Uncanny X-Men Annual #1: “The Return of Cyclops”
Well, no messing around with that story title, is there? Still, coming after the decidedly underwhelming “Disassembled” arc, this is more like it. It’s no classic – there’s an unavoidable sense of a writer and his editors grabbing the story by the neck and yanking it into the desired position. But on the flip side, it also brings a clear sense of what it’s trying to accomplish, and it gets there in a fairly satisfying and efficient way. It does a rather better job than “Disassembled” of conveying a sense of purpose.
“The Return of Cyclops” is written by Ed Brisson, one of the X-books’ regular stable of writers, with strong art by Carlos Gomez. It’s solid storytelling that adds to the scenes with some decent acting, and hopefully Marvel US will do more with him. He does a particularly solid job with the young Cable, who comes across as annoyingly relaxed for much of the issue, something that plays nicely into the way he acts. But the scene of the villain returning to his neglected lab after years in jail is also beautifully done.
Technically Cyclops already made his return in the epilogues of Extermination, and of Uncanny X-Men #10. But this story has the remit of doing the heavy lifting. There are two big tasks here: explain why Cyclops isn’t dead any more, and clear the decks to get him ready for the next storyline.
The first point is basically a matter of plot mechanics, and the solution is mercifully straightforward. It takes advantage of the fact that Cyclops was already brought back very briefly in Phoenix Resurrection, when the Phoenix was trying to win round Jean Grey. Young Cable, being a time traveller, knows that’s going to happen, and sets up a device to divert a bit of the Phoenix to revive Cyclops for real. And that’s it. It’s a bit hand-wavy, and there’s a minor plot hole (why does Cyclops end up buried again, other than so he can dramatically emerge from his grave?). But it gets the job done using only elements that were already on the board, so it’s comparatively elegant and means we don’t have to think about it again.
And that leaves more space to do an actual story, designed to justify a reset of Cyclops to a more traditional depiction as a conventional hero. This is an exercise in booting the Bendis run, and arguably most of the Utopia era, into touch – not ignoring it, in as much as Cyclops is still going to have to atone and reclaim his traditional role, but definitively resetting the personality of Cyclops himself.
So the story opens with a flashback to the Silver Age, complete with throwback colouring and conservative page layouts, in which Cyclops does some conventional superheroing and stops a mad scientist from taking revenge on his students. It’s a scene of no importance whatsoever in Cyclops’ life (until now), but the student he rescues, Paul Douek, grows up as a huge admirer of Cyclops. That lets Cable enlist him to help in bringing Cyclops back, and also means the first thing the returned Cyclops gets is a gushing speech of thanks from a Silver Age admirer. Cyclops promptly reverts to his Whedon-era costume, and winds up rescuing Douek from the mad scientist villain again, choosing to do the proper, superheroic thing instead of racing off to join the big fight against X-Man in Uncanny #10.
It’s all about getting Scott to see the last few years as him succumbing to anger and betraying his values. So if you liked that direction, well, tough, because it’s underneath a bus now. But the “mutant revolution” was so vague and so badly thought out that it had it coming.
What makes this story more than merely a mechanical exercise is Cable’s role. He’s nakedly manipulative and bullying towards other characters, taking the line that he’s doing what needs to be done, but it’s clear that his motives are complex than that. Supposedly he’s all about protecting the timeline, and he got rid of the older Cable when that version failed to do the job. (He talks as though this wasn’t a murder so much as a pruning of an errant timeline.) But this Cable’s notion of preserving the timeline seems suspiciously close to making things the way he thinks they “should be”, for reasons he can’t actually explain or justify beyond gut feeling. And restoring and redeeming his father seems ultimately to have nothing much to do with that agenda at all. He’s possessive, controlling, and generally reluctant to let Scott go his own way in case he fails to live up to the agenda. Scott’s comparative tolerance of all this is also curious; he seems willing to rationalise it as the behaviour of a distraught loved one.
That’s the added dimension which takes this story beyond its immediate agenda and makes it a more interesting read. Given that “Disassembled” didn’t fill me with much confidence about where things were going, this is a definite relief.
About damned time! So long post-Decimation fascistic mentor-murdering Cyclops! Welcome back pre-Decimation family-abandoning, telepathic infidelity Cyclops!
