Back on Track (Again)
This issue is much better than the middle section of the story, and one of the better issues in quite some time, despite the continual deus-ex-machina-like resolutions. It's nice that Stan Lee is a fan of classical theater, but their overuse has become trite, along with the "this is our most dangerous foe yet" dialogue that still hampers the story at times (especially Xavier's opening recap-lines, though, fortunately, it is not as prevalent as in the earlier issues). As nice as it was to have a resolution to the collapsing Sentinel two issues ago, having it be a giant crystal that just so happens to be dangling from a nearby building is a bit far-fetched, even for a series based on mutant teenagers. It's interesting to note that the opening pages of the issues no longer refer to the X-Men as the "most unusual teenagers of all time," as if the by-now years' worth of training has seen them move into their twenties (or, at least, adulthood). This maturity is seen in the diminishing hijinks (especially at the most inopportune times - though Hank still cracks wise at odd times), Scott's great line encouraging Bobby that he's a man and no longer just a silly kid, and their increasing functionality as a team. Their teamwork is shown well in their preempted escape from the gravity bubble, made even better by the absence of nonsensical attack pattern names ("Angel, attack plan D-33!" or some such nonsense they used to have that was thankfully dropped - except that this time Stan Lee takes the time to insert a wisecrack about the lack of rationality/science of the Sentinels' machines, totally disrupting the seriousness/reality of the situation!). It is also interesting that Bobby does not automatically de-ice when he loses consciousness - it's not a major point, just a small addition to his powers that is nice to know. Now it is Angel's turn to feel useless, with no super powers other than his wings - but again the team assures him of his usefulness as he helps them escape, working in tandem with Marvel Girl, who is likewise finally using her powers in skillful, advanced ways. Her ability to telekinetically work locks is a good development, even if the sudden appearance of a lock mechanism is suspicious. Trask's sacrifice was no big surprise and too long in developing, but it was a nice touch. Again Xavier has no problem mindwiping allies still in an effort to keep his association from the X-Men a secret - but since Washington already knows about it, his motivation is continually confusing in this area. The nice resolution is hampered by both Stan Lee's overt moralizing and the final "whose shadow is approaching the mansion?" panel - just let the story tell itself, Aesop. There is no need for suspenseful endings by now, either. This storyline (and its moral) will be a popular form for the X-Men over the years, perhaps most notably with Chris Claremont's God Loves, Man Kills in the early '80s. The Sentinels themselves, a great idea though flawed by lack of thorough planning, will become much better, sleeker opponents in the years ahead, as well.
