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X-Men: Reload by Chris Claremont #1
X-Men Reload 1: The End of History
Chris Claremont and Alan Davis make their long-awaited return to the Uncanny X-Men! The team is reborn with a proactive new mission, new alliances are formed and old friendships are rekindled--but the X-Men's world remains as deadly as ever! Can the team survive the unbridled force of the Fury? And as the X-Men investigate mysterious murders committed with Adamantium blades, X-23 claws her way into the mainstream Marvel Universe! The action never stops as Arcade attacks, the Hellfire Club is reborn deadlier and more dangerous than ever, and the Savage Land is targeted by a hidden race that seeks to wipe out mankind! Plus, uncanny antics as Momo and the X-Babies return, and a truly special X-Mas tale! It's mutant madness in signature style, as only Claremont can deliver it!
Uncanny X-Men (1981) 444-461, X-Men (1991) 165
Uncanny X-Men (1981) 444-461, X-Men (1991) 165
448 pages, Paperback
First published December 19, 2018
4 people are currently reading
41 people want to read
About the author
Chris Claremont
3,278 books888 followersChris Claremont is a writer of American comic books, best known for his 16-year (1975-1991) stint on Uncanny X-Men, during which the series became one of the comic book industry's most successful properties.
Claremont has written many stories for other publishers including the Star Trek Debt of Honor graphic novel, his creator-owned Sovereign Seven for DC Comics and Aliens vs Predator for Dark Horse Comics. He also wrote a few issues of the series WildC.A.T.s (volume 1, issues #10-13) at Image Comics, which introduced his creator-owned character, Huntsman.
Outside of comics, Claremont co-wrote the Chronicles of the Shadow War trilogy, Shadow Moon (1995), Shadow Dawn (1996), and Shadow Star (1999), with George Lucas. This trilogy continues the story of Elora Danan from the movie Willow. In the 1980s, he also wrote a science fiction trilogy about female starship pilot Nicole Shea, consisting of First Flight (1987), Grounded! (1991), and Sundowner (1994). Claremont was also a contributor to the Wild Cards anthology series.
Claremont has written many stories for other publishers including the Star Trek Debt of Honor graphic novel, his creator-owned Sovereign Seven for DC Comics and Aliens vs Predator for Dark Horse Comics. He also wrote a few issues of the series WildC.A.T.s (volume 1, issues #10-13) at Image Comics, which introduced his creator-owned character, Huntsman.
Outside of comics, Claremont co-wrote the Chronicles of the Shadow War trilogy, Shadow Moon (1995), Shadow Dawn (1996), and Shadow Star (1999), with George Lucas. This trilogy continues the story of Elora Danan from the movie Willow. In the 1980s, he also wrote a science fiction trilogy about female starship pilot Nicole Shea, consisting of First Flight (1987), Grounded! (1991), and Sundowner (1994). Claremont was also a contributor to the Wild Cards anthology series.
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Displaying 1 - 14 of 14 reviews
October 12, 2020
Claremont's second return is so much better than X-Men: Revolution by Chris Claremont Omnibus, but the further we get into this volume, the more obvious that he's just repeating his old hits and indulging in his old fetishes.
The End of History (#444-447). Claremont merges together characters from X-Treme X-Men, Excalibur, and the New Mutants, and ends up with a title that feels the most like Excalibur, with its lightness and casual character interactions. (The Alan Davis art probably helps.) This particular arc is mainly focused on the Fury showing up, which is a nice bit of Captain Britain lore. It's well written, even if it's mostly a big fight [4/5].
Viperworld (#448-449). Claremont certainly goes back to an old favorite when he drops his newest X-Men into Murder World (now run by Viper). It's a pretty great return to form until Claremont starts bouncing all over the place, offering up several different ideas in the space of just two issues [3+/5].
The Cruelest Cut (#450-451). X-23 meets Wolverine! It's a good introduction that feels true to X-23's original storylines, and is just about the only plot in this volume that really feels innovative. [4/5]
Chasing Hellfire (#452-454). A nicely classic story, looking at the Hellfire Club, and whether they'll be used for good or for ill. There's enough twists and turns that this story gets a little confusing, but otherwise it's a nice combination of characters and plot. [4/5]
Hark How the Bells (XM #165). A very special Christmas issue. This one has some nice character moments here and there, but by the end it's really dragging [3/5].
