Nearly every issue includes at least one famous storyline, new character introduction or important event. Speaking of the story, this is such a great part of the Claremont run.
officially starts his equally legendary run on Uncanny X-Men with issue #176, included in this collection as the narrative epilogue to the over-arching storyline. takes over after Smith’s rather abrupt departure, but he does so in such a way that I didn’t really notice the changeup at first. Additionally, about two-thirds of the way through the double-sized issue #175, John Romita Jr. Articles have been written about the merits of Smith’s ten-issue run, seven of which are included in this collection.Įven the one fill-in issue (#171) features the wonderful Walter Simonson as substitute, and he doesn’t disappoint.
And yet Smith’s visual storytelling was so strong, he achieves this feat three times in issue #173 alone.
His figures look like actual living people as opposed to action figures set in heroic poses.” In that vein, it’s not surprising that Smith depicted the X-Men out of costume more often than any other artist during Claremont’s run.Īnd not many artists could boast having drawn pages completely free of any dialogue or narrative captions from the famously wordy Claremont. As Twitter’s wrote to me, “The Paul Smith era is some of my favorite art on the run. For many X-fans, Smith’s renditions are often the first images they see in their mind’s eye when they imagine their favorite characters.
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