Every comic you've read in 2014

[Dread]

Extermination #1-8: A really great premise, one of the last super heroes and one of the last supervillains teams up to repel an alien invasion. But, it's a comedy? And not a good one. The premise is great, but the delivery is pretty terrible. The art is not the best either. Not sure why I read it all, I guess because I bought it all. Hmmph.

FCBD Project Black Sky: I regret not jumping on this earlier. This stuff is exciting and some of the best superhero comics out there right now. I'm caught up on X, Ghost and the Four Past Midnight series, but I still need Captain Midnight and Brain Boy. I'll get there eventually.

Batman-The Jiro Kuwata Batmanga #1: Fucking crazy. Very 60s DC Batman, which this is, but Japanese. Weird. Fun.

C.O.W.L. #2: I know I said I'd get the trade on this but I couldn't resist. I will still be getting the trade.

Death Vigil #1: Stjepan Sejic's series about Death as a group of people fighting necromancers. It's cute, it's fun and richly mythological. It's beautiful too.

Grayson #1: Fun, but probably not enough to read more of.

Head Lopper #1: Fun, but not my thing.

New Suicide Squad #1: Fun, a little confusing, but probably not enough to read more of.

Outcast #1: Wow. Crazy good. I will be getting this in trade for sure.

Ravenous #1: Ugh...werewolf hunter boredom.

Robocop #1: Kind of great. A continuation from the original film with some great art by Carlos Magno. I will be grabbing this in trade too methinks.

Savage Hulk #1: I worried about this because I like Waid's not Savage Hulk. Then I was delighted to find that this was an "untold tales" of Hulk kind of thing featuring the original X-Men after their first meeting in the 70s. Alan Davis on art. Droooolllll....

Spread #1: Babychest...but in a good way!

This is in the running for best new series of the year so far. Fun fact: the baby's name is also Hope.

Star Trek-Harlan Ellison's City on the Edge of Forever #1: If this is the pacing of the Ellison screenplay then no wonder it was gutted for the shooting script. Not great at all. Great art from JK Woodward though. Nice looking. Might check out the second issue.

The Wicked + The Divine #1: I'm not impressed. Too cutesy. I don't like Phonogram either, so there's that. This is lacking in charm that something like Death Vigil has. PLotwise, they're very similar. This, however, is pretentious.

Wildfire #1: This is a dense fucking read. Art by Linda Sejic. Kind of interesting science gone amok. Not sure if I'll read more.

Wonder Woman #32:Still the best thing DC's done since the New 52.

Trades: 35

Comics: 518

Omnibus: 7

Graphic Novels: 13

[Dread]

PLanet of the Apes #1-16 + Annual #1: This is the first BOOM! run from Daryl Gregory and Carlos Magno. It takes place 600 years in our future and 1300 before taylor crashed down onto the planet. Back at a time when humans and apes lived in peaceful coexistence, but that starts falling apart soon. Great story, beautiful art.

Trades: 35

Comics: 535

Omnibus: 7

Graphic Novels: 13

[Dan]

Rocket Raccoon #1 (2014): Exactly what you would imagine when "A Rocket Raccoon comic written and drawn by Skottie Young leading into the new James Gunn movie" is mentioned. A fucking blast. This was part of July's Loot Crate (which I'm finding isn't a bad service) and as such has Rocket holding a Loot Crate box on the cover, which is kind of obnoxious.

Daredevil by Mark Waid HC Vol. 2: Seriously, how is it fair that Mark Waid is this good at writing comics?

[Dread]

Crossed: Family Values #1-7: David Lapham has a far better grasp of a post-apocalyptic atmosphere than Ennis does. This is a similar story (a group of people trying to survive after a "zombie" apocalypse) but it's way better. Ennis' felt typical. This one follows a Mormon family trying to repopulate. Kind of cool. Super gross and creepy, of course.

Uber #0-16: in the dying days of WW2, as part of a hail mary, Germany introduces a superhuman soldier force. Things change drastically. This series is fucking fantastic. So brilliant. I went in for the first arc and am now going to be following this monthly.

Teen-Aged Dope Slaves And Reform School Girls: a trade paperback collecting some golden age marijuana stories and some bad ass chick stories. There are two Simon and Kirby crime stories featuring female mobsters, but the true winner is the uncredited story "Trouble" that deals with a guy who starts smoking reefer and immediately turns to heroin within two weeks. Amazing.

