Columbus Comics Corner

UNCANNY SESSIONS 004: UNCANNY AVENGERS #30 REVIEW

This month Ryan and Rob got together to discuss and review the final issue of Marvel's Uncanny Avengers. Tears will be shed, hearts will be broken, and more for the best Marvel comic on the stands. Thanks for listening!

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Music by Ongface

Ryan and Allen settle in for a couple recording sessions to provide some discussion on last week's X-Men and X adjacent titles. Rob and Anthony join the guys for a few books. The guys realize timelines are thrown out and we as readers can only play the guessing game. Plus some Fastball Tweets from the episode thread.

Intro/News (0:00), Secret Warriors #10 (10:27), Despicable Deadpool #290 (36:19), Cable #152 (51:24), Weapon X #12 (1:19:11), All-New Wolverine #28 (1:32:00), Jean Grey #10 (2:00:27), X-Men Blue #17 (2:24:54), Fastball Tweets (2:50:06), General Discussion (3:10:16)

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X-MEN BLUE #17 REVIEW **SPOILERS**

Writer: Cullen Bunn Artists: R. B. Silva, Adriano Di Benedetto, and Rain Beredo Letterer: VC’s Joe Caramagna Cover Artists: Arthur Adams & Peter Steigerwald NCBD: 12/13/17 Publisher: @marvelentertainment Review by: Rob Carey The heroes, stuck with a faulty time/reality-travel device, have found themselves before the X-Men 2099 team far in the future, led by Skullfire. The teams seem distrustful of each other at first, but they cooperate to fight off a fleet of goons. The X-Men Blue team learns that, in this reality, their future selves contributed to the rise of an evil corporation (AlcehmeX, whose goons had attacked earlier) that displaced mutants. After some skirmishes, Beast, with Cerebra's help, gets the time-traveling device to work again, and our heroes leave this setting to find themselves back at Xavier's school: but at the wrong time. They're now at the feet of the 90's Generation X team!

Depending on your familiarity with the reference points, this issue was either your favorite of the series thus far or it went so far over your head that you left the book feeling underwhelmed and befuddled. Sadly, I'm in the latter category. The decision to rely so heavily on inside references to an older series is a perfectly valid narrative choice in comics; but the decision to select X-Men 2099, a mid-90s alternate reality series that -- despite a cult following -- isn't massively popular, as a reference point seems like a bold but strange choice. The issue left me no more interested in X-Men 2099, or in X-Men Blue, than I was before I read it. Rather, this issue seemed to be a love letter to fans of the former series, but it didn't have any real impact on the present series at all. Therefore, unless you happen to love that old cult classic, you could completely skip this issue and it would make no difference whatsoever to the story that Bunn is telling. And that is, unfortunately, a very big problem. 

There's also a rather serious issue with the roster towards the end of the issue. As the book ends, Bloodstorm is no where in sight. Was she left behind in 2099? Did the artist err and forget to include her? How come no one -- including the team telepath and the boy who fancies her -- noticed she's missing? Did the writer err? Is she dead? Was it off-panel? The rest of the team seems unphased as well; they take a moment to sweetly rejoice the fact that they're "home," Bobby makes some jokes, and Beast and Cyclops discuss strategy. But no one notices at all that they're down a person. This level of confusion is really problematic on the seventeenth issue of a series, and it's indicative of a rushed job: either the creators rushed and missed the detail, or the narrative was rushed and the reader wasn't given an "earned" disappearance. 

Recognizing that the fun of comics is the journey and not the destination, I'm afraid that when it comes to "Cross Time Capers," I really just wish the creators would get to the point already. 

ALL-NEW WOLVERINE #28 REVIEW **SPOILERS**

Writer: Tom Taylor Artists: Juann Cabal & Nolan Woodard Letterer: VC’s Cory Petit Cover Artists: Elizabeth Torque & Nolan Woodard NCBD: 12/13/17 Publisher: @marvelentertainment Review by: Rob Carey Laura and her family -- including the newly baptized Honey Badger -- are on the run from the Orphans of X. With the help of Danger, Wolverine leads the group to Tokyo to meet with Marumasa seeking some defense from their pursuers' weapons. He agrees to help build them a counter measure, and in the process, helps Daken heal his amputated arm through meditation. Meanwhile, the Orphans of X have captured Lady Deathstrike, Sabertooth, and Old Man Logan, and by the end of the issue, they're all executed via marumasa bullets. 

