Comic Review: All-New Guardians of the Galaxy.

The Guardians of the Galaxy are a team that's close to my heart. A group of space faring adventurers, travelling the galaxy and surfing the fringes of heroism. 

The team have been around, in some form or another, for decades now. The ever changing team a protean lineup of anti-heroes, weirdos, and genuine superheros. Until recently, you never quite knew who you were going to get each time a new issue rolled around. 

With the surprise success of the film adaptation, the lineup has solidified somewhat around five core characters. Drax the Destroyer, Gamora, the most dangerous woman in the Galaxy, stand-out fan favorite duo Rocket and Groot, and their plucky leader Star-Lord. They are all great characters, to be certain. It can't be easy juggling five main characters every issue, even if one of them doesn't exactly have much dialogue. 

Keeping the balance between five protagonists isn't easy, especially in a book with a strong comedic tone. Who's the funny guy? Basically all of them, if you do it right. Giving five heroes fair screen time, and crafting a story on top of it all, isn't an easy job. 

For the last five years, the Guardians of the Galaxy reins have been gripped in the hands of Brian Michael Bendis. 

Now it's very popular to take a shot at Bendis. He's the butt of a lot of jokes for comic fans and creators, but to call him a bad writer just wouldn't be fair. He's created memorable characters, been at the helm of some great stories, and pens more books in a season than many other writers do in years. 

Not every writer is a good fit for every book, however. As a huge fan of the characters found in the Guardians of the Galaxy, his work on it left a lot to be desired. The series added members every few issues, with Captain Marvel, Angela, Eddie Brock, Kitty Pryde, and the ever lovin' blue eyed Thing to name a few. Stories became predictable, verging on repetitive. In the five years past, without going back to look, I can only remember a scant handful of events that transpired within those pages. It lacked a cohesive story, an appropriate villain, and love for the heroes it dealt with. A writer need not introduce brand new members to the team each week when they have yet to flesh out the characters that are on the cover. No one picks up Guardians of the Galaxy and exclaims "Wonder what the Thing is up to this month!"

By the end of Bendis' run. A quote from one of my favorite stage plays often came to mind: 

Generally speaking, things have gone about as far as they can possibly go, when things have gotten about as bad as they can reasonably get.

It was time for a change. 

I was thrilled to hear that the pen was being passed to Gerry Duggan. A younger writer, Duggan is currently best known as the driving force behind turning Deadpool from a Looney Tunes character into a hero with weaknesses, complexities, and sharper comedy than ever before. He delivers characters with real voices.

From the pages of the first issue, there's a lot to love about the All-New Guardians of the Galaxy. 

As our heroes pull off the most over-the-top smash and grab bank robbery in galactic history, we already see development in the characters we know. Drax has been soul searching, maybe finding new ways to do things in life, new mysteries from Gamora's past arise to befuddle her team-mates, and Groot has reverted to his sprig form, a mysterious growth halt afflicting the botanical hero. 

There's an enigmatic antagonist to be found in the form of the Grandmaster, a collector of unique baubles from around the galaxy. Blackmailing the Guardians into obtaining a new acquisition for him, the Grandmaster's plans threaten to sever the professional relationship the Guardians have with a certain other cosmic Collector. 

The artwork from Aaron Kuder is clear, colourful, and kinetic. Most of the Guardians have even undergone a design shift for their new story as well, distancing them a little from their movie counterparts, helping separate them from sometimes overbearing movie personas.  

All-New Guardians of the Galaxy is off to a vibrant start, and I'm eager to see where Duggan takes the characters. There's a whole lot of room for weirdness in that big old space up there. 

All-New Guardians of the Galaxy #1, written by Gerry Duggan with art by Aaron Kuder, is on the shelves today.

Comic Review: X-Men '92.

If there was one single crystalline thing I can think of in my youth that I can say got me into comic books, it was probably the X-Men cartoon series.

It was a truly genre defining element of the after school lineup when I was 6 or so. It was the typical high octane goodies kicking the crap out of baddies that you would find on any action cartoon of the time, but filled with an incredible depth of kid-friendly social commentary. All the strongest characters were women, and the main villain had a justifiable motivation of his own. There was serious complexity to be found at 4pm on weekday afternoons. We absorbed that stuff, us kids did.

We watched Beast be unfairly denied bail and go to prison, just because he was a mutant. We saw the legacy virus ravage the mutant population, and watched mutants be ostracized for it even though it could spread to anyone. The setting may have been fictional, but the problems were real, and there was a lot to learn from in these stories.

