Magneto: No, that was actually Xorn's twin brother, possessed by the sentient mold Sublime, pretending to be me, pretending to be Xorn. Beast: That defies all logic
I agree with you. Marvel will definitely do "back to basics" reload after Hickman. Like they did with Morrison. After all many writers have said that Marvel 's rule is "do whatever you want with the character but put him back in the shelf like you found it". Look at what they did after Hickman's Secret Wars.
It's not just marvel, but many fans clamor for the days when "comics were simple" and demand things get reset to their base status quo no matter what growth that character has gone through. This usually happens as soon as any writer does something different with a character, creates a legacy version of a character, or makes a mistep with a character.
First of all, there are x-men fans who hate Hickman's run and want a return to status quo? What status quo? The pre Fox deal status quo when the xmen were handed a row deal constantly? Second of all, I didn't know Austen's run was supposed to be a return to form. In interviews he says he was trying something new with the characters and it didn't work out. On top of that, his run had a ridiculous amount of editors working on it and it was still inconsistent, making me think Marvel had no idea how to process Morrison's run more than anything.
@@gokanshurisbabyfather4003 this is what bothers me about "X-Men status quo" there really isnt a status quo other than a school. Even the school functions differently at almost every era. Is it a school of only 6 kids? Is it an academy of many students? Is it the backdrop to the superhero version of "Bandits of the Marsh" with more characters than one can remember? Is it a refugee camp? Why is Krakoa such an issue when the school keeps changing? Maybe the status quo is that the X-Men are a group that protects a world that hates them, or however that saying goes. There we go, simple.
@@yy-hj4br yeah from what I'm hearing they're worrying about theirselves more than others. And honestly I don't see a problem with that. it makes sense for them to worry about their kind more and they have a home where they could be safe " well safer than the school lol" make their own culture and nation and they salty about that lol guess they want the X-Men to be the underdog heroes
12:00 I'm really interested in seeing what Hickman wants to do with Xorn and Zorn. Also there was an issue of New Avengers where Thanos destroys an alternitve earth and Xorn and Zorn are Xavier's students
They are very cool characters, especially in the Ultimate Universe... And Hickman wrote the arc where they attacked the Children of Tomorrow, so I am certain he has a greater use for the two brothers
I rejoined the X-men with Austen’s run as Morrison’s New X-men was a little bit too much for me at the time. However how Austen wrote my favourite heroes turned me off them for the longest time as I couldn’t recognise who these characters were any more. House & Powers of X brought me back to everything I know & love of my favourite merry mutants and I hope this Hickman fronted era stays the Status quo for a long time.
As I’ve been thinking about this Hickman run, why wouldn’t Moira want to work with a precog or even better, why wouldn’t a precog want to work with her?
Hickman does explain it in that story where Moira's power was the focus. The mutants are living a moment of happiness now where they can at least pretend there can be peace on earth for them. A pre-cog like Destiny, Blindfold or even Tarot (don't know the full extension of her powers) would act in this context as a "killjoy", because they would know not only when, but also how Krakoa will end (as it will end, inevitably- "We can't win!") And let's be frank, Destiny's role in X-Men has always been that of a bird of ill-omen, always foreseeing tragedy. I don't see what'd be the use of her in the present situation.
I haven't reread these but I remember that the line felt really disconnected at the time. New X-Men, Uncanny and X-Treme all felt like they were in completely different timelines. Especially since Morrison pretty much destroyed New York in the Planet X arc and it's never mentioned anywhere outside of New X-Men.
