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Post by spoon on Apr 12, 2024 9:57:12 GMT -5
I read an issue from Byrne's Hulk run years ago. I felt bad to discover the run was so short. Then, I actually bought all his issues and read it through a couple years ago. I discovered it actually wasn't very good. I mean the writing, because the art was nice.
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Post by spoon on Apr 9, 2024 23:13:56 GMT -5
I started the Legends of the Dark Knight: Norm Breyfogle vol. 2 hardcover. So far I've read Detective Comics #608-612. When I was a kid, my older brother was the one who bought some of the Breyfogle issues of Detective. I think those were mostly from earlier on. As I kid, I remember feeling ambivalent about Breyfogle. He had a very distinctive style, but it seemed like lots of characters were on the verge of exploding and I wasn't digging the impossibly long cape. But reading these issues now, I'm really enjoying the art. So far, I've read an Anarky two-parter, a Penguin two-parter, and a standalone issue with Catman and Catwoman. I like that there's some grit but also some humor. There are interesting plotlines instead of just grim ambience. I like the twist that starts off the Penguin story. I was aware that Anarky was a new villain in this era, but I've never read an Anarky story. It was one of those stories that I thought at first had elements that didn't fit, but that's because I didn't see Alan Grant's plot twist coming. The denouement made the pieces fall into place. I like Grant's writing so far. My one pet peeve is that he uses British spellings for something that's in print (a letter to the editor in a Gotham newspaper). If he's ever going to use British spellings rather than American, that's where it makes the least sense. I'm getting annoyed nerd flashbacks of people ignoring the Wikipedia Varieties of English policy to replace spellings that fit the policy with their own preferred spellings. All in all, this hardcover is off to a good start, but I might intersperse reading other comics as I make my way through this book. I wouldn’t be the least bit surprised to find out that the Gotham Gazette preferred British spellings. Especially if it goes back to the 1770s. Maybe it started out as the Gotham Gazette and New York Colonial Free Trader in 1771. It was a letter to the editor from a little old lady. Anyway, I wish Alan Grant hadn't tossed a few Britishisms at the willing suspension of disbelief, but it's a nitpick about an otherwise good story.
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Post by spoon on Apr 9, 2024 21:36:19 GMT -5
I started the Legends of the Dark Knight: Norm Breyfogle vol. 2 hardcover. So far I've read Detective Comics #608-612.
When I was a kid, my older brother was the one who bought some of the Breyfogle issues of Detective. I think those were mostly from earlier on. As I kid, I remember feeling ambivalent about Breyfogle. He had a very distinctive style, but it seemed like lots of characters were on the verge of exploding and I wasn't digging the impossibly long cape. But reading these issues now, I'm really enjoying the art. So far, I've read an Anarky two-parter, a Penguin two-parter, and a standalone issue with Catman and Catwoman. I like that there's some grit but also some humor. There are interesting plotlines instead of just grim ambience. I like the twist that starts off the Penguin story.
I was aware that Anarky was a new villain in this era, but I've never read an Anarky story. It was one of those stories that I thought at first had elements that didn't fit, but that's because I didn't see Alan Grant's plot twist coming. The denouement made the pieces fall into place. I like Grant's writing so far. My one pet peeve is that he uses British spellings for something that's in print (a letter to the editor in a Gotham newspaper). If he's ever going to use British spellings rather than American, that's where it makes the least sense. I'm getting annoyed nerd flashbacks of people ignoring the Wikipedia Varieties of English policy to replace spellings that fit the policy with their own preferred spellings.
All in all, this hardcover is off to a good start, but I might intersperse reading other comics as I make my way through this book.
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Post by spoon on Apr 7, 2024 21:54:16 GMT -5
I read the Thunderbolts Epic Collection vol. 1: Justice, Like Lightning reprinting Thunderbolts #1-12 and Minus 1, Annual '97, Incredible Hulk #449, a story from Tales of the Marvel Universe #1, Spider-Man Team Up #7, and Heroes for Hire #7. I've never read any of these issues before. I don't think I've read any issues of Thunderbolts, except I might've read where they crossed over with Avengers beyond the time period of this TPB.
