Magik #10 annotations
MAGIK vol 3 #10
“Above All”
Writer: Ashley Allen
Artist: Germán Peralta
Colourist: Arthur Hesli
Letterer: Ariana Maher
Editor: Darren Shan
COVER: Magik and Mirage pose dramatically.
This is the final issue of the current run. Magik doesn’t have an equivalent title during “Age of Revelation”, but some sort of sequel with the same creative team has been announced to start in January.
PAGES 1-2. Magik, Mirage and Liminal hold the Society of the Eternal Dawn at bay.
The previous issue ended with the trio confronting the Embodiment and retrieving Cal’s heart (which Embodiment magically removed in issue #7), ultimately with a view to exorcising Liminal from Cal’s body. Magik also removed the limits on Liminal’s powers so that he could help them, presumably relying on the fact that he hadn’t fully adjusted to Cal’s body to keep him under some sort of control.
Phoenix #15 annotations
PHOENIX #15
Writer: Stephanie Phillips
Artist: Roi Mercado
Colour artist: Java Tartaglia
Letterer: Cory Petit
Editor: Annalise Bissa
COVER: Well, that’s Phoenix being a bit upset, I guess.
This is the final issue of Phoenix before “Age of Revelation”, where it’s being replaced by Binary. Spoilers: it’s a bit of a mess.
PAGES 1-3. Flashback: Oblivion is persuaded to join the intervention against Phoenix.
This flashback takes place before the final scene of the previous issue, where Marvel’s pantheon of abstract cosmic entities lured Phoenix to the White Hot Room to confront her about her refusal to destroy Sara Grey. We established in issue #13 that Sara is not Jean’s real sister, but rather a copy inadvertently created by Jean from her memories of Sara in issue #10. We are assured that Sara’s continuing existence leads to a future timeline which is some sort of zombie wasteland, and so she must be destroyed. Why? It just does. But it’s really important to the plot that it just does. It’s literally the entire premise of the plot. So make a note of that, we’ll come back to it later!
Uncanny X-Men #21 annotations
UNCANNY X-MEN vol 6 #21
“Of Mice and Mutants”
Writer: Gail Simone
Artist: Luciano Vecchio
Colour artist: Matthew Wilson
Letterer: Clayton Cowles
Editor: Tom Brevoort
COVER: Wolverine and Ransom at a comic convention. We’ll come to which one below.
This is the final issue of Uncanny X-Men before it goes on hold for the “Age of Revelation” event. In practice, the next issue is Unbreakable X-Men #1.
PAGES 1-3. Flashback: Ransom’s origin story.
This is a significantly expanded version of Ransom’s origin story from issue #3. In the original version, Valentin says that he was born with no heart; that his parents were “wealthy and vain” and “my imperfection shamed them”, and “when I was kidnapped, they wouldn’t pay the ransom. His powers then activate when they try to kill him. He finishes that account by saying that “I ran away from home. 13 years old. Better to belong to nothing than to belong where you aren’t wanted.”
Daredevil Villains #59: The Hand
DAREDEVIL #174-176 (September to November 1981)
“The Assassination of Matt Murdock” / “Gantlet” (sic) / “Hunters”
Writer, penciller: Frank Miller
Finisher: Klaus Janson
Colourists: Glynis Wein & Klaus Janson (#174), Christie Scheele & Bob Sharen (#175), Glynis Wein (#176)
Letterer: Joe Rosen
Editor: Denny O’Neil
We’ve already had Elektra and the Kingpin, and now we complete the trinity of enduring creations from Frank Miller’s Daredevil.
Ah, the ninja! Historically, an expert in stealth, spycraft and infiltration. Over time, a part of Japanese folklore, with quasi-magical abilities. And in the Marvel Universe, a bunch of anonymous guys in bright red who attack in large groups and die. Or at least, that’s how they come across if you first encounter them in later stories. They’re the ultimate redshirts.
But what about their first incarnation? After all, recurring villains tend to rack up a string of defeats over the years – that’s the nature of the beast. Surely it was different when they started? Right?
The Hand make their debut in issue #174, when they assassinate one of Elektra’s targets before she reaches him. The narrator tells us that they’re “the same order of master assassins that taught her the many ways of murder before she broke training to operate on her own.” We’re told that the Hand want to kill Elektra because she left. But that’s not why they’re here – instead, the Hand have been hired to kill Matt Murdock.
