Monday, 7 March 2016

Paul Ryan 1949 - 2016

I have just heard that artist Paul Ryan has passed away.

He did many series for Marvel including launching Quasar, pencilling both Avengers and Avengers West Coast simultaneously and then doing a five year stint on Fantastic Four which was still going when I started reading the title. Earlier in his career he drew every single issue of D.P.7, helping to make it the standout title of the New Universe.

Photo courtesy of Evan Scola/Wikipedia.

Friday, 8 January 2016

Twelve recommended Essentials

For my final post, I have decided to pick twelve volumes that especially stand out. The only restriction is that there is no more than one from each series. These aren't automatically the best stories - and the nature of the beast is that there are times when the incredibly good is collected with the incredibly dire - but twelve cases of the Essential series at its best. And the order has been chosen by lot.

Essential Moon Knight volume 2

Contains: Moon Knight #11 to #30

Moon Knight began as a foe for the Werewolf and then developed in the direction of a Batman clone but also acquired his own themes and the unique feature of his multiple identities that started to take on lives of their own. It took a while but soon it had found its own niche and cult following. This was one of the first series to be sold only in the direct market and it took full advantage of the shift to offer varied length stories that are free of the Comics Code Authority restrictions yet never being puerile or gratuitous just to show off its freedom. This volume represents by the middle issues of the series when it was at its height.

Essential Captain America volume 4

Contains: Captain America and the Falcon #157 to #186

Captain America was originally created during a great wave of patriotism and revived during another. But by the 1970s the US was changing and Cap seemed a man out of time in more ways than one. Then came new writer Steve Englehart who, together with artist Sal Buscema, set out to explore just what Cap's role is in this new world where the old certainties are gone and it's no longer so clear just what "serving my country" means anymore. The height of this approach comes in the Secret Empire story as Cap discovers a conspiracy that goes to the very highest levels, which in turn leads him to abandon his costume and the Falcon steps up to the forefront as the country is still facing threats.

Essential Dazzler volume 1

Contains: Dazzler #1 to #21 plus X-Men #130 & #131 and Amazing Spider-Man #203

When this was first announced many declared "Essential Dazzler" to be an oxymoron. But the Essentials have brought attention to many obscure series and characters, allowing them to be assessed anew without listening to decades old myths and assertions. This volume collects the first half of her series, allowing readers to judge for themselves and see a series that isn't the disco chaser of myth but instead shows a strong independent ordinary character trying to get by in life with the added complication of her powers. The Essential volume is a well-deserved rescue from obscurity.

Essential Black Panther volume 1

Contains: Jungle Action #6 to #22 & #24 and Black Panther #1 to #10

"Panther's Rage" was one of the first comic storylines to be written as though it was to be collected as chapters in a book and this volume does that and more so. Very often the biggest developments in comics are made in obscure series starring less well-known characters, and here is almost the definitive example of a hidden classic plus the start of "The Panther vs. the Klan!", taking the character to further heights. Sadly the volume also demonstrates how the Essentials scoop up the bad as well as the good with the start of Jack Kirby's run on the title that might as well be from an alternate reality, but that doesn't detract from the majesty of the bulk of the volume.

Essential X-Men volume 2

Contains: X-Men #120 to #144 and, in later editions, Annual #3 to #4

The All-New All-Different X-Men burst forth in the mid 1970s, presenting a highly crafted team of strong, well-defined characters who were put through a variety of situations. This volume covers the latter part of the Chris Claremont and John Byrne run when the team faced a range of scenarios from Alpha Flight trying to reclaim Wolverine for the Canadian government to Arcade subjecting them to his funhouse of horrors, but the high points come with two of the most influential X-Men stories of all time, the "Dark Phoenix Saga" and "Days of Future Past" which explore the problems with controlling great power and the dangers of anti-mutant prejudice run wild respectively.

Essential Rawhide Kid volume 1

Contains: Rawhide Kid #17 to #35

Marvel have printed many titles in numerous different genres over the years but haven't reprinted too many of them in recent years. But when they do it's often an eye opener. This volume is the sole Essential representation of the western genre, offering a good set of done in one enjoyable stories that mix the adventures of the lead character with other generic tales of the west. Very much a representation of the Atlas style before the Marvel superhero revolution, this volume is nevertheless a good, light fun read.

Essential Ghost Rider volume 4

Contains: Ghost Rider #66 to #81 plus Amazing Spider-Man #274 and New Defenders #145 & a bit of #146

It's rare for a long running series to end in a truly satisfactory way but Ghost Rider got one of the best conclusions going, allowing him to ride out on a high in what almost feels like it was the long term plan. The Ghost Rider may have begun as a fusion of the horror and stunt fads of the 1970s but he outlasted the fads to become something much stronger. Here the long running saga of the battle between Johnny Blaze and the demonic Ghost Rider reaches its climax here but there's time taken to remind and reintroduce the key elements for readers who haven't been along for the whole journey before the final end.

Essential Thor volume 3

Contains: Thor #137 to #166

Thor was a title that took a good while to really find its feet and get a long term permanent creative team but once it did Stan Lee and Jack Kirby proceeded to produce an amazing run of tales that combine Norse mythology and cosmic space adventure, with occasional interludes on Earth. By the time of this volume they had found out what worked and defined the character, with the stories here representing the absolute peak of their collaboration, ranging from battling the Mangog in Asgard to the conflict between Galactus and Ego the Living Planet in deep space. Truly this is the definitive Thor.

Essential Marvel Team-Up volume 2

Contains: Marvel Team-Up #25 to #51 plus Marvel Two-in-One #17

There's a sense of fun to a team-up book, often allowing the chance to enjoy both the regular and guest heroes in some nice one-off tales that don't require too much familiarity with the guests to follow them. But when in the right hands they can be even more. This volume contains some of the best of all the team-ups, ranging from the silliness of a team-up with Hercules where he tows the island of Manhattan through the seas to the deadly grittiness of a time travel saga that takes Spider-Man back to Salem in 1692 for a dark battle against the backdrop of the witch trials. This is a book that knows how to put together an epic out of several different guest stars and put the leads, whether Spider-Man or the Human Torch, through adventures they'd be unlikely to have in their own titles.

Essential Punisher volume 4

Contains: Punisher #41 to #59 and Annuals #4 to #5

The Punisher has always been a difficult character to handle because the approach of a self-appointed executioner is often at odds with conventional superhero ethics whilst the high fatality rate amongst both his foes and allies leaves limited scope for character development. It took a long time before he received an ongoing series and then in turn it took longer to really flesh it out but by the time of this volume it was coming together nicely. Here we get a mixture of traditional one-off tales against individual foes done well along with steps towards greater development with the handful of foes who have greater lasting power, most notably "The Final Days" epic that puts the Punisher in a marathon of endurance under pressure from the Kingpin.

