Uncanny XMen Vol 2 #1 XMen Regenesis TieIn Kieron Gillen Books
Download As PDF : Uncanny XMen Vol 2 #1 XMen Regenesis TieIn Kieron Gillen Books
After the Schism, UNCANNY X-MEN starts over at #1. What is to become of XXXXX and the mutants who side with XXXX after the big split? And what does it have to do with the resurrected Mister Sinister? The hottest new writer in the business, Kieron Gillen (THOR) and superstar Carlos Pacheco (X-MEN SCHISM, ULTIMATE AVENGERS) bring you the biggest and baddest X-Men you've ever seen.
Uncanny XMen Vol 2 #1 XMen Regenesis TieIn Kieron Gillen Books
This is not very good. For Marvel’s first relaunch of the flagship Uncanny X-Men, the company chose Kieron Gillen, the final writer on the first volume of the series, to stick around and simply carry on into this second volume. Gillen attempts to justify the relaunch with a nominal new direction, but it doesn’t really work, for a number of reasons.The hodgepodge collection of X-Men that forms Gillen’s team is called the “Extinction Team,” and it consists of Cyclops, the White Queen, Storm, Magneto, Hope, Colossus (as Juggernaut), Magik, Namor, and Danger. Cyclops likens this lineup to weapons of mass destruction or living deterrents, claiming that its members “could stare gods in the eye until they blink.” (Later on they prove this to be literally true by facing down a group of heavenly Celestials.) But what exactly warrants this overestimation of power is never spelled out, as the only heavy hitters here are Magneto, Colossus, and, on a generous day, Namor. Danger was formidable in her inaugural storyline a decade ago, but she hasn’t done anything of consequence since. Hope, for all the mystery and endless crossovers built around her, remains as nothing more than a blank slate with poorly defined powers. For all Gillen’s attempts to sell the reader on the gravity of this team, the members really do come across as being the leftovers that Jason Aaron didn’t want for this title’s sister book, Wolverine and the X-Men. Gillen had some experience writing most of them in the final issues of the previous volume of Uncanny X-Men, although in those pages they did not form a discrete team.
Aside from the clunky set-up for the team’s existence, this book suffers from poor characterizations. All of the characters exude Gillen’s dry British wit which, regardless of whether you approve of the humor, ought not to indiscriminately form the basis of every single character’s personality. These characters have histories dating back decades; they do not all sound like this, and they do not all have identical voices. The same problem was endemic of Gillen’s predecessor, Matt Fraction, whose run also suffered from bizarre and unprecedented characterizations. Unfortunately, Gillen’s taken a page from this other unsuccessful run. His wittiness becomes very grating as the pages drag on.
For most of this trade paperback, the characterizations, in addition to being off, also ring hollow. Gillen’s X-Men are not the classic mutant family; they do not play off of one another. The plot is not character driven; it is purely event driven (and I’ll turn to the plot shortly). Granted, being that they’re a rather random assortment, a family dynamic may not come very naturally. But there should at least be potential for some soap opera elements: Cyclops, Storm, and Colossus are all classic X-Men. Cyclops and Magneto have interesting ideological affinities worth exploring. Magik and Colossus are siblings. The White Queen, Cyclops, and Namor have a love triangle brewing. Cyclops and Hope are tied together through Cable and the former’s obsession with the latter’s connection to the survival of the mutant species. So there is potential for character interplay and subplots, and Gillen does hint at several of these relationships, but they are suppressed to the background throughout these issues. In practice, the interaction here just equates to Cyclops telling his teammate to hit the bad guy and then patting him on the back, “Good work, [fill in the blank].”
