X-MEN/DR. DOOM '98 - December 1998

Doomquest

Credits: Jorge Gonzalez (writer), Aaron Lopestri (penciler), Art Thibert & Jaime Mendoza (inks), Shannon Blanchard (colors), Comicraft’s Dave Lanphear (letters)

Summary: In the past, Dr. Doom learns of the coming of Onslaught from the mystic Seer. Suspecting a connection to Magneto, Doom travels on his Time Platform with the Seer to secretly spy on Magneto at various points in his future. At one point the Seer makes telepathic contact with Onslaught, leading the duo to investigate Professor Xavier’s life. Eventually, Doom battles the Magneto of the present day, before finally reaching the moment of Onslaught’s creation. As the darkness inside Magneto invades Xavier’s consciousness, Doom tries to steal its power with his absorption module. The nascent Onslaught entity responds by sending Doom and the Seer back to the past. Doom is satisfied with the knowledge he’s obtained, and kills the Seer to keep it for himself.

Continuity Notes: The framing sequence of this story takes place shortly after Magneto invaded Santo Marco in the original X-Men #4. At one point in the issue, Doom arrives in the “Days of Future Past” timeline. The presence of the Sentinels inspires him to create his own robots.

Review: It’s always a dodgy proposition when creators predict the future of their characters, especially in corporate-owned comics. The writer doesn’t know if he’ll be on the book three months from now, let alone twenty years in the future, and there’s no way of telling which new cast members will join a series, or which characters will be killed off or resurrected by editorial fiat. There’s a reason why Stacy X isn’t on one of those posters behind Wolverine on the cover of Uncanny X-Men #141, aside from the fact that everyone hates her.

Gonzalez escapes this trap by setting the story far in the past of Marvel continuity, guaranteeing that his visions of the future are absolutely accurate, since they’ve already happened. As much as fans might’ve complained about the “Onslaught” crossover, within the context of the Marvel Universe, it’s entirely feasible that Onslaught’s the type of omnipotent entity that would give a mystic soothsayer fits. It’s not like he’s going to predict the dawning of the Age of Humbug, after all. Gonzalez has selected a series of “greatest hits” from UXM, mainly hitting on the Claremont issues, which will likely please most longtime fans. There’s always a chance that referencing an old story can make yours look weak in comparison, but Gonzalez writes an entertaining Doom and Lopestri’s art is strong enough to compete with the original stories.

The continuity issues are danced around by allowing Doom to remain cloaked during most of the adventures, with only Phoenix and Onslaught making brief detections. The official line used to be that time travel is supposed to automatically create an alternate reality in the Marvel Universe, but even if this trip didn’t alter reality, there’s no impact Doom’s presence could’ve made on the time periods he visited. The only question now is why Doom didn’t go through with the promise he makes at the end of the story to use this information to his advantage. If we’re to believe that the Dr. Doom of the mainstream Marvel Universe knew of the coming of Onslaught years in advance, why did he so rarely interact with Xavier and Magneto? Why was he so unprepared for the emergence of Onslaught? Why couldn’t he prevent his own sacrifice, which helped to destroy the entity? I realize that erasing Doom’s knowledge of the future at the story’s end would’ve been a cheat, but allowing him to keep the information creates its own set of problems.

MAVERICK #12 - August 1998

Red Reign Part 3 - Mortal Coils

Credits: Jorge Gonzalez (writer), Jim Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Inside Pushkin’s aircraft, Maverick and Red Guardian are discovered by Omega Red and Sickle. Turbulence throws the heroes off the plane, but they’re soon able to locate the AIM base Pushkin has targeted. While Red Guardian disables the chemical weapons, Maverick has a second confrontation with Sickle, but refuses to kill him. Red Guardian is caught by Hammer, who smashes his leg. Maverick sends Red Guardian away in an escape pod as the AIM base self-destructs. After fending off Omega Red, Maverick sneaks back onboard Pushkin’s plane and destroys the stolen missiles. Sickle strikes again, gouging Maverick’s left eye out and throwing him out of the plane. Maverick survives the fall, and uses his powers to cauterize his wound.

Continuity Notes: For some reason, it’s important the editors tell us this story takes place before Quicksilver #6. Chris and Elena make a brief appearance, as Elena lies comatose in the Bradleys’ home. The pain Maverick experiences at the end travels through their telepathic bond and forces Elena out of her coma.

“Huh?” Moment: Apparently, you can “permanently neutralize” chemical WMDs “forever” by pressing a button on a computer console that will deactivate their biological agents.

Review: I don’t remember people talking about the Maverick series when it was new, but I do recall some speculation that its cancellation was significant because it was the first X-spinoff to be cancelled due to low sales. (I guess the 99-cent Professor Xavier and the X-Men book didn’t count, as it wasn’t strictly in-continuity and a part of an entire line that folded.) An X-association was no longer enough keep a title afloat, and surely Marvel would learn a lesson from this and be more careful about exploiting the brand in the future. And that is exactly what happened, because unquestionably no X-titles have been cancelled since 1998. Readers just can’t get enough spinoffs about new teenage mutants, or solo books with popular characters like Rogue and Nightcrawler. That X-brand is still a healthy cash cow, here on Bizarro World.

I do feel a little bad for Maverick. I can’t say it’s been an exceptionally great book, but it’s tended to hold a higher level of quality than many of its spinoff brethren. Had it launched just a few years earlier, I could see it making it past the twenty-five issue mark quite easily. However, Maverick had the misfortune of being released in the summer of 1997, a solid year after the X-brand started to lose its shine as the overall industry continued to collapse. Maverick probably would’ve performed just as well as, say, Cable’s solo title, had it been released within a year of his first appearance. This was a Jim Lee character with mysterious ties to Wolverine! He shoots people and has a bad attitude, just like the Punisher! In 1993, that’s printing money. In 1997, you’re hoping that the people who still remember/care about that stuff will give the book a shot.

And if someone actually wanted to see the original, tough-as-nails merc Maverick, the series didn’t exactly deliver. At this point, he’s mellowed out so much that he doesn’t even kill the assassin that’s obsessed with killing him, the one that helped to murder his mentor earlier in the series, and is in the process of stealing WMDs, when he has the chance. Maverick doesn’t want to be brought down to Sickle’s level, so he lets the guy live to terrorize and murder another day. Or just another hour, as Maverick has to face him again a few pages later, which ends with Sickle gauging his eye out. Sickle lost an eye to Maverick earlier in the series, so maybe this is a play on the old “eye for an eye” axiom, although it’s a little odd that Maverick loses his eye after he’s already decided to spare his opponent’s life. Maybe this was intended as a cynical message; a warning that doing the right thing could also have tragic consequences. The final pages are rather dark, as Maverick tends to his wounds while stranded in the frozen wilderness, so perhaps Gonzalez really was going for a totally downbeat ending. However, given the more traditional tone of the rest of the series, I wonder if the ending was originally intended as a cliffhanger that just became the closing after the pink slips went out.