World's End (#455-459). This is another really classic Claremont story, albeit one that's padded to double the length of what he wrote have written at his height. We have a return to the Savage Land, and the re-use of his belovéd mutates. One of them has one of Claremont's creepy, fetish-y powers: the ability to control other people. And Rachel similarly has a creepy loss of control of her own mind and even starts to mutate herself. Into a dinosaur person: that's the other major element of this story. It's actually a nice addition to the Savage Land, but as noted, too long [3/5].
Resurrections & Reunions (#460). This day-in-the-life seems mainly intended to catch up with the other X-comics, and that's worthwhile in this era where they were pretty scattered. In particular, it's great to see Colossus back, courtesy of Joss Whedon. Otherwise, this is a slow issue [3+/5].
Mojo Rising (#461). Oh no, Mojo, an antagonist that often lets Claremont indulge in his worst excesses, and sure enough we have the X-babies. This is pretty much an unreadable issue [1/5].
The End of History (#444-447). Claremont merges together characters from X-Treme X-Men, Excalibur, and the New Mutants, and ends up with a title that feels the most like Excalibur, with its lightness and casual character interactions. (The Alan Davis art probably helps.) This particular arc is mainly focused on the Fury showing up, which is a nice bit of Captain Britain lore. It's well written, even if it's mostly a big fight [4/5].
Viperworld (#448-449). Claremont certainly goes back to an old favorite when he drops his newest X-Men into Murder World (now run by Viper). It's a pretty great return to form until Claremont starts bouncing all over the place, offering up several different ideas in the space of just two issues [3+/5].
The Cruelest Cut (#450-451). X-23 meets Wolverine! It's a good introduction that feels true to X-23's original storylines, and is just about the only plot in this volume that really feels innovative. [4/5]
Chasing Hellfire (#452-454). A nicely classic story, looking at the Hellfire Club, and whether they'll be used for good or for ill. There's enough twists and turns that this story gets a little confusing, but otherwise it's a nice combination of characters and plot. [4/5]
Hark How the Bells (XM #165). A very special Christmas issue. This one has some nice character moments here and there, but by the end it's really dragging [3/5].
World's End (#455-459). This is another really classic Claremont story, albeit one that's padded to double the length of what he wrote have written at his height. We have a return to the Savage Land, and the re-use of his belovéd mutates. One of them has one of Claremont's creepy, fetish-y powers: the ability to control other people. And Rachel similarly has a creepy loss of control of her own mind and even starts to mutate herself. Into a dinosaur person: that's the other major element of this story. It's actually a nice addition to the Savage Land, but as noted, too long [3/5].
Resurrections & Reunions (#460). This day-in-the-life seems mainly intended to catch up with the other X-comics, and that's worthwhile in this era where they were pretty scattered. In particular, it's great to see Colossus back, courtesy of Joss Whedon. Otherwise, this is a slow issue [3+/5].
Mojo Rising (#461). Oh no, Mojo, an antagonist that often lets Claremont indulge in his worst excesses, and sure enough we have the X-babies. This is pretty much an unreadable issue [1/5].
September 10, 2021
Nice to see Claremont back with these stories.
January 16, 2019
Chris Claremont and Alan Davis return to Uncanny X-Men for the final time, redeeming their legacy. Art is great throughout, a welcome change from other titles in the early 2000s: Davis is always solid and is really in his element here, and the final two issues from Tom Raney also have some delightful touches like X-23 mocking Psylocke's sexy poses and Rachel's pouty facial expressions. The dialogue has a minimum of Claremontisms and is notably less byzantine, with a major focus on romantic tension and wrapping up the plot threads from X-Treme and Chuck Austen's Uncanny. New character X-23 is rather off brand by modern standards, written basically the same as Marrow, but is fairly consistent with her characterization at the time, allowing you to appreciate her character growth more in later years. There's even a Christmas special with some heartwarming takes on the New X-Men team, and guest appearances by Emma Frost and Kitty Pryde to establish more of a continuity with Joss Whedon's run.