It was a pretty good read. For some reason, the TPB put Thunderbolts #1 ahead of their prior appearances. Even though of course I was spoiled on the twist, I decide to read the Hulk story first as published. The concept creates a lot of anticipation in how it will play out and how long the secret will be kept. I thought maybe it could've gone on a little longer, although it probably would've been harder to get away with the lie once the Avengers returned. I don't have an encyclopedic knowledge of the pre-Thunderbolts careers of the various team members, but I don't think of most of them having well-defined personalities. It's not quite a blank slate, but it's not that far off.
It's cool how Busiek constructed differing individual motivations for the characters rather than just making it Zemo and everybody else. The grey areas like how Meteorite would often due the right thing for the wrong reasons, and positioned herself as a rival for Zemo, gave these issues some Game of Thrones moral complexity. There was also some thought put into the Songbird/Mach-1 romance. Even though super-hero comics obviously float realism in lots of ways, there's a certain realism to the history for Songbird that Busiek puts together. Women commit violent crimes at much lower rates, and her involvement comes out of a lot of trauma and need for belonging. Since they were in different incarnations of the Masters of Evil, they wouldn't have prior history. I also thought both the Annual and Flashback issue were used to good effect. For a guest appearance, the Spider-Man Team-Up issue was pretty pivotal.
I'm not the biggest Mark Bagley fan. I wish Jeff Johnson, who I fondly remember from his Wonder Man work, had more than just that single guest issue. I also liked Pascual Ferry's work on the characters in Heroes for Hire. Busiek is such a comic book nerd. He really went for the deep cut by pulling out the Elements of Doom. On the other hand, sometimes he's more of a plotter/historian than a wordsmith. He's got the DeFalco disease of having male characters who should have diverse speech patterns referring to younger women as "young lady" or "missy" instead of like, their names. It sounds very patronizing. That should be a verbal tic of specific characters.
There are some things I might've liked to see play out differently, but there were also lots of twists that were unanticipated and clever takes on the situation. I'm leaning towards buying the second Epic Collection when it comes out at the end of the month.
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Post by spoon on Apr 7, 2024 12:31:35 GMT -5
Hope your wife feels better, George.
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Post by spoon on Apr 6, 2024 14:15:46 GMT -5
I just re-read the Brood saga that stretched from Uncanny X-Men #154 to 167. I remember that at the time it had truly renewed my faith in the title, which had been a little shaken by John Byrne's departure. It's not that I disliked Cockrum's art, but well... I was a real Byrne fan back then. Plus, recent issues with fill-in artists and a rushed plot had left me dissatisfied. But boy! Did the arrival of the Aliens-wannabes change things!
[snip]
All in all a truly thrilling ride, which also saw a lot of development: Carol Danvers turning into the new super-hero Binary (thanks to some genetic tampering by the Brood), the introduction of Lockheed the dragon (he hunts Brood for breakfast on their home planet), a good view of the Starjammer, which in this story is half the size of Manhattan, space whales, the Brood... those were the days of anti-decompression!
I like how it's structured with 4 issues of the Brood arc, then 4 issues of basically other stories, before resuming with 6 issues with the Brood. It finds a convenient in a break from a very long storyline, and also created an opportunity to start some plot threads off (including ones that would be used in New Mutants) before the X-Men are in space for several issues.
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Post by spoon on Apr 2, 2024 20:06:45 GMT -5
Recently read X-Men #94 and #95, which continue the adventures of the new X-Men team first seen in Giant-Size X-Men #1. The plot concerns Count Nefaria and his Ani-Men invading the U.S. Army's Valhalla Base, located inside Cheyenne Mountain and home to NORAD, America's Cold War early warning air defence centre. At the same time, the old X-Men decide to depart from the team, leaving the new, hastily recruited line-up that Professor X assembled in Giant-Size X-Men #1 to take on Nefaria. Unfortunately, during the X-Men's assault on the base, Thunderbird is killed trying to stop the Count making his escape in a fighter jet. Chris Claremont's writing is solid here, rather than spectacular, but these were only his first two issues on the series, so I guess he'd not quite found his mojo yet. That said, they were good, honest Bronze Age comics and a lot of fun to read. Also, keep in mind that these two issues were scripted by Claremont over Len Wein's plots, so he didn't even have full control of the writing at this point. It was more of the germ of the idea than a sales strategy that really played out, because for instance, there weren't going to be a lot of Soviet readers prompted by Colossus. He came across as quite the hothead in X-Men #64. I bought an Iron Man Epic Collection that has some of his early appearances that I haven't read yet. I do think at interesting What If concept would be what if Sunfire didn't quit, because I could see how the extra help with Nefaria plane might've saved Thunderbird's life. Nefaria also a Silver Age appearance, although that time his minions were a totally random assemblage (Plant Man, Porcupine, Unicorn, etc.). It is kind of random to see the Unholy Three expanded and reworked into the Ani-Men. Yeah, I agree it feels forced. Another sign of just how contrived it was is that after saying they wanted to be on their own, Angel and Iceman then end up on a new team in Champions #1, which came out the same month as X-Men #95. Also, Jean's departure didn't play out quite as Claremont intended, but maybe I'll save that for when she shows up again.
