat slowly scratching away at “the history of the hidden landscape under the Louisiana swampland”, Gail Simone’s script for Issue Fourteen of “Uncanny X-Men” certainly contains an incredibly intriguing insight into a terribly trepidatious time when mutants in the United States of America were mercilessly hunted by the sinister “Service”. True, Miss Henrietta Benjamin’s  captivatingly penned adventure set during the early Nineteenth Century regrettably only occupies just over a quarter of this twenty-page periodical. But it so dramatically depicts a far less civilised time where any “Johnny Devil” is apparently shot on sight, that the young lady’s bloody confrontation with two heavily-armed ‘holier than thou’ government agents will surely stay in the audience’s mind well after they’ve put the comic down.

Furthermore, this book also features a pulse-pounding bout of pugilism between Rogue and the dragon Sadurang, which shows just how fearsome a fighter Anna Marie can be when she believes her husband is in mortal danger. As with Miss Henry’s aforementioned ruckus in New Orleans, this punch-up is sadly somewhat short-lived. However, considering that the super-strong mutant is going up against a gigantic Asgardian sorcerer who studied under the dread Dormammu himself, such a fight was always going to be swift (and one-sided), even when the mutant gets in two thunderous whacks before the ice-spewing serpent really knows what’s hit him; “Females. By the frosted peaks of Jotunheim, I will never understand them.”

Perhaps this publication’s weakest plot-thread therefore lies with the American author’s handling of the Outliers encountering the Man-Thing close to their supposedly safe retreat at Haven House, and debatably not doing much else except talk amongst themselves. This unexpected meeting undeniably gave this ongoing title’s previous edition a suitably scary cliff-hanger which potentially promised at least a modicum of sense-shattering shenanigans due to the X-babies’ terror at meeting a creature who “will melt your face off if you show any fear”. Yet rather than utilise Theodore Sallis’ terrifying alter-ego for any adrenaline-fuelled action, or a dynamically-charged momentary misunderstanding, Stan Lee’s co-creation is underwhelmingly referred to as “just a big, good doggie” by Deathdream, and rather perturbingly pencilled by artist David Marquez as the burial site’s sedentary doorman.

The regular cover art to "UNCANNY X-MEN" #14 by David Marquez & Matthew Wilson

Uncanny X-Men #13 - Marvel Comics

UNCANNY X-MEN No. 13, June 2025

Quite wonderfully weaving three separate storylines together into a single, twenty-page periodical, this opening instalment to Gail Simone’s “The Dark Artery” certainly contains plenty of mystery with which to well and truly hook her audience. In fact, even the comic’s somewhat sedentary sequences following Miss Henrietta Benjamin’s train ride to New Orleans still provides a gripping journey once it becomes clear the young woman is actually a mutant being menaced by the highly prejudicial “Service.”

By far this book’s ‘loudest’ narrative though is that of Gambit once again facing the formidably-sized Asgardian dragon Sadurang. Admittedly, this remarkable rematch possibly verges on being unbelievably bizarre once the “powerful sorcerer” disconcertingly flies an almost naked Remy LeBeau to the dinosaur-filled Savage Land, and almost gets him eaten alive by a hungry Tyrannosaurus Rex. But it also injects an otherwise rather dialogue driven publication with some much needed action, as well as tantalisingly suggesting that the X-Man’s future, thanks to him owning the Left Eye of Agamotto, may well soon turn him into a flesh-hungry cannibal.

Just as intriguing is young Deathdream’s trip to a partially-buried cemetery deep within a Louisana swamp. The excursion is incredibly well-penned by the American author, and absolutely drips in alarming eeriness as the four adolescent Outliers slowly follow a path down into an underground chamber packed full of corpses. It's ordinarily really hard to successfully deliver such an atmospheric exploration, especially one in which the children's senses are clearly screaming for them to get out of the burial site as fast as their legs will carry them. However the level of trepidation generated by these self-doubts and fears makes each scene utterly unputdownable.

Also adding plenty of ambiance to all these various exploits is the artwork of David Marquez, who does a first-rate job in mixing subtle, slow-moving adventure with fast-paced, over-the-top drama. Of particular note is the almost quiet nature of Miss Henry’s aforementioned journey, which projects all the restraint required of a lady travelling at a time in history when outright bigotry would make even the most simple of day-to-day tasks much more difficult for her; “If I want to read a heathen’s treatise, I’ll spend two pennies for the local paper, Andrew.”

The regular cover art to "UNCANNY X-MEN" #13 by David Marquez & Matthew Wilson

Uncanny X-Men #12 - Marvel Comics

UNCANNY X-MEN No. 12, May 2025

Described by Editor Tom Brevoort as “a full-on spotlight” upon Remy LeBeau, Gail Simone’s script for Issue Twelve of “Uncanny X-Men” arguably makes for a pretty compulsive read. Indeed, the twenty-page periodical's insights into Gambit’s past life as a young, rather naïve ward of the New Orleans Thieves Guild, coupled with the American author's superb handling of the wonderfully villainous Vig is probably worth the comic's cover price alone - especially as the ever-ominous hoodlum continues to shadow our Cajun super-hero all the way to his modern day home at Haven House in Louisiana; “You got four new li’l freaks. I want one. You pick. Then we square.”