Below, you'll find one of Paul O'Brien's best reviews of an Austen comic. It gives a flavour of how bad the run was: The nice thing about having more than one title for the X-Men is that readers are offered an alternative. For example, on New X-Men, Grant Morrison writes intelligent, entertaining stories that have reinvigorated the characters. And on Uncanny X-Men, Chuck Austen offers an alternative. "The Draco" has three separate plotlines, all very loosely linked by the idea of parents - the Juggernaut visits Sammy Pare in Canada, Polaris continues to bitch, and Nightcrawler meets his father Azazel. With two issues to go, Austen belatedly realises that only the first of those three arcs was heading anywhere remotely resembling a climax - and the Polaris arc wasn't heading anywhere at all - and finally sets about explaining what Azazel is up to. Now, pay attention, because this doesn't make any sense. Azazel gives the usual explanation that the references to Satan in the Bible are all actually about him. Quite why we're meant to care about any of this is beyond me. Austen seems to be setting up the idea that Christianity is wrong and all the angels and demons are actually just mutants. This isn't a desperately interesting idea to start with, and even if it was, it has nothing to do with the plot. According to Azazel, he used to rule the world, but was banished to another universe by mutants who resembled angels. Fortunately for Austen's imagery system, his dimension of banishment happens to resemble Hell. How desperately convenient. Anyhow, Azazel is looking for "the means to return." According to Azazel, his aim was to open a portal back to earth so that he could go home and rule the place. But it's not possible to open a portal from his dimension, since you need somebody on the other side as well. With me so far? Now, here's where it gets really stupid. Azazel needs people on Earth, right? Right. So he breeds with human women, and gives birth to a load of mutant teleporters. Then he can control them from the Hell dimension, "through our genetic connection", and make them gather together to open the portal from the other side. Which is what he was trying to do at the beginning of the storyline. The astute among you will immediately spot the logical hole. How does Azazel breed with the human women? Quite simple - as we saw back in the Prologue, he travels to earth. WELL, IF HE CAN TRAVEL TO EARTH TO BREED WITH THE WOMEN, WHAT DOES HE NEED THE FUCKING PORTAL FOR? Given the number of teleporters who turned up at the beginning of this arc, and the fact that Azazel had a working cover identity in the Prologue, it's clear that he's been making a string of regular visits to Earth. Which means that he's not trapped at all. Which means that he doesn't need to open some ridiculously elaborate portal to get back. Which makes his entire scheme pointless. Is anyone actually reading this nonsense before sending it on to the artist? I'm reminded of something which, I think, was one of the Baron Munchausen stories. The Baron is going out hiking. He's fully equipped for the mountains. But alas, he's so busy looking at the mountains that he doesn't see where he's going, and he falls down a well. He tries to get out by throwing his grappling hook up to the top of the well, but the well is too deep and the hook won't reach. He tries to climb the walls, but they're too slippery. And he cries for help, but nobody hears. Finally, having exhausted every other option, he goes home and gets a ladder. That, in substance, is the plot of "The Draco." Except the Draco isn't supposed to be funny. Utterly dreadful. If you like this comic, you are objectively wrong. I can prove it with graphs. Rating: D back | continue
More funny reviews: Exploding Communion wafers to simulate the rapture: web.archive.org/web/20050225111433/www.thexaxis.com/uncannyxmen/uncannyxmen424.htm
"But soft! What shite through yonder window breaks? A new Uncanny X-Men, for my sins. Another clueless stab at teen romance As Austen, Cliff's Notes clutched in sweaty hand, Recycles wholesale chunks of Shakespeare's plot And paraphrases lines of dialogue too. Of course, the plot of this romantic play Is fair game, having been revamped before In musicals and so forth. After all, It's not like Shakespeare wrote the plot himself - He got it from the poet Arthur Brooke. Enough of this digression. While the plot Has proved enduring classic down the years That doesn't mean a writer cannot cock It up if he tries hard enough. He could, For instance, cut and paste some classic scenes Without the faintest understanding why They worked for Shakespeare in the first place, thus Reducing them to shameless gimmickry (Which - yes, I know - is just like this review). Within this issue our young hero Josh Goes visiting his Juliet at night And speaks "sweet words of love" (allegedly) From just outside the window of her room. The balcony routine, in other words. You couldn't do the story without that. Except the point has been completely missed. The way love stories work is simple: take Two lovers and throw barriers in their way Which they will spend the story fighting through And end triumphant (or, in this case, dead). The balcony's a clever stage device Which lets poor Romeo and Juliet Share stage time on their own but never touch Because there's no way Romeo can climb Up to the balcony to be with her. Of course, in Austen's version, that's all fucked Because in Austen's version, Romeo Has got a pair of great big sodding wings With which he promptly flies up to the room And thereby makes the whole scene die a death. It doesn't help that Josh and Julia Proceed to spout some truly dreadful lines Of dialogue of grimmest purple hue And cretinous stupidity to boot. "How did you find me?" blithers Julia As if there were some mystery in this. You're in your house, you stupid fucking girl! How do you sodding think he found you there? And then they drone on for another five Godawful pages of quite subtext-free Bad dialogue which someone must have thought Was beautiful, poetic and all that But actually is painful to the eyes. "You're like a winged messenger from heaven." "Love doesn't ask permission, it demands Obedience." Please Jesus, make it stop. "I wuv you!" "I wuv you!" "And I wuv you!" That's basically all they have to say. Poor Salvador Larroca does his best To wring some kind of content from the script But when the script is quite so bad as this There's only so much anyone can do. The lovers say exactly how they feel In detail, leaving nothing for the art To do. Although the writing is quite bad, Admittedly it's very nicely drawn Allowing for the quality of script. So long as men can breathe or eyes can see So long lives this, which quite depresses me."