I’m not sure why exactly Maverick was softened up for this series, but it’s one of the choices that could’ve led to the title’s demise. Maverick’s the guy who shot a flunkie seven times in the face in his first appearance for no compelling reason, outside of it making a nice quip after the goon told him he needed to go to Level Seven (“Seven, huh?” BLAM BLAM BLAM BLAM BLAM BLAM BLAM). He’s not the type of character you put through a “true heroism” arc, unless there’s a skilled writer at the helm who can really pull it off. Nothing in this series leads me to believe Jorge Gonzalez is that man. His stories mostly make sense, his action sequences can be fun, and he tends to give Jim Cheung interesting things to draw, but he isn’t someone you turn to for intense character development. Gonzalez’s characterizations are just too flat to execute that kind of an arc, which leaves Maverick as a slightly dull superhero by the time the final issue arrives, rather than the cold-blooded mercenary with a dark sense of humor that Scott Lobdell and Jim Lee introduced to fans. If you wanted that Maverick, you were probably better off reading Joe Kelly’s Deadpool.

MAVERICK #10-#11, June-July 1998

Red Reign Part One - Cold Front!

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Maverick awakes in Russia, where Ivan the Terrible is waiting. While being escorted to a dungeon, Maverick escapes and steals a horse. He’s forced to surrender when Ivan threatens a young boy. Later, Ivan meets with AIM representatives and backs out of an arms deal. When they leave, Ivan sends Sickle and Hammer to follow the AIM agents. They’re joined by Ivan’s new hire, Omega Red.

Continuity Notes: The body of Etta Langstrom (the scientist who attempted to brainwash Maverick in issue #2) is in the dungeon. Ivan also breaks the fingers of one of his mistresses when she accidentally interrupts his conversation with Maverick.

Review: I don’t think you can blame Jim Cheung’s covers for Maverick’s short run. Most of them are strong attention-getters, with appropriately vivid colors, and this is one of my favorites. And what about Maverick’s daring horseback escape? It’s literally one page of the story. Gonzalez seems more interested in having Ivan strut around for a few pages and remind us of how evil he is. Maverick barely has anything to do, and the action scene he’s given is too brief to be effective. The Ivan vs. AIM subplot does have potential, though. I’ve always enjoyed villain vs. villain conflicts.

Perilous Choices

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Chris sneaks into Dr. Keller’s office, disguising himself with the energy that surrounds his electric powers. His powers snuff out while fighting the gang, however. Lying on the floor, Chris can no longer protect his identity.

Review: Two of the five pages in this backup are spent on recapping the previous chapter, making this even more flagrant filler. The story doesn’t even end here, which means it’s going to be stretched out into three issues. Leo Fernandez’s art is still clean and attractive, though, and I don’t mind him as a fill-in for Cheung.

Red Reign Part Two - Raising the Stakes

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Maverick discovers his cellmate is the new Red Guardian, while Ivan unveils to Omega Red his plan to pin the robbery on Hydra. Maverick escapes when his powers flare up and returns to Ivan’s mansion to retrieve his gear. With the help of Ivan’s mistress, Maverick discovers Ivan’s plot to rob AIM of WMDs. Along with the Red Guardian, Maverick sneaks onboard Ivan’s plane.

Continuity Notes: Maverick says he knew the original Red Guardian, Alexi Shostakov, personally. The new Red Guardian claims to be an independent hero who wishes to inspire the disheartened people of Russia. While reading Ivan’s files, Maverick learns that Major Barrington was innocent of the charges made against him during Dr. Langston’s brainwashing.

Review: Maverick only has one issue left, so it’s time for a few plot threads to be resolved. In a quickie scene, the hero learns that his mentor Major Barrington was never involved with his evil ex-wife and he shouldn’t have questioned him earlier. Well, yes, Maverick. Allegations the villain makes about someone while brainwashing you probably aren’t true. This was a silly subplot in the first place, but letting it drag on for almost a year and then resolving it in a way that just reinforces how dumb the protagonist has been…that wasn’t the best way to go. Ignoring the ridiculous subplot, the main story makes decent progress. After a rather dull issue, the action is amped up this time, so Cheung is given some cool things to draw. I’m not sure why exactly a new Red Guardian is introduced, other than the fact that the story takes place in Russia, but Cheung also has a nice interpretation of the character.

Exposed

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Before the gang can learn Chris’ identity, they’re attacked by a groggy Dr. Keller. Chris’ powers return long enough for him to defeat the teens. After the gang is in custody, Chris apologizes to Dr. Keller.

Review: Three issues. This lugged along for three issues. A total of fifteen pages were wasted on Chris going to the doctor and stopping a teenage gang that happened to show up. And it took three months to get to the conclusion. Can you imagine if an annual backup was needlessly padded out and serialized over the course of several issues? That’s essentially what we have here. I realize the decision to cancel Maverick most likely came before these backups started, but surely this flagrant use of page-killer didn’t help sales.

MAVERICK#8-#9, April-May 1998

Fractured Lives

Credits: Jorge Gonzalez (writer), Jim Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: The Confessor breaks Sickle out of Canada’s “Ice Box” prison. In Florida, Maverick watches over Elena, who remains comatose. For her protection, Maverick’s kept her in Chris Bradley’s home. Maverick and Chris resolve their differences, and Isabel arrives with a new suit of armor. Maverick announces he has to travel overseas to take care of old business. Meanwhile in Russia, Ivan the Terrible sends the Confessor after Maverick.

Continuity Notes: Maverick reveals to Chris that his Legacy Virus infection has resurfaced. He suspects that his remission is caused by his psychic connection to Elena, which is severed now that she’s in a coma. His powers are now out of control, which means his hands melt anything they touch. The erratic powers have left both of his hands with third-degree burns. Before he leaves Florida, Maverick asks Chris to come up with a code name to use on their “chatterboxes” (which are basically cell phones). Chris comes up with “Bolt,” which sticks around until the character is killed off.

Review: This is mostly a “quiet” issue, and since character work isn’t Jorge Gonzalez’s strong suit, it’s quite dull. Maverick spends the issue at the Bradley’s suburban home, where he watches over Elena, recaps the past few issues, goes on a boat ride with Chris, recaps a few more plot points while spelling out the new status quo for his powers, and then decides to leave on a mysterious mission. I understand that Maverick’s connections to Chris and Isabel are supposed to ground him with the real world, but Gonzalez has never made any of the suburban material that interesting, and now it’s taking up the bulk of the issue. The continued focus on Maverick’s powers and the Legacy Virus is also getting tedious. And how exactly is a psychic rapport supposed to keep a terminal disease at bay? The rest of the story is dedicated to the Confessor breaking Sickle out of jail in the middle of a blizzard, which does alleviate some of the boredom. These are enjoyable action scenes capably rendered by Jim Cheung, who is still the highlight of the series.

