Uncanny X-Men - Year 2

Over the last couple of months, I have continued my journey into the Silver Age of comics with the second "year" worth of the original Uncanny X-Men series, issues 13-24.  (Again, I put "year" in quotes because, for some of this period, X-Men was published on a bi-monthly basis).

Below, I will briefly review the story arcs of this series.  Note, however, that "story arcs" were not produced the same way in the 1960s as they are today.  Back then, a main plot usually only lasted 1-2 issues, perhaps 3 for a longer plot, but inserted into the main plot were little hints and clues about upcoming stories.  Therefore, "arcs" were not well-defined, stand-alone entities as they are today... so some of my divisions will be arbitrary.

Plot 1 - The Juggernaut conclusion

X-Men #12 had ended in a cliffhanger, with the Juggernaut ready to defeat the mutant team and kill his half-brother, Professor X.  In the action-packed issue #13, the X-Men continue their battle with him, and Professor X joins the fray.

We quickly learn that Juggernaut's helmet blocks the mental powers of Professor X, so the X-men use delaying tactics to buy the professor time to construct a helmet to amplify his mind waves. Even this is not enough, however, so they call for reinforcements -- Professor X mentally summons Johnny Storm of the Fantastic Four for aid.  At first, Johnny doesn't believe them, so he doesn't come right away, and the X-Men are forced to continue fighting alone.  They cleverly turn the danger room against Juggernaut, which holds him at bay a little longer, and finally Johnny Storm is convinced to come help as the Human Torch.  As the battle progresses, Angel manages to pull Juggernaut's helmet off, which finally gives the Professor a chance to defeat him with mental powers.  When the story concludes, the X-Men are recuperating in bed while being tended to by Jean Grey.

Plot 2 - The Sentinels

As a long-time reader of the X-Men from years back, I was, of course, well familiar with the giant Sentinel robots who are programmed to detect and destroy mutants.  What I did not realize, was that these robots were created by Stan Lee and Jack Kirby back in the 1960s.  In fact, the Sentinels first appear in issues 14-16 of this original X-Men series, and they are more or less depicted back then as they have remained for many years -- giant humanoid robots who are programmed to hunt down mutants.

In this next story-line, which again covers issues 14-16, we see how the Sentinels came into existence, and we also see, for the first time, the "anti-mutantism" that eventually came (decades later) to dominate the Marvel Universe.  This part was somewhat hard to credit, as it happened very quickly.  In the first 13 issues, when they appeared to the public, the X-Men were generally treated as heroes, if strange ones.  Now, suddenly, because of the efforts of anthropologist Bolivar Trask, who announces to reporters that mutants are a threat to mankind, mutants become hated and mistrusted overnight.  Professor X tries to debate Trask, but then Trask trots out his Sentinels to show that he has found a way to defend mankind -- only to lose control over them.

The Sentinels, you see, think they are superior to humankind, and that the only way to "protect" us is to take over the world.  Most of the Sentinels take off after capturing Trask, but one stays behind to guard the studio audience, and the X-Men arrive to take it on.   Eventually the Sentinel drops inactive for no reason they can fathom, and the X-Men leave it behind to give chase to the others. Eventually, they find the Sentinels' secret base, and Beast and Ice Man wind up captured by the giant robots.

The lead Sentinel, called Master Mold, then has the Beast brought to him, and starts a psycho-probe to learn the secrets of the X-Men. This provides an opportunity for us to learn the background of Hank McCoy, but before he gives up the secrets of the X-Men, Professor X shows up in "astral" form and mentally blocks the probe.  Meanwhile, the other X-Men break Ice Man out of captivity, and begin fighting their way through the Sentinels' base, but they all end up captured, and the base seals itself, leaving Professor X outside.

In the final issue, with the X-Men captured, Professor X returns to the studio to study the one inactive Sentinel, and realizes that a giant crystal decorating a nearby tower, visible through the window, is responsible for deactivating it.  He realizes that it is interfering with control transmissions, and if they can block those, they can defeat the Sentinels for good.  As the X-Men break out of their imprisonment, Professor X and the military arrive with the giant crystal, which deactivates most of the Sentinels.  The Master Mold tries to force Trask to make more Sentinels, but Trask finally has a change of heart, and sacrifices himself to destroy the machine and Master Mold. As the base collapses, the X-Men escape.

