X-Factor #25 (Fall of the Mutants)

X-Factor #25 (February 1988)
Rating:  ★☆★☆★☆★☆★
Judgment Day!
Writer:  Louise Simonson
Artist:  Walt Simonson
Inker:  Bob Wiacek

This issue is a fantastic follow up to the prior one.  Non-stop action throughout, and Simonson's art is in top form.  My issue (as you may be able to tell from above) isn't in the best of shape.  A little sun damaged and the spine has creases.  Needless to say, I've had this the longest of any of my Fall of the Mutants issues.  It's also the climax of the X-Factor issues and I actually feel a little stab of pain when I read the destruction of New York.  Unlike most of you (I kid, I kid) I actually remember September 11th and seeing New York undergo such devastation, especially the destruction of the top of the Empire States Building, is harder than it was when I was younger.  Now that the depressing stuff is over with...

The issue starts off with Apocalypse surveying his horsemen's attack on the city.  War destroys buildings, Pestilence kills with a touch, and Famine decays flesh.  Death...well he just flies around and cuts things.  Apocalypse gloats over the captive X-Factor but Beast, with his enormous strength, digs into his platform and crumples a chunk of metal.  He hurls with at Iceman's dampening belt, switching it off.  Iceman's powers go berserk and the sudden cold causes the metal bindings to become brittle, freeing all of X-Factor.  Cyclops fires a blast at Apocalypse but the mutant dodges and Cyke's beam instead hits the power transformer, causing Apocalypse's ship to start drawing power from the city, forcing a chunk to blackout.

Apocalypse then flips a switch that opens a trap door.  Marvel Girl and Cyclops are sucked outside while Beast holds Iceman in.  Once outside the cloaked ship is invisible to them as well and they elect to chase after the screams as Pestilence travels through the subway.  The duo then notice War and Famine and split up to engage the horsemen.  Marvel Girl tackles Famine and although injured, she manages to disable the horseman with the most unconventional of weapons that could only be found in New York:  a hot dog stand.  Famine is suddenly  teleported away.  Cyclops engages War, but his optic blasts are deflected off of War's horse.  Then, in a jump that would make a world class gymnast proud, Cyclops flips into the air and, upside down, fires a point blank optic blast into the mouth of War's horse, destroying it.

Meanwhile, in the ship, Apocalypse fights Beast and Iceman.  Beast throws a large chunk of machinery but Apocalypse easily dodges.  The throw instead destroys something important.  Outside, the ship appears in the sky and starts careening out of control.  It crashes into one tall building, toppling the building.  The ship then starts spinning out of control and takes out another building.  Cyclops and Jean fly up after the ship but are interrupted by Death.  His wings disrupt Jean's TK hold on Cyclops.  She catches him soon after just in time to watch the ship crash into the top of the Empire State Building!

Jean manages to catch the giant antenna, but it takes all of her effort to hold it.  Pestilence goes after the pair, but just then Power Pack (for those of you who read my Mutant Massacre reviews know how I feel about this group of delinquents) show up and the girl who controls her density (can't remember nor do I care about her name) slams into Pestilence, knocking her off her horse.  Katie, the rainbow girl flies after her and grabs her.  But just then, Death shows up and slices the antenna in two.  Jean is unable to hold both pieces and both fall.  In the debris, Katie loses her grip on Pestilence and Pestilence falls to the ground and dies.

On board Ship, Beast and Iceman renew their attack and Apocalypse flips a switch to teleport War and Death back to the ship.  Jean and Cyke both climb aboard Pestilence's horse and use it to ride to Apocalypse's ship.  On board, War engages Beast and Iceman but is quickly defeated.  Cyclops and Jean join the fight quickly just as Death makes his assault.  Then, Iceman has an idea.  As Death is circling above, he sees Iceman raise his arms to attack.  Death wastes no time in slicing apart his former friend/teammate.  The shock of what he has done finally brings him back to his senses.  He turns on Apocalypse and attacks.  The rest of X-Factor attacks en masse, joined by Iceman (turns out it was an ice double meant to trick Death back to normal).  Apocalypse smacks Death to the ground but before War can finish the job, Beast carries Death out of the way.  Iceman then easily defeats War.

Finally outnumbered, Apocalypse gathers Caliban and War and flies out the side of Ship, leaving X-Factor behind.  Suddenly, the ship hurls to a momentous crash.  The back side lands just in front of the Statue of Liberty.  The ship then teeters forward and finally topples on top of the old X-Factor complex.  X-Factor rejoices but then head outside at the sound of police and reporters.  They head outside and announce that the menace to the city has been destroyed.  They also reveal that they, the X-Terminators, are the same people as X-Factor, the mutant hunters.