The Wall

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: In Paris, Maverick asks his estranged friend Jean Luc Vivant if he knows of any connection between Major Barrington and the murders of Cell Six. Jean Luc angrily sends Maverick away. Later, he receives a message instructing him to travel to St. Augustine’s Church in Germany. Maverick arrives and is promptly ambushed by the Confessor. Before knocking him unconscious, Confessor reveals that Maverick’s parents and brother were Nazis.

Continuity Notes: Jean Luc Vivant hates Maverick because he blames him for his paralysis. Maverick says it was an accident.

I Love the ‘90s: The Bullpen Bulletins recounts James Cameron’s recent appearance on the Howard Stern Show, where he revealed his intentions to make a Spider-Man movie with Leonardo DiCaprio as the star.

Review: This is closer to what I would’ve expected from a Maverick solo series -- conspiracies, mystery characters from the past, and action scenes set in unusual locales. The dialogue is still pretty flat, and the narrative captions have a habit of just dumping blunt exposition that isn’t relevant to the story (this issue, it’s a dry recap of the history of the Berlin Wall), but the action scenes are energetic and Cheung is given some cool environments to draw. As for the Nazi revelation, this is pretty much The Most Predictable Thing You Can Do with a German character, isn’t it? Perhaps Gonzalez had some twist on the concept in the works, but the series is close to cancellation and the idea is never properly explored.

Easy Targets

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Chris visits Maverick’s friend, Dr. James Keeler, for a checkup. Chris leaves despondent, but returns to apologize for his sour attitude. Before entering, Chris notices a gang from his high school is raiding the doctor’s office.

Review: Hooray, Chris Bradley’s monotonous subplot pages are now relegated to their own back-up story. Since most of the main story is told as a flashback (with an appropriate ‘90s “hazy” coloring effect), I imagine these pages were shuffled to the back in order to retain the main story’s flow. Chris is still complaining about the things he always complains about, but now he’s placed in a potential action scenario. When he sees the teenage punks harassing the doctor from outside the window, he questions, “what do I do?” It’s the classic “hero in civilian identity has to use his powers to help an innocent” dilemma, and apparently Chris has never read a comic book before. As a child of the Chromium Age, perhaps he just kept his comics in mylar bags and never opened them. The proper response is to use your clothing as a partial mask, Chris, that way the bullies will magically be unable to recognize the rest of your face. Duh.

SABRETOOTH: BACK TO NATURE- January 1998

Homicidal Tendencies

Credits: Jorge Gonzalez (writer), Frank Teran (art), Comicraft (letters & design), Shannon Blanchard (colors)

Summary: Wild Child is informed that his former girlfriend, Lori, has been murdered by sibling serial killers Yuri and Komarovsky “Chop Chop” Yevgraf. Sabretooth knows them from his past, and talks Wild Child into traveling to Canada with him. Stealing Yuri’s pain medication, Sabretooth is able to ignore his restraint collar and kill him. Meanwhile, Wild Child rescues Lori’s sister Leisl from Chop Chop in a warehouse. Despite Wild Child’s insistence on bringing him in alive, Chop Chop accidentally impales himself while trying to escape. Sabretooth returns home with Wild Child, content with his supply of Yuri’s painkillers.

Continuity Notes: This takes place during Sabretooth’s days as a compulsory member of X-Factor, although it was published a few months after he broke free of his collar. Sabretooth actually does mention pills have helped him remove the collar in X-Factor #136, so this was worked out in advance.

Production Note: This is a $5.99, forty-eight page, prestige format one-shot.

I Love the‘90s: Sabretooth remarks that he “pulled a Tyson” after biting Yuri.

Review: Here we go, another six-dollar one-shot that could’ve easily served as an X-Men Unlimited issue. I wouldn’t call this a bad comic at all, but over ten years later, the cover price still seems outrageous. You could argue that the story has some significance for setting up Sabretooth’s escape from X-Factor, but the fact that the character left the team several months before this comic was published kinda kills the drama. The tone is appropriately gritty for a Sabretooth comic, and Frank Teran’s art, which falls in-between Bill Sienkiewicz and Klaus Janson, certainly fits the mood better than the Jeff Matsuda X-Factor issues that precede the story.

Jorge Gonzalez has a decent handle on Sabretooth, portraying him as suitably nasty, but still throwing in a few curveballs, like his brief warning to Leisl not to let revenge consume her. Sabretooth could’ve just as easily killed the woman as give her advice, which might come across as inconsistent characterization under a lot of writers, but Gonzalez is able to make the scene feel somewhat credible. In the end, we learn that Sabretooth’s partial motive for tagging along was to push Wild Child into giving in to his animal temptations, but mainly to score some painkillers from Yuri, who he happens to know is an addict. Having Sabretooth take vicodin to get around his collar’s “retaliatory blasts” is pretty clever, although I doubt all of the dope in the world would be enough to deaden the pain we’ve seen the collar dish out in the past. Surely Sabretooth’s healing factor is stronger than any prescription drug, anyway. Maybe the drug material would’ve been a little much for the regular priced, Code Approved comics, and I did find myself enjoying the comic, but I still refuse to believe this story warrants the six-dollar format.

MAVERICK #6-#7, February-March 1998

Hunters

Credits: Jorge Gonzalez (writer), Jimmy Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Kevin Somers (colors), Chris Eliopoulos & Virtual Calligraphy (letters),

Summary: A friend volunteers to give Maverick and Chris medical exams. Chris walks in on Maverick’s exam and discovers the scars created by the Legacy Virus are gone. Chris is angry Maverick kept his remission a secret, but Maverick must leave after getting a call from his contact, Gregor. He soon learns Gregor has been placed in a trap by Sabretooth, who knows Elena is hunting him. After rescuing Gregor, Maverick follows the note left by Sabretooth and heads for the sewers. In the tunnels, he discovers Sabretooth and an unconscious Elena.

Continuity Notes: Chris Bradley is now referred to as “Brian,” the false identity given to him by Maverick. Maverick even calls him Brian during their private conversations, even though the recap page still lists his name as Chris Bradley.

Review: Elena’s vendetta against Sabretooth has never been too interesting for me, but Gonzalez does explore one angle that works in the opening of this issue. Because she’s a telepath, Elena can recall all of her memories. This allows her to dream of Sabretooth’s murder of her pregnant mother and her own c-section, and recall the details with absolute clarity. This truly is haunting, and it’s certainly a great opening for the issue. Unfortunately, what follows is pretty bland. Chris overreacts to Maverick keeping his remission a secret, while his technology dealer Isabel reminds him that her ex-husband will start a custody battle if she doesn’t cut ties with him. This is the drama this gruff, shadowy secret agent has to deal with -- teenage emotions and divorce issues? Maybe if Chris and Isabel were fleshed out more as characters I would actually care about these plots, but as it stands they don’t seem appropriate for the series. The art still carries a lot of this weight, and I’ll give the editor credit for finding a co-artist who meshes with Cheung. I can’t really tell where Cheung’s pages end and Fernandez’s begin, which is extremely rare for an issue with two artists.

