Review # 169: "X-Factor Visionaries by Peter David"

You could make a case for Peter David's original time on "X-Factor" as the best X-family creative run of the entire 1990s. Its peaks likely weren't as high as the best the main "X-Men" line had to offer at points, but it makes up for it by being of consistent good quality.

Review # 168: "X-Men - Inferno Prologue"

Interesting technique being employed by Marvel with this omnibus, as "X-Men: Inferno Prologue" collects all material from "Uncanny X-Men," "New Mutants" and "X-Factor" between the crossovers "Fall of the Mutants" and "Inferno." If this is their model going forward - collecting the "big three" of the 80s in single collections - then I am all for it. Better to keep all of the setpieces in one place, even if it does create some unevenness in terms of quality.

Giant Size Review # 4: 90s X-Men ("Bishop's Crossing," "X-Cutioner's Song" and more)

I've gone on record before about how I'm not the biggest fan in the world of the writing during the Nicieza-Harras-Lobdell (NHL) era of the X-Men. While they had their flashes of brilliance, most of their work is far too wordy, is shallow (disguised as deep) and compromises a lot of the action on-page.

Review # 150: "X-Men by Chris Claremont and Jim Lee Omnibus Vol. 2"

The second "X-Men by Chris Claremont and Jim Lee" omnibus is a piece of history as it redefines the series and sets it on the path to its greatest era of commercial success. Most of what happens here is an extended, gradual reset as Professor X, Cyclops, Jean Grey, Beast, Iceman and Archangel are brought back into the fold and the team returns to the X-Mansion.

Review # 145: "X-Men - X-Tinction Agenda"

Welcome to the 90s, X-Men.

Review # 135: "X-Men: Fall of the Mutants"

Regarded as the second major X-Men crossover, "Fall of the Mutants" takes a much better approach for its titles at the time than what had been done in its predecessor "Mutant Massacre." In essence, it's not a crossover at all - each series was slated to go through a significant change at exactly the same time under the same banner headline. This allowed the creators to do whatever they wanted and fail or succeed on their own merits.

Review # 132: "X-Men: Mutant Massacre"

"Mutant Massacre" made X-Men history by being the first crossover between three X-family titles and is regarded by many as one of the greatest X-Men stories of all time. But while it has its share of memorable moments, I really can't say I agree.

Review # 130: "X-Men - Days of Future Past"

"Days of Future Past" is one of the greatest X-Men stories ever. The concept of a time-traveler from a bleak future venturing to the past was a fresh idea at the time, as beaten into the ground as it's become now. Still, there's a reason why pop culture keeps going back to it: when done correctly, it works. Look no further than the X-Men film based on this very title.

Review # 115: "The Mighty Thor by Walter Simonson Vol. 4"

Why is Walt Simonson the greatest writer in the history of "Thor?" Easy: he took a story about turning Thor into a frog, and made it a compelling drama.

Review # 104: "Madrox: Multiple Choice"

After bidding farewell to X-Factor Investigations, going back to before the beginning to read "Madrox: Multiple Choice" is a weird trip. It's apt to call this finally re-released story something like an "un-aired pilot." The concept of what would become X-Factor is there, but some elements were changed heading into production of the main line. Ultimately, this mini paved the way for the X-Factor relaunch and - like a pilot - it needed approval to go ahead. In this case, though, it wasn't a bunch of network suits: it was the fans who snapped up every single copy available of the first two issues upon release that were responsible for that decision.

Review # 93: "X-Factor - 'The End of X-Factor'"

Despite its relaunch with a new cast as part of "All-New Marvel NOW," I'm sad to see "X-Factor" go. For a series that featured superpowered mutants, cross-dimensional action stars, demonic battles, time travel, Irish mythology, Norse mythology and a space troll, this has such a human feel to it. From start to finish, "X-Factor" has been episodic storytelling at its finest and its high level of consistency is an amazing feat.

