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Comic Books & Graphic Novels Marvel Comics

SHE-HULK # 5 {aka SHE-HULK # 168) (2022 MARVEL COMICS)

Written by Rainbow Rowell.

Art by Luca Maresca; Rico Renzi; & VC’s Joe Caramagna.

Variant Cover Art by Remy Jones.

SUMMARY:

Marvel Comics released this issue for September 2022.  Jennifer Walters/She-Hulk’s platonic coffee date with a resurrected Jack of Hearts is interrupted by their showdown with a mysterious Juggernaut-sized adversary capable of taking Jen’s best shots.   Their sidewalk slugfest abruptly ends when their opponent’s diminutive blonde handler intervenes. 

Over dinner, ex-teammates Jennifer and Jack awkwardly explore their tentative romance.  Jen, for this date, opts for her human appearance.  The flip side is that Jack merely shrugs off  that he doesn’t pass for human.  Jen later gets a quick bit of poignant insight into her unknown opponent from a few days before.    

Note: Though the image isn’t included here, the original cover artist is Jen Bartel.

REVIEW:

Though nothing extraordinary happens, this She-Hulk # 5 is certainly a pleasant read.  Writer Rainbow Rowell readily conveys that Jen Walters’ character appeal extends beyond merely Hulk-smashing thugs.  Tip-toeing into what may Jen’s next quirky romance is well-played for what this issue offers.  The same goes to the art squad’s appealing visuals, which enhance a charming yet not-quite-romantic-comedy vibe. Case in point: Remy Jones’ variant cover is ideal selling Rowell’s low-key storyline. 

Including Jen’s latest brawl, Rowell’s She-Hulk # 5 delivers a welcome blend showcasing Jen’s best character traits.   

ADDITIONAL CONTENT:

The credits page includes a brief summary-to-date of Jennifer’s friendship with Jack of Hearts.  A two-page spread memorializes late artist George Pérez.  A “Bullpen Bulletins” column offers a profile on artist Valerio Schiti.  The last page is a full-page cover reveal for Issue # 6, with X-Men’s Nightcrawler as Jennifer’s guest star.

BRIAN’S ODD MOON RATING:                   7 Stars

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FANTASTIC FOUR: THE NEW FANTASTIC FOUR (MARVEL Comics)

Written by Dwayne McDuffie.

Art by Paul Pelletier; Rick Magyar; Scott Hanna; Paul Mounts; & Virtual Calligraphy’s Rus Wooton.

Collection Cover Art by Michael Turner; Mark Roslan; & Peter Stiegerwald.

SUMMARY:

In 2008, Marvel Comics released this 168-page paperback reprinting 2007’s Fantastic Four # 544-# 550.  After Marvel’s initial Civil War, Reed & Susan Richards’s leave of absence means an extended, off-world (and far-overdue) honeymoon. Settling in as their replacements (after the ominous bombing of New York’s Wakandan Embassy) is King T’Challa/Black Panther and his bride, Queen Ororo/Storm. 

Along with a former Deathlok, astronaut Michael Collins, the new Fantastic Four takes on a cosmic mission putting them on a collision course with the Watcher Uatu, the Silver Surfer, and even Galactus.  The fate of the presumed-dead teen hero, Gravity, is revealed, as the Thing wonders if an outmatched Black Panther has fled a seemingly unwinnable battle. 

While working on scientific research with Hank Pym, Reed is unaware that Sue has been captured on Saturn’s moon, Titan, by a new Frightful Four.  On a viewscreen from Earth, the team is horrified seeing their old foe, the Wizard, torture a defenseless Invisible Woman.  Mr. Fantastic must lead the team on a rescue mission to save his wife that puts him into a vicious clash with the Wizard.  Worse yet, one of the Panther’s oldest foes strikes for his own vengeance.  Amidst a raging showdown, does an infuriated Invisible Woman pursue her own desire for retribution?

Completing their earlier cosmic odyssey, the team needs the additional help of Doctor Strange, the Silver Surfer, and one last hero to save the universe from imminent destruction.   