This issue is so fantastic in so many ways.  It's just the thing you need for the climax of a major story.  it is action non-stop and the victor is never clear until the dust settles.  Never once did our heroes seem in control, going from one disaster to another.  There's very little character development, but you shouldn't expect that in the big battle.  It came before and it will come after.  For now, we are meant to be whisked from one scene to another.
The artwork is fantastic.  The best thing Walt can draw is action and he does this incredibly well in this issue.  Even in the scenes that have 20 things going on at once are drawn incredibly well and each page has so many things happening at once.  The art isn't perfect, but it's definitely enjoyable.
I only have a few complaints about this issue, but they are minor and I won't bring them up.  Overall, this is one of my favorite issues of the entire Fall of the Mutants saga.

X-Factor #24 (Fall of the Mutants)

X-Factor #24 (January 1988)
Rating:  ★☆★☆★☆★☆
"Masks"
Writer:  Louise Simonson
Artist:  Walt Simonson
Inker:  Bob Wiacek

So I've been trying to figure out all week how I'm going to post these, because unlike other x-overs, there isn't really any coherent plot throughout the titles, rather simply a similar theme of changing up the status quo.  So I figure for now, I'll post all of the X-Factor reviews.  Interestingly enough, X-Factor is the only issue that really has tie-ins to it (other than Hulk #350 which leads into the Uncanny stories).  This is probably due to the fact that X-Factor is the only one that really takes place in New York where almost all the other Marvel titles take place.

This issue was the hardest and costliest of all of the Fall of the Mutants issues to collect.  It's also my favorite (at least of the X-Factor issues).  The reason is the same:  it's the first full appearance of the horseman Death!  Now this may not seem like a big deal, and I'm sure many of you aren't even aware of how this originally played out, but for the last 8 issues, there were hints of the mysterious 4th horseman of Apocalypse.  Angel was believed dead, having apparently committed suicide and Apocalypse could be seen prepping his newest horseman, promising the gift of flight.  When Death arrived to confront X-Factor, it was a momentous occasion.

Here's some interesting trivia as well.  Although most of us have always known him as Archangel, he actually didn't take on that moniker until the end of the Inferno saga.

The issue starts where the last issue left off.  The four remaining members of X-Factor, along with Caliban, arrive in a mysterious room, having just been teleported away from the young mutants they had been watching.  Caliban announces that he senses 5 mutants:  1 who is new to him, 3 who they have fought before (the horseman) and 1 who is familiar, but different.  Beast and Cyclops start tearing apart the room (and Beast keeps getting dumber and dumber as a result of his illness inflicted upon him by Pestilence).  Finally, Apocalypse appears and announces they are on his Ship, hovering above New York.

Apocalypse talks and talks (he really loves posturing), explaining how Xavier's dream has been foolhardy (yes, although Xavier is hidden from the general public, Apocalypse somehow knows about the mutants' former mentor) and the public fears and hates mutants more than ever.  He also reveals that he has been around since ancient Egypt, making him one of the world's first mutants.  He taunts X-Factor about their mutant hunting campaign and Angel's crippling and eventual suicide.

Apocalypse then brings out his three known Horsemen:  Famine, War, and Pestilence (another trivia - according to legend and the bible, Pestilence isn't a horseman - it was instead Conquest).  He opens a door to allow them to ride out and destroy New York.  X-Factor springs into action.  Marvel Girls slams War with a pile of rubble.  Famine emaciates Iceman.  However, he recovers and deactivates his power dampening belt (which helps him regulate his powers after Loki made them go wild) to go into overdrive and down Famine in a pile of frost.  Pestilence goes after Beast, hoping to finish the job.  Beast gets away, but his strength is so great that he crumples a steel pipe easily and knocks out Pestilence.  With the three horsemen defeated, X-Factor turns to Apocalypse.

Apocalypse then reveals his newest horseman, Death!

Cyclops is stunned at this apparent abomination of what Angel stood for.  Death removes his golden mask and X-Factor realizes that it isn't just an abomination.  It is Warren Worthington III, also known as Angel!  Angel declares that Warren is dead and he is now Death and he attacks.  Flying high above X-Factor, his wings hurl countless knives, each slicing Beast, Cyclops, and Iceman, paralyzing all three.  These knives are laced with a temporary paralytic.  He then confronts Jean and she tries to talk him down.  It seems to be working, but then his programming takes over and he takes her down as well.

