UNCANNY X-MEN & FANTASTIC FOUR ‘98 - September 1998

Thresholds

Credits: Joe Casey (writer), Paul Pelletier & Leo Fernandez (pencilers), Andrew Pepoy, Keith Champagne, Rob Leigh, & Ray McCarthy (inks), Richard Starkings & Comicraft (letters), Serrano/Ramos/Soto/Smith/Schigel (colors)

Summary: Mr. Fantastic and Invisible Woman go out for a night at the opera, a performance also attended by Beast and Cecilia Reyes. Meanwhile, Wolverine forces Cannonball to join him in a poker game with the Thing and Human Torch. Unbeknownst to Mr. Fantastic, his new miniaturizer device is identical to one developed by Stark-Fujikawa scientist, Bradley Beynon. When Beynon is fired for copying Mr. Fantastic’s design, he raids Stark-Fujikawa’s vault and discovers a Psycho-Man robot and an Emotion-Stimulator Box. Beynon sends the robot to the FF’s headquarters and attacks the opera with the Box. The heroes defeat Beynon, but must soon protect him for an enraged Psycho-Man. During the battle, Beynon targets Mr. Fantastic with his miniaturizing device, but accidently sends himself and Psycho-Man to the Microverse.

Continuity Notes: Cannonball is portrayed as a novice poker player who has to be forced into the game, although he outplays everyone and consistently has winning hands. This is virtually identical to the story in X-Men #48, which also featured the Thing and was only a few years old at the time. The only difference is that Scott Lobdell heavily implied that Cannonball was pretending not to know how to play, while Joe Casey treats him as a genuine novice. Perhaps Lobdell should’ve looted a scientific vault and launched an attack on Casey for stealing his idea.

“Huh?” Moment: When Wolverine and Thing race out of Pier-4 to respond to Mr. Fantastic’s signal flare, Wolverine discovers Thing has somehow crushed his motorcycle with the FF’s “flying bathtub.” How exactly this happened isn’t explained at all.

Review: Team-ups were the gimmick for the 1998 annuals, which sounds fine on paper, but I seem to recall almost all of them getting bad reviews. This one certainly isn’t a stellar entry. The “humorous” character subplot is an unintentional rerun of a recent story, the villain has a shaky motive, and for some unexplained reason, the reader has to accept that Stark-Fujikawa keeps a Psycho-Man robot and accompanying device in its closet. It’s no secret by now that Casey has more of an affinity for the Fantastic Four than the X-Men, but the only real highlights in this issue come when he riffs on Joe Kelly’s concurrent X-Men run. While his characterizations of the Fantastic Four don’t go much deeper than a few catchphrases, his portrayal of Beast and Cecilia’s budding romance (a subplot dropped from the main books just as this annual went to press) brings some life to the story. Casey’s depiction of Cecilia’s response to her first brush with mind control -- she’s furious and wants to kill the guy -- also adds a nice touch of reality to the story. The rest of the issue is easily forgettable. Even the art, by the usually reliable Paul Pelletier and Leo Fernandez, is obscured by the rushed inking job.

MAVERICK #12 - August 1998

Red Reign Part 3 - Mortal Coils

Credits: Jorge Gonzalez (writer), Jim Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Inside Pushkin’s aircraft, Maverick and Red Guardian are discovered by Omega Red and Sickle. Turbulence throws the heroes off the plane, but they’re soon able to locate the AIM base Pushkin has targeted. While Red Guardian disables the chemical weapons, Maverick has a second confrontation with Sickle, but refuses to kill him. Red Guardian is caught by Hammer, who smashes his leg. Maverick sends Red Guardian away in an escape pod as the AIM base self-destructs. After fending off Omega Red, Maverick sneaks back onboard Pushkin’s plane and destroys the stolen missiles. Sickle strikes again, gouging Maverick’s left eye out and throwing him out of the plane. Maverick survives the fall, and uses his powers to cauterize his wound.

Continuity Notes: For some reason, it’s important the editors tell us this story takes place before Quicksilver #6. Chris and Elena make a brief appearance, as Elena lies comatose in the Bradleys’ home. The pain Maverick experiences at the end travels through their telepathic bond and forces Elena out of her coma.

