Top Document: rec.arts.comics.marvel.xbooks FAQ: 2/8 Previous Document: The 1980s: An explosion of new titles Next Document: 2000 and beyond See reader questions & answers on this topic! - Help others by sharing your knowledge Only a few months after the X-Tinction Agenda crossover, the New Mutants title was replaced by X-Force, with Rob Liefeld as "plotter" and penciler, and Fabian Nicieza as scripter. New characters Feral (Maria Santos) and Shatterstar (Gaveedra 7/Ben Russell) and old character Thunderbird (James Proudstar, brother of the original Thunderbird) had shown up in the last issues of New Mutants, and helped to form the new X-Force team. X-Force was perhaps best summarized by its main character, the cyborg Cable. In the Marvel Universe, Cable stood for "taking the fight" to the bad guys. In the real world, Cable stood for a change towards action and fight-fests, as opposed to the usual slower-paced, character-focused issues of Claremont. Young hordes of fans bought X-Force with glee, making its first issue the highest shipping comic in modern comic history up to that time. Both ideas proved to be spurious. Cable ended up "taking the fight" to the villains about as often as the X-Men did. Debuting within months of X-Force, the new X-Men title (not the same as Uncanny X-Men, which had been referred to in abbreviation as X-Men) was created to further saturate the X-Men market, and, more importantly, saturate the then fan-favorite art of X-Men artist Jim Lee (teamed up with by-then co-star Chris Claremont). Five different covers were offered to fanboys and speculators, who bought multiple copies. Seeing the figures, the powers-that-be at Marvel decided that current fans must be attracted more to art than writing, so they promoted a new generation of young artists and emphasized many more merchanizing tie-ins, emblazoned with the new art styles, that one could buy to "fit in" with the X-Men experience, including t-shirts, posters, pins, and so on. Unfortunately, the fan-favorite artists were not happy that they got little to no return on their work when their art from an Uncanny X-Men issue was reprinted on a poster or t-shirt. For these reasons, as well as various claims of "creative control," the leading artists of the X-titles left Marvel and founded Image Comics where, with complete legal control over their new characters, they would make as much money as they could over the merchandizing of their own creations. Meanwhile, the preferred treatment of the artists over the other creative staff caused stress among the creators. Fed up, Chris Claremont finally left the titles with X-Men #3 and UXM #281. Claremont and other writers (including New Mutants writer Louise Simonson) stated in interviews that their main reasons for leaving were annoyance over the amount of editorial nit-picking in their stories, and sense of powerlessness given the amount of editorial favor for the artists as compared to the writers. X-Men continued to sell, and Jim Lee stated in interviews that he had plans for the title all the way up to issue #50, but before a year was up he was already working at Image. This left Bob Harras in a pickle. He had no artistic staff, and many of the writers who had been working for him had already left the X-titles. To fill the creative gap on the main titles, Harras recruited a bunch of new artists of varying ability, as well as two Marvel in-house writers, Scott Lobdell and Fabian Nicieza (Fabian was also an editor at Marvel, while Lobdell had a second career as a stand-up comic). X-Men became a companion book of Uncanny X-Men. There were supposed to be differences in members, purpose, and focus between the two books, but the ongoing crossovers and Marvel's scrambling to cover the "X-odus" (as the departure of the creative staff on the X-titles was called) made it essentially a twice-monthly book coming out under two different titles. X-Factor, meanwhile, had undergone yet another change of direction. It lost the original members to the new X-Men title, and picked up a bunch of mutants that had been lurking in the background of Marvel stories for decades as their main characters: Havok, Polaris, Multiple Man (Jamie Madrox), Wolfsbane, Strong Guy (Guido Carosella), and Forge. This "new" X-Factor was well received due to the excellent work of the new creative team of writer Peter David and penciler Larry Stroman. It was cancelled and rebooted after issue #149. When the X-Men animated series came out, Marvel, never slow to miss a potential tie-in, put out the new title X-Men Adventures, which did adaptations of the cartoon series. Since the cartoon series itself was adapting three decades of X-stories, long-time X-readers tended to get odd feelings of deja vu. It was later joined by the title Adventures of the X-Men, which printed original stories based on cartoon continuity. Both were later cancelled, as was the cartoon series, and X-Men: The Manga" was created, publishing the same stories X-Men Adventures used to publish. Plagued by lateness, it too was cancelled. As part of Marvel's new marketing strategy, the Unlimited series of books was brought out. The idea of the Unlimited books was to focus on stories that would be more "character-based" than normal Marvel titles, whatever that would mean, and would be told in just one oversized