Essential Warlock volume 1

Contains: Marvel Premiere #1 to #2, The Power of Warlock #1 to #8, Incredible Hulk #176 to #178, Strange Tales #178 to #181, Warlock #9 to #15, Marvel Team-Up #55, Avengers Annual #7 and Marvel Two-in-One Annual #2

Warlock was a highly experimental strip that routinely sought to push the boundaries of what was possible, most notably with its approach to religion. The volume collects the two 1970s epics that saw Warlock first go to Counter-Earth to drive out a dark force and redeem it and then into deep space to take on the corruption and hypocrisy of an inter-galactic church presided over by none other than his evil future self. The title character has no desire to be a hero and is merely a good man searching for himself but gets caught up in the horrors all around him. Twice the title was cancelled but each time the saga showed it could survive by resolving itself in another series with a spectacular climax.

Essential Spider-Man volume 1

Contains: Amazing Fantasy #15 and Amazing Spider-Man #1 to #20 & Annual #1

This volume encapsulates just why Spider-Man took off the way he did. It covers the single most creative period in the character's history, introduces most of the top villains and tells some amazing stories all at once. Spider-Man broke the mould in many ways and even today these tales stand up well as a strong set of adventures that need no replacement. Bringing big chunks of the Silver Age at affordable prices was one of the aims of the Essentials and it hit the ground running. This was the very first Essential I ever picked up and it's still great to this day.

Never say never

Okay I have now reviewed all the Essential volumes plus may other bits and pieces. For now this blog will be resting, with a top twelve retrospective coming up in a moment.

For those who want to see other reviews there are many sites out there but Essential Showcase has been methodically going through not just all the Marvel Essentials but also the DC Showcase Presents and is well worth many a look.

I won't make a definitive statement about whether I'll do any further posts as you can never know what will happen. For now, I'll just say it's been very enjoyable to do this blog and get feedback from the readers. All the best!

Friday, 1 January 2016

What If... Essential Deadpool volume 1?

For a final look at a hypothetical Essential volume I turn to one of Marvel's biggest latter-day stars, the Merc with a Mouth in the days when he first became the Merc with a Monthly, the one and only Deadpool!

Woo hoo it's me!

Oh no! No! NO!

Hey I finally made it onto your blog!

Oh no you don't! Didn't you pay attention? You didn't know you were a comic character until the Writer of Death showed up and those issues aren't until later.

Yeah but you're inserting me into older material. And it wasn't quite Priest who...

Look let's stop this now. I'm the one with the keyboard, I'm the one who can type blanks into all your weapons - and I don't just mean your guns - and I'm not having another of these conversations. You have two choices - either p*** off and star in another film or I make like Fox and sew your f***ing mouth shut. GOT IT?!

Your funeral pal. See you in the funnier pages. Toodle-oo!

Now that that's over, back to normal service...

Essential Deadpool volume 1 would contain his first appearance in New Mutants #98, the two four-part limited series Deadpool: The Circle Chase and Deadpool: All New X-Men Limited Series (well that's what it says on the cover; it's also been called "Sins of the Past" in places) plus issues #1 to #11 & #-1 from his first ongoing series and the crossover annual Daredevil/Deadpool '97 as well as a guest appearance in the back-up story from Avengers #366 which ties in with the first limited series. That would make for a larger than usual volume but Deadpool's done this sort of thing before.

The bulk of the material can be found in Deadpool Classic volumes 1, 2 & 3 but the Avengers appearance is in Deadpool Classic Companion, an extra volume devoted to all those appearances sequential reprints often ignore. This doesn't include every early Deadpool appearance ever - in particular there are some X-Force storylines absent that would otherwise overwhelm any collected edition - but it catches his early years quite well. Otherwise, most of the earliest Deadpool limited and ongoing issues looked at here have been collected in a variety of editions, released in multiple countries and languages. The most complete source for the ongoing title is the Deadpool by Joe Kelly Omnibus.

(And for those wondering where the cover image has come from, it's a piece that did the rounds when the ongoing series was launched and is now probably best known as the cover for the trade paperback Deadpool: Mission Improbable which reprinted the first five ongoing issues back in 1998. Yes the standard practice for Essentials in the 21st century has been to use art from the original comics but since when did Deadpool ever conform to standard? And the obvious alternative image from New Mutants #98, as used on Deadpool Classic volume 1, is just hideous. It's unsurprising both the Italian edition and the British edition with just the two limited series went for the cover of the first issue of the second series, but this is a better option.)

Deadpool's first appearance in New Mutants is plotted & drawn by Rob Liefeld and scripted by Fabian Nicieza. The Circle Chase is written by Nicieza and drawn by Joe Madureira whilst the second limited series is written by Mark Waid and drawn by Ian Churchill, Lee Weeks and Ken Lashley. The ongoing series, including the "Flashback" and annual, is written by Joe Kelly with help from Pete Woods on one issue and contributions of a different kind from Stan Lee on another. The art on the series is mostly by Ed McGuinness with some issues by Kevin Lau, Shannon Denton and John Fang whilst John Romita contributes in a way on one issue whilst the "Flashback" issue #-1 is drawn by Aaron Lopresti and the annual by Bernard Chang. The Avengers story is written by Glenn Herdling and drawn by Mike Gustovich. Invariably this means there's a separate labels post. And I see someone has already done the dialogue for it. Grr...

This volume would cover an interesting and turbulent period in the comics market with Marvel and its travails often at the centre of the storm. During the early 1990s there was a massive rise in overall sales accompanied by a huge increase in the volume of titles and many characters received their own limited or ongoing series, with Deadpool amongst them. But it was notable that very few of Marvel's new titles lasted any length of time outside of the X-Men and Spider-Man families. (Exactly how few is subject to a few myths so worth checking in detail.) After a flurry of lasting successes launched in 1990 such as Namor the Sub-Mariner, Ghost Rider, Guardians of the Galaxy, New Warriors and even Barbie and Barbie Fashion, Marvel entered a long run of misses. Over the next six years many titles were launched but outside the Spider-Man and X-Men families only six series lasted more than three years - Darkhawk, Warlock and the Infinity Watch, Punisher War Zone, Spider-Man 2099 (counting that as a 2099 family title rather than a Spider-Man one), The Ren & Stimpy Show and Doom 2099. The last of these launched in early 1993 and all of these had gone by late 1996.

Meanwhile the various Marvel companies and divisions got involved in some complicated chaotic financial dealings that led to actions that exacerbated problems in the North American comics market, contributing to a massive crash, roughly around the time of Deadpool's second limited series and over the next few years Marvel lurched through a series of crisis decisions that saw many titles axed and several long running superhero titles farmed out to Image creators. The bleakest moment came in late 1996 with the announcement that Marvel had filed for bankruptcy protection. It seemed as though the creative edge had gone out of Marvel and few expected any new series to last.