“Huh?” Moment: Apparently, you can “permanently neutralize” chemical WMDs “forever” by pressing a button on a computer console that will deactivate their biological agents.

Review: I don’t remember people talking about the Maverick series when it was new, but I do recall some speculation that its cancellation was significant because it was the first X-spinoff to be cancelled due to low sales. (I guess the 99-cent Professor Xavier and the X-Men book didn’t count, as it wasn’t strictly in-continuity and a part of an entire line that folded.) An X-association was no longer enough keep a title afloat, and surely Marvel would learn a lesson from this and be more careful about exploiting the brand in the future. And that is exactly what happened, because unquestionably no X-titles have been cancelled since 1998. Readers just can’t get enough spinoffs about new teenage mutants, or solo books with popular characters like Rogue and Nightcrawler. That X-brand is still a healthy cash cow, here on Bizarro World.

I do feel a little bad for Maverick. I can’t say it’s been an exceptionally great book, but it’s tended to hold a higher level of quality than many of its spinoff brethren. Had it launched just a few years earlier, I could see it making it past the twenty-five issue mark quite easily. However, Maverick had the misfortune of being released in the summer of 1997, a solid year after the X-brand started to lose its shine as the overall industry continued to collapse. Maverick probably would’ve performed just as well as, say, Cable’s solo title, had it been released within a year of his first appearance. This was a Jim Lee character with mysterious ties to Wolverine! He shoots people and has a bad attitude, just like the Punisher! In 1993, that’s printing money. In 1997, you’re hoping that the people who still remember/care about that stuff will give the book a shot.

And if someone actually wanted to see the original, tough-as-nails merc Maverick, the series didn’t exactly deliver. At this point, he’s mellowed out so much that he doesn’t even kill the assassin that’s obsessed with killing him, the one that helped to murder his mentor earlier in the series, and is in the process of stealing WMDs, when he has the chance. Maverick doesn’t want to be brought down to Sickle’s level, so he lets the guy live to terrorize and murder another day. Or just another hour, as Maverick has to face him again a few pages later, which ends with Sickle gauging his eye out. Sickle lost an eye to Maverick earlier in the series, so maybe this is a play on the old “eye for an eye” axiom, although it’s a little odd that Maverick loses his eye after he’s already decided to spare his opponent’s life. Maybe this was intended as a cynical message; a warning that doing the right thing could also have tragic consequences. The final pages are rather dark, as Maverick tends to his wounds while stranded in the frozen wilderness, so perhaps Gonzalez really was going for a totally downbeat ending. However, given the more traditional tone of the rest of the series, I wonder if the ending was originally intended as a cliffhanger that just became the closing after the pink slips went out.

I’m not sure why exactly Maverick was softened up for this series, but it’s one of the choices that could’ve led to the title’s demise. Maverick’s the guy who shot a flunkie seven times in the face in his first appearance for no compelling reason, outside of it making a nice quip after the goon told him he needed to go to Level Seven (“Seven, huh?” BLAM BLAM BLAM BLAM BLAM BLAM BLAM). He’s not the type of character you put through a “true heroism” arc, unless there’s a skilled writer at the helm who can really pull it off. Nothing in this series leads me to believe Jorge Gonzalez is that man. His stories mostly make sense, his action sequences can be fun, and he tends to give Jim Cheung interesting things to draw, but he isn’t someone you turn to for intense character development. Gonzalez’s characterizations are just too flat to execute that kind of an arc, which leaves Maverick as a slightly dull superhero by the time the final issue arrives, rather than the cold-blooded mercenary with a dark sense of humor that Scott Lobdell and Jim Lee introduced to fans. If you wanted that Maverick, you were probably better off reading Joe Kelly’s Deadpool.

MAVERICK #10-#11, June-July 1998

Red Reign Part One - Cold Front!

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Maverick awakes in Russia, where Ivan the Terrible is waiting. While being escorted to a dungeon, Maverick escapes and steals a horse. He’s forced to surrender when Ivan threatens a young boy. Later, Ivan meets with AIM representatives and backs out of an arms deal. When they leave, Ivan sends Sickle and Hammer to follow the AIM agents. They’re joined by Ivan’s new hire, Omega Red.