X-Men ran for 5 years, and a lot of people that grew up with it still consider it their favorite adaptation of a comic book property. The incarnations of certain characters here, like the outrageously accented Gambit and Rogue, or the nefariously evil arch-villain Apocalypse, are considered by many to be the finest versions of the characters in any medium.

It would seem impossible to return to the halcyon days of the X-Men Animated series, but indeed, through the miracle of science (and Secret Wars) it seems we've done it. This week, X-Men '92 #1 comes out, and brings up back to that world we left so long ago. Yellow spandex and all.

The first issue of X-Men '92 brings us back to the halls of Xavier's school for gifted youngsters (where else?) where class is in session under the guiding hands of professor McCoy. When class is interrupted by the return of a mysterious villain from the past, and his messages of a great evil to come, it kicks off what promises to be an entirely original plot, with some new characters introduced too.

It's good to see characters back in old costumes again, eyesore outfits from decades past and personalities echoed we'd long forgotten. The tongue is planted quite firmly in the cheek for the overall style, with writers Sims and Bowers clearly aware that the same audience who loved the cartoon are probably all roundabout 30, and play to that idea well. There's even some cameos from mutant characters I personally thought I'd never see again (Long live the X-Statix!). The artwork of Alti Firmansyah fits perfectly, being both reminiscent of the cartoon whilst still being sharp and stylish.

It will be very fun to see what direction X-Men '92 takes in the long run. The time frame of 1992 is less a hard fact and more a rough suggestion of the zeitgeist, as we see movie posters for films that hadn't been released as of 1992 for example. With virtually no ties to the rest of the Marvel universe as it currently exists, the story bears none of the burden that comes with upholding the collective canon. What other characters will turn up? What accent will they write Pyro with? Only time will tell.

Comic Review: Karnak.

With Marvel's largest crossover in history winding to a close, the next month sees a whole range of new books, comprised of both returning series and brand new names. In this post Secret Wars universe, we're promised a change in the Marvel Universe as we know it, with new characters and new teams taking center stage.

Amid the obviously eye catching new titles like Wolverine and the various new Avengers books, one that may fly under the radar, or be overlooked entirely, is Karnak.

For those unfamiliar with the character, Karnak is one of the long term members of fringe superhero group The Inhumans, and although he has his dedicated fans, one often overshadowed by bigger and more exciting members of the group like Black Bolt, the Inhuman king who can crumble mountains with a whisper,  or Medusa, with her prehensile hair and cold as ice royal conduct.
Karnak takes the role of adviser to the Inhuman royal family, and although he has no real powers as we know them, he is possessed of the preternatural ability to find the weaknesses, both literal and existential, in all things. A subtle talent, but one the right writer can work magic with.

Fortunately, Karnak has been placed in the hands of one of the comic industries most significantly gifted writers, Essex-born Warren Ellis. A veteran writer perhaps best known to comic fans for creating science fiction classic Transmetropolitan and genre bending superhero title The Authority, Ellis is known for mature themes, gritty characters both humorous and horrific, and presenting the audience with a view of our own world through some very cracked lenses.

Ellis's Karnak begins with the titular character in seclusion in a monastery of his own making, when he is dragged from his peaceful contemplation by agents of SHIELD seeking his skills in the matter of a kidnapped Inhuman child. Ellis's token commentary on society as we know it is clear right from point one, as we find that Inhumans, while recognized by the government, aren't protected by the same rights as 'normal' citizens, and Karnak is employed as an independent agent, operating outside the rules of SHIELD to track down the child that no one else is caring to find.

The dialogue is sharp, intelligent, and a joy to read. The potential plot may only be in its infancy, but it's gripping from the get-go, and Karnak's personality is clearly defined in every scene. A man of deep thoughtfulness, sardonic humor, and intense bitterness. Karnak refers to his unique perception as a curse, being profoundly aware of the flaws in all things, even that which is wonderful and beautiful. To Karnak, nothing can be perfect, as the flaws are the first thing he sees.
The art is nothing short of steller as well, Gerardo Zaffino's distinct style fitting the gritty theme perfectly, with rough edges and deep shadows, and Karnak himself being redesigned into a  significantly less 'cartoony' look from previous appearances. Zaffino is able to lend a feeling of movement and velocity to his art that is wonderfully demonstrative of Karnak's incredible precision.

