X-Men Visionaries: Neal Adams

Uncanny X-Men (1963) #56-63, 65

by Roy Thomas, Neal Adams (Illustrator), Tom Palmer (Inker)

Reprinted from a memorial series of stories from 1969 and 1970, largely written by Roy Thomas and illustrated by Neal Adams, this edition also features some previously unpublished Adams work for X-Men in the '80s. X-Men Visionaries: The Neal Adams Collection covers nine issues where the original X-Men (Cyclops, Marvel Girl, Beast, Angel, Iceman, and then the newly Havok and Lorna Dane) battle the mutant persecuting Sentinels, grapple with the monstrous Sauron, combat their arch-villain Magneto (with the help of jungle hero Ka-Zar), and repel an alien invasion. Neal Adams, along with Jim Steranko, was widely recognised as the most innovative artist in comics at the end of the 1960's and his stunning work in these issues of the X-Men (well served by Tom Palmer's inks and Roy Thomas' well-paced and strong scripts) infused new life into the title and stopped it from being cancelled outright. Adams later said: "One of the things I and others observed was that after the X-Men was cancelled [the title was continued after March 1970 with reprints of old issues], almost every new artist and writer that came to Marvel wanted to do the X-Men because of those ten issues. And as the book was passed to each in his turn, they all do Sauron, they all do the Sentinels ... they all do Magneto."

Genres: Comics, X Men, Graphic Novels, Marvel, Fiction, Graphic Novels Comics, Art

160 pages, Paperback

First published July 1, 1996

About the author

Roy Thomas was the FIRST Editor-in-Chief at Marvel--After Stan Lee stepped down from the position. Roy is a longtime comic book writer and editor. Thomas has written comics for Archie, Charlton, DC, Heroic Publishing, Marvel, and Topps over the years. Thomas currently edits the fanzine Alter Ego for Twomorrow's Publishing. He was Editor for Marvel comics from 1972-1974. He wrote for several titles at Marvel, such as Avengers, Thor, Invaders, Fantastic Four, X-Men, and notably Conan the Barbarian. Thomas is also known for his championing of Golden Age comic-book heroes — particularly the 1940s superhero team the Justice Society of America — and for lengthy writing stints on Marvel's X-Men and Avengers, and DC Comics' All-Star Squadron, among other titles.

Also a legendary creator. Creations include Wolverine, Carol Danvers, Ghost Rider, Vision, Iron Fist, Luke Cage, Valkyrie, Morbius, Doc Samson, and Ultron. Roy has also worked for Archie, Charlton, and DC among others over the years.

Reviews

[Nicolo · Rating 5 out of 5]

This trade paperback collected the Neal Adams’ work on X-Men, when the artist was brought in to help save the title from cancellation. It almost succeeded, but the book went into reprints soon after his run.

The stories in this volume are classic tales that are often retold every once in a while a new creative team comes in. That is how popular these stories are to fans and aided tremendously by Adams’ amazing art and key X-Men concepts like the Sentinels, the Savage Land and Magneto.

This collection features re-colored art done with modern computer color separation techniques. Adams’ art has aged well, as it is further enhanced by the new vibrant color. I also like the paper used here, a heavy stock, textured paper that is not glossy. I really like the feel of this paper and it holds the new colors well. I believe this was the standard paper stock of the Marvel collected edition before it went all glossy paper.

Any of Adams’ work during his creative heydays was almost certainly a classic. I’m glad I have one that I can peruse at my pleasure.

[Christopher (Donut) · Rating 5 out of 5]

Flawed, I know, but it really set the pattern for every X-Men revival.

Sentinels, Sauron, the Savage Land, that silver-haired gentleman (surprise last panel), and defeating aliens by channeling all humanity.- (actually, 65, scripted by Denny O'Neil, is my least favorite of these).



The reproduction in this edition is not 'archival.' Issue 62, in particular, looks like a Xerox.

The unused six pages of pencils for "God Loves, Man Kills" are particularly rare and enticing.

My five-star rating is completely subjective.



(Or is it?)

[***Dave Hill · Rating 5 out of 5]

When I was a wee tot, I traded something to a friend for his stack of comics which he no longer was interested in. I read those comics to death, but the favorite of all in the stack was a copy of X-Men #59 (http://static3.wikia.nocookie.net/__c...), which taught me that (a) Sentinels were freaking scary, and (b) comic book art could be freaking cool.