Continuity Notes: The body of Etta Langstrom (the scientist who attempted to brainwash Maverick in issue #2) is in the dungeon. Ivan also breaks the fingers of one of his mistresses when she accidentally interrupts his conversation with Maverick.

Review: I don’t think you can blame Jim Cheung’s covers for Maverick’s short run. Most of them are strong attention-getters, with appropriately vivid colors, and this is one of my favorites. And what about Maverick’s daring horseback escape? It’s literally one page of the story. Gonzalez seems more interested in having Ivan strut around for a few pages and remind us of how evil he is. Maverick barely has anything to do, and the action scene he’s given is too brief to be effective. The Ivan vs. AIM subplot does have potential, though. I’ve always enjoyed villain vs. villain conflicts.

Perilous Choices

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Chris sneaks into Dr. Keller’s office, disguising himself with the energy that surrounds his electric powers. His powers snuff out while fighting the gang, however. Lying on the floor, Chris can no longer protect his identity.

Review: Two of the five pages in this backup are spent on recapping the previous chapter, making this even more flagrant filler. The story doesn’t even end here, which means it’s going to be stretched out into three issues. Leo Fernandez’s art is still clean and attractive, though, and I don’t mind him as a fill-in for Cheung.

Red Reign Part Two - Raising the Stakes

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Maverick discovers his cellmate is the new Red Guardian, while Ivan unveils to Omega Red his plan to pin the robbery on Hydra. Maverick escapes when his powers flare up and returns to Ivan’s mansion to retrieve his gear. With the help of Ivan’s mistress, Maverick discovers Ivan’s plot to rob AIM of WMDs. Along with the Red Guardian, Maverick sneaks onboard Ivan’s plane.

Continuity Notes: Maverick says he knew the original Red Guardian, Alexi Shostakov, personally. The new Red Guardian claims to be an independent hero who wishes to inspire the disheartened people of Russia. While reading Ivan’s files, Maverick learns that Major Barrington was innocent of the charges made against him during Dr. Langston’s brainwashing.

Review: Maverick only has one issue left, so it’s time for a few plot threads to be resolved. In a quickie scene, the hero learns that his mentor Major Barrington was never involved with his evil ex-wife and he shouldn’t have questioned him earlier. Well, yes, Maverick. Allegations the villain makes about someone while brainwashing you probably aren’t true. This was a silly subplot in the first place, but letting it drag on for almost a year and then resolving it in a way that just reinforces how dumb the protagonist has been…that wasn’t the best way to go. Ignoring the ridiculous subplot, the main story makes decent progress. After a rather dull issue, the action is amped up this time, so Cheung is given some cool things to draw. I’m not sure why exactly a new Red Guardian is introduced, other than the fact that the story takes place in Russia, but Cheung also has a nice interpretation of the character.

Exposed

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Before the gang can learn Chris’ identity, they’re attacked by a groggy Dr. Keller. Chris’ powers return long enough for him to defeat the teens. After the gang is in custody, Chris apologizes to Dr. Keller.

Review: Three issues. This lugged along for three issues. A total of fifteen pages were wasted on Chris going to the doctor and stopping a teenage gang that happened to show up. And it took three months to get to the conclusion. Can you imagine if an annual backup was needlessly padded out and serialized over the course of several issues? That’s essentially what we have here. I realize the decision to cancel Maverick most likely came before these backups started, but surely this flagrant use of page-killer didn’t help sales.

MAVERICK#8-#9, April-May 1998

Fractured Lives

Credits: Jorge Gonzalez (writer), Jim Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: The Confessor breaks Sickle out of Canada’s “Ice Box” prison. In Florida, Maverick watches over Elena, who remains comatose. For her protection, Maverick’s kept her in Chris Bradley’s home. Maverick and Chris resolve their differences, and Isabel arrives with a new suit of armor. Maverick announces he has to travel overseas to take care of old business. Meanwhile in Russia, Ivan the Terrible sends the Confessor after Maverick.