Of everything I've picked up from Marvel's new season of books, Karnak is the one I was interested to read the least, yet found myself enjoying the most. It's a poignant reminder that a character previously of little to no interest, in the right hands can become something startlingly exciting. 

Comic Review: Rage of Ultron

Marvel thought they were clever with last year’s wildly disappointing bait and switch event Age of Ultron, a time travel story that featured almost none of the titular character, but will likely go on to disappoint plenty new comic fans seeking to get in on the new movie of the same name.

It was undoubtedly time for a story that went back to the basics of one of the best villains Marvel has ever created.

The Avengers, Earth’s mightiest (and most profitable) superhero team, only have one true arch-nemesis, and Ultron is a character that deserves great stories, not cash in crossovers. Marvel’s OGN print, a run of one-shot hardback format graphic novels, have just released the story that Age of Ultron should have been. 

A dark and futuristic action packed story, filled with the brooding intensity of the father-son struggle that makes Ultron so interesting, Rage of Ultron chronicles the events following a grand defeat of the titular villain in a climactic battle. After nearly leveling New York in the battle, the Avengers think they’ve seen the last of the cybernetic terror when he is rocketed into space trapped in a broken Quinjet.  Hank Pym, Ultron’s creator and father, has become self-loathing and depressed over his relationship with his son. He desperately wishes to find love and worth in that which he has created, but in Ultron he finds only anger and hate. In his distress, he finds himself driven to create a weapon that can nullify cybernetic brainwaves, snuffing out Artificial Intelligence in a genocidal instant. This in turn forces the whole team to consider the worth of artificial life as true, or disposable. The Vision, Ultron’s own creation and therefore Pym’s grandson, is distraught that Pym can take android life so casually, and tension rises between these two founding members. It brings into question the concept of just how powerful Pym is when dealing with artificial life. He can create it, and just as easily he has the power to snuff it out, and seems prepared to do so.

Far off on the moon of Titan, serial misogynist and satellite Avengers member Starfox is drinking with a horde of beauties when a Quinjet crashes into the surface of the moon, and begins burrowing towards the world’s hyper advanced technological core. In minutes, Titan’s finest are overcome by Ultron’s power, sending Starfox hurtling across the solar system to Earth In search of help. 

Still amidst the repercussions of their argument, the Avengers are threatened with the arrival of the most powerful incarnation of the robotic villain ever seen, an entire planet repurposed and possessed to suit his apocalyptic intentions. Planet Ultron looms down over Earth, ready to begin the systematic conversion of all life in the universe to become one with Ultron. 

As huge as the scale of the story is, Rage of Ultron is chiefly a character driven story. It explores the fascinating relationship between father and son that exists between Pym and Ultron, and the conflicting love and resentment the two bear one another. The tenuous relationship that both share with The Vision is touched upon, as Vision is forced to compare himself to both Pym and Ultron and find he can truly identify with neither.

Although a short story, it has some truly brilliant moments, and is more worth your time than the ten issue adventures of a time travelling Wolverine that Age of Ultron turned out to be. Pym’s descent into hatred is believable, and Ultron’s voice is as brilliantly malevolent and utterly condescending as ever. The reveal of planet Ultron is a damn fine panel, and the use of the new Avengers team over the classic we’re growing tired of is a nice touch. We see the hard headed female Thor throwing her weight around at the discussion table, and Captain America’s new identity as Sam Wilson, previously the Falcon, giving the orders as the incumbent leader of the team. In the tradition of Ultron only being able to be defeated by characters he’s never encountered before (with the notable exception of Scarlet Witch, whose power is by definition improbable), an interesting development occurs when Ultron is faced with an entirely new power, but I won’t spoil that surprise.

The finale is maybe less grand than it could have been, and we’re left with some glaring unanswered questions regarding the resolution, but the ending is emotional. It isn’t a triumph of good over evil, it’s about an entity who was born of anger and hate attempting to understand itself. Right from the beginning, as Pym reminds Ultron that regardless of all the atrocities Ultron has committed, that he still loves his son, is pretty powerful stuff.

Whether you’re looking to remind yourself who the real daddy is when it comes to Avengers villains, or if you’re wanting to get acquainted with him for the first time in anticipation of the film, Rage of Ultron is the book to pick up. Just try not to read all his dialogue in James Spader’s voice.