issue. For a while, the title went to an anthology format, including three short stories per issue. Also around this time, Marvel came out with a group of titles that shared a common theme: they were placed about 100 years ahead of "normal" Marvel history. Called the 2099 series, they featured a bunch of alternative future versions of Marvel standards, including Spider-Man 2099, Punisher 2099, and X-Men 2099. Aside from reverent mentions of some of the older X-Men, however, X-Men 2099 rarely had anything to do with the continuity of the "older" titles. After a few years, it too was cancelled. If nothing else, Marvel has always shown a rather strong interest in keeping its old stories available to the public (maybe because it's cheaper just reprinting the old stuff). The next X-title to appear was in this vein: X-Men: The Early Years, which reprinted the original X-Men series, from back in the 60s, while X-Men Classics continued to reprint the "new" X-Men stories. It was cancelled after 19 issues. The book was replaced by Professor Xavier and the X-Men, which retold the early tales from a more modern viewpoint. It also was cancelled after a few issues. Eagle-eyed FAQ-readers are no doubt seeing a familiar pattern here. Various other crossovers and battles took place over the next few years. Just after the reshuffling, Bishop appeared from the future, and joined the X-Men team. X-Cutioner's Song featured the introduction of Stryfe and the Legacy virus, and revealed Cable as Scott and Madelyne's son returned from the future and the return of Apocalypse. (It was around this time that Scott Summers and Jean Grey finally married.) Fatal Attractions featured the death of a de-aged Magik, the return of Magneto, and Colossus' choice to defect to Magneto's acolytes. It also featured Magneto ripping the adamantium off of Wolverine's bones through his skin. Xavier eventually mindwiped Magneto to stop him. It didn't stop the Acolytes, though, as yet another crossover (this time between Avengers and X-Men) called Blood Ties featured the kidnapping of Quicksilver's daughter by Magneto Acolyte and impersonator Fabian Cortez. The art was "kewl" and the events were extreme, but something was still lacking. The decision was made to make yet another title to expand on the X-Men theme and return to the basic ideas of the old X-Men and the New Mutants: teaching young mutants to both fit in the world as well as to use their powers. The Phalanx Agenda crossover introduced the new cast of young mutants, which eventually became Generation X. Scott Lobdell wrote and Chris Bachalo pencilled this new title, which featured Banshee and the White Queen (Emma Frost) teaching the younger generation of mutants in Frost's Massachussetts Academy, now the "School for Gifted Youngsters". Xavier finally changed the original X-mansion school to an "Institute for Higher Learning." Generation X featured Jubilee (Jubilation Lee), Husk (Paige Guthrie), M (Monet St. Croix), Skin (Angelo Espinoza), Synch (Everett Thomas), and Chamber (Jonothon Starsmore) as the first students, and they found themselves facing Emplate in their first issue. In summer 1994, as Generation X was just hitting the stands, the greatest crossover of all was planned: the end of the universe! Age of Apocalypse (AOA), and its lead-in, Legion Quest, tied it all together. Due to a time-travel glitch, an alternate reality was created. In this "World Without Xavier," Apocalypse was in charge, and Magneto led the heroic opposition. All of the writers' (and some fans') fantasies came true: Cyclops was a villain, Jean Grey and Wolverine were a couple, Magneto and Rogue were married with a child, Doug Ramsey wasn't dead, and Kitty and Colossus were married, to name a few. All of the comics were retitled and renumbered (starting at #1). The casts were scrambled as well, with X-Force becoming Gambit and the X-ternals as the most extreme example. Through the machinations of all the books, the timeline was restored to normal, with four AOA characters remaining in the "real" timeline: X-Man (Nate Grey), Sugar Man, the AOA version of Beast, and Holocaust. Nate Grey got his own title, X-Man, the only AOA title to continue past the crossover itself. When AOA ended, numbering of the other titles continued where it had left off. The next mega-crossover was Onslaught. In that crossover, a psychic construction with all of the worst parts of Xavier and Magneto decided to try taking over the world. This crossover was different in that in had a greater impact on the rest of the Marvel Universe than it did on the X-Men themselves. Onslaught set up the reboots of Iron Man, the Fantastic Four, the Avengers, and Captain America, and caused the characters' (temporary) removal from the Marvel Universe. Rob Liefeld had once again been courted to raise sales on those four titles, even though Mark Waid's previous six months of work on Captain America had turned the title into a solid seller. After Liefeld, Jim Lee, and others finished their runs on the titles (Liefeld's being shorter than the planned 12-issue run), the books were restarted with number 1 issues. Meanwhile, Waid wrote some issues of the X-Men, adding Cannonball to the team, but left soon after. A Magneto stand-in, Joseph, was briefly a member, as was Quicksilver (Pietro Maximoff, Magneto's son). Following