Review- MARVEL MASTERWORKS: THE X-MEN VOL. 6

MARVEL MASTERWORKS: THE X-MEN VOL. 6 (Marvel, First Printing, 2014; Softcover)

Collects The X-Men # 54-66 (cover dates March, 1969- March, 1970)

Writers: Roy Thomas, Arnold Drake (#54), Linda Fite (#57), and Denny O'Neil (#65)

Artists: Neal Adams, Don Heck, Werner Roth, and Sal Buscema with Inking by Tom Palmer, Vince Colletta, and Sam Grainger

How many times can one person buy the same material? Let us count the ways. My first exposure was the X-Men Visionaries: Neal Adams trade paperback. While the stories blew my mind, the unfaithful coloring made me ill. I dumped it to buy the first upgrade, which was...

Marvel Masterworks: The X-Men Vol. 6, a nice book marred by wretched glued mousetrap binding. The awful tight binding made the next dip more palatable.

The X-Men Omnibus Vol. 2 not only boasted sewn binding, but was remastered again, even over the Masterworks! Wow, where do I sign, or so I thought at the time.

I then bought this book, which boasted the state of the art restoration, albeit it in softcover. I've also dipped again with the second X-Men Epic, although that was to get the remaining issues I lost when I dumped the second Omnibus. Clear as mud?

In any case, this is top shelf stuff and is eclipsed only by the Claremont and Byrne run. I am done with all of these endless dips for this material. This version is nice enough. At least Marvel cares enough about their material to revisit it every time superior source material appears. DC does restoration once and leaves it, which is unfortunate since they never try to fix subpar restoration.

The OCD zone- This is the part where I go into tactile sensations and materials used in physical media. Those with heart conditions, high blood pressure, or women who are pregnant should exit my blog at their earliest convenience, as their safety cannot be guaranteed beyond this point.

I loved the softcover Masterworks line, as the books are wider than a standard trade paperback. Marvel since went the Epic route, but I would have been happy buying softcover Masterworks.

Linework and Color restoration: This is the same upgraded linework and color restoration found in the second Omnibus.

Paper stock: Matte coated stock. This is my favorite of all of the paper stocks, as it feels high end yet looks like a comic book.

Binding: Perfect bound.

Cardstock cover notes: Laminated cardstock cover.

Review- DEADMAN

DEADMAN (DC, First Printing, 2018; Softcover)

Collects Deadman #1-6 (cover dates January- May, 2018)

Writer, Artist, and Colorist: Neal Adams

After reading Batman: Odyssey maxi-series I had all but given up on Neal Adams. I picked up the first issue of this series and read it with my son. It was almost as confusing as Batman: Odyssey but had enough of a hook for us to pick up issue 2. I forgot to pick up the rest of the series until I saw this trade.

The optical illusion with the lion on the cover of the second issue is intact in this trade. Unfortunately the glow in the dark cover of #1 can't be replicated in the collected edition.

Adams tries to set the record straight for Deadman's origins. The original 1960s issues were admittedly confusing at times, with revisions and reveals one after another. Adams didn't write those original issues, so he was not to blame. The problem is things were already smoothed over and this is yet another set of revisions. Oh well, I can't keep DC's continuity straight anyhow so who cares.

The Hook, Nanda Parbat, Rama Kushna, and The League Of Assassins are all brought back front and center. Adams drags in The Phantom Stranger, The Spectre, Batman, The Demon, and Zatanna. Neal Adams draws an incredible version of Zatanna and I would be interested to see what he could do with a series for her.

While the writing in issue 1 was somewhat confusing it improved and was more readable until #5 and 6. That's when Adams' newfound tics of throwing everything against the wall to see what sticks started kicking into high gear. His dialogue wasn't as groan inducing as Batman: Odyssey...thank god. That book gave me a headache.

Adams' artwork has deteriorated. His panel composition and layouts remain great, but he insists on inking his own work and his clean lines have devolved into a chicken scratch mess. It's too bad that Adams retains such creative control. A strong editor could tighten up the dialogue a bit and pair him with a strong inker who would complement his style. Adams' coloring seems outdated, and I mean that in a bad way. He plays with Photoshop bells and whistles in a way that is reminiscent of colorists a dozen years ago. The tricks aren't new and they aren't convincing. Your mileage may vary.

The book ends on a nonsensical cliffhanger, promising a book two. So far not a single issue has been solicited. This was decent and entertaining enough for me to pick up the second trade if or when it is released.

