Every so often, an X-Men run ends up redefining a core aspect of Marvel’s mighty mutants. Both the Utopia and Krakoa eras explored the idea of all mutantkind living as a singular nation. Grant Morrison’s New X-Men explored mutants as a culture, while also adding new dimensions to the Weapon X program and the Phoenix Force. Rick Remender’s Uncanny X-Force deconstructed most of Marvel’s mutant antiheroes and features arguably some of the best Deadpool moments ever put to the page. With X-Men #26, Jed MacKay and Netho Diaz put their own unique spin on the Danger Room.
When Sheriff Paula Robbins, one of the few allies that the Alaska X-Men have, goes missing, Cyclops assembles a team of heavy hitters to find her. He also runs into dissension in the ranks, as Psylocke goes off on her own separate mission when her lover John Greycrow is hovering near death’s door. It turns out to be the worst time to split the party, as Cyclops and his team find themselves at the mercy of a new Danger Room that’s designed to kill mutants.
The issue is mostly a slow burn, meaning the new Danger Room doesn’t appear until the final pages. It also means that the Psylocke subplot is put on the back burner, which is a shame because it’s ripe with potential. I do give MacKay credit for continuing to build on the dynamic between Cyclops and Psylocke, which has been one of the better parts of this X-Men run. Though Kwannon is willing to stand by Scott, she doesn’t accept every order he gives. MacKay even follows up on the big O*N*E reveal from X-Men #25, continuing to paint the organization as one of mutantkind’s biggest foes.
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Diaz’s art has been growing on me, especially in the action sequences. The man knows how to draw a hell of an entrance scene, as a teleportation sequence featuring Cyclops, Magik, Juggernaut, and Beast is truly poster-worthy. Diaz’s artwork also crackles with energy thanks to Fer Sifuentes-Sijo’s color art. Whenever Magik draws her Soulsword, it carries a golden trail of fire behind it. Cyclops’ visor burns with crimson energy. Even the little things, like Greycrow running through the street or Psylocke slamming a tablet into Cyclops’ chest, carry plenty of weight.
Surprisingly, the best parts of X-Men #26 revolve around Glob Hermann. That’s a sentence I never thought I would say: on my list of “favorite X-Men” and “X-Men I’d like to see more of,” Glob does not rank highly. Yet the moments where he’s selling the produce he grows to humans are a sign of good character work, and proof that the X-Men’s mission to build bridges between man and mutant is still viable. It also makes the ending all the more shocking, and once again, here’s a sentence I never say: I need to know what happens to Glob Hermann.
X-Men #26 both launches a new story arc and a new take on the Danger Room, as the X-Men find themselves divided in more ways than one. The only question is: how deadly will this new Danger Room be?
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