Note: This title is also available digitally and in hardcover.

REVIEW:

Aside from the cruelty inflicted upon Sue as the Frightful Four’s prisoner, writer Dwayne McDuffie concocts a terrific series of Fantastic Four adventures.  In addition to Sue & Reed’s martial sub-plot, McDuffie delivers high-caliber material meshing T’Challa & Ororo into a makeshift unit with the Thing and Human Torch.  Incorporating some welcome bits of comedic relief, McDuffie is very much on his game.  Equal to the task is the art squad, as their visuals are consistently well above-average.  Completing this package are superb covers from Michael Turner’s Aspen Studios.

Invariably, nothing monumental happens impacting the Fantastic Four dynamic.  It’s readily evident from the get-go that the classic status quo will resume come Issue # 550.  Still, The New Fantastic Four proves a welcome read for fans in search of reliable Marvel entertainment.

ADDITIONAL CONTENT:

A summary-to-date explains the Fantastic Four’s shuffling after Marvel’s first Civil War.  Appearing in a full-page format preceding its story, each cover is included.  The cover artists are: # 544 and # 548-550 (Turner, Roslan, & Stiegerwald) and  # 545-547 (Turner & Stiegerwald).  The last page displays Pelletier’s Issue # 550 pencil sketches for pages 4, 12, 14, and 23.

BRIAN’S ODD MOON RATING:                         8 Stars

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Comic Books & Graphic Novels Marvel Comics

CAPTAIN CARTER # 4 (2022 MARVEL Comics)

Written by Jamie McKelvie.

Art by Marika Cresta; Matt Milla; & VC’s Clayton Cowles.

Cover Art by Jamie McKelvie.

SUMMARY:

Marvel Comics released this issue for September 2022.  In this present-day, alternate reality London, the recently unfrozen Captain Peggy Carter has allied with a cyborg Tony Stark facing off against a mysterious army of masked android assassins.  Reuniting with her British friends, S.T.R.I.K.E. operative Lizzie Braddock and hacker Harley, Peggy’s makeshift team deduces a deep-state HYDRA plot has now infiltrated both the British government and S.T.R.I.K.E. itself. 

Worse yet, Peggy deduces the insidious immortality behind the masquerading aristocrats, Jacqueline Falsworth and father John Falsworth, as to what they really are.  Publicly declared a dangerous fugitive, a framed Peggy goes solo to confront the high-profile, political identity John Falsworth is presently hiding behind. 

Notes: Though the image isn’t available here, artist Romy Jones produced the issue’s variant cover.  The issue has occasional profanities, but Marvel takes the classy approach of bleeping them out.

REVIEW:

Including a terrific likeness of actress Hayley Atwell, this issue’s art squad proves on their game.  Equal to the task is writer Jamie McKelvie, who takes welcome advantage of this reality’s fresh sense of unpredictability.  Suffice to say, McKelvie concocts an intriguing plot re-imagining Union Jack and Spitfire’s familial connection to Baron Blood.  For readers curious as to the publicity that What If’s animated Captain Carter and/or Atwell’s live-action version has generated, then Captain Carter # 4 won’t disappoint them.  

ADDITIONAL CONTENT:

The credits page includes a brief synopsis of the plot-to-date.  Included a quick summary, the last page is a cover preview of the potentially concluding Issue # 5.  

BRIAN’S ODD MOON RATING:              7 Stars

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Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks

EPIC COLLECTION: THE AVENGERS, VOLUME 4 – BEHOLD … THE VISION (MARVEL Comics)

Written by Roy Thomas.

Art by John Buscema; Sal Buscema; Gene Colan; Barry Windsor-Smith; Frank Giacoia; & Howard Purcell.

Collection Front Cover Art by John Buscema & Paul Mounts.

Collection Back Cover Art by Sal Buscema; Sam Grainger; & Paul Mounts.

