Mojo is no longer simply playing with the X-Men. It is now all-out war against the mutant team. He does this while attempting to assimilate our world into the Mojoverse. The X-Men know they can’t let Mojo stall them forever, so they split into two teams. One continues the fight against the forces of Mojo, and the other follows Longshot and discern a means of shutting Mojo’s operation down.
Thankfully, they may have some reinforcements.
With this issue, we conclude the “Mojo Worldwide” tale, and it’s a solid enough ending. It flows decently, it’s focused, and it has some decent moments. The arrival of those aforementioned reinforcements is a satisfying moment. Mojo continues to be a delightfully disgusting rogue. Longshot is charming, if a bit douchey at times.
There are a lot of one-liners sprinkled throughout the proceedings, and not all of them land. It runs into the problem of keeping the stakes feeling low because no one seems to be taking this seriously. Even Colossus is rattling off jokes left and right. There is an art to this. Writers like Brian Michael Bendis know how to balance things, even if Bendis himself does overdo it at times. There’s not a hard-and-fast rule; it’s all about context and timing. Cullen Bunn has shown an aptitude for this kind of thing in the past, but here, his jokes are more misses than hits.
That doesn’t sink the story, though; it only damages it somewhat.
A rift is opened up between the Blue and Gold teams towards the end. I won’t say what exactly causes it, but you shouldn’t be surprised at the cause. This is a little exasperating, because a status quo seems to be the most elusive thing in the world for an X-Man book post M-Day. However, it does have some narrative potential regardless.
Jorge Molina’s artwork is one of the things that keeps the book particularly engaging. His work is truly great, and it provides some pretty damn appealing spreads throughout the book. He especially makes use of heavy-hitters like Logan, Colossus, Magneto, and Jimmy Hudson. There are some scenes where faces look a little weird, especially Jean Grey’s. Thankfully, these are few, and the vast majority of his work is genuinely good.
Matt Milla’s color work is dynamic and effective, as well. He gives a nice sheen with his color art here that gives a slickness to everything.
This is likely the best issue of “Mojo Worldwide.” It didn’t bore, it wasn’t disconnected, and it did feel like there were some actual stakes. That may sound like damning with fine praise, but it really is a solid read. I enjoyed it and recommend it.
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