Four anonymous ninjas do indeed attack Matt in his apartment. You might think that this was overkill when dealing with a blind lawyer – the random target in the prologue was taken out by a single ninja with a crossbow – but it sets the tone for the Hand right from the off. Why bother with stealth when you can just chuck expendable swordsmen at the problem? Now, these particular ninjas don’t know that Matt is Daredevil, and so they have an excuse for being taken by surprise when he fights back. And Matt duly beats them, almost singlehandedly – Elektra helps him out with the last one. In the aftermath, we learn that the ninjas always commit suicide and into gas when they’re defeated.
The X-Axis – w/c 8 September 2025
ASTONISHING X-MEN INFINITY COMIC #36. By Tim Seeley, Edoardo Audino, KJ Díaz & Clayton Cowles. Um… yeah, you’ve kind of lost me here. What does the LMD stuff have to do with Morph and Changeling again? If Changeling was responsible for the break-ins then when the hell did he make it to the town for that to happen? Is the plot really that you can waltz into nuclear facilities just by copying the face of someone who used to work there but retired several years ago? Why have we been spending so little time with Morph/Changeling on panel if that’s the point of the story? I’m just confused. I usually like the Seeley/Audino arcs on this book but… this is a bit of a mess, honestly.
EXCEPTIONAL X-MEN #13. (Annotations here.) The wind-down for “Age of Revelation” continues. This book has an obvious temporary successor in Expatriate X-Men, with the same writer and two of the same characters, so I’m assuming that it’s continuing for now. Nonetheless, this issue is an evident attempt to draw a line under one major plotline – Kitty’s ambivalence about having been a teen hero herself – by using a time travel plot to give her a chance to change her history, and then letting her make the choice to affirm her history. It does that adequately on an emotional level, but it’s not the strongest issue of the book. The time travel gimmick is weirdly played, with some bemusing signals about when exactly this is meant to be happening. As a general rule, unless there’s some sort of meta point being made, the first rule of the Marvel Universe is “Don’t draw attention to the sliding timeline” and the second rule is “No really, for christ’s sake, don’t.” And this does, for no reason at all.
Exceptional X-Men #13 annotations
EXCEPTIONAL X-MEN #13
Writer: Eve L Ewing
Artist: Federica Mancin
Colour artist: Nolan Woodard
Letterer: Travis Lanham
Editor: Tom Brevoort
COVER: Kitty Pryde fleeing down an alley. This isn’t directly to do with the content of the issue – it’s a pastiche of the splash page from X-Men #131 (1980), Kitty’s third appearance.
This is the final issue of Exceptional X-Men before “Age of Revelation”, when it’ll be replaced by Expatriate X-Men for three months.
PAGES 1-2. Kate wakes up in Deerfield.
Kate was sent back in time by one of Reggie’s wormholes in issue #11; the kids followed with his help last issue, and were followed by one of the three Wolfpack Sentinels who attacked the dance studio. Presumably, with Emma’s help, Reggie was able to target the same point in time as the original portal, so they arrive more or less simultaneously. Emma is able to contact Kate through the portal as well, although the kids had lost touch with her last issue – presumably, she’s been able to re-establish contact now that the Sentinels are taken care of.
By the way, I suggested last issue that there had to be some reason for the Sentinels to suddenly attack the dance studio, but, well, none is suggested in this issue. You’d have thought that the Sentinels attacking the studio would be a big deal going forward, but if so, it’s not something that this issue finds time to deal with.
The X-Axis – w/c 1 September 2025
X-MEN UNLIMITED INFINITY COMIC #35. By Tim Seeley, Eduardo Audino, KJ Díaz & Clayton Cowles. This is a weird arc, isn’t it? We’ve moved on to a rogue LMD that’s turned on humanity and is trying to get nuclear codes, which all feels a bit disconnected from the Changeling/Morph story that we started with. I guess there’s a vague impersonation theme going on, but other than that it feels like two separate stories. More to the point, there’s surprisingly little of Morph in it; he’s mainly a character being talked about by other people, which is a really odd choice. Given that it’s Tim Seeley, and he’s a perfectly solid writer, I’m giving him the benefit of the doubt that there’s a reason for doing it this way, and we’ll find out by the end how it’s supposed to connect up, but it’s all a bit confusing right now. Audino’s doing some lovely art on this series, though, and deserves a higher profile assignment than an Infinity book.
