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X-Men #14 (1965, November)

August 14, 2012

Ooh, here’s another big issue. By Lee, Kirby, “Gavin” (Roth), Colletta and Simek, “Among Us Stalk . . . The Sentinels!”

Among Us Stalk . . . The Sentinels!

Throw your hands in the air like you just don’t care!

The issue starts with the team finishing up some recuperative therapy after their battle with the Juggernaut. They’re all back to normal, so Xavier decides to give them a vacation. We then cut to anthropologist Dr. Trask as he tells some reporters that mutants are the greatest threat to mankind. The X-Men get ready for their vacation, and Scott still thinks his eyes mean he can’t date Jean, while Warren thinks that Scott may want to date her.

X-Men #14

Warren wishes Scott would look at HIM like that.

Xavier reads a newspaper report about Trask’s warnings, complete with insane “artist’s interpretations.”

X-Men #14

Just look at this. Look at it!

So Xavier decides to debate him on TV, where Trask – the anthropologist – reveals the highly advanced robot he’s built. As an anthropologist. Turns out anthropologists probably shouldn’t be building robots, as the Sentinels turn on him immediately. Like, “same page they were first seen” immediate. That’s actually kinda impressive.

X-Men #14

It took four panels for them to turn on humanity.

Xavier sends a mental contact to the X-Men, who are relaxing in different places. Bobby and Hank, of course, are at the coolest place around.

X-Men #14

This place, man.

They show up and fight the Sentinel left to guard the TV studio. The Sentinel suddenly topples over for no apparent reason, and Xavier’s able to pick up from its mind the location of where it was created. In the meantime, Angel is attacked by some Sentinels.

X-Men #14

Angel, you’re useless.

He was literally rescued by being captured his own teammate. That’s how useless Angel is. Anyway, they all head out to the Sentinel base, and see nothing, until the ground rises up and starts attacking them.

I’m still not liking Werner Roth’s art. And the Sentinels are incredibly stupid-looking. But still, it’s a good issue. The fear and hatred of mutants has now become a major plot point, and will continue to become a core theme for the X-Men. At this point, mutants were more an allegory for Red Threat than race. So Trask’s fears about a threat from within that will conquer America reflects the McCarthy witch-hunts and fears of Communist infiltrators. On a fun note, one of the “artist’s renditions” of mutants ends up showing up in Grant Morrison’s New X-Men, as an image used by Quentin Quire.

X-Men #14

This image, specifically.

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