It's also refreshing to read about the team of B-list characters. Rachel gets entire story arcs. Bishop is a major character. Nightcrawler is the male lead. Wolverine disappears half the time, in a valiant
attempt to establish some continuity with what was happening in his solo series, and starts a relationship with Storm that turns out to be one of the most enduring legacies of this run. Even the villains are mostly also-rans from previous eras: the Hellfire Club, the Fury, Brainchild, even Mojo get their turn to shine, performing their assigned roles to make the book tick.
However, there are two major downsides. First, Claremont keeps trying to make Sage happen. She remains a profoundly uninteresting, one-dimensional deus ex machina, like Nick Fury without all the fun, and when she shuffles offstage to be replaced in the "dark haired mysterious vixen" role by Psylocke and the "brooding serious hero" role by Bishop, it's a breath of fresh air. A Mentat is only a cool, mysterious hero in a setting that doesn't have long-range telepathy.
Second, the arc where Rachel turns into a dinosaur is profoundly dumb, and a major warning sign that Claremont is too reliant on his penciler to provide good ideas. Alan Davis loves drawing dinosaur people, which is why they showed up all the time as a running gag in Excalibur, but they just don't work as a major villain of a five-issue arc in Uncanny. You can't take them seriously, because they look and act goofy, they come from nowhere, and they are only a threat because they get lucky and mind control the team telepath. The dialogue even takes pains to point out just how similar the "super storm that destroys the world" plot is to every other time the X-Men go to the Savage Land, which doesn't do it any favors. It's incredible that the same creative+editorial team which OK'd this arc - and the following paint-by-numbers "X-Babies" rehash - could turn out the exciting and innovative Fury redux in the opening arc, or the modern classic "End of Greys" in the very next issue.
So why four stars, with all these gripes? Because Claremont and Davis can bring back the magic of 80s X-Men, even if they can only do it for a few issues at a time. The subplot where Rachel turns one panel of romantic tension into twelve issues of teenage obsession generates more laughs and silly grins than their entire relationship in X-Men Gold. Want the Hellfire Club to be a real, legitimate threat? Alan Davis is one of the very few artists who can draw women in lingerie and men in wigs as decadent and menacing, not sexy or campy.
It's also refreshing to read about the team of B-list characters. Rachel gets entire story arcs. Bishop is a major character. Nightcrawler is the male lead. Wolverine disappears half the time, in a valiant
attempt to establish some continuity with what was happening in his solo series, and starts a relationship with Storm that turns out to be one of the most enduring legacies of this run. Even the villains are mostly also-rans from previous eras: the Hellfire Club, the Fury, Brainchild, even Mojo get their turn to shine, performing their assigned roles to make the book tick.
However, there are two major downsides. First, Claremont keeps trying to make Sage happen. She remains a profoundly uninteresting, one-dimensional deus ex machina, like Nick Fury without all the fun, and when she shuffles offstage to be replaced in the "dark haired mysterious vixen" role by Psylocke and the "brooding serious hero" role by Bishop, it's a breath of fresh air. A Mentat is only a cool, mysterious hero in a setting that doesn't have long-range telepathy.
Second, the arc where Rachel turns into a dinosaur is profoundly dumb, and a major warning sign that Claremont is too reliant on his penciler to provide good ideas. Alan Davis loves drawing dinosaur people, which is why they showed up all the time as a running gag in Excalibur, but they just don't work as a major villain of a five-issue arc in Uncanny. You can't take them seriously, because they look and act goofy, they come from nowhere, and they are only a threat because they get lucky and mind control the team telepath. The dialogue even takes pains to point out just how similar the "super storm that destroys the world" plot is to every other time the X-Men go to the Savage Land, which doesn't do it any favors. It's incredible that the same creative+editorial team which OK'd this arc - and the following paint-by-numbers "X-Babies" rehash - could turn out the exciting and innovative Fury redux in the opening arc, or the modern classic "End of Greys" in the very next issue.
So why four stars, with all these gripes? Because Claremont and Davis can bring back the magic of 80s X-Men, even if they can only do it for a few issues at a time. The subplot where Rachel turns one panel of romantic tension into twelve issues of teenage obsession generates more laughs and silly grins than their entire relationship in X-Men Gold. Want the Hellfire Club to be a real, legitimate threat? Alan Davis is one of the very few artists who can draw women in lingerie and men in wigs as decadent and menacing, not sexy or campy.