Looking somewhat like a bespectacled Killer Croc, this treacherous villain simply oozes wilful wickedness in every panel in which he appears, and should completely capture any onlooker's attention with his disconcertingly polite manner and disarmingly quiet way of speaking. Furthermore, the well-dressed enforcer makes it incredibly clear without actually resorting to violence, that he is perfectly capable of ripping a non-powered human apart with his bare hands if even slightly provoked, and this palpable sense of jeopardy does not bode well for Chris Claremont's co-creation when he finally decides to stand up to the cold-hearted killer.

Infuriatingly though, what does debatably let this publication down a little bit is its opening, which focuses upon Rogue’s ridiculous decision to have her husband blast a hapless Jitter into next week during a training session, just so the X-Men can supposedly teach the adolescent Outliers a life lesson. Understandably, Anna Marie is wracked by guilt for this unforgivable decision, and yet decides to initially harangue the startled girl even more when she discovers the young mutant back training in the ‘Danger Room’ just after four o’clock in the morning. Such behaviour really is hard to excuse, especially when the narrative then appears to ask its audience to have some sort of sympathy for Raven Darkhölme’s foster-child because she’s struggling to be the team’s leader.

Sadly, Gavin Guidry’s layouts are also a bit of an inconsistent conundrum, due to the artist not seemingly getting to grips with the storytelling until after Rogue’s renewed spate with Sofia Wong. The freelance illustrator’s clean-looking style is definitely proficient enough. But probably appears a little stiff-looking for this comic’s early, action-orientated shenanigans. However, it is absolutely spot-on for the measured physicality of The Vig, and adds plenty more Machiavellian menace to the grey, three-piece suit-wearing hitman when he once again meets up with Gambit.

The regular cover art to "UNCANNY X-MEN" #12 by David Marquez & Matthew Wilson

Uncanny X-Men #11 - Marvel Comics

UNCANNY X-MEN No. 11, May 2025

As opening instalments go for a supposed "milestone X-Men crossover", Gail Simone’s narrative for “Echoes Of Madness” certainly seems to start out well with a shocking act of despicable treachery aboard the Shi’ar escort cruiser C’rylari by Navigator Elilan. But disappointingly, once poor Professor Xaiver is heavily sedated in his Graymalkin Prison cell, and his telepathic link to Xandra Neramani resultantly broken, this comic’s plot somewhat fatiguingly focuses upon (yet) another farmyard training session for the Outliers; “You go in the semicircle. And you stay on your feet. Three full minutes.” 

Admittedly, this sequence initially provides a bit of fun for the audience to enjoy as Nightcrawler quickly demonstrates to “little Calico” that the rookie mutant needs to always expect the unexpected, and the increasingly haughty Ransom taunts Wolverine over his 'old age'. However, the entire mood to so innocent-sounding a set-piece is suddenly turned upon its head by Rogue uncharacteristically commanding Gambit to take down one of the pupils “hard.” This bizarre order comes completely out of the blue, and is supposed to suggest that the team’s current leader is taking her responsibilities seriously.

Yet poor Sofia’s brush with a devastating kinetic energy-filled playing card probably just caused many a reader to scratch their heads in disbelief as to just how potentially injuring one of the X-Men’s proteges is apparently an example of strong governance. Indeed, at the very start of the exercise Jubilee even refers to the workout as being a “game”. So just why Anna Marie LeBeau gets all agitated as to the children’s playful attitude towards the challenge, and therefore questions whether they could survive a genuine threat to their existence, is a bit baffling – particularly as the quartet have literally just come back from besting a pack of killer Sentinel dogs at a local shopping precinct.

Furthermore, Remy’s smart-mouthed personality appears to have been completely sucked away by the American author, with the former Thieves Guild member acting more like a sycophant robot to his wife’s incongruous instructions, than the flamboyant, swashbuckling adventurer most fans will favour. Of particular note is how coldly he obeys Rogue’s directive to harm one of their wards, with artist Javier Garron pencilling the Cajun from New Orleans almost nonchalantly choosing his unsuspecting target, and then cold-heartedly flicking his deadly missile towards them without a trace of emotion upon his dead-pan face.

The regular cover art to "UNCANNY X-MEN" #11 by David Marquez & Matthew Wilson

Uncanny X-Men #10 - Marvel Comics

UNCANNY X-MEN No. 10, April 2025

Containing plenty of pulse-pounding punch-ups, and an enthrallingly tense political nightmare for the highly dislikeable Corina Ellis, it’s arguably easy to see just why this particular issue of “Uncanny X-Men” was the fifteenth best-selling comic of February 2025 – at least according to “ICv2.Com”. In fact, some bibliophiles may well have expected “Off The Leash” to have done even better, as Gail Simone’s script manages to deliver a nail-biting battle between the Outliers and “a new, vicious and unstoppable anti-mutant weapon initiative” without just resorting to the rookie super-heroes unthinkingly battering their robot opponents into submission.

This decision to have the mutant recruits outwit their dog-based Sentinel foes really lies at the heart of this book’s successful storytelling, with Jitter’s decision to imbue herself with all the knowledge and wisdom of a combat medic causing the ‘X-Babies’ to work together as a team, rather than just’ smack the snot’ out of Larry Trask’s latest creations. Furthermore, the American author generates a real, palpable sense of danger for the potential X-Men recruits, with all four of the adolescents coming within a whisker of being savagely slaughtered by their assailants’ “chainsaw-like teeth.”