I remember all the fans shouting about how Marvel was retconning Morrison's run, but Marvel took the final pages of Morrison's run and ran with it. Up until Hickman, the X-Men were firmly in the post-Xavier/Magneto world with all the shades of gray that accompanied it.
I've been wondering how does the current X-Men run fit into the future of 2099? According to Marvel the 2099 world we see in Nick Spencer's current run is the undeniable future for the main universe no matter what events happen along the way.
So.... you messed up. Chuck Austen didn't take over for morrison. He was on Uncanny, an entriely different title. The runs also were concurrent, not consecutive.
It’s an interesting time, yes. Although I do like Austen’s Polaris and Juggernaut stuff, there’s me just being confused over the Juggernaut because I thought he and Black Tom were a thing. She lies for Angels is wild. For me, the character I don’t like how they’re used in Austen’s run is Stacey X. Kind of sucked how she was effectively bullied out of the team and yet she gets one of the best exits and a moment where Austen really humanised her when she revisited the site of the X ranch.
One of your best! However, there is a lot of good in Chuck Austin’s run. I think the misses are wide but and inch deep. If no one had prepped you that the Austin run was poor, you could have come to a different conclusion. However slight. Keep up the great work. Any thought on a deep dive on Claremont’s entire run/influence, on the X-family as well as comics in general?
Was Carey’s run right after Austin’s? It’s been a while and I don’t exactly remember? I thought Carey’s run was excellent, the Messiah saga should be in the top 3 long running storylines with the Claremont and Morrison eras. I’m loving a lot of the Hickman stuff, but it’s so risky I’m reserving judgement until it all comes together.
I've been on the X-Men since the seventies, I can appreciate Chris Claremont's run as nostalgia. However, Grant Morrison's run was a shot of adrenaline in a dying franchise. One of the brilliant things about Morrison's writing is his extraordinary approach, it was a school first, a fantastic school which spawned amazingly new concepts. I could go on, but what sums up his run was a statement about wolverine's origin, "That's not weapon X. It's weapon ten that's a Roman numeral. " with that brilliant change a new world of possibilities was open with a simple twist that paid homage to the past while making it fresh. Marvel never had the balls or ideas to play in the new backyard Grant made.
I don’t think Franklin Richards would be on board with that. The Comicbook fan in me remembers the horrible universe created last time he tried to do it...
Lol that was under different writing. With Hickman it makes more sense for him to show how OD powerful Franklin is. She should have definitely prioritized him in one of her lives. I would have at least.
Did Xavier amid moira use an early version of resurrection for magneto post Morrison? Like how they use shiar husk to fake her death. Maybe that's the retcon Hickman might make. Perhaps even also ressing him post genosha/ pre xorn, in Morrison's run, and the mind transfer was a botch, which might better explain magnetos behavior toward the end of New x men.
Everybody sayin' about Austen being bad, or Hickman being too weird..... ......but, man, the worse run was Bendis. It was worse than Austen and Hickman togheter.
I kind of feel that Chuck Austen's era of X-men feels like it was meant for those whom like YA romance or should be on the CW cast with some young attractive actors and badly written plots.
Honestly, I'm just waiting to see what type of ASS PULL Marvel will do to connect back that Scarlet Witch and Quicksilver are indeed Magneto's kids again.
this run totally made me drop out of all things X until Avengers Disassembled/House of M. i didn't think a terrible X-story existed, but Austen proved me wrong again, and again, and again.