The plot concerns the return of Mister Sinister, whose re-emergence was hinted at at the end of the first volume of Uncanny X-Men. First of all, the “Victorian” character design is visually a step in the wrong direction. Beyond that, Sinister is presented as being completely out of character. Gillen’s Sinister is garish, melodramatic, and brazenly egotistical, whereas past appearances of the character define him as mysterious, out of the limelight, a long-term plotter, cold, and manipulative. (Sinister has always thrived off to the side, in subplots.) It is true that many of Sinister’s more traditional traits may be the result of former writers not really knowing what to do with him and treating his motives vaguely, but these established traits nevertheless clash with Gillen’s radical new take on the character. But Gillen not only botches the outward forms; his Sinister’s internal motivation is also undermined by his failure to understand the character’s history. Gillen describes Sinister as having “made himself”; thus Gillen largely neglects the fact that Sinister was a product, a creation of the villain Apocalypse. This Apocalypse connection, along with Sinister’s obsession with Scott Summers and Jean Grey, also defined the character for a long period of his publication history. Gillen understandably wants to eject some of that tedious baggage and strike a new course, but he tries to have it both ways by insinuating that Sinister’s current plan (to create a “hive mind” of concurrent Sinister clones) is at the same time the culmination of all of his old plans and his prior interests in genetics. His fascination with Summers, in other words, had nothing to do with stopping Apocalypse and everything to do with making himself a next-level species of one. Gillen confusedly tries to set Sinister up as an evolutionist somehow distinct in his thinking from Apocalypse. Sinister believes in evolution that “improves,” whereas Apocalypse, according to Gillen, believes in evolution with the goal of simple “being.” (You’ll note that this makes little sense.) If this uninspiring story pitch is truly meant to be the payoff of decades of Sinister stories, it does grave and possibly irreparable damage to the character.
Having peppered this review with some of the many reasons I don’t care for this, I’ll end on a positive. The last issue in this collection (#4) is by far superior to three-part opening storyline referred to above (#1-3). The fourth issue is a stand-alone story. It benefits greatly from being drawn by Brandon Peterson, who is a more detailed artist than Carlos Pacheco and the committee that produced the first three issues. The fourth issue is also narrated in the first person by a different character--not an X-Man--who Gillen therefore can’t mischaracterize. The story also has a tangential connection to X-Men continuity and some of the events of the first three issues (so as not to make it too jarring or completely stand-alone). It’s a sort of tragic character piece. It has its own problems, which relate to some confused reasoning made by the writer on the subject of identity, but overall it’s successful, not least of all because it follows the truly dreadful first three issues.
I was tempted to bump up my rating from two to three stars based on the strength of this issue, but two stars is still more representative of this collection when considered as a whole.
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Tags : Uncanny X-Men Vol 2 #1 (X-Men Regenesis Tie-In) [Kieron Gillen] on Amazon.com. *FREE* shipping on qualifying offers. After the Schism, UNCANNY X-MEN starts over at #1. What is to become of XXXXX and the mutants who side with XXXX after the big split? And what does it have to do with the resurrected Mister Sinister? The hottest new writer in the business,Kieron Gillen,Uncanny X-Men Vol 2 #1 (X-Men Regenesis Tie-In),Marvel,B0060YDC82
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Uncanny XMen Vol 2 #1 XMen Regenesis TieIn Kieron Gillen Books Reviews
So I haven't read this whole book yet but I'm not liking Gillen's direction thus far. Mr. Sinister's appearance is very random and Cyclop's demeaner is way off from the previous story lines. Frequent failed attempts at humor as well.
Gillen writes these characters incredibly well at this strange and interesting point in their development. The stories are awesome, engaging, and very intelligent.
Collecting Uncanny X-Men #1-4
Bonus Variant cover art and Sketch Gallery, Letter to humanity, team rosters
This graphic novel contains the brilliant beginnings of a new Uncanny X-Men. I believe these issues by Kieron Gillen create a permanent benchmark that future X-Men writers will be hard pressed to surpass.
In the issues collected here, Cyclops unveils the Utopia based "extinction team" (which Cyclops compares to a rogue state with weapons of mass destruction--he intends to make sure the world knows the X-Men's ability to save or destroy the earth). The first menace Cyclops' team faces is Mr Sinister. Sinister has a warped (but egotistically funny) plan to create heaven on earth. This plan involves tearing the head off a giant sleeping Celestial to power his creation engine.