Plot 3 - The Return of Magneto

In issues 17-18, we are treated to the return of the original arch-enemy of the X-Men -- Magneto.  While Bobby Drake/Ice Man remains hospitalized in a coma, and the X-Men worry over him, a mystery man breaks into the mansion and prepares to turn it against the team.  One by one the X-Men return, only to have their base turn itself against them and start attacking them (all except for Bobby, who remains in the hospital).  The mystery man traps all the X-Men in a giant metal sphere, which he attaches to a hot-air balloon and sends into the air in a classic Silver Age "deathtrap." The villain, now revealed to be Magneto, then returns to the mansion door to greet Warren's parents, who are there visiting.

As the X-Men soar ever higher in their balloon, heading toward upper-atmospheric death, Magneto uses his "magnetic attraction" vision to hypnotize Mr. and Mrs. Worthington.  Because they produced one mutant already (Angel), Magneto decides to use them to clone an army of mutants.  He uses his magnetic powers to assemble a machine to read and reproduce their genetic code while they sleep.  Meanwhile, high above the earth, Professor X breaks out of the psionic distorter Magneto fitted onto him, and he and the X-Men try to escape. At the same time, Bobby wakes up and heads back to the mansion to stop Magneto.

Finally, as Ice Man battles Magneto, the X-Men manage to deflate their balloon, and Marvel Girl uses her telekinesis to cushion the fall. Escaping the deathtrap, they enter the battle and fight against Magneto. As the battle goes against them, the Stranger who captured Magneto in the first place returns, summoned by Professor X.  Magneto flees, chased by the Stranger, and the X-Men stop the mutation device before it can produce an army of evil mutants.

Plot 4 - Mimic

Issue 19 is a one-shot story about a villain called Mimic, and is the final issue written by Stan Lee (Jack Kirby had stopped doing pencils at the end of the Sentinels arc).  The Mimic has the ability to take on the powers of any super-human he comes near, and he quickly learns who the X-Men are by being around them. He battles Beast, and also detects the powers of Jean Grey, whom he follows back to the mansion.  There, being near all the X-Men, he obtains all their powers, and tries to fight them all. However, he doesn't have the training the X-Men do, and is quickly defeated. Before they can put the finishing touches on, he kidnaps Jean and takes her to an abandoned mine, where he recounts his origin -- his powers result from a lab accident.  But the X-Men arrive just as Mimic tries to make his powers permanent, and stop him.  His machine backfires, destroying the mine, and the X-Men rescue him.  The machine takes his powers away, rendering him normal once again.

Plot 5 - Dominus

In his first foray into the X-Men scripting business, Roy Thomas pens a 2-parter (issues 20-21) featuring the return of Professor X's old enemy (from Year 1), "Lucifer."   The story begins with the old enemies of the X-Men, Unus and the Blob, dressing up as them and pretending to be X-Men as they rob a bank -- with the goal of sullying the X-Men's already-tarnished (from the Sentinel affair) name.  We learn that Lucifer planted the idea in their minds to impersonate the X-Men.  However, Scott Summers, who has walked out on the team because of his dangerous eyes, and his belief that they prevent him ever professing his love for Jean Grey, happens onto the villains and battles them.  The rest of the X-Men except for Marvel Girl show up to help.

However, Lucifer quickly discovers that Professor X is onto him, and he fires off a "mento ray" that paralyzes him. Jean uses a mind amplifier to contact him, and Professor X mentally tells her the story of how he lost the use of his legs -- battling Lucifer the first time.  As the X-Men return to the mansion, Lucifer tells his supreme leader via video conference that it is time to unleash the "dominus."