Review # 87: "X-Factor - 'Short Stories' and 'Hell On Earth War'"

I was overjoyed to learn a few months ago that Peter David's exploits with X-Factor would continue in a new form starting next year with a nearly brand-new cast. Polaris is set to be involved along with the return of Quicksilver... and the surprising inclusion of Gambit! I am incredibly curious to see David's spin on the popular-yet-poor (in my opinion) character. He could do some great things with Remy.

Review # 58: "X-Men - Messiah Complex"

After what seemed like an endless wave in the 90s, massive crossovers had fallen out of favour at Marvel. They'd become bloated, overly contrived and generally a pain in the ass for collectors. They just plain needed to go away for a while. So they did. The X-Men franchise, which had been the centrepoint for most company crossovers, abandoned the concept for close to a decade. Series like Grant Morrison's "New X-Men," "X-Force/X-Statix," Joss Whedon's "Astonishing X-Men" and Peter David's "X-Factor" stuck to their own stories, and the line enjoyed a creative renaissance.

Review # 54: "X-Factor - 'The Road to Redemption' and 'Breaking Points'"

I almost find it hard to believe that - after these sets - there are only three volumes of Peter David's "X-Factor" left to go. In that sense, there's a bit of a feeling that things are being rushed. However, it would be more fair to suggest they're "chaotic." After all, the "Hell on Earth War" is on the horizon. "The Road to Redemption" feels like the setup to the setup.

Review # 39: "X-Factor - 'They Keep Killing Jamie Madrox' and 'Together Again For The First Time'"

When we last left X-Factor, it appeared Jamie Madrox had been killed. Again. Jamie's death has been a red herring several times, turning out to be a dupe or something or other. This time it's different: he's not dead - he's "just" hopping from reality to reality. While this is not completely explained, it appears that if Jamie dies in an alternate timeline at the exact same moment, he ends up getting ripped into that dimension. How? Well, the trade IS called "They Keep Killing Jamie Madrox." The first universe isn't all that bad. Well, if you don't count Jamie and Layla being mauled to death on their wedding night. From there, Madrox is ripped into several more universes including one where Marvel's "Civil War" escalated to disastrous proportions and another where hell has been unleashed on earth.

(Foreshadowing)

Review # 38: "X-Factor - 'Hard Labor' and 'Super Unnatural'"

Wandering through the pits of Hel? Meeting up with the Whore of Babylon? Bah. That's a cakewalk compared to "Hard Labor," possibly the high mark for the "Adult Layla" era of X-Factor.

Review # 37: "X-Factor - 'Happenings in Vegas' and 'Scar Tissue'"

About half-way through Peter David's run on "X-Factor" and we are already building towards the finale. Now THAT is episodic writing.

Review # 30: "X-Factor - 'Invisible Woman Has Vanished' and 'Second Coming'"

Revisiting these books after hitting such a high point with "Time and a Half" and "Overtime," I was expecting a lull. I'd forgotten how good these are, completely underestimating Peter David's ability to throw in great twists. I should know better.

Review # 28: "X-Factor - 'Time and a Half' and 'Overtime'"

These two volumes represent a major turning point for the X-Factor series as its scope becomes far more ambitious. The plots become bigger (and surprisingly more mystical,) notable relationships develop while others fall apart and character conflict goes into overdrive. Thankfully, Larry Stroman is gone and Valentine De Landro - X-Factor's first definitive artist - is back for what I consider a masterpiece.

Review # 27: "X-Factor - 'The Only Game in Town' and 'Secret Invasion'"

As we move on to Volume 5, something important has happened: In the first (and last) instance of Peter David's second run on X-Factor intersecting with a main X-Men storyline, Madrox and Layla were sent about a century into the future at Cyclops' request during the events of the excellent "Messiah Complex." In the end, Layla ends up trapped in the future and Jamie is left with a mark to forever remind him of what transpired. This, clearly, was going to have some major implications down the line but couldn't be rushed, which makes it as good of a time as any to shake things up for the team.