I'm continuing to read through my Uncanny X-Men and X-Men collection, and have made my way to the Steve Seagle/Joe Kelly year. When these writers took over the books in the fall of 1997, it didn't take long for me to fall in love. My only exposure to the X-Men had been under stalwart 90s writers Scott Lobdell and Fabian Nicieza. I had a large amount of 
Claremont's back issues, but my time as a regular collector of the monthly titles had been the Lobdell/Niceiza years. So two fresh writers, both quite popular when they came in, was a big change for X-fans, myself included.
There are a lot of problems with these two writers' runs - dropped subplots, character arcs that didn't really go anywhere, new team members that didn't get a chance before being removed from the books, and the fact that editorial interfered with the writers' plans for the books. Both writers effectively wrote only ten issues (Kelly - X-Men#70-79 and Seagle Uncanny#350-359), as, after that point, their remaining six issues on each book were almost completely editorially driven - the stories, the new lineup, the direction. So, naturally, the work they put in before that feels truncated, unfinished, and at times, unfocused. But there is a lot of good to their respective ten issues, and they both brought a voice to the books that resonated for me when they were being released.
For one thing, these issues felt fresh. For the first time in my reading history, the X-Men lineup was shaken up. Xavier was long out of the picture, and, as the two writers started, Bishop, Gambit, and Joseph also departed. Cyclops and Phoenix moved to Alaska to recover from injuries, and remained in 
Uncanny in a supporting role. Archangel and Psylocke's previous supporting role diminished even further. The core X-Men were Storm, Wolverine, Beast, Rogue, Cannonball, and new recruits Marrow, Cecilia Reyes, and Maggott. There's a great scene in X-Men#71, where Scott and Jean depart, that Wolverine and Storm discuss how they are going to hold this team together. I've always connected more with the second generation of X-Men than the first, so anytime Storm and Wolverine take charge of the team, I find it to be 
more energetic and fun. There's was also a fun dynamic here - suddenly, neophyte Cannonball was a veteran, the Beast took a more active role than he had in awhile, Rogue struggled with personal issues after Gambit's departure, and the new members each brought something to the table. Ok, Maggott is a bit embarrassing reading these issues back, but Marrow had a lot of potential and Cecilia is a gem. She's defined by her reluctance to give up her real life and become a hero, and her story is one of the more interesting ones. She slowly comes to respect the X-Men, but her disdain for their way of life and superheroics never goes away. She's a funny, fresh voice who left her stamp on this era of X-history.
But it wasn't just the characters who felt fresh. With all due respect to Lobdell, who did the best he could on the X-Men, I wouldn't say his writing had personality. Outside of a few issues, he didn't ever really create mood or atmosphere on the titles. Niceiza was a rock solid writer, generally much stronger than Lobdell, but I would say the same for him. But for the first time in my reading history, under Seagle and Kelly, the books did have a real personality to them. Seagle, with his focus on Rogue's desire to touch people and Jean's struggle with her powers, went for a much darker, more atmospheric feel. Aided by Chris Bachalo's artwork, Seagle was able to create dark dream sequences, inventive page layouts and character designs, and unique-looking characters, all within the confines of some moody, character-based issues. Kelly focused on humour, but certainly touched on darker themes as well. His artists were more conventional in nature, but just as good as Bachalo. Carlos Pacheco wrapped up his X-Men run with four of Kelly's issues, and he brought a lot of energy and emotion to Kelly's scripts. After that, Kelly is joined by German Garcia, a guest artist whose style looked a lot like John Romita jr's, and I've always enjoyed the look of his issues.
Rereading these issues (which I've done a number of times) is always fun. Back when they were first released, I always thought Seagle's Uncanny X-Men was the stronger title of the two. I think I was so taken with the fact that someone had finally brought some mood and atmosphere to the X-Men (and loved Bachalo's artwork so much) that I overlooked some of his heavy-handed characterization and weaker plots. Kelly's X-Men was fun, but lighter than Uncanny. Rereading both runs concurrently, Kelly's X-Men always stands out as the stronger book now. The plotting is solid, even with the dropped plotlines. The character arcs (for Marrow, Cannonball, Cecilia, even Storm and Wolverine) feel more well-rounded and some of the individual issues work better as complete stories than Seagle's did. Still, there is an awful number of highlights between both writers' runs. On Uncanny, #356 is a thoughtful reunion of the original five X-Men, and 
#353-354 is a disturbing look at Rogue's darker impulses, wonderfully illustrated by Bachalo. There's also an inspector from a school board visiting the Institute (and horrified by what she sees). This storyline never continues, but, hey, it was enjoyable while it lasted. Kelly's wonderfully handled the team interaction on X-Men, injecting realistic voices and humour into the book. He achieved some really drama as the team fought over debate what to do with the reckless Marrow, gave Beast more of a purpose in the book, and even managed to develop the hardened Marrow's character and her relationship with Cannonball.