The Dominus it turns out (in issue 21) is a machine controlled by robots that will allow Lucifer to conquer the earth.  Lucifer claims that the machine is utterly indestructible and will defend itself against any attack.  Lucifer captures the X-Men, but they escape and battle the robots.  Professor X orders them not to attack the Dominus machine itself, and instead to avoid the robots.  As the X-Men duck  and deflect the robots' blasts, the Dominus machine reflects the energy back at them, destroying the robots.  Without the robots, the Dominus cannot be operated. The supreme leader contacts Lucifer and tells him that he is finished. Lucifer and the Dominus are taken up into space, and the X-Men remain behind victorious.

Plot 6 - Count Nefaria

Issues 22-23 tell the story of a criminal mastermind named Count Nefaria, who runs a cartel called the Maggia.  Nefaria employs several villains, including Scarecrow (not the Batman villain of course!), Plant Man, the Eel, and others, to battle and capture the X-Men, using an illusion machine to trick them into thinking they are fighting themselves. Then he offers them the typical villain's ultimatum -- to join him in holding Washington, D.C. ransom, or suffer the consequences.

Nefaria's goofy plan is to put an "impenetrable" force field around D.C., and then demand 100 million dollars in special gold notes, for setting it free.  Not wanting D.C. to be destroyed, the X-Men agree to play along.  They take the ransom money, only to be ambushed by the five villains, who have decided to double-cross Nefaria.  Meanwhile, a mysterious masked man enters Nefaria's base by hypnotizing his goons, and shows the ability to operate the device creating the force field, thus defeating Nefaria's plan.  Count Nefaria flees on a boat, with the briefcase full of gold notes.  But the masked man is revealed to be Professor X, walking on mechanical leg enhancements, and the briefcase is just an illusion generated by Nefaria's own equipment.

Plot 7 - The Locust

Issue 24 tells one of the goofiest X-Men stories of the entire series to date, as a mad scientist calling himself "the Locust" uses a special ray-gun to grow super-large insects and uses them to attack farming communities.  The villain is actually an entomologist, who has invented a special insecticide. His plan is to produce giant insects to threaten society and then use his insecticide to save us, thereby becoming rich and famous.  The plan itself is not bad (Syndrome's plot in The Incredibles was similar), but the whole idea of the X-Men battling giant mutated insects that were grown to a giant size from small larvae by a special growth ray is just silly.  Add in the fact that the villain is wearing a giant "locust suit" that gives him special powers, including the ability, via his antennae, to control insect behavior, and this story is over the top on the corny meter.  The X-Men defeat him when Marvel Girl uses her telekinesis to tie the antennae together, causing Locust to lose control and be attacked by his own creatures.  In the end he "sees the light" and decides to turn himself in.

Reflections on Year 2

Although I had read some of the Year 1 issues many years ago (my good friend +Stuart Johnson owned reprints of at least the first 6), I had never before read any of the year two stories.  Therefore, this part of the series held some real surprises for me.

Probably the biggest surprise, as I mention above, was how early (issue 14) the Sentinels and the anti-mutantism make their appearance in the Marvel Universe.  I knew this was a long-running story back in the 1970s when I started reading X-Men, but I had not realized that Stan Lee and Jack Kirby had created it almost from the beginning.  Although it was a fun read, I thought that the "anti mutant" hostility sprang up in a very unbelievably short period of time -- one anthropologist announces that mutants are evil and all of a sudden people are throwing rotten tomatoes at the X-Men any time they appear?  Given how slow-moving some of the other plot elements (like Professor X's quest to one day get the use of his legs back) are, I find it particularly curious that Stan and Jack rushed this plot idea so radically -- especially given how integral it became to the X-Men.  It almost seemed like they got together after issue 13, said, "let's make mutants hunted!" and that was the end of it.  And so, I enjoyed the Sentinel story, and to someone familiar with the long-running anti-mutant theme in Marvel, it was no surprise... but I bet the rapidity of society's instant condemnation of mutants bewildered a lot of young readers back in the early 60s.

