New X-Men Omnibus Hardcover Author: Visit Amazon's Grant Morrison Page | Language: English | ISBN:
0785165053 | Format: PDF, EPUB
New X-Men Omnibus Free PDF
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- Series: New X-Men
- Hardcover: 1120 pages
- Publisher: Marvel (August 15, 2012)
- Language: English
- ISBN-10: 0785165053
- ISBN-13: 978-0785165057
- Product Dimensions: 11.2 x 7.7 x 2.3 inches
- Shipping Weight: 7.4 pounds (View shipping rates and policies)
This is a short and concise review just to compare the new edition of the New X-Men Omnibus with the original one. I will not delve into the quality of the story and art, as you can find plenty of great and useful reviews about it in this same webpage and all around the Internet.
- Both editions include exactly the same issues: New X-Men #114 to 154 and the New X-Men Annual 2001, all written by Grant Morrison and illustrated by a wide array of artists, including Frank Quitely, Phil Jiménez, Chris Bachalo and Marc Silvestri among others.
- The main difference between the two editions is that this new 2012 edition features a SEWN-BINDING that allows a much more comfortable and better reading: the art can be fully appreciated this way as there is no gutter loss. The old edition has a glued-binding which is in every way inferior, making the reading more difficult as it doesn't lie flat when opened and has significant gutter loss in spread pages. So this is a dramatical improvement regarding the original edition.
- On a somewhat negative aspect, the paper stock of this new edition is of a lighter weight than the previous one. But don't worry, this is high-quality paper stock and the printing is excellent. I would rate the old paper stock as 5 stars and the new one as 4 and 1/2 stars.
- This new edition features a few more pages of extras, it's not an essential difference, as the old edition has its nice share of extras too, but it's good to see some more sketches and Morrison's script for New X-Men #121 (the "silent" issue).
- The dustjacket features a different cover by Frank Quitely, the same artist of the previous one. But the art of the original dustjacket is also showcased inside of the book.
A problem that has always plagued superhero comics is that of stasis. Marvel's core business is not comics; it's maintaining a stable of properties that can be turned into movies and toys. These properties have to stay recognizable. So if a writer dares to allow characters to grow, to overcome their problems -- the hard-luck college guy ends a string of bad relationships and is happily married, the android develops human emotion, the villain goes straight, a character dies a noble death -- someone else gets brought in and it's "back to basics!" Divorce the wife! Wipe the robot's memory! Make the reformed guy go bad again! Resurrect the dead girl!
Morrison knew this, but didn't care: "Whatever happened before, whatever happens after, I'm writing a BOOK." His entire run, though divided into arcs, is one long story, with a beginning, a middle, and a beautiful Joycean ending. Bits foreshadowing the twists of his thirty-second issue are sprinkled into his fourth... many comics writers slip portentious pages of shadowy figures up to mysterious doings into their stories, but New X-Men offered the delicious pleasure of discovering clues that in retrospect could not be more obvious but at the time didn't even look like clues.
And this isn't form without content. Morrison approached the X-Men from the following angle: "Hey, for the first time in forty years, let's actually use the premise!" No longer is the mutant idea just there as a hook for children's adventure stories (Stan Lee) or teenage melodrama (Chris Claremont); Morrison, arguing that there's no need for the mutant idea to be allegorical to be interesting or relevant, took the idea of a new species beginning to supplant humankind and wrote a science fiction epic around it.
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