Yet out of that winter came two series that did manage to last for a good number of years and show that Marvel had now got its mojo back. The second of these titles was Thunderbolts. The first was Deadpool.

But reading Deadpool's first appearance from some six years earlier there's nothing that hints at this. He may be the most prominent character on the cover of New Mutants #98 (with the element later lifted for the first of his Classic series) but within the story he's a one note character whose primary purpose is to establish the skill of another new character, Domino. Deadpool fights Cable and the other New Mutants before being overcome upon Domino's arrival and is then mailed to his employer with the implication that will be the end of him. As first appearances go it's extremely underwhelming though it establishes Deadpool as a rather chatty mercenary who just won't shut up. He would pop up again and again in the replacement title X-Force before benefiting from the massive explosion in the number of titles in the early 1990s in which even the most obscure character could get a limited series.

With the great explosion of came some titles came some not so great product and that's apparent here. The Circle Chase is primarily a quest series with Deadpool and a whole range of other characters hunting for an ultimate weapon mentioned in the will of the unseen Mr Tolliver. The quest spills over into a back-up story in the 30th anniversary Avengers issue which otherwise focuses on the Black Knight's battle with his squire turned evil, the Blood Wraith. The appearance here of Deadpool, and indeed the one-off Plug-Uglies - Flame and Foam - also searching for the weapon, provides a wider conflict to ensnare the Blood Wraith but otherwise is mainly incidental to the story, though there's a scene where Victoria Bentley is confused for Deadpool, something that can't happen that often. Even Deadpool's dialogue is tame, showing how difficult a character he is to write for.

Back in the regular series we're reintroduced to other elements of Deadpool's life such as his technician "Weasel", his artificial healing factor, his personal history with the mutant Copycat aka Vanessa and so forth. But the storyline itself is lame, consisting of a series of fights around the globe with the likes of Weapon X, Slayback, the Juggernaut, Black Tom Cassidy and various lesser foes, before a climax in which the weapon is revealed to be the least offensive tool imaginable and Deadpool saves himself through logic and selflessness in acting to heal Copycat. Overall this limited series just isn't anything to set the world on fire and is an unfortunate start to Deadpool's solo tales.

The US comics market was starting to go into freefall by the time the second limited series came along, but that may have been to the title's effect by increasing the talent available. This limited series is far more personal to Deadpool, focusing upon his history with the Weapon X project and as a mercenary plus his friendship with the X-Force member Siryn under the disapproving watch of her father Banshee. The story deals head on with one of the character's biggest problems, namely that his healing factor is so powerful that it removes any real sense of danger for the character. Here he has to come to terms with the factor failing and find a way to restore it, as well as a repeated encounter with the Juggernaut and Black Tom Cassidy, the latter now needing some healing of his own. It's a good little personally focused story, of the kind that the limited series format is best for. The only new character of any significance is Dr Killebrew, the geneticist responsible for Deadpool's healing factor in the first place and thus has good potential for recurring appearances over the years. Otherwise we get a movement of the lead character towards the more wacky side that would come into full force with the ongoing series.

Deadpool's ongoing title began in late 1996 and it's easy to forget now just how revolutionary or niche it often was. This series began before the regular South Park series launched, before the first Austin Powers movie had come out and indeed before much of the explosion of cartoony style adult humour series. Indeed at times it seems to be setting the trends. Marvel had done humorous titles before but never a mainstream universe superhero title with such a bizarre wackiness to it. This is a very experimental title that does its own thing, with a character highly different from the norm.

It's also easy to forget, especially now with such a major movie about to come out, that this was a title that was constantly fighting to survive and at times only holding on by the skin of its teeth. From memory Marvel announced its cancellation more than once and there was a big "Save Deadpool" campaign, trying to increase the number of subscribers to secure extra sales in advance. Marvel's then-recent track record on cancelling titles was not encouraging. Few honestly expected the series to last at all and expected Deadpool to then drop into obscurity. To predict the character's present day popularity and sales would have marked one as mad as the character. And yet somehow the book managed to last so long.

It's probable that Deadpool primarily survived because the series was so different from everything else the company was putting out and thus probably bringing in readers that Marvel otherwise couldn't reach. And the cancellation threat itself was oddly beneficial to the series, allowing the creators to experiment as much as they did because they had nothing to lose. The result was something truly amazing.

Now sure the issues contained here, covering the first year of the title, include some typical Marvel superhero comic clichés. There are the guest appearances, both by characters Deadpool has a history with and those with no previous connection. There's an encounter with a superhero team, allowing the Avengers logo to appear on the cover. There's a whole issue devoted to a Spider-Man encounter. There's some exploration of the character's past and origins. There's a supporting cast established, including an over helpful sidekick role, a recurring antagonist in day to day business and an elderly lady. And the storylines vary in length from done in one tales to multi-part sagas that try to go into more detail.

But it's the whole approach that is so different. It's best to think of the series as like an adult cartoon, with a foulmouthed anti-hero as the protagonist and some quite wacky and offbeat situations encountered along the way. The conventions are rarely conformed to but instead often sent up in their own wild and wacky way. Deadpool is slowly drifting towards herodom but it's a long journey for Wade Wilson, in spite of the hopes of Landau, Luckman and Lake in a long running subplot. Early on the healing factor is toned down, allowing for more tension. There's also a very unusual guest cast.

Weasel continues to help Deadpool from time to time, playing a pivotal role in the last issue as we learn more about his past and just how long an influence Wade has had on him. He makes for a likeable supporter who sticks by Deadpool in spite of everything and it works. More curious is Blind Al, an elderly woman who lives with Deadpool and we slowly discover she is his prisoner who has become accustomed to her situation despite all the crap she has to deal with. The exchanges between the two makes for a tricky relationship with each unable to admit how much they are dependent on the other. It can also set Deadpool back in the field, especially when Al sabotages his weapons.

As well as Deadpool's own home he also spends a lot of time at the "Hellhouse", a sort of community centre for mercenaries to hang out, collect assignments from the runner Patch and maintain tense relations with one another. Deadpool's main recurring rival in the series is the mercenary T-Ray, though the antagonism is not fully explored at this stage. There aren't too many new foes introduced at this stage with the main new one being Deathtrap who captures Deadpool and subjects him to a highly surreal situation. Otherwise the foes are drawn from a variety of other Marvel titles with appearances by the likes of Taskmaster, Vamp (one of the more obscure Captain America foes), Typhoid Mary and Kraven the Hunter.