Junk Food For Thought rating: 3.25 out of 5.

The OCD zone- This is the part where I go into tactile sensations and materials used in physical media. Those with heart conditions, high blood pressure, or women who are pregnant should exit my blog at their earliest convenience, as their safety cannot be guaranteed beyond this point.

Paper stock: Glossy coated stock.

Binding: Perfect bound trade paperback.

Cardstock cover notes: Laminated cardstock cover.

Review- TALES OF THE BATMAN: LEN WEIN

TALES OF THE BATMAN: LEN WEIN (DC, First Printing, 2014; Hardcover)

Collects Detective Comics #408, 444-448, 466, 478, 479, 500, 514, Batman #255, 307-310, 312-319, 321-324, 326, 327, World's Finest Comics #207, The Untold Legend Of Batman #1-3, DC Retroactive: Batman- The '70s #1, and a story from Batman: Black And White #5 (cover dates February, 1971- March, 2014)

Writer: Len Wein

Artists: Pencilers- Neal Adams, Dick Dillin, Jim Aparo*, Ernie Chua, Marshall Rogers, John Calnan, Irv Novick*, Walt Simonson*, Don Newton, Tom Mandrake*, and Victor Ibanez*; Inkers*- Dick Giordano, Joe Giella, Vince Colletta, Frank McLaughlin, Bob Smith, John Byrne, Frank Chiaramonte, and all artists denoted with an * above

Len Wein is one of the greatest writers of the '70s and early '80s and is responsible for so many long lasting characters. Wolverine, Swamp Thing, the X-Men as you know and love them? Wein had a hand in their creation. He has an understanding and deep love for the flagship characters as well. He sadly passed away last fall but his work will live on in the hearts and minds of comic fans everywhere.

The bulk of this book is from 1975-1980, which is prime Bronze Age material that I have never read before. Wein had the good fortune of being paired with some top notch talent like Neal Adams, Jim Aparo, etc. It's a shame how DC has allowed Neal Adams to destroy classic comics like Detective Comics #408, the same re-inked and recolored version found in the Batman By Neal Adams hardcovers and trades. The bastardized version of Batman #255 is included. It's a pity, because it is a fantastic story about Anthony Lupus, a man who is afflicted with Lycanthropy. He goes to see Professor Milo, a certifiable quack who brings his condition to the fore. It's probably one of the best comics of the '70s, completely ruined with the now totally outdated Photoshop and at the time modern computer recoloring from 15 years ago. This George Lucas Star Wars Special Edition thinking was well-intentioned but ultimately doesn't work.

The Jim Aparo issues are equally excellent, with Aparo being almost as good as Neal Adams. He may not have had the inventive panel layouts but his storytelling ability and sense of pacing were equally great.

Len Wein was great at keeping the continuity flowing. While each issue was a complete story there were enough dangling subplots to give returning readers something to look forward to month in and month out. There were very few writers who could successfully pull this trick off, and Wein was one of the best.

Detective Comics #478 is a sentimental favorite of mine. My mom bought it for me as a kid while we were on vacation in northern Michigan during the summer of 1978. It was some weird convenience store in the middle of nowhere that's probably long gone. I am guessing that the whole area is now populated with Starbucks and Walmarts, but back in the late 70s it was “up north” and rural.

Batman had some great Christmas stories. While nobody does Christmas issues anymore for fear of offending anyone, this was not the case back in 1978 when Batman #309 was released. Batman #310 is what really got me, though. I'm a sucker for the Gentleman Ghost, with my first exposure to the character on the SuperFriends cartoons back in the '70s as Gentleman Jim. I love how Wein paints Jim as a ghost but Batman isn't having it. Batman tries to come up with a rational explanation for how he pulls off his capers. Wein had a really good grasp on the character Two-Face. Batman #313 and 314 were among the better Two-Face stories that I've read.

Lucius Fox is featured throughout these issues. Fans of The Dark Knight trilogy will know him as the character that Morgan Freeman portrayed on the screen. Firebug is an interesting character who was motivated by the same kind of grief that Batman was. In his introduction in Batman #318 he wanted to burn down unsafe apartment buildings because those same slumlord apartment buildings killed his family. Wein humanized the villain, a rarity at the time.