Trades: 36

Comics: 559

Omnibus: 7

Graphic Novels: 13

[Dread]

God Is Dead #1-15: This series has actually taught me a lot about storytelling. About why it was a bad idea to create the original comic I was working on at the point I did. I think had it gone through, it would have been a standard series, as opposed to something exceptional. GOD IS DEAD starts at the point where my original story was going to get to after 12 or so issues. This series is fucking crazy, all over the place, intelligent, funny and DENSE. I love it.

Trades: 36

Comics: 574

Omnibus: 7

Graphic Novels: 13

[Venneh]

Trees #1: Got the first issue for free back when Comixology put it on sale a while ago. Not sure if I'm interested in the rest, but I'll probably check out the trade when it comes out.

Saga #20 and #21: And then it got even worse~! BKV and Fiona Staples reminded us in their panel at SDCC this weekend that even though the focus is currently on Alana and Marko, the series is really about Hazel. So, I'm willing to bet by the end of the next trade material, we'll be looking at the dissolution of their marriage.

Rat Queens #7: Holy Cthulhu and equal opportunity nudity.

Hawkeye TPB 1 and 2: Yeah, okay, I've seen this in bits and pieces on Tumblr, but I've never read it all the way through until now. Kate and Clint are fantastic, and Pizza Dog is the best mascot, ever. Given that they're actually going to have Clint being deaf for a full issue (which if I remember correctly, hasn't happened lately?) at minimum in an upcoming issue, I'm definitely interested in finding the rest, and will probably end up doing so before the next trade.

Wicked and the Divine #2: "Intangible cunnilingus" and "Not even a little bit of cocaine? What kind of a teenager are you that you don't have Class A drugs to hand? Hmm? Has the Daily Mail been LYING to me?". We get more information on how the recurrence works, background on more of our characters, and the setup for what's likely going to be the first big arc of the comic. Leaves us on a hell of a cliffhanger. Also, the work that McKelvie does on the descent sequence here is fucking amazing. This is the issue that sold a friend when he wasn't that big on the first, so I would recommend sticking through if you can. Plus, this happened:

[Dread]

Aquaman vol 1: The Trench-pretty good. It is helped remarkably by some beautiful art by Reis/Prado. Gorgeous work. This books focuses WAYYYYY too much on how the world sees Aquaman as lame. It's a major crutch that a writer of such renown should have stayed away from beyond a single comment or two. But it pervades the whole first volume and seriously affected my ability to like this story.

World's Finest: This is the Sterling Gates miniseries from that delightful time before the New 52 when DC took fun risks. This was a real blast to read. Red Robin and Nightwing (the Kryptonian), Robin and Guardian, Supergirl and Batgirl, and Batman (Dick) and Superman (New Krypton's policeman); all of it combines into one story. What a weird time in DC history! Damian is less annoying than usual, and I really enjoyed his team-up other than the art. The art in the rest of the book is great, though. Fun. Two reprints in this one pad it out past the four issues. I recommend the read if you find it at your library like I did.

Trades: 38

Comics: 574

Omnibus: 7

Graphic Novels: 13

[Dread]

Original Sin #1-6: Here's this year's event. At the end of issue 1, they show a character that almost nobody could have picked out. I said, wouldn't it be stupid and hilarious if that was ??? ???. Sure enough. End of issue 2 proves it was! Other than that, it's kind of fun, operates in the periphery of the Marvel U, and is well-written with gorgeous art by Deodato. The best of his I've ever seen. But it has one major problem. It's a spoiler:

Nick Fury, beyond being the spymaster in the Marvel U for 70 years has also been secretly going away and deposing Gods, eradicating kaiju and murdering sentient planets to keep the earth safe? Shouldn't that be a full-time job?

Future's End #1-4: This is what is wrong with comics today. I can't read anymore. This from a guy who bought and read EVERY FUCKING ISSUE OF COUNTDOWN. Not only does this give us a future (fiver years ahead) where nothing is interesting, it brings Terry McGinnis into the DCU. McGinnis, from Batman Beyond, is one of the most boring characters ever, but his appearances here make the cartoon look exciting. The real crime of this series is Mr. Terrific. Johns and Goyer created him back before DC was "diversifying" just to diversify. He was a genius, a powerhouse and a genuine good person. A true barometer of the good in humanity in a world that was growing increasingly dark. IN this series, he's still a genius, but he's a mogul and his main characteristic is antagonistic swagger. He is so embodied to be the kind of black man that vanilla white culture is supposed to fear. He may as well be wearing a fucking doo rag and holding a gun sideways, or perhaps more appropriately, performing a minstrel show. Fuck DC for that. Fuck them. Fuck this series.