Poor Cyclops. There’s nothing left to do with that character. He’s been uptight, relaxed, possessed, possessed again, a Boy Scout, a murderer, retired, unretired, in love with Jean, in love with Jean’s clone, in love with Jean again, in love with Jean’s opposite number, out of control, in control, the ultimate leader, a failed leader, from the past, in the future. What could possibly be done with him at this point? Maybe this version could fall in love with Wolverine? And change the shape of his mask?
Nothing says an X-Men resurrection like the combination of crazy time travel bullshit and crazy Phoenix Force bullshit.
This is about as perfect a “back from the dead” explanation as any we’ve ever gotten from the X-Men, and I’m sure at this point they’ve literally covered every possible way.
Yes, well. They delivered a resurrection story with some character moments in it. Leaning this much into time travel still seems problematic to me but I don’t suppose that will go away anytime soon. But te. Mechanics here aren’t quite crazy enough to be really absurd but nor can I actually call this elegant. If Young Cable we’re already going through all this trouble for a plan that could easily have failed, why not simply go back to before the death of Cyclops and simply yank him away, as Chase did with Gert in the recent Runaways relaunch?
I suppose Kid Cable is still somewhat concerned about some effects he has on the timeline. There needs to be a dead Cyclops for Emma to (over)react to and cause all the Death of X/Inhumans vs X-Men stuff. And a dead Cyclops for Phoenix to resurrect and try to use as bait for Jean. Although you could argue it wouldn’t change much if he wasn’t there in the second instance.
They certainly seem to be trying to wind the character back to his pre-Utopia period. Most notably, he’s back wearing the John Cassadey-designed costume he wore during the Joss Whedon era-through until Messiah Complex and the Move to San Francisco (when he and Wolverine had their costumes modified with those giant pointless X badges)
Did they explain how Scott could be alive without Jean noticing through their intense telepathic bond?
Did that still work after Jean’s death? She was briefly resurrected several times in the meantime, I’m not sure if it ever came up. If not – we can assume the ’till death do us part’ thing applies to telepathic bonds as well.
Taking a step back from just this Annual and looking at the bigger picture; Between Extermination, Phoenix: The Resurrection of Jean Grey, the Return of Wolverine minis, the reversal of Jubilee’s vampirism, the Gambit/Rogue wedding, and this issue, it really feels to me like Marvel know that the X-Men have been slowly written into an awful corner, following, really, the events of House of M.
I feel like this whole last year-and-change has been about getting the X-Men back to a recognizable status quo, even if that means undoing some characterization from the last decade or so; I really feel like Marvel have been working towards bringing the X-Men back to their most profitable time, which is basically the Jim Lee era up to Onslaught.
Or, you know, something akin to the lineup of the 90s cartoon… which is probably the most recognizable version of the X-Men.
You say “X-Men” and chances are I’m going to immediately visualize the Byrne era X-Men, not Jim Lee’s era and certainly not the cartoon. But then I’m nearly fifty.
I certainly hope they don’t try to bring back the ’90s. Rogue looked like a cheerleader for the Packers.
; I really feel like Marvel have been working towards bringing the X-Men back to their most profitable time, which is basically the Jim Lee era up to Onslaught.
Unless Marvel can also bring back a massive speculator bubble which had large numbers of people buying multiple copies of comics in the belief that their value would greatly appreciate, there is a flaw in this line of thinking.
Seriously, the comics market back then was a very different animal than it is now, in large part because of the boom and catastrophic bust that happened during those years. I think any approach that you adopt needs to start from the premise that it’s 2019.
Andrew> They certainly seem to be trying to wind the character back to his pre-Utopia period. Most notably, he’s back wearing the John Cassadey-designed costume he wore during the Joss Whedon era-through until Messiah Complex and the Move to San Francisco
Actually, if you look at the solicits, they’re not stopping there – he’s in the AXM costume for two issues, before going back further into his Jim Lee suit. (For more X-Men #1 comparison, Wolverine’s also reverting to his John Byrne brown/tan suit)
Look, I grew up watching the cartoon, so I get the nostalgia factor. But holy shit, the Jim Lee era costumes are an absolute eye sore.
*yawn* Another super-important status-qup-changed-forever death reverted within a few years, plus a reversion to a given writer/editor’s version of the character from 10+ years ago.
This is why I currently have zero interest in a franchise I obsessively followed for two and a half decades.