Enjoyably though, a good portion of the pleasure readers should experience from this twenty-page periodical’s plot doesn’t come from the aforementioned sense-shattering shenanigans either. But is somewhat surprisingly generated by the Warden of Graymalkin Prison, who completely loses her mind over the unauthorised assassination attempt, and furiously berates the likes of Captain Erza, Jerry Greentree and Trask when she realises the strike has “gone and made them [the Outliers] all heroes” with both the press and general public. Indeed, Ellis’ rapid meltdown may well be the highlight of this comic for some within its audience, considering how conceitedly calm and unpleasantly confident the malicious Doctor ordinarily is; “I want him running in the Danger Room by morning. Punitive mode.”

Also well worth a mention is Andrei Bressan, who along with colour artist Matthew Wilson, does a solid job in sketching all the highs and lows of Sofia Yong’s trip to the local shopping mall. The Brazilian illustrator is clearly capable of drawing some incredibly tender moments, such as Miss Deneer graciously thanking Nightcrawler for saving her daughter’s life, as well as create this comic’s more intense action sequences, and definitely helps add to an already stressed situation by prodigiously pencilling all the combatants with some highly emotional facial expressions.

The regular cover art to "UNCANNY X-MEN" #10 by David Marquez & Matthew Wilson

Uncanny X-Men #9 - Marvel Comics

UNCANNY X-MEN No. 9, March 2025

Arguably containing some of the most blood-crazed, stone-cold killer Sentinels seen within the Marvel Universe, Gail Simone’s opening action sequence for Issue Nine of “Uncanny X-Men” is certainly not for any faint-hearted fans. However, despite such an incredibly grisly introduction to Larry Trask’s cybernetically-enhanced stray dogs, the bulk of this twenty-page book is disappointingly just filled full of word-heavy conversations between the titular cast and the young, predominantly unlikeable mutants under their guardianship; “Each one of y’alls gonna take one Outlier to mentor. Get close. But be the adult, not their buddy.”

Indeed, in many ways it seems as if the Oregon-born writer simply needed some storyline with which to pad out the majority of this comic, so decided upon a straightforward ‘pen-by-numbers’ sub-plot which allowed her to individually pair the central cast up with a fledgling character, and then uninspiringly have the duo discuss their future plans together. Such a technique certainly helps fill the sheet space. But it also makes the entire ensemble feel more like an understandably unused storyline from Chris Claremont’s run on the “New Mutants” during the 1980s - in which the fledgling X-Babies impatiently rebel against their well-meaning, highly-experienced tutors.

Thankfully though, things definitely do hot back up once Ransom, Calico, Jitter and Deathdream take a trip to the local shopping mall, and are almost immediately attacked by an unauthorised deployment of the aforementioned Wolfpack. This savage scrap is as enthralling as it is ferociously fought. Albeit the American author’s determination to depict Valentin Correa as some sort of major big hitter by him referencing that he's previously “knocked down Wolverine” with a single punch is rather clunkily-delivered, and shows a disagreeably arrogant side to the super-strong student.

Proficiently pencilling all of this comic’s highs and lows is Andrei Bressan, who undeniably adds an element of gratuitous body horror to its pulse-pounding proceedings which has seldom been seen before. In addition, the deadliness of the Bloodhounds attack upon the unsuspecting Outliers is extremely well-sketched, with many a bibliophile doubtless able to hear the disconcerting clank of the homicidal canines’ robotic frames on the plaza’s tiled floor as they encircle their intended target.

The regular cover art to "UNCANNY X-MEN" #9 by David Marquez & Matthew Wilson

Uncanny X-Men #8 - Marvel Comics

UNCANNY X-MEN No. 8, March 2025

Outrageously announcing this particular twenty-page periodical as being “an all-out action issue” of “Uncanny X-Men” in its solicitation synopsis, Gail Simone’s actual narrative for “Finale” must have resultantly fallen very flat with its readers due to the comic essentially consisting of numerous word-heavy, conversational pieces and nose-to-nose discussions. Indeed, apart from Doctor Corina Ellis shamefully slapping her minion Scurvy squarely across the chops during the book’s opening, a proper physical blow in anger isn’t thrown amongst any of this publication’s numerous combatants until Professor Xavier’s mental image finally wallops Phillip’s psychological projection straight up into the stratosphere towards the end.

Up until this point, the vast majority of the sedentary storytelling is heavily reliant upon the considerable cast of characters disagreeably bickering with one another, and then supposedly ridding themselves of some malignant influence which has caused them all to be irrationally ireful. Just how the mutants manage to do this isn’t really explained, except through Rogue’s insinuation that the founder of the X-Men is somehow keeping ‘skinny boy’ too distracted to keep up this emotional assault upon her fellow team-mates.

Perhaps even more infuriating though, has to be this four-part storyline’s ending, which rather than show the likes of Cyclops, Jubilee, Wolverine and Gambit absolutely batter the over-confident military might of Graymalkin Prison, simply has the super-heroes impotently walk out of the correctional facility and leave their fellow incarcerated mutants behind. Such a conclusion is arguably far from satisfactory, and genuinely raises some important questions as to just how formidable these two teams supposedly top-tier rosters are when both completely fail to achieve so important a goal; “To Hell with your promises! You’re leaving him to rot. And worse!”

Possibly just as confused by so much talk and so little dynamism is Javier Garron, who undoubtedly does his best to provide this comic’s layouts with some semblance of pace. However, even the most proficient of pencillers can only repeatedly sketch Magik, Juggernaut, Nightcrawler and the Outliers inexplicably floating about in thin air for so long, before eventually resorting to a carousel of largely lack-lustre side-on shots of the two squads just waxing lyrical to one another about how they’d each do things entirely differently.