Black Market #1: Kind of off-kilter. Not a great first issue. Not a bad one either. I won't be around for more.

Dark Engine #1: Crazy interesting premise mixing sci fi and fantasy in an ingenious way. Combine it with an art style that can be described as Gabriel Hardman by way of Paul Pope and I will be getting this in trade.

Robin Rises Omega #1: No no no no no. Damian belongs dead. Nobody did anything interesting with him alive, so why would we have anything interesting after he's dead? Fuck. No thank you.

Brooklyn Animal Control: This is a graphic novel written by horror director JT Petty that truly feels like a proof of concept for something else. It is great, but should not be confined to 50 pages. This should be a fucking TV series. Maybe it will be, I don't know. Good stuff though. Think a supernatural Gotham Central.

Trades: 38

Comics: 587

Omnibus: 7

Graphic Novels: 14

[Koete]

Robin Rises Omega #1: No no no no no. Damian belongs dead. Nobody did anything interesting with him alive, so why would we have anything interesting after he's dead?

Oh, horseshit.

[Dread]

Damian was not the interesting part of Morrison's run and that went to shit pretty quickly after Damian was introduced.

[Koete]

So...his entire run?

[Dread]

There were some interesting parts early on. It just rambled on uninterestingly and ended soooooo badly.

Batman and Son is okay. The Black Glove is amazing. Everything after that until the early Batman Inc stinks. Then that's pretty great for about five issues then it just completely slides into shit.

[Dread]

Ditko Kirby Wood: a oneshot featuring a three part tribute to the artists listed in the title by Italian cartoonist Sergio Ponchione. It's pretty great, The Wally Wood part was more of a text piece than anything else, but the other two are really great little vignettes about the artist in that artist's style. Good stuff.

Deadly Class vol 1 Reagan Youth: This is amazing. I had heard that this was sort of biographical from Remender's POV (apart from the being enrolled in an assassin school) so I don't know how much is true, but I will say that Remender has definitely done acid before. That was the most accurate portrayal of LSD that I have seen in ANY medium. Beautiful and scary. I'm into this for the long haul. Great story, gorgeous art.

Trades: 39

Comics: 588

Omnibus: 7

Graphic Novels: 14

[Dan]

The New Avengers Omnibus Vol. 1: collects Avengers vol. 1 #500-503, New Avengers 1-31 and Annual #1, and a whole mess of one-shots.

This collects the first three-odd years of Brian Michael Bendis' run on the Marvel flagship, and encapsulates mid-2000s Marvel perfectly. Speaking objectively, there are some terrific comics in here; Bendis came in and did what Marvel had been unable to do for twenty years at this point, which was to make the Avengers the superstar book it hadn't been for Marvel after two decades of X-dominance. By combining the perrenial big guns (Captain America, Iron Man), characters you couldn't believe hadn't been Avengers up to this point (Spider-Man [occasional reserve guest star doesn't count], Wolverine), and favorites of Bendis (Luke Cage, Spider-Woman), along with frequent guest turns from Daredevil and Ms. Marvel, the roster is fairly well balanced and the character interactions are (at least at first) pretty spot on; Cage makes an effective foil for Spidey, whose nervous, lame sense of humor at last is portrayed as being every bit as irritating to his friends as he is to his enemies.

While things start out with the sort of "widescreen" storytelling Mark Millar popularized in The Ultimates a few years previously, Bendis adds characterization and actual plotting that serve things well and drive the book for the first year or so. However, the darkness and intrigue that got old is very much on display here, and about halfway through we're being beaten over the head with how terrible the world is and no one can trust anyone and SHIELD might be full of bad guys and they're definitely a pile of assholes so just to be safe fuck you Maria Hill you're not my mom. Another weak point is the Sentry, a character with a truly interesting, meta idea behind him that Bendis just did not know what to do with; once his initial story ends and he joins the team officially, he pretty much takes four to six issues off at a time because he's so powerful that having him in the story actively hurts it. There's nothing you can objectively call the Sentry but a well-intentioned failure.