We see the Gentleman Ghost return for a rematch and Batman #319. He's such a great villain. Sorry to gush, but I have been a sucker for him since the SuperFriends cartoons were a part of my Saturday mornings in the '70s. Batman #327 was another standout issue. Wein brought Professor Milo back, who was running Arkham Asylum in a somewhat offbeat Silver Age-flavored story.

The Untold Legend Of The Batman mini series was great. The first issue had art by the team of John Byrne and Jim Aparo, which was mindblowingly great. Among my favorites in the book was Detective Comics #514, a story about human nature and why it's best to sometimes leave people alone.

I'm sorry to ramble on and on about this book, but it was so great that I cannot help myself. While this package leaves something to be desired (please refer to The OCD zone below), you get 600+ pages of top notch Batman stories by a writer whose likes we will never be seen again.

Junk Food For Thought rating: 5 out of 5.

The OCD zone- This is the part where I go into tactile sensations and materials used in physical media. Those with heart conditions, high blood pressure, or women who are pregnant should exit my blog at their earliest convenience, as their safety cannot be guaranteed beyond this point.

Linework and Color restoration: This book is all over the place, from abysmal (the Marshall Rogers issues which were repurposed from his artist-centric hardcover), blasphemous (the Neal Adams “commissions”), to serviceable (much of the book). DC never revisits and remasters material when given an opportunity to do so, so unfortunately these lackluster restorations are it for the ages.

Original comic.

Restoration done for the 1999 BATMAN: STRANGE APPARITIONS trade paperback.

Restoration done for LEGENDS OF THE DARK KNIGHT: MARSHALL ROGERS hardcover which was used in this book as well.

DC often leaves a lot to be desired in terms of restoration. 

Paper stock: Bright white glossy coated stock. While this is better than the toilet paper they were passing off on folks, the light glare is too harsh for material with flat coloring. I find it best to read this stock in natural sunlight for minimal glare.

Binding: Perfect bound (read: glued). Glued binding on a supposedly high end hardcover is something of a joke. As far as glued bindings go, this one isn't too bad, especially with a page count of over 600 pages. It lays reasonably flat for much of the book.

Dustjacket and Hardback cover notes: Laminated dustjacket with the same cheap boards and chintzy casewrap that DC has been passing off on folks for years.

Review- BATMAN: ODYSSEY

BATMAN: ODYSSEY (DC, First Printing, 2012; Hardcover)

Collects Batman: Odyssey #1-6 and Batman: Odyssey Vol. 2 #1-7 (cover dates September, 2010- June, 2012)

Writer and Artist: Neal Adams

Inkers: Michael Golden, Scott Williams, Bill Sienkiewicz, Paul Neary, Josh Adams, and Kevin Nowlan

Colorists: Continuity Studios, Ginger Karalexas, Cory Adams, Moose Baumann, and Guy Major

Before I begin, let me state that I love Neal Adams. The man is a genius whose panel composition and sense of movement and flow helped redefine comics and set the stage for the Bronze Age of comics. In the 60s and 70s he crafted some of the most memorable Batman stories of all time, restoring him to his Golden Age glory.

The idea of Neal Adams returning to the character for a 13 issue mini-series sounds great on paper. The general consensus on the internet was that this was a batshit crazy story and best avoided. So I did avoid it. For years. Still, I always wondered what it was all about.

One day I decided to finally plunk down and buy this book. The only thing that I can say after reading it is that it is apparent how much pull Neal Adams has at DC to this day. His writing is batshit insane, with this “odyssey” going from flashback sequences to the beginning of the character to Batman breaking into Arkham Asylum to Batman teaming up with subterranean caveman and dinosaur people versions of him and Robin while riding flying dinosaurs, all in one of the most convoluted, nonsensical stories I've ever read.

I'm not being the slightest bit hyperbolic here, folks. This is tough to follow. The story shifts gears so many times that it becomes difficult to make heads or tails of what is supposed to be going on. A strong editor is needed to reign in a few of these convoluted plot twists as well as to streamline the dialogue. Nobody wants to step on Adams' toes due to his legendary status, but if they really loved and respected his work they would give it to him straight: This can be hard to follow.

In terms of artwork, Adams can still do brilliant panel composition. His sense of movement and story flow are still in check. The coloring is at times overly rendered and heavy handed with digital gimmicks. This and the inconsistency of the inking coupled with an overly written, difficult to follow story sink this book. It breaks my heart to write this, but it's not very good. I wish that it were. I love Neal Adams. This book doesn't change that, but I wish that it were better.