Desperate Moments

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Kevin Somers (colors), Chris Eliopoulos & Virtual Calligraphy (letters),

Summary: Maverick battles Sabretooth, as he begins to suffer seizures and his powers go haywire. Elena regains consciousness and psychically attacks Sabretooth. When she discovers her mother amongst the memories of his victims, a psychic backlash is triggered. Maverick destroys the pipes and creates a flash flood, escaping with Elena. He soon discovers Elena is now in a coma. Meanwhile, Chris begins to lose control of his powers.

We Get Letters: The editorial response to rumors Maverick is close to cancellation: “If we ever find the guy who’s spreading these rumors around, we’re going to string him up! Maverick is here to stay…!” Maverick is cancelled with issue #12.

Review: It’s an issue-long fight scene, and Jim Cheung really gets the most out of it. The actual content of the fight is extremely shallow, though, as Jorge Gonzalez is still unable to give Maverick or any of his foes much in the way of personality. I remember Scott Lobdell giving Maverick some snappy, action movie quips in his early appearances, which might not be the most original take on a secret agent character, but at least he doesn’t just sit there on the page. Gonzalez’s Maverick has the charm and wit of a sack of potatoes, which has to be a partial reason why this series died at #12, while its contemporary Deadpool lasted for several years, buoyed by a vocal and devoted fanbase. Couldn’t Maverick say something slightly clever while fighting the villain, rather than dryly spelling out how each of his weapons work, or explaining how his powers are acting up? Gonzalez does get some decent material out of Elena, though. The trip through Sabretooth’s psyche, which recalls the glimpses of his childhood seen in the Sabretooth miniseries, is a nice scene. Revealing that Sabretooth has a mental gallery of all of his victims gives him another creepy touch, and using Elena to expose that uses her character wisely. Like the previous issues, there are some ideas that work quite well, but it’s hard to really care about a book with such an uninteresting protagonist.

MAVERICK #4-#5, December 1997-January 1998

Found and Lost

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Chris Bradley meets up with his girlfriend Donna in New York’s West Village. They’re suddenly attacked by the Friends of Humanity, who tapped Donna’s phone after Chris was outed as a mutant. Maverick and Elena Ivanova, who’ve tracked Chris since he ran away from home, arrive to help. Area resident Wolverine also joins the fight. After Maverick gets Donna to safety, Elena uses her telepathic powers to convince everyone nearby they died in an explosion. Later, when Maverick returns home, he’s abruptly seduced by Elena, who’s hiding a secret.

Review: Hey, that cover’s deceitful -- Wolverine and Maverick don’t fight in this issue. I can’t believe a comic book company could be so dishonest. Wolverine and Maverick do, however, have an argument about Maverick keeping his Legacy Virus remission a secret from his teenage protégé Chris. Four issues into the series, this seems to be the major internal conflict for Maverick, and it’s pretty weak. Why is this macho tough guy leading man so hung up on potentially hurting the feelings of a teenage boy? And how does he know Chris wouldn’t be happy for him? Plus, why does Wolverine care so much about this? The emotional arcs in this book just don’t feel properly fleshed out. Another example would be Chris, who often seems overly emotional about everything, but doesn’t respond to his girlfriend’s belief that he’s dead with more than a “Aw, that’s too bad.” Rather than stoically accepting that she’s better off thinking he’s dead, shouldn’t he be upset with Elena for creating the illusion? I think this would hurt him more than learning that Maverick actually isn’t going to die of the Legacy Virus.

Pressure Points

Credits: Jorge Gonzalez (writer), Jim Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Maverick and Elena get into an argument when he discovers that she’s still tracking Sabretooth. Maverick leaves angry, and lets off steam by attacking the henchmen of mobster Big Louie. After sending them the message that Louie owes him money, Maverick heads to a bar. A drunken Blob picks a fight with Maverick. During the fight, Maverick’s powers give out, but he finishes Blob with a grenade. Maverick returns home, now willing to help Elena, only to discover her goodbye letter.

Continuity Notes: Maverick advises Elena not to confront Sabretooth, fearing she’ll end up like another telepath, Birdy. Maverick claims that Birdy was killed by Sabretooth’s father, but it was actually his son, Graydon Creed, who pulled the trigger (as seen in the Sabretooth miniseries).

We Get Letters: A letter writer asks what happened to Maverick’s mutant power to see short distances into the future. The editorial response confirms he had the power, but says it disappeared when he developed the Legacy Virus. What are they talking about? When could Maverick ever see into the future?

Review: The previous cover with Wolverine wasn’t anything special, but this is an attention-getter, isn’t it? Blob doesn’t serve much of a role in the story; he’s mainly there as a disposable X-villain who’s free for a one-issue beating. He also drunkenly accuses Maverick of being a Nazi (due to his accent, although it’s never phonetically spelled out and he doesn’t use any German exclamations, like a certain X-Man), which Maverick finds unusually upsetting. This is foreshadowing for a future arc, and having it wrapped into a fight scene is one way to bring some action into the issue, I guess. Pitting Maverick against the mob for a few pages is another excuse for some action, although the motivation for the fight is interesting. Maverick’s only searching the mobsters out because their boss owes him money, which he needs since the Legacy Virus has prevented him from working for a year. I’m not sure if anyone’s ever bothered to explain how exactly the various unaffiliated mutants in the Marvel Universe make money, so I’ll give Gonzalez credit for addressing the topic.

I wish Gonzalez had more of a knack for natural dialogue, as the argument between Maverick and Elena doesn’t showcase much of a personality for either character. Maverick doesn’t want Elena to risk her life chasing Sabretooth, and Elena wants to kill Sabretooth, because that’s the motivation she’s had since her first appearance and no one’s developed her since then. Elena does raise the valid point that her “obsession” with Sabretooth isn’t different from his own pursuit of Ivan Pushkin (who presumably was intended to be the major villain of this series), but it’s the only memorable part of their argument. Well, Elena does slap Maverick when he suggests she lured him into bed as a part of her anti-Sabretooth crusade, but both characters politely apologize afterwards and go back to the discussion. Thankfully, Cheung’s art alleviates much of the tedium, and the Blob fight is rather enjoyable.

MAVERICK #2-#3, October-November 1997

Truth and Consequences

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Ivan Pushkin and his scientific advisor Etta Langstrom use shock therapy on the captive Maverick. By exploiting Maverick’s psychic bond to Elena Ivanova, Ivan is able to view his memories. After Maverick relives the worst moments of his life, Ivan inserts new memories to cover the recent past. When Maverick comes to, he’s tricked into believing Ivan is his ally. Ivan convinces Maverick to kill his former superior, Major Barrington. Elsewhere, Maverick’s friend Isabel emerges from hiding. Her ex-husband demands she cut ties to Maverick, or he’ll revoke custody of their daughter.