SUMMARY:

In 2015, Marvel Comics released this 456-page compendium reprinting 1968-70’s Avengers # 57-76, along with the debut of Dane Whitman’s Black Knight in Marvel Super-Heroes # 17.  Starting with the Vision’s own debut, he leads the Avengers (Hawkeye; Wasp; Giant-Man; & new member Black Panther) into a showdown with Ultron.  Captain America & Iron Man join the team’s investigation into the Vision’s past. Also explained is Hank Pym’s amnesia linked to his creation of Ultron. 

The next arc has the brash Yellowjacket emerge in a sudden romance with the Wasp, as several guest stars attend their wedding.  Hank Pym’s ongoing identity crisis is seemingly resolved. Doctor Strange then accompanies Black Panther, Vision, Hawkeye, & the Black Knight on an adventure into Wakanda that gives Black Panther’s teammates some valuable insights. 

Black Widow’s abduction motivates Hawkeye to try his hand as ‘Goliath; (the team’s new Giant-Man).  Hawkeye’s murky past with hoodlum brother Barney Barton and mercenary ex-mentor, the Swordsman, is also revealed.  Thor’s vast might is sorely needed in the Avengers’ subsequent rematch with Ultron.  Forced into playing games with Kang the Conqueror means the team faces both the debuting Squadron Sinister and the Golden-Age Invaders.

Tag-teaming with the Kree’s Captain Mar-vell, Rick Jones resurfaces to help the team challenge Scorpio.  It’s then up to the Black Panther to thwart the Sons of the Serpent once they’ve targeted his private life.  Quicksilver seeks out the Avengers to rescue his sister, the Scarlet Witch, following  her abduction by Arkon (a mystical warrior from another dimension).  In closing, the supernatural origin of Dane Whitman’s Black Knight is revisited. 

REVIEW:

In blazing color, exploring these Silver Age exploits of The Avengers becomes an old-school Marvel fan’s dream.   Behold … The Vision delivers well-packaged nostalgia and lives up to all expectations.  This collection is highly recommended!          

ADDITIONAL CONTENT:

The original covers are presented in a full-page format.  Another full-page cover is from 1969’s King-Size Avengers Annual # 3 (by John Buscema & Frank Giacoia), though there apparently isn’t any story material in this particular volume.   Also provided is full-page, unused cover art for Marvel Super-Heroes # 17 (from Howard Purcell & Dan Adkins). 

There is also a black-and-white, full-page photo taken of artist John Buscema’s artwork from the first page of Avengers # 58.  Other black-and-white visuals are sampled from pages 19-20 from Issue # 58 (by John Buscema & George Klein). 

Next up is unused sketch work for the Avengers # 66 cover (by Barry Windsor-Smith & Syd Shores).  Black-and-white artwork featuring Ultron on page 11 of Avengers # 68 (by Sal Buscema & Sam Grainger) is provided.  Lastly, there is a Black Panther scene from page 17 of Avengers # 74 (by John Buscema & Tom Palmer).

BRIAN’S ODD MOON RATING:              10 Stars

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THE TRIAL OF THE INCREDIBLE HULK

SUMMARY:                          RUNNING TIME: 1 Hour, 40 Min.

The second Incredible Hulk TV reunion film premiered on NBC-TV on May 7, 1989.  Co-producing with New World Television (Marvel Comics’ then-owner) is Bill Bixby, who also directed the movie off Gerald DiPego’s script.  Per NBC’s expectations, Daredevil’s live-action debut serves as a backdoor TV series pilot; the same previously applied to Thor in 1988’s The Incredible Hulk Returns.   

In New York City, posing as farmworker ‘David Belson,’ a bearded Dr. David Banner (Bill Bixby) stumbles into a subway gang attack on enigmatic Ellie Mendez (Marta DuBois).  After the Hulk’s (Lou Ferrigno) intervention, Mendez shockingly accuses Banner (her Good Samaritan) of the crime, for which he is then arrested and incarcerated. 