The potential list of guest stars was not great if the title was consciously trying to avoid encounters with the X-Men family at this stage. A good chunk of big name heroes were absent because of the transfer to the Heroes Reborn pocket universe, but that proves advantageous in forcing a more experimental approach with those that are left. The first issue features Sasquatch, between stretches in Alpha Flight, with the traditional misunderstanding, fight and then team-up. Later on we get an appearance by Siryn which sets out just what Deadpool actually means to her. The handling of his rather creepy stalking her and hovering outside her bedroom window is a bit tame though. There's a tense encounter with the Hulk, at this point in his most inhospitable with Bruce Banner having been torn out of him. But the most memorable tales come with three other guest stars.

An extended story with Typhoid Mary leads to a crossover with Daredevil in the annual but this is different from what has come before. Although many a prior annual has contained a guest star joining the regular hero (and some have forgotten which is which), this one is the first to give joint billing to both stars. It was a successful experiment that led to nearly every annual the following year being such a team-up book. The story itself provides a strong contrast between Deadpool's wackiness and the traditional darkness of Daredevil, adding in a twist from the latter's past as he discovers just how responsible for Typhoid Mary's life he really is. Meanwhile Weasel and Foggy Nelson go out on the town, with the consequence that Deuce the Devil Dog changes owner and titles. A dog companion is part of old comics silliness that feels totally at home in Deadpool's title.

But two other guest appearances at the end of the selection are even more amazing. First come, wait for it, the Great Lakes Avengers. Sorry, a correction. At this point they had brought out of the Avengers franchise (the actual team being disbanded and presumed dead can't have helped) and were now "the west coast adjunct to the Thunderbolts... the Lightning Rods! Attracting malignancy away from those it would see electrocuted in its negatively charged grip of evil!" This was the first time the team changed their name, although the cover of issue #10 retains the original. On their few prior appearances the GLA Lightning Rods have been treated as a joke aspiring to Avengers membership and here they encounter Deadpool at an aquarium resulting in total chaos as they fight. By this stage the series has settled into a fantastic alternate cartoon approach and this works incredibly well.

Before we get to the final issue though, a quick word about the "Flashback Month" issue. And frankly #-1 is an example of where the gimmick completely failed. It was published in the middle of the Typhoid Mary storyline (and thus has had to be relocated to before it for collected editions), apologies for the interruption but doesn't really tie into anything in the ongoing series beyond the interest in Deadpool by Zoe Culloden of Landau, Luckman and Lake. And here her investigations only bring her into indirect contact with Wade, instead focusing upon Vanessa when she worked the streets. A character called Montgomery is created for the story seemingly only to allow a cover image of a terribly burned face. Overall we have the mess of trying to create a Silver Age retro feel for the most Modern Age of characters, made worse by the issue not actually focusing upon him at all. To top it off we now have to accept that the Landau, Luckman and Lake interest in Deadpool has been going for at least a decade, which may be a commentary on how long some subplots last but feels more like a product of trying to come up with anything that could tie in with the current title. Going by the issues in this selection alone, one could easily skip #-1 and miss nothing at all.

A much more successful attempt to create a Silver Age feel yet apply it to Deadpool comes in issue #11, a triple sized issue that is the inevitable Spider-Man issue but comes in a very different form. Rather than a fight or a team-up we get a wonderful time travel story in which Deadpool and Blind Al find themselves thrown through time and arrive in 1967 just in time to take part in the events of Amazing Spider-Man #47. The original issue is reprinted at the end and is a somewhat typical example of the middle period of Stan Lee's run on the title with John Romita's art really coming to the fore in a tale focused on Flash Thompson's leaving party with a gatecrashing by Kraven. But it's also an example of the innocence of the Silver Age comics and the weird slang that can sound utterly incomprehensible at times. And that becomes the beauty of it.

Deadpool and Blind Al find themselves impersonating Peter Parker and Aunt May respectively as they wander through the events of the issue, often drawn into the original comic pages in a Forrest Gump manner. Pete Woods's new art is highly sympathetic to the original, helped by veteran inkers Al Milgrom and Joe Sinnott recreating a classic feel. However the script is mocking in all its glory as Deadpool and Al brings their own sensibilities to it, commenting on the mad slang, the Osborn hair, the sexual undertones to what was originally written as fairly innocent material and so forth. Against all this the fight with Kraven is even more of an afterthought than in the original issue. Overall this is a wonderful contrast of the classic and modern approach with wonderfully biting satire to boot, making for what is easily the best issue in the whole selection.

As a whole this is a series that knows it's allowed to be different and revels in it. There had been anti-hero leads in comic series before but never any quite like Deadpool. His earlier appearances had shown some potential but also a lot of extraneous moments that have to be waded through. But the ongoing series finds a strong niche and runs with it as a comic form of adult sitcom cartoon, sending up the situations and presenting a wacky lead with incredible dialogue and few inhibitions. Based on this selection alone, Joe Kelly is the best Deadpool writer so far, really nailing the character. There are some individual poor issues but there are also some incredible ones, with #11 a contender for one of the absolute best Marvel issues of the 1990s.

So should Deadpool have had an Essential volume? Absolutely! Deadpool is a character who has transcended all other rules so recentism is no problem. There's a lot of material out there - the Classic reprints are already up to volume 14! - and a good cheap bulky volume would be a good primer. The Classics suffer from the first volume having to contain the two limited series so an Essential volume would get deep into the main run.

Yay! Now to time travel once more and sort it out.

Sigh... Oh well, he's someone else's problem now.

What If... Essential Deadpool volume 1? - creator labels

Hi readers! Lots and lots of creators worked on this next set of stories so here's the usual oh so interesting post to squeeze all the labels in. Isn't it exciting?

Friday, 25 December 2015

Showcase Presents Ambush Bug

For another special look...

Wait! Don't start without me!!

Oh. Hello Ambush Bug.

Hey isn't this a Marvel focused site? What am I doing here?

From time to time I take a look at some of DC's output. It makes for an interesting contrast. And after doing a couple of team-up volumes it was time for something a bit different.

You mean there isn't a team-up title focused on Wonder Woman. But hey, I got her for my cover.

Yes, quite an achievement. Anyway shall we press on?

Sure. I want to know what you think about my adventures.

Well here goes. So today I'm going to have a look at Showcase Presents Ambush Bug.

Showcase Presents Ambush Bug? What, no volume number?

No. I guess someone saw that question coming. The back cover even declares "...his one and - we promise - only Showcase Presents volume."

"Only"? "Only"? "ONLY'"! Where's Mackiewicz? I want words!

Who's Mackiewicz?

Don't you ever read the credits page on these things?

Oh yeah. Sean Mackiewicz, the "Editor-collected edition".

That's an odd title. "Editor-collected"?!

I guess he's not the typesetter. But he's not here to explain so shall we get on with this?

Oh very well.

Okay first off the contents list.

Do we have to?

Yes - if I'm going to talk about it, it helps to know what's in it.

Okay, just get on with it.

I'm trying. But we've wandered a long way from the cover so as a reminder here it is again, and this time it's bigger.

Look how I turned those heroes green. That didn't happen on the original cover. The printers mucked it up.