This is yet another impeccable issue to one of the best Marvel series on shelves today. Everything about the writing is stellar, and while there's plenty to discuss about this issue from a narrative standpoint -- all of it positive -- the real highlight here is Honey Badger. Gabby serves as our entry point to the exposition, seeking clarification from Daken on the threats and limitations of the marumasa blade. She's Wolverine's reliable partner in crime, finding the bullet that hit Daken in no time. Her epiphany at the suggestion for a code name is hysterical and so very satisfyingly appropriate. Her need for a further alias (Fleur Ramsey) with its preposterous backstory is a laugh riot. Even her constant ribbing of her uncle/brother Daken ("so, do you just keep a tattooist permanently employed or...?") is pitch perfect. There is nothing not to love about this character, her role in this series, or her future as a beloved X-character. The writing of this issue has many strengths, but Gabby's development and dialogue shines the brightest. 

As for the art, there's so much delicious eye candy in this issue, I can barely keep track of it all: Daken in Laura's t-shirt, Danger's 'fro, Honey Badger's epiphany, the nighttime Tokyo skyline, Fleur Ramsey, the Grant Morrison jackets, Daken's meditative healing, the ferocious execution of the Weapon X team... it's just exquisite at every turn. The sunset in the beginning of the issue, with its back lit silhouettes and warmth, and the final panel, with its dark blood splattered glass, bookend another magnificent example of the infallible teamwork of Cabal and Woodard. Just an expertly executed (no pun intended) comic book. 

Undoubtedly, "Orphans of X" is among the best story arcs of the entire year, and has, thus far, proven to be the best output from Marvel Legacy.

WEAPON X #12 REVIEW **SPOILERS**

Writer: Greg Pak Artists: Yildiray Cinar & Frank D'Armata Letterer: VC’s Joe Caramagna Cover Artists: Rahzzah NCBD: 12/13/17 Publisher: @marvelentertainment Review by: Rob Carey In the first issue in the "Nuke-Clear War" story, our team of heroes find themselves hunting animals in Mexico when Warpath receives a distress call from a mutant in Santo Marco. The government there, led by Emilio Duarte, is imprisoning and executing the nation's mutant population. Duarte's paramilitary use red pills to increase their adrenaline and send them into berserker rages. The team arrives at a military camp to save the mutants, and Sabertooth goes a bit rogue. He finds the building where the red pills are manufactured, barricades himself in a room, and runs into Nuke, who appears willing to help Sabertooth in exchange for access to red pills of his own. 

Having approached this issue with very, very low expectations, I nonetheless found myself underwhelmed with this new arc. Pak sets the team on a rescue mission in a nation under a near militaristic dictatorship with a leader that hates mutants. The concept is redundant and unoriginal, even recycling the setting of Santo Marco from Pak's own previous Storm series. We have a bunch of narrative oddities to contend with (the five best hunters on Earth can't kill a deer, Old Man Logan et. al. has no business using jet packs, Sabertooth remains unconvincingly confused about his purpose in life, etc.). And the wholly unrealistic dialogue isn't going anywhere ("Now that's what I was looking for!"). But hey, the-mashup-that-must-be-named isn't in this issue, so I guess that's a win. 

The change in artist is a mixed bag as well. On the one hand, a lot of the criticisms for the previous artist (dead eyes, unintentionally psychotic expressions, etc.) have been corrected by Cinar. All of the characters look a lot more human, while still maintaining impressive reactions and dynamic poses (see Warparth, Sabertooth, and Nuke specifically). But on the other hand, the change in art is too subtle. The artwork in this issue feels too similar to what's come before, which is disappointing. And while the absurdity of condemning visual continuity is not lost on me, this issue was an opportunity to really reinvent this series and firmly plant its feet in its own world. Instead, the art was a careful spiritual successor to the style of the past, which seems like a misstep. I hope that if Cinar remains the main artist throughout this arc, we get to see a stronger departure from the the first eleven issues. I can't help but imagine how much better this issue would have been if Rahzzah were the main artist rather than being restricted to just the cover: which, incidentally, was the best thing about this issue. 

Buried in the post-ending pages as part of the Marvel Legacy primer pages is a curious caption: "They've sworn to prevent the abduction, abuse or murder of any mutant, anywhere in the world.... United in mission, they are Weapon X!" Is it? If that's the point of this series, I'm pretty confident this is the first we've heard of it. Have we had any notice of this in the past eleven issues? Is that what this issue was supposed to be about? And any series that takes a dozen issues to figure out its purpose probably had no business being a series in the first place.