Junk Food For Thought rating: 2 out of 5.

The OCD zone- This is the part where I go into tactile sensations and materials of physical media. Those with heart conditions, high blood pressure, or women who are pregnant should exit my blog at their earliest convenience, as their safety cannot be guaranteed beyond this point.

Paper stock: Glossy coated stock.

Binding: Perfect bound (read: glued).

Dustjacket and Hardback cover notes: Glossy laminated dustjacket. The same cheap hardback boards with the same chintzy casewrap that DC has been passing off on folks for years.

Review- DC BLUE RIBBON DIGEST #23: GREEN ARROW

DC BLUE RIBBON DIGEST #23: GREEN ARROW (DC, cover date July, 1982)

Collects selections from Action Comics #428, Adventure Comics #250, 252, 253, The Brave And The Bold #85, DC Super Stars #17, Green Lantern #87, and World's Finest Comics #98, 102, and 113 (cover dates July, 1958- December, 1977)

Writers: Mike Barr, Ed Herron, Dave Wood, Bob Haney, Denny O'Neil, Eliot S. Maggin,

Artists: Jim Aparo (cover), Dan Spiegle, Jack Kirby, Lee Elias, Neal Adams, Mike Grell (Penciler), Bruce Patterson (Inker), and Dick Giordano

I have seen these digest sized books floating around comic shops for years but never bothered looking at them. Designed to compete with Archie's highly successful reprints displayed at checkout registers for maximum impulse buy, these low cost reprints hung around for a several years before folding. 96 pages (excluding covers) for 95 cents was a bargain at a time when a new comic with 22 pages of stories went for 60 cents. I remember Marvel also trying these out, albeit a few years later. I remember buying the G.I. Joe, Transformers, and Amazing Spider-Man reprints in the mid-80s. This format never caught on for whatever reason.

This was part of a birthday present from my homeskillet Mike Hansen. He has been collecting these books, and with good reason. Given DC's lack of focus with their collected editions department the books in this series are likely the only chance that a lot of this material will ever be reprinted in color. This particular book also has seven pages of framing sequence between stories by Mike Barr and Dan Spiegle which are unique to this book. Green Arrow and Black Canary are basically sitting around going through his scrapbooks and these reprinted stories are supposed to be reminisces of past exploits.

As far as story selections go you can't go wrong with this assemblage of who's who of Green Arrow artists: Jack Kirby, Neal Adams, and Mike Grell are Green Arrow royalty. The 1950s stories are fun, although Green Arrows Of The World from Adventure Comics #250 is pure crap, the type of garbage that I associated with DC as a kid. The cheesiness of it. How there are supposed to be different Green Arrows all over the world, all with their own dress and dialect based on territory. It's a horrible story saved by the Jack Kirby artwork.

That story's suckiness is completely washed away by the Neal Adams and Mike Grell tales, which are fantastic. I own the Neal Adams stuff in the old slipcased Green Lantern/Green Arrow hardcover so those stories are rereads, but I could read that stuff a hundred times and it would hold up. The stories in this book are all great (except for one) and I enjoyed this in spite of the fact that scattershot collections usually only annoy me. Thanks again for the cool birthday present, Mike!

Junk Food For Thought rating: 4.75 out of 5.

The OCD zone- As stated above, this is a digest sized book. If you buy them off of eBay don't be surprised that it so little.

Linework and Color restoration: Ben Day dots, line bleed, and off register printing, as well as some blurry spots. The “artistic intention of Ben Day dots” cult can kiss my ass. The printing in this book looks like crap.

Paper stock: Cheap pulp paper of the day, yellowed and browning due to exposure to air and elements. It smells fantastic, though.

Binding: Perfect bound trade paperback. The glue is remarkably intact, which gives me hope for the future of my books.

Cardstock cover notes: The type of coating found in books of this era is prone to wear over time. My copy has a fair amount of cover and spine wear as well as the soiling found on comics not stored in bags. 