Continuity Notes: Maverick reveals to Chris that his Legacy Virus infection has resurfaced. He suspects that his remission is caused by his psychic connection to Elena, which is severed now that she’s in a coma. His powers are now out of control, which means his hands melt anything they touch. The erratic powers have left both of his hands with third-degree burns. Before he leaves Florida, Maverick asks Chris to come up with a code name to use on their “chatterboxes” (which are basically cell phones). Chris comes up with “Bolt,” which sticks around until the character is killed off.

Review: This is mostly a “quiet” issue, and since character work isn’t Jorge Gonzalez’s strong suit, it’s quite dull. Maverick spends the issue at the Bradley’s suburban home, where he watches over Elena, recaps the past few issues, goes on a boat ride with Chris, recaps a few more plot points while spelling out the new status quo for his powers, and then decides to leave on a mysterious mission. I understand that Maverick’s connections to Chris and Isabel are supposed to ground him with the real world, but Gonzalez has never made any of the suburban material that interesting, and now it’s taking up the bulk of the issue. The continued focus on Maverick’s powers and the Legacy Virus is also getting tedious. And how exactly is a psychic rapport supposed to keep a terminal disease at bay? The rest of the story is dedicated to the Confessor breaking Sickle out of jail in the middle of a blizzard, which does alleviate some of the boredom. These are enjoyable action scenes capably rendered by Jim Cheung, who is still the highlight of the series.

The Wall

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: In Paris, Maverick asks his estranged friend Jean Luc Vivant if he knows of any connection between Major Barrington and the murders of Cell Six. Jean Luc angrily sends Maverick away. Later, he receives a message instructing him to travel to St. Augustine’s Church in Germany. Maverick arrives and is promptly ambushed by the Confessor. Before knocking him unconscious, Confessor reveals that Maverick’s parents and brother were Nazis.

Continuity Notes: Jean Luc Vivant hates Maverick because he blames him for his paralysis. Maverick says it was an accident.

I Love the ‘90s: The Bullpen Bulletins recounts James Cameron’s recent appearance on the Howard Stern Show, where he revealed his intentions to make a Spider-Man movie with Leonardo DiCaprio as the star.

Review: This is closer to what I would’ve expected from a Maverick solo series -- conspiracies, mystery characters from the past, and action scenes set in unusual locales. The dialogue is still pretty flat, and the narrative captions have a habit of just dumping blunt exposition that isn’t relevant to the story (this issue, it’s a dry recap of the history of the Berlin Wall), but the action scenes are energetic and Cheung is given some cool environments to draw. As for the Nazi revelation, this is pretty much The Most Predictable Thing You Can Do with a German character, isn’t it? Perhaps Gonzalez had some twist on the concept in the works, but the series is close to cancellation and the idea is never properly explored.

Easy Targets

Credits: Jorge Gonzalez (writer), Leo Fernandez (penciler), Andrew Pepoy (inker), Chris Eliopoulos & Virtual Calligraphy (letters), Kevin Somers (colors)

Summary: Chris visits Maverick’s friend, Dr. James Keeler, for a checkup. Chris leaves despondent, but returns to apologize for his sour attitude. Before entering, Chris notices a gang from his high school is raiding the doctor’s office.

Review: Hooray, Chris Bradley’s monotonous subplot pages are now relegated to their own back-up story. Since most of the main story is told as a flashback (with an appropriate ‘90s “hazy” coloring effect), I imagine these pages were shuffled to the back in order to retain the main story’s flow. Chris is still complaining about the things he always complains about, but now he’s placed in a potential action scenario. When he sees the teenage punks harassing the doctor from outside the window, he questions, “what do I do?” It’s the classic “hero in civilian identity has to use his powers to help an innocent” dilemma, and apparently Chris has never read a comic book before. As a child of the Chromium Age, perhaps he just kept his comics in mylar bags and never opened them. The proper response is to use your clothing as a partial mask, Chris, that way the bullies will magically be unable to recognize the rest of your face. Duh.

