Product Description: The X-Men are dead to the world, and evildoers a-plenty are willing to make the hoax a reality! See the debuts of characters and concepts that sculpted the struggles and souls of the mightiest mutants for years to come - including the Reavers, Genosha and the Conover Crusade! The Brood barge in and the Marauders mix it up, topped off with a dose of demons who whip up an awe-inspiring Inferno! Guest-starring Magik and the Goblin Queen and introducing Jubilee! Collecting Uncanny X-Men #229-245, Annual #12-13 & X-Factor 36-39.
Graphic SF Reader The handing over the X-Men to Australia, as the world thinks them dead.
The handing over of art to Silvestri and company I suppose, too, so lots of really long legs and big hair is to be seen in this volume. Still, contract even this with the overinflated styles we get today.
So, time to clean out the Reavers, get themselves a base, and have fun running around while they can't be detected.
There's a fun Mojo interlude tale, but the dead X-Men and X-Factor come into contact after the former see the latter on tv and realise that Jean Grey is alive.
The backstory of Mr Sinister, Madelyne Pryor and Scott Summers all come into plan in a epic conflict over a demonise dand transmogrified New York.
Still all pretty reasonable, call it 3.75.
Underappreciated Essential X-Men Volume 8, as you can tell by reading other reviews, is a mixed bag of goods: apparently some fans hate the art, while others hate the stories. Personally, I like them both, but that's because I understand the major complications facing the creative staff at the time, factors which I'll try to simply explain.
First, "Inferno," which is [somewhat] collected in this edition, was NOT an X-book/mutant-specific crossover; it was a storyline which ran through every major Marvel comic, so, like it or not, the writers had to try and make it fit in to what they were doing monthly, and for the most part I feel they succeeded (I seem to be in the majority - "Inferno" reprints only deal with the X-universe elements of the story, ignoring all the other Marvel Universe events).
Additionally, the writers were also struggling to find a way to deal with the resurrection of Jean Grey aka Marvel Girl, who was haphazardly re-introduced back into continuity with the debut of the X-Factor series. Initially - as seen in Essential X-Men Volume 2 (which EVERYONE should own, period, its that good) - Jean's story was resolved, and Chris Claremont went on characterizing Cyclops and the other X-Men accordingly. So, the sudden reappearance of Marvel Girl kind of threw an unwanted kink into the series that wouldn't truly be resolved to satisfaction until the conclusion of Grant Morrison's run on the book. In fact, this Jean Grey "situation" has become a part of general comic book lore, and [...] of innumerable jokes. Bearing this in mind, the stories collected in Volume 8 are an attempt to tie up some embarrassing loose-ends that the decidedly less-sophisticated though deliciously soap opera X-Factor books had already been addressing, and if the results weren't perfect, at least they weren't BAD (like we see later on in the 90's).
Please note: IF YOU DO NOT WANT TO SEE ART IN BLACK AND WHITE, DON'T BUY MARVEL ESSENTIAL VOLUMES AND PLEASE DON'T WRITE REVIEWS COMPLAINING ABOUT IT. These books are deliberately printed in black and white to further reduce production costs, increase Marvel's profit margin, and still provide the consumer a good deal in the age of $3+ individual comic books. Now, with that out of the way, a few words about the art.
If you haven't heard of Mark Silvestri, I don't really know what I can say, other than google some of his work or check out Wikipedia. Anyway, this run he did on X-Men is where he developed his distinctive style and gained national attention. His women are gorgeous, his heroes are ripped, and if you compare his work to other "hot" artists, IMO he's the most competent draftsman out of all of them (Jim Lee included). Dan Green's raw, gritty inking is probably what turns many people off to this particular run, but if you really appreciate comic art then seeing it in black and white serves to better show off its strengths, and make no mistake: Silvestri is strong. His version of Colossus is the undeniable evolutionary next step from Byrne's rendition, and the Goblin Queen...well, she's worth the whole price of admission.
The X-Factor issues here showcase what inking does (or doesn't) do for the penciled art: compare issue 39 - inked by Al Milgrom - with the other issues inked by Wiacek, and you'll see what I mean. Overall, I like Simonson's style, especially his version of the Beast, and have no problem with these issues apart from the Milgrom thing. Anyway, if you left them out the overall story in this collection would be unreadable.
