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Mar 14 17 1:52 PM
Mar 14 17 2:05 PM
madave wrote:Finally, the 'hot artists' thing has been brought up time and time again by someone who now wants to claim that the thread is crazier after it has been pointed out that they were drawing conclusions that they couldn't support. Is there anything crazier than that?
Irony and subtly are the first casualties
in the eternal battle of wits between people divided by a common language. So read between the lines or you'll fall through the cracks...
....Quoting other people is no substitute for thinking for yourself...
Mar 14 17 2:23 PM
Mar 14 17 2:24 PM
Mar 14 17 2:36 PM
deejayway wrote: What is crazier is that you simply refuse accept the proof I furnished so further discussion is fruitless.
Mar 14 17 2:53 PM
Mar 14 17 3:08 PM
Mar 14 17 3:33 PM
Five Years Later wrote: Could we leave the political examples out of this thread? It's beautifully awful as it is. No need to really trash it up.
Mar 14 17 5:08 PM
Mar 14 17 7:29 PM
Mar 14 17 9:21 PM
Mar 15 17 2:10 AM
Mar 15 17 6:06 AM
Mar 15 17 6:25 AM
Mar 15 17 6:43 AM
I'd split the early runs up more than Samy and rank them this way:1. #109-143 (Byrmont) - The perfect synergy of writer and artist, backed by a strong editorial team in Stern and then Budiansky. 2. #165-175 (Claremont/Smith) - Smith's short run is like a rush of blood to the head. The long-running Brood storyline is finally wrapped up, Madelyne Pryor is introduced, then we're off to the sewers of New York, Rogue shows up and the X-Men head to Japan, we get an amazingly choreographed fight sequence by Smith and then the Mastermind subplot comes to a head in the anniversary issue.
3. #94-108 (Claremont/Cockrum) - The series really gets going with the death of Thunderbird and then the Sentinel storyline. There are some oddities here, like the Leprechaun's, Eric The Red and Lilandra's introduction.4. #144-164 (Claremont/Cockrum and Co.) - I always wish we had more Brent Anderson here and less Cockrum, as Cockrum felt like going backwards. Starting with a "Dark Storm" storyline didn't really help matters. The extended space storyline seemed to drag on forever, so I was glad to get a breather in the middle of it with a series of single issue stories and there were some good ones here, like the Belasco issue and the Dracula issue, illustrated by Anderson and Sienkiewicz respectively.After #176 I only dipped in infrequently when a quality artist appeared for an issue or two, like Windsor-Smith or Alan Davis. I jumped in again for the Jim Lee run and what turned out to be Claremont's swansong, where he returned Magneto to villain status over in the sister series. It seemed like Claremont's final issues of Uncanny were all about wrapping up long-running subplots.
Mar 15 17 1:37 PM
176-219 Still my favorite stretch of mainstream superhero comics, with an emphasis on the characters as people rather than as traditional superheroes. Claremont hits his peak here, with the contemporaneous New Mutants and Classic X-Men stories equally good. A peek at the Secret Wars II omnibus shows how far above his mainstream peers Claremont was during this time.
166-175 The Paul Smith run is gorgeous, and the basic framework of the future JRJr run really starts here.
220-255 The Silvestri run has a lot of energy, with a unique vibe that really set the book apart from the rest of the spinner rack. Special mentions for Fall of the Mutants and the first Genosha storyline, although Inferno is a drag.
144-165 The book hits a lull in the immediate aftermath of Byrne's departure, but recovers circa 150 and quickly becomes a series about a weird surrogate family. Some great done-in-one issues during this period, with a special shout out to 159.
256-277 Things start falling apart around this time. Gambit signals an arc back toward familiar comic tropes (people in costume for no apparent reason) even as Claremont completes his deconstruction cycle (the team book without a team). Some of the stuff with Wolverine and Psylocke is good, but things are definitely winding down.
108-143 Solid traditional superhero comics. Unfortunately, those don't interest me much, so it's lower on my list. But there's nothing really wrong here, if you like vintage Avengers etc this is probably a great entry point.
94-107 Claremont is still finding his feet, although I have a soft spot for the Sentinel story. Some weird stuff in here with Black Tom etc. Not bad, but it gets much better.
Mar 15 17 1:57 PM
Mar 15 17 3:06 PM
Snappleshacks wrote: A peek at the Secret Wars II omnibus shows how far above his mainstream peers Claremont was during this time.
A peek at the Secret Wars II omnibus shows how far above his mainstream peers Claremont was during this time.
Mar 15 17 3:20 PM
deejayway wrote:'All of which were much better than Uncanny X-Men, never mind the New Mutants'
Sheesh, he's already said its a subjective view. So is yours. Talk about ad nauseum, do you have to constantly try to drag this thread down into a pointless debate about how your view represents some undeniable truth?
Do you ever quit? I mean above, in reply to Sami saying that his favourite era was 176-209 you immediately write 'Most of the stuff between 175-233 was bad to woeful; ill-conceived, convoluted, contrived, constipated....' If you were somehow engaging in a dialectic debate, that would be one thing, but you are just being unnecessarily antagonistic and annoying.
There is no single measure of 'better', or even 'convoluted' or 'contrived' in the world of Marvel comics. These are not objectively verifiable measures of assessment; they are your subjective views. If you recognised that, maybe your contributions could be more constructive than being so dismissive of other people's perspectives.
Mar 15 17 3:31 PM
deejayway wrote: But what was contemporaneous? I have no idea as I don't have the omnibus and would never...ever...consider getting it or reading it again
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