Defended by blind attorney Matt Murdock (Streethawk’s Rex Smith), Banner subsequently becomes involved in a mysterious, black-clad vigilante’s crusade against mega-mobster Wilson Fisk (John Rhys-Davies).  Attempting to evade revelations of his past, Banner becomes Daredevil’s ally against Fisk.  Even with the Hulk watching his back, the masked hero’s super-sensitive, radar-like senses may not be enough to thwart the city’s nefarious ‘Kingpin of Crime.’      

Dr. David Banner (aka David Belson): Bill Bixby

The Hulk: Lou Ferrigno

Matt Murdock / Daredevil: Rex Smith

Wilson Fisk: John Rhys-Davies

NYPD Capt. Albert Tendelli: Joseph Mascolo

Al Pettiman: Richard Cummings Jr.

Christa Klein: Nancy Everhard

Ellie Mendez: Marta DuBois

Turk: Mark Acheson

Denny: John Novak

John: Dwight Koss

Farm Supervisor: Meredith Bain Woodward

Judge (dream sequence): Don MacKay

Prosecutor (dream sequence): Doug Abrahams

Baliff (dream sequence): Uncredited

Juror (dream sequence): Stan Lee {cameo}

Note: Double-featured with The Incredible Hulk Returns, this movie has been released to DVD.

REVIEW:

Not even mustering a hung jury, this shoddy Hulk team-up should be found guilty of a wasted opportunity.  Instead of finally resolving David Banner’s status quo as a fugitive, Bill Bixby opts for super-hero dreck starring far more Rex Smith than Lou Ferrigno. 

Resorting to an unsatisfying plot twist, Bixby has no creative justification excluding Ferrigno from his own movie’s fight scene climax.  Perhaps the movie’s production budget saved a few bucks this way, but more of Daredevil’s low-grade, martial art aerobics isn’t what viewers tuned in to see.  Exacerbating this dubious segment is Fisk’s laughable escape cop-out, as the movie’s cheapo special effects unconvincingly depict a makeshift helicopter.

Before proceeding further, another awful plot device should be addressed.  Trial’s unnecessarily dark vibe extends too far menacing Marta DuBois’ helplessly captive Ellie – i.e. one late scene infers she is likely to endure physical abuse or even potentially sexual violence in a supposedly kid-friendly TV property.

Let’s move on to the dream/nightmare sequence, which is the film’s deceptive attempt at justifying its dramatic title.  Specifically, an aggravated Banner’s Hulk-out on the witness stand ignites the Hulk’s unwarranted and exceedingly violent abuse of court personnel.  This scene’s continuity is so laughably poor that there’s no logical explanation why a heavily-bearded Banner would then transform into an un-bearded Hulk. 

Kudos should go to Ferrigno for performing his iconic role admirably well, no matter how the poorly-scripted Trial wastes his screen presence.  By comparison, Bixby’s acting is uninspired (like Returns, it’s far short of his Emmy-caliber work in the TV series); meanwhile, Rhys-Davies treats his villainous cardboard role like the paycheck it is.      

Finally, Rex Smith’s ultra-bland, ninja-like Daredevil resembles a bargain-basement Batman (no less than a month before Michael Keaton’s first Batman caper).  It’s peculiar watching Bixby & Ferrigno pitch themselves as Smith’s guest stars rather than logically vice-versa.  A more capable performer (other than Smith and his stunt double) might have salvaged Daredevil’s potential star power, but Trial’s weakly formulaic plotting would have still made it for naught.  As compared to its hokey predecessor co-starring Thor, the blah Trial isn’t nearly half as entertaining, let alone re-watchable.     

BRIAN’S ODD MOON RATING:                      4 Stars

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THE DEATH OF THE INCREDIBLE HULK

SUMMARY:             RUNNING TIME: 1 Hour, 35 Min.

NBC-TV televised the Incredible Hulk reunion trilogy’s final installment on February 18, 1990.  For New World Television/New World International (Marvel Comics’ then-owner), Bill Bixby directed and executive-produced this film off Gerald DiPego’s script. 