Continuity Notes: Major Barrington was the shadowy figure giving Maverick orders in his early appearances. Dr. Langstrom claims that Maverick has had the Legacy Virus for two years, which is an unusually specific time period to attach to Marvel continuity (it also inadvertently ages the Marvel Universe two years between 1994 and 1997). During Maverick’s flashbacks, he remembers fighting an assassin with an unusual Catholic motif called the Confessor. He also recalls his wedding to Ginetta Lucia Barsalin, who he later learned was a double agent. Maverick killed her in response to the murders of his teammates in Cell Six, another Cold War secret ops group he belonged to. With her final breath, Ginetta bragged that she was pregnant with Maverick’s child.

Review: The majority of this issue is dedicated to flashbacks, as Jorge Gonzalez tries to find some material to fill in the virtual blank slate that is Maverick. We already know from his recent X-Men Unlimited appearance that Maverick killed his brother, and now we learn that he killed his pregnant wife as well (although I’m not sure why he’s taking her at her word that she was pregnant with his baby…she was a ruthless spy who could’ve been lying just to screw with him). Obviously, there isn’t a lot of subtlety here. After Maverick declares that he doesn’t care about anyone in a flashback, Wolverine questions why he risks his life to save people if he feels that way. Making this more obvious, Maverick states that he’s just a bundle of contradictions. There’s really no nuance, but even knowing this much about Maverick is an improvement. I’ll also give Gonzalez credit for trying to come up with a plausible means for Ivan to perform memory scraping and brainwashing; plus, tying the two together in the same issue prevents the story from lagging.

Denouement

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Vindicator and Puck are assigned to protect Major Barrington as he testifies at an inquest in Ontario. Maverick evades them and confronts Barrington. After Barrington trips and knocks his head against the wall, Maverick begins to question his assignment. He realizes Ivan brainwashed him, just as Vindicator and Puck return. When Maverick learns Pierre Cloche, Department H’s Director of Foreign Affairs, is stationed nearby, he worries Cloche is another target of Ivan’s. Maverick convinces Vindicator to help him protect Cloche, as Puck stays behind to guard Barrington. Soon, Maverick and Vindicator stop Sickle from slaying Cloche, but Puck is unable to prevent Hammer from killing Barrington. Meanwhile, Isabel rescues Elena, while Chris Bradley runs away from home.

Continuity Notes: Sickle loses an eye while fighting Maverick. Ivan wants Barrington dead because he feels Barrington’s testimony will threaten his financial interests in Canada. Maverick theorizes that Pierre Cloche is a target because “conceivably, he’s been a thorn in Pushkin’s side for years now.” Maverick questions if Ivan was possibly telling the truth about Major Barrington setting up his wedding to the double agent Ginetta, and infecting him with the Legacy Virus. Maverick believed the claims so easily, he fears there’s a kernel of truth to them.

Review: For a general in the US Army, Major Barrington gets around a lot. He was friends with Maverick back in Maverick’s days as a “West German freedom fighter,” he was a CIA liaison for Team X, continued to send Maverick on missions after the team dissolved, and somehow, even has information that the Canadian government really needs to know, even though he’s now retired. The character was always in the shadows in his early appearances, even when he showed up in a Generation X annual, and now we know why. He’s horribly insecure about going bald and apparently can’t afford the plugs. Seriously, I have no idea why this guy was kept in the shadows for years, only to emerge here as a nondescript retiree. I’m also not sure why Gonzalez bothered to reintroduce him, only to kill him off in the very next issue (unless there’s a resurrection coming up I’ve forgotten about).

Maverick’s doubts that Barrington really did do the horrible things Ivan accused him of make for an odd plot device. Maverick knows that Ivan had every motive to lie, and his only evidence against Barrington was his willingness to believe Ivan’s claims…while Ivan was brainwashing him. That’s reaching for angst material, and it’s not as if the book really needs it just one issue after we’ve learned Maverick killed his pregnant wife. Cheung is still doing impressive work, but as the conclusion to the title’s first arc, this is a bit of a letdown.

MAVERICK #1 - September 1997

Overture

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Maverick begins to succumb to the Legacy Virus, but Elena Ivanova uses her psychic powers to keep him alive. After going into cardiac arrest, he explodes with energy and begins to feel the virus go into remission. They’re soon attacked by Sickle and Hammer, agents of Russian mobster Ivan "the Terrible" Pushkin. They escape to the home of Maverick’s friend, and technology supplier, Isabel Ferguson. While Maverick has a phone conversation with Chris Bradley, Pushkin and his men invade Isabel’s home.

Continuity Notes: Elena Ivanova is the woman from the Maverick one-shot; the Larry Hama character obsessed with killing Sabretooth in retaliation for her mother’s death. Chris Bradley is the mutant teen with the Legacy Virus Maverick met in Unlimited #15. While near-death, Maverick has a vision of a woman named Ginetta, wearing a wedding dress. Maverick, who claims that Weapon X experiments might be responsible for his remission, has not only regained his energy absorption powers, but has also developed new ones. He can melt objects by touching them, punch with super strength, and shoot concussive force if he’s absorbed enough energy.

Review: It’s 1997, and you know what the kids want. A spin-off starring a long-ignored character from Jim Lee’s X-Men run -- Maverick, the secret agent who wears bright yellow body armor. Due to Maverick’s past with Wolverine he became a de facto character for Larry Hama, who wrote the original Maverick one-shot, to handle. However, editor Kelly Corvese seemed to be under the impression that only Howard Mackie and Jorge Gonzalez could write his books, so the most obvious choice wasn’t given the job. He could’ve flipped a coin and chosen Mackie, though, so I guess we should be thankful Gonzalez was hired.

Gonzalez seems to be going for a James Bond riff (the story’s dedicated to Ian Fleming), so it’s odd that he not only revives Maverick’s powers, but even gives him new ones. A really cool secret agent wouldn’t need super powers, and since Maverick has never actually used his powers in his previous appearances, it’s not as if he’s closely associated with mutant abilities anyway. However, I do understand why Gonzalez has Maverick go into remission, even if the scene is a little clumsy, since he’s a lot less credible as an action lead if he’s terminally ill. The Legacy Virus is what connects Maverick to Chris Bradley, and Maverick has no idea how to tell him that he’s now in remission. It’s kind of a cowardly move on Maverick’s part, although it seems to go along with what little we know of him so far. Initially a generic tough guy, Maverick turned into a self-pitying crybaby after his Legacy Virus infection, so maybe Gonzalez is trying to make an intentional point about his character here. Gonzalez also introduces the idea that Maverick feels he’s undeserving of a second chance after the actions of his past, which is one way to tie human emotions on to the rather cheap “remission” copout.