Onslaught, the X-Men were on their own during the Operation: Zero Tolerance crossover. As "Operation: Zero Tolerance" continued, Bob Harras realized that things were not going well in the X-titles. On the main front, Uncanny X-Men and X-Men writer Scott Lobdell was trying to tank the story because he wanted the X-Men to lose and editor Mark Powers refused to let them. At the same time, X-Factor was becoming a mess of new characters, and Excalibur was going through writer cramps as Warren Ellis left the book. So Harras acted to change things. The first books to get the big treatment were the X-Men and Uncanny. They were given to Joe Kelly and Steven T. Seagle, respectively, who shook things up by adding three characters: Marrow (a terrorist), Maggott (a South African), and Cecelia Reyes (a doctor). The book went in some interesting directions, but their tenure lasted only eight months since management decided that a new, different direction was in order. Listening to complaints about the size of the X-Men team, a decree was made that the book should have a team of 7 or 8: Wolverine, Storm, Marrow and Rogue would stay on; Excalibur, which was rapidly losing sales, would be closed down, and its main three characters--Shadowcat, Nightcrawler and Colossus--would return. And then there was Gambit. After decent sales on Gambit's mini series and letters asking for his return after being unceremoniously dumped in the snow in Uncanny X-Men #350 (after revealing his part in the Mutant Massacre), a solo book was set to spring out of events in one of the down-time issues. Fabian Nicieza returned from his editorial stint at Acclaim Comics to begin the writing job on the title. (It was eventually cancelled with #26.) With such upheaval--dissolution of a team book, retrenching on the two core titles, Larry Hama leaving Generation X after dismal reception and new writer Jay Faerber coming in with new ideas, and John Francis Moore setting up X-Force in a new way--Harras turned to the remaining book: X-Factor. Writer Howard Mackie and editor Frank Pittarese were asked to come up with something radical. The result? X-Factor would halted at #149 (after constantly promising a big payoff in issue #150) and Havok would go to another universe where the rules were changed. This would last for a year, and then Havok would return to take the team in a different direction. Harras was ecstatic and he okayed the move. X- Factor became Mutant X, a twelve issue maxi-series that was received so positively, the book was continued. (Unfortunately, the positive start soon turned negative, and the book was cancelled with #32.) Back to the core titles. The drastic reduction of the X-Men's numbers, combined with the addition of Marrow and the members from the defunct Excalibur team, left everyone in a bit of a muddle. The Psi-War soon stripped Jean Grey, Psylocke, and Cable of their telepathic powers. (Of course, in typical Marvel fashion, the power losses lasted for only a short time.) Seagle and Kelly came up with some very interesting plots, but the two authors were soon replaced by Alan Davis, who was supposed to come on for six issues only but stayed until a "full-time replacement" could be found. Davis was forced to do the "Rage Against the Machine" event immediately after his second story arc. The story, leading to the annuals, launched the M-Tech line: Warlock, Deathlok and X-51: Machine Man. Sales on the three books were dismal. (Although Warlock was the most X-related, and the best-written, Marvel held the cancellation on X-51 another month thinking it possible to remarket that title as an X-book. Didn't work.) Xavier was missing around this time, and the X-men went on a search for him. Cerebro, who had been taken by Bastion earlier, was rampaging and Xavier was hiding from the machine, not able to contact the X-Men. During the "Search for Xavier," they found him. Joseph turned out to be a copy of Magneto. After the battle with Magneto, Joseph died and Magneto was given Genosha by the UN. Then came "The Shattering." Xavier felt something was wrong, and dissolved the team. During "The Shattering," the members of the teams went off on their own, to recover from the events of O:ZT and the like. It was during this ebb that Bishop returned home to the mansion and chose to go his own separate way as well. Bishop: The Last X-Man #1 began in "The Shattering," when he and Storm were alone in the mansion. Before he could change his mind, he was whisked away. Bishop:TLXM chronicled the tale of Bishop versus the Chronomancer (aka Fitzroy) in an alternate future. While Bishop was somehow sucked back into continuity during the Twelve storyline, he was whisked back to his own title soon afterward. (Bishop returned home again in his title's final issue, #16.) User Contributions:Comment about this article, ask questions, or add new information about this topic:Top Document: rec.arts.comics.marvel.xbooks FAQ: 2/8 Previous Document: The 1980s: An explosion of new titles Next Document: 2000 and beyond Part1 - Part2 - Part3 - Part4 - Part5 - Part6 - Part7 - Part8 - Single Page [ Usenet FAQs | Web FAQs | Documents | RFC Index ] Send corrections/additions to the FAQ Maintainer: racmx@yahoo.com (Kate the Short)
Last Update March 27 2014 @ 02:11 PM
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