Customer Reviews

X-Men: New Mutants Classic, Vol. 3

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The first two volumes of "New Mutants Classic" covered the initial assemblage of the team under the tutelage of Professor Charles Xavier, saw them go on a couple of adventures against such foes as the Brood, the Hellfire Club, and the Demons of Limbo, lose a member, and add two more, going through two different artists in the span of eighteen issues or so (Bob McLeod and Sal Buscema). Volume 2 ended with the promise of "Dani Moonstar's last stand" and "Bill Sienkiewicz's first issue", which Volume 3 promptly delivers on.

At the opening, the team lineup consists of Dani Moonstar (now going by Mirage, but no one ever uses it), Sam Guthrie (Cannonball) (the two function as co-leaders, though, this being Chris Claremont, Dani's pretty much always calling the shots), Roberto da Costa (Sunspot), Rahne Sinclair (Wolfsbane), Amara Aquila (Magma), and Illyana Rasputin (Magik). Dani's parents and grandfather supposed met their end at the hands of a demon bear, the latter's death depicted in the first issue of the series: the first story arc contained in this volume features the bear's return for a final showdown. With Sienkiewicz's moody art, the combat has some very memorable imagery (the opening page combing Dani's bedspread with the image of the snarling demon, for example). Following that, original artist Bob McLeod drops in to pencil the series' first Annual, a one-shot adventure featuring the crew going on a rather strange adventure involving teleporting rockstars and a Dyson Sphere; it's most notable for Claremont's enjoyable depiction of the various romantic dynamics between various members of the group, particularly the team's two male members' competition for the attention of the aforesaid teleporting rockstar. McLeod's work is more conventional than Sienkiewicz, but in a lot of ways I enjoy his art more, simply out of preference for his more straightforward storytelling. After this comes the introduction of a new team member (complete with setup for future stories to come in future Classic volumes), and then a rather strange story guest-starring "Cloak and Dagger"; this section spotlights a flaw in the collection, because it is based on the events that occurred in an issue of "Marvel Team-Up" that is not included in any of the volumes, so there's some sense that the readers who weren't around at the time aren't getting the whole thing, though the characters exposit enough so that you get the gist of it.

Chris Claremont is a widely derided writer these days, having atrophied as a writer over the decades, losing the originality in years of repetitive stories and failing to keep up with changes in writing style. However, here he is at the top of his game, producing enjoyable adventure stories while at the same time expertly juggling his cast, giving insight into their feelings and motivations, and, as best as anyone has ever done, capturing the potential of the mutant allegory. Professor Xavier, nowadays often characterized as a manipulator, is perfectly characterized here; "Xavier's Dream" is never more real in the pages of these stories.

This series is recommend to fans of Marvel's mutants in arguably their finest era.

THE NEW MUTANTS was the first X-Men spinoff title and, back then in the '80s, I was a big enough fan of Marvel's merry mutants that I had to pick this up, never mind that artists Bob McLeod and Sal Buscema's stuff tended to be more of the workmanlike variety. Still, I liked Claremont's stories well enough (this was before his writing went south), and I dug the ethnic diversity represented by these teenaged mutants. And then, in issue #18, Bill Sienkiewicz moseyed along, with his very unconventional, impressionistic style, and his art made my eyes pop out. For my money, Sienkievicz's run marked the high point of this comic book.

NEW MUTANTS CLASSIC Vol. 3 collects issues #18-25 of the ongoing series, as well as NEW MUTANTS ANNUAL #1. This trade kicks off with the gripping Demon Bear saga, pitting Danielle Moonstar and her fellow students against the malevolent supernatural beast that had been stalking Dani's dreams. Next is the double-sized and fun "Slumber Party!" issue, and it also introduces one of my favorite New Mutants ever to the team, the wicked cool techno-organic metamorph Warlock. NEW MUTANTS ANNUAL #1 has artwork by co-creator Bob McLeod and features Lila Cheney, celebrated rock star and intergalactic thief currently eyeballing Earth for her next improbable heist. Issue #22 then sets up the following three-part story in which we learn that Cloak & Dagger have been rendered powerless, with their abilities having been transferred to Sunspot and Wolfsbane (who've recently been demonstrating very disturbing behavior). Thing is, if you're not familiar with Cloak & Dagger, this arc may leave you a little lost. As it is, this story isn't quite as compelling as the Demon Bear saga. However, Sienkiewicz's visuals make it worth flipping thru.

At the time the UNCANNY X-MEN series was the hottest thing going in comic books, and certainly the NEW MUTANTS rode that wave of popularity. This was when Chris Claremont still had that writing mojo, when his stories still seemed fresh and absorbing. I remember, when I was a kid, how reading UNCANNY X-MEN and NEW MUTANTS kept me on the edge of my seat. It was cool that characters from both titles tended to casually guest star in each others' stories (as when Colossus and Nightcrawler popped in to train Sunspot and Cannonball). My favorite New Mutants happen to be Warlock (as mentioned), Illyana Rasputin (demon-cursed teleporter and sorceress), and Dani Moonstar (Cheyenne illusion-caster), but Claremont does a good job of spotlighting all the teens. But I'm pretty lukewarm about Sunspot and Magma, both of whom exude a sense of entitlement and are very arrogant, prickly kids. And then there's the 13-year-old werewolf Rahne Sinclair, whose extremely prudish behavior irritates (although, okay, she does demonstrate this aching vulnerability). Meanwhile, Sam Guthrie, a.k.a. Cannonball, is a bit of a limp biscuit. He's the oldest student, so he feels a responsibility towards the others. Yet he's so flippin' insecure, this stemming from his frustrating lack of progress in controlling his powers.

Claremont continues to flesh out the subplots centering on the Hellfire Club and on Magneto (paving the way for his later becoming headmaster of Xavier's School for Gifted Youngsters). The New Mutants being teens, these stories are peppered with crushes and parties, jealousies and rivalries. And, typically, angst and more angst. We get brief scenes of the New Mutants learning in the classroom and plenty of moments of them learning in the Danger Room. Somewhere along the way, we learn that Kitty Pryde's friend Douglas Ramsey is himself a mutant. Claremont isn't stingy with the action and adventuring as our fledgling heroes end up being transported to a different plane of reality and, later, gallivanting to a far-flung galaxy. It certainly beats having to ride the bus to rescue a captured X-Man (see X-Men: New Mutants Classic, Vol. 2 (v. 2)).

But, above all, this trade collection is all about Bill Sienkiewicz. There are several comic book artists whose styles are wonderfully offbeat and very distinctive (Jack Kirby, Windsor-Smith, Arthur Adams, Gene Colan, Mignola, Bissette & Totleben, etc.). Sienkiewicz' stuff is instantly recognizable and it is wild and inventive, his lines just distorted enough that they can't help but set a surreal tone yet solid enough that they don't become too cryptic. For more taste of Sienkiewicz, you should check out his work in the two mini-series: THE SHADOW and ELECTRA: ASSASSIN. And, of course, in the next NEW MUTANTS trade (X-Men: New Mutants Classic, Vol. 4), which reprints the excellent Legion storyline.