The regular cover art to "UNCANNY X-MEN" #8 by David Marquez & Matthew Wilson

Uncanny X-Men #7 - Marvel Comics

UNCANNY X-MEN No. 7, February 2025

Despite the first instalment to this comic’s “Raid On Graymalkin” storyline actually featuring in another “Marvel Worldwide” title entirely, Issue Seven of “Uncanny X-Men” still packs a surprising amount of punch. Admittedly, much of the twenty-page periodical’s opening third is understandably focused upon bringing anyone omitting to purchase Jed Mackay’s book bang up to speed with the mini-event’s overall plot. But the tense atmosphere between Rogue and Cyclops is so palpably penned by Gail Simone, that there is still plenty of entertainment to be found from the two former team-mates arguing over the phone.

Of course, the biggest hook to this publication occurs once Anna Marie LeBeau and Scott Summers have decided to attack Professor Xavier’s former home independently of one another, and some of the two squads' biggest hitters plough into the prison with an unbridled passion. These subsequent action sequences are absolutely chock full of pulse-pounding pugilism, such as when Rogue takes out the Blob within an instant of the Brotherhood of Evil Mutant-turned-Trustee making a startling appearance, or a brutally battered Beast finding the physical strength to renew the fight with his overconfident jailers, and should resultantly take any long-term fans back to the glory days of Chris Claremont, when his co-creations took few prisoners and arguably asked even fewer questions.

Another intriguing aspect to the American author’s script though is undoubtedly the short-lived tussle between Rogue and Cyclop’s ‘opposing’ squads. Misunderstandings between some of the New York City-based publisher’s top tier super-teams and the X-Men were always occurring during the Bronze Age of Comics. Yet it’s rare (and thoroughly enthralling) to see the veteran comrades-in-arms slugging it out amongst themselves, even if the kerfuffle is sadly rather short-lived; “This ain’t done, Scott. We both know it. You laid hands on mine.”

Disappointingly, what does probably let this comic down is the decision to intermittently utilise the artistic skills of both David Marquez and Edgar Salazar in the same book, as the two proficient pencillers arguably have disconcertingly different drawing styles. These differences debatably jar the reader from out of the adventure whenever a swap occurs, with Fred Dukes’ tubby alter-ego most notably suffering one of the more overt changes in appearance.

The regular cover art to "UNCANNY X-MEN" #7 by David Marquez & Matthew Wilson

Uncanny X-Men #6 - Marvel Comics

UNCANNY X-MEN No. 6, January 2025

For those readers able to wade through this twenty-page periodical’s predominantly plodding plot, Issue Six of “Uncanny X-Men” will most likely prove something of a disappointment overall. Indeed, many a bibliophile will probably feel that Gail Simone was somewhat struggling to decide whether the publication’s storyline was going to predominantly follow the exploits of its titular characters, or instead feel like an early instalment of Chris Claremont’s hugely popular comic book series “The New Mutants”.

Unfortunately, the Eisner Award Winner’s inability to wholly commit to either of these narratives means that “The Change In Ourselves” arguably won’t completely satisfy either potential audience, and the end result creates some infuriating cutaways back to the students’ school life just when things are seriously hotting up for the main characters; “I can’t find Jubilee. I was - - I was distracted. There’s red on the floor. Everywhere. I think some of it’s blood.”

Furthermore, the American author appears intent on making Calico rather disagreeable, especially when the spoilt brat can’t have her own way. This unpleasant attitude towards the people who saved the young girl’s life actually results in the adolescent giving a blind Wolverine a concussion, and yet later, simply because the Outlier finally accepts that she is a mutant, the writer suddenly expects the audience to be sympathetic when Becca Simon-Pinette is ambushed by Doctor Ellis' men in the gym.

Perhaps this comic’s greatest crime though is in its failure to show Jubilation Lee battling it out against the likes of the Blob, Siryn and Wild Child inside a local supermarket. The X-Man’s mouth-watering “fateful solo mission” is even promised by the book’s solicitation synopsis. However, having shown the combatants squaring off against one another, absolutely nothing of Jubilee’s actual tussle against the so-called Trustees is seen, thanks to Simone preferring instead to simply pen a scene showing Logan struggling with Post-traumatic stress disorder (P.T.S.D.).

Sadly also grating upon the nerves is Javier Garron’s pencilling, which whilst proficient enough, is debatably a little ‘short of the mark’ from time to time, such as when Calico has her first big temper tantrum and commands her horse Ember to kick Wolverine into next weekend. In addition, the style of the apparently “renowned comic book artist and illustrator” appears to inconsistently leap all over the place, from a rather cartoon-like looking supermarket scene, to a much more seriously sketched tone whenever Rogue is involved.

The regular cover art to "UNCANNY X-MEN" #6 by David Marquez & Matthew Wilson

Uncanny X-Men #5 - Marvel Comics

UNCANNY X-MEN No. 5, January 2025

Most certainly delivering a "brutal conclusion to the Red Wave storyline”, Gail Simone’s script for Issue Five of “Uncanny X-Men” probably had the vast majority of its readers holding their breath in anticipation of how a well-beaten Rogue was physically going to look once the Hag had finished scalping the unconscious mutant. However, such engrossment must surely have waivered once the American author suddenly reintroduces an already dead telepath known as Harvey X into the mix, and far too conveniently has the youth miraculously re-energise the fallen super-hero to the point where she instantly bests a monster who previously was comprehensively cleaning Anna Marie LeBeau’s clock.