One problem with the omnibus is that it collects the Bendis-written main book and one-shots only, meaning that big events all happen between issues. At the end of one issue, our heroes all go home, only to find at the beginning of the next that House of M/The 196/Civil War/Avengers Underground/Whatever the Hell Else took place between issues, and if you don't remember the particulars of those stories from almost ten years ago now, you're gonna have a tough time following everything. Civil War, particularly, is a problem, because Spidey's with Cap one issue and Tony the next, since it ran concurrently with this title. Tony in particular is a problem, because for half the omnibus, he's the noble hero who tries to do the right thing by everyone, and then suddently without warning he's The Douchebag King that everyone grew to hate so much back in 2007. It turns on a dime with no buildup, and it doesn't work.

Because this was the big Marvel flagship, the artists were generally big names. None of the art is bad (save for one issue where Howard Chaykin inflicts his Cabbage Patch heads at us, and even that is actually a lot better than most of his stuff from the past ten years), and a lot of it is quite good. David Finch kicked it off, and it's not his best work, but it's certainly decent. A lot of it comes down to personal taste; I quite liked Steve McNiven's and Frank Cho's issues, for example, but Mike Deodato's stuff, while there wasn't anything wrong with it, didn't do anything for me. Also, I know he's insanely popular and I do understand his appeal, but I just do not like Leinel Francis Yu.

What surprised me was how quick a read it was. This fucker is over 1200 pages, and I got through it in about three or four sittings. It's down to the very decompressed storytelling - an issue can be breezed through in about twn minutes, max. In fact, one particular issue is in here that I recognized as being what led me to swear off paying $3 (at the time) for a floppy that failed to advance the story significantly and was burned through in under five minutes.

There's a lot of terrific stuff here, and it's well worth reading. It is also the epitome of 2005 Marvel Comics, for good or ill.

[Dread]

Trip to Tulum: a collaboration between Federico Fellini and Milo Manara! Whoa! Though, I think maybe he put his name on the cover as writer because it's a major tribute to him. Italian Cinema enthusiasts will like this. Not the most direct or entertaining story, but Manara is one of the greatest living cartoonists, so the art makes it really great.

Wally Wood-Came the dawn and Other Stories: Wally Wood's EC Comics work is up and down in quality. They're a bunch of Feldstein stories, so they get old pretty quick. They were not meant to be read in 200 page chunks. At all...Wood's art is delightfully clean and sharp, though. Good presentation without muddiness like some older EC reprints I've seen.

Stormwatch #0-30: Not jazzed at the beginning, but it does get better. Much better actually. Then, for some fucked up reason, they kill off the team and their entire universe OFF PANEL and Jim Starlin comes in and writes a different, incredibly shitty, version of the team with the classic Lobo as a member. Goddamn. So bad.

Trades: 40

Comics: 5619

Omnibus: 7

Graphic Novels: 15

[Mad Man with a Box]

So I'm trying to be more active in the forum here and a good place to start would be here. The reason why is I'm starting to actually buy and read comics after years of being a fan of superheroes through other media, DCAU, films, etc. So far this summer I've read different books based on recommendations made by Dan and Mike on different podcasts.

So far this summer I've knocked out Superman: Red Son which was really good. I'm currently on Batman Year One, saw the animated film a while back and enjoying the comic as well. I also read Injustice Vol. 1 and really liked it. Going to pick up Vol 2. soon for sure.

[Dread]

Avengers vol 2: The Last White Event-A really interesting way to bring the New Universe into the Marvel U proper, even though it kind of sort of was in the beginning? Quasar was Starbrand, right? Or am I making that up? Oh well, Hickman is killing it here, and Deodato's art is the best it's ever been right now. Ex Nihilo is Marvel's best villain right now too. Great stuff!

Catalyst Comix: This trade collects the 9 issue anthology series from Dark Horse reviving the Comics Greatest World line. I didn't like the first issue a whole hell of a lot, but as a whole, it is actually quite awe inspiring. Joe Casey is giving Morrison a run for his money with the definition of a superhero here. The art - all three teams - is not always my cup of tea, but it's always appropriate. Frank Wells' story looks like Jack Kirby meets Klaus Janson,, Grace's story looks a lot like a Studio Ghibli film animated by a Japanese Matt Wagner. The Agents of Change look like Frank Quitely trying to draw in Adventure Times style. Bizarre shit. Not for everyone, but certainly worth a shot. The trade is huge. 300 pages of insane superheroics.

