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COMIC BOOK REVIEW: Uncanny X-Men #600

 
uncanny xmen 600
uncanny xmen 600
uncanny xmen 600

 
Overview
 

Story by: Brian Michael Bendis
 
Art by: Sara Pichelli, Mahmud Asrar, Stuart Immonen, Kris Anka , Chris Bachalo , David Marquez and Frazer Irving
 
Publisher:
 
FG RATING
 
 
 
 
 
3.5/ 5


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To sum it all up..

MY CHILDHOOD MEMORIES So, Marvel Comics finally releases Brian Michael Bendis’s swan song on the merry mutants in Uncanny X-Men #600. Is it really worth the hype surrounding the publication’s delay, and even so, the wait? On the personal note, I am rather disappointed at all, making me think and reflect that Chris Claremont’s epic […]

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Posted November 6, 2015 by

 
FULL REVIEW
 
 

uncanny xmen 600
MY CHILDHOOD MEMORIES

So, Marvel Comics finally releases Brian Michael Bendis’s swan song on the merry mutants in Uncanny X-Men #600. Is it really worth the hype surrounding the publication’s delay, and even so, the wait? On the personal note, I am rather disappointed at all, making me think and reflect that Chris Claremont’s epic X-run is still the best mutant series ever, followed by Grant Morrison’s New X-Men reinvigoration, Joss Whedon’s Astonishing X-Men years, and the mind-blowing Age of Apocalypse event by Fabian Nicieza and Scott Lobdell (give credit where credit’s due). Here’s why!

The plot centers The Beast. Even so, Henry McCoy “stands” in trial for his past actions since Bendis took over the X-chores some few years back, and that included toying the concept of bringing the 1960s X-Men (the Stan Lee and Jack Kirby run) to the present times to undo or prevent what transpired in the mutant community, particularly the present Scott Summers’ rather unpleasant undoing (READ: Jason Aaron’s Schism, and better yet, the whole Avengers vs. X-Men or AvX mega-event for more juicy details). We get it. The morality play of “great intentions can somehow lead to ashtrays” is refocused once again, and Bendis chose the least malevolent of all mutants who is to be subjected that kind of hypocritical and high-horse riding nonsense. Sure, morality is one of the X-men’s often tackled, but highly sensitive, themes explored, which Claremont beautifully utilized, but in Bendis’s brand of superhero morality is not at par with the great X-scribe either. I expected a dubious character or an anti-hero somehow to be subjected that kind of treatment, but instead, Bendis wanted The Beast to go further to the depressing state, similar to what the same author once subjected to the blind but highly-skilled battle-tested attorney/vigilante in the early 2000s. I am no Beast fan but the good doctor already suffered so much mental and emotional turmoil since the beginning of the 21st century.

Even the dialogues, moreover the interactions, are basically the same thing, rephrasing or rewording as “I did that, and so you are” and “we care about you, but you must face the consequences” exchanges. Bendis wrote great scripts in the Ultimate Spider-Man years, Daredevil series, and his first half Avengers epic run; but I felt reading the same line over and over in this X-finale. Even the prior stories that actually served as the writer’s non-linear style of narrative are felt so flat and predictable. Peter Rasputin’s love to his wayward sister could have been heartwarming in Chris’s hands, but Bendis made this supposed touching moment hurtfully cliché. Of course, the controversial issue of the gay-ness of the younger Bobby Drake was brought up. Yet, I am already a jaded type reader on this “diversity for the sake of diversity” discourse in mainstream comics. Hence, Bendis’s take on the so-called Bobby and Bobby talk is executed rather palatably, neither is groundbreaking nor even so “senses-shattering” at all.   Heck, this “ultimate” chapter included the 1970s X-tale named “Winter Carnival”, which served; I presumably hypothesized, as a fan service for pinpointing the roots of Iceman’s sexuality. Again, this additional feature’s greatest strength was the collaborative artistic efforts of the legendary George Perez, and our doyen of superhero comic illustration, Alfredo Alcala; though decent story. Thinking outside the box, is this said X-tale inspired, prompted, and green lit Bendis of reconstruct Bobby’s gender? If only Sigmund Freud is still alive and kicking, we can surely explore that one. My only consolation is that this chapter took place before Jonathan Hickman’s Secret Wars mega-event, and continuity-wise, it serves as Bendis’s requiem to the 616 X-tradition. Of course, post-Secret Wars X-Men continues to exist, and even some of loose plot and character threads Bendis left behind will be surely explored one way or another. But the damage is already done nonetheless.

This issue has multiple illustrators around, but their respective signature artworks did not necessarily mesh so well with the overall artistic quality because this is a single story. If there are separate but interconnecting tales, then the necessity of various artists was very justifiable. But this was a delayed work, and more so the main story flowed and interpreted by various illustrators, making some readers a bit irritating, if not confusing, especially with Chris Bachalo, Frazer Irving and Kris Anka’s respective avant garde illustrative styles. Once more, the drawings of George Perez and the embellishments of Alfredo Alcala of the classic X-tale were the most decent and pleasing illustrations at all. Lastly, I was glad I decided to acquire the Leinil Francis Yu-variant art cover because he really knows how to encapsulate the awesomeness of the classic 1990s X-Men era. My only grip here was his omission of the spunky Jubilee.

OK, I once expected Uncanny X-Men #600 to literally blow off my socks off. Instead, Bendis virtually shattered what was left of my childhood memories regarding the Merry Mutants. Perhaps, I can still hope that the movie version and the Deadpool adaptation can somehow manage to sustain the remaining adorations to the misunderstood and the uncanny X-people. Sigh, Bendis, thank you for the X-memories in the most cynical, sarcastic, and twisted way possible.

 


Paul Ramos

 


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