Another, rather unpleasant, surprise for me was the scripting of Roy Thomas.  I knew Stan had stopped writing X-Men by issue 20 (he stepped back to become editor of the Marvel line), so I wasn't shocked that Thomas started writing.  Rather, what surprised me was what a dip in quality both the plotting and the scripting took from the very issue where Stan Lee stepped away.  Published in the Silver Age as they were, I expect campy, corny plots, but Thomas' work is just completely over the top here.... it makes Stan Lee's writing look like Shakespeare.  I ordinarily enjoy the heavy soliloquizing that was so common in this era of comics (and I miss it dearly in modern fare), but the dialogue Thomas wrote here was incredibly juvenile.  This was a huge surprise to me because, in the 1970s, I had read and enjoyed many comics written by Roy Thomas, so I had expected the quality of the writing to go up, not down, once he took over for Stan Lee. Boy, was I mistaken.  I particularly dislike the pattern Thomas fell into, of creating something "invulnerable to any force known to man or mutant" (the Dominus, or Nefaria's force field) and then coming up with a quick one-page way to easily and quickly defeat it, usually a page or two before the end of the story. It almost felt as if he had written himself into a corner, couldn't get out, ran out of pages, and just said, "aw screw it, let's have the machine defeat itself" or something.

One thing I did enjoy about this year of the series, and it definitely contrasts with modern comics, was the incredibly snailish process of Scott and Jean's love for each other.  For 24 issues now, the two have had feelings for each other, but neither is willing to speak the words out loud.  Scott tries to avoid letting Jean know how he feels, because he does not think it's fair to be with someone as long as his eyes remain a threat.  Jean, meanwhile, assumes Scott has no feelings for her, because he hides them so well, but continues to have an immense crush on him.  As I read these comics I keep expecting the relationship to advance, but it only does so in the tiniest little increments.  This really shows how much the writers, and readers, of Silver Age comics liked to savor sub-plots.  Character interactions are drawn out over the long term, and this provides great momentum for the series as a whole. Rather than relying on multi-part story arcs to keep the readers involved, the writers of X-Men (whatever other flaws the series might have had) used character to keep readers hooked. If we like Scott and Jean, we will keep reading just to see where their relationship goes.

Overall, X-Men's second year was similar to the first. There were some great stories, especially the Sentinel arc and the defeat of Juggernaut... and there were some overly corny ones, like the Count Nefaria plot.  The writing quality definitely declined dramatically after Stan Lee left -- although how much is due to him or due to the departure of artist and co-plotter Jack Kirby (who left around the same time) is unclear.  I'm hoping either Thomas "found his voice" in Year 3, or he got replaced in short order, though, because I don't know how many more Thomas-written issues I can take.

The Uncanny X-Men - Year 1

One of the great advantages of buying digital comics from +comiXology is the ability to get one's hands on back-issues that would be impossible to find, and read, in their original paper format.  There are many comics from the Silver and even the Golden Ages that I have never read, but always wanted to, and a few of them (though not as many as I would wish) are now available digitally, and more are being uploaded to +comiXology every day.  One such series, of which I was a huge fan back in the day, is the classic Uncanny X-Men, originally written by Stan Lee and drawn by Jack Kirby.  Along with more modern comics, I've been buying 2-3 issues each month of this original X-Men series (published starting in 1963). I've now reached issue 12, and so I am going to comment on "Year 1" of X-Men. As I proceed with later issues, I will add new installments of this article series.

Before I proceed, a few comments.

First, I put "Year 1" in quotation marks because, back in those days, X-Men was published bi-monthly, so the first 12 issues, which would represent a single year of a monthly series in modern times, actually took two years to publish in the 1960s.  Because all my other reviews are based on modern publishing schedules, I've decided to continue to review 12 issues at a time.

Second, there have been many series with the term "X-Men" in the title, and I want to clarify which series is being discussed here.  When I refer to the X-Men series in this article (and the 4-5 following ones, which will take us through X-Men #66), I will be referring to the original series (aka. volume 1), published by +Marvel Entertainment (called "Marvel Comics" back then) starting in 1963 and published for almost 50 years.  I will not be referring to any other incarnation of the X-Men title in these articles.

X-Men #1 - Origin

X-Men #1 opens by introducing us to a new team of super-heroes.  After 50 years, it's hard to imagine, but in this first issue in 1963, we have the very first appearance of super-humans born with their powers, and referred to by the term "mutants."  Prior to this issue, just about every superhero you can name derived his or her powers from some external force (an accident, being an alien, being a robot, etc).  But here, we have four teenagers -- Scott Summers, Hank McCoy, Bobby Drake, and Warren Worthington III -- who were simply born with these superhuman abilities.