X-MEN GOLD #17 REVIEW

Writer: Marc Guggenheim Artists: Ken Lashley, Juan Fernandez Letterer: VC's Cory Petit Cover Artists: Ken Lashley & Juan Fernandez Publisher: @marvelentertainment​ NCBD: 12/6/17 Review by: Ryan Douglas

The team consisting of Storm, Old Man Logan, Ink, Colossus, and Armor suit up at the Triskelion. With some assistance from Forge and Blue Marvel get prepped for their exploration into the Negative Zone. When the team plops right into the middle of a war zone, they don't choose a particular side. Although as readers we know the X-Men isn't going to take the "Space Nazi's" side. They cautiously side with the side not wearing “Space Hitler” armbands and there deciding to fall in line to save Kitty Pryde and Nightcrawler. Who we can presume is the leader of the resistance, gives more of explanation to flush out the home planet Dartayus. It's your straightforward tale of the evil dictator who must be overthrown. Maybe a little too on the nose for the current state of the real world. Each current X-Men title has a role to a particular audience. I'm starting to come to the conclusion, X-Men Gold is the entry level for any new comic book reader to follow along with.

Kologoth's underground hideout is the subplot of the issue. He has a bit of an odd approach he'll take to see out his plan. We also focus on the captures Kitty and Nightcrawler, being tortured in a modest way. Nightcrawler may not have a lot of screentime. But as readers, we watch on as contemplates his options of escape. Now as soon the seeds planted, it can be seen played out a mile away. Making for a predictable ending for the continuation of the Negative Zone War arc.

The arc I was looking forward to is losing steam fast. With this being a longer arc, everything seems rushed and not giving us a chance to settle in with the heroes before going off to Armageddon. I just can't get past the fact, of all villains to create a space story, Marc Guggenheim creates a "Space Hitler" that who reflects your common futuristic dictator. The X-Men deserve a better threat.

Instead of developing the story, we're served slow burn meal of an uninteresting world building with a subtle seed or two to maybe play a part in the arc. The story so far seems all to predictable and segments this title being back to its basics. Opposed to going to where no man or woman has gone before. X-Men Gold continues becoming a series that may just not be for me. See you in two weeks.

Ken Lashley and Juan Fernandez are perfect for the script and maintain the quality of the last issue. One thing that sticks out the most, is the detail and focus on capturing the reflections within the clothing and armor. Juan Fernandez's lighting and colors highlight the scenes to set the mood, particularly when we see a tour of Kologoth's underground hive. With a solid colorist, Ken Lashley produces unique character designs and well-portrayed action sequences. In this case, the two mix well together and deliver worthy comic book art. The art saves some of this issue for me.

ASTONISHING X-MEN #6 **SPOILERS**

Writer: Charles Soule Artists: Mike Del Mundo & Marco D'Alfonso Letterer: VC's Clayton Cowles Cover Artist: Mike Del Mundo Publisher: @marvelentertainment​ NCBD: 12/6/17 Review by: Ryan Douglas

Shadow King's poison continues to spread throughout London, while Xavier finally makes his move to attack Shadow King in the astral plane and everything falls into place. How it's explained is Xavier's soul has been trapped for centuries. Which begs the question how far into the future is the story taking place? Fantomex, Rogue, and Mystique are the power plays and Xavier explains the characters abilities to adapt their surrounding benefits within the Astral Plane. While some slight shade is thrown towards the remaining team, in a creepy way Xavier tells the reader each member had a role to play. Now if Xavier was willing to spread Shadow King's poison and causing such madness to occur. Who's to say, if Xavier could come back a changed man or what other tainted souls could be at play. Maybe Charles Soule is holding that next twist to squash the what comes off as a rushed reveal. But Xavier has his night in shining armor moment, able to break loose from the chains which kept him prisoner and removing Shadow King with the strike of a blade.

Outside the Astral Plane, the Ministry of Defence has initiated Clean Room Protocol and it's time firebomb their problems away. With Archangel in control of Warren, Psylocke connects with him to balance out the force, allowing Warren to stay in control. She warns him of the Ministry of Defence's plan, sending him to deal with the matter. Just as this happening, Psylocke is caught off guard when Fantomex appears. But to her surprise, Charle Soules slips in Fantomex's retcon transformation into what seems to be Charles Xavier!? That's a cliffhanger alright and also felt completely forced. I'm not going to question this decision much yet. Moving forward with Act II to ride out this maxi-series, Charle Soule must have something more up his sleeve.