Yikes ..Austin's run. Im staying way away from that stuff. What's one of the worst things about the current run, is everyone knows they're going to hit the reset button after. Having that sword hanging over our heads is taking some of the fun out of this era of X-Men to me, cuz we all expect them to just get rid of all this after Hickman leaves. It's the best the Mutants have been arguably in the last 10 years, why change that. I get needing a conclusion but it bothers me
I didn't think Austen's run was as bad as folx make it out to be. I think Morrison is great with his own toys, but I hated Morrison's run on X-Men. I liked what Austen did with Juggernaut, Northstar, iceman, Polaris and Gambit. We can nitpick everyone's run over their failings. Austen has moments that resonate fondly with me. I dont have any from Morrison's run.
There was so much to hate about it. I recall him screwing up Nightcrawler's parentage - essentially making him a literal demon then making Angel more angelic by giving his the ability to heal others. That love scene at the Guthrie's was just awful.
@@steveqhanson6835 yeah all of that was bad but to make it worst he ruined grant morrison work by making xorn a completely different character all together.
Man, it was so, SO frustrating to see Morrison's run end and be followed by those weak stories that we all know. Chris Claremont, though not in his best days, at least TRIED to create some decent plots. Astonishing X-Men was also not bad. Austen was pathetic. As a whole, the stories after Morrison left were much below his level. For a while, I thought the aesthetic he brought to the X-Men (inspired by the movies, I know) would stick forever- I'd prefer them to look like that than the colored costumes- but Marvel felt the need to change things back to what they were before Morrison, so we had to stomach more of the same old stuff. To me Morrison's era remains as the last time the X-Men were actually great. It ranks easily together with Lee/Kirby, Claremont/Byrne and Claremont/Lee eras as one of the best moments of the team.
@@210SAi time displaced teenaged original five X-Men get stuck in the present day. The storyline was cringe enough, but lots of TH-camrs have done videos on how bad he is at writing teenagers.
I see now. That’s a time I wasn’t reading X-men. Prior to Hickman’s run I stopped reading X-men after the Messiah War fallout. I did Remender’s X-Force and a few other titles here and there but sparingly
I stopped reading X-Men at the time of New X-Men, and have recently picked it up again. Although not a fan of the art, New X-Men was fresh and took the X-Men from being reactive to trying to be 'out and proud'. Austen's run just seemed to be a confusing mess in comparison - there seemed little continuity between what had been set up by Morrison and his arcs. I found it a disappointing and pointless run and was thankful for House of M for resetting the X-Men again.
I thought it was a great run except for Magneto, Xorn and Cassandra's backstory. Aside from that it was a great experience seeing how mutants moved forward from the tired opressed minority metaphor to beign a metaphor for subcultures with their own space in society and the challenges that come with that. Im currently really digging Hickman's run.
@@brunfranc Morrison's run is up and down. The Quietly, Bachalo, and Silvestri issues were pretty good. Kordey issues were bad. The introduction of Fantomex was also pretty good. Magneto as Xorn twist sucked. Digging Hickman's run!✌❤😎
Magneto: No, that was actually Xorn's twin brother, possessed by the sentient mold Sublime, pretending to be me, pretending to be Xorn.
Beast: That defies all logic
Magneto: oh like none of you have ever died before!
Kate: I havn't!
I like Morrison but I hate Xorn.
I agree with you. Marvel will definitely do "back to basics" reload after Hickman. Like they did with Morrison. After all many writers have said that Marvel 's rule is "do whatever you want with the character but put him back in the shelf like you found it". Look at what they did after Hickman's Secret Wars.
It's not just marvel, but many fans clamor for the days when "comics were simple" and demand things get reset to their base status quo no matter what growth that character has gone through. This usually happens as soon as any writer does something different with a character, creates a legacy version of a character, or makes a mistep with a character.
First of all, there are x-men fans who hate Hickman's run and want a return to status quo? What status quo? The pre Fox deal status quo when the xmen were handed a row deal constantly?
Second of all, I didn't know Austen's run was supposed to be a return to form. In interviews he says he was trying something new with the characters and it didn't work out. On top of that, his run had a ridiculous amount of editors working on it and it was still inconsistent, making me think Marvel had no idea how to process Morrison's run more than anything.
I think they mean status quo where they just ran a school
@@gokanshurisbabyfather4003 Yep! Ran a school and wore superhero costumes! ✌❤😎
Hickman's run felt like a continuation and the true sequel to Morrison and Whedon's X-Men run.
