Customer Reviews

New X-Men Vol. 7: Here Comes Tomorrow

5 star:		(5)
4 star:		(4)
3 star:		(0)
2 star:		(1)
1 star:		(2)

 

 

Planet X was a story about everything that could possibly go wrong, going wrong. It was the incredibly sad, morbid, and sometimes redundant feeling that old ghosts won't die and that the problems that follow you around may never really cease. It squashed out many old ideas that had been persisting in the x-books once and for all. Most importantly, it was about X-Men's hearts breaking. From Charles' "This isn't happening" to Scott's "why are there always people like you?", it was less about the opponent than the somber realization that hope is an illusion and that things never really change. It was a depressing way to end a long run on X-men. Here Comes Tomorrow, then, asks the next logical question: "How do you fix a broken heart?" The story takes place 150 years in the future and shows the repurcussions of Planet X's heartbreak, as well as revealing some of the less transparent aspects of Morrison's run on New X-Men, such as who really was supplying the mutant-power enhancing drug known as Kick, and what it really was that the X-Men had been fighting all these years. The story is slow paced and enigmatic at first, but the last few pages are some of the most surreal and beautiful to enter a Marvel Universe book. How do you fix a broken heart? Nurture it. Sometimes I think all of our decisions boil down to denials and affirmations. It's not what information we're presented with, but whether we deny or affirm it. New X-Men ends with one huge affirmation, a resounding, Joycian "yes."

Collecting the final four issues of Grant Morrison's already legendary run on New X-Men, Here Comes Tomorrow brings everything that Morrison has set up over the past couple years to a close. Taking place 150 years after the events of Planet X, this storyarc finds Wolverine, E.V.A., a new Beak, Cassandra Nova, and a young human named Tom Skylark and his giant robot Sentinel named Rover battling over control of the Phoenix egg from the Beast. Everything meticulous detail of Morrison's run comes full circle here, and Here Comes Tomorrow is made all the more special by featuring art by the legendary Marc Silvestri who made a name for himself drawing Marvel's merry mutants. If you missed out on Morrison's run, go back to the beginning and read all seven volumes for proof alone that Grant Morrison is the best thing to happen to the X-Men since Chris Claremont.

This is a good X-Men book! X-Men: Here Comes Tomorrow is a must have book! This book takes place 150 years in the future. Inspired by the "Days of the Future" past storyline,Grant Morrison writes an epic tale about the X-Men in the far future. The artwork is done by Top Cow, Cyberforce, The Darkness, artist Marc Silvestri. Marc Silvestri does a great job illustrating the New X-Men characters with the old X-Men characters. I like this X-Men book! Highest Possible Recommendation!

I'm a long time fan of the X-Men and I have to admit that this is the worst story line they have ever had. Sure, it had a few high points but for the most part it's a huge confusing mess. That's because the plot was allowed to wander all over the place with no clear direction. It seems like it was written on the fly with a sort of "let's do this" attitude. Don't waste your money on it.

This volume describes X-Men in an ugly future where everything is not what it seems. The change is quite abrupt from the previous issues so i was kind of disoriented reading it fast because i wanted to find out what happened to the original characters (because they are not here anymore apart from wolverine!!), but only a few pages are used for them in the end. So I reread it treating it as a story on its own and was even more impressed. Cool characters and amazing art (it fits with the ugly future background perfectly). The characters do not develop much in a few issues but it's a showoff of Morrison's imagination.

Very good!

Ok one thing needs to be said about this story arc: beauitful art work. Silvestri makes a great come back. The art is similar to Joe Madureira except it has more of an edge. The art work accents the story nicley (as do the colors)

And as far as the writing goes...perfect. Morrison delivers the final blow and wraps up all the lose ends. Ranging from the the Stepford Cuckoos to Cassandra Nova to Ernest to Jean and the Phoenix force. What makes this story so effective is the characters we've been exposed to during Morrison's run and how everything seems to fall into place.

In my opinion, the ones who didn't like the arc are the ones who just couldn't read into Morrison's subplots and symbolism throughout his run.