In fact, this rather bizarre reversal in fortunes comes so completely out of the blue that some bibliophiles will doubtless feel that the Oregon-born writer so badly penned herself into a corner by having Chris Claremont’s co-creation fall unconscious, that all she could come up with was this unconvincing 'miracle' to get the former member of the Brotherhood of Evil Mutants back upon her feet; “I’ve got a bit of healing power, too. It kept me alive, you know.? Down to my last li’l bit. Been saving it for you.”

Similarly as dissatisfying is debatably the swift effect Rogue defeating Sarah Gaunt has upon the rest of the titular characters – who up until this point were quite literally on their last legs fighting off the Hag’s killer army. Just like LeBeau’s aforementioned confrontation, this last stand appeared to be going very badly for Gambit, Wolverine, Nightcrawler and Jubilee. But just as the protagonists are about to bravely fall before far superior numbers, the action cuts away from the battle and disappointingly doesn’t return until after Remy has supposedly just told their murderous assailants “to go home." - Something they apparently very obligingly do..!?!

Much more persuasive than this twenty-page periodical’s plot is David Marquez’s artwork, which does a tremendous job of showing just how seriously wounded Anna Marie actually is. Such trauma is really important to this comic’s storytelling as it greatly contrasts with the much more positive look upon the mutant’s face when Charlie X has restored her vitality, and the Hag is kicked into next week with a single, well-placed boot. Furthermore, there’s a palpable sense of desperation to be found in the pulse-pounding panels depicting the rest of the X-Men’s last stand, and this is predominantly down to the illustrator giving the leading cast some wonderfully dynamic poses.

The regular cover art to "UNCANNY X-MEN" #5 by David Marquez & Matthew Wilson

Uncanny X-Men #4 - Marvel Comics

UNCANNY X-MEN No. 4, December 2024

Featuring a genuinely tense tussle between Rogue and the truly terrifying Sarah Gaunt, it is easy to see just why Gail Simone’s script for Issue Four of “Uncanny X-Men” landed so well with its audience in October 2024, and became the fourth best-selling comic book of the month. Indeed, the Oregon-born writer pens this pulse-pounding punch-up so expertly, that many a reader will doubtless tremble whenever they need to turn a page towards its end, for fear that the fight will depict poor Anna Marie LeBeau’s demise; “An’ here she went and found a way to make the concussion seem like a tropical vacation.”

Furthermore, this simply isn’t a narrative which solely relies upon bone-breaking violence to entertain its audience. But instead has a good deal of character development intertwined with all the close combat – most notably that of the Hag’s emotionally touching backstory which concerns the harrowing loss of both her helpless nine-year-old son, as well as herself, to a rain-lashing hurricane. This particular flashback sequence is very convincing, especially when it suggests the young woman may well be a mutant herself, and quite surprisingly imbues the “self-proclaimed witch” with plenty of pathos.

Similarly as well-crafted is all the chaos occurring back at Gambit’s hideaway in Louisiana over Wolverine’s life-threatening injuries. Understandably, Logan’s sudden arrival, courtesy of Nightcrawler’s teleportation powers, causes quite the dilemma for the remaining X-Men, as they must decide between rescuing their team leader or protecting “the young mutants being targeted by Sarah.” The arguments for and against one course of action rock back and forth throughout this publication, to the point where it only becomes clear at its very end as to just what Professor Charles Xavier’s super-group are going to do.

Doubtless making many a bibliophile squirm in sympathy as Rogue is mercilessly brutalised, and her love-torn Remy is pulled between 'pillar and post', are David Marquez’s marvellous layouts. The sheer physical gravitas behind the punches being thrown during Gaunt’s slugfest with Anna Marie are oft-times eye-wincingly good. However, it is surely the illustrator’s pencilling of the Hag’s origin story, along with colour artist Matthew Wilson’s haunting palette, which really leaves a lasting impact upon any onlookers.

The regular cover art to "UNCANNY X-MEN" #4 by David Marquez & Matthew Wilson

Uncanny X-Men #2 - Marvel Comics

UNCANNY X-MEN No. 2, November 2024

To be honest, many an X-fan was probably a bit despondent having read the opening half to this twenty-page periodical. Sure, Gail Simone paints a wonderfully touching picture of how a young Charles Francis Xavier found his first love whilst at University. But alongside this heart-warming flashback the titular characters’ are disconcertingly mullered by a group of young mutant children who simply walk up to them during the dead of night and deck Wolverine with just a single punch.

To make matters even muddier though, this initially one-sided fracas in the swamps of Louisiana is due to the super-abled adolescents claiming they want help from Rogue’s freshly-formed squad, and then almost unforgivably give in to their unfounded fears that the heroes are actually going to harm them; “You see it, Ember? They’re mean. Like mother said. Goblins.” Such an irrational assault upon the X-Men debatably makes the Outliers particularly dislikeable, adding to the audience’s sense of woe when even the likes of Gambit are bested by a boot to the face by the somewhat scatty-brained Jitter.