Super Special Dooptacular Doop Special.

There are many heroes in the Marvel Universe.

Characters that have captured the imagination of millions across the globe since before the majority of us were born. Spider-Man, Iron Man, The Hulk, Captain America. To name only a tiny fraction of the many and varied heroes that provide everyone with excitement, entertainment, even inspiration in their everyday lives.

But is there one amongst the legions that shines brighter than the rest? A hero so great we can all aspire to emulate? One amongst the Avengers, Earths Mightiest heroes? Or the Fantastic Four? A team held together by family and love? Is there truly a hero grander than all the others?

No. Just kidding. This article is about Doop.

'But just who is this Doop?' I hear you blithely ask, Ignorant of the absurdity of your question.

Those who are in the know are painfully aware of the floating little green potato looking thing lurking around the pages of Marvel comics. Just look at that lovable little green blob.

He's been kicking around since 2001, a (one can only assume off the cuff) creation of Peter Milligan and Mike Allred in their run on X-Force. You see Joe Quesada had taken over at that point, and various comics were getting overhauls. With British talent Milligan (Penner of some truly classic 2000 AD stories) writing and Madman legend Allred with the pencils, the team that emerged from the duo would turn out to be one of the most surreal in Marvel's history. They would come to be known as the X-Statix.

So what we end up with are a bunch of self-obsessed and morally deficient young heroes with powers ranging from wholly useless to ridiculously specific. They would be killed off left and right, act like immature idiots, and generally be a irresponsible team, albeit one of the most interesting there's ever been. Through the swiftly changing roster, one of the only standbys of the team is their cameraman. Or cameraperson. This little floating green potato that looked a bit like a stop halfway between Slimer and Gary Busey.

You could be dooped into thinking he wasn't important, and although ever-present, he never actually does all that much. But if there was a soul behind the body of the X-Statix, it would be green and Doop shaped. He floats around, rarely doing much more that getting footage of the team going about their business and sneaking shots up the female team-members skirts, occasionally spouting dialogue in a nonsensical wingding that is apparently unintelligible. 

So what exactly are Doop's powers? Who the hell knows? They're super-dooper, how about that? At one time or another he's shown evidence of super strength and resilience, transforming and enlarging his body, dooplicating items, something that seems to resemble creating pocket dimensions in his own body, energy beams, and just plain weirdness like taking himself bodily apart with no physical limitation.

Doopseak remains an enigmatic secret buried far deeper than anything in a Dan Brown novel. In universe, everyone seems to understand it of course, leading to baffling comedy in the reactions to whatever it is the little guy is saying.

In a crossover event with the Avengers near the end of X-Statix's run, Doop is taken hostage by Russian terrorists and turned into an atomic superweapon. Captain America makes a vague reference to something called 'The Doop Project' in the final days of the Cold War. Could Doop possibly be of Soviet Origin? Who the hell knows, we never hear any more on the subject.

That covers literally all we ever really discover about Doop. There's some vague allusions to relatives at one point, but they remain an unsolved mystery. Through thick and thin, Doop remains the  most stalwart member of the team. They send him to deal with a trouble-making prospective member at one point, and Doop does the kid in with an axe. Holy shit, that's some brutal stuff, Doop. He's capable of all sorts of things, including being an ordained Anglican priest and engaging in apparent sexual relationships with She-Hulk and Madonna. He palled around with Wolverine on a noir-style detective romp for a couple of issues, and one time the little guy went toe-to-toe with the Mighty Thor in a confrontation so calamitous it awoke the sleeping Valkyries of Asgard.

So how do salacious tendencies, mystical dialogue, a dooplicitous nature and some incredibly poorly defined powers combine into a cult character shadowing the margins of the Marvel universe?

Who knows, but when the X-Statix had their comic canceled (A criminal travesty as far as I'm concerned), every team member was apparently done to death in the last issue. The issue is chiefly focusing on the more vocal heroes of course, and Doop is seen in the background in one frame, lying sprawled over a chair with a nasty stomach wound.

Could the blob be done in so easily? Was that the end for our hero? Doopsday?

No chance.

Other members of Marvel's creative team took notice of that little chap. In an unrelated comic, somewhere in the multiverse, a passing child might be seen clutching a familiar looking green doll. Jean Grey had an awfully distinctive blob of a keychain one time. In an issue of symbiotic hero Toxin's self titled comic, a scrawl of graffiti in the background proudly reads: Doop Lives.