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Post by spoon on Mar 31, 2024 19:59:42 GMT -5
I re-read the Batman: Ten Nights of the Beast TPB reprinting Batman #417-420 by Jim Starlin, Jim Aparo, and Mike DeCarlo. What I like is that the action sequences are done very well (props to Aparo), a fearsome foe is built up very quickly, and there's a great ending. Also, the Mike Zeck covers are excellent I'm not a fan of the plot-induced stupidity, like when people make themselves easy targets. On the other hand, that may be a function of how times change. I feel like there would be a pre-emptive cancellation of the fundraiser nowadays. Also, holy Hatch Act Batman! A presidential advisor at the campaign fundraiser. One of the characters asks why an Iranian operative would aiding a Soviet agent. Ditto. I guess it's because that was just a Starlin bugaboo. I loved "Ten Nights of the Beast" when it came out and bought each issue off of the newsagent shelves at the time. I agree completely about how skilkfully the threat was built up; KG Beast was a proper sh*t scary villain at the time. I have re-read this arc a few times, but probably not since the late 90s, so I've no idea how it would hold up now. But back in 1988, I felt that this was a really outstanding Batman storyline. It holds up reasonably well. It just faces the paradox, if that's the right word, that the grittier and more framed in reality a story is, the more nitpicky I am about whether aspects of the story are realistic.
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Post by spoon on Mar 31, 2024 14:27:17 GMT -5
I re-read the Batman: Ten Nights of the Beast TPB reprinting Batman #417-420 by Jim Starlin, Jim Aparo, and Mike DeCarlo. What I like is that the action sequences are done very well (props to Aparo), a fearsome foe is built up very quickly, and there's a great ending. Also, the Mike Zeck covers are excellent I'm not a fan of the plot-induced stupidity, like when people make themselves easy targets. On the other hand, that may be a function of how times change. I feel like there would be a pre-emptive cancellation of the fundraiser nowadays. Also, holy Hatch Act Batman! A presidential advisor at the campaign fundraiser. One of the characters asks why an Iranian operative would aiding a Soviet agent. Ditto. I guess it's because that was just a Starlin bugaboo.
I'm going to have to read Bane stories sometime to see how much the character owes to KG Beast from this arc and the Bonecrusher character from Detective Comics #598-600.
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Post by spoon on Mar 31, 2024 12:11:30 GMT -5
Here's my first quarter update. Reading Goals* Re-read some X-books (or in some cases, read for the first time). These are the comics that give me the most joy, so I want to mix them in with my new reading. Three possible reads within this are: (1) the latter part of the Silver Age X-Men run (starting around #40 or so), (2) original X-Factor (since 2023 was my big New Mutants binge), and (3) Claremont's X-Treme X-Men, which I previously only read to around #15 or #20. I re-read Dave Cockrum's first run and John Byrne's run, plus associated annuals and guest appearances. I haven't read any of the three specific runs I mentioned above. Done. Largely because the Strange Deaths of the Batman TPB and Batman #255 both reprinted stories from many decades, I've already stories from every decade from the 1940s to 2000s (the 2000s was just an excerpt of a few pages from one issue). I want to read more that just a spare issue of two though. Not yet. Done. I read a couple issues of Alien Worlds. I also read some Ka-Zar and Shanna comics, which interpreted liberally are the jungle comics genre or mixed genre with superheroes. None of these yet. I'm not on a great trajectory, as I've bought a bunch of collected editions. My second omnibus purchase of the year should arrive this week, although I've actually finished reading the first omnibus I bought this year already. Not yet. I'm debating whether to wait until after the Assassin Nation release date to see if the price drops. I'm still waiting for the groundswell, so I can write "because you demanded it."