Happily however, the stunning situation is eventually taken well in hand by James Howlett’s team-mates, and the newcomers are shown how to chew on a knuckle-sandwich or two. This ‘victory’ is arguably made all the sweeter by the arrival of Jubilee, and the potential promise of both Cyclops and Nightcrawler joining the comic to form a truly classic line-up. Yet, the ill-will lurking within the minds of some bibliophiles may well make the notion of the still fractured protagonists taking their “uncontrollable and wild” attackers under their protection sting quite a bit – especially when the majority of the unruly quartet come with a disagreeable attitude too.

Pencilling all this pugilism with great aplomb is David Marquez, who imbues Ransom and Deathdream with all the haughtiness expected from a pair of teenagers who apparently feel they can take on anybody; even after just being beaten by them. Of particular note though has to be the American illustrator’s marvellous pencilling of Xavier’s aforementioned romance, and the soft-looking visuals he creates for these tender scenes with the help of Matthew Wilson’s subtle colorwork.

The regular cover art to "UNCANNY X-MEN" #2 by David Marquez & Matthew Wilson

Uncanny X-Men #1 - Marvel Comics

UNCANNY X-MEN No. 1, October 2024

Weighing in at a hefty thirty pages, not including the giant gimmicky QR bonus panels code, Gail Simone’s script for Issue One of “Uncanny X-Men” certainly seems to offer plenty of bang for its buck, courtesy of some disconcerting intrigue, a pulse-pounding bout of pugilism with a giant dragon, and a genuine moment of sadness at the University of Mississippi Medical Centre. Indeed, the comic contains so many enthralling plot-threads that its perfectly clear just why its American author spent so much time “trying to keep my brain from exploding right out of my skull” whilst working on it.

Foremost of these character-driven storylines is arguably that of Rogue, who acts as both narrator and reluctant leader of the scattered super-team. Anna Marie’s doubts, worries and desperate desire for a purpose in her life are clearly causing the mutant all kinds of conflictions, and these misgivings provide the once head-strong slugger into a much better-rounded member of the group. Furthermore, Chris Claremont’s co-creation can clearly still throw a mean punch, as seen when she clobbers the gigantic Sadurang squarely across the Avenue of the Dead in Teotihuacan.

However, it is perhaps this book’s opening which provides the audience with their biggest chill, courtesy of Corina Ellis’ arrival at Xavier’s former school for gifted youngsters. The presumably politically powerful doctor’s dismantling of everything sacred to both the mansion’s former occupants and X-fans alike is as savagely penned as her arrogant authority is all-too evident - with perhaps her utter disdain for Cerebro proving particularly unpalatable; “Building a monument to these people. Their entire cult. Burn it. This entire foul cathedral. To the ground.”

Visually helping Simone in making this publication such a satisfying success is illustrator David Marquez and colour artist Matthew Wilson. Together the creative pair imbue all the central cast with a truly palpable, physical world-weariness, and also depict a truly classic battle sequence between “a core group of essential X-Men” and the aforementioned Asgardian Serpent. In fact, in many ways it’s a pity that the punch-up doesn’t last a little longer, as Rogue frantically attempts to figure a way to defeat the powerful sorcerer from Jotunheim without “ruining the nice cultural treasure” surrounding them.

The regular cover art to "UNCANNY X-MEN" #1 by David Marquez & Matthew Wilson

Free Comic Book Day 2024: Blood Hunt/X-Men #1 - Marvel Comics

FREE COMIC BOOK DAY 2024: BLOOD HUNT/X-MEN No.1, May 2024

Described by its New York City-based publisher as the “thrilling first steps” into Marvel Worldwide’s “next monumental crossover event”, Jed MacKay’s script for this early glimpse into “Blood Hunt” definitely should have whetted the appetites of any bibliophiles anticipating the Structure’s all-out undead assault upon the living. In fact, the ten-page preamble debatably does an incredible job of informing its audience as to just how the vicious vampires are able to stalk their prey during daylight, and quickly hurling some of the Big Apple’s most recognisable super-heroes headfirst into the frightening fray; “Horray. Another unproblematic win for old Spidey.”

Furthermore, this “Free Comic Book Day” celebration shows straight from the start just how gory this multi-title epic is likely to be, by depicting the Man Without Fear almost nonchalantly disembowelling and beheading his ferociously fanged foes using the cable holding together his billy club. So violent an opening seemingly bodes incredibly ill for the survival rate of those wretched bystanders facing the blood-drinker’s series of “ambitious, coordinated attacks that put humanity on the defensive”, and this strong sense of desperation is only worsened when it becomes evident that Blade’s daughter, Brielle Brooks, is going to have to team-up with her father’s most hated nemesis, Dracula, if she hopes to escape the streets of Atlanta unscathed.

Equally as intriguing as MacKay’s “nocturnal war” though, is this publication’s second yarn “The Fire Still Burns”, which sees Eisner Award Winner Gail Simone essentially pen a solo Jubilee story in preparation for the American author’s upcoming run on “The Uncanny X-Men”. Initially focusing upon the government’s apparent dismantlement of Charles Xavier’s School For Gifted Youngsters, this enticing insight into Chris Claremont’s co-creation could so easily have become a disconcertingly dark reading experience.

Happily however, despite the firework-generating pyrotechnic encountering a rather unpleasant quartet of young mutant-haters in an all-star diner, the story does eventually end on a much more positive note, with the former gymnast finding the motivation she needed to rejoin Wolverine and Rogue. Indeed, coupled with David Marquez pencilling some mesmerising insights into the villainous antagonists now utilising Professor X’s home as their own headquarters, and this “glimpse of the future of mutant-kind” enjoyably establishes the two opposing sides for the battle to come.