It's strange to be talking about colour correction on a black and white reprint. But shall we just get on with it?

Go ahead, I'm not stopping you. 

Really? No on second thoughts let's not have that argument and so here goes... It's the Ambush Bug stories from DC Comics Presents #52, #59 & #81, Supergirl #16, Action Comics #560, #563 & #565, Ambush Bug #1 to #4, Ambush Bug Stocking Stuffer, Son of Ambush Bug #1 to #6, Secret Origins #48 and Ambush Bug Nothing Special.

All those limited series and specials. Those were great days.

And those team-ups. I first encountered you when some of the DC Comics Presents issues were reprinted in the UK Superman title back in the early 1990s.

Wait a minute! I had British reprints?! Nobody told me! Where are my royalties? Who published this series?

From memory at the time of the first one they were still called London Editions Magazines but they soon changed the name to Fleetway Editions after a merger. They were an imprint of EgmontUK. I don't know if you were entitled to overseas royalties.

So who do I have to talk to?

Erm... I'm not sure, but it might be a problem at DC's end rather than LEM's. Have a chat with their overseas reprint department. Otherwise former LEM editor Martin Gray is online. But don't tell any of them I sent you.

So what do I say if they ask how I found out about these?

Isn't Google a wonderful thing? Anyway let's get on with the credits.

Do we have to?

Yes. The creative talent deserves to be acknowledged. Anyway the main creative force on this volume is your creator Keith Giffen who plots and pencils nearly everything, with Robert Loren Fleming doing the scripting.

You mean Robert transcribes my words.

Erm... let's not have this argument now. There's some other folk to acknowledge as well. Except where mentioned, it's Keith and/or Robert on everything. Your first appearance in DC Comics Presents is written by Paul Kupperberg and your second is scripted by Paul Levitz. The Supergirl issue is written by Paul and drawn by Carmine Infantino. There's a brief sequence during Son of Ambush Bug drawn by Steve Bissette whilst Keith replaces the pencil you broke.

Do you have to remind me?

Moving onwards. Finally some extra pencilling on Ambush Bug Nothing Special is by Chris Sprouse and Bill Wray.

I know you don't normally do this but can we give Bob a shout out?

Sure why not? Nearly everything is inked by Bob Oksner.

Bob, what a guy. And sadly no longer with us.

It's amazing how often the Keith-Robert-Bob team appears given how many years these stories were produced over.

I got lucky and largely left to my own creator. I guess Keith was able to call the whole team together whenever he wanted.

It's nice when that happens and can allow for consistent presentation. Which brings me onto the first thing I noticed.

Oh heck, I know where this is going.

Yes your first appearance. You're a bit different from what you've since become.

Hey lots of characters have an inauspicious beginning. You wouldn't judge them solely on their first outings now would you?

Did they begin their careers as murderers?

Some did.



It's no good looking around. There isn't a copy of Who's Who in the vicinity. Or a Marvel Handbook. There's a reason I chose this venue for this.

I was beginning to wonder.

Don't keep changing the subject. You started off as a clear villain, if a somewhat bonkers and frustrating one. Yet somehow your villainous side got forgotten and you instead became a generic pest.

It happens to some of the best of us - look at the Joker's early years. Or Catwoman's redemption. I just took it one step further.

Yeah your second appearance is different. A reprint of it was when I first saw you, nearly twenty-five years ago now. And I just have to ask: The Legion of Substitute Heroes. Why? Why? WHY?

The Legion of Super-Heroes were unavailable that day. And I've never worked out which day it was. You know what DC team-up comics are like when it comes to continuity.

Yes but the Legion of Substitute Heroes?! Was Superman trying to help you?

Come again?

I mean tying you to a lamppost or just telling you to stay put would have been a safer bet than entrusting you to the Legion of Substitute Heroes.

Aww come on. They're not the worst group ever. What about their Auxiliary? You know, the heroes who weren't quite ready for membership in the Substitute Heroes yet!

Not... ready... for... membership... in... the... Substitute... Heroes...

You have got to stop lifting dialogue and reusing it without properly quoting it.

You started it.

No I didn't.

Oh yes you did.

Oh no I didn't.

Oh yes you did.

Oh no I didn't.

Oh yes you did.

Oh no I didn't.

What is this, pantomime?

What is this pantomime?

You don't know?

Not really.

Erm... erm... erm... Shall we just go with "it's one of those British things that we just can't find a way to clearly explain to Americans"? Like cricket. And it's appropriate for this time of year.

And they say I'm the mad one.

Anyway, back to the stories and here's the cover again. Now we have this slapstick adventure and I guess that's what moved you into full wacky mode. And it's had slightly more reprints than your first appearance so clearly that image stuck.

Hey I'm not complaining.

And then the silliness increases when you encountered Supergirl - who you thought was Superman?!

How was I to know there was more than one sole survivor of Krypton? That doesn't make much sense.

Thank you John Byrne.

Please don't swear.

But despite not being able to tell the Supercousins apart you were able to deduce their identities.

One of them thinks a pair of glasses is a disguise. The other thinks a wig is. The only question is which is the more absurd disguise.

Or maybe you had inside information? We never actually see the point at which you gained awareness of your fictional status. Instead it just pops up as side comments in some short pieces in Action Comics which otherwise start satirising everything from Superman's origin to Spider-Man's two new costumes in 1984.

Hey it wasn't all satire. I got enhanced powers and the ability to teleport anywhere without relying on my little bugs.

Whoever had that idea must have quickly regretted it.

I've used it for good. Heck I even used it to take on Batmite.

Oh that was actually you in the cartoon and not some non-canonical alternate depiction?

Who do you think you're talking to? A DC Comics character?


Haven't you got anything further to say?

Oh yes, quite a bit. You didn't dive straight into satire though - your final DC Comics Presents appearance was a classic chaotic Superman story even if you and Kobra did know where you where.

Kobra? Who was Kobra?

The evil mastermind in the story.

I though that was Lex Luthor.

Not every bald evil genius in a Superman story is Lex Luthor.

You live and learn.

And then you got your own limited series after just a few years.

Woohoo! It's great isn't it?

It's... bizarre. It's not a coherent tale but rather a collection of random ramblings about comics and other bits and pieces, with a lot of the humour coming from highlighting the silliness of Silver Age DC comics.

I wanted to do something more substantial but first Cheeks got killed off then business was slow then Jonni DC came to try and sort out the continuity then...

Enough already! It's really turning into a satirical commentary on the comics industry rather than the adventures of one of its wackier characters.

Hey don't blame me! I wanted an all-star extravaganza but all the stars said no. And then Keith and Robert (I can't call him "Bob", that's too confusing here) decided to try something different.

How did they get the idea past Julius Schwartz?

Julie went to his grave wondering the same thing.

I guess editors don't always set direction.