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Post by spoon on Mar 30, 2024 19:05:16 GMT -5
I finished the Action Heroes Archives vol. 2, reading the stories from Captain Atom #89, Blue Beetle #3-6 (#6 went unpublished for years until it was published in Charlton Portfolio), Mysterious Suspense #1, and Charlton Bullseye #1-2, 5. Since the Archives doesn't reprint Nightshade back-up stories, I also read the back-up from the copy of Captain Atom #89 I own.
We start with some fun, interesting stories like Blue Beetle battling the Madmen in #3 and Captain Atom dealing the trippy, enigmatic Thirteen and his cat sidekick stepping in between his battle with Ghost. The Nightshade story is drawn by Jim Aparo. He's not yet as skilled as he'll later become (& it doesn't look so distinctively like his style), but it's an improvement over Ditko's rendering of the character. Nightcrawler faces off against Jewelee (without the imprisoned Punch) and her minions. Also, in a flashback we learn that Tiger, the former sidekick of Judomaster, trained Nightshade in the martial arts.
The scripts in Blue Beetle (both the lead and the Question back-ups) are credited to D.C. Glanzman, but all involved agree that Ditko was the actual scripter. I've read differing stories about the reasons for the false credits. There's a gap of almost a year between Blue Beetle #4 and the swan song of the Action Heroes in Mysterious Suspense #1 starring the Question and Blue Beetle #5. I read that there was a lot of editorial freedom in Charlton's comics views. That makes these comics unusual reads, as Ditko pours into the "objectivist" infused socio-political commentary. I phrased it "unusual reads" rather than interesting, because I don't think it's particularly effective. His commentary reads like one-note screeds more than thoughtful, engaging commentary.
MS #1 features a story about Vic Sage suspecting one of network's sponsors of being a criminal because he sees him through a window with a happy exchange of cash with a disreputable (but not convicted figure). He doesn't actually overhear anything, but since Sage/The Question is an ethical superman, of course he's right. There's an inherent conflict in the Question stories between Sage making bold, often insulting ethical statements before he has the evidence to back them up, but then insisting that others have to make their ethical judgment and not rely on what he says. It's a have your cake and eat it too scenario of Sage placing his words as the ultimate appeal to authority, but washing his hands of the consequences. He actually has the temerity to lecture a member of his staff for being a sad sack after Sage has to bail him out of jail. Said employee is in jail because he got framed for a crime after investigating a lead based on Sage's insistence that the sponsor is corrupt. Sage reminds me of a politician who portrays himself as anti-corruption, but has repeatedly flouts ethical safeguards and gets himself into ethical messes. His followers ignore the evidence and regarding him as anti-corruption because he spews his BS with an air of confidence. Sage will call people out before he has evidence, but his reputation is supposed to make his views convincing in lieu of evidence. Unfortunately, I feel like the storytelling is neglected, because at the climax of the action it's not clear what happened.
BB #5 has interrelated Blue Beetle and Question stories that deal with a snobbish art critics and some angry hippies who disdained artwork that celebrates great achievers (like some Randian thing) in lieu of art about the fallibility of human beings. It feels very much like a strawman (the critic's preferred art is about how powerless and awful humanity is and how people can't achieve anything), but I guess I'd know better if I knew what it was actually satirizes. The problem is that it doesn't feel like incisive satire as much as a screed. I think the target might be an early reference to poverty in the art critic's commentary, although Ditko doesn't really go back to that point. It seems like Ditko is dancing around his dislike for art that attributes conditions of the downtrodden to harms the rich and powerful have done to them. They be great if they pulled themselves up by their bootstraps.
BB #6 is more like a conventional superhero story, but the moral is that the average person hates scientists and reason too much. While I think that's probably true, Ditko isn't very effective at making the point. The Charlton Bullseye stories include a Ditko Captain Atom/Nightshade story that wraps up the Ghost's story. Ditko's penciled art from the Charlton archives is completed with a Roger Stern script and John Byrne inks. Finally, there a Michael Uslan/Alex Toth Question story that seems to have been created for Bullseye rather than from the Archives. The art is great although the commentary about government being too soft on crime feels superficial.