Reading Seagle and Kelly's issues as part of the bigger X-Men story, it's easy to see their failings. They introduce a number of subplots that don't go anywhere, they introduce a lineup and new members that aren't given enough time to develop, and they introduce a direction for the X-Men that seems to get quickly pushed aside. These are all fair points, but I will always see their time on the books as one very special year, where the patterns and dynamics the X-Men had played with for years were allowed to bend just slightly, resulting in new relationships, new stories, and a fairly unique voice on the titles for the first time in years. After years of mediocrity, Marvel rebounded in the later 90s, and this isn't always acknowledged by fans. The core X-books played a small part in that.
I've been rereading big chunks of my X-Men collection, and I'm in the middle of the Onslaught crossover from 1996 (You can boo, hiss, throw rocks at me. It's ok.) Anyways, although the crossover has some pretty illogical, drawn-out prelude chapters and some dreadful tie-ins from various Marvel Universe books, two chapters have really stood out. It's two I remember enjoying from previous reads, but I was surprised at how well they held up.
The first is Cable#33 (Jeph Loeb/Ian Churchill). Now, it may be sacrilege to say this, but I've read a number of issues of Cable from Jeph Loeb's run, and they're actually not bad. They're not brimming with life or personality, but they're solid stuff, and Churchill's art is very good. This particular issue takes place 
before the Onslaught crossover properly begins. Uncanny X-Men#333-334 and X-Men#53-54 were a fairly effective lead-up to the start of it, culminating in the revelation that Professor Xavier was Onslaught. This issue fits between those chapters, as Cable has gone off to find Post, one of Onslaught's lackeys who had been introduced to great fanfare in X-Men#50, only to be cast aside pretty quickly. Loeb does a few good things here. He shrewdly ties Post's origin into Cable. He ties a forced crossover quite nicely into this book's ongoing stories. And he really builds suspense for the big reveal of Onslaught's identity. Cable deduces who Onslaught must be, but, with his techno-organic virus flaring out of control after fighting Post, he is unable to warn the X-Men (or even physically stand up). There is legitimate tension built here, something you don't often see in a crossover tie-in, and also a smart little script.
The other issue I really enjoyed comes in the midst of the crossover, Incredible Hulk#445. Now, I should mention that these two titles crossed over in the during the crossover. Cable#34 and Incredible Hulk#444 featured a story where Onslaught sent a mind-controlled Hulk after Cable, and Storm came to Cable's rescue. It's perfectly ok, and certainly better than most Onslaught tie-ins, but not as strong as these two issues.
Incredible Hulk#445 (Peter David/Angel Medina) has the Hulk, now free of mind-control, join the assembled heroes in New York to fight Onslaught. Tired of sitting around planning, he assembles an ad hoc group of Avengers to join him in tunneling underground to take the fight directly to Onslaught. Onslaught's mental trickery causes the Hulk reveal to this group that this mission is about proving himself superior to the other heroes; he doesn't care who has to die to accomplish that. A pall cast over the group, they return, defeated, to the other heroes.
This is a very strong little issue. David's portrayal of the Hulk is top-notch. The other heroes are skeptical of him, because Onslaught had controlled his mind, and he is immediately on the defensive. It's easy to sympathize with Hulk as these heroes turn their nose up at him. 
His heinous behaviour towards the end of the issue shows him in a much different light. But I can't dislike him for wanting to show up these other heroes. After years of this sort of treatment, and enduring one of Captain America's patronizing speeches here, shouldn't he be happy to prove his worth to them? The mission Hulk proposes here is so maddening that it lends an air of danger and desperation to the issue. There's no way this crack team of Avengers is going to accomplish anything against Onslaught. Speaking of Avengers, David does a stellar job with them too. Falcon is great here, trying to be understanding towards the Hulk, who helped his dying nephew in an earlier story. David even creates a great moment of tension between Crystal and the Scarlet Witch. I wouldn't expect the writer of a crossover tie-in to put such effort into the guest characters, but David does so here. He even leaves a lot of room for his ongoing stories - some Pantheon stuff, Rick Jones fighting with his wife about joining the Hulk in New York. A regular reader of this title couldn't have been disappointed by this crossover tie-in, especially because it's a complex portrayal of the Hulk that sits at the centre of this issue.