By the same logic, another 10 years at most and they’re going to bring back Kyle&Yost’s New X-Men. I can’t wait, I loved those kids!
😉
Did Kyle and Yost actually create any characters? All I can come up with is Gentle, who hasn’t been used until Red and probably will fade into obscurity again. And I suppose X-23 sort of… In retrospect their run on X-Force was fun but their junior books were just awful, at least tonaly. Has there ever been a worse transition than when that book was handed to Kyle and Yost? I remember them just killing off those from Weir and DeFellepis’s New Mutants/Academy X. Of the Young characters still alive and in use, the vast majority (Prodigy, Anole, Rockslide, Surge, Mercury, Elixer, Hellion, Pixie, etc) all created by Weir/DeFellipis. They don’t get enough credit. There are Some hold overs from Morrison (Dust, Glob, probably some others), Wheedon/Cassidy (Armor, maybe Blindfold), Milligan (Bling) and now Aaron (Sharkgirl, Eyeboy, Naturegirl) but still.
If it were up to me, there’d always be an X-Men title focused on the school and the junior roster, but it should be an anthology title, akin to Unlimited or those minis they run every once and a while, like Serve and Protect
They didn’t create them, no. But they fleshed them out or straight up were the first to actually characterize some of them.
(Obviously, this is about the Hellions, Anole, Pixie, even Dust and Blindfold and not the New Mutants squad).
Putting 40 kids on the bus and then exploding the bus was jarring overkill – as an authorial statement of intent even one dead kid would be enough – but everything after that was, for me, pure gold. I guess every generation of x-fan has their newest mutants and Kyle&Yost’s run was mine. (If I recall correctly I started reading the X-books shortly before the handover to Kyle&Yost, so even though I went back and re-read Weir and DeFellepis’s run, I don’t have an attachment to it).
LOL @Thom H.
Agree, except you appear to have missed the dreadful Bendis-Bachalo era when they changed the shape of his mask to something that made absolutely no sense.
Lol @ Kyle & Yost. Apart from the bus explosion, these guys apparently didn’t know of any other way to kill a character besides “execution-style shooting” (Icarus, Wallflower, Quill).
When Kyle and Yost blew up that bus it just felt so cheap. We get it, the Purifiers are a Real Threat. The excess of the school had always been written out, there was nothing to be gained by killing a bus load of de powered Mutants. But narratively it presented a problem, demonstrating that the X-Men couldn’t keep their charges safe. I suppose that contributes to isolating themselves on Utopia but they didn’t need it, and it really undermined them to some level. All those Young X-Men deaths was also a clear sign to the reader that there is no reason to get invested in the Junior class, as the next creative team will just kill most of them off and create their own short lived new characters.
I started reading comics after X-Men #1. I was 10 or so when Generation X launched so those were my first junior X-Men. But I don’t have a nostalgic attachment to them, probably because the material doesn’t hold up as an adult, and most of those characters were killed or retconned away. Of the characters created for the book only M has had any staying power (which isn’t saying much), Husk and Chamber mostly relegated to occasional supporting character. The original New Mutants, on the other hand, worked because despite the big cast they focused on small groups storywise and Claremont and Simonson were on the other titles so it was the right mixture of integrated and apart.
As I recall (and it’s been almost 25 years (!!!) since I initially read the book Ann’s ten since I reread it as an adult), but I remember the first 4 issues of Generation X being very strong, but the book was immediately derailed by Age of Apocalypse and it was between “meh” and “awful” for pretty much the next five years.
Unless Marvel can also bring back a massive speculator bubble which had large numbers of people buying multiple copies of comics in the belief that their value would greatly appreciate, there is a flaw in this line of thinking.
I dunno, man. I worked in a comic store from 2015-2018, and we had a LOT of people coming in looking for particular variants that Marvel had advertised, and then not buying anything, because they “only want covers that will be worth something.”
Anyways, I’m not saying that this is what *I* want, but rather what it looks to me like what Marvel have been doing.
@psychoandy: Ok, so there are still some people easily parted from their money around.
But not even close to the amount there was back then. And probably shrinking relatively quickly at that.
Yeah, there’s no comparison to the early ’90s. And those people weren’t leaving comic shops empty-handed.
Before that was the B&W boom that TMNT spawned. Boy was there ever a lot of crap on the shelves, and I bought a lot of that crap.