If 1997 was an odd time for a Maverick ongoing, it was certainly a strange time to introduce Russian villains named Hammer and Sickle. They’re working for the mafia and not any Communists (as far as we know), but they’re still rather ridiculous. Maverick’s also fought Omega Red on more than one occasion by this point, which is probably more than enough reason to lay off the Russians a bit. As weak as the villains are, and as stilted as Gonzalez’s script can be, this is a decent start for a new series. The relationships between the characters are clear, past continuity is used logically, and Gonzalez keeps things moving. By the end of the first issue, Maverick’s out of his deathbed, practicing his new powers, and working on his second encounter with the arc’s villains. No decompression here. Jim Cheung’s somewhat abstract artwork looks nice, as he brings a lot of energy to the pages and gives Maverick a stylized look that works without any Jim Lee influence.

UNCANNY X-MEN ‘97 - October 1997

Rifts

Credits: Jorge Gonzalez (writer), Duncan Rouleau (penciler), Troy Hubbs (inker), Comicraft (letters), Glynis Oliver (colors)

Summary: In Africa, the X-Men defend Gene Nation from Humanity’s Last Stand. After fighting them off, Havok arrives with the Brotherhood, warning of another attack. Reluctantly, the X-Men and Gene Nation team with the Brotherhood to stop HLS. After a battle that leaves many Gene Nationals dead, Dark Beast devises a way to freeze HLS’s hi-tech Razor armor. Some Gene Nationals advocate executing their human captives, despite the X-Men’s objections. Dark Beast and Fatale stage a mock execution, secretly teleporting the men away without Havok’s knowledge. Two Gene Nationals, Boost and Tether, leave with the Brotherhood, while Storm names the honorable D’Gard as Gene Nation’s new leader.

Continuity Notes: Gene Nation has been in Africa since the Storm limited series. New Gene Nation members Boost, Tether, and D’Gard are introduced. Boost can enter a mutant’s body and amplify their powers, Tether is a reptile-human with a Cobra Commander speech pattern, and D’Gard is the judicious older member (he has a cane and wears a dashiki, so he must be the wise and noble one). He apparently has "empathic" powers. Unbeknownst to everyone, Dark Beast is teleporting the men away so that they can be used as “human chattel” in his secret experiments.

Review: It’s hard to believe this story showed up in an annual. While the X-books were supposed to be leading up to Bastion’s ruthless anti-mutant crusade in “Operation: Zero Tolerance,” Uncanny had the team rescue the Shi’ar Empire again, then get lost in space (and Antarctica), while X-Men wasted everyone’s time with another origin story for Storm’s ruby and a potential Legacy Virus cure that went nowhere. A story that follows up on Gene Nation (originally intended as a major threat in Uncanny), has Cyclops facing Havok again, and pits the team against an anti-mutant militia? We can’t have that in any of the main books! That space has already been allotted for the X-Men’s long-awaited team-up with Shang-Chi, Master of Kung-Fu.

Although the dialogue gets a bit rough, Gonzalez has many solid ideas here. Gene Nation was introduced as a coldblooded terrorist group with no qualms against killing innocents, so it makes sense that HLS would target them (even though this is apparently a new generation of Gene Nationals). One of the HLS members is related to a girl killed during Gene Nation’s initial terrorist attack at a New York nightclub, which puts a human face on what should’ve been a legitimate tragedy within the Marvel Universe, even if it was quickly forgotten. HLS isn’t fleshed out beyond this point, but at least they’re starting with a decent motivation.

Dark Beast has his own connection to Gene Nation, since he views himself as a “father” to their Morlock ancestors. He’s supposed to hate Storm for removing Gene Nation’s backbone, a plot thread Gonzalez briefly acknowledges. He seems to have put more thought into Dark Beast’s character and motivations than Howard Mackie did in X-Factor, as Dark Beast is still involved with human experimentation and scheming behind Havok’s back. Cyclops asks Havok how could he be dumb enough to trust Dark Beast, a question Gonzalez can’t allow him to answer since Mackie hasn’t bothered to explain it in X-Factor. The Havok-era Brotherhood will always be a dumb idea, but the story uses them in a valid way, and it’s nice to see that Cyclops’ relationship with Havok wasn’t totally forgotten during this period. If only this story could’ve been switched with one of the main titles in 1997. Let Duncan Rouleau draw that Shang-Chi team-up in an annual while Carlos Pacheco pencils a story that actually connects to the ongoing storylines.

MAGNETO #1-#4, November 1996-February 1997

Return of the Messiah

Credits: Peter Milligan (plot), Jorge Gonzalez (script), Kelley Jones (penciler), John Beatty (inker), Richard Starkings & Comicraft (letters), Brad Vancata & GCW (colors)

Yes, it’s called Magneto, which is amusing considering the later revelation that the star was Magneto’s clone, but I guess biologically he is Magneto. Releasing this as Magneto was always a little odd, since this character didn’t view himself as Magneto and wanted to be called Joseph anyway. I’m sure Joseph wouldn’t have had the same commercial appeal, though. The creative team of Peter Milligan and Kelley Jones were mainly DC creators in the ‘90s, so I wonder what lead to them taking this assignment. As we’ve seen on some of the previous miniseries, Marvel could’ve done a lot worse, so I’m not complaining. Jones is known for his rather wacked-out interpretation of Batman, but this is more subdued. It’s reminiscent of Steve Epting’s work from this era, actually. Milligan’s plot puts the pieces in place, but Jorge Gonzalez’s script gives every character such stilted dialogue, it’s hard to care.

The story has Joseph searching the Andes, where the X-Men’s records show partial remains of Avalon have landed. There, he discovers a group of Acolytes waiting for Magneto’s return. He rejects their title of savior, but still saves them from the Humanity’s Last Stand soldiers who attack their camp. (Humanity’s Last Stand is the ruthless threat to mutantkind that never managed to make it into any of the main X-titles. They stayed on the periphery for a year until they were later absorbed into Operation: Zero Tolerance.) Joseph leaves the group and soon discovers the remains of Magneto’s private quarters. He reads Magneto’s private files and experiences every act of cruelty he committed.

Meanwhile, another group of Acolytes, lead by Exodus, hides out in the arctic. Exodus is prepared to kill Amelia Voght for treason because she opposes his dangerous plans for erecting a New Avalon. Fabian Cortez, who conveniently shows up alive and well after the “Bloodties” crossover, pleads for her life and wins. The two plots merge when Cortez finds Joseph and warns him of Exodus’ plan. He talks Joseph into taking on Magneto’s role in order to make amends for his past.

There is some intrigue here. I’m not sure how Cortez survived, if this is really even supposed to be Cortez, or what his real plan is supposed to be. Showing how exactly the Acolytes respond to Joseph is also a plot point that needed to be addressed, and this is a good place to do it. However, as I mentioned earlier, every page is just crammed with wooden, personality-less dialogue and dull captions.