@@gokanshurisbabyfather4003 this is what bothers me about "X-Men status quo" there really isnt a status quo other than a school. Even the school functions differently at almost every era. Is it a school of only 6 kids? Is it an academy of many students? Is it the backdrop to the superhero version of "Bandits of the Marsh" with more characters than one can remember? Is it a refugee camp?
Why is Krakoa such an issue when the school keeps changing? Maybe the status quo is that the X-Men are a group that protects a world that hates them, or however that saying goes. There we go, simple.
@@yy-hj4br yeah from what I'm hearing they're worrying about theirselves more than others. And honestly I don't see a problem with that. it makes sense for them to worry about their kind more and they have a home where they could be safe " well safer than the school lol"
make their own culture and nation and they salty about that lol guess they want the X-Men to be the underdog heroes
Thoughts about the X of Sword Trailer about Arrako's Champions????
12:00 I'm really interested in seeing what Hickman wants to do with Xorn and Zorn. Also there was an issue of New Avengers where Thanos destroys an alternitve earth and Xorn and Zorn are Xavier's students
They are very cool characters, especially in the Ultimate Universe... And Hickman wrote the arc where they attacked the Children of Tomorrow, so I am certain he has a greater use for the two brothers
I rejoined the X-men with Austen’s run as Morrison’s New X-men was a little bit too much for me at the time.
However how Austen wrote my favourite heroes turned me off them for the longest time as I couldn’t recognise who these characters were any more.
House & Powers of X brought me back to everything I know & love of my favourite merry mutants and I hope this Hickman fronted era stays the Status quo for a long time.
As I’ve been thinking about this Hickman run, why wouldn’t Moira want to work with a precog or even better, why wouldn’t a precog want to work with her?
I thought the reason she gives Chuck is she thinks the mutants spirit will break if they know they always lose the war??✌❤😎
Hickman does explain it in that story where Moira's power was the focus.
The mutants are living a moment of happiness now where they can at least pretend there can be peace on earth for them.
A pre-cog like Destiny, Blindfold or even Tarot (don't know the full extension of her powers) would act in this context as a "killjoy", because they would know not only when, but also how Krakoa will end (as it will end, inevitably- "We can't win!")
And let's be frank, Destiny's role in X-Men has always been that of a bird of ill-omen, always foreseeing tragedy. I don't see what'd be the use of her in the present situation.
I haven't reread these but I remember that the line felt really disconnected at the time. New X-Men, Uncanny and X-Treme all felt like they were in completely different timelines. Especially since Morrison pretty much destroyed New York in the Planet X arc and it's never mentioned anywhere outside of New X-Men.
Yea they do that over at DC nowadays. I’m glad Marvel straightened it out somewhat.
Morrison's run was mentioned in X-treme X-Men.
Below, you'll find one of Paul O'Brien's best reviews of an Austen comic. It gives a flavour of how bad the run was:
The nice thing about having more than one title for the X-Men is that readers are offered an alternative. For example, on New X-Men, Grant Morrison writes intelligent, entertaining stories that have reinvigorated the characters. And on Uncanny X-Men, Chuck Austen offers an alternative.
"The Draco" has three separate plotlines, all very loosely linked by the idea of parents - the Juggernaut visits Sammy Pare in Canada, Polaris continues to bitch, and Nightcrawler meets his father Azazel. With two issues to go, Austen belatedly realises that only the first of those three arcs was heading anywhere remotely resembling a climax - and the Polaris arc wasn't heading anywhere at all - and finally sets about explaining what Azazel is up to.
Now, pay attention, because this doesn't make any sense.
Azazel gives the usual explanation that the references to Satan in the Bible are all actually about him. Quite why we're meant to care about any of this is beyond me. Austen seems to be setting up the idea that Christianity is wrong and all the angels and demons are actually just mutants. This isn't a desperately interesting idea to start with, and even if it was, it has nothing to do with the plot.
According to Azazel, he used to rule the world, but was banished to another universe by mutants who resembled angels. Fortunately for Austen's imagery system, his dimension of banishment happens to resemble Hell. How desperately convenient. Anyhow, Azazel is looking for "the means to return." According to Azazel, his aim was to open a portal back to earth so that he could go home and rule the place. But it's not possible to open a portal from his dimension, since you need somebody on the other side as well. With me so far?
Now, here's where it gets really stupid.