Writers: Jed MacKay & Gail Simone, and Artists: Sara Pichelli & David Marquez

Original X-Men #1 - Marvel Comics

ORIGINAL X-MEN No. 1, February 2024

Described by its New York City-based publisher as a celebration of “the X-Men’s Sixtieth anniversary with an original X-Men adventure by Christos Gage and Greg Land”, this one-shot certainly appears to contain plenty of action-packed elements to keep the majority of its readers entertained. Indeed, apart from some seriously contrived alternative universe hopping, which allows Professor Xavier’s earliest team of teen mutants to know everything that is going to happen to them in their future, the thirty-page periodical’s plot is loaded with great nostalgia, laugh out loud humour, enthralling drama, and even something of a surprise ending.

Foremost of these sense-shattering successes is surely the way the adolescent Angel and Iceman manage to convince their older counterparts that the poor choices they’ve made to help enslave Earth-696, have badly undermined the moral legacy of their long-dead mentor. So difficult an argument could so easily have caused this comic’s creators to become bogged down in multiple panels of dialogue-heavy discourse. However, the American author quite brilliantly circumnavigates any need for that by simply having proficient penciller Greg Land sketch Warren Kenneth Worthington III seeing the way his junior self is staring at him; “And all it takes is one look to see how much of a hypocrite sellout you are.”

Similarly as well worded are the reasons needed to persuade the likes of the grey-furred Beast and infatuated Cyclops of their evil-doings in the name of ‘saving the planet’. Gage neatly emphasises the fact that this villainous take on the X-Men are still good people at heart, and that they all secretly suspect their version of Phoenix is mentally manipulating them so as to shield them from any doubts their criminal actions are causing. This means each of the team members only requires a little ‘push’ back in the right direction to cause them to repent their villainous stance and team-up to tackle "one of the most powerful beings in the Marvel Universe."

Sadly, this book is therefore only arguably let down by its aftermath, which acts very much as a blatant advertisement for the upcoming mini-series “Weapon X-Men” – featuring ‘a multiverse of Logans banding together.’ Considering that this particular publication is supposedly a celebration of the mutant franchise’s aforementioned milestone, this unashamed incentive for bibliophiles to continue the storyline in a different title smacks of insincerity, and may well leave a bad taste in the odd fan’s mouth.

The regular cover art to "ORIGINAL X-MEN" #1 by Ryan Stegman, J.P. Mayer & Brad Anderson

Chris Claremont Anniversary Special #1 - Marvel Comics

CHRIS CLAREMONT ANNIVERSARY SPECIAL No. 1, January 2021

Perhaps best known by comic collectors everywhere for his unprecedented writing spell on “Uncanny X-Men” from 1975–1991, there can surely be little argument that if any “Marvel Comics” contributor deserved a fiftieth anniversary special to celebrate their “enormous impact” on the New York City-based publisher’s long-running success, it is Chris Claremont. But whilst this thirty-two page periodical undeniably contains a plethora of “characters created and defined by the pen of” the British-born American author, the publication’s rather choppy plot makes it debatably easy to see just why such a well-meaning commemorative work was only the eighty-eighth best-selling title in January 2021 - at least according to the Direct Market distributors for that month.

To begin with, Dani Moonstar’s “mission across time and space for an incredible psychic showdown against the Shadow King” isn’t all that obvious until some way through the narrative. Up until this point, the Eagle Award-winner’s storyline seems to just lurch from antagonist to antagonist as Mirage initially appears to face the fiery fury of Dark Phoenix, followed by the utterly bizarre villainous super-team of Mister Fantastic, Doctor Doom and the Sub-Mariner. Admittedly, all of these foes are later shown to have been manipulated by Amahl Farouk, but it isn’t until a watery image of the “multiversal manifestation” is finally pencilled in a panel that is becomes clear this mismatch from various realities is being stage-managed; “I so love it when my victim’s fight. Their souls become much yummier. Wonder who’ll die first?”  

However, Just because any perusing bibliophile now knows that Professor X's nemesis is behind Moonstar's subsequent encounters doesn't help provide them with any particular rhyme or reason for specifically occurring. A thoroughly ferocious fist-fight between Binary and a possessed Rogue is probably the best of the bunch, with Claremont's unusually blood-thirsty incarnation of Anna Marie disconcertingly appearing all-too keen to dispatch Carol Danvers with an energy blast through the chest. Yet, despite being dynamically drawn, even this action-packed sequence becomes head-scratchingly surreal when it appears to have been simply a holodeck simulation concluded by the sudden appearance of Corsair and the rest of his Starjammers.

Perhaps this comic’s biggest let down though comes with its ending, which abruptly follows the lone New Mutants’ ultimately successful fight against an utterly sadistic Gambit. Having been beaten to tears by the Shadow King, and then subsequently saved by ‘Ro Munroe, Dani is depicted triumphantly flying away into the night’s sky on Brightwind only to then be shown aiming an arrow at Hela's head in the very next panel. This jolting transition apparently marks the point where the Goddess of Death becomes convinced Moonstar was good enough to become a Valkyrie, and bemusingly congratulates the understandably angry youth for passing “thy test.”

