It’s a rare week for me, one where more trades of note dropped than books I buy, thanks to scheduling and delays. So welcome to the article where I dedicate 500 words to a single issues of Uncanny X-men.
Brian Michael Bendis/Kris Anka
Recently, Newsarama blogger Jim Mclauchlin wrote an article on said site putting comics journalism on blast. One of the things he stated was that reviewing single issues of comics was unfair to creators, as it’s only focusing on one chapter of a story, which is something you wouldn’t see in a literary review . While there were several points in that article I agreed with, Jim also writes for a site that does Top Ten lists daily, and it’s totally fair to review comics on a issue to issue basis, because that is how they are sold. If Marvel or DC want to do single story graphic novels only, I would be all about that, but since they don’t, Imma do me and review their books as they hit the stands.
Which brings us to this month’s installment of Uncanny X-men, which is the latest chapter of the Last Will and Testament of Charles Xavier retcon arc. It’s worth starting off that the cover credits Chris Bachalo and Tim Townsend on the art side of thing for this issue (obviously Brian Michael Bendis is credited as the writer correctly) , which is incorrect because Kris Anka handles that. The cover also implies a Magneto Vs Cyclops thrown down (again), which is also incorrect because Mags appears for all of one page. What I’m saying is that trusting Marvel is risky business.
Jokes aside, Uncanny X-men 28 is a solid issue. The quick recap is that Scott Summers, the least pursued #1 terrorist in the Marvel Universe, is trying to get walking macguffin Matthew Malloy to join his revolution. You know, the revolution that’s really not taken off after 30 issues. It’s a dialgoue heavy issue that sees 3 X-men’s faith in Charles Xavier’s teaching tested, and how differently they react to it. Oh and a lot of close ups of people’s faces, explosions and teleporting.
While the dialogue is pretty much by the numbers, with some cool callbacks to the X-men’s history, Kris Anka’s art work continues to wow me. Thanks to Bendis’ callbacks, we get to see Anka’s interpretations of the X-Men throughout time, ranging from the silver age to the modern age, and most importantly including the beloved Jim Lee designed 1990s roster. Marvel, if you do not publish a X-men’92 book with at least covers by Anka you are leaving money on the table.
Another thing that impressed me is a sequence in which Anka apes several different artists’ styles in a flashback of sorts. It’s not the first time I’ve read a comic where an artist changes his style in reference to another story arc, but it’s still really neat to see Anka channel a wide variety of artists like John Byrne, Joe Madureira, the Kubert bros and Oliver Copiel, among others.
Combine this with Anka’s flat, yet still bold, color pallet, and Uncanny X-men is a beautiful looking book. It’s not the type of book I would recommend to anyone not interested in X-Men comics to, but for those of you already fans of Marvel’s mutants, it’s a good read.