Azazel needs people on Earth, right? Right. So he breeds with human women, and gives birth to a load of mutant teleporters. Then he can control them from the Hell dimension, "through our genetic connection", and make them gather together to open the portal from the other side. Which is what he was trying to do at the beginning of the storyline.
The astute among you will immediately spot the logical hole. How does Azazel breed with the human women? Quite simple - as we saw back in the Prologue, he travels to earth.
WELL, IF HE CAN TRAVEL TO EARTH TO BREED WITH THE WOMEN, WHAT DOES HE NEED THE FUCKING PORTAL FOR?
Given the number of teleporters who turned up at the beginning of this arc, and the fact that Azazel had a working cover identity in the Prologue, it's clear that he's been making a string of regular visits to Earth. Which means that he's not trapped at all. Which means that he doesn't need to open some ridiculously elaborate portal to get back. Which makes his entire scheme pointless. Is anyone actually reading this nonsense before sending it on to the artist?
I'm reminded of something which, I think, was one of the Baron Munchausen stories. The Baron is going out hiking. He's fully equipped for the mountains. But alas, he's so busy looking at the mountains that he doesn't see where he's going, and he falls down a well.
He tries to get out by throwing his grappling hook up to the top of the well, but the well is too deep and the hook won't reach. He tries to climb the walls, but they're too slippery. And he cries for help, but nobody hears. Finally, having exhausted every other option, he goes home and gets a ladder.
That, in substance, is the plot of "The Draco." Except the Draco isn't supposed to be funny.
Utterly dreadful. If you like this comic, you are objectively wrong. I can prove it with graphs.
Rating: D
back | continue
More funny reviews:
Exploding Communion wafers to simulate the rapture:
web.archive.org/web/20050225111433/www.thexaxis.com/uncannyxmen/uncannyxmen424.htm
"But soft! What shite through yonder window breaks?
A new Uncanny X-Men, for my sins.
Another clueless stab at teen romance
As Austen, Cliff's Notes clutched in sweaty hand,
Recycles wholesale chunks of Shakespeare's plot
And paraphrases lines of dialogue too.
Of course, the plot of this romantic play
Is fair game, having been revamped before
In musicals and so forth. After all,
It's not like Shakespeare wrote the plot himself -
He got it from the poet Arthur Brooke.
Enough of this digression. While the plot
Has proved enduring classic down the years
That doesn't mean a writer cannot cock
It up if he tries hard enough. He could,
For instance, cut and paste some classic scenes
Without the faintest understanding why
They worked for Shakespeare in the first place, thus
Reducing them to shameless gimmickry
(Which - yes, I know - is just like this review).
Within this issue our young hero Josh
Goes visiting his Juliet at night
And speaks "sweet words of love" (allegedly)
From just outside the window of her room.
The balcony routine, in other words.
You couldn't do the story without that.
Except the point has been completely missed.
The way love stories work is simple: take
Two lovers and throw barriers in their way
Which they will spend the story fighting through
And end triumphant (or, in this case, dead).
The balcony's a clever stage device
Which lets poor Romeo and Juliet
Share stage time on their own but never touch
Because there's no way Romeo can climb
Up to the balcony to be with her.
Of course, in Austen's version, that's all fucked
Because in Austen's version, Romeo
Has got a pair of great big sodding wings
With which he promptly flies up to the room
And thereby makes the whole scene die a death.
It doesn't help that Josh and Julia
Proceed to spout some truly dreadful lines
Of dialogue of grimmest purple hue
And cretinous stupidity to boot.
"How did you find me?" blithers Julia
As if there were some mystery in this.
You're in your house, you stupid fucking girl!
How do you sodding think he found you there?
And then they drone on for another five
Godawful pages of quite subtext-free
Bad dialogue which someone must have thought
Was beautiful, poetic and all that
But actually is painful to the eyes.
"You're like a winged messenger from heaven."
"Love doesn't ask permission, it demands
Obedience." Please Jesus, make it stop.
"I wuv you!" "I wuv you!" "And I wuv you!"
That's basically all they have to say.
Poor Salvador Larroca does his best
To wring some kind of content from the script
But when the script is quite so bad as this
There's only so much anyone can do.
The lovers say exactly how they feel
In detail, leaving nothing for the art
To do. Although the writing is quite bad,
Admittedly it's very nicely drawn
Allowing for the quality of script.