I'm sure this review sounds like a defense of this volume, and in some ways it is intended to be. You can't judge these stories, which were editorially managed and comic-code approved, based on the standards of the truly modern, more mature books of today - you're gonna be disappointed. But if you look at the overall tapestry of the history of the X-Men, taken with X-Factor, New Mutants, and even Power Pack, and compare it with the other books coming out at the time, you see the charm and heart of these stories and characters had. It'll also make you feel the same sadness I did as you watch it come to an end. Because, unfortunately, this group of issues signals the beginning of the end of the X-Men as we knew them; Claremont might still have been writing for a while, but after Inferno, it was just never the same - continue reading past this point and you'll see what I mean. And then of course there was the 90's. Ha, you complain about Inferno? Just wait till they try and "Essential" X-Men #1 and Uncanny 281...or Gene Nation...ugh.
To close, its safe to say that if by the 8th volume you aren't a fan, this isn't for you. Everyone else, just watch the train wreck that is the X-Men at this point and beyond, enjoy the nice art, and take if for what it is - a collection of well-drawn comics. Lee and Kirby it aint, but its still got its moments.
Fair, just a C grade for a comic This reviewer has purchased hundreds of X-men titles. Generally, Essentials 1, 2, and 3 are fantastic books and they are well worth their money. Essential #8 is now the weakest of the lot.
The X-men were all killed off at the end of Essential #7 but quickly brought back so the world believes they are dead. Since this fact does not effect the stories at this point you wonder what the bother was.
The problem with Essential #8 is the art. It's terrible. In Essentials #1,2,3, and the rest the artwort ranges from fantastic to good. Indeed, it could be argued that some of the artwork in #2 was just as good as some of (expensive) modern artwork found in the latest issues of X-men. But Essential #8 has some of the weakest artwork ever seen in the X-series of comics.
I don't mind either Dazzler or Longshot in the comics. Dazzler's powers have been changed since her introduction in early next generation X-men. She used to be not much more than a walking disco light show. Now Dazzler has a laser that she can shoot. Longshot is interesting and not as bad as once figured. Longshot and Dazzler replaced Kitty Pryde; I don't know if it was a good trade.
Storm is restored to her wind rider glory that was taken from her after the 1st Brood encounter. That's nice. What's better is she does not quite return to her pre-Brood super sweet ways.
Mr. Sinister and the Goblin Queen emerge as the main opponents of the X-men in this issue. The artwork isn't fair to any of the characters, sorry but the flag ship of Marvel should be treated better. I can't disagree with the writing. It ties up some holes in the lives of the X-men, solves the problem of the duplicate of Jean Grey, and gives more background on Scott Summers, AKA Cyclops.
The Reavers and some of the other villians seem a little interchangable. There are no Shi'ar nor grand schemes. What is also a little strange about Essential #8 is the X-men don't really go any where.
Honestly, I would have only given this comic magazine 2.5 stars. I buy one of these books once a year. So, I have hopes that #9 is better than #8.
If you're an X-fan then you'll get this regardless of the review. If you're a casual comic fan then you'll want to pass.
Just ok Definitely my least favorite of the Essential X-Men series. Chris Claremont is writing and the majority of the pencils here are by Marc Silvestri, so there is quality talent at work here, but the influx of new and not so new characters is fairly uneventful.
The villains for the first half of the book are The Reavers, and The Brood with references to the Marauders and it's just kind of a blah, blah, blah, paint by numbers, kind of affair, with the antagonists seemingly interchangeable. This is my main complaint with the book. The mystical, Australian Aborigine, Gateway is a prominent character in these stories and his presence is welcome and notable.
The second half of the book is dedicated the The Inferno story line and it is decent, but it just doesn't live up to the hype they tried to make these major cross over "events" appear to be.
Furthermore, the mutants Dazzler and Longshot are the WORST characters in X-Men history and they are prominent members of the team at this point.
I guess this is worth reading if you want to keep up with X-Men continuity, but I sold this back after one reading with little hesitation.
A must have for X-fans. X-Men Essentials vol. 8 contains nearly 2 dozen X-books at a low price, this is a must have for any X-fan. But, like all Essentials the comics are all in black and white, hence the low price. This collection covers the time during the mid to late 80's when the X-Men were believed dead, hiding out in the Outback trying to fight the good fight. It also contains one of the major X-overs of the 80's...Inferno, but it has the X-Men and the X-Factor issues of Inferno but none of the New Mutants. Which isn't a big deal since I own the actual inferno book.
Anything Goes Trivia
Megaton Man
Trevor