Right. This is a bit different. This is speculators realizing that certain over-priced variant covers are going to go way up in value on the second-hand market in a few weeks, so they specifically buy the variant edition that is going to go up in value.
It’s very different than what the comic book boom of the early-1990s looked like.
People aren’t going to rush to the store to buy ten copies of the next mega cross-over event.
They’re going to rush to get the hot variant cover for cross-over event issue #1, and then the store will be left with lots of copies of the actual issue sitting on the shelves, which hardly anyone is buying.
Fair enough points, all. I’m just saying, X-Men AS A PROPERTY was at its most profitable during that time — Including the cartoon on VHS, toys, dolls, pillowcases, bedsheets, video games, etc.
And 90s nostalgia is in its boom period right now.
Marvel’s getting/has gotten (I never know the status of that deal) the film rights to the X-Men back, and wouldn’t it be nice if they had (at least somewhat) consistent lineups amongst the film, comic, likely new cartoon, toyline, etc., by bringing all the most recognizable X-Men characters back to life?
Stepping back from any bit of minutiae you want to throw at me, looking at the big picture, I’m seeing Marvel setting up for a big multimedia X-Men push in the next few years, and it just so happens that they’re resetting everything to a status quo based on that era.
Again, I’m not saying it’s a perfect strategy, or that this time will actually be able to replicate the early-to-mid 1990s perfectly, or, indeed, even that it’s what I want.
I’m just saying that, BOY ISN’T IT FUNNY THAT ALL THOSE X-MEN ARE BEING PUT BACK IN THOSE SPOTS, with Cyclops, Wolverine, and Jean Grey all coming back to life, Gambit and Rogue back in a relationship with each other, and Jubilee randomly no longer being a vampire. Heck, Iceman’s even been wearing his 90s light blue/dark blue outfit under the ice again.
And if I’m wrong? Cool, I’m wrong. No big deal. It’s comic books, not the end of the world.
Psychoandy’s point is well made I think. This is basic corporate synergy, even if in typical Marvel fashion it is executed horribly. Since the reacquisition of the X-Men film rights, there’s also less reason to be antagonistic towards Fox properties and therefore to piggyback somewhat off the existing films whatever happens in the future. So we had a Old Man Logan after Logan (I think the timing matches up?), we had a Legion series due to the success of the tv series. Because of Deadpool 2 we had a Cable series, X-Force is back in advance of the upcoming film (including Domino, Shatterstar and others from the film) etc. The most recent New Mutants has a time that suggests it was commissioned with the now delayed film in mind. and the existing X-Men film franchise, of which upcoming Phoenix film will hopefully be the last, features Cyclops, Phoenix, Storm, Nightcrawler, etc. It’s likely that when the X-Men do finally appear produced by Marvel and not Fox (and hopefully not integrated into the existing MCU, because what does either property gain from the other… though who knows what the MCU will look like following Endgame) the comics will almost certainly be brought into closer accord with their film counterparts. But isn’t this more or less what Morrison and Wheedon we’re doing with regards to the films at that time? While those series were good it didn’t exactly reinvigorate the line. How many fans of X2 started buying comics after that film? And I don’t think it’s vecahsr they looked at the comics and found they didn’t correspond. Rather it seems popular film audiences aren’t necessarily interested in buying comics. The big successes seem to be those titles that appeal to Scholastic book audiences and digital natives (if the speculative sales of series like Squirell Girl, Ms marvel, Moon Girl etc are any indication).
Right. Marvel does do this, there’s no doubt.
They had an Infinity War movie, and so Marvel released a pointless Infinity Wars big event cross-over to tie in to the film, although tangentially.
I think one big prohibitive issue is cost.
Movies are expensive, but you go one Marvel movie a month.
Comics require a lot more investment.
You need to go to the comic book store each week to purchase an over-priced individual comic to get one chapter of an ongoing story-arc.
Overall though, there probably isn’t a great cross-over rate between comic books and movies.
A lot of people who go watch a comic book-based movie don’t really think about the fact that there is a whole world of comic books out there featuring these same characters.
Probably someone who watches and loves the Black Panther movie doesn’t think about the character again until either they decide to buy the home release or the next movie is announced.
Disney’s corporate strategy is, basically, just to keep comics around for ideas for, and extra merchandising for, the movies.