Shako: Duane bought this and sent it to me because he thought I needed to read it. I did. Shako is a story from the 1970s of 2000AD publications about Shako: the only bear on the CIA death list. It's as insane as it sounds.

Trades: 43

Comics: 5619

Omnibus: 7

Graphic Novels: 15

[Missy]

Shako: Duane bought this and sent it to me because he thought I needed to read it. I did. Shako is a story from the 1970s of 2000AD publications about Shako: the only bear on the CIA death list. It's as insane as it sounds.

Why am I only hearing about this now?

[Dread]

Drawn by Spanish artists in the style of the Marvel guys at the time. Fucking brilliant.

[Dan]

Fantastic Four by Mark Waid, Vol. 1: Collects #60-70 and 500-502 (after they went back to the old numbering after issue 70). Great stuff. Waid focuses less on the actual battles and monsters and whatnot than on the idea that this is a family of adventurers and explorers, which nowadays is par for the course, but in 2003 was something Marvel had largely forgotten. As such, this is great for the interpersonal dynamics between the group, taking care to focus on pairs that had been largely underserved (Sue hanging out with Ben, Reed and Johnny spending time together). Yes, the stories are fun, especially the Doctor-Doom-embraces-sorcery tale that finishes things off, but it's all secondary to hanging out with the FF as a group of people. Also, Reed is allowed to have a personality and a sense of humor that doesn't take away from his "distracted scientist guy" thing. Also, Waid should b writing Ben Grimm forever. Mike Wieringo's art, while normally not my cup of tea, is pitch perfect for this book. Love this stuff.

The Golden Age Sandman Archives: Collects the Sandman stories from Adventure Comics #40-59, along with New York World's Fair Comics #1-2. Some of this is pretty interesting, as comics are trying to figure out how to blend an old pulp detective character with a newer superhero motif and fumbling a little bit along the way, though these early stories owe a lot more to The Shadow than to Batman (who appeared for the first time only a month or two before the Sandman, and so his immediate popularity wouldn't have been a known factor yet). It takes about six months before what we think of as the Sandman's costume to become nailed down (in his first few stories, he would just pull on his gas mask over whatever he happened to be wearing; it's not until his sixth story that the green suit and purple cape become his regular look). What's interesting is the introduction of Dian Belmont, the girlfriend character, who is presented as essentially being the Sandman's full partner right from the start when she figures out he's Wes Dodds by being brave and smart and really good at this whole crimefighting thing. There's a lot less "Eek, save me Sandman" than any other similar character in comics at the time (which is not to say there's none, as the writing can be inconsistent). It's pre-Code, so there are a few flashes of things like the Sandman hanging a guy or beating up junkies to close down a narcotics operation. The earlier art by Bert Christman is moody and dark and kind of eerie, which suits the stories (most of them by Gardner Fox) well; as 1939 turns into 1940, Craig Flessel becomes the primary artist, and he's much better at faces, but the storytelling becomes much less dynamic. However, at the end of the day, this is a pretty typical 1930s adventure story and most of them are exactly the same as each other:

"I'm a bad guy!"

"Eat gas gun, bad guy!"

"Oh no! I'm asleep now!"

And, scene.

[Koete]

I have that volume signed by Waid. The first two hardcovers of his run were my introduction to the FF and Mike Weiringo's art, and I fell in love with both. Might've been my introduction to Waid too, come to think of it.

[Dan]

The Amazing Spider-Man: The Graphic Novels: In the 1980s, Marvel launched the Marvel Graphic Novel line, oversized, extended-length stories printed on high quality paper with no ads and no Code seal. Some of these stories would go on to be classics (The Death of Captain Marvel, X-Men: God Loves, Man Kills), launch successful titles (The New Mutants, Dreadstar) or just give star creators the chance to do interesting things with their original properties or established characters (Walt Simonson's Star Slammers, John Byrne's Sensational She-Hulk). This hardcover volume (which I picked up on the cheap at Boston Comic Con this weekend from a dealer who was vocally dismayed at the kids today who don't appreciate classic artists) collects the Spider-Man ones, with a huge swing in quality between them.