Notes: Due to Death’s subsequently disappointing ratings, a potential sequel exploring the character’s subsequent resurrection was scuttled.  Hence, rumored possibilities of either She-Hulk (Brigitte Nielsen had even appeared in a glamorous photo shoot as the character) or possibly Iron Man guest-starring in future Marvel-friendly Hulk TV adventures never materialized. Still, Death has been released to DVD.

In Portland, Oregon, an undercover David Banner is now posing as David Bellamy, a mentally-impaired janitor working graveyard shifts.  Utilizing his after-hours access to a research laboratory, Banner routinely corrects equations in Dr. Ronald Pratt’s (Philip Sterling) theoretical work analyzing radiation.  Once Pratt confronts his secret intruder, Banner senses that his new friend has the necessary scientific resources to finally cure his affliction as the Hulk. 

Yet, Eastern European espionage pilfering Pratt’s work sets up Banner and young spy/burglar, Jasmin (Elizabeth Gracen, pre-Highlander: The Series), for a fateful showdown with her ruthless employers.     

Dr. David Banner / David Bellamy: Bill Bixby

The Hulk: Lou Ferrigno

Jasmin: Elizabeth Gracen

Dr. Ronald Pratt: Philip Sterling

Amy Pratt: Barbara Tarbuck

Bella: Anna Katarina (aka Anna Katerina)

Kasha: Andreas Katsulas

Zed: John Novak

Betty: Chilton Crane

Brenn: Dwight McFee   

REVIEW:

Given the title, it’s no wonder that Bill Bixby & Lou Ferrigno’s last Hulk adventure is so melancholic.  Ironically enough, the plot’s dire vibe draws closer in spirit to producer Kenneth Johnson’s TV series than the previous two reunion flicks.  Instead of pushing flashy Marvel super-heroes for their own backdoor TV pilots, this finale reverts to the classic Bixby/Ferrigno formula and a decent supporting cast … yet, with middling results. 

The inherent problem is that neither star/producer/director Bixby nor screenwriter Gerald DiPego can overcome a lackluster espionage angle that is near-unwatchable without Lou Ferrigno’s Hulk.  Case in point: a lame effort at comic relief — revealing a comatose Pratt’s dubious old nickname – should be deemed the less said the better.

Further, it’s readily evident that Death was filmed on the cheap (in Vancouver, Canada) – i.e. as few as they are, Bixby’s patented Hulk-outs are now conveniently relegated off-screen.  In one instance, a worked-up Bixby simply tilts over and, seconds later, comes back up as Ferrigno’s Hulk (whose spot-on performance is, at least, reliable as always).  Death’s penny-pinching cheats viewers, as the two prior reunion films (one with Thor and one with Daredevil) tried harder pleasing its target audience, no matter how ultra-cheesy the special effects looked. 

Ultimately, per Banner’s foreshadowed hint earlier in the script, Death’s poignant final moments briefly display Bixby’s best acting in the reunion trilogy.  It’s just unfortunate that this film’s measly production values (and lack of fun in any nostalgic sense) would end Bixby & Ferrigno’s thirteen-year Hulk franchise with a disappointingly weak Death. 

Perhaps fans ought to take some solace that the proposed fourth film – The Revenge of the Incredible Hulk was never produced.  From the insipid premise DiPego has publicly discussed, one might have seen depicted a resurrected Hulk now possessing Banner’s intellect and/or Bixby’s powerless Banner being compelled to re-irradiate himself to save the day.  Frankly, such desperate genre clichés makes Death’s definitive end (instead of its intended cop-out to justify Revenge) sound almost good by comparison.

BRIAN’S ODD MOON RATING:              3 Stars

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THE INCREDIBLE HULK RETURNS

SUMMARY:                RUNNING TIME: 1 Hour, 40 Min.