It doesn’t matter that most comic readers have been reading for decades now, and don’t care that there is an Infinity Wars cross-over to buy when the Infinity War movie is at the theatre.
To Disney money-crunches, it’s added revenue to the huge profits they made off of the movie.
I’d say that Marvel Comics will be in dire jeopardy if the comic movie boom collapses.
@psychoandy
This new direction didn’t come about because someone at Marvel suddenly remembered how many X-Men lunchboxes they sold back in 1993. This isn’t about ’90s nostalgia. This is just about them getting the film rights back.
Yes, it looks like Cyclops might be soon be back in his hideous ’90s costume that had a pocket on it for every time he ever doubted himself, but Wolverine’s brown costume is making a comeback as well, and that was retired near the beginning of X-Men volume two. It’s very much an ’80s costume.
Nor is a Caucasian Psylocke something I associate with the ’90s. My guess is that they want MCU Psylocke to be more faithful to comics version and realized that: a) a white woman in an Asian woman’s body is bound to draw some criticism and, b) the only actress who might not have a problem with the idea is already playing the Black Widow.
So, it doesn’t look to me like they’re going for any specific era. There’s a lot of 80s and 90s going on here from what I can see so far. They’re just getting them film ready in various ways. The Fox films collectively did 5.72 billion unadjusted. Marvel Studios will surely do more.
@Joseph S
What does either property gain from the other? Each other, obviously. Wolverine vs Hulk. That’s 800 million right there.
@Moo
While you may be right about some points, on the whole I remain not convinced, because when they were making such obvious changes, the comics always played catch-up to the movies.
I am especially not convinced with regards to Psylocke. They only just had her in a movie (for the second time, even though it’s hard to count the brief cameo in X3 as an actual appearance). And both times they sidestepped the origin by just casting an Asian actress and not mentioning anything about her past.
The part I don’t believe is someone from Marvel studios telling Marvel comics – at this point, while the Disney/Fox merger is still not final if I understand correctly – ‘hey, we’re going to use Psylocke, make her not be Asian in the comics right now’. It’s just… It doesn’t seem to be the way this things have ever worked. It’s always been ‘movie comes out and does thing A, comics ape thing A months later’.
@Krzysiek
Okay, but I’m not hinging the “this is about the films” argument entirely on what they’ve done Psylocke. Maybe her reversion has something to do with future MCU considerations or maybe it doesn’t. But it certainly has nothing to do with 90s nostalgia or else she’d still be Asian and back in her stripper costume.
But the new(old) direction for the X-Men on the whole is definitely about Disney’s acquisition of Fox (which should be finalized in June). It’s also why they’ve gone back to admitting the Fantastic Four actually exist.
I’ll also point out that Fox sidestepped Psylocke’s origin out of necessity. It was either that or come up with a completely different explanation as to who she was. One that didn’t involve Captain Britain as presumably, Fox didn’t have the rights to him. Marvel Studios isn’t going to have that problem. They can do whatever they want.
Sooo… if I were in charge of the comics, and if I wasn’t entirely sure what Marvel Studios might do with Psylocke once the acquisition went through, I’d probably have done more or less what they already did: restore the classic version of the character, but leave the door open for the Jim Lee version to return (someone who looks like Kwannon is still out there as I understand). Cover both bases. Captain Britain may or may not turn up in the MCU at some point,
I think that there’s little evidence of any kind of coherent multimedia grand master plan, frankly.
As Moo points out, for everything that’s ‘90s, you can find something that’s ‘80s. Plus, having ‘90sesque things is not some striking new direction that’s suddenly appeared — the last reboot called their titles X-Men: Blue and X-Men: Gold, for God’s sake.
This looks more to me like generalized nostalgia for a range of things that can broadly be categorized as “old enough to feel like classic” (irrespective of whether they felt like that at the time).
And comics do the nostalgic turn all the time, over and over again. Whedon’s Astonishing was in important ways about going back to the “classic” X-Men, for instance. We’re in a nostalgic moment. In due course, we will have a turn in some other direction, and kill some more characters off. Then they will be brought back in another nostalgic moment, and so on until the superhero comics industry collapses.
I’m far from certain that the (at this point very prospective) films are driving any of the specific details. It’s far from clear that Marvel Studios have yet settled on any concrete plans for what their X-movies are going to look like just yet. To the extent that they have, I think it is not necessarily the case that they have shared those deliberations with anyone at Marvel Comics.