I also read Alien Worlds #5. All four short stories are scripted by Bruce Jones, but with different artists. "Lip Service" drawn by John Bolton is pretty-looking and has an interesting central metaphor. On the other hand, I feel like Bolton's feathery touch gives some panels a lack of clarity, and the twist ending doesn't quite make sense to me. "Gamewars" by Ken Steacy is very brief and makes commentary based on a single irreverent gag. "Plastic" by Adolpho Buylla is a very effective portrait of a meaningless war with a vividly disturbing ending. I think it's my favorite story of the issue. "Wasteland" feels like a Twilight Zone episode. I don't think it imbues its twist with deeper meaning, but it's quite an odd trip.
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Post by spoon on Mar 29, 2024 13:11:00 GMT -5
I knew plenty of people who left X-Men all together. Claremont's writing was a factor, as was art; but, mostly, they were tired of the grandiose events, the lesser spin-offs, and just wanted something different. There was plenty of fan criticism, in certain quarters, about the endless Alien-influenced/swiped plots, for a start, extended subplots that either never got resolved or were underwhelming in their resolution. Personally, I bailed after Paul Smith left, as I felt Claremont was rehashing storylines, trying to redo Dark Phoenix and he kept throwing monkey wrenches into relationship, which felt backwards,to me. I'm not big on endless soap opera; a bit of emotional drama, from time to time, is one thing, but every issue gets tiresome. It's a big reason why I never warmed to the regular Spidey books and why I found Claremont's non-X-Men writing to be diminishing returns. The Aliens vs Predator mini he did ended up being not as interesting as previous ones, since the only thing he seemed to bring to it was a focus on a female human, a female predator and an alien queen. I liked his Star Trek graphic novel, up to a point; but, he turned it into another Alien riff, too, with Kirk and a bunch of old tv show characters teaming up with Klingons from the original series and a Romulan commander, to fight ....well, the Alien species, in a barely disguised form.. Now, X-Men chugged right along and others were fine and dandy with it; but, it is no more true to say that readers weren't tired of Claremont than to say everyone was hunky dory. There were detractors; but, they were probably a much smaller minority than the people who didn't care, as long as they got their X-Men fix or art they liked. The thing is X-Men continued to gain more readers than it lost. Even if there were a bunch of readers who grew tired of the series after Paul Smith left, etc., the book continued to grow in terms of sales numbers and readership. I started reading the book when Silvestri was the penciler. It never crossed my mind that anyone other than Claremont would ever write the book. Certainly when Jim Lee became the penciler fans seemed genuinely pleased, especially when Claremont finally put the team back together. I think it’s fine to critique the run and determine where the book peaked and where it began to decline, or whatever opinion a person may have, but I don’t think it’s accurate to say the readers in 1991 wanted Claremont gone. Add me to the list of people who were actually reading X-Men in 1991 who didn't want Claremont gone. Not only was the readership growing, but Marvel started publishing multiple issues during some months starting in 1988. Fans who dropped the series for good in 1980 or 1983 are good representatives of what folks who were reading it in the later 80s or early 90s were thinking. I read comics; I wasn't reading the behind-the-scenes articles. So I was genuinely shocked when I found out Claremont was out after adjectiveless X-Men #3. Of course, folks who dislike Claremont work from this period and that are entitled to their opinions. The point is simply that one's own personal taste/opinions and the views of the larger readership are two different questions. For instance, there are movies that I think are horribly overrated that the public (or at least movies nerds) love. In many recent Oscar ceremonies, the Best Picture winner was a movie I'd rate 8th, 9th, or 10th among the nominees. I stand by my personal opinions/preferences, but I don't delude myself into believing my opinion is the ascendant view. I have my Claremont pet peeves, but I would have preferred for him to continue as writer in 1991 rather than having him replaced.