Review- THE X-MEN OMNIBUS VOL. 2

THE X-MEN OMNIBUS VOL. 2 (Marvel, 2011; Hardcover)

Collects X-Men Nos. 32-66, The Avengers No. 53, the Angel stories from Ka-Zar Nos. 2, 3, Marvel Tales No. 30, and the Echhs-Men spoofs from Not Brand Echh Nos. 4, 8 (cover dates May, 1967- April, 1971)

Writers: Roy Thomas, Gary Friedrich (#44-47, Not Brand Echh #8), Arnold Drake (#47-54), Linda Fite (#57), Denny O' Neil (#65), and Jerry Siegel (Ka-Zar #2, 3 and Marvel Tales #30)

Artists: Pencilers- Werner Roth (#32, 33, 35, 38-57), Don Heck (#38-42, 45-49, 52, 54, 55, 64), Neal Adams (#56-63, 65), Dan Adkins (#34), Ross Andru (#36, 37), George Tuska (#43-46, Ka-Zar #2, 3 and Marvel Tales #30), Jim Steranko (#50, 51), Barry Windsor-Smith (#53), Sal Buscema (#66), Tom Sutton, and John Buscema ( The Avengers #53); Inkers- John Tartaglione, Dan Adkins, George Roussos, Don Heck, John Verpooten, Vince Colletta, George Tuska, Dick Ayers, Herb Trimpe, Mike Esposito, Tom Sutton, Sam Grainger, and Tom Palmer (#56-65)

It may seem hard for modern fans to believe, but The X-Men were a bunch of also-rans back in the 1960s. No matter who worked on the title, it seemed like no one put a lot of effort into it. These were just in between other assignment jobs to most. Sure, Roy Thomas did some occasionally clever stuff, but it really wasn't until Issue 50 that this title was a serious contender. That iconic logo that adorned the cover for decades was created by Jim Steranko, who stepped in for a mere two issues and seemed to jump start things.

Jean calls Warren Scott, and no one even cares. Not Roy who wrote it nor whoever lettered it. 

That's not to say that every issue prior to #50 sucked. Werner Roth did some fine artwork, sure, but much of this stuff was just sort of there. Even Roy Thomas was hit or miss. I am a fan of his work, but he didn't seem to give this book as much care as he did The Avengers. Only when he was able to make them identifiable to teenagers of the day was he able to make it work. The whole outsiders, us versus them, establishment versus the new generation zeitgeist bit was when the title hit it's stride. I found in interesting that the term Cybertron was used repeatedly in #48. Computo's cyrbernetic servants were called Cybertrons. This obviously predates Transformers by 15 years.

Now THAT is some villain dialogue right there. 

Once Neal Adams came on board this title became the best that Marvel was publishing at the time. Indeed, the Thomas/Adams era of this title ranks right up there with the Claremont/Byrne run. Like them, Thomas pushed Adams who pushed Thomas to write more intelligently. In short, issues #56-63 and 65 are art of the highest order. Read those issues and then read anything that Marvel is doing today and try telling me that their comic books are better now. They're not.

If you are an aspiring comic book artist then Neal Adams should be your god. Adams' artwork is kinetic and actually seems to thrust from panel to panel and off of the page. Paired with inker Tom Palmer, Adams was an unstoppable force of nature. His panel layouts and composition were groundbreaking. What makes his work even more impressive to me is that he wasn't doing this to option a television or movie deal, nor was he trying to do “iconic” images to license on t-shirts or whatnot. He simply made art. If there were a Mount Rushmore of the all time greatest comic book artists then Adams would be on it. Photo realistic comic book art should never be considered out of style.

Thomas and Adams went from strength to strength, trying to top themselves with each and every issue. The twist endings and subplots take your breath away. These comics move at such a brisk clip that I was left begging for more, not screaming for mercy. These guys are still alive and it would be great if they could do more X-Men stories together. A guy can dream, right?

Neal Adams rules!

My favorite issues were the ones with the Sentinels. While it was Lee and Kirby who introduced them, it was Thomas and Adams who ushered in the growing anti-mutant hysteria that Chris Claremont would build upon in the '70s and '80s to great effect. Sauron was another fantastic introduction. I'm going to level with you. I could sit here and gush endlessly about Roy Thomas and Neal Adams' X-Men, it is that good. I weep for the children who have never read this stuff and accept what now passes as the X-Men.

The Angel back-up stories from Ka-Zar and Marvel Tales were written by Superman co-creator Jerry Siegel. It makes me sad to think how poorly some of the legends were treated in their later years. I mean, you gave the world Superman and the best assignment you could give him were Angel back-up stories? Cripes. The more things change...