Overall, the pieces of everything prior falls into place too smoothly. It comes off as a way to end things abruptly, to get us to the next arc. Most of the meat of the issue takes place in the astral, as Xavier narrates the road he took to defeat Shadow King at his own game. While you could consider this a backdoor approach to set his soul free, I still think there's more at play here. The delivery of Fantomex's transformation held no weight to it. We get the classic off panel conversation between Fantomex and Xavier, which could've added so much emotion to get me invested in the subplot. Now again, with Act II still coming up, Charle Soule has a chance to resolve a lot of my gripes of this finale.

Now keep in mind, I'm a fan of Mike Del Mundo's art and think he has a distinct style to separate himself from others. But it doesn't work in the story presented. What makes this series one of the best X-Men titles at the store, is the collaboration between the writer and artists. Mike Del Mundo's art gives no life to the script. While it's stunning to look at, the art is a glossy still painting with no movement or emotion, picking up when the dialogue can't convey off the page. The art really takes me out of the overall flow the series has carried.  The combination of the art and story progression, left a minor sour taste in the mouth. But like I said, I'm going to hold any judgment on the series as a whole and give Charles Soule a chance to bounce back from this mind-boggling issue.

X-MEN BLUE #16 REVIEW **SPOILERS**

Writer: Cullen Bunn Artists: Thony Silas & Rain Beredo Letterer: VC's Joe Caramagna Cover Artists: Arthur Adams & Ian Herring Publisher: @marvelentertainment NCBD: 11/29/17 Review by: Anthony Mullins

Cross Time Capers, the new arc starting in this issue of X-Men Blue, blends aspects the team has faced and dealt with during the Mojo Worldwide crossover with the events that have taken place pre-crossover. We end up with a culmination of storytelling that bleeds into what feels like a fresh start of sorts. With Magneto’s group recouping at the X-Mansion and processing what they’ve recently been through, we’re also revisiting one of the earliest seeds planted within the series: Magneto’s secret experiment, a time travel device meant to set things straight when the paradox of the time-displaced team would eventually catch up to reality. 

This arc promises to address the true origin of the time-displaced team, answering something that has plagued our brains since we first met them years ago. The core explanation for the shaky time stream occurrences in this issue is that “the time stream is all mucked up”. Bunn skillfully presents answering a HUGE question by raising a handful more: is any enemy making a play against the team, did Hank mess up his incantations when they traveled back before, why aren’t they blinking out of existence as everyone else around them is? Did time travel go so astray that there are now actually duplicates of the same individual?

 A major reveal is struck when we learn that Magneto has been communicating with (a version of) Professor Xavier! Again, Bunn builds upon his long-running creative relationship with Magneto (that began in his Uncanny run pre-X-Men-Blue), showing us that he has mastered writing one of the most important things about Magneto: leaving the reader questioning Magneto’s intent behind all of his previous choices. I’ve noticed after seeing Bunn’s work with Magneto after so long, that he’s done an awesome job at keeping his classic persona in tact, while finding awesome ways to make it fresh and even more exciting now at times. Is this Xavier OURS, is he from the past, or a different timeline altogether?

Another thread tugged at further throughout this issue is the relationship blossoming between Scott and Bloodstorm. Although it can feel stale at times to handle the unique dynamic between Scott and Jean, we’ve been seeing Jean have personal moments with Jimmy throughout the series, and now we are seeing Scott touch base with Bloodstorm in a very specific way that other team members have never connected with Scott on. Their conversations during a two page spread scene shows a sense of relatability and personal connection that I REALLY enjoyed. Whether this leads to a great friendship or something more, it sheds a fascinating light on these two characters that gives the reader an expected thoughtful moment, if not simply a reason to help plant Bloodstorm deeper, showing the reader why she deserves to be here. 

Throughout the issue we witness the team becoming more and more severely disjointed from reality. The art during these scenes was fun, and  In turn, Hank works with the machine, activating it and pulling them through time and space. Something happens to the time machine, causing it to disappear from its initial reality and leaving the team stranded in the future, where they immediately encounter the X-Men from 2099. X-Men 2099 is a deep cut, a secret gem of a Marvel Universe past, and it was TRULY AWESOME to see them again! Although their presence may be short-lived moving forward, I have faith in this creative team to make their appearance count, hopefully giving fans a taste of a particular flavor of X-Men they may have never seen before! 

Bunn’s writing has consistently been the driving force of the creative team within this series, and not only because he’s the only creator who’s taken part in every issue. He continues to withhold his understanding of the players involved in this story, and with a clear long term goal in mind, building it and tearing it down piece by piece into something quite captivating. As this series goes it continues to feel very cohesive, as if each issue gains more weight as it passes, nearly demanding to be revisited for clues or valuable scenes. 