April 21, 2020
Comforting corona quarantine reading...this is not too notch Claremont X-Men, but it’s close enough with a 3.5 rating. All the characters sound/ act right here for the first time in a long time (the only person to get it right besides Claremont has been Morrison, followed closely by Fraction - and sadly he wasn’t on the book long enough to get a direction going).
There are some weird romantic entanglements here, and more than a few problems with Storm agreeing to turn her team into a team of cops with Avengers and US government approval. Being the “acceptable” cop mutants is hugely problematic for an oft-murdered minority here, and that never gets questioned or addressed.
There are some weird romantic entanglements here, and more than a few problems with Storm agreeing to turn her team into a team of cops with Avengers and US government approval. Being the “acceptable” cop mutants is hugely problematic for an oft-murdered minority here, and that never gets questioned or addressed.
August 25, 2019
Um mergulho no trabalho do argumentista que definiu os X-Men, com arcos narrativos originalmente publicados nos anos 90. Claremont leva uma equipa em expansão de aventura em aventura, sempre com a missão de ajudar humanos e mutantes. Nestes arcos narrativos, os mutantes são uma força legal de intervenção global, para ajudar a conter mutantes cujos poderes se manifestem de forma catastrófica. E a missão da escola continua, agora com antigos adversários a integrar a equipa. Mas os seus velhos inimigos não se afastaram. Os X-men terão de enfrentar uma ameaça cibernética quase capaz de os aniquilar, as maquinações do Hellfire Club e seus sucessores, dinossauros inteligentes que querem dominar a Terra Selvagem e todo o planeta (Claremont compreende a bizarria inerente aos comics), o surgir de uma mutante similar a wolverine, o ressurgir da falecida Psylocke, um recontro com murder world de Arcade, um toque de x-babies durante uma incursão de Mojo ao nosso universo, e uma daquelas histórias onde nada acontece, mas são essenciais no trabalho de Claremont, onde os estudantes que continuam o legado do Professor X celebram o natal.
Foi com Claremont que descobri os X-Men, o que significa que o meu apreço pelo seu trabalho tem um toque de nostalgia. Mas também li muitos comics na adolescência que não sobreviveram ao teste do tempo. O que me agarrou aos X-Men clássicos foi a forma como Claremont os abordou. A ação é contínua, há sempre um elo entre os arcos narrativos que mantém a continuidade da leitura. Mas não é esse o segredo do seu sucesso. Claremont aprofunda os seus personagens, quer através das suas histórias pessoais, mas especialmente pelos seus relacionamentos. Os seus X-Men oscilam entre aventura imparável ao estilo dos comics, e telenovela de relações, encontros e desencontros, amizades postas à prova mas que se reforçam, e o sentido moral de se fazer parte de uma minoria perseguida, mas sem ceder à tentação de revolta violenta. Essa mistura de ingredientes transformou os X-Men de um título de segunda linha numa das séries mais interessantes da Marvel.
Algo que não se tem notado recentemente, mas isso tem a ver com disputas sobre propriedade intelectual. Antes de avançar com o seu universo cinematográfico, a Marvel cedeu os direitos de spider man, Fantastic Four e X-Men a outros estúdios. Não gostou da experiência, e reagiu à incapacidade de recuperar esses direitos para incorporar os personagens no seu universo fílmico reduzindo o interesse nos comics originais. Fantastic Four praticamente desapareceu. Os X-men têm tido uma existência tumultuosa, fortemente alterados nas suas bases, mas têm-se mantido parte do universo da Marvel. Agora estão entregues a Jonathan Hickman, que lhes está a fazer um interessante, embora grimdark, reboot. No entanto, a capacidade de gerar empatia com estes personagens que Claremont foi capaz de criar nunca mais se repetiu. Qualquer leitor conseguia identificar-se com as fraquezas e o humanismo elementar dos X-Men clássicos. Isso, perdeu-se com as tropelias editoriais.