That art was, of course, by Neal Adams, and this volume collects all of his limited run in the waning days of the first run of Uncanny X-Men. Adams, a professional commercial illustrator, introduced expression, perspective, and lean-but-realistic physique to his characters in a way that has rarely been matched in the fifty years since. The artwork in this volume is incredible, married only by two things: (a) Roy Thomas' overly-florid prose (albeit par for the course in that era), and (b) Adams' ability to draw really gorgeous stuff, but utter inability to draw new costumes worth a damn (see specifically Havok and the Magneto redesign).

Still, it's damned gorgeous stuff all around, and a proud addition to my library.

[Kerry · Rating 3 out of 5]

Maybe it's the fact that I used to have some of these issues (both the originals and the reprints in Giant-Size X-Men 2), but I liked Neal Adams much more here. Part of it was the inking of Tom Palmer, but I thought the stories were more interesting, and not as predictable.

[Mads · Rating 4 out of 5]

I have trouble with the writing style of this era of comics - it can come off as pretty corny, and it’s often difficult to focus on the plot when it’s so steeped in 60’s/70’s lingo. Considering that this collection is a celebration of Neal Adam’s artistic endeavors on the X-Men run, I just ignored the speech bubbles and let the artwork tell the story.
I can honestly tell you my enjoyment was two-fold using this method. Adams’ use of blocking and creative panel divisions are so interesting, and they get across the major story beats so well that I barely even needed the dialogue to understand the comic. His work is so impressive, and it was fun to go through this collection just admiring his prowess.

[Nicolas · Rating 3 out of 5]

I read this mostly for the art and it did not disappoint.

We dig deeper into Neal Adam's X-Men work in this episode of Previously on X-Men:
https://previously-on-x-men.libsyn.co...

[Andrew · Rating 3 out of 5]

Neal Adams introduction alone makes this an interesting read. I have very limited experience with Neal Adams, so basically this is my one sample of his work that I have truly read. It is pretty remarkable, especially considering the art in the series up to this point. Adams really gets into the Marvel style as he calls it. Where the artist creates the story and is not controlled by the text boxes/bubbles. He really messes with the paneling norms and makes for some interesting pages. Now having witnessed a small amount of Steranko as well, it would appear both were big on pushing away from the simple boxes of the comic book.

As it turns out, if Neal Adams hadn't stepped in at the end of the original run of the X-Men, the series probably would have never gotten revamped in about 5 years and turned into what it has become. So regardless of the story told, this gave the series just enough of a spike prior to cancellation that Marvel held on to the series even if they were only reprinting old issues.

This collection introduces Havok (though Alex had already been introduced... out of nowhere), the Savage Land mutants created by a certain nefarious no-gooder, the next chain in the Trask family (which always means Sentinels), and the Z'Nox! Okay so the last issue was the worst of the volume... It was also written by Dennis O'Neal which was funny to see, considering that team-up of creators is well known for a different company.

Collects issues #55-63, #65. (#66 was the final new story 'til #94)

[Steven · Rating 4 out of 5]

The majority of the final issues of the original X-Men run are in this volume, with new coloring that does a very good job of enhancing Neal Adams' detailed artwork -- certainly a far cry from the rushed, often clumsy linework of the start of the run. By this point Roy Thomas was writing the series (the final issue collected here was a Denny O'Neil done-in-one epic story that these days would take six issues to get through) although there re times when it's hard to tell that it's not Stan Lee (all that declaiming is exhausting to read!) Well worth a look just on the basis of the artwork, as Adams was one of the artists who was broadening the horizons of comics art in the 1960s, and also interesting in that the Magneto story herein provided some of the seeds of the story in the first X-Men movie.

[Jessica · Rating 5 out of 5]

Additional stories from the 80's? I must have this. I have the original edition and it does not include this extra material. It is also newly colored and the book design is a bit distracting.

[Christopher Ryan · Rating 5 out of 5]

Roy and Neal, enuresis said. Roy can write anything and Neal was in full experimentation mode, changing how comics could be drawn. Grab it.

[Reyel2107 · Rating 5 out of 5]

the best classic run of x-men !!!!!!