No, indeed.

But here's the problem I have. Just what's the point of wasting limited space with such digs at old material? Surely it would have been better to focus on critiquing the modern direction of the industry?

You have to start somewhere and build up. Who was going to go into battle about Ace the Bathound or the Flash's true origin?

Indeed. But it's still not the most substantial is it? Anyway, next we have Ambush Bug Stocking Stuffer.

Don't open it before Christmas Day!

Erm it is Christmas Day.

Oh yeah.

Although what a zombie story has to do with Christmas is beyond me.

I like breaking conventions. And how else was I to get Cheeks back?

And also trying to refight the Vietnam War and take on Hukka. I had to look him up. Just what was Atari Force?

I couldn't understand either and I was there.

And that cliffhanger. Did you go to the actual Arkham Asylum class reunion?

What do you think I am, mad?

Well the Joker thought so.

There's a reason Batman always beats him.

Indeed. So instead you just did a puppet show. Now this next limited series came out in 1986. Is it pre Crisis or post Crisis?

Crisis? What Crisis?

You mean you transcend even different incarnations of the DC Multiverse?

I'm Ambush Bug. Need I say I any more?

Well I'm hoping so otherwise I'll have to fill the rest of this post by myself.

Okay I'll help.

You may regret that.

How so?

To be absolutely blunt, neither of your limited series really excites me. They're both rather incoherent, veering off all over the place and making a lot of the same jokes that get repetitive after a while.

Well they weren't intended to be read all at the same time.

True but the logical conclusion to that line of argument is that they should never have been collected together in this edition at all. And where would you get your royalties?

I don't get any. Should I?

Maybe a trip to the DC reprint office to sort this all out? But they'll be closed today so anyway these two limited series plus the Stocking Stuffer were all released in a period of just eighteen months so the jokes would have been only slightly less repetitive at the time.

Don't you like them at all?

Oh there are some good individual moments - Argh!yle! is especially funny as is the decision to correct his omission from Who's Who? But the vague general narratives of dealing with the Interferer, dying, coming back to life, going on trial, trying to get your super-villain licence back and the return (again) of Cheeks all keep getting lost under a whole string of not too funny moments that are either saying the same old things again and again (and again...) or making obscure cultural references that are both dated and geographically locked.

Well it was published in another country. And unlike Marvel it didn't even pretend to be global with some foreign prices printed on the cover.

Not true - DC did two cover variants in this era, presumably newstand and direct market versions. The one not used in this volume has Canadian and British prices on it. And more recently the back cover of the Showcase Presents edition has a Canadian price on it.

But no English one?

British. The adjective is "British"!

Is that a touchy subject?

Yes. We don't call the US "Texas" do we? Or Canada "Ontario"? So why do Americans consistently fail to call my country by its name? The scene setting captions in your adventures are just as bad.

Is it even worth arguing with you about this one?

Quite simply no.

Okay then...

Let's move onwards. But wait - how did you get away with Mitsu Bishi?

I never could understand. The lawyer mumbled something about intellectual property, parody, different spheres and then I screamed "ENOUGH!!!" and paid her there and then. She was charging by the minute. By the minute! BY THE MINUTE!!

Disgraceful isn't it? But surely DC were covering your expenses?

I have a feeling I'm going to have to go to an awful lot of offices once this is over.

They'll all be closed today. And tomorrow. And the next day.

Will they ever open?

Do you have a substitute Bank Holiday for Boxing Day?

Boxing Day? What's that?

The day after Christmas Day. It's full of traditions up to and including chaos in the sales.

We do that on Black Friday. Do you know it?

The day after Thanksgiving?

Yeah that's it.

Yeah we have it too. Despite not having Thanksgiving.

That's ridiculous!

I know. But the retail industry often makes silly decisions.

It's the same in the States.

How did this all begin?

There are many different stories. It's a multiple choice origin.

Like yours.

I'm one of the few characters to have agreed to do Secret Origins who actually realised what the title means.

It's handy. And somehow you managed to duck out of the National Bureau of Origins's attempts to extract it.

It helped that Keith had been a bit busy at the time. Have you ever read Invasion?

Only the Justice League International tie-ins. Fleetway Editions felt that running the main story would take far too long when Superman and the Justice League was bimonthly. It would also have meant there wasn't room to reprint one of your earlier adventures in the final issue before a relaunch.

Couldn't you have gone to your local comic shop?

We only briefly had one in Epsom and it was around that time it got hit in an arson attack.

An arson attack on a comic shop? Are you kidding me?

No, but as this was in 1992 it's hard to find details on the internet - the local paper doesn't have all its old stories online. But it was called Trojan Comics so keep an eye out with Google from time to time.

Okay I'll have to take your word for it. Did it ever return?

I'm not too sure - there was another a year later but it was above another shop and I can't remember its name or if it was the same people. And it seemed to be out of date compared to other comic shops - looking back I suspect that by the time I found the shop it had fallen in debt to the distributor who had retaliated with delayed shipments. It folded after a few months.

Gee that's too bad. How did you keep up with comics?

I was lucky enough to have a rail season ticket that allowed me access to the whole of London and so could access other shops there. But anyway we have one final issue in this volume - Ambush Bug Nothing Special.

It's horrible the way the legal information fuses the title into that.

I believe you wanted it to be an annual?

Yes - but it would have to have been part of the "Eclipso" crossover that ran in them all.

Amazing that DC kept trying with that format years after Marvel abandoned it. And you even tried to have a crossover issue as well.

Only to get Brownouto, Eclipso's third cousin twice removed. I ask you, is that any way to treat the star?

But your real enemy was elsewhere. And I don't mean Argh!yle!

No it was always Julie. A man who would defy even death to hold his position forever.

Sounds like Kim Il-sung.

Come again?

North Korea's head of state is the Eternal President of the Republic, Kim Il-sung, the grandfather of the current day to day leader Kim Jong-un.

So the head of state is a dead guy?!

Yeah - he's sort of President for After-Life.

Now I get it. Yeah Julie was always the ultimate problem but I did my best.

I particularly liked the sequence where you had ridiculous muscles, physically impossible poses and no coherent dialogue whatsoever. Now I wonder what that could have been parodying?

I wonder!

But overall it was a bit of the same old, even if a single special meant all the effort had to be focused on just the one issue. I guess my problem is that if I want rambling incoherent narratives I'll look to old Image comics.

Well I did the best I could. But I guess your tastes weren't for it.

Maybe. But you did still have some nice moments. For instance at the very end of the book we get a special feature - a "Where's Irwin?" doublepage in the style of Where's Wally?

You mean Where's Waldo? What's all this Wally stuff?

That's his original name in his original market.

Who's bright idea was that?

Wally? His creator's? Waldo? His North American publishers.

Why can't they leave things the way they are?