After a nearly six-year hiatus following CBS-TV’s cancellation of the original TV series, NBC-TV broadcast the first Incredible Hulk reunion film on May 2, 1988.  Bill Bixby produced and (unofficially) co-directed the movie with its screenwriter/credited director, Nicholas Corea, in the first-ever, live-action team-up of Marvel Comics super-heroes.   

Notes: The movie’s co-producers: New World Television (Marvel Comics’ then-owner) and Bixby’s production company excluded series creator Kenneth Johnson from participation.  Unlike the two subsequent reunion films, Returns was more scenically filmed in Southern California with a larger budget – i.e. filming Maggie Shaw’s ‘home’ on Malibu’s shoreline; recycling archival footage from the original 1977 TV pilot; and re-editing the TV show’s opening credits segment for this film.   

It has been two years since David Banner’s (Bill Bixby) last explosive Hulk-out.  Now re-established in Los Angeles, as the enigmatic ‘Dr. David Bannion,’ Banner is romantically involved with his colleague, bio-geneticist Dr. Maggie Shaw (Lee Purcell). 

More so, Banner is the project leader for the Lambert Institute’s new ‘Gamma Transponder,’ which is hyped for its massive potential recycling radioactive waste energy.  While Banner’s ulterior motive is to use the Transponder to finally cure himself, an Lambert Institute insider sells the Transponder’s experimental technology on the black market.

Banner’s efforts are further complicated by the arrival of former student and now-physician, Dr. Donald Blake (Steve Levitt), with his own unwanted, Marvel-friendly partner: the battle-happy Thor (Eric Allan Kramer).  Due to the Hulk and Thor’s repetitive interference,  two ruthless Cajun mercenaries and their gang become increasingly desperate to obtain the Transponder’s secrets. 

Perhaps even worse yet for Banner is the threat of his old nemesis: tabloid journalist Jack McGee, who smells a connection between this elusive ‘Dr. Bannion’ and the resurfaced Hulk.    

Dr. David Banner / Dr. David Bannion: Bill Bixby

The Hulk: Lou Ferrigno

Dr. Margaret “Maggie” Shaw: Lee Purcell

Dr. Donald “Don” Blake: Steve Levitt

Thor: Eric Allan Kramer

Joshua “Josh” Lambert: John Gabriel

Zack Lambert: Jay Baker

Mike Fouche: Charles Napier

Jack LeBeau: Tim Thomerson

Biker Bar Girl: Peisha Arten (aka Peisha McPhee)

Roy (Security Guard): Uncredited

Jogging Beach Girl: Uncredited

Mark (McGee’s Editor – voice only): Uncredited

LeBeau’s Henchman: Nick Costa; Carl Ciarfalio; Bobby McLaughlin; Burke Denis; & Donald Willis

TV Series Credits Narrator: Ted Cassidy (uncredited archival voice)

More Notes: As a double-feature, this title, along with its 1989 sequel, “The Trial of the Incredible Hulk,” has been released to DVD. Among various logic and visual gaffes one might spot, there’s even a verbal contradiction of the original TV series.  Blake’s dialogue remembers a then-bearded, academic Banner as “his favorite scientist” and a “resident Merlin” at Harvard a decade before.  That claim doesn’t jive with the show’s first-season time frame (1978) where a ‘dead’ Banner was already the Hulk and on the run as a fugitive.  

REVIEW:

In spite of its adherence to the TV series opening credits and Lance Rubin’s mimicking of Joseph Harnell’s familiar theme music, The Incredible Hulk Returns makes no pretense to Kenneth Johnson’s insistence upon character depth.  Along with its rudimentary dialogue, this film’s easy-to-digest, action-adventure plot is built for undemanding all-ages entertainment, i.e. Thor’s guest presence in a backdoor pilot for his own possible TV series. 

It’s then no surprise that Bill Bixby’s normally Emmy-caliber acting seems utterly phoned in this time.  Though Bixby isn’t at his best, he still re-establishes the reliable TV magic shared with Lou Ferrigno & Jack Colvin.  Consider that a welcome solace, as compared to what little characterization their supporting cast is given to work with. 