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Post by spoon on Mar 27, 2024 20:22:34 GMT -5
The Epic Collection actually has a disclaimer about stereotypes. I'm guessing Xavier trash-talking the Apache to goad Thunderbird to join is part of that. Oh really?! Wow...I'm not sure it really needs that, but I guess Marvel/Disney need to cover their arse. To me, it just seems very much like usual Silver or Bronze Age comic characterisation of non-white Americans. I mean, every time they feature an English guy he either lives in a castle, is a Lord, or talks like a stereotypical cockney! But I suppose as older readers who are well versed in comic book storytelling conventions of the 60s and 70s we tend to just accept this aspect of old comics. But if you were, say, 14 nowadays and were reading Giant-Size X-Men #1 for the first time because you liked the X-Men movies you might think, "what the hell is this offensive stereotyping?!" Yeah, I was curious, because I don't think I've seen that in another Epic Collection. Like what in that specific volume goes beyond the typical level of stereotyping of the era? Speaking of stereotyping, Banshee's appearance in GSX #1 is much improved over his earlier appearances. His face in his first appearance in X-Men #28 really evokes bigoted newspaper/magazine cartooning of the 19th century where Irish people are given ape-like faces. What was Werner Roth thinking?
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Post by spoon on Mar 27, 2024 20:12:39 GMT -5
Jean's death wasn't Shooter's idea. He wanted her to be taken to a prison asteroid to be eternally tortured, prompting Byrne to say, "F**k that, I'd rather kill her!" Byrne said he plotted DOFP months before "The Fate of the Phoenix", with Rachel as Scott and Jean's daughter. When #137 was altered, she was too central to the story to eliminate, so Byrne retained her as a generic telepath, assuming Claremont would no longer connect her to Scott and Jean. Correct me if I’m wrong but really the only difference was the ending? This makes me wonder how would the last 45 years have been affected? The ending is main difference is the ending. It was totally redrawn with a different plot (Jean defeated and depowered versus killing herself). It's not the only difference. There's one panel earlier in the story where Angel was drawn in place of Gladiator and the dialogue consequently changes. There are also various rewritten dialogue earlier in the issue that doesn't really change the meaning much, but there are a couple places earlier in the issues where there are significant dialogue changes. First, as I mentioned in my original post on #137, the 2 or 3 pages dealing with each of the individual X-Men in turn on the night before the battle on the moon have significantly altered dialogue. Originally, most of the characters were thinking about themselves. In the rewritten version, their thoughts are more focused on Jean, and specifically how they feel morally about fighting on her behalf. The other part earlier in the issue where scripting significantly changed things was when Lilandra tells Beast and Angel that they aren't X-Men so they're free to go rather than participating the duel. In the published version in that moment they both confidently want to stay and fight. But in the Untold Story version, Beast has dialogue where he is going to take Lilandra up on her offer before Angel cuts him off. In thought balloons, Beast reflects that Angel foiled his plan. He was hoping to go back to Earth, so he could get the Avengers or other Earth heroes as reinforcements.
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Post by spoon on Mar 27, 2024 16:35:32 GMT -5
I read a real Bronze Age classic for the first time yesterday, Giant-Size X-Men #1... It's a fun comic and I can see why it was such a hit back in 1975. The opening pages showing Professor Xavier getting the new team together -- which serve as a neat showcase for each new member -- were really enjoyable and might've been my favourite part of the whole comic. The new team itself hangs together pretty well, with the possible exception of Banshee who, I dunno, just seems a bit out of place. He seems older than the rest, so maybe that's it? The Japanese hero Sunfire also doesn't seem like a great fit, but I'm guessing he leaves the X-Men pretty quickly anyway. When Banshee first appeared during the Silver Age X-Men, it was clear that he was quite a bit older than the team, so playing into his experience is an angle that worked for the writing here. With Sunfire's attitude here, the burning question is why agreed to go on the mission in the first place. [/quote]Len Wein's plot is fairly basic and some of his characterisation of the ethnic, non-white American superheroes is heavily stereotyped by modern standards.[/quote] The Epic Collection actually has a disclaimer about stereotypes. I'm guessing Xavier trash-talking the Apache to goad Thunderbird to join is part of that. I'm interested in seeing how you think the team dynamics progress. Although I guess since you've read the Dark Phoenix Saga, you already have some basis for comparison. It gives one the impression the creators think islands float on the water. On the other hand, a mutant island is a novel concept. Maybe when Krakoa became this collective being, it involved the flora and fauna tearing off some rock and floating away. I like Cockrum's art on his first run more than on his second run. It may be because he had more time since the All-New, All-Different X-Men started out bimonthly. Cool. It's rightly classic material.
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