So long as men can breathe or eyes can see
So long lives this, which quite depresses me."
🤣🤣🤣✌❤😎 I can explain it with graphs!
I remember all the fans shouting about how Marvel was retconning Morrison's run, but Marvel took the final pages of Morrison's run and ran with it. Up until Hickman, the X-Men were firmly in the post-Xavier/Magneto world with all the shades of gray that accompanied it.
I've been wondering how does the current X-Men run fit into the future of 2099? According to Marvel the 2099 world we see in Nick Spencer's current run is the undeniable future for the main universe no matter what events happen along the way.
So.... you messed up. Chuck Austen didn't take over for morrison. He was on Uncanny, an entriely different title. The runs also were concurrent, not consecutive.
It’s an interesting time, yes. Although I do like Austen’s Polaris and Juggernaut stuff, there’s me just being confused over the Juggernaut because I thought he and Black Tom were a thing.
She lies for Angels is wild.
For me, the character I don’t like how they’re used in Austen’s run is Stacey X. Kind of sucked how she was effectively bullied out of the team and yet she gets one of the best exits and a moment where Austen really humanised her when she revisited the site of the X ranch.
I really need//want the new x-men omnibus...
One of your best! However, there is a lot of good in Chuck Austin’s run. I think the misses are wide but and inch deep. If no one had prepped you that the Austin run was poor, you could have come to a different conclusion. However slight.
Keep up the great work.
Any thought on a deep dive on Claremont’s entire run/influence, on the X-family as well as comics in general?
I was there. I've read worse.
thanks. Now I'm dreading the end of the Hickman era
I would rank Grant's X-MEN run along with Claremont's, Lobdell's, Davis's, Whedon's, Brubaker's, and Hickman's run.
You read Chuck Austen's run?
Did you lose a bet? Why would you do that?!
Ouch! Lol! ✌❤😎
Was Carey’s run right after Austin’s? It’s been a while and I don’t exactly remember? I thought Carey’s run was excellent, the Messiah saga should be in the top 3 long running storylines with the Claremont and Morrison eras. I’m loving a lot of the Hickman stuff, but it’s so risky I’m reserving judgement until it all comes together.
I've been on the X-Men since the seventies, I can appreciate Chris Claremont's run as nostalgia. However, Grant Morrison's run was a shot of adrenaline in a dying franchise. One of the brilliant things about Morrison's writing is his extraordinary approach, it was a school first, a fantastic school which spawned amazingly new concepts. I could go on, but what sums up his run was a statement about wolverine's origin, "That's not weapon X. It's weapon ten that's a Roman numeral. " with that brilliant change a new world of possibilities was open with a simple twist that paid homage to the past while making it fresh. Marvel never had the balls or ideas to play in the new backyard Grant made.
How come Moira doesn’t make it priority to just get Franklin Richards and make reality the way she sees fit?
I don’t think Franklin Richards would be on board with that. The Comicbook fan in me remembers the horrible universe created last time he tried to do it...
Lol that was under different writing. With Hickman it makes more sense for him to show how OD powerful Franklin is. She should have definitely prioritized him in one of her lives. I would have at least.
Did Xavier amid moira use an early version of resurrection for magneto post Morrison? Like how they use shiar husk to fake her death. Maybe that's the retcon Hickman might make. Perhaps even also ressing him post genosha/ pre xorn, in Morrison's run, and the mind transfer was a botch, which might better explain magnetos behavior toward the end of New x men.
Everybody sayin' about Austen being bad, or Hickman being too weird.....
......but, man, the worse run was Bendis. It was worse than Austen and Hickman togheter.
I kind of feel that Chuck Austen's era of X-men feels like it was meant for those whom like YA romance or should be on the CW cast with some young attractive actors and badly written plots.
That is the perfect description. Haphazardly throw in some superheroics for the boys and love triangle/puppy eyes for the girls.
Honestly, I'm just waiting to see what type of ASS PULL Marvel will do to connect back that Scarlet Witch and Quicksilver are indeed Magneto's kids again.
I refuse to read Chuck Austen’s run, and I don’t consider it cannon
Austen's run was terrible. Juggernaut becoming more of a anti-hero was the only thing worthwhile in his run that I remember.