Many fans hold Not Brand Echh in almost mythical regard. I am not among those fans, as I find it to be unreadable. The only thing that I found enjoyable was Roy Thomas' Doom Patrol slam. You see, the Doom Patrol were led by a guy in a wheelchair and debuted at roughly the same time as The X-Men. It is standard Internet operating procedure for Marvel and DC fans to argue about who ripped off whom. I'm going to go out on a limb and just say that The X-Men were stolen from the 1953 science-fiction novel Children Of The Atom. Google it and decide for yourself. This renders The X-Men versus Doom Patrol argument moot.

I enjoyed the Mutant Mailbox letter pages which were included for each issue, especially seeing letters from future Marvel creators Tony Isabella, Mark Gruenwald, and Doug Moench.

This was an uneven read. It was admittedly tough slogging through some of these issues on the reread. If I ever revisit this material it will strictly be the Steranko and Thomas/Adams issues. The rest of these are of historical significance and are recommended for completists only.

Please note that the rating below is an average. Some of the earlier issues in the book were abysmal and dragged the average down.

Junk Food For Thought rating: 3.75 out of 5.

The OCD zone- Marvel Omnibus hardcovers make my heart swoon. Think of them as Blu-Ray boxsets, primed and ready for binge consumption. At 912 pages this should keep even the most voracious reader occupied for a while.

DVD-style Extras included in this book:

Roy Thomas' introduction from Marvel Masterworks: The X-Men Vol. 4. (2 pages)

Roy Thomas' introduction from Marvel Masterworks: The X-Men Vol. 5. (2 pages)

Roy Thomas' introduction from Marvel Masterworks: The X-Men Vol. 6. (2 pages)

Gil Kane's Comics Code Authority rejected cover for The X-Men #33. (1 page)

The X-Men #33 unused cover by Werner Roth. (1 page)

The X-Men #38 unused cover by George Tuska. (1 page)

Unused page from an aborted storyline originally slated for The X-Men #49. (1 page)

Three new pages of story created for the reprint of The X-Men #45 originally published as pages 2-4 in Marvel Triple Action #45. (3 pages)

The X-Men #56 unused cover by Neal Adams & Tom Palmer. (1 page)

The X-Men #62, page 6 original art by Neal Adams & Tom Palmer. (1 page)

Neal Adams & Tom Palmer color guides for The X-Men #62, the entire issue presented as thumbnails, four per page. (5 pages)

Original art for The X-Men #64 by Don Heck and Tom Palmer for pages 2, 9, 10, 12-20, presented as thumbnails, four per page. (3 pages)

Wraparound covers for the reprint series X-Men Classics #1-3 and X-Men Visionaries: Neal Adams TPB cover from 2000. (2 pages)

All-new recap pages for X-Men Classics #1-3 by Mike Zeck and Tom Palmer. (3 pages)

Linework and Color restoration rating: 5 out of 5. God bless the Cory Sedlmeier pilgrimage to the Sparta warehouse several years ago. It yielded a treasure trove of pristine elements which resulted in the “Blu-Ray” edition of this material. Don't believe me? Pull out the 2004-2006 version of the Masterworks and compare them to this. Masterworks are scanned at 600dpi because when things are printed they are down-sampled to 600dpi anyhow. The old ones were scanned at 300dpi and used inferior sources. I had the old Marvel Masterworks of this material but sold them prior to buying this book to get the upgraded linework and color restoration, which are now also available in the more affordable softcovers. The original hardcover printing of Vol. 6 from 2006 was pretty good; it was the glued mousetrap binding that killed that book for me.

Paper rating: 5 out of 5. Oh how I miss the beautiful thick coated stock with a slight sheen that Marvel once used on their Omniboo.

Binding rating: 5 out of 5. Smyth sewn binding, 8 stitches per signature. The book lays flat from the first page to the last as Godzilla intended.

While this book is out of print, you can buy the same material with the same restoration in the following books at InStockTrades!

Marvel Masterworks: The X-Men Vol. 4 TP

Marvel Masterworks: The X-Men Vol. 4 TP Variant edition

Marvel Masterworks: The X-Men Vol. 5 TP

Marvel Masterworks: The X-Men Vol. 5 TP Variant edition

Marvel Masterworks: The X-Men Vol. 6 TP

Marvel Masterworks: The X-Men Vol. 6 TP Variant edition

Also available in black and white in the following books:

Essential Classic X-Men Vol. 2 TP

Essential Classic X-Men Vol. 2 TP New Edition

Essential Classic X-Men Vol. 3 TP