Hooky (1986): Spidey goes into another dimension to aid a 200-year-old teenage girl fight a monster called the Thunder Cockroach. Yeah, the story by Susan Putney doesn't make a lot of sense. There's no reason for Spider-Man to be in this story - even in the story, Spidey wonders more than once why Stephen Strange isn't the one helping the kid out - so if you're reading this, it's because of the unbelievably fucking gorgeous Berni Wrightson art. Seriously, this is so incredibly beautiful to look at. This graphic novel was heavily promoted by Marvel in 1986, and I can tell you straight up that Young Dan wanted to read this really, really badly. He couldn't, because MGNs were only sold in specialty stores and they were few and far between in suburbia back then, and even if I could find it, it came with an (especially for the time) incredibly hefty $6.95 price tag. However, look at this cover, used in the house ad which appeared in dozens of comics in the months leading up to its release, and tell me you can't understand why a kid would spend several decades wanting to read what was inside (in spoiler tags due to hugeosity):

Yeah.

Parallel Lives (1989): The then-current Web of Spider-Man team of Gerry Conway and Alex Saviuk retells the Silver Age Spider-Man story while intertwining the backstory of Mary Jane Watson, mostly from Amazing Spider-Man #259 by Roger Stern and Ron Frenz, bringing things up to date through their marriage from a couple of years earlier. Conway wrote Spidey for ages in the 1970s (being responsible for, among other things, the death of Gwen Stacy and the original clone saga), and has Spider-Man down cold. Curiously, he sticks very closely to Stern's MJ story, even going so far as to reuse dialog from that issue (which I own and read extensively back in the day). Saviuk's artwork was always serviceable but not outstanding on Web, but here he really channels John Romita Sr. and it looks really good. It wouldn't have been worth the obscene $9.99 cover price in 1989, but reading it as part of this collection I quite enjoyed it.

Spirits of the Earth (1990): Mary Jane inherits a cottage in Scotland from a previously unmentioned aunt, and when she and Peter go to check it out they get wrapped up in ghosts and witches and the Hellfire Club. Written and painted by Charles Vess over a two-year period, this is an unbelievably beautiful retelling of a plot from a Scooby-Doo episode. Cliched and weak storywise, the artwork is just so fantastic and immersive and wonderful that you just. Don't. Care.

Fear Itself (1992): Someone invents fear gas and it's stolen by an invisible ninja and the Yakuza and Silver Sable is there and a transgendered Baron Zemo and oh my GOD this is terrible. Written by Gerry Conway (who was much better than this) and Stan Lee (who, in 1992, probably wasn't) with artwork by 1970s Spider-Man mainstay Ross Andru, I would never in a million years have pegged that this was done by anyone with any pedigree in the character, as it just feels like trite 90s hackwork by any no-name Image wannabe. Seriously awful garbage.

[Davedevil]

I've been reading Waid and Ringo's run in the softcover Ultimate Collections. I haven't gotten to volume 4 yet, mostly because I don't want it to end, but I seriously think that is one of the best superhero comics ever. It captures every single thing that I love in comic books so perfectly.

[Koete]

Relevant.

[Dan]

Wolverine by Claremont and Miller: Collects the 1982 miniseries, along with Uncanny X-Men # 172-173. Wolverine fights a billion zillion ninjas. It's so easy to forget after over thirty years of this story getting told and retold a hundred times over that this miniseries really was pretty remarkable in its day. Before this, Wolverine was a one-note character, the crazy reckless guy on a team full of marginally more interesting people. From here on out he was Wolverine, the best there was at what he did, although what he did wasn't very nice. Claremont's hard-boiled dialogue is, quite frankly, ridiculous, but it's still a fun and exciting story featuring some of the best artwork (certainly some of the easiest to look at) Frank Miller ever did. Joe Rubenstein's inks help a lot with that. It also features some of the best examples of Jim Shooter's "introduce your character and explain what he can do in every issue" edict I've ever seen; at the beginning of every issue, Claremont and Miller manage to include a fight scene where Logan is able to give a quick "mutant/senses/healing/unbreakable bones/unstoppable claws" blurb in a couple of captions that don't distract from the story at all, despite happening four times.

The volume also includes the two-issue followup in Uncanny X-Men from a year later, focusing on the wedding of Logan and Mariko. Kind of dull, and Paul Smith's art isn't terrific.