X-MEN: GRAND DESIGN VOLUME 2

Cartoonist: Ed Piskor | Editor: Chris Robinson
X-Men Group Editor: Jordan D. White | Editor-in-Chief: C.B. Cebulski
And a bunch of other stupid credits I don't want to type out, because Marvel likes to credit every executive who took so much as a single sideways glance at every comic they publish.

I had fairly high hopes for the first X-MEN: GRAND DESIGN volume, in spite of some reservations regarding Ed Piskor's artwork. And while I didn't love some of the liberties it took with the X-Men's established history, it wasn't an awful read and, and it left me interested, if nothing else, to see what Piskor would do in the subsequent book, which would cover my personal favorite X-Men era -- and my all-time favorite comic book run -- the Chris Claremont/Dave Cockrum/John Byrne/Paul Smith era on UNCANNY X-MEN.

Unfortunately, what goodwill Piskor had gained from his first installment is squandered by this one.

The two issues contained in this book cover the entire Claremont/Cockrum/Byrne/Smith run mentioned above, opening with the events of GIANT-SIZE X-MEN #1 and concluding shortly after the "From the Ashes" storyline. Issue 3 opens with the X-Mansion deserted. We're told it's been this way for months, and the implication is that the X-Men have been trapped on the sentient island of Krakoa for that entire time -- which seems a bit odd; the story in GIANT-SIZE X-MEN #1 has always read to me as a very compressed timeline, with the X-Men missing for a few days or a week, tops.

At any rate, Piskor uses this absence to allow the Hellfire Club to bug the mansion, erasing from his retelling the story in which the club sends their operative, Warhawk, to do the job in X-MEN #110. Again, as I mentioned once or twice last week, I like some aspects of Piskor's work in this series. Here, he sets up the Hellfire Club as the main antagonists of this entire era, presenting them early on as a shadowy cabal spying on the X-Men. This is the sort of thing I feel a retelling of this sort should do -- set up an overarching plot where originally none existed, or where one was later retroactively established, as would be the case with the Hellfire Club's involvement in both the Warhawk episode and the attack of the Sentinels in issue 98.

X-MEN: GRAND DESIGN VOLUME 1

Cartoonist: Ed Piskor | Editor: Chris Robinson
X-Men Group Editor: Jordan D. White | Editor-in-Chief: C.B. Cebulski
And a bunch of other stupid credits I don't want to type out, because Marvel likes to credit every executive who took so much as a single sideways glance at every comic they publish.

I picked up X-MEN: GRAND DESIGN solely for its premise. It's been quite a while since I bought a comic with artwork that doesn't appeal to me solely for the story, but this series' conceit was too fascinating to pass up: a condensed retelling of the X-Men's long and convoluted history, written as if everything had been planned out in advance. So I bought the first two volumes in various Comixology sales last year.

Now, I wasn't expecting auteur Ed Piskor to truly cram every bit of X-lore into his retelling; to do so would be an undertaking of insane proportions. So I figured there would be some streamlining here and there. What I didn't expect, however, was for the story to be some sort of parallel universe X-history, explicitly removing and/or changing bits of backstory in the service of Piskor's narrative. But sadly, that's what we have here.

The first issue (comprising the first half of volume 1), covers Charles Xavier's childhood and early years, and follows him as he meets a number of mutants and recruits his original team of X-Men. We see Xavier's interactions with his stepbrother, Cain Marko, and Marko's presumed death in the temple of Cyttorak during the Korean War. We see Xavier's travels in Cairo, during which he comes across young Ororo Monroe, as well as his time in Isreal with Gabrielle Haller and a young man called Magnus (whose own history as Holocaust survivor is told alongside Xavier's).

Unfortunately, this is where Piskor's changes begin to pop up. We're told that Xavier lost the use of his legs when the Cyttorak temple collapsed, rather than in battle with the alien warlord, Lucifer. In theory, removing Lucifer from Professor X's backstory is fine; however the result finds Xavier in a wheelchair during his time in Isreal, which was not the case originally. It's a little thing, but little continuity glitches are often the most likely to irritate me because there's no real reason to get them wrong.