Marvel Studios doesn’t even bother talking to Marvel Television, and the television shows are much more important than the comics. The sort of co-ordination in advance we see tends to be (a) a prequel comic and (b) things like Civil War II and Infinity Wars that are clearly there to try to capitalize on the films but whose content can be quite different. And, of course, the comics fashion themselves sometimes after the films after the fact (e.g. Spider-Man getting organic webshooters for a bit).
To take something that I’m not predicting – I have no way to judge how likely it is – but which I imagine is being discussed: Marvel Studios might ultimately conclude that they want to work within the black-leather aesthetic that, thanks to the films, is known to audiences worldwide already (probably better than *any* version in the comics) and so may not have any “yellow spandex” in their X-films. In which case, we might see a scramble back to the Morrison-era uniforms when the films come out.
Also, any Marvel X-films are, what, at least two years away at this point? I think, based on past history, the odds of the X-books going through those two years without another change of direction are not high. I don’t know that the comics often plan in detail far enough ahead in the way that would be required for “This character design must be revised this way, because in 48 months there will be a film in which this is the design that they are going to use.” Especially since the designs for the films are probably still at the concept stage *at most.*
So this replacement Cable has tapped into the Phoenix Force in order to bring Scott back to life?
That is disappointing. Phoenix Force is not supposed to be so easily contained, IMO. Because if it is, then it can hardly keep its standing in future appearances.
It was just a small portion of the Phoenix Force energy. Cable jacked the exhaust fumes, not the whole car.
That is still a lot of control over what is supposed to be a scary and actually cosmic, sentient force.
I just don’t think that was a good idea at all… unless there is some revelation nearby that this is not the genuine article, or that we all were sorely mistaken about the PF somehow.
I wouldn’t say the Phoenix force energy was contained… more like it was used to slowly jumpstart Cyclops after the Phoenix-possessed Jean in “Return” temporarily brought him back. They put a tiny battery in Scott, and when she yoinked him back to life, it charged the battery and so he didn’t die completely. (Cue Miracle Max: He’s only mostly dead!)
I know, it’s handwavey comic bullshit, but no more ridiculous than anything else we’ve seen. Jean started the process, the residual energy finished it, and -hopefully- it won’t have any long-term effects on Scott (until some writer decides that it does… cue “needs Phoenix Force to survive like a magic drug” or “Scott develops new powers as a result” in a few years…)
I think that’s what Paul meant by an elegant solution. Take Stark’s failed Phoenix box thingy from Secret Ave gets (I think that’s where it happened?) make up a new character and give him years to make it work, take advantage of the fact that Scott was already a Phoenix host who’d been resurrected recently by the Phoenix… it’s really not so far fetched. I have a harder time rationalizing the selective time traveling but at least they address that explicitly in the comic when Scott calls out Kid Cable.
And people say that superhero comics are full of convoluted things intertwined with previous continuity that are hard for the uninitiated to follow. 🙂
Kid Cable just did for Cyclops what Quinton Quire did for Jubilee
Phoenix and time traveling.
Would be quite happy to never see either in an X-comic ever again.
Maybe I was not clear.
It makes some amount of internal logic sense that the Phoenix could be tapped to ressurrect Scott. Not a whole lot, but some.
But that can only happen by making the Phoenix Force, for lack of a better word, tameable. That is not very advisable at all, both because it is about as Deus Ex Machina as anything and because we are at the same time supposed to think of it as a fabulously scary danger, if not an actual cosmic force of the universe.
I just don’t think those demands can be reconciled with each other. At this point Quentin Quire strikes me as arguably more of a loose cannon and a mystery than the Phoenix Force.
I don’t see that they’ve tamed the Phoenix Force any more than Doc Brown tamed lightning in Back to the Future.
I don’t think we have had any major storylines about sentient lightning menacing all of humanity or anything comparable, myself.
Sounds like it’s time for Marvel’s next big event series…AOLL! Age of Living Lightning!
wait…wait…wait…Psylocke is white again? when did this happen?
In one of the wolverine returns mini series, that didn’t actually have wolverine… the one with mostly x-women and not so great art…
‘Mystery in Madripoor’
Why wasn’t this issue published on a tpb?