The story begins with another mutant, Professor Charles Xavier, who has mental super-powers, putting these young men through their paces.  Xavier runs a "school for the gifted" -- in this case, gifted with superhuman abilities. He believes that, with these powers, comes great responsibility to protect and defend the rest of humanity -- especially against those who are born with super-powers but may use them for evil purposes.  Thus, we begin in the "danger room" of the X-Men, with Cyclops, Beast, Ice Man, and Angel training to use their powers.

Shortly after the training, the team of young men is joined by their first female character, Jean Grey, who has telekinetic powers, and is given the code-name "Marvel Girl."

The guys, being teenage boys who have rarely been around girls, make fools of themselves flirting with Jean, and she shows off her powers a bit.  Meanwhile, a helmeted, caped man is hatching a plot to take over the world.  He refers to mutants as "Homo superior" (for X-Men fans -- yes, this term was coined in the very first issue) and plans to take control of the nuclear arsenal of the U.S. and use it to blackmail normal humans into bowing to him.  This man is, of course, Magneto, for years the greatest arch-enemy of the X-Men.

Magneto uses his powers to take over a military base, gain control of the missiles, and then put a force-field around the base to prevent anyone from attacking him.  The news of this gets out, and Professor X summons the X-men, and sends them off to try and stop Magneto.  This leads to the very first battle between Magneto and the X-men, in which each X-man uses his or her powers against various attacks hurled at them by the villain.  In the end, the X-men manage to fight him off, and Magneto flees, vowing to return.

X-Men #1 is a classic first issue from the Silver Age.  I was amazed at how much is crammed into this issue. We have the introduction of the "born with our powers" mutant concept.  We have the first appearance of all five original X-Men plus Professor X.  We have the introduction of Magneto the "evil mutant," and a setup of the "mutants vs. non-mutants" conflict that will dominate this title in years to come.

There are also many surprises in this issue if you came to the X-Men series much later on (in the days of Storm and Wolverine, or in recent times), because in this issue, rather than being hunted by the government, the X-Men team is actually sanctioned by it.  Additionally, there is no hostility between normal humans and the X-Men -- all the hostility is on Magneto's side (he hates non-mutants). The X-Men confuse and surprise the military when they first appear (of course), but by the end, the base's general is shaking their hand and talking about what an honor it was to work with them.

How different this reaction is from the reactions we see toward mutants in modern times, and indeed, the reactions we've seen for decades.  One wonders if, when they started all this, Lee and Kirby had any idea how much the mutant theme would change over the years, and indeed, whether they would, back then, have approved of what was coming.  We know that years later, as publisher, Stan Lee allowed the mutant hatred that came to dominate +Marvel Entertainment, but I have to wonder if the 1963 Lee and Kirby would have warmed to the idea, given the stories they were writing at the time.

Overall, X-Men #1 is an extremely fun, as well as educational (from the perspective of comic-book history) read.  Yes, the dialog is a campy and the actions of the characters are a sometimes silly.  Yes, the X-men, who are portrayed as being in their late teens, sometimes act childishly (especially around Jean, they act more like they're 12 than 17).  But we have here all the classic elements that became hallmarks of the X-men for years to come, and there is no question that this light-hearted story is worth a few smiles.  Unlike today's comics, this is an issue I will be able to share with my nephew when he is old enough to read, and I know he will love it.

Adventures under Professor X

Following the first issue battle against Magneto, Professor X leads the X-Men through a series of battles against villainous mutants.  Each issue, the danger room provides greater and greater challenges, as Professor X hones his students' skills.  And in each issue, we see a new villain to challenge the X-Men.  In issue #2, the X-men face the Vanisher, who can turn invisible.

In issue #3, they try to recruit the Blob, who is a circus performer but also a mutant, only to have him turn on them and try to attack their school.  Professor X solves this problem (temporarily), but making the Blob forget he is after them.