It's nice to find these surprises in the middle of a much-maligned storyline. It shows that, in an editorially-mandated crossover, it's still possible to tell a thoughtful, tense story. Both of these issues do that, while using the crossover as a chance to do something interesting.
..is Rogue (vol.1)#2. A somewhat random choice, but there's a reason why.
I recently bought the four-issue Rogue mini-series from late-1994/early-1995, after years of hearing mediocre-to-bad reviews of it. It was one of those days where my X-Men completist guilt kicked in, and I got a cheap copy of the mini on eBay. It's nothing special. It's essentially a sequel to the Gambit mini-series from a year before, which was also a middling affair. This one is a Gambit story (replete with Guilds, Assassins, Externals, and all that other boring stuff), with Rogue playing a larger role than Gambit. Anyone looking for greater insight into Rogue's character or past better turn away. Now, there are some half-decent moments between she and Gambit, and Mike Weiringo's art is nice (even if it's not really suited to a story like this), but that's about it. I recently re-read it and struggled to get through it (which is more than can be said for the Gambit mini, where I resorted to flipping through the last two issues out of boredom).
So how do I end up with a second copy of issue 2? Well, back in late late 1994, when it was released, I bought a copy from the variety store at the top of my grandparents' street. They didn't have much of a selection, and I was hungry for any comic I could get my hands on (especially an X-book), so I got it. I'm sure I enjoyed the story, but what got me was the X-Facts page at the end. It laid out the changes coming in the January 1995 releases - the Age of Apocalypse story was starting, all X-titles were being canceled and renamed for four issues, and an entire new universe was starting. There was also a tiny promo shot of X-Men: Alpha, the one-shot that started the AoA story. I poured over this article, taking in every detail of this new story and brimming with excitement over what was coming and what it all meant. Of course, Age of Apocalypse was a runaway success - a 1990s Marvel event that excited the fanbase while telling a solid story. Due to childhood budegtary constraints, I only bought about a dozen AoA issues when they were actually released, and took years to collect all of it, but it remains a cherished story for me.
So that's why I can't get rid of my original copy of Rogue#2. It's pure comic fanboy sentimentalism, but I love when I can associated specific memories with the day I bought a certain comic. And I'll never forget that afternoon that I discovered the Age of Apocalypse. So a second copy of Rogue#2 sits behind my copy of X-Men: Alpha, and has been since I bought that comic a couple weeks later. And they've both been sitting in the same ratty old plastic sleeve since January of 1995.
I've been rereading John Francis Moore's run on X-Force lately. That might bring out snickering from the crowd, but it's quite good stuff. It's just got a couple comic stigmas against it - 1990s X-book, it was started by Rob Liefeld. Moore picked up the baton from a truly bland run by Jeph Loeb (who in turn picked it up from Fabian Nicieza, who had been doing some good work on the book) and ran with it.
The above cover is from #75, a true favourite comic of mine. At this point, Moore had pared down the team to five (Sunspot, Warpath, Siryn, Meltdown, and Danielle Moonstar) and had them turn their backs on Xavier and 
Cable, going on the road with no money to their name. This is a beloved era for fans. The X-books have always been steeped in youth, but how often hadthose youths legitimately rebelled against their elders? Yes, Kitty called Professor X a "jerk" (sidebar: Uncanny 168, what a great comic) and the New Mutants went off a couple times when Xavier said "no." But this X-Force represented a different opportunity. These characters weren't the youthful teens of earlier mutant books, but characters in their later teens/early 20s, who had all been around Xavier's school and dream long enough that they were a little bored and jaded with it. Moore had them go off and try to build something for themselves.
The art for this run was from series mainstay Adam Pollina. I don't think Marvel ever recovered from losing this guy. His characters alternated between lithe and attractive and bizarrely ugly, but they wore it well. His females almost always bared their midriffs, and Pollina was so relentless with this look that he made you believe that this is the only possible style of top, and any woman who didn't wear it is impossibly out of style. His page layouts dazzled, his body language was sublime, and his art style was uniquely his own.
