Comic Review: X-Men: The Age of Apocalypse – The Complete Epic

Published: 1995-1996
Written by: Scott Lobdell, Jeph Loeb, John Francis Moore, Mark Waid, Warren Ellis, Fabian Nicieza, Larry Hama, Howard Mackie, Terry Kavanagh
Art by: Roger Cruz, Terry Dodson, Steve Epting, Andy Kubert, Adam Kubert, Carlos Pacheco, Joe Madureira, Tony Daniel, Salvador Larroca, Chris Bachalo, Ken Lashley, Steve Skroce, Ian Churchill, Joe Bennett

Marvel Comics, 1462 Pages

Review:

I’ve really only heard great things about The Age of Apocalypse storyline since it started back in 1995, an era where I wasn’t really reading comics for awhile, except for Dark Horse’s Star Wars stuff.

In fact, the last major X-Men related event that I had read before this was X-Cutioner’s Song, a pretty good epic. But shortly after that, I got pretty burnt out once the top Marvel guys went off to form Image and then those comics were constantly hindered by delays and irregular schedules.

Based off of all the praise I heard, I always wanted to read this but it was such a massive story, spread over multiple collected volumes that I never really wanted to fork out the over $100 it would cost to buy the whole shebang. So, all these years later, I took advantage of a massive X-Men sale on Comixology and got the entire saga with its prelude for about $20.

Now that I’ve read it, I’m glad I only spent $20 because like Game of Thrones, all my friends and all the critics lied to me about how great this was. It’s not, it’s a clusterfuck of biblical proportions showcasing a lot of the things that were wrong with mid-’90s comic book art from the major publishers.

I’ll start with the art and just come out and say that this was mostly an eyesore to look at. The biggest reason was the colors, which relied so heavily on what I assume are digitally created gradients and overly vibrant colors that this was like staring into the asshole of a tropical fruit salad for hours. Everything is too busy, every single issue collected is made to be overly grandiose and if everything is larger than life and overly vivid, then that becomes the norm and thus, makes everything kind of boring.

Additionally, there is such a mix of different artistic styles that it becomes jarring as these collections jump from issue to issue every twenty pages or so. Some of the artists had great pencils but many of them illustrated in a style that didn’t feel like Marvel and instead felt like the artists were trying to emulate indie comics from Image and Valiant. Besides, the stuff that was illustrated well, ended up being wrecked by the primitive gradients and crazy colors that looked like a giallo film puked all over a box of Prismacolor markers.

When it comes to the narrative side of this, that’s also a mess.

This suffers from trying to be way more ambitious than it needed to be. The whole story is comprised of about seven or eight different subplots that are and aren’t intertwined. Some of them merge towards the end into the bigger story but some stuff just happens within this new timeline. But the story jumps around so much that it makes the whole thing hard to follow as a singular body of work. This is the same problem I have, right now, with all the new X-Men related titles that are tied to a bigger narrative but don’t feel connected as much as they should. But this is what happens when you have a half dozen different titles and different writers, all of whom want to explore different territory in their own way while being trapped within a common framework.

In fact, the only plot I actually enjoyed was the one that dealt with the characters that aren’t tied to the X-Men.

There was a two issue miniseries called X-Universe, which focused on what other Marvel characters were up to during this event. We check in on this timeline’s version of Gwen Stacy, some of the Avengers, Fantastic Four, Doctor Doom and a few others. I found this more interesting and it showed me that this alternate timeline could provide the right sort of environment for cool and refreshing takes on old characters.

While I should probably feel the same way about all the X-Men related characters and their stories, it is hard to focus on any of them because of how this jumps around so much. When I got to the non-X-Men characters, it felt like a nice break from the X-clusterfuck I was pushing myself through.

Ultimately, I was really disappointed in this. I kept powering through it because I was hoping that all these subplots and characters would unify into something coherent that clicked at the end but that didn’t happen. We eventually get to a resolution but it’s not all that satisfying.

On a side note (and spoiler alert): the way that Magneto kills Apocalypse is pretty f’n badass.

Rating: 5/10
Pairs well with: other big X-Men crossovers of the ’80s through ’00s.

Comic Review: Vampirella Master Series – Omnibus

Published: September 20th, 2017
Written by: Kurt Busiek, Mike Carey, Warren Ellis, Jeph Loeb, Mark Millar, Alan Moore, Grant Morrison, James Robinson
Art by: Amanda Conner, Gary Frank, Joe Jusko, Louis LaChance, Mike Lilly, Mike Mayhew, Tim Sale, Mark Texeira

Dynamite Entertainment, Harris Comics, 545 Pages

Review:

I’ve kind of dug Vampirella my entire life, even if I hadn’t read many of her stories until more recently. She always looked like a cool, badass character and I’ve always enjoyed horror, especially vampire fiction.

Being that this is the 50th anniversary of the character and because I’m stoked for the new series that Christopher Priest is writing, I wanted to dive deep into Vampirella lore.

This gigantic omnibus was put out recently by Dynamite but it collects stories from the ’90s when Vampirella was being published by the now defunct Harris Comics.

What makes this collection special, is that it is a compilation of Vampirella stories from a ton of A-list creators in a time when comics were allowed to be harder, sexier, edgier and darker: all things that make Vampirella who she is.

Overall, most of this was entertaining. The only low point was the Kurt Busiek story because it was a bit slow when compared to the pacing of the others. I did like Busiek’s tale overall but it was also the largest and kind of took the wind out of the sails for me.

I wish that some of the other stories were larger or expanded on more, though. There were a lot of cool ideas tossed around and a lot of what was considered Vampirella canon was experimented on and retconned. Typically, I’m not big on retcons but with Vampirella having a rocky history, as far as being published regularly and with any sort of long lasting narrative, it doesn’t bother me. Plus, by the ’90s, a little reinvention wasn’t necessarily a bad thing.

In the end, I was glad to have finally read these stories and they’re certainly better than what was the standard in the early to mid-’90s.

I also loved most of the art.

Rating: 7.75/10
Pairs well with: other Vampirella stories, as well as comics featuring Red Sonja and Dejah Thoris.