X-FACTOR #142-#143, February-March 1998

Give Me Shelter

Credits: Bill Rosemann (writer), Leo Fernandez (penciler), Dan Green (inker), Comicraft (letters), Ian Laughlin (colors)

Summary: Wild Child locates Val Cooper, who is spending Christmas with her ex-husband Edmond Atkinson. Val reveals to Edmond her first meeting with Wild Child as a young bureaucrat. She was assigned to look over Wild Child, not knowing her superiors were actually agents of the Secret Empire, a group looking to develop remorseless killers. Sabretooth abruptly enters, revealing that Val covered up for the Secret Empire in order to protect her career. After government agents chase Wild Child and Sabretooth away, Val reads the note Wild Child left her. He forgives her for not revealing the conspiracy, because he knows she’s used her government career to help mutants. Wild Child escapes into the night, as his feral mutation continues.

Continuity Notes: According to Val, Wild Child left Alpha Flight after the mutant Wyre went on a killing spree at Department H. I know Wyre was a character created towards the end of Alpha Flight’s run, but I don’t know if this event ever occurred on-panel.

Review: This is a fill-in issue, which apparently exists to explain away some of the mysteries that surrounded Wild Child joining the team, and to write him out of the book. Rosemann doesn’t have Mackie’s tin ear for dialogue, and the demands of a one-issue story require him to actually resolve the ideas he introduces, so we actually get a tolerable issue of X-Factor. I don’t like the idea that Val has been involved in a government cover-up (to the point that she witnessed a drugged out Wild Child killing a homeless person), but Rosemann does try his best to humanize Val and keep her motives sympathetic. How exactly Sabretooth knows this information isn’t clear, but I guess we’re supposed to assume he knows about these kinds of things due to his long life and various connections to numerous characters in the Marvel Universe. The art comes from Leo Fernandez, who decides to avoid following Matsuda and Rouleau’s example and instead draws the issue in an Andy Kubert style. It’s a little lifeless in places, but for the most part he’s able to tell the story, and I like his interpretation of Sabretooth.

The Fall of the Brotherhood

Credits: Howard Mackie (writer), Duncan Rouleau (penciler), Art Thibert (inker), Comicraft’s Kaff Schoil (letters), Glynis Oliver (colors)

Summary: Fixx, Archer, and Greystone assume the bodies of three bus crash victims. Following orders from their mysterious leader, they arrange to meet with Mystique. When she agrees to hear them out, they claim they have to stop Havok. Meanwhile, Shard is heading for the city when she senses the arrival of the XUE officers, as Havok and an injured Ever protect citizens from Dark Beast’s experiments. Havok tells Aurora to leave the Brotherhood’s hideout, before he finally confronts Dark Beast. Suddenly, Mystique enters with the XUE officers, as Shard arrives to protect Havok.

Continuity Notes: Mystique is willing to hear the XUE officers out when they deliver a message from their leader, telling her that this is the time Destiny foretold. Dark Beast claims that Fatale was “created by me, over and over again,” indicating she’s another one of his genetic experiments. The XUE characters are able to resume their true forms, even after possessing bodies in the present.

We Get Letters: Editorial response from a fan disgruntled by Wizard’s announcement that X-Factor will now focus on individual characters, rather than a team: “You can’t believe everything you read…after all, Wizard said X-Factor was going to be cancelled, and look at us now!”

Review: It seems as if X-Factor is starting to resolve its numerous dangling storylines, even though no one at Marvel seems to know they’re getting cancelled yet. Havok is fully in his “I was just fakin’!” phase, retroactively declaring that he was still under Dark Beast’s influence when he nearly killed Polaris months earlier. Never mind all of those narrative captions and inner monologues that proclaimed that we’re finally seeing the real Havok, of course. While I’m glad the grievous mistake of turning Havok evil has been rectified, we still have a lot of nonsense with Shard, Mystique, and the XUE. I have no idea what the point of the XUE is even supposed to be, but they’re apparently the new stars of the series. After damaging established characters like Havok, Polaris, Mystique, and Sabretooth for years, why not invent totally new characters to portray illogically and inconsistently? They want Havok “taken down” for mysterious reasons, they need Mystique to do it for mysterious reasons, and their leader in the future has to stay in the dark for mysterious reasons. Par for the course for this book. I’m sure they’ll be shown the same care as the mysteries surrounding the Hound Program, Bowser, Graydon Creed’s killer, and Trevor Chase.

