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X-Men comics of April 20 2016

April 20, 2016

Follow me on Twitter (@XMenXPert). Here’s today’s comics.

Extraordinary X-Men #9, by Jeff Lemire, Humberto Ramos, Victor Olazaba and Edgar Delgado. It starts rights after Colossus and his students are transported to the future. Right in front of a temple of Apocalypse. They speculate that mutants lost Apocalypse’s “survival of the fittest” competition. I’ve just now decided to view Apocalypse’s thing as a reality show. Like The Biggest Loser or something. “Are You Fit Enough?” Anyway, three of Apocalypse’s Horsemen – Deadpool, Venom and Man-Thing – attack. And Moon Knight tries to catch them as they flee with the ark containing mutant embryos. Colossus tells them to run through a nearby doorway, and he’ll find them later. The door leads . . . somewhere. It’s a whole bunch of different eco-zones, all in glass spheres. It’s pretty cool, actually. They wander through the worlds, including one that’s the domain of the Scarlet Queen, a mystical realm. Then a water world, where Anole says he’ll never get to ask out Striker. And no. No, Lemire, no. No. Anole and Striker have met. They talked about the fact that they’re both gay, and how silly it is that their friends tried to set them up just because they’re both gay. You are missing the entire point of that scene, Jeff. You’re not only missing the point, you’re actively contradicting the point, by shipping them just because they’re both gay. Why not have him express an interest in Prodigy, instead? That would’ve worked. Ugh. Anyway, the next world is a tech-world. Specifically a Stark world, though all the humans are dead. Here, we get some answers. They’re on Omega-World, in the year 3549. In the 21st Century, Apocalypse killed almost everyone, except for Atlanteans, Inhumans, Stark-Self, Wakandans, Mystics and Moloids. Anyway, the Stark-Self tells the X-Men to leave, but does agree to help No-Girl first. This was OK. I do like the X-kids, though they get less to do here than you’d think, given the issue is all about the time they’ve spent in Omega-World. There’s less character exploration than one might expect. It’s an enjoyable enough story. It’s been done before, but it’s one I always like seeing, with the different zones and stuff. And I don’t like the art. At all. I just do not like Ramos’ style, and I never will. I’ve talked about that before, no sense getting into it again.

Deadpool #10, by Gerry Duggan, Matteo Lolli, Iban Coello and Ruth Redmond. Deadpool and Sabretooth are eating at Kaminsky’s. A reference, presumably, to comic legend Len Kaminski. Deadpool is mad at Sabretooth for killing his parents, and Sabretooth keeps trying to apologize, and says he just hoped Deadpool could kill him. They’re about to go outside to fight, and the waitress points out they didn’t pay. She says she’s a single mom. Deadpool gets annoyed and pays. Good, Wade. Don’t skip out on bills. And tip well! You’d better give that woman at least a 20% tip! Then it’s a high-speed motorcycle chase. Best line: “Hey Creed, you suck worse than the band!” Solid burn. The chase is very much a movie thing, complete with crashing helicopters that result in a temporary truce between Sabretooth and Deadpool while they save the people who crashed. This was a good issue. Solid stuff. A little bit of comedy, but not so much as to distract from the high drama, and the comedy that was there was pretty good. It’s an enjoyable story. The art’s good. Not as exaggerated as Deadpool usually gets. It makes for a more exciting action sequence. Overall, this is shaping up as a solid arc.

Deadpool & the Mercs For Money #3, by Cullen Bunn, Salva Espin and Guru-eFX. Taskmaster fights Evil Deadpool. I could’ve gone without seeing him again. Bleh. Reminders of Way’s shitty run are not needed. Meanwhile, Deadpool’s invited a ton of supervillains to an auction for the Recorder. The auction turns into a fight. Because obviously. And . . . that’s pretty much it, without spoiling the ending. You may notice how brief this recap is. That’s because this is an issue where goddamn nothing happens. Taskmaster fights Evil Deadpool. Deadpool holds an auction for supervillains. Supervillains fight. Someone buys the Recorder. There really is nothing beyond that. And there’s some attempts at jokes, which fall flat. How is this doing well enough to be turned into an ongoing? I don’t get it. I do not get why anyone would be enjoying this series. It is not a well-written series. It’s boring, and it’s not at all funny, and virtually every character is written poorly. And the art isn’t great, either. There is absolutely nothing to recommend this comic, and yet, it’s apparently doing well enough to be turned into an ongoing. Will people just buy literally any comic with Deadpool in it right now? Is that what’s going on? Because this is not a series that is in any way deserving of good sales. It’s crap.