Foi com Claremont que descobri os X-Men, o que significa que o meu apreço pelo seu trabalho tem um toque de nostalgia. Mas também li muitos comics na adolescência que não sobreviveram ao teste do tempo. O que me agarrou aos X-Men clássicos foi a forma como Claremont os abordou. A ação é contínua, há sempre um elo entre os arcos narrativos que mantém a continuidade da leitura. Mas não é esse o segredo do seu sucesso. Claremont aprofunda os seus personagens, quer através das suas histórias pessoais, mas especialmente pelos seus relacionamentos. Os seus X-Men oscilam entre aventura imparável ao estilo dos comics, e telenovela de relações, encontros e desencontros, amizades postas à prova mas que se reforçam, e o sentido moral de se fazer parte de uma minoria perseguida, mas sem ceder à tentação de revolta violenta. Essa mistura de ingredientes transformou os X-Men de um título de segunda linha numa das séries mais interessantes da Marvel.
Algo que não se tem notado recentemente, mas isso tem a ver com disputas sobre propriedade intelectual. Antes de avançar com o seu universo cinematográfico, a Marvel cedeu os direitos de spider man, Fantastic Four e X-Men a outros estúdios. Não gostou da experiência, e reagiu à incapacidade de recuperar esses direitos para incorporar os personagens no seu universo fílmico reduzindo o interesse nos comics originais. Fantastic Four praticamente desapareceu. Os X-men têm tido uma existência tumultuosa, fortemente alterados nas suas bases, mas têm-se mantido parte do universo da Marvel. Agora estão entregues a Jonathan Hickman, que lhes está a fazer um interessante, embora grimdark, reboot. No entanto, a capacidade de gerar empatia com estes personagens que Claremont foi capaz de criar nunca mais se repetiu. Qualquer leitor conseguia identificar-se com as fraquezas e o humanismo elementar dos X-Men clássicos. Isso, perdeu-se com as tropelias editoriais.
June 21, 2021
A escola Xavier deixou de ser um segredo e as identidades dos xmen são agora de conhecimentos público
São agora um género de super equipe reconhecida como vingadores ou ff, são agentes da lei (elite de segurança x) com sanção federal , mas que sofrem o mesmo preconceito de sempre
Composta por: tempestade (líder) , Wolverine, noturno , bishop , garota Marvel (rachel) , sage e míssil
No 1 arco um ciborgue (Fury vilao do capitão Bretanha) muito poderoso e adaptável arrasa metade da equipa ao mesmo tempo q domina o corpo de sage que luta contra a outra metade (demasiado grande! Geração de buracos negros e etc , parece dragon ball)
De seguida o perigo é a irmã de sage , a víbora que retira os poderes aos heróis
Um grupo de jovens abusadores de mutantes são assassinados e os xmen são colocados atrás do assassino (surge x-23) e no final uma luta contra um novo personagem o geech (irrita a comparação com o fanático, aconteceu o mesmo neste mesmo arco entre Wolverine e x-23)
O clube do inferno esta novamente no ativo e sage está envolvida , os restantes xmen buscam respostas e o início está mais focado em emma e rachel enquanto os restantes mutantes fazem descobertas surpreendentes sobre sebastian shaw e seus cardiais (a sage é sempre a suspeita de traição de todos os arcos n sei como continua nos xmen)
Os xmen sao convocados para uma descoberta fantástica , uma ex xmen falecida retorna sem ideia do que se passou , enquanto Wolverine e x-23 lidam com um problema pessoal de logan que se torna algo muito maior necessitando da intervenção de todos os xmen e a sua mais nova retornada (mais uma vez o comentário das capacidades de personagem x em relação a y , psylock tem mais telecinesia que a rachel???)