MAVERICK #6-#7, February-March 1998

Hunters

Credits: Jorge Gonzalez (writer), Jimmy Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Kevin Somers (colors), Chris Eliopoulos & Virtual Calligraphy (letters),

Summary: A friend volunteers to give Maverick and Chris medical exams. Chris walks in on Maverick’s exam and discovers the scars created by the Legacy Virus are gone. Chris is angry Maverick kept his remission a secret, but Maverick must leave after getting a call from his contact, Gregor. He soon learns Gregor has been placed in a trap by Sabretooth, who knows Elena is hunting him. After rescuing Gregor, Maverick follows the note left by Sabretooth and heads for the sewers. In the tunnels, he discovers Sabretooth and an unconscious Elena.

Continuity Notes: Chris Bradley is now referred to as “Brian,” the false identity given to him by Maverick. Maverick even calls him Brian during their private conversations, even though the recap page still lists his name as Chris Bradley.

Review: Elena’s vendetta against Sabretooth has never been too interesting for me, but Gonzalez does explore one angle that works in the opening of this issue. Because she’s a telepath, Elena can recall all of her memories. This allows her to dream of Sabretooth’s murder of her pregnant mother and her own c-section, and recall the details with absolute clarity. This truly is haunting, and it’s certainly a great opening for the issue. Unfortunately, what follows is pretty bland. Chris overreacts to Maverick keeping his remission a secret, while his technology dealer Isabel reminds him that her ex-husband will start a custody battle if she doesn’t cut ties with him. This is the drama this gruff, shadowy secret agent has to deal with -- teenage emotions and divorce issues? Maybe if Chris and Isabel were fleshed out more as characters I would actually care about these plots, but as it stands they don’t seem appropriate for the series. The art still carries a lot of this weight, and I’ll give the editor credit for finding a co-artist who meshes with Cheung. I can’t really tell where Cheung’s pages end and Fernandez’s begin, which is extremely rare for an issue with two artists.

Desperate Moments

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Kevin Somers (colors), Chris Eliopoulos & Virtual Calligraphy (letters),

Summary: Maverick battles Sabretooth, as he begins to suffer seizures and his powers go haywire. Elena regains consciousness and psychically attacks Sabretooth. When she discovers her mother amongst the memories of his victims, a psychic backlash is triggered. Maverick destroys the pipes and creates a flash flood, escaping with Elena. He soon discovers Elena is now in a coma. Meanwhile, Chris begins to lose control of his powers.

We Get Letters: The editorial response to rumors Maverick is close to cancellation: “If we ever find the guy who’s spreading these rumors around, we’re going to string him up! Maverick is here to stay…!” Maverick is cancelled with issue #12.

Review: It’s an issue-long fight scene, and Jim Cheung really gets the most out of it. The actual content of the fight is extremely shallow, though, as Jorge Gonzalez is still unable to give Maverick or any of his foes much in the way of personality. I remember Scott Lobdell giving Maverick some snappy, action movie quips in his early appearances, which might not be the most original take on a secret agent character, but at least he doesn’t just sit there on the page. Gonzalez’s Maverick has the charm and wit of a sack of potatoes, which has to be a partial reason why this series died at #12, while its contemporary Deadpool lasted for several years, buoyed by a vocal and devoted fanbase. Couldn’t Maverick say something slightly clever while fighting the villain, rather than dryly spelling out how each of his weapons work, or explaining how his powers are acting up? Gonzalez does get some decent material out of Elena, though. The trip through Sabretooth’s psyche, which recalls the glimpses of his childhood seen in the Sabretooth miniseries, is a nice scene. Revealing that Sabretooth has a mental gallery of all of his victims gives him another creepy touch, and using Elena to expose that uses her character wisely. Like the previous issues, there are some ideas that work quite well, but it’s hard to really care about a book with such an uninteresting protagonist.

MAVERICK #4-#5, December 1997-January 1998

Found and Lost

Credits: Jorge Gonzalez (writer), Jim Cheung (penciler), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Chris Bradley meets up with his girlfriend Donna in New York’s West Village. They’re suddenly attacked by the Friends of Humanity, who tapped Donna’s phone after Chris was outed as a mutant. Maverick and Elena Ivanova, who’ve tracked Chris since he ran away from home, arrive to help. Area resident Wolverine also joins the fight. After Maverick gets Donna to safety, Elena uses her telepathic powers to convince everyone nearby they died in an explosion. Later, when Maverick returns home, he’s abruptly seduced by Elena, who’s hiding a secret.