In particular, the cardboard TV baddies played by familiar suspects Tim Thomerson and Charles Napier too often resort to simplistic clichés and catchphrases explaining their rationale as black market cutthroats.  Fortunately, Lee Purcell and Steve Levitt, given their own circumstances, still conjure up likable efforts, along with Eric Allan Kramer’s not-so-mighty/bright yet amusingly goofy Thor. 

Overcoming its ultra-cheesy special effects and a deliberately hokey plot, The Incredible Hulk Returns easily surpasses its two successors, in terms of both Hollywood production values and pure entertainment value.  Suffice to say, with some help from the first live-action ‘Thor,’ Bixby & Ferrigno’s welcome reunion offers all a Late 80’s TV movie budget reasonably can, with nostalgic charm to spare.

BRIAN’S ODD MOON RATING:                  6 Stars

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Comic Books & Graphic Novels Marvel Comics

X-MEN # 71 (1998 MARVEL Comics)

Written by Joe Kelly.

Art by Carlos Pacheco; Art Thibert; Richard Starkings; Comicraft; Chris Lichtner; Aron Lusen; & Liquid!.

Cover Art by Carlos Pacheco; Art Thibert; & Liquid!.

SUMMARY:

Entitled “A House in Order,” Marvel Comics released this issue for January 1998.  With the X-Men in functional disarray, the team’s future appears troubled.  With their temporary departure imminent, Jean Grey-Summers/Phoenix psychically cleanses lingering tension amongst her teammates; simultaneously, her injured husband, Scott Summers/Cyclops, reconsiders leaving the makeshift X-Men. 

The team’s remaining veterans include Dr. Hank McCoy, Bobby Drake/Iceman, and Sam Guthrie/Cannonball.  Still, the team’s leadership falls to a skeptical Logan/Wolverine and Ororo Munroe/Storm, to keep new recruits Marrow, Maggott, & Cecilia Reyes in cohesion, along with getting by on far-reduced resources.

Accompanying their new recruits on a tour of nearby Salem Center, Jean gains a reinforced sense of optimism from news re: the Avengers and the Fantastic Four.  Along with her husband, Jean wistfully departs the X-Men for some much-needed downtime.  Meanwhile, in Venice, Italy, there’s an ominous interlude featuring the Hellfire Club’s Sebastian Shaw.  Similarly, a new sub-plot is arising from Ororo’s past in Cairo, Egypt.

Note: Despite his presence on the cover, Warren Worthington III/Angel is absent from this issue.

REVIEW:

Writer Joe Kelly delivers solid X-storytelling in this transitional issue, as it sets up Wolverine’s new role as a reluctant mentor.  Also, the dual importance of Phoenix & Cyclops wishing to preserve the X-Men’s long-held ideals is well-played.  Kelly, in that sense, effectively balances familiar personalities (i.e. Jean, Scott, Ororo, & Logan, etc.) amidst inklings of new storylines coming into play. 

Along with the art squad’s reliable visuals (i.e. the likable cover image), X-Men # 71 is a welcome read heralding integration of some intriguing new X-Men.   

ADDITIONAL CONTENT:

The fold-out cover includes quick character synopses for: Cyclops; Phoenix; Marrow; Cecilia Reyes; Maggott; Cannonball; & Iceman, along with a current plot summary.  There’s also a “Bullpen Bulletins” column and an “X-Pressions” letters-and-answers column.    

BRIAN’S ODD MOON RATING:                        8 Stars

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Comic Books & Graphic Novels Marvel Comics

UNCANNY X-MEN # 334 (1996 MARVEL Comics)

Written by Scott Lobdell.

Art by Joe Madureira; Tim Townsend; Steve Buccellato; Team Bucce!; Richard Starkings; & Comicraft.

Cover Art by Joe Madureira.