The entire road trip story, which ran for almost a year, is great fun, but #75 is a true gem. Moore has the team stop at the 
Burning Man festival, where a boatload of stuff happens. There's a fight with Selene and an animated Burning Man and guest appearances from Karma, Cannonball, and Cable, but, like all of Moore's run, it was all about balance. The focus remained squarely on the characters and advancing their story arcs. So while this issue is a wild trip through the festival, there is always space for James to reflect on his family's death and be comforted by Dani, Dani to question her place in the team, and Tabitha and Bobby feel a growing attraction to each other. Moore expertly brought this balance to his entire run, including the Operation: Zero Tolerance crossover issues, where ongoing plots and character arcs never stopped for the sake of the crossover.
John Francis Moore's run on X-Force is highly recommended stuff, with the highlight being these road trip issues (#71-81). At a time when the main X-books were floundering, he brought believable character growth, well-structured long-term plotting, and fun to a book that had always been perceived as a joke, because of its roots.
In regards to 1971's Escape from the Planet of the Apes, how did three chimpanzee scientists, Cornelius, Zira, and Milo, manage to do all of the following:
1) Find Taylor's spacecraft
2) Raise it from the bottom of a lake bed
3) Repair all the damage to the ship
4) Make it air tight again
5) Replace the explosively-detonated escape hatch
6) Restore power to the ship
7) Get the spacecraft back into Earth orbit
8) Figure out how to do any of this when they don't even believe that Ape can fly, let alone that Man is smart enough to fly
9) Do all this in a matter of hours
Granted, all of this led to one of the greatest undiscovered gems of all time, but come on. Not to mention Zira was apparently 8+ months pregnant through all of this.
Claremont's back issues, but my time as a regular collector of the monthly titles had been the Lobdell/Niceiza years. So two fresh writers, both quite popular when they came in, was a big change for X-fans, myself included.
Uncanny in a supporting role. Archangel and Psylocke's previous supporting role diminished even further. The core X-Men were Storm, Wolverine, Beast, Rogue, Cannonball, and new recruits Marrow, Cecilia Reyes, and Maggott. There's a great scene in X-Men#71, where Scott and Jean depart, that Wolverine and Storm discuss how they are going to hold this team together. I've always connected more with the second generation of X-Men than the first, so anytime Storm and Wolverine take charge of the team, I find it to be 
more energetic and fun. There's was also a fun dynamic here - suddenly, neophyte Cannonball was a veteran, the Beast took a more active role than he had in awhile, Rogue struggled with personal issues after Gambit's departure, and the new members each brought something to the table. Ok, Maggott is a bit embarrassing reading these issues back, but Marrow had a lot of potential and Cecilia is a gem. She's defined by her reluctance to give up her real life and become a hero, and her story is one of the more interesting ones. She slowly comes to respect the X-Men, but her disdain for their way of life and superheroics never goes away. She's a funny, fresh voice who left her stamp on this era of X-history.
Rereading these issues (which I've done a number of times) is always fun. Back when they were first released, I always thought Seagle's Uncanny X-Men was the stronger title of the two. I think I was so taken with the fact that someone had finally brought some mood and atmosphere to the X-Men (and loved Bachalo's artwork so much) that I overlooked some of his heavy-handed characterization and weaker plots. Kelly's X-Men was fun, but lighter than Uncanny. Rereading both runs concurrently, Kelly's X-Men always stands out as the stronger book now. The plotting is solid, even with the dropped plotlines. The character arcs (for Marrow, Cannonball, Cecilia, even Storm and Wolverine) feel more well-rounded and some of the individual issues work better as complete stories than Seagle's did. Still, there is an awful number of highlights between both writers' runs. On Uncanny, #356 is a thoughtful reunion of the original five X-Men, and 
#353-354 is a disturbing look at Rogue's darker impulses, wonderfully illustrated by Bachalo. There's also an inspector from a school board visiting the Institute (and horrified by what she sees). This storyline never continues, but, hey, it was enjoyable while it lasted. Kelly's wonderfully handled the team interaction on X-Men, injecting realistic voices and humour into the book. He achieved some really drama as the team fought over debate what to do with the reckless Marrow, gave Beast more of a purpose in the book, and even managed to develop the hardened Marrow's character and her relationship with Cannonball.