Atonement

Credits: Peter Milligan (plot), Jorge Gonzalez (script), Kelley Jones (penciler), John Beatty (inker), Richard Starkings & Comicraft (letters), Brad Vancata (colors)

Joseph is now garbed as Magneto, and allowing Cortez to manipulate him fairly easily. Before traveling to the arctic to stop Exodus, he relents to the Acolytes and tracks down the remaining Humanity’s Last Stand soldiers. One of the soldiers dies in the fight, but not before he can condemn Joseph/Magneto for killing his brothers. I have no idea if this is intended as a retcon (Magneto’s only victims before “Fatal Attractions” that I know of are the crew of a Russian sub and Zaladane), or a reference to Magneto’s electromagnetic pulse in X-Men #25. The story is going out of its way to paint Magneto as a horrible monster, which unfortunately ignores the years of work spent making him a well-rounded character (which surely inspired the creation of Joseph in the first place). After Joseph saves the Acolytes from HLS’s nuclear attack, and builds a hi-tech jet out of the ground’s ore, they declare he truly is Magneto. Joseph decides that he wants to visit the soldier’s family before confronting Exodus, which is an understandable place for the story to go, but unfortunately creates another sidetrack from the main plot. How are we supposed to believe that Exodus’ plan is so dangerous if the protagonist seems so disinterested in actually stopping it?

Killzone

Credits: Peter Milligan (plot), Jorge Gonzalez (script), Kelley Jones (penciler), John Beatty (inker), Richard Starkings & Comicraft (letters), Brad Vancata (colors)

Because he’s just not in a hurry, Joseph visits the family of the deceased HLS soldier (his death scene was vague last issue, but apparently he died due to a mechanical failure in his suit). Joseph tries to comfort them, but they soon realize he’s a mutant, which creates a near-riot. Joseph returns to the Acolytes and declares that he isn’t Magneto, then changes his mind yet again when Cortez talks him back into the deception. I get that Joseph is supposed to be naive and confused, but the story often makes him seem too flakey to be taken seriously. Joseph finally reaches the arctic with his group of Acolytes, where they’re greeted by a skeptical Exodus. Joseph falls for Cortez’s manipulations and accidentally reveals himself as an imposter. Exodus declares Joseph a fraud, creating a civil war amongst the Acolytes. Cortez, because he’s so brilliant, didn’t expect this to happen; he just wanted Joseph and Exodus to eliminate each other so that he could take over the Acolytes again. Exodus sends Joseph to the Earth’s core, and Cortez pledges his allegiance to the victor. Later, an enraged Joseph emerges in Cortez’s chambers, declaring that he truly is Magneto now. Again…flakey.

Spectres

Credits: Peter Milligan (plot), Jorge Gonzalez (script), Kelley Jones (penciler), John Beatty, Mark Heike, & Jim Sanders III (inkers), Richard Starkings & Comicraft (letters), Brad Vancata & GCW (colors)

So, now Joseph believes he really is Magneto, and he’s convincing enough for Exodus to declare a temporary truce. Humanity’s Last Stand (which I thought was a homegrown militia, but in this series is an actual military operation) sends fighter jets to attack the Acolytes. Exodus and Joseph team up to stop the jets, but even in his anger, Joseph can’t bring himself to kill the pilots. After defeating HSL, Joseph is confronted by Amelia Voght with pictures of Magneto’s family. Joseph switches personalities again and declares that he won’t allow the pain that drove Magneto infect him. Posing as Magneto one last time, he orders the Acolytes to disburse and abandon their plans for New Avalon. Joseph returns to the X-Men, just as bland as ever, and ready for more hints of an unrequited romance with Rogue.

This one went off the rails early and never managed to recover. Some of the blame goes to the ham-fisted scripting, although I’m reluctant to name Gonzalez as the culprit. Since much of the dialogue consists of characters bluntly stating things that are already clear in the artwork, or expressing the deep thoughts they’re supposed to be experiencing while processing the story’s events, I wonder if editorial dumbed things down a bit. For example, the final page has the widow of the HSL soldier reflecting on Joseph’s message of peace, which he tried to express before she went psycho on him. It’s a reasonable ending to the story, showing that Joseph’s quest for peace impacted at least one person. The actual script, however, reads: “Perhaps it is time to stop this violence…time to put an end to this cycle of hatred before it consumes the rest of my family…!” Milligan has already set this scene at night, as the woman watches her son sleep. A few words would’ve gotten the point across. Why doesn’t the script have more faith in the audience’s ability to grasp a very simple message?

A believable script would’ve been nice, but it wouldn’t solve many of the mini’s problems. Fabian Cortez is resurrected without explanation, doesn’t really have much of a plan, and just disappears at the story’s end. The Acolytes, aside from reverting back into ciphers, are incredibly dumb throughout the story. Joseph, the star of the blasted series, can’t even keep a consistent personality for more than a few pages by the end. If the story was truly about his descent into madness, that has potential (and seems more appropriate for Milligan’s style), but instead he just comes across as a sap. It’s another pointless miniseries, unless you just couldn’t wait for the resurrection of Fabian Cortez.

SABRETOOTH & MYSTIQUE #1-#4, December 1996 - March 1997

Old Sins Cast Long Shadows

Credits: Jorge Gonzalez (writer), Ariel Olivetti w/Pier Brito (art), Comicraft (lettering), Kevin Somers & GCW (colors)

Spinning out of the opaque mess that was X-Factor comes Sabretooth and Mystique. Howard Mackie’s run on the book during this era is generally regarded as terrible, but Jorge Gonzalez is at least able to employ some of the ideas into a promising start. Mystique is on a mission to destroy the life’s work of Catalyst, a deceased Hydra agent she despised. This leads to her and Sabretooth faking their deaths to escape the government, then stealing a capsule from a corpse on the SHIELD helicarrier (apparently it has a morgue). Following the tradition of miniseries dedicated to villains, the pair is pitted against another set of villains, AIM. AIM also wants the capsule, leading to a series of chase scenes and action sequences. The idea that Mystique can morph into inhuman forms had recently been introduced in X-Factor (sans explanation, of course), and Gonzalez goes out of his way to shove it into this story. Over the course of a few pages, Mystique morphs into Gargoyle from the Defenders, Wendigo, and a few other monsters. It’s an alteration of her powers I’m not personally fond of, but it doesn’t hinder my enjoyment of the issue that much.

