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Jean, I know busting through walls is an X-Factor thing, but some walls are there for a reason. (X-Factor #43)
The Kirbiest of Kirby designs! (X-Factor #43)
Throwing this one in for scale. Celestials are big. (X-Factor #43)
A Stupid Way to Die: The Scott Summers Story. (X-Factor #43)
Aw, man. Monster babies are the best babies. (X-Factor #44)
Seems like a fair trade. (X-Factor #44)
Damn, but that’s satisfying. Not quite punching-a-pterosaur satisfying, but still not half bad. (X-Factor #45)
Of Jean’s three personalities, Maddy is the only one familiar with how hairbrushes work. (X-Factor #46)
NEXT EPISODE: The Cross-Time Caper begins!
It was interesting to hear your thoughts on the art, because it was these issues that made me realise Paul Smith’s debt to Gil Kane. In comics influence often is visible in terms of surface, an adoption of the surface mannerisms of the artist you admire. In Smith’s case his elegant and individual finish meant I didn’t see how much Kane was in his design, composition and anatomy, until I saw him inked in a more conventional fashion by Milgrom.
Also, I liked the nod to Kreed, the quarto assassin from Nexus, in panel 4, page 14 of #43. Okay, he’s short a couple of arms, but this is so much the sa e guy Smith had drawn a year before in Nexus #44.
I love that series of panels that shows Marvel Girl switching between her 3 personas while hugging Cyclops. It’s creepy awesome.