Broken Frontier

The horrible amalgamation of Professor X and Magneto has returned! After you ask why, be afraid, be very afraid.

The mid-nineties were a strange time in the comic book industry. Marvel in particular was always doing some off-the-wall thing to sell more books, not the least of which was the creation of Onslaught. This character’s story starts as far back as the introduction of Bishop in Uncanny X-Men. I would go into detail here, but the story is long and elaborate and my colleague, Fletch Adams, covers it pretty well over in the Lowdown section. It is enough to say that Onslaught was a strong and evil opponent to not only the X-Men, but to ALL of Marvel’s heroes. He would have killed them all too, if it hadn’t been for the actions of one mutant—Franklin Richards.

Now, ten years later, and thanks to Wanda Maximoff’s infamous words: "No more mutants," Onslaught has returned. First, let’s examine this from a strictly pragmatic standpoint. Did the X-Men need this right now? Was there a great cry for the return of Onslaught? Does Marvel need another "epic" story out there? Where will this fit in continuity? Will it? Do fans even want it or can they afford it? (Look on the message board for answers.) I’m not saying the Onslaught storyline originally was bad. It was quite the opposite. It took all the great things about shared universe comics and made a truly noteworthy story with actual ramifications, albeit temporary, throughout all Marvel Comics. I loved it. But it’s over and seeing Onslaught return with vengeance for young Richards in mind . . . I can’t stop asking "Why?"

Though a noble effort is put into the writing of this book, a story about a character few (as best as I can tell) cared to see again wouldn’t go over even if written by Shakespeare. And Jeph Loeb, though a talented, enviable writer, is no William Shakespeare. Franklin Richards is annoying. Perhaps this is more a result of the mixture of the words with the art than just the words alone. The boy looks to be in his pre-pubescent years, but still uses the word "unca" in place of "uncle," and barring any hearing impairments, Franklin Richards doesn’t need to be using baby talk anymore. Onslaught is an evil entity we can all hate without any sympathy, which is good to occasionally have around to mess things up. But does the good of Loeb’s writing an unneeded story make it worth the $2.99x5 price?

You be the judge . . . after we examine the art. Rob Liefeld. What do I say about him that hasn’t already been said—both positive and negative? I’m not a detractor. His kinetic style and disregard for any sort of anatomical laws is, if not widely appreciated, fun. The characters pop off the page with such unrealistic flair, you can say a lot about his work, but you cannot ignore it. There is a certain . . . style to what he does, like Oscar Wilde’s writing or Jackson Pollock’s art. Though it isn’t for everyone, it is bold. But is it flashy enough to make me put the comic down, screaming for more. Can it carry a book so clearly, woefully, and totally unnecessary?

Unfortunately, no. Together, Loeb and Liefeld are respected professionals who have lent their talents to a bevy of amazing books. Sadly, Onslaught Reborn is not one of them.