Was the little blob becoming an almost Christ-like figure within the ethos of the Marvel universe? Not quite, but had he subtly infiltrated the lines between? Indoopitably.

A few years later Doop resurfaced, alive and well, a mysterious entity discovered deep in space speaking in an all too familiar tongue. He reappeared in the Marvel universe not with a bang, but with a whisper. A simple reemergence unquestioned by readers who knew Doop not. Among other things, Doop went on an utterly sdoopid kung-fu adventure with Iron Fist, acted as a criminal investigator to the mutants of Utopia (Driving his victim to tears with an interrogation comprised completely of questions about French cinema) and appeared in a mutant romance special that was truly weird.

Since then, Doop has been appearing in the pages of every mutant based comic there is, apparently having found employment with the Jean Grey School for Higher learning. You'll see him at a desk in front of students, sleeping through one of his own lecture periods, or eating doughnuts in the staff room. He seems to be doing well in the teaching profession. Of course, Doop's employment as staff is purely a front for the real job at the school, that of an undercover security professional, looking out for the safety of the students, and rooting out trouble at the heart of the problem. Logan can count on his old buddy Doop to do what needs gettin' done.

That about brings us up to speed. Marvel NOW is in full swing, and creeping up on us very soon for some strange reason that only the correct alignment of planets could possibly have allowed, Doop is getting his own little limited series. Set during the events of the massive mutant book crossover 'Battle of the Atom' Doop is getting his own slice of the center stage after all this time.

Screw The Avengers, go out and buy your kids (or wife, boyfriend, grandmother, etc) some Doop. They'll love you for it.

You said it man.

Comic Review: The Trial of Jean Grey.

Comic book crossovers can be a scary thing.

If you're a veteran comic book fan, you're used to it. The mass blender of characters and story lines that are thrust at you three or four times a year and mix up the stories and the bad guys. They're epic, they're fun.

If you're new to the comic book world of course, they may intimidate and frighten you. Who are these characters I know nothing about? Who are all these strange names on the covers? This new art is strange and unfamiliar! Why can't we just go back to the was it used to be?!

All it takes is a little getting used to, is all. Try to see it not so much as the literary clusterfuck it initially appears to be, and more like a sampler CD. One of those big ass ones you got for a few dollars that feature all sorts of stuff you've never heard before, but has that one track you really like. You have the comfort zone of the ones you know, can skim over the guys you aren't so keen on, and just might find something new you love, and go out and buy their record afterward. This is exactly what a comic book crossover event is like, so turn it up. Or open the page, Whatever.

  

The Trial of Jean Grey is the first crossover involving Marvel's biggest property, The X-Men, and it's newest (But swiftly rising star) property The Guardians of the Galaxy. Only a little one, three books of each completes the entire story. It's not unusual for crossover events to involve characters or books that are a little under the radar and mix them with the big leagues, as of course it's a good way to introduce people to a book they may not have picked up before. It's no coincidence that the Guardians just happen to be crossing over with the X-Men six months before their big budget movie comes out of course, you gotta introduce people somehow. It's similar to what they did at the start of this latest Guardians run, having Iron Man amongst the team for a trial run, a sort of viewpoint character, an everyday (comparatively) human amongst these spacefaring pirate nutters. It helps that a few members of the Guardians can out-flirt and out-wisecrack Tony Stark or Bobby Drake at every turn, Rocket Raccoon is a hilarious character and he's been particularly enjoyably written into this crossover event.

Now I came into this crossover from the opposite side of how most will. I follow the Guardians, and getting back into X-Men again was a strange feeling for me. They were my team back in the 90's and it's strange to see how much the characters have aged as I have. The series is All-New X-Men in particular I should point out, the concept of which is that the original X-Men from the teams beginnings in an idyllic superhero group under the tutelage of Professor X, have been pulled out of time and to the present, where the rebellious Cyclops is leading rogue mutants against his old comrades in a post Charles Xavier world.

Pretty heavy concept to swallow, I know, but it's a hell of a lot of fun to see.

Of course where most people will be learning is in the other team. The Guardians of the Galaxy, led by cocky American Star-Lord, will be new to many readers. They haven't been involved in too much heavy plot dragging them down yet, so it's easy to jump into getting to know the team, from gun-loving weapons specialist Rocket Raccoon (Yes, he's a raccoon), to smoky female melee combat expert Gamora. The teams latest member, Angela, might take a little more salt to accept, as she is a fresh addition to the Marvel universe, created by Neil Gaiman and recognizable character from the popular comic book Spawn. Yes, THAT Angela.