Then, in issue #4, Magneto returns, this time accompanied by his "Brotherhood of Evil Mutants," consisting of Toad, who has acrobatic powers, Mastermind the illusionist, Scarlet Witch, who has 'hex' powers, and Quicksilver, who has superspeed.  The evil mutants take over the fictional island of Santo Marco as a first step to conquering the world.  In this issue, we see for the first time Professor X and Magneto making "astral projections" of themselves, in which Magneto asks Xavier why he insists on protecting the "lowly" humans from superior mutants.  Xavier says he will not stand by and watch innocents hurt, and this sets up the first-ever show-down between the Brotherhood of Evil Mutants and the X-men.

In the end, the X-men defeat the Evil Mutants, forcing them to flee the island. However, there is a cost... Professor Xavier is caught in an explosion and, on the final page of the issue, says he has lost his mental powers and can no longer lead them.

In the next issue, we find out that the Evil Mutants have an asteroid base in orbit around the earth, and that Magneto wants to find and defeat the X-men.  Mastermind searches for them unsuccessfully, and so Magneto sends Toad out to pretend to be a track star. When Toad's powers appear to make him "cheat," the crowd at the track turns into a mob and attacks him (first instance in comic-book history of a mob attacking a mutant for "being different"), and the X-men go to save him.  While bringing him back to their base, however, they recognize him, and a fight breaks out, with the other Evil Mutants joining in.  In the end, the villains flee back to their base, and the X-Men give chase in a second rocket that was meant for Toad.  This leads to a battle royale on the asteroid, and another escape by the evil mutants.  At the end of the story, Professor X reveals that he was never without his powers, but he was just pretending to be to further the education of the X-Men.  This was their final exam, and they passed.  And so, at the end of issue #5, the X-Men have graduated from the "school for gifted youngsters."

As the series continues, the battle between X-Men and Evil Mutant continues. In issue #6, both Magneto and the X-Men attempt to recruit Namor, aka. Submariner, to their cause.  There is a three-way battle, by the end of which Namor decides he doesn't want to be associated with either group, and returns to the ocean.  The Evil Mutants escape once again, after being defeated by the X-Men.

Adventures under Cyclops

Although they passed their final exam in issue #5, the X-Men don't officially graduate until issue #7. In this issue, which began the second calendar year of X-Men (since it was published bi-monthly), the students officially graduate, and Professor Xavier leaves them on their own.

Before leaving, Professor X shows Scott Summers his "Cerebro" machine, which detects mutant activity, and then leaves it, and the X-Men, in his hands. Cyclops will be the new leader of the X-Men.

Meanwhile, Magneto and his Evil Mutants go to the carnival where Blob is performing, and manage to break the mental block Professor X had placed upon him. They convince him to join them and fight against the X-Men.  Together with the Blob, the Evil Mutants battle the X-Men. But when the X-Men end up in a group around the Blob, Magneto sends a flight of torpedoes at them, not caring what this will do to his new underling.  The Blob sees Magneto's true colors as a result, and decides, much like Namor, that he wants nothing to do with either team. And of course, once again, the villains escape (starting to see a pattern here?).

Under the leadership of Cyclops, the team continues to develop and to meet, and battle, new foes.  They battle Unus, whose mutant power makes him impossible to touch. And in issue #9, they meet the Avengers for the first time, and through a misunderstanding, battle them.  The battle is caused by both groups searching for the same villain, a man called "Lucifer" who is an old arch-enemy of Professor Xaveir's.  Eventually, Thor comes to understand what is going on, and calls off the Avengers, telling them to leave this to the X-Men.  Together, Professor X and the X-Men defeat Lucifer, and Professor X returns to the school.

The Return of Professor X

With Professor X back, we begin to see the eventual leadership arrangement of the X-Men taking place.  Xavier remains the director of the team, giving strategic orders and making large decisions, while Scott (Cyclops) remains the tactical leader in combat.  This relationship is very much like a coach and a quarterback, with Xavier calling the plays and Cyclops commanding their execution.   The X-Men go on three new adventures with this new leadership structure.