Review: Hey, that cover’s deceitful -- Wolverine and Maverick don’t fight in this issue. I can’t believe a comic book company could be so dishonest. Wolverine and Maverick do, however, have an argument about Maverick keeping his Legacy Virus remission a secret from his teenage protégé Chris. Four issues into the series, this seems to be the major internal conflict for Maverick, and it’s pretty weak. Why is this macho tough guy leading man so hung up on potentially hurting the feelings of a teenage boy? And how does he know Chris wouldn’t be happy for him? Plus, why does Wolverine care so much about this? The emotional arcs in this book just don’t feel properly fleshed out. Another example would be Chris, who often seems overly emotional about everything, but doesn’t respond to his girlfriend’s belief that he’s dead with more than a “Aw, that’s too bad.” Rather than stoically accepting that she’s better off thinking he’s dead, shouldn’t he be upset with Elena for creating the illusion? I think this would hurt him more than learning that Maverick actually isn’t going to die of the Legacy Virus.

Pressure Points

Credits: Jorge Gonzalez (writer), Jim Cheung & Leo Fernandez (pencilers), Andrew Pepoy (inker), Chris Eliopoulos & VC (letters), Kevin Somers (colors)

Summary: Maverick and Elena get into an argument when he discovers that she’s still tracking Sabretooth. Maverick leaves angry, and lets off steam by attacking the henchmen of mobster Big Louie. After sending them the message that Louie owes him money, Maverick heads to a bar. A drunken Blob picks a fight with Maverick. During the fight, Maverick’s powers give out, but he finishes Blob with a grenade. Maverick returns home, now willing to help Elena, only to discover her goodbye letter.

Continuity Notes: Maverick advises Elena not to confront Sabretooth, fearing she’ll end up like another telepath, Birdy. Maverick claims that Birdy was killed by Sabretooth’s father, but it was actually his son, Graydon Creed, who pulled the trigger (as seen in the Sabretooth miniseries).

We Get Letters: A letter writer asks what happened to Maverick’s mutant power to see short distances into the future. The editorial response confirms he had the power, but says it disappeared when he developed the Legacy Virus. What are they talking about? When could Maverick ever see into the future?

Review: The previous cover with Wolverine wasn’t anything special, but this is an attention-getter, isn’t it? Blob doesn’t serve much of a role in the story; he’s mainly there as a disposable X-villain who’s free for a one-issue beating. He also drunkenly accuses Maverick of being a Nazi (due to his accent, although it’s never phonetically spelled out and he doesn’t use any German exclamations, like a certain X-Man), which Maverick finds unusually upsetting. This is foreshadowing for a future arc, and having it wrapped into a fight scene is one way to bring some action into the issue, I guess. Pitting Maverick against the mob for a few pages is another excuse for some action, although the motivation for the fight is interesting. Maverick’s only searching the mobsters out because their boss owes him money, which he needs since the Legacy Virus has prevented him from working for a year. I’m not sure if anyone’s ever bothered to explain how exactly the various unaffiliated mutants in the Marvel Universe make money, so I’ll give Gonzalez credit for addressing the topic.

I wish Gonzalez had more of a knack for natural dialogue, as the argument between Maverick and Elena doesn’t showcase much of a personality for either character. Maverick doesn’t want Elena to risk her life chasing Sabretooth, and Elena wants to kill Sabretooth, because that’s the motivation she’s had since her first appearance and no one’s developed her since then. Elena does raise the valid point that her “obsession” with Sabretooth isn’t different from his own pursuit of Ivan Pushkin (who presumably was intended to be the major villain of this series), but it’s the only memorable part of their argument. Well, Elena does slap Maverick when he suggests she lured him into bed as a part of her anti-Sabretooth crusade, but both characters politely apologize afterwards and go back to the discussion. Thankfully, Cheung’s art alleviates much of the tedium, and the Blob fight is rather enjoyable.