I know. But it happens on both sides of the Atlantic and the consumers rarely get a say. You were lucky - in different circumstances you could have been renamed!

Me?! But Ambush Bug is an amazing name! I'm named after an insect. Why would anyone want to rename me?

Because the ambush bug insects (called Phymatidae or Phymatinae by those who understand classification naming and can explain what those different spellings mean) aren't native over here so a lot of the joke is lost on a British audience.

A pity but hey it hasn't stopped my fan club growing.

No - and I see I'm an honorary member thanks to this book.

We wanted to offer more than any other book delivers.

And it works. Let's see that cover just one more time - and it's even bigger than ever. It's interesting to see your evolution from villain to extraordinary pest to commentator. I guess I was just expecting much more of your pest era as that's all I saw of you all those years ago.

The curse of limited foreign reprints.

Yeah. Still it wasn't the end even if Batmite did declare you "a pretty obscure hero even for this show" when you turned up on Batman: The Brave and the Bold.

What would he know in his own dimension?! I may not have saved the show but I helped save the people of Gotham from being turned to bananas, got Batman to reassert his core identity, made a Scrappy disappear, organised a great party, talked to Ted McGinley and had the most appropriate voice artist ever to fight jumping the shark - Henry Winkler.

How many of the show's target audience even got that joke?

Who cares? The episode was for the fanboys!

And your greatest moment.

Thank you.

I notice your speech style is different across appearances.

It's multiple choice, like so much else about me.

Ambush Bug - A character for all circumstances. And a great sport for coming to contribute to this even when I wasn't always the biggest fan.

It's good to get multiple perspectives.

Indeed. Thank you for this.

Thank you.

Merry Christmas!

Merry Christmas everyone!

Here's the cover to the 1975 (released 1974) Marvel Treasury Edition special Giant Superhero Holiday Grab Bag reprinting a number of stories, some with a Christmas element, some without, featuring the heroes on the cover, hence the selection.

Wednesday, 23 December 2015

A single X-Men preview

As is standard when I complete a full set of Essential volumes for any particular series and/or character, it's time to take a look at any later issues reprinted in other volumes. For the X-Men there's just one further issue.

Uncanny X-Men #332 written by Scott Lobdell and drawn by Joe Madureira, reprinted in Essential Wolverine volume 5

Wolverine is heavily degenerating into a feral state following an encounter with Genesis and the X-Men are now trying to track him down. Professor X tries to get information from Zoe Culloden at Landau, Luckman and Lake and then a team of X-Men located Wolverine at the underground base of Ozymandias, a long lived follower turned foe of Apocalypse who unleashes living stone statues on them.

This issue ties in with a long-running plotline in Wolverine's own title and serves as the first half of a mini-crossover whilst also introducing Ozymandias, seemingly as part of the build-up to the return of Apocalypse. In isolation it suffers from the all-too common problem of many issues in this era that take storylines from one title and rather arbitrarily continue developing them in another without any decent build-up or full-scale explanation. As a result, the series become too much driven by the overall franchise than is healthy, thus making them harder to follow in isolation. The issue itself is so-so with some good little character moments, such as a nice conversation between Iceman and Cannonball about making mistakes including the classic line about the Champions ""Do you have any idea how hard it is to find a major super-villain in Los Angeles?" But ultimately this is really a continuation of Wolverine's story that makes use of the pages of another title rather than a justified crossover.

Friday, 18 December 2015

Essential X-Men volume 11

Essential X-Men volume 11 comprises Uncanny X-Men #273 to #280 & Annual #15 and the second "adjectiveless" X-Men #1 to #3 plus X-Factor #69 to #70 and the lead story from Annual #6, the lead story from New Mutants Annual #7 and the lead story from New Warriors Annual #1. Bonus material includes some sketches and prints by Jim Lee. The writing on Uncanny X-Men sees the end of Chris Claremont's lengthy run with Fabian Nicieza taking over at the end and writing some of the annual stories with the rest by Len Kaminski. The "adjectiveless" X-Men issues are co-written by Chris Claremont and Jim Lee. The X-Factor issues are written by Fabian Nicieza and Peter David with the annual by Nicieza who also does the New Mutants and New Warriors annuals. The art on Uncanny X-Men is mainly by Jim Lee with individual issues by Paul Smith, Andy Kubert and Steve Butler and the annual by Tom Raney, Jerry DeCaire, Ernie Stiner and Kirk Jarvinen. One regular issue is drawn by Whilce Portacio, Klaus Janson, John Byrne, Rick Leonardi, Marc Silvestri, Michael Golden, Jim Lee and Larry Stroman. The "adjectiveless" X-Men issues are all drawn by Jim Lee. The regular X-Factor issues are drawn by Portacio and Jarvinem and the annual by Terry Shoemaker. The New Mutants annual is drawn by Guang Yap and Kirk Jarvinem and the New Warriors annual by Mark Bagley. And invariably there's a separate labels post.

This volume covers the end of Chris Claremont's original run on the title after no less than sixteen years. And it's something of a damp squib as his last issues show heavy signs of creative conflict, culminating in his departure midway through issue #279. The first big sign in this volume is issue #274, which feels slightly odd, being more heavily scripted than a usual issue in devoting plenty of space to exploring Magneto's inner thoughts. It seems to be almost a struggle for control of the title between scripter and artist - and notably Jim Lee is given full plot credit with Chris Claremont relegated to "Script" whereas the other issues either credit the two of them as jointly producing the title or (more usually with guest pencillers) give Claremont a clear credit as "Writer". As is now well known, Claremont found himself in creative battles with both Lee and also editor Bob Harras over the content and direction of the title, and ultimately Harras had the final say. This issue feels like one of the reported ones where the first Claremont knew of the content was when finished pages of art arrived for scripting and the heavy dialogue and thought captions feel like a natural response to this. Claremont drops out dramatically midway through issue #279 and his name is also completely absent from annual #15 (released on the very same day, according to Mike's Amazing World of Comics).

Much of the conflict feels like a battle between Claremont to continue advancing the storyline in a unique direction and just about all the other creative forces trying to recreate the past, both in revisiting multiple classic storylines and situations but also in trying to bring classic elements back, most notably by bringing all five of the original X-Men back onto the team as well as bringing Professor X back to Earth and crippling him once more. Along the way, there are some new developments and the culmination of the longstanding plots surrounding Muir Island. But there's also a lot of repetition that shows the extent to which the battle is being won by the traditionalist approach. And this fails to grasp that for better or for worse Claremont's Uncanny X-Men was never a title that stood still for long, regularly changing the cast and status quo and not stopping to wallow in nostalgia. As a result we get a move towards a false ideal that tries to preserve the Claremont style at the cost of Claremont himself. It's a very unsatisfactory approach all around.