All four of X-Factor (anybody notice how Caliban's missing?  well he'll come back into play) are strapped to tables.  Death/Angel dons his mask again even as Apocalypse asks X-Factor to join him in his war on the humans.  Cyclops, of course, refuses and Apocalypse once again opens the bay doors and his four horsemen speed off into the city to destroy and kill all they can.  Caliban suddenly shows up near Cyclops, unnoticed by all.  Cyclops begs Caliban to free him but Caliban instead runs to Apocalypse and pledges his service, if Apocalypse will make Caliban Death's equal.

I loved this issue.  I think if this had just had a better artist, this would have been a 10 easily.  It's a fantastic read, but the impact is so much more important when you read it in the context of the past 14 issues of X-Factor.  The feelings of betrayal are so incredible and you can tell by the dialogue and the expressions how betrayed and full of hatred Angel is.  He no longer cares for his friends as he feels they allowed and protected the humans who cut off his wings.  It comes full circle as Caliban, who appears to be more of a mascot, finally sees a way to take revenge on the Marauders who killed his people.

This is also the issue that really solidifies Apocalypse as a major player.  He has been around for a millennium and knows of the X-Men and X-Factor and it is apparent that he is a major threat to all of humanity, even if most of his horsemen are somewhat crap.

Also, the first full appearance of Death/Archangel is shocking.  We'd seen him in the shadows the previous issue but here you find out just how deadly he is.  Angel is no longer a weak guy with bird wings.  He really IS Death and you get the feeling that he will easily live up to his name.

Fall of the Mutants (1987 X-Men crossover event)

I had a lot of positive reception on my reviews for the Mutant Massacre, so I decided to do it again.  I hope it's as enjoyable as before.  This blog will be shortened.  I'll devote most of the reviews to the individual issues.  Considering the time it takes for me to get one issue out, please be patient.

Unlike the Mutant Massacre, this crossover had no coherent storyline.  It was as if the shit just hit the fan for all three x-groups all at once.  It contained themes running across all three titles, however.  The primary theme was the growing distrust and anti-mutant feelings of the general public.  The Mutant Registration Act really hit full swing here, although it would still be addressed in many later issues.

One interesting part was the addition of an advertisement for the crossover, masquerading as a Public Service Announcement.  It was meant to get people to "turn in" anybody they know who might be a mutant.

I've read that this also came as a detachable card and could be requested at most comic retailers and could be mailed in with your personal information as your way of registering your mutant status.  I wasn't buying comics at the time so I have no idea beyond what I've read.

Another theme was that the Fall of the Mutants drastically changed the status of each X-group.  The X-Men became legends, but were believed dead even by friends and family.  They also soon moved their group to the Australian outback.  X-Factor adopted their infamous Ship as their base, discarded the mutant hunter identities, and became a public mutant team.  The New Mutants lost their first member and severed ties with Magneto.  Although they remained at the school they no longer made any attempt to listen to him, feeling that with the X-Men dead they were the last hope.

Although the stories do not continue in each title, most refer to events happening in the other issues, so it is evident they are occurring at the same time.  In Uncanny X-Men, the Avengers and Fantastic Four are referenced as being held in reserve until the situation in New York is resolved.  In X-Factor, the reports from Dallas regarding the X-Men show up on TV several times.  In the New Mutants, Magneto surveys a demolished New York City as well as the young mutants witness the X-Men's death in Dallas.  There are also smaller, non x-titles, that tie in.  I have most of them, but not all, so I won't be able to include Daredevil or the Hulk in my review.  However, in Captain America we get to see Famine lay waste to the midwest.  In Power Pack (the only issue to really tie in directly to any of the issues), the brat pack fights off Pestilence and helps to try to bring down Apocalypse's ship.  And in Fantastic Four, during the parade for X-Factor, the team gets forced into helping a Doctor Doom obtain asylum from the United States.

As a crossover, this actually is not that great.  However, the individual stories are highly enjoyable and they really do change things for years to come (maybe even more so than Inferno does later).

I hope you guys enjoy my reviews.  I'll try to get out 2-3 a week, but I make no promises.

Uncanny X-Men #221

Uncanny X-Men #221 (September 1987)
Rating:  ★☆★☆★☆★☆★
"Death by Drowning"
Writer:  Chris Claremont
Artist:  Marc Silvestri
Inker:  Dan Green

When people think of the 80's era X-Men, they think of this team:  Storm, Wolverine, Psylocke, Dazzler, Havok, Longshot, Rogue.  It's funny, because this team didn't even really show until the latter half of the decade, but this team is affectionately known as the "Outback" team, because of their adventures later.  This issue is memorable for two reasons.  First of all, this is where the X-Men hook up with Madeline Pryor.  Second, and more importantly, this is where Mister Sinister, a villain so awesome I had to include TWO pictures here, makes his first formal appearance (other than being mentioned).