Últimos números para encontros e reencontros e aproveitar para se actualizar com o restante universo mutante que estava saindo, e termina com uma luta contra espiral e mojo (n sou nada fã deste vilao, podia ser tenebroso mas é só ridículo,é o pior número de todo o livro , super parvo e infantil)
O número de xmen #165 é uma história natalícia
O (-) sage tem um destaque sem sentido, querem enfiar goela abaixo como ela é formidável (até nos diálogos dos colegas) , faz tudo planeia tudo é a maior , é o batman da Marvel, o poder mutante dela é ser um supercomputador
- várias tentativas tímidas de criar romances e triângulos amorosos que n dão em nada
O (+) o crescimento sustentado da x-23
+ A consistência da arte de todo o livro apesar das mudanças
São agora um género de super equipe reconhecida como vingadores ou ff, são agentes da lei (elite de segurança x) com sanção federal , mas que sofrem o mesmo preconceito de sempre
Composta por: tempestade (líder) , Wolverine, noturno , bishop , garota Marvel (rachel) , sage e míssil
No 1 arco um ciborgue (Fury vilao do capitão Bretanha) muito poderoso e adaptável arrasa metade da equipa ao mesmo tempo q domina o corpo de sage que luta contra a outra metade (demasiado grande! Geração de buracos negros e etc , parece dragon ball)
De seguida o perigo é a irmã de sage , a víbora que retira os poderes aos heróis
Um grupo de jovens abusadores de mutantes são assassinados e os xmen são colocados atrás do assassino (surge x-23) e no final uma luta contra um novo personagem o geech (irrita a comparação com o fanático, aconteceu o mesmo neste mesmo arco entre Wolverine e x-23)
O clube do inferno esta novamente no ativo e sage está envolvida , os restantes xmen buscam respostas e o início está mais focado em emma e rachel enquanto os restantes mutantes fazem descobertas surpreendentes sobre sebastian shaw e seus cardiais (a sage é sempre a suspeita de traição de todos os arcos n sei como continua nos xmen)
Os xmen sao convocados para uma descoberta fantástica , uma ex xmen falecida retorna sem ideia do que se passou , enquanto Wolverine e x-23 lidam com um problema pessoal de logan que se torna algo muito maior necessitando da intervenção de todos os xmen e a sua mais nova retornada (mais uma vez o comentário das capacidades de personagem x em relação a y , psylock tem mais telecinesia que a rachel???)
Últimos números para encontros e reencontros e aproveitar para se actualizar com o restante universo mutante que estava saindo, e termina com uma luta contra espiral e mojo (n sou nada fã deste vilao, podia ser tenebroso mas é só ridículo,é o pior número de todo o livro , super parvo e infantil)
O número de xmen #165 é uma história natalícia
O (-) sage tem um destaque sem sentido, querem enfiar goela abaixo como ela é formidável (até nos diálogos dos colegas) , faz tudo planeia tudo é a maior , é o batman da Marvel, o poder mutante dela é ser um supercomputador
- várias tentativas tímidas de criar romances e triângulos amorosos que n dão em nada
O (+) o crescimento sustentado da x-23
+ A consistência da arte de todo o livro apesar das mudanças
May 1, 2022
I heard this era was an improvement on Claremont's Revolution in 2000 but I can't say I care too much for it.
Art is very good, Davis is on board and it seems like there is good synergy on his issues with Claremont. We get a team made up of characters familiar to both: Nightcrawler and Rachel Grey from Excalibur, as well as characters Claremont had most recently wrote over on the Xtreme team (Storm, Bishop, Sage, Psylocke). Apart from that, there's also stellar work from Coipel and competent work from Larocca, current MCU designer Andy Park and Raney. Back on Davis, we get: a Fury story, reviving the Captain Britain villain; we get a swashbuckling pirate Kurt, and; we get to see lizard mutants, all of which play to Davis strengths, of weird looking creatures, humour and story-telling.
Apart from that, there's a few character moments where Claremont gets to do the soap opera thing and it works - the baseball game (#444), the Christmas issue (X-Men #165), the post-Savage land return (#460). But having just read X-Men Epic Collection Vol. 20: Bishop's Crossing, where Claremont had exited that 90s era because of a want to explore new ideas, while the artists Jim Lee and Whilce Portacio wanted to retread older ideas, I'm surprised at the lack of new ideas now that Claremont is back on a main X-book. Hellfire Club, Savage Land and Mojo just feels like more of the same. It's only with Davis that the book clicks for me but even then it doesn't reach the heights of their work on Excalibur.
Art is very good, Davis is on board and it seems like there is good synergy on his issues with Claremont. We get a team made up of characters familiar to both: Nightcrawler and Rachel Grey from Excalibur, as well as characters Claremont had most recently wrote over on the Xtreme team (Storm, Bishop, Sage, Psylocke). Apart from that, there's also stellar work from Coipel and competent work from Larocca, current MCU designer Andy Park and Raney. Back on Davis, we get: a Fury story, reviving the Captain Britain villain; we get a swashbuckling pirate Kurt, and; we get to see lizard mutants, all of which play to Davis strengths, of weird looking creatures, humour and story-telling.