UNCANNY X-MEN #20. (Annotations here.) Uncanny X-Men has an awful lot of characters to juggle, and it’s rather striking to realise that we’ve only just got to a spotlight story for Ransom with issue #20. To be honest, in some ways I’m more intrigued by the opening scene which moves the Corina Ellis subplot along a bit, since dodgy anti-mutant cults aren’t particularly out of the ordinary for the X-books. But there’s something interesting about Wolverine and Ransom as a pairing – Logan has tended to be paired with the likes of Kitty Pryde and Jubilee who serve as a contrast to him, and it actually makes a change to let him mentor someone more like himself. All the more so given that Logan’s status as an elder has come to be one of his defining traits. So that dynamic is something that carries the issue more than the actual plot. Vecchio’s art is perfectly fine in terms of telling the story but feels like it’s lacking something in atmosphere much of the time. Still, the hall of Word of Strength members in hoodies is surprisingly effective and the costume design itself is an intriguing mixture of the everyday and the cult-like.
Magik #9 annotations
MAGIK vol 3 #9
“Above All”
Writer: Ashley Allen
Artists: Germán Peralta with Matt Horak
Colour artist: Arthur Hesli
Letterer: Ariana Maher
Editor: Darren Shan
PAGES 1-2. Lexi Larsen attacks Magik, Mirage and Liminal on the Las Vegas Strip.
Last issue, the Embodiment (the leader of Society of the Eternal Dawn) sent Magik and Mirage to Las Vegas to retrieve Zosimos’ Quill, a magical artefact supposedly capable of exorcising Liminal from Cal Isaacs’ body. The mission looked suspiciously like a suicide mission, the Quill turned out to be in the possession of a Society splinter group and the Society’s “Examplar of Recruitment” Lexi Larsen showed up at the cliffhanger to wipe everyone out and leave no witnesses.
For some reason, the immediate resolution of that cliffhanger has taken place off panel between issues: Magik teleported herself, Mirage and Liminal to the Strip, and Lexi is in pursuit. It’s not entirely clear why Magik didn’t simply leave the city entirely, but presumably she still has designs on the Quill.
Laura Kinney: Wolverine #10 annotations
LAURA KINNEY: WOLVERINE #10
“Blood Ties, part 2”
Writer: Erica Schultz
Artist: Giada Belviso
Colour artist: Rachelle Rosenberg
Letterer: Cory Petit
Editor: Mark Basso
This one really isn’t going to take us very long.
PAGE 1. Clea starts tracking Gabby.
The previous issue ended with Strega abducting Gabby and teleporting away. Supposedly Gabby’s healing powers mean that her blood strengthens Strega’s magic, and sustains Strega’s undead creations. The artefact that Clea mentions is the Sphere of Shooyen, which Strega grabbed in passing during the fight last issue, and which shows up again later in the issue.
While Clea merrily sets about tracking Gabby with blood magic, we’ll see shortly that Strega has simply gone back to her base in the Paris catacombs, which would have been the obvious first place to check anyway.
PAGE 2. Laura speaks to Xarus.
In the catchily named X-Men: Blood Hunt – Laura Kinney the Wolverine #1 (they ran out of punctuation marks halfway through), Gabby rescued Xarus from vampires who were experimenting on him by feeding him mutant blood in the hope of giving him powers, as a trial run for doing it themselves if it worked. He does indeed unleash a single blast of red energy at the end of that story, although since the first thing that starts glowing is his hands, it’s not at all obvious that the original story had Cyclops’ optic beams in mind.
Wolverine #13 annotations
WOLVERINE vol 8 #13
“Godfather for a Day”
Writer: Saladin Ahmed
Artist: Martín Cóccolo
Colour artist: Bryan Valenza
Letterer: Cory Petit
Editor: Mark Basso
COVER: Well, that’s Logan with Donna Angelina Andiamo and a bunch of dead guys. The logo is, of course, a parody of The Godfather.
PAGES 1-3. Wolverine and Nightcrawler in Louisiana.
They’re at the X-Men’s base at Haven in Louisiana, from Uncanny X-Men. Nightcrawler is part of the regular cast of that book, but he’s continuing to serve the role of sounding board and supporting character that he had in the book’s first arc.
Wolverine is attempting to drown his sorrows after the trauma of Mastermind faking his mother’s return from the dead in issues #9-12. As previously mentioned in issue #9 (and long established before then), this has little practical effect because his healing factor sobers him up almost immediately.
PAGES 4-5. Wolverine arrives at Donna Angelina Andiamo’s home in Chicago.
This is a single-issue story, but as per the footnote, much of it was set up in the 5-page Wolverine backup strip in Giant-Size House of M #2.