Def. an A plus and a good lead in for Astonishing X-men

I don't necessarily disagree with other reviewers here than this collection expands on, and brings closure to, the excellent themes and ideas Morrison had been developing since his start on New X-Men, but I can't help but feeling robbed by the "Imaginary/Alternate Universe" angle, which I feel is a cop-out. There's no integrity, no ownership, no responsibility for anything as soon as you say "It's an alternate timeline." You can do anything you like with no repercussions. Characters can have sensational and meaningless deaths, future connections that have no bearing on current events can be made, etc, etc, etc. I just feel a little cheated, is all. Sorry, Grant!

this is one of those grant morrison stories that leaves you wondering if it has a purpose.

Grant Morrison is the best thing to happen to comics in, well, forever. His sheer imagination and inexhaustive energy explodes from every page. Even when he's been teamed with lesser artists, his comics are always far superior than most that feature flashier (read: pin-up) artists. His scripts bring out the best from most of his artists (one notable exception: some of the art in the last story arc of THE INVISIBLES springs to mind). Take Chas Truog on ANIMAL MAN. No offence, Truog is by no means a Jim Lee or Todd McFarlane-league artist, but his interpretation of Grant's scripts were right on the money! His visuals told the story perfectly.

Now that Grant has hit the big league, he has had the pick of the crop. Pairing him with Marc Silvestri on his final arc is further proof of this. I'll admit, I'm a little biased when it comes to Marc. Having sat in on one of his convention panels some 10 or so years ago, he revealed himself to be one of the true nice guys. Very affable, very down-to-earth and approachable. In short, NO EGO! So anyone who slags his art off, well, it's just not warranted. I admit, some of his line work at times IS overkill, but, when he's paired with a great inker (or doesn't appear to be rushed) , his art shines. Besides, his Wolverine still stands as one of the definitive versions. I love his Beast and Nightcrawlers in this arc as well.

But it is Grant who is the star of this show. As the Grand Finale to his meta-series (begun in "E Is For Exctinction") , "Here Comes Tomorrow" is the gem of the lot. (I will admit, I would have liked Frank Quitely to return, but, alas...)

One really needs to read all of Grant's run (and re-read again and again) to truly appreciate the sum of Grant's saga. "Here Comes Tomorrow" is the pay-off for all of the hints and teases that Grant has been developing. One could argue that there are a couple of things not fully explained or tied-up, but to simply write these off as the work of a bad writer is to miss the point. Ambiguity and mystery are the key (think David Lynch) and I thank Grant for not taking his audience's intelligence for granted (no pun intended!). I mean, is Apollyon revealed as Fantomex (as E.V.A. seems to imply) or, as Silvestri's rendition of his bald unmasked face seems to suggest, is he Charles Xavier?? Ambiguity, indeed, and I love it! And take the Phoenix Phalanx (as I dubbed them) introduced toward the end. Just who is that lad who informs Jean: "And they said I was to tell you to hurry..." None other than Quentin Quire from "Riot At Xavier's". Genius!

Far too many failed to recognise just what it was Grant set out to achieve on his X-run. To return the sense of greatness and majesty and vitality that had been flogged out of the X-books by far too many X-overs and convoluted history that made many soap operas seem straight-forward in comparison. I'd say he succeeded. And then some.

I gave up on the X-Men years ago due to the interminable nature of the (seemingly never-ending) storylines and cheap gimmickry that saw the books become ever-more impenetrable and frustrating. When I heard that Grant Morrison was to write one of the regular series, I knew that I was in for a treat. And what a treat!
Grant's run on "NEW X-MEN" stands as THE definitive Mutant Epic, unrivalled, not even by the mighty Claremont-Byrne run! Big words, I know, but ones I stand behind.

If you have never read an X-Men comic before, do yourself a favor and read Grant's entire "NEW X-MEN" run. And if you have read X-Men comics in the past but not Grant's run, then what are you waiting for? Here comes tomorrow!

Yes, it was. First, I cannot enjoy a comic if the art is poor. Marc Silvestri stepped up and squashed that fear for me. His stuff is gorgeous. It's one of the reasons I keep going back to Witchblade. Anyway. I always like the alternate storylines, and this one did not disappoint. I won't get into the plot and spoil it for everyone, but you don't need to know too much about the X-men to dive in. Although it IS a big bonus. I mean, the person now in charge of the X-men is a HUGE surprise.

This run also takes us back to Jean Grey and the White Hot Room, introducing us to hundreds of other Phoenixes. It shows her in the white costume for the third time ever. I can't wait to find out more.

If you like this you should read X-men: The End