The regular cover art of "CHRIS CLAREMONT ANNIVERSARY SPECIAL" #1 by Salvador Larroca

Amazing X-Men #10 - Marvel Comics

AMAZING X-MEN No. 10, October 2014

Containing plenty of action-packed dramatics, such as a seemingly one-sided battle between Rockslide and a Wendigo-infected Wolverine, in addition to some extensive cameos by the Avengers and Doctor Strange, it’s probably hard to imagine that the majority of this comic’s 36,405 readers weren’t satisfied with Craig Kyle and Chris Yost’s co-writing for Issue Ten of “Amazing X-Men”. Indeed, this furiously-paced third instalment to their “World War Wendigo!” narrative even goes so far as to feature a much-anticipated appearance by the (original) Alpha Flight members Guardian, Snowbird, Aurora and Sasquatch. Yet, for all the penning pair’s plans to make the much beloved characters within this twenty-page periodical “shine”, the disconcertingly haphazard nature of the collaborative creative team’s choppy storytelling arguably leads to a good deal of confusion as to just when within the plot’s timeline the depicted events actually take place and dispels much of the magic “the great hook” of a Wendigo plague creates.

So confusingly cluttered a chronology proves particularly painful on account of the comic’s promisingly explosive beginning, which depicts an exhausted and badly-beaten Northstar impotently staring up from the bottom of a crater at “some foul-smelling monster[s]” waiting to be eaten alive along with an unconscious young girl he was apparently trying to rescue. This thoroughly-enthralling splash illustration would arguably instantly draw any perusing bibliophile into the book, but it is then disconcertingly followed by an entirely different battle sequence involving a much-more formidable-looking Jean-Paul Beaubier “twenty minutes earlier…”

Admittedly these subsequent panels at least provide some explanation as to how the super-fast mutant came to be flying with a child in his arms, but disappointingly they are almost immediately replaced by a mass exodus of citizens across the U.S./Canada Border and then just as fleetingly abrupt, a trip to the Sanctum Sanctorum of Doctor Stephen Strange in Green Village, New York; “This is distasteful… It feels like retreat.” In fact, events don’t seem to really catch-up to the present day until halfway through the magazine, and then James MacDonald Hudson confuses the continuum once more by ‘flashbacking’ to a time when Shaman was able to trace the outbreak to “a meat packing plant [that] distributed tainted meat across the region.”

Such peaks and troughs within the comic’s plotting is, sorrowfully, mirrored by the inconsistent breakdowns of Carlo Barberi and Iban Coello, which prove wonderfully dynamic one moment and then amateurishly poor the next. It’s certainly hard to become enthralled in so irregular a tale when popular super-heroes like Sasquatch and Captain America are noticeably different in physical appearance dependent upon which artist has drawn them…

Writers: Craig Kyle & Chris Yost, and Pencilers: Carlo Barberi & Iban Coello

Amazing X-Men #9 - Marvel Comics

AMAZING X-MEN No. 9, September 2014

Whilst it’s somewhat clear from a creative perspective as to just why collaborators Craig Kyle and Chris Yost penned the script for Issue Nine of “Amazing X-Men” to flit along its “World War Wendigo” timeline, it’s doubtful many of this title’s 40,562 strong audience appreciated it in July 2014. For although the narrative provides the comic with an introductory hook courtesy of its portrayal of the X-Men’s Blackbird unexpectedly crashing into a Canadian residential area "Forty Two hours after [the] initial outbreak”. The fact the book then takes its audience rapidly back in time to “one hour earlier…”, then “Fifty minutes ago”, “Forty minutes ago…”, “Four minutes ago”, “Three minutes ago”, and then “Two minutes ago…” within the space of a handful of pages arguably makes what follows both incomprehensible and unenjoyable.

Indeed despite depicting Wolverine bloodily raking the bodies of numerous Wendigos with his Adamantium claws, as well as the highly anticipated arrival of Alpha Flight’s Talisman and Puck, it seems highly unlikely that much entertainment was actually garnered by this magazine during its first reading as a result of its audience frequently having to turn back to previous panels in order to work out the storyline’s actual sequence of events. It’s certainly hard to appreciate the X-Men battling to save the life of a luckless Canadian pilot from the fangs of a horde of white-furred monsters or the unexpected cameo by Avengers Thor and Captain America, whilst having to repeatedly reread what has previously occurred before…

Fortunately once Kyle and Yost’s writing does finally start to portray ‘present proceedings’ and the Mutant super-team actually begin brutally battling the cannibalistic creatures en masse, the pace of this twenty-page periodical really takes off and contains some genuinely impressive punch-ups as the likes of Iceman, Storm and Firestar bring all their powers to bear upon the ferocious Wendigos. The “fan-favourite” authors even manage to end the comic on a cracking cliff-hanger as Elizabeth Twoyoungmen is potentially mortally wounded just as she is about to successfully cast “a powerful counterspell to the curse” which would suppress the infestation; “It’s happening… I can contain it, I feel it working, the spell is -- Hkk!”

Possibly also contributing to the initial confusion of this books’s opening half is Carlos Barberi unexpectedly taking over this story-arc’s pencilling duties, despite his predecessor illustrating the title's main cover. The former Mexican Independent Comics artist arguably provides something of a “seamless transition from Ed McGuinness’ work in the last issue” in the majority of his breakdowns. But seemingly struggles when it comes to depicting the likes of Colossus and Captain America.

The 'Guardians Of The Galaxy' variant cover art of "AMAZING X-MEN" No. 9 by Mike Perkins and Andy Troy