Something Sinister This Way Comes: Reviewing ‘Immortal X-Men’ #18

Nothing is truly immortal. To all things, there is a beginning, a middle, and one day there is an end. For the Krakoa Era of Marvel’s Merry Mutants, that end is very much nigh.

When it comes to the series Immortal X-Men, the eighteenth issue is that end. One final time, for the most part, the former Quiet Council’s tale is told by Kieron Gillen, Juan Jose Ryp, David Curiel, and Clayton Cowles.

Standing here in the aftermath of reading this issue, twice in fact, I’m of two minds. On the one hand, it does the job of wrapping up several things from the series as well as finally answering just what is up with Mother Righteous (as she takes on the narrator role). On the other hand, a lot is left unanswered and vague. It is just rolling into the upcoming minis that actually end this era, leaving things pretty unsatisfactory in regard to an ending.

On the other other hand, it’s bonkers as hell, but I’m not sure if it’s a good or bad way.

Turns out that Mother Righteous isn’t the Sinister that transcends time & space (the Dominion thing we saw in Sins Of Sinister). Instead, it’s a fifth Sinister reveal, this one being a fully digital AI like being version that of course will play some part in where things go in the Gillen-written Rise Of The Powers Of X. Sure, the rise of tech/AI has been part of the narrative since this era began, with the Phalanx and Nimrod and such. Yet, this also just feels like an “Oh sure, course, I guess, whatever” reveal as we’re inundated with so-called “AI” tech nonsense daily.

A few other plot bits are quickly thrown out and moved past, such as the fact that Doctor Stasis and Orbis Stellaris attempted and failed to reach the Dominion in fully lived and reset timelines. Now, we don’t have to see such things played out, but I have to say both characters feel slightly…wasted. Might not be the right term (we’ve seen lots of Stasis), but it feels like some in the line had far more mileage in them of ideas and stories that are being quickly condensed as the plug is pulled.

It’s better than the Jean-narrated flashback quote previous issue, which left me bored. Gillen handles things well but it’s clear that the X-Books are all in a state of hurrying to clean up since the raging house party we’ve enjoyed for years is just about over. Time to put things back where they belong because the stern old parents that prefer things in a precise way are on the way home.

Sometimes an art style just doesn’t hit, and that’s okay. I don’t like to harp on things (most of the time) and this is how I feel it is with Ryp’s artwork.

It’s a style that works in some ways, but also just feels too glossy and slick in others. Something feels off at times, a bit of plasticity to many of the faces. A lot of the scope and depth works though, especially later where the White Room and its levels of possibility are explored more. Some of the earlier elements in that regard feel uninspired (the plain metal tower of stairs and the like) but that could be by story design. Mother Righteous is an old soul from a ‘simpler’ time after all.

Things are far more vibrant than normal, chiefly because these colorful spandex-clad characters are against stark white backdrops. Curiel does solid, albeit slicker because of the artwork, coloring work per usual. Scenes with Xavier have a more grounded set of tones, outside in the (dreary) real world. Opposed to the far more bright and colorful affairs in the White Room.

Characters have plenty to say as things wrap up, and Cowles makes it flow so well. Unlike the old Jean quotes from the last issue (which he made work) there is far more personality and pop in the bits from Mother Righteous, and coldness needed for the final Sinister reveal quotes. Dialogue has the right punch to it, with voices clear and tonally correct. Never overwhelms, just hits the spot right the whole way through.

Immortal X-Men #18 is now available from Marvel Comics.