Silas’ art on this issue lends a specific visual tone different from its predecessors, fitting of these piercing and reality-shaking events. Beredo’s coloring combines bold and brooding with vibrant and flashy in all the right places, capturing a unique texture to many material aspects such as costumes, energy-lightning, and psychic shocks. There are a couple times that a panel can fall prey to the “big-body-little-head syndrome”. Luckily, however, the portrayal of everything else around these moments does allow for a strong visual blending that translates what could be jarring in to something driving and exciting. Silas and Beredo come together and bring a specific tone that, although drastically different from the rest of the series, seems to ideally capture the feel that these much anticipated and deeply thought about topics should carry with them. 

8.5/10

OLD MAN LOGAN #31 REVIEW **SPOILERS**

Writer: Ed Brisson Artists: Mike Deodato, Jr. and Frank Martin Letterer: VC’s Cory Petit Cover Artists: Mukesh Singh NCBD: 11/29/2017 Publisher: @marvelentertainment Review by: Rob Carey - @tomemyxmen2017 Fresh off his fight with the Maestro, Logan stumbles upon new trouble while exploring Tokyo. He dices through some thugs with suspicious healing factors, and, after some interrogation, Logan learns of their hideout: a warehouse of the Crazy Thunder Clan. Upon arrival, Logan whoops all kinds of ass and gathers more intel on the healing factors and its source: Reginex, a Yashida Corps. product that appears to grant users the ability to heal at Wolverine-like speeds. Meanwhile and unknown to Logan, the reigning Silver Samurai heads to Yashida Corps. to confront the thieving scientist who was selling Reginex to the Crazy Thunder Clan. With the leak dealt with, Silver Samurai returns home, where he is attacked by Gorgon and the Hand. It's actually more of a hostile takeover, as the Silver Samurai is killed and replaced by the mysterious Scarlet Samuari!

There have been innumerable tales of Wolverine and Japan told in the past thirty-plus years, and it has to be an Okuninushian trial to come up with something unique and interesting. But of course, this has proven to be no challenge for Brisson. Here, we have a story that touches all the right notes: a fresh spin on an old enemy (the Silver and now Scarlet Samurai), Logan's oft-comic reluctance to get involved, science and espionage, and a biochemical weapon that gives our aging hero a taste of his own medicine (opponents with healing factors are a real pain in the adamantium). What we're given here is a narrative that serves as a beautiful palate cleanser from all the other X-stories, free from Mojos and resurrections and Hulkverines. Just a well-written introduction to a story about a hero who owns the problem he walked in on. It's vintage Wolverine, and it works like delicious home comfort food. But there's no discussing Old Man Logan without discussing Mike Deodato, Jr. There's such fine detail in all of his panels, particularly in the complexity of the Tokyo streets at night, Touko's demise, and in every battle in the issue. His use of perspective is exciting and cinematic. For example, check out the page where Logan first meets the Crazy Thunder Clan thugs (digital page 7). As he turns to face the last goon standing, the perspective not only zooms into their faces as they get closer to each other, but the panels actually shift off-center at more severe angels as they progress, beginning an ever subtle shift in our focus. This carries our viewpoint from the establishing shot (Logan turning to the last man standing) to the focal point of Logan's snarled face as he threatens the goon. It adds intensity, it heightens Logan's ferocity, and it makes us root for our "old man" to win the fight. This is how art enhances story-telling correctly in 2017, and its emblematic of why comic book story-telling remains so rightfully unique in the worlds of art and literature. Elsewhere, Deodato's inking results in some of the most magnificent details in comics today as shown in everything from telephone wires to broken glass to even single drops of blood. And I think it will be a long time before we'll forget the image of one thousand Hand ninja scaling a skyscraper. The effort Deodato puts into his work radiates off the page, and it's utterly masterful. 

And never to be outdone, Martin's color here is likewise impeccable. There's a tremendous sense of atmosphere and peril communicated in the colors of this issue, especially as shown by the encroaching sunrise throughout the story. It's a metaphor that stretches beyond the four corners of a panel and follows the book in its entirety. One of the more fascinating color choices in this issue is the decision to progress the colors of the gridlines and page layouts from black to white throughout the issue, with each scene having a different color that gets lighter as the story progresses. It quietly and subliminally suggests the slow sunrise and dawn of the Scarlet Samurai's empire. It also deftly communicates the progression readers experience from confused mystery in the beginning scene -- where we know the least amount of details -- to the brightness of understanding as the actors (particularly Gorgon and the Scarlet Samurai) reveal themselves and we piece together what's really happening here. It's a genius move. On top of that, there are also many examples of florescence in this issue, each with a rather ethereal glow that beams from the page (Tokyo street signs, cell phones, the Silver Samurai's effects, etc.) which deserve a special shout-out for their absolute magnetism.