Within these first four issues the X-Men face down one of the most evil mutants in the world (Sinister), one of the most powerful aliens in the galaxy (Phalanx), and face down Demi-gods (Celestials)-- all in full view of people of San Francisco. Cyclops' team are on stage in a big way!
Uncanny X-Men is an action packed graphic novel. The extinction team will be treading a fine line as it balances saving the world while making sure the world is too scared to hate the X-Men. I recommend this novel to any X-fans. Gillen's run at the head of the series is promising to be one of the greatest in X-History.
The plot was very interesting and a villain from the good old days returns. The direction of the Extinction Team is way more bad ass then what is going on at the Jean Grey school. Cyclops has turned the best mutants in to a Spec Op team and it really works. I mean really. Seen Namor, Magneto, Storm, White Queen being lead by the stoic Cyclops is pretty fun. Carlos Pacheo's art is solid here but I think he has certainly lost a step from his best days on past Uncanny X-Men and Fantastic Four. This book is not as detail oriented as my favorite of Pacheo's work, Avengers Forever. I think it has to do with his inker maybe. This is a good book to pick up for a cool story and good art.
In the wake of Schism, the X-men are divided. Wolverine has returned to Westchester to rebuild Xavier's Institute and train young mutants. Cyclops and his team have stayed on the island nation of Utopia to deal with any and all threats to mutants worldwide. Collecting issues 1-4, volume 1 introduces the extinction team (Magneto, Emma Frost, Namor, Hope, Magick, Danger and Colossus) who are handpicked to deal with "extinction-level" threats to mutantkind. Their first challenge sees the return of Mr. Sinister, who has returned to steal the head of the alien "Celestial" that stands in San Francisco. After that, the team has to deal with the final remnant of the Phalanx parasite that has taken over a small town. I really enjoyed this new direction for the X-Men. Instead of waiting for threats to come to them, they're dealing with them head-on. I also like the change in Cyclops. He's become completely cold and militant, with the fate of an entire species resting firmly on his shoulders. Luckily he has a great team to back him up. I love what Kieron Gillen is doing with this series, and I look forward to seeing where he goes from here. I also really enjoyed the art from Carlos Pacheco and Brandon Peterson. This is a great jumping-on point for new fans!
This is not very good. For Marvel’s first relaunch of the flagship Uncanny X-Men, the company chose Kieron Gillen, the final writer on the first volume of the series, to stick around and simply carry on into this second volume. Gillen attempts to justify the relaunch with a nominal new direction, but it doesn’t really work, for a number of reasons.
The hodgepodge collection of X-Men that forms Gillen’s team is called the “Extinction Team,” and it consists of Cyclops, the White Queen, Storm, Magneto, Hope, Colossus (as Juggernaut), Magik, Namor, and Danger. Cyclops likens this lineup to weapons of mass destruction or living deterrents, claiming that its members “could stare gods in the eye until they blink.” (Later on they prove this to be literally true by facing down a group of heavenly Celestials.) But what exactly warrants this overestimation of power is never spelled out, as the only heavy hitters here are Magneto, Colossus, and, on a generous day, Namor. Danger was formidable in her inaugural storyline a decade ago, but she hasn’t done anything of consequence since. Hope, for all the mystery and endless crossovers built around her, remains as nothing more than a blank slate with poorly defined powers. For all Gillen’s attempts to sell the reader on the gravity of this team, the members really do come across as being the leftovers that Jason Aaron didn’t want for this title’s sister book, Wolverine and the X-Men. Gillen had some experience writing most of them in the final issues of the previous volume of Uncanny X-Men, although in those pages they did not form a discrete team.