Apart from that, there's a few character moments where Claremont gets to do the soap opera thing and it works - the baseball game (#444), the Christmas issue (X-Men #165), the post-Savage land return (#460). But having just read X-Men Epic Collection Vol. 20: Bishop's Crossing, where Claremont had exited that 90s era because of a want to explore new ideas, while the artists Jim Lee and Whilce Portacio wanted to retread older ideas, I'm surprised at the lack of new ideas now that Claremont is back on a main X-book. Hellfire Club, Savage Land and Mojo just feels like more of the same. It's only with Davis that the book clicks for me but even then it doesn't reach the heights of their work on Excalibur.
June 15, 2019
Pretty inconsistent
In fact, the only story i liked was the one where X-23 joins the team. She was the most interesting part of this volume. The only other thing I cared about besides her was the underserved Kurt/Rachel/Ororo triangle.
Everything else fluctuates between stupid (mojo/exiles/xbabies/dinosaurians/ka-zar) and boring.
I know Claremont is great. He’s written some of my favorite X stories ever. You wouldn’t be able to tell from this run.
The art was mostly pretty good, although some of the faces were... i dunno... weird? Awkward? Something wasn’t right.
I only recommend this for a completionist. Everyone else can skip it.
In fact, the only story i liked was the one where X-23 joins the team. She was the most interesting part of this volume. The only other thing I cared about besides her was the underserved Kurt/Rachel/Ororo triangle.
Everything else fluctuates between stupid (mojo/exiles/xbabies/dinosaurians/ka-zar) and boring.
I know Claremont is great. He’s written some of my favorite X stories ever. You wouldn’t be able to tell from this run.
The art was mostly pretty good, although some of the faces were... i dunno... weird? Awkward? Something wasn’t right.
I only recommend this for a completionist. Everyone else can skip it.
May 20, 2021
Whiffed Stinker
OVERALL RATING: 2 stars
Art: 4 stars
Prose: 2 stars
Plot: 2 stars
Pacing: 3 stars
Character Development: 2.5 stars
World Building: 2 stars
Claremont returns and tries to go back to the future with it. Returning to some of his old stomping ground like The Savage Land and Mojo. This was all just disjointed and the Savage Land was hollow with no return of Sinister and a ridiculous dino-transforming Rachel Grey. All the subplots felt too disconnected from previous subplots. Claremont should have stayed off for me. Time and the audience has moved well passed his style of story telling. A shell in comparison to Whedon's run a few years earlier. Avoid!
OVERALL RATING: 2 stars
Art: 4 stars
Prose: 2 stars
Plot: 2 stars
Pacing: 3 stars
Character Development: 2.5 stars
World Building: 2 stars
Claremont returns and tries to go back to the future with it. Returning to some of his old stomping ground like The Savage Land and Mojo. This was all just disjointed and the Savage Land was hollow with no return of Sinister and a ridiculous dino-transforming Rachel Grey. All the subplots felt too disconnected from previous subplots. Claremont should have stayed off for me. Time and the audience has moved well passed his style of story telling. A shell in comparison to Whedon's run a few years earlier. Avoid!
Read
March 19, 2021I got this because I liked the Grant Morrison X-Men and then I was like, "Oh, I guess I should read more X-Men," but I didn't really like or understand this. Most of the art really turned me off, and I found it visually overwhelming and hard to read. Oh well!
June 17, 2022
I just couldn’t get into the book. I think there are too many characters. Mojo is entertaining and any involvement of the Savage Land is fun. The intro of X-23 foreshadows a great story arc. I’m afraid I’m not a fan of Chris Claremont, which makes me sad.
June 25, 2021
Starts strong, but each arc drops in quality until we're left with the return of the x-babies
December 19, 2021
Some really messy issues towards the end dragged this collection down.
April 24, 2022
Fresh old school X-Men
X-Men Reload the end of history is a good read Chri Claremont shows us his ture love for life is the X-Men read as a the X-Men are reborn for a new age!
X-Men Reload the end of history is a good read Chri Claremont shows us his ture love for life is the X-Men read as a the X-Men are reborn for a new age!
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