9.75/10

JEAN GREY #9 REVIEW **MINOR SPOILERS**

Written by: Dennis Hopeless Art by: Victor Ibanez and Jay Davis Ramos Letters by: VC's Travis Lanham Cover Artist: David Yardin Publisher: @marvelentertainment NCBD: 11/29/17 Review by: Ryan Douglas

It seems Jean Grey wasn't able to handle the Phoenix flame hidden within Emma Frost's mind. We find ourselves as readers following along as Emma rides with Jean in the back of an ambulance, rushing to a nearby hospital. While in the emergency room, the doctors attempt to calm what they may believe is only a terrible fever. There the internal flames within Jean ignite, causing her body to be engulfed in flames. Now while this occurs, older "force ghost" Jean and Emma have words with each other. Out of this exchange, "force ghost" Jean explains her reasoning for the way Dennis Hopeless has portrayed her and it all wraps around, giving me a reason for Jean's actions and her demeanor towards younger Jean.

Elsewhere in the middle of nowhere, Hope Summers is checking her rounds and cleaning her cache of weapons. When her computer notifies her of a cosmic event nearby, it's time to jump on her space bike and haul ass to its coordinates.

After putting out the flames at the hospital, Emma Frost departs with an unconscious pale Jean, placing her on the stretcher of a helicopter and takes off. While in the air, older "force ghost" Jean and Emma dive into the explanation of the events which led to young Jean Grey know the whereabouts of the Phoenix flame within Emma. I've never felt more on Emma's side then this scene, giving me an emotional beat to understand her actions.

Emma has called on a few acquaintances to help link up psychically, in order to pull the flame from young Jean's body. Doesn't go as expected and a fellow character will have to step in, taking a different approach to calm the storm and awakening young Jean. Hope Summers then makes one of the best entrances in comic book history, to warn the characters of the cosmic presence which has entered Earth. And boy, has the cosmic entity arrived in a big way.

This issue was powerful on many levels. "Force ghost" Jean and Emma Frost steal the issue for the first half and focusing on their past relationship between the two and giving readers some closure from the past. Everything Dennis Hopeless presented from issue one and on, culminates to wrap around to send us into the final two issues on his run. The exciting story establishes and sets up the final confrontation to end the series, getting us to Phoenix Resurrection. Each character's appearance comes off strong, soaring the plot to some next level X-Men content. When this series wraps up, I won't be surprised that it's the considered an essential read in X-Men lore. Not only are we growing with young Jean, we're reminded the psychic mutants are the most powerful mutants in the game. As you turn the page, everything nicely builds to the cliffhanger and leaves you with the "oh s***!” moment.

Victor Ibanez and Jay David Ramos are a dream team of artist. Victor Ibanez's pencils have a distinguished look, standing out from any Marvel artist right now. Dennis Hopeless and Victor Ibanez work in sync, bringing his script to life. Every emotion and movement is portrayed to place you in this make-believe as a reader looking on. Jay David Ramos' colors are just a treat to page through and doesn't disguise the foundation of Victor's pencils. The color scheme doesn't stick to one palette and shows off the talents of his coloring skill. Once this book ends, I'm crossing my fingers Marvel places this duo on another title. Because these two truly are a combination of artists who deserve more praise and high profile titles.

Plus, you'll probably hear me say on the podcast. But Hope Summers needs a title where she leads an X-Force team. This series has shown how much of a badass and great leader she'd be. Like father, like daughter.  

9.8/10

The episode that almost didn't happen. Ryan and Allen come through to deliver their weekly of X-Men comic book coverage. Years of playing in bands pays off and Ryan is able to McGuyver up this recording session. Plus some Fastball Tweets from the episode thread. Thanks for listening!

Intro (0:00), Secret Warriors #9 (2:04), Jean Grey #9 (15:14), Old Man Logan #31(29:02), X-Men Blue #16 (42:17), Fastball Tweets (1:00:36), General Disucssion (1:09:05)

X-Men Monday Episode 25 Thread:

https://twitter.com/ComicsCornerPod/status/935917238829318145