The first adventure, in issue #10, is in the Savage Land underneath Antarctica, where dwells Ka-Zar.  The X-Men encounter dinosaurs, mammoths, and ape-men, and at first battle Ka-Zar himself, until they realize they are both on the same side.  Then Ka-Zar helps Cyclops, Beast, and Ice Man rescue Marvel Girl and Angel from the ape-men.  However, as with most individual mutants met by the X-Men in these early issues, he decides he wants no part of superheroes or supervillains, and bids them farewell.

In issue #11, the story of Magneto finally wraps up (at least for the moment) as another mutant is detected by Cerebro -- this one more powerful than any to date.  Once again, both the Evil Mutants and the X-Men vie to recruit this being, called simply the "Stranger," but he proves to be too powerful for either.  Finally, he reveals that he is not from earth, and that his civilization collects mutants from other worlds. He has decided to "collect" Magneto and Toad, and takes the two of them off-world, seemingly forever.

Meanwhile, Mastermind has been transformed into solid matter by the Stranger and is no longer a threat, and the Scarlet Witch and Quicksilver, freed of their debt to Magneto, decide to return home to Europe. Since they were never truly villains, the X-Men allow them to leave.

Finally, in issue #12, a new mutant of incredible power is detected. Cerebro raises a loud warning siren, and all the X-Men gather to learn of the new threat.  Professor X tells them that this mutant is on his way to the school and will be almost impossible to stop, but he has them prepare a series of defenses around the school. Then, as the mysterious mutant crashes through one defense after another, Xavier tells the story of his origin.

He was born to parents who had been around nuclear test facilities, which probably caused him to be born a mutant. As he grew older, he developed mental powers.  But his father died in an atomic test accident, and his mother married his father's colleague, Dr. Marko.  Marko had a son, named Cain, who was cruel and mean to Xavier.  The two step-brothers never really got along.  Cain eventually caused a lab accident that killed Dr. Marko, leaving Xavier alone with him. The two remained antagonistic for years, until finally, during the Korean War, Cain fled into a cave and found a powerful gem of dark magic. Taking it, he was transformed into a being of unstoppable strength and power -- the Juggernaut.  North Korean shelling caused the cave to collapse on him, but now (10 years later, when the comic was being published), he had dug himself out and was back to defeat Professor X.  After smashing into the school and blowing past the X-men, he stands before Professor X ready to exact vengeance at the end of issue 12 - the first true cliffhanger of the X-Men series.

Reflections on Year 1

Re-reading the first "year" of classic Silver Age X-Men issues while simultaneously reading the first year worth of DC's "New 52" titles has been an educational study in contrasts.  Although I will readily admit that the plots, and the dialogue, of X-Men 1-12 are clearly aimed at kids and relatively unsophisticated by today's standards, Stan Lee and Jack Kirby also clearly illustrate, in the larger view, how to launch a brand new series in a relatively clean, new universe (as Marvel's was at the time).  Here, I will compare and contrast what is going on today, with what we see in the first 12 issues of the 1960s X-Men series.

Continuity vs. Story Arcs

The first thing that jumps out at the reader of X-Men 1-12 is the lack of what we call "story arcs" today.  In modern comics, storylines last about 4-8 issues, averaging 6, and are relatively self-contained.  Thus, if you look at the "Year 1" summaries I have written about other titles, you will see them broken up into two (or perhaps 3) story arcs. Often (as with Superman 1-12), each story arc has a different creative team.  Within the story arc, supporting cast members appear, but they may not carry over into later story arcs.  And often, although the title characters may remain the same, hardly anything else will be consistent from arc to arc. Indeed, these arcs are most commonly written as stand-alone stories so they can be collected into a trade paperback and sold separately later.  Thus, one can read the arcs in almost any order.

Lee and Kirby did not follow that pattern 50 years ago.  Instead, each individual issue was written as a stand-alone story.  The characters remained consistent from issue to issue, but the main plot was relatively self-contained.  Thus, the plot that began in issue #10 involving Ka-Zar, ended in issue #10.  There were generally no "cliffhanger" endings, and plots did not continue from one issue to the next.