The issue opens with a close up on Sinister, berating the Marauders for their failure to kill Madeline Pryor.  Sabretooth loses his temper but is quickly put in his place.  Sinister sends the Marauders back out, pointing out just how important it is to kill Pryor.

Elsewhere, Dazzler and Rogue are in a battle against each other, each trading hits.  Dazzler strikes Rogue but Rogue is only winded and not apparently injured.  She resumes her attack on Dazzler.  Dazz tries a different approach and uses her laser to drop an entire stage lighting system on Rogue.  That appears to do the trick.  At this point, we see that this was only an elaborate Danger Room sequence and it is interrupted by the real Rogue.  She appeals to Dazzler to let their past go and work on the team together.  Dazzler's not buying it, though, and refuses to release the feud.  Before they can get into a fight, Psylocke interrupts, summoning them both.

Elsewhere, Storm is traveling with Forge's old teacher, Naze.  Naze, who is acting even more suspicious than normal, is alone on a butte, apparently plotting something to do with Forge and Storm.  He then returns to Storm so they can resume their hunt for Forge.  Storm is still unsure if she will ask Forge for help...or kill him.

In San Francisco, Wolverine explains to the X-Men about a call he received from Madeline Pryor.  He explains that Cyclops apparently ran off and took their son (we actually know that latter part isn't true).  Havok is in disbelief, but before they can do anything more, Psylocke realizes that there are Marauders in the hospital already.  Rogue takes off.  She easily gets the drop on Sabretooth in the hallway and punches him so hard he flies through the wall and out the building.  She rushes into Madeline's room to find Scalphunter holding Madeline, prepped for a kill.  Scalphunter fires a single blast and Rogue is knocked through several rooms.  Madeline smacks Scalphunter with a metal tray and tries to escape.  Scalphunter grabs her, but before anything else can happen, he is struck in the back by a laser from Dazzler.

Longshot, Dazzler, and Psylocke are watching from a neighboring rooftop.  Dazzler prepares for a second shot when their world turns upside down.  In an effort to get away from Vertigo, Longshot knocks them all off the building.  His luck lands them into the bed of a dump truck carrying sand.  It doesn't last for long.  Harpoon strikes Psylocke with one of his spears.  The pain is transmitted to all of the X-Men through her psychic rapport.  In the hospital, Havok and Wolverine are doubled over in pain when Scrambler touches Havok and causes him to release a wild blast of energy that demolishes several floors and strikes Wolverine full blast.  Before Scrambler can do the same to Wolverine, he his knocked on his ass by Madeline who is wielding one of Scalphunter's guns.

Arclight causes an earthquake, hoping to drop the hospital.  Rogue shows up and grabs Madeline to get her out of the hospital.  She flies past the Golden Gate bridge when a river of iron girders are torn from buildings and begin following her.  She and Madeline are quickly trapped and the newest Marauder is revealed as Polaris.  She sends the river of iron carrying Rogue and Madeline towards the bay and Dazzler quickly grabs Longshot's grappling hook and lands it on the girders and is pulled along to the bay.  The river of iron is quickly deposited at the bottom of the bay where Rogue and Madeline will surely drown.  Dazzler first frees Madeline.  Then, even though air is running out as is her energy, she returns to free Rogue.  At the last possible second, Rogue breaks free and they both head to the surface, finally reconciling their differences.  Just before Polaris/Malice returns to finish the job.

This issue is a great read, even if it isn't the best issue out there.  I especially love it just for the introduction of Mr. Sinister.  The story is fantastic.  Sabretooth's reactions to being chided as well as Havok's outburst over his brother's supposed abandonment are both enjoyable.  The story takes a bit to get into the action but once it does, it's non-stop.  As Claremont does so well, he also continues other subplots, building to a much larger story.  This issue continues the build up to Fall of the Mutants.

I love almost every single Marauder story.  They are the X-Men's match in every way, only more ruthless.  I think the only thing that keeps this from being another 10/10 story is that Marc Silvestri's art simply isn't at the level that it one day will achieve.  Or maybe it's the inker.  Maybe the colorist.  It's hard to figure out, but the overall artwork in this issue is good, but not great.