X-Men: X-Tinction Agenda

X-Men: X-Tinction Agenda

by Chris Claremont

SC, TPB, in cello, New, Story by Chris Claremont and Louise Simonson. Art by Jim Lee and Rob Liefeld. Cover by Jim Lee. Published in June of 2000, Cover price $19.95.

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And that's only when I decided to come back to the oldies, starting with the short-lived nineties run X-Men and then further back to The Uncanny X-Men with a standalone like issue #200, The Trial of Magneto and stories such as Legion Quest and this one called The X-Tinction Agenda. "If the mutants aren't free, then maybe what you've built in Genosha isn't worth saving." The X-Tinction Agenda was brought to my attention by a brief 21-minute documentary from YouTube about key storylines from the Claremont era whose events were considered vital even to this day because whatever happened in them has continued to play an important role in the subsequent stories after. This one has 322 pages because it also included four additional issues (#235-238) which effectively contextualized what will come to pass by the time the X-Tinction Agenda story arc hits. This arc ran for nine issues and were divided equally among three titles: Claremont's The Uncanny X-Men, and Louise Simonson's X-Factor and New Mutants run. It was Claremont who decisively sealed this allegory once he started to write for the X-Men, going as far as writing a rather straightforward story about that chilling comparison in God Loves, Man Kills which I reviewed nearly two months ago. Nevertheless, it's what makes Claremont's X-Men stories so exciting, dramatic and naturally sympathetic; by contextualizing real-life struggles that people have witnessed themselves or grew up with back in that time period, Claremont was both socially aware and smart enough to create stories from those experiences which require him to explore certain aspects about the X-Men as characters in the context of the fact that in the Marvelverse, mutants are considered a minority group, heavily discriminated against and are oppressed and exploited by human opportunists for both profit and propaganda. It's a dystopic nightmare come to life as portrayed in a superhero genre story, and Claremont as a writer truly excels in rendering such haunting pieces that aim to expose human beings' capacity for cruelty, lunacy, and brutality all for the sake of their ridiculous sense of entitlement in the context of how they respond and treat the mutants as a separate species from them. In the other collected edition, these four issues were not included and I recommend that you buy the one that does have them instead because, although they are not a part of the actual X-Tinction Agenda arc, these ones give you a clearer and more vivid idea of how anti-mutant sentiments affect, destroy and advocate certain human beings' disgusting oppressive propaganda in Genosha--and why they must be stopped once and for all. RECOMMENDED: 8/10 The Uncanny X-Men #270-272, New Mutants #95-97, X-Factor issues #60-62 Personally, I enjoyed reading Claremont's contribution to this story arc the most, but Louise Simonson's issues from X-Factor and New Mutants are just as important but not as great as Claremont's. The X-Tinction Agenda picks up many issues after #235-238, and here is the latest summary for that, once again industriously copypasta-d by me: This is, I believe, the height of all the criminal negligence and overall terrible assholery committed by the Genoshan humans that the X-Men, together with the X-Factor and New Mutants, will no longer put up with, and rightfully so--especially when this goddamn villain Cameron Hodge was discovered to be behind all of this, and then he also abducts and experiments on Ororo Munroe, my beloved Storm. I've always wanted to read more Storm-centric stories and I think the X-Tinction Agenda was about her in a manner of speaking. RECOMMENDED: 7/10 With thirteen exciting issues collected, the X-Tinction Agenda is a memorable piece that belongs to the strongest run of the Chris Claremont era.

Covering Uncanny X-Men #270-272, X-Factor #60-62, and New Mutants #95-97, this event makes many big changes in the status quo for all three X Books. Previous mutant "crossover" events have had a two or maybe three issue sequence that brings characters and teams together. It also kicks off a new era in X-book history leading up to the launch of the second X-Men series and a complete changing of the guard in the writing department with the departures of Chris Claremont and Louise Simonson.

As for Cameron Hodge, genuinely terrifying in the few places where the art is good, he mostly looks like a constipated cyborg-scorpion-thingie.

The first time I read this I had a gap of about 90 issues in Uncanny and hardly any bearing on X-Factor or New Mutants excepting some mostly common knowledge. The other thing this does better than the crossover events prior is, although there are a few different stories feeding into the event, the different titles, characters, and plot threads all wrap together well. Also one of the more intuitive stories to the nature of the X-Men mythos: a country that uses mutants as slaves for the betterment of their nation. Though I recently saw Matt Fraction, the present Uncanny writer, say that Genosha just didn't work. In this recent continuity quest I saw some other Bogdanove art and it was actual kinda interesting. Jim Lee has his faults, but I tend to enjoy his X-Men stuff.

The artwork is somewhat consistent, but in X-Factor #60, the reader gets a Reagan-in-drag as the Genoshan President and a super-bulky Cyclops. But my main complaint is that Hodge -- the bad guy -- is so indestructible that it doesn't really matter what the X-Men/members of X-Factor/New Mutants (another reminder of how much I hate Cable) do. Now, I do prefer more consistency to the artwork (and better quality, but the era was the era), but I understand that getting the story out in a short amount of time (as well as title contracts) required the workload be split up.

At the time, I was nieve enough to be taken in by the forced drama, new enough to comics to think that "earth-shattering" plots actually had some long term effect on the characters and the world.

This book made me remember everything I loved about the X-universe. I loved it.

He also wrote a few issues of the series WildC.A.T.s (volume 1, issues #10-13) at Image Comics, which introduced his creator-owned character, Huntsman.