The crossover is a little unforgiving in that if you only really want to pick up your book out of the two, you're out of luck. The two books trade the crossover in chapters, so you'll be entirely out of half the story if you're only reading one. It's all in with this one.

I for one didn't mind picking up All-New X-Men and giving it a chance, it got me back into enjoying a few characters I didn't even realize I had been missing for a while. The relationships between young Jean and Scott is charming and brings you back a little to an earlier time of comic heroes. That's when they're from of course, and they pull it off well.

 

The story itself that all these heroes are mixed up in? Heavy stuff. This is a Jean Grey prior to the Phoenix force, long before her power grows and she becomes a danger to herself and others. The Jean from this universe never had the chance to stand trial for her crimes, on the account of being long dead of course, so when an intergalactic tribunal, lead by classic X-Men foe the Gladiator, kidnaps Jean to face trial for her future self's crimes as the Phoenix, the young X-Men are dragged along for the ride as the Guardians of the Galaxy take the plucky group into the stars to rescue Jean Grey.

 

 

Now some characters are more important than others in all this. It's a lot to juggle essentially having ten main characters to throw around, and you may find your favorite getting lost in the clash.

The focal characters between the teams: Jean Grey, Star-Lord, Scott Summers, are fully fleshed out, having their whole range of emotions on show, but I could count the lines said by Drax or Angel on one hand. X-23 seems to appear out of nowhere five books in. There is also the threat, as with far too many crossovers, of simply having too many characters! Mixing the members of X-Men and the Guardians should be enough already, but then the Starjammers turn up, intergalactic pirates with a heroic streak and a family tie to the X-Men, and it starts to get a little packed in there. There is a panel of everyone sat in the Guardians spaceship filled with so much spandex and weird coloured skin it looks like a convention in there.  It's an enjoyable mashup though, the dialogue between the teams is great, and the sardonic wit of Rocket and the stone-cold sexy of Gamora plays well with personalities as strong as those of the hyper-intellectual Beast or over-excitable Ice Man. The hamburger scene is just....great.

 

The story as a whole, is solid. Simple even. Physics-bending moral dilemma aside, It's a rescue story. Jean Grey is held imprisoned by the Gladiator and his men, seeking her to not only face punishment for crimes she has yet to commit, but to atone emotionally for them as well. Gladiator's stubbornness and seeming cruelty makes him a strong villain, and his incredible physical capabilities make him a solid match for both teams put together as it is. It's a shame there really is only one brief confrontation with all the characters present, as the story does pass an awful lot of time with the getting-there as opposed to the rescue in actuality. When the inevitable showdown does come to pass, it's over a little quickly, but is off-the-page huge of course.

 

Gladiator should know that messing with time isn't always so easy, and the resolution of the story looks like it could have some lasting consequences for the X-Men. Jean Grey theorizes her emotional state has been pushed beyond the point her previous self ever was, and that maybe the Phoenix force will effect her differently this time around. Her all-new (and all-naked!) new form is nothing wildly unexpected, but it does at least show us that this Jean we haven't seen the best of yet. Even the ever amicable Cyclops, already thrashed into subservience by the events of his own book, steps up at the end and makes a decision that could hugely change the story on his end.

 

 

As for the Guardians, sadly there isn't so much to say for this story really making a change to them. Apart from Star-Lord getting a little more-than-just-friends with Kitty Pryde, no major friendships are established or developed. The whole thing is definitely much more about the X-Men that it is our space heroes. The more you think about it, the more you need to ask: 'Did the Guardians really need to be there?' Are they just in this story for the sake of a crossover? The interplay is great fun, but could these two comics have gone their separate ways without forcing the readers to buy both? If there are further reaching ramifications for the Guardians resulting from this story, I will be surprised.

All in all, I for one did enjoy the thing. For a big fan of the Guardians of the Galaxy, it did a great job of reminding me how much I used to like the X-Men too. It even gave me the nudge to pick up a few more of the past books of their new series and enjoy them too. The Guardians and the X-Men, although wildly different teams, fit well together, and perhaps we'll see more of how they work together in the future. There was a lot unsaid at the end of this story, both happy and grave, and I hope we see these characters develop further to establish themselves in the vastness of the Marvel universe.