On the other hand, there were sub-plots and character development points that did carry over from issue to issue.  Jean Grey begins falling for Scott early on, and then Scott starts falling for her, and the thread of their unspoken mutual attraction continues throughout all 12 issues.  The training from Professor X accelerates through the first 6 issues, and then in issue 7 the X-Men graduate, followed by Professor X leaving for a few issues, and then returning.  Thus, there is a strong continuity from issue to issue, where what happened previously clearly affects the future.

And yet, despite this strong continuity, it is easily possible to read any one of these 12 issues on its own, without being confused.  Lee and Kirby use the first page or two of each issue to recap what has gone before and explain who the X-Men are, or they use some short flashbacks or narrative boxes to remind readers of the past.  By today's standards this might seem to "slow things down" and would probably be considered heavy-handed, but it was actually quite brilliant. Back then, when comics were still not really being "collected" by many people, and comics specialty stores did not exist, Lee and Kirby knew that the reader could not easily go back and read up on the earlier exploits of the X-Men. They also knew if someone tried to read this month's issue and got lost, he might be frustrated enough not to try any more issues. So they wisely kept readers abreast of what was going on.  This was done gracefully enough that if you have been following along, the recaps were actually fun to read rather than obtrusive.

The continuity in X-Men 1-12 keeps people looking for the next issue, without confusing new readers or forcing people to "buy all the back issues" to figure out what the heck is going on. This should be an important lesson for today's comic-book creators.  Continuity is important, and having a sub-plot continue for many issues is one of the great joys of reading comics.  But in the interests of providing constant "jumping on" points for new readers, comic creators are better served with single-issue stories that are part of a larger continuity, than by producing stories that span many issues, and then are disconnected from the rest of the series.  The way X-Men 1-12 present their stories and continuity is therefore superior to the "story arc" method of today, and I encourage writers and editors to consider at least trying to build a series or two like this again.  (One rare example of this is the New 52 Wonder Woman, which has followed the 1960s Lee/Kirby model rather than the "story arc" model.)

Stability of creative team and story

The primary reason the strong threads of character development and continuity are seen in the first 12 issues of X-Men is the stability of the creative team.  Stan Lee and Jack Kirby worked together on all twelve issues.  There were no fill-in artists or writers. The creative team didn't get fired and replaced after 4 issues.  Rather, Lee and Kirby worked together to slowly build their storyline over 12 issues, and gradually introduced new characters and elements of the story.  As a consequence, there is a consistency and uniformity of style to X-Men 1-12 that only rarely exists in the comics of today.

Today, in contrast, creative teams often come on board for a single story arc, produce 4-8 issues, and then move on, to be replaced by another team.  This causes the quality of most titles to rollercoaster wildly up and down, and causes the characters to be extremely inconsistent from issue to issue.  A great example is the first two story arcs of the New 52 Superman series. Issue 1-6, done by George Perez, has a completely different feel, tone, and emphasis on supporting characters, than does issue 7-12, done by Dan Jurgens, or issue 13-17, done by Scott Lobdell.  These books are so different it almost seems like they're depicting Superman on 3 different Earths.  This inconsistency destroys any sense of continuity the books may have.

Campy stories

Probably the primary criticism that could be leveled against these early Lee/Kirby X-Men is the "campy" tone of the stories. The X-Men are supposed to be young, but they act far younger than their supposed ages (they should be around 17 years old, but they sometimes act more like they are 11 or 12).  The villains love to give corny speeches and act somewhat unrealistically.  However, if you're willing to suspend your disbelief and just enjoy these issues for what they are -- a fun diversion from reality -- these classic X-Men stories can be a lot of fun.  I will certainly admit that, objectively, some of the stories are pretty unsophisticated. But they're plotted well, and they are enjoyable. And after all, that's what we read comics for, isn't it? Enjoyment.

Conclusion

Overall, I greatly enjoyed re-reading the first 12 issues of X-Men.  Although some aspects of the series definitely show their age, the way this series was handled by Lee and Kirby is really an object lesson for how to introduce a new comic-book series, with a new set of characters, to the comic-reading public.  If the companies of today did things more like Lee and Kirby and less like Morrison and Lobdell, we'd all have a much better material to read each month.