This week, we’re covering a whole lot of X-Men, starting with the return of Marvel’s X-Force in Inglorious X-Force #1. On the rapid Rundown, we’re also covering the debut of the new Rogue series, the latest issue of X-Men, and, for variety, the finale of Ultimate Black Panther. How does Marvel fare this week? Read on to find out!
Inglorious X-Force #1
Writer: Tim Seeley
Artist: Michael Sta. Maria
Colorist: Romulo Fajardo Jr.
Letterer: vc’s Joe Caramagna
What seems to the key credo of the current X-Men line is look to the past. The initial post-Krakoa banner was “From the Ashes”, echoing an older X-Men collection. Readers just came out of an event that echoed several previous fan favorite X-Men stories. So does the heading above this week’s books, Shadows of Tomorrow, finally see the books move forward in new and exciting directions?
If we’re to go by the first issue of Inglorious X-Force, then not exactly. This issue sees Cable once again assemble a strike force to handle a mission that only he knows. There is the old Adriondacks base. The Mutant Liberation Front is back and yes, so are the pouches. It’s almost like we’re in 1991 once again.
But the script by Tim Seeley refrains from drowning readers in nostalgia. Cable’s mission becomes clear to the readers instead of being drawn out. Instead of kidnapp- uh commandeering a bunch of teenage future X-Men, he assembles a bunch of loose cannons. Members come from throughout the book’s history; Archangel, Hellverine (aka Daken), and Boom Boom. The book updates the original X-Force concept of X-Force, X-men filtered through 80s action films, in a way that feels modern.
The best part of this issue are the opening pages. Seeley and artist Michael Sta. Maria open with Cable arriving from the future attempting to prevent an assassination. People running everywhere. Everything becomes chaotic Romulo Fajardo Jr.’s colors and Joe Caramagna’s lettering start glitching. Then it goes black and Cable wakes up in the old X-Force base cut off from everything. Cable can’t connect with his AI assistant. Sta. Maria draws everything in moody shadows to mark this character as for once being in the dark.
It’s an intriguing set up for a character who normally knows everything and keeps it close to the vest. Seeley clearly has an affection for one of Marvel’s most convoluted characters while Sta. Maria clearly enjoys drawing the massive figure. In fact, Sta. Maria’s excellent character driven work here makes him someone to keep an eye on (even if Fajardo’s colors really go heavy on the color orange throughout). So stripping him down and getting to the core of what makes him work makes for a better read.
It’s in the supporting cast where this book falters. Seeley has a similar problem on his Godzilla book. They’re essentially the same person but at different volumes. The other three characters function more as caricatures than fleshed out individuals. Archangel is grouchy! Daken is a criminal! Boom Boom is kooky and flirts with Daken! Maybe these characters are tired but there has to be more to them going over tired ground. When a very popular Marvel character gets brought on at the end, at least that brings a different dynamic to the group.
Still, there’s a strong central premise and twist in this first issue of Inglorious X-Force. Seeley makes nods to the very first issues of the title but clearly has a wider appreciation for the book with the characters he’s assembled. If Seeley falters a little on the larger cast, Artist Sta. Maria brings a deft hand to making each character an individual. Shadows of Tomorrow might not push the X-books in bolder directions but at least, a book like Inglorious X-Force takes some chances.
Verdict: STRONG BROWSE
Rapid Rundown!
Ultimate Black Panther #24With the Ultimate Universe line coming to its conclusion, writer Bryan Hill and artist Stefano Caselli wrap up their Ultimate Black Panther run with issue 24. The original concept behind the Ultimate line was to reimagine the title character and their status quo, allowing new and old readers to jump on without having to read 60-plus years of comics. This current iteration of the Ultimate line shaves off a few decades, but it still has the accessibility of the original line with an edgy freshness to most of the line, and Hill and Caselli understood the assignment. Their run remixed the concept of the Pather for this world’s darker path, a lot of the same characters, but with shifted roles or connections, recrafting Wakanda’s Afrofuturistic premise with action, political intrigue, spiritualism, and a dash of Shakespearean/comic book melodrama. The book’s disconnection to the main Ultimate storyline may have been seen as a weakness, but this was a strength, as it allowed a deeper, metaphysical exploration of Vibranium as more than a metal, adding a new and different vibe to the Panther mythos. Caselli and color artist David Curiel’s visual interpretation of this corner of the Ultimate Universe is a fun blend of traditional comic storytelling with a blending of Manga and Afrofuturistic aesthetics. Ultimately (drumsnare), Hill ends Ultimate Black Panther on a strong cerebral note, T’Challa is able to hold off the forces behind the secret of Vibranium, in the most T’Challa way. The genius of this issue is that it wraps up the story of this Panther, but it also plants seeds to explore more of this Panther and Wakanda past the conclusion of the Ultimate Line. – GC3
Rogue #1
Any new X-Men title feels a bit intimidating, especially these solo books that spend more time diving into individual characters and their history. This first issue of Rogue by writer Erica Schulz and artist Luigi Zagariaseems to know that, and takes readers by the hand to catch them up on the defining elements of Rogue’s character and history. She was a bad guy. She borrows powers. She’s married to Gambit and they’re madly in love. And sometimes memories that aren’t hers ruin her life. Schulz’s script is, if anything, a bit too overly concerned with making sure readers know Rogue’s backstory. The central mystery here, of what she is remembering and why it is suddenly back to haunt her, is compelling, though. It taps into Rogue’s own self doubt and guilt, which she performatively brushes away with bravado and southern charm. Schulz’s voice for the character is pitch perfect—witty, empathetic, emotional. Zagaria’s art looks great, capturing Rogue’s personality by showing her almost always in motion, leaping into action, running off on her own, pulling away from others physically as Schulz has her pulling away emotionally. Espen Grundetjern colors the book with bright skies and saturated hues. Even when things get dark it never gets visually muddy or overly grim. This is a Rogue story after all. VC’s Ariana Maher letters this one, and the flow is seamless and the SFX are particularly enjoyable. This a solidly constructed book that nonetheless has a hard time breaking out of its (self or corporately imposed) editorial constraints to set up the details and backstory. The same beats are repeated one too many times to reiterate motivation or explain character relations. There’s room to grow and I’m looking forward to what comes next in hopes that with the premise established, the emotional and character beats that are so promising take center stage. This might be one to wait to see how it turns out in trade before investing in. – TR
X-Men #24The fallout from the Age of Revelation continues to be felt in X-Men #24. Writer Jed MacKay grants us insight into the internal deliberations of the villainous Mutant advocacy group 3K. Through the lens of a power struggle between rival camps, MacKay highlights the character traits of the members. The conflicts on the team are standard fare, but MacKay executes it well. There is an extended focus on Joesph, the clone of Magneto. In this issue we see Joesph insistent on claiming the mantle of Magneto and insisting on being called that name. The big status quo changes from the Age of Revelation revealed that the Chairman of 3K is actually the Krakoan Beast ala Beast. The evil, pragmatic Beast returns to the body of the excellent White Beast from the Age of Revelation. Just as the last issue showed that the future of Age of Revelation seems to be set in motion, X-Men #24 all but confirms the events that lead to the Age of Revelation is doomed to occur. The art by Tony Daniel is solid. The layouts complement the story and do some cool stuff with dueling sides of the conflicts. He renders the new Beast model in a delightful way. It was a pleasant surprise to see Tony Daniel on a Marvel book. Jed MacKay’s X-Men title continues to be the star of the line and I am looking forward to next month’s anniversary issue. –JJ
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