Torture

Credits: Jorge Gonzalez (writer), Ariel Olivetti (art), Comicraft (lettering), Kevin Somers (colors)

I remember Scott Lobdell once defending on Usenet his stance that Mystique couldn’t father a child. This lead to someone bringing up this miniseries, and Lobdell had an interesting response. Aside from questioning if it should even be considered canon, he seemed to express sympathy for editor Kelly Corvese for having to deal with the project (or just Marvel in general during this period). The continuity does get murky here, as a flashback to their secret agent days shows Sabretooth wearing his current furry outfit, and Mystique using her powers to grow functional wings (which would mean her new powers in X-Factor weren’t new at all, yet we never saw her use them before). There’s also a scene in the present that has Mystique morphing into Forge while nullifying Sabretooth’s tracking device, even though the story states repeatedly that she can’t take someone’s powers while impersonating them. The main story soldiers on, as Sabretooth and Mystique travel to a Hydra base to find notes Catalyst left behind. Mystique is confronted by Dismember and Corrosion, two Hydra lab experiments that have appropriately ridiculous designs by Ariel Olivetti.

Willing Victims

Credits: Jorge Gonzalez (writer), Ariel Olivetti w/Pier Brito (art), Comicraft (lettering), Kevin Somers (colors)

Mystique is taken into custody, and to the shock of absolutely no one, learns that Catalyst is still alive. After another flashback to the day Catalyst tortured Mystique, Destiny, and Sabretooth, he spells out his master villain plan. Using Access, his computer program that grants him contact with every existing database on Earth, he’ll become the new Supreme Hydra. Sabretooth catches Catalyst’s scent and tracks him down. He frees Mystique and is ready for a fight when AIM begins its own takeover of the base. Although much of this is predictable, it is pretty fun, due in large part to Olivetti’s ability to sell the action scenes.

Dead Ends

Credits: Jorge Gonzalez (writer), Ariel Olivetti (pencils) Pier Brito (inks), Comicraft (lettering), Kevin Somers & GCW (colors)

As the mini draws to a close, Mystique chases down Catalyst while Sabretooth faces Cypher (an AIM officer, not the New Mutants member). Virtually the only hint of characterization appears here, as Cypher appeals to Sabretooth’s shred of humanity to cover her escape. She’s used the Access technology to launch a missile attack against Russia that will create another world war (That’s a very ‘80s master plan, isn’t it?). Sabretooth can either fight her, or destroy Hydra’s technology and stop the launch. Whether or not Sabretooth actually has any desire to be human is debatable, but it’s only a brief scene and Gonzalez manages to pull off. Having Sabretooth save the world in a mission no one will ever know about is also a clever idea. Meanwhile, Catalyst flees capture, but ends up falling off the edge of a mountain. Destiny, who earlier predicted her face would be the last he would see, stands over the ledge as he falls. Of course, Destiny is actually Mystique in disguise. Finally, Mystique convinces Sabretooth to put his restraint collar back on and the duo heads back to X-Factor’s headquarters.

That last scene is an obvious reminder that all of this can be lumped under “illusion of change.” Compare this to the 1993 spurt of limited series, which revealed legitimate continuity points about Sabretooth, Deadpool, Mystique, and to a lesser extent, Gambit. Now, we don’t particularly learn anything about the characters’ pasts, their status quos aren’t impacted in any way, and everyone just goes home in the end. As a fast-paced action story, it’s actually an entertaining mini, but there’s nothing here that couldn’t have worked as an annual, one-shot, or fill-in arc. Actually, given X-Factor’s level of quality at this point, it would’ve been a welcome break.

X-MEN UNLIMITED #13 - December 1996

Previously…in X-Men Unlimited: Nothing happened. It’s X-Men Unlimited, so the stories are usually filler.

Fugitive from Space!

Credits: George Perez (plot), Jorge Gonzalez (script), Duncan Rouleau, Jim Calafiore, & Andrew Robinson (pencilers), Hunter, McKenna, & Milgrom (inkers), Tom Smith & Malibu (colors), Comicraft (letters)

Summary: The X-Men arrive with Binary at the UN Starcore space station, hoping to resuscitate its energy core. Suddenly, Shi’ar commander K’illace arrives to arrest Binary, claiming that her powers make her a threat to the universe. A blast of energy teleports everyone to the Shi’ar Empire, where they discover Binary’s powers are out of control and K’illace is injured. As Binary struggles to drain energy from a defective white star she created months earlier, the X-Men petition Deathbird to spare her life. Lilandra sends a message, warning of another threat, the Silver Surfer. She claims that Silver Surfer recently destroyed his home planet of Zenn-La and is heading into Shi’ar territory. The X-Men meet Silver Surfer in space and travel to the remains of Zenn-La, where he proclaims his innocence. A bio-technic force called the Inciters is now occupying Zenn-La’s remains. Beast deduces that the Inciters were behind framing Silver Surfer, manipulating Binary’s powers, and the disruption of the white star. Silver Surfer uses his cosmic surfboard to defeat the Inciters. The Shi’ar send the heroes home, although Lilandra refuses to reveal the existence of the Inciters to her people.

Continuity Notes: This was published about a year before Binary’s powers were downgraded and she renamed herself Warbird (and later Ms. Marvel again). I’m assuming Zenn-La was destroyed during George Perez’s run on Silver Surfer.

Review: I remember reading a friend’s copy of this issue when it was released. We spent our lunch period mocking the atrocious artwork and often impenetrable plot. A few months later, that friend stopped buying comics. Hmmm…. George Perez was writing a few titles for Marvel during this era, and I guess he was in the right place at the right time to be the warm body chosen to fill in for this specific issue of Unlimited. Jorge Gonzalez is a name I’m not very familiar with, but you’ll see that he shows up in a lot of the peripheral X-books of this time, particularly on the ones edited by Kelly Corvese. His scripts tend to be boilerplate superhero material that isn’t particularly good or bad. I doubt there was much he could do with this plot, since it’s horribly cramped and moves so quickly there’s never enough time to process anything that’s going on. I will give Gonzalez credit for remembering that the Silver Surfer only located uninhabited planets for Galactus as his herald, which is a continuity point that’s often forgotten. (It doesn’t make this specific story any better; I’m just glad someone remembered.) The art actually isn’t as bad as I remembered, although one of the three artists turns in the occasional page that’s just horrific. Do you really want an example? How about this…

Junction

Credits: Jorge Gonzalez (writer), Greg Land (penciler), Mark McKenna (inker), Brad Vancata (colors), Richard Starkings & Comicraft (letterer)

Summary: Juggernaut returns to his hometown of Junction, New York on the night of its Halloween festival. After encountering pranksters that remind him of the bullies he endured growing up, he goes on a rampage. Gomurr the Ancient suddenly appears, revealing to Juggernaut that Marie Cavendish, the one person who defended him as a child, was injured during his riot. He takes her to the hospital, but is jeered by the locals. Juggernaut leaves town, ignoring Gomurr’s warning that he can’t escape his powers’ curse.

Review: I don’t think there were any plans to rehabilitate Juggernaut at this time, but you would see the occasional story that tried to humanize the character. This follows up on an idea from the previous issue, that Juggernaut can never change what he is and is actually cursed by his powers. That idea is expressed well enough, although this is all pretty cliché. It’s nice to see Greg Land art that predates his discovery of Cinemax, but he’s really just serving the story and doing little else.