SUMMARY:

As part of Onslaught’s prelude, Marvel Comics released this issue for July 1996.  Entitled “Dark Horizon,”  Juggernaut easily subdues Bishop and Gambit upon accessing the X-Men’s estate.  After seeking emotional support from her husband, Cyclops, a worried Phoenix is confronted by Juggernaut.  Having previously encountered Juggernaut in Colorado, Angel & Psylocke opt to return to the X-Mansion upon ominously realizing that communications with Professor X are down.

Elsewhere, in the X-Mansion, Iceman, Storm, and a still-feral Wolverine are unaware of the nefarious Beast impersonator.  A confused Cannonball seeks out Storm after his harshly dismissive encounter with Professor X.  Simultaneously, Cyclops has his own bewildering encounter with the Professor.  Trusting a worried Juggernaut, Jean secretly brings him into the underground tunnels existing below the X-Mansion to seek answers re: who is Onslaught?   

REVIEW:

It’s a dual point-of-view.  As a single read, Uncanny X-Men # 334 is a solid read with some welcome twists.  This issue also boasts the art squad’s likable visuals, i.e. the cover image. 

Yet, as with Issue # 333, one is never left to forget that Onslaught, per the industry norm, is a constructed Marvel money pit.  In terms of being expected to seek other X-titles to continue certain sub-plots, this issue obviously bait readers further towards the Onslaught saga.  Should one ignore such temptations, Uncanny X-Men # 334 is still a welcome addition to any X-comics collection.     

ADDITIONAL CONTENT:

The “Bullpen” column is a two-page spread.  A two-page “X-Mail” letters-and-answers column is also included.  There’s a five-page Onslaught ad hyping related issues: Uncanny X-Men # 322; X-Force # 46; X-Men # 46; X-Force # 52; X-Men # 49; and X-Men # 50.

BRIAN’S ODD MOON RATING:               7 Stars

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Comic Books & Graphic Novels Marvel Comics

UNCANNY X-MEN # 333 (1996 MARVEL Comics)

Written by Scott Lobdell.

Art by Pascual Ferry; Tim Townsend; Rob Hunter; Mark Morales; Chad Hunt; Team Buuce; Richard Starkings; Comicraft; & Team Bucce.

Cover Art by Lee Weeks & Tim Townsend.

SUMMARY:

With the Onslaught saga imminent, Marvel Comics released this issue for June 1996.  Entitled “The Other Shoe …,” Cyclops’ clandestine midnight meeting with a worried Senator Robert Kelly is rudely interrupted by Graydon Creed’s forces on Bastion’s behalf (this sub-plot continues in X-Force # 55).  Hovering above the Pentagon, the team (Storm, Cannonball, Iceman, Bishop, and a presently feral Wolverine) assist Professor X with a covert surveillance mission.  None of them are aware of the nefarious Beast impersonator among them from an alternate reality.

Inside the Pentagon, an undercover Phoenix and Gambit explore the devious machinations behind the ‘Operation: Zero Tolerance’ conspiracy.  They soon have a close first encounter with Bastion, who is evidently against the equally mysterious Onslaught.  The duo must then fight their way back to safety. Jean is psychically contacted by a mysterious presence, which continues in X-Men # 53. 

In Colorado, two recuperating X-Men: Psylocke and Angel are attacked by an unknown adversary before encountering the silhouette of a familiar foe.

REVIEW:

Writer Scott Lobdell compiles a busy assortment of storylines that makes for an intriguing read.  Though including a smidgen of humor would have been appreciated, Lobdell, otherwise, keeps faithful readers tuned in.  As for the artwork, the visuals are closer to sufficient than superb. 

Uncanny X-Men # 333, considering how it glaringly interconnects with various other X-titles in the pre-Onslaught saga, is a solid-enough investment.  Yet, quality-wise, it’s likely an average X-issue for that particular era.  

ADDITIONAL CONTENT:

There’s a two-page “X-Mail” letters-and-answers column, as well as a two-page “X-Facts” news-and-notes column.  

BRIAN’S ODD MOON RATING:                         6 Stars