I liked Morrisons run but never liked the Xorn twist
this run totally made me drop out of all things X until Avengers Disassembled/House of M. i didn't think a terrible X-story existed, but Austen proved me wrong again, and again, and again.
Yikes ..Austin's run. Im staying way away from that stuff. What's one of the worst things about the current run, is everyone knows they're going to hit the reset button after. Having that sword hanging over our heads is taking some of the fun out of this era of X-Men to me, cuz we all expect them to just get rid of all this after Hickman leaves. It's the best the Mutants have been arguably in the last 10 years, why change that. I get needing a conclusion but it bothers me
I didn't think Austen's run was as bad as folx make it out to be. I think Morrison is great with his own toys, but I hated Morrison's run on X-Men. I liked what Austen did with Juggernaut, Northstar, iceman, Polaris and Gambit. We can nitpick everyone's run over their failings. Austen has moments that resonate fondly with me. I dont have any from Morrison's run.
I do remember Austen's run was one of the times where the fanbase collectively predicted that Iceman was going to come out as gay.
God, Paul O'Brien's reviews of Austen's run were sublime.
Austen's run was terrible.
man chuck austin x-men was garbage
There was so much to hate about it. I recall him screwing up Nightcrawler's parentage - essentially making him a literal demon then making Angel more angelic by giving his the ability to heal others. That love scene at the Guthrie's was just awful.
@@steveqhanson6835 yeah all of that was bad but to make it worst he ruined grant morrison work by making xorn a completely different character all together.
I only read a little bit of this run but god is it bad.
Man, it was so, SO frustrating to see Morrison's run end and be followed by those weak stories that we all know.
Chris Claremont, though not in his best days, at least TRIED to create some decent plots. Astonishing X-Men was also not bad. Austen was pathetic. As a whole, the stories after Morrison left were much below his level. For a while, I thought the aesthetic he brought to the X-Men (inspired by the movies, I know) would stick forever- I'd prefer them to look like that than the colored costumes- but Marvel felt the need to change things back to what they were before Morrison, so we had to stomach more of the same old stuff.
To me Morrison's era remains as the last time the X-Men were actually great. It ranks easily together with Lee/Kirby, Claremont/Byrne and Claremont/Lee eras as one of the best moments of the team.
It wasn't. Morrison's New X-Men was the main title and Austen was on Uncanny. A lot of the info in this video is out and out wrong.
Morrison’s run sucked and so did Austen’s. Nothing but hotshotting and shock value content
I can't believe people insist Austen's X-run was the worst as if Bendis didn't give us that awful trainwreck
For all it’s faults Bendis gave us Vulcan and Darwin.
@@210SAi that was Ed Brubaker 😀
Asief Dhansay oh? What story did Bendis write???
@@210SAi time displaced teenaged original five X-Men get stuck in the present day. The storyline was cringe enough, but lots of TH-camrs have done videos on how bad he is at writing teenagers.
I see now. That’s a time I wasn’t reading X-men. Prior to Hickman’s run I stopped reading X-men after the Messiah War fallout. I did Remender’s X-Force and a few other titles here and there but sparingly
I stopped reading X-Men at the time of New X-Men, and have recently picked it up again. Although not a fan of the art, New X-Men was fresh and took the X-Men from being reactive to trying to be 'out and proud'. Austen's run just seemed to be a confusing mess in comparison - there seemed little continuity between what had been set up by Morrison and his arcs. I found it a disappointing and pointless run and was thankful for House of M for resetting the X-Men again.
Grant Morrison’s run was horrendous. I am quite enjoying Hickman so far.
I thought it was a great run except for Magneto, Xorn and Cassandra's backstory. Aside from that it was a great experience seeing how mutants moved forward from the tired opressed minority metaphor to beign a metaphor for subcultures with their own space in society and the challenges that come with that. Im currently really digging Hickman's run.
The art was frankly disgusting... But I think Morrison did an OK job
@@stelmaria-mx Wich art? Frank Quitely's?
@@stelmaria-mx If you're talking about Quitely you're nuts. Im guessing you mean Igor Kordey's issues?
@@brunfranc Morrison's run is up and down. The Quietly, Bachalo, and Silvestri issues were pretty good. Kordey issues were bad. The introduction of Fantomex was also pretty good. Magneto as Xorn twist sucked. Digging Hickman's run!✌❤😎