En route to this we get the trademarks of an introspective issue as the team, now fully reformed, tries to decide on its future direction and the roles of its spin-off; this is also notable for the whole team adopting the standardised uniforms that have been used by the Muir Island X-Men. They may not be the original 1960s look but they have the same colours and represent one of the biggest visual steps back towards a mythical golden age of status quo. Then comes another as the team is whisked off into deep space to help Professor X, who hasn't been seen in the title in a very long time. We get another tale of dynastic struggle within the Shi'Ar empire combined with another alien menace, with the Starjammers and Imperial Guard both adding to the action along with the threat of Professor X seemingly gone bad once more. Meanwhile back on Earth Magneto and Rogue, together with Ka-Zar and S.H.I.E.L.D., confront Zaladane and the Mutates in the Savage Land but the issue is really an exploration of Magneto's character as he steps ever closer back to his traditional role as a villain and the X-Men's archenemy. It's a journey that's been a struggle for both the character himself and the creative forces, with Claremont's dialogue and narration doing what it can to smooth the passage of the artificial pullback. Both the Shi'Ar and Savage Land settings have been done to death by now and there isn't much added beyond manoeuvring both Professor X and Magneto back to their traditional locations and roles.

The annuals contain two crossover stories. "Kings of Pain" brings together the Muir Island X-Men with X-Factor, the New Warriors and a team that starts off in their own annual under the name "New Mutants" but then becomes "X-Force" for the rest of the story. Part of the problem is that the regular New Mutants title had by this stage ceased and a few months later the new X-Force launched to continue the story with this annual published in the interim. Exactly how this mess came about is unclear though it's possible that the regular title was held back due to creative delays, leaving the annual in limbo. Whatever the reasoning, the name of Cable's team is the least of the storyline's problems. "Kings of Pain" is an all too typical example of the messy and overlong storylines that often ran in the annual crossovers of the period, with each chapter trying to satisfy both the title's regular readers who may have only joined the storyline at this stage but also readers of the whole thing. The result is an elongated confusion as one team after another gets drawn into a scheme by A.I.M. via the Alliance of Evil to empower the mutant Piecemeal with the energies of Proteus, resurrecting the latter in the process. The whole thing climaxes on Muir Island and has to tiptoe around developments in the regular series but is ultimate forgettable. A second crossover is "The Killing Stroke" in just the three mutant annuals; this three-part story sees the remains of Freedom Force battling Desert Sword, a team of heroes from across the Middle East, whilst on a mission in occupied Kuwait. It was an attempt to be very much of its time but now feels like a convoluted mess. The X-Men annual also carries two brief back-up stories. One features "The Origin of the X-Men" as Mojo briefly reviews the history of the team as prospective entertainment but balks at all the spin-off teams, in an unsubtle commentary on how the franchise has grown. The other features Wolverine having a nightmare where he battles his adamantium skeleton in an attempt to come to terms with it. As the first full issue released in the post-Claremont era (although here it's placed earlier between issues #277 & #278), annual #15 does not bode well for the future. Instead, it serves as both a demonstration of and a commentary on how chaotic and confusing the whole franchise has become.

The final steps towards restoration and also the end of Claremont's time on the series come with the "Muir Island Saga" in which the Shadow King makes his first full attack in the present day, Professor X is reunited with his original students and Colossus returns to the team, regaining his original memories and personality in the process. Once again we can see the creative struggles manifesting themselves on the pages as characters get rapidly restored or disposed of according to conflicting demands and Claremont departs midway through both the storyline and an individual issue. The Shadow King may be a part of Xavier's history but usually the foes from his pre-teaching days when he travelled the world have been left undisturbed and there isn't as great a sense of an epic showdown as such a storyline demands. This is also the story that dissolves the original X-Factor back into the X-Men, undoing many years of a distinctly different take on the team, and once more it's rather rushed in. As a result the series reaches the twin critical moments of the main guiding force leaving and the expansion into a second title under far from ideal circumstances.

The second "adjectiveless" X-Men series launched in 1991 with a rather silly gimmick of five different covers, four of which fitted together to form a single image that was the gatefold on the fifth. Or in other words if one wanted to see the full picture one could just get the gatefold edition. Coming at a time of rampant speculation not so much by collectors as by comic shops the issue saw over eight million copies sold. This was apparently the record holder for the highest ever sales on a single comic, although the five different covers is a complication as are some of the publication practices in other countries that can split sales over multiple contenders. As is the fact that the bulk of recorded sales were wholesale rather than retail and by many accounts a huge number of copies wound up as unsold overstock in comic shops all over the globe. It was an early sign of the weaknesses in the market but, although no individual issue would again have quite such a high order rate, it didn't encourage restraint amongst publishers.

The new series itself kicks off with a final intersection of the old and the new. Chris Claremont returns for a final three-part story (although he has subsequently returned to the X-Men multiple times in later years) which sets out to establish the new status quo for both the X-Men and Magneto. The mansion is restored and with Professor X having been absent so long he finds there is so much about the team and their powers that is new to him. We're back to an age of the mansion as both a school and a base, with the X-Men developing their powers under the guidance of Xavier and fighting traditional foes such as Magneto. There are concessions to the new age, with the X-Men nominally split into two separate groupings, the "Blue" and "Gold" teams which seems an elegant way to keep so many characters around and have separate writers on the two separate books. There's also another change visually with the uniforms largely disposed of, bar Forge and Banshee, and instead the X-Men now sport a mixture of brand new and older costumes. With the conspicuous exception of Wolverine the visual look is now that which would be adopted by the 1990s cartoon, which also used the "Blue" team as the basis for its main cast albeit with a few alterations.

Claremont's last storyline seeks to return to Magneto to villainy in a way that's respectful to the character development that's come before yet also position the master of magnetism as a recurring credible foe. The latter is achieved with the addition of the Acolytes, a group of mutants who come to him to serve both the man and his vision. However it soon becomes clear that one of them, Fabian Cortez, who has the power to re-energise other mutants, has other plans. The former aim of trying to make the abrupt changes seem natural rather flounders with the revelation that Magneto had been subject to genetic modification when de-aged to a baby and this had affected his behaviour when re-aged to adulthood. It feels as though a decade's worth of character development is being thrown away - and this is probably how it felt to Claremont at the time as he finally lost the battle over the character. The story, the volume and the whole Claremont era all end with a reassertion of the different philosophies of Professor X and Magneto, a fitting point to go out on.

Overall this volume shows the series being dragged in the direction of false nostalgia, first to revisit successful stories ad themes from the past and then to have an as near as achievable recreation of a mythical golden age for the characters, undoing many of the changes made over the years. A lot of comics have gone down the route of reset switches over the years but X-Men has hitherto never fallen into such an easy trap. The result is that this final volume is a rather disappointing end of an era.

Essential X-Men volume 11 - creator labels

Once more there's a volume with a lot of creators so here's the separate labels post.
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