Aside from the clunky set-up for the team’s existence, this book suffers from poor characterizations. All of the characters exude Gillen’s dry British wit which, regardless of whether you approve of the humor, ought not to indiscriminately form the basis of every single character’s personality. These characters have histories dating back decades; they do not all sound like this, and they do not all have identical voices. The same problem was endemic of Gillen’s predecessor, Matt Fraction, whose run also suffered from bizarre and unprecedented characterizations. Unfortunately, Gillen’s taken a page from this other unsuccessful run. His wittiness becomes very grating as the pages drag on.
For most of this trade paperback, the characterizations, in addition to being off, also ring hollow. Gillen’s X-Men are not the classic mutant family; they do not play off of one another. The plot is not character driven; it is purely event driven (and I’ll turn to the plot shortly). Granted, being that they’re a rather random assortment, a family dynamic may not come very naturally. But there should at least be potential for some soap opera elements Cyclops, Storm, and Colossus are all classic X-Men. Cyclops and Magneto have interesting ideological affinities worth exploring. Magik and Colossus are siblings. The White Queen, Cyclops, and Namor have a love triangle brewing. Cyclops and Hope are tied together through Cable and the former’s obsession with the latter’s connection to the survival of the mutant species. So there is potential for character interplay and subplots, and Gillen does hint at several of these relationships, but they are suppressed to the background throughout these issues. In practice, the interaction here just equates to Cyclops telling his teammate to hit the bad guy and then patting him on the back, “Good work, [fill in the blank].”
The plot concerns the return of Mister Sinister, whose re-emergence was hinted at at the end of the first volume of Uncanny X-Men. First of all, the “Victorian” character design is visually a step in the wrong direction. Beyond that, Sinister is presented as being completely out of character. Gillen’s Sinister is garish, melodramatic, and brazenly egotistical, whereas past appearances of the character define him as mysterious, out of the limelight, a long-term plotter, cold, and manipulative. (Sinister has always thrived off to the side, in subplots.) It is true that many of Sinister’s more traditional traits may be the result of former writers not really knowing what to do with him and treating his motives vaguely, but these established traits nevertheless clash with Gillen’s radical new take on the character. But Gillen not only botches the outward forms; his Sinister’s internal motivation is also undermined by his failure to understand the character’s history. Gillen describes Sinister as having “made himself”; thus Gillen largely neglects the fact that Sinister was a product, a creation of the villain Apocalypse. This Apocalypse connection, along with Sinister’s obsession with Scott Summers and Jean Grey, also defined the character for a long period of his publication history. Gillen understandably wants to eject some of that tedious baggage and strike a new course, but he tries to have it both ways by insinuating that Sinister’s current plan (to create a “hive mind” of concurrent Sinister clones) is at the same time the culmination of all of his old plans and his prior interests in genetics. His fascination with Summers, in other words, had nothing to do with stopping Apocalypse and everything to do with making himself a next-level species of one. Gillen confusedly tries to set Sinister up as an evolutionist somehow distinct in his thinking from Apocalypse. Sinister believes in evolution that “improves,” whereas Apocalypse, according to Gillen, believes in evolution with the goal of simple “being.” (You’ll note that this makes little sense.) If this uninspiring story pitch is truly meant to be the payoff of decades of Sinister stories, it does grave and possibly irreparable damage to the character.
Having peppered this review with some of the many reasons I don’t care for this, I’ll end on a positive. The last issue in this collection (#4) is by far superior to three-part opening storyline referred to above (#1-3). The fourth issue is a stand-alone story. It benefits greatly from being drawn by Brandon Peterson, who is a more detailed artist than Carlos Pacheco and the committee that produced the first three issues. The fourth issue is also narrated in the first person by a different character--not an X-Man--who Gillen therefore can’t mischaracterize. The story also has a tangential connection to X-Men continuity and some of the events of the first three issues (so as not to make it too jarring or completely stand-alone). It’s a sort of tragic character piece. It has its own problems, which relate to some confused reasoning made by the writer on the subject of identity, but overall it’s successful, not least of all because it follows the truly dreadful first three issues.
I was tempted to bump up my rating from two to three stars based on the strength of this issue, but two stars is still more representative of this collection when considered as a whole.
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