Spider-Man/Deadpool #4, by Joe Kelly, Ed McGuinness, Mark Morales and Jason Keith. It opens with Spider-Man inviting Deadpool to hang out. Anna Maria thinks it’s a terrible idea. So does Shiklah, actually. Deadpool and Spidey meet at a club, Hellhouse, which is a pretty great callback to Kelly’s original run! ‘Pool also gives Spidey an image inducer so he can keep his secret identity without attracting attention. The identity he’s given is black. He has a succubus pose as a blonde as Spidey’s date, and they actually hit it off pretty well, while ‘Pool’s date is Thor. She’s on his free-pass-list. He called her on the Avengers emergency card without telling her why, it turns out. And Thor and the succubus immediately get in a fight. Which Deadpool tries to move into a mud pit. This comic starts ridiculous, and just keeps raising the level. It’s so damned much fun. Kelly and McGuinness are hilarious together. They’re clearly having a blast here, and the humour is really strong. Of course, it’s Kelly’s Deadpool, so there’s also some really sweet, sincere moments, and a bit of darkness, especially at the end. But, I mean, the climax of this issue is a dance sequence. It is impossible not to laugh at this comic. And it highlights why Kelly’s Deadpool is the funniest Deadpool: The humour isn’t random. It’s not wacky antics or shouting funny words or anything like that. It’s just good jokes, delivered with utter sincerity because it’s the only way to deliver them. It never feels like the comic is winking at the audience and going, “Eh? Eh? Pretty funny, right?” Instead, it just allows the fact that Deadpool tried to arrange a mudfight between Thor and a succubus to stand on its own. And McGuinness’ art works fantastically, as well. He’s got a great sense of comedy, and because his art style isn’t too exaggerated, he grounds the comedy in a more normal, familiar style. Which just makes the jokes even funnier. I really enjoy this series. Kelly, McGuinness and the rest of the team are doing some fantastic work. The best Deadpool. The Best.

And that’s the X-stuff. Some quick comments on other comics out this week.

New Avengers #10 has a giant Avenger robot vs. a giant American Kaiju. And there’s just loads of awesome stuff. There’s also a last-page cameo with one of the greatest lines ever. I won’t spoil it. But any X-fan will be absolutely delighted by it. I want to talk about it so bad, but I don’t want to spoil it, so I’ll just say that I was delighted to no end. This whole issue was great. I love this series.

Power Man and Iron Fist #3 is also great. Jessica Jones gets to be pretty great. Also, Jennie and Black Mariah are great. There’s a Dr. Strange cameo, because I think every book is obligated to have him show up right now, though it is a very sensible cameo, one that makes perfect sense, even if it doesn’t really go anywhere. There’s also Senor Magico. It’s a really funny comic, really fun, and really great.

Captain Marvel is really good. Very exciting stuff. Some nice twists. I’m very curious who the saboteur is. Though one thing I find odd: Carol tells Brand to search the empty station to see if the saboteur’s still on board. Aurora would make more sense, given she has super-speed.

Silk #7 is good. It’s a really bittersweet opening. And man, I like Silk so much. She’s pretty adorable. This is really fun.


From → 2016

  1. My local shop didn’t’ receive everything they ordered, and among the titles missing was Extraordinary X-Men. It sounds like a just ok issue. I like the young X-Men too, but sounds like this issue is more about the story than it is about them.

    Deadpool on the other hand sounds pretty good. If this arc does continue in its quality, I’ll have to consider picking up the trade.

    Captain Marvel 4 is so good. There’s a lot of story development in this issue, yet there’s still plenty of room for action, character moments and humour. Probably the tightest writing from the comics I read this week.

    Silk 7 is probably the best issue in the crossover so far, and it kind of makes me want to read some of her other stuff.

    • Silk is great. She’s a great character. She’s the dorkiest of all Spiders, but also the sweetest and the most messed-up. Gwen’s the “cool” one, Jessica’s the awesome one, Cindy’s the awkward one. Who’s got some serious issues she’s working out. And she actually has a therapist! Which I find so amazing. It’s so incredibly rare for characters to see therapists, but she sees one.

      I definitely recommend Silk. I’d suggest starting with the first trade, just because it has Stacey Lee as the primary artist and Stacey Lee is amazing. Though I do really enjoy Tana Ford’s art, too.

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