Classic Comic Special: Comics, Covers, and Barcodes!

I usually use my Classic Comics feature to review a comic book. However, I’m going to do something different and talk comic book barcodes. What are comic book barcodes for? Why do some have pictures of Spider-Man’s head instead of the barcode? How and why did they affect comic book covers of Marvel and DC from the late 70s and early 80s? Let’s delve in.

Barcode Strikeouts

What are those? Let’s take a look!

For comics coming out at a time when technology didn’t move so fast, there had to be assurances for companies like Marvel and DC. But more on that soon.

Here’s my copy of X-Men #126 from October of 1979. By all means, I invite you to click on the image to see it larger. Please pardon the quality of my old camera.

XMen

Let’s take a closer look at the bottom-left corner of the comic.

BarcodeStrike

I remember when I first started collecting, I had no idea why someone would put black strikes through the barcodes. Eventually, it dawned on me how the strikes only seemed to have affected a particular era of comics. In fact, the strikes they weren’t drawn on but actually printed over top of the barcode. I wanted to know what it meant (and I’m sure you do too)!

Three of the following X-Men comics I have featured strikes up until X-Men #130, from February of 1980.

XMen

Then issue #131 – a month later – it didn’t have a barcode at all!

XMen

Instead of a barcode, I see. . . a picture of Spider-Man? But I’ve seen issues of X-Men #131 with a barcode! What happened?!

Direct Edition vs. Newsstand Edition

A crossed out barcode means the comic book is a Direct Edition. So what’s that?

In a nutshell, there are two “types” of editions: Direct and Newsstand. A Direct Edition is sent to the comic book store and sold there. A Newsstand Edition is something which a newsstand would carry (seems obvious, right)? However, this was not just exclusive to newsstands, as malls, convenience stores, and drugstores could also receive Newsstand Editions.

A Direct Edition comic is crossed out due to a variety of things. One is because it tracks sales for the publisher, while another reason is to stop the store owner from returning the comics they did not sell. A crossed out barcode means the barcode could not be scanned into inventory for the publisher to accept as a return.

Obviously, that means the Newsstand Editions could be returned back to the publisher.

Arguably, Direct Edition comics are more sought-after because they would have been treated more carefully. They were less likely to have been placed in spinner racks, for example, and more likely to have been bagged and boarded. Direct Editions were also bought by the dealer at a lower price presenting another reason why dealers were unable to return them.

That being said, do you remember The Amazing Spider-Man #36? It was called the “Black Issue” as it was a tribute to the events of 9/11. I personally own a copy of that comic. Comic book dealers would have received one without a barcode on the cover at all. I bought mine at a local variety store which did have a barcode on the cover.

Believe it or not, if you have a good quality copy of that book WITH a barcode, it’s actually WORTH MORE because it is considered rare to find good-quality copies of Newsstand Edition comics. That “rule” really only applies to key issues of books, for the most part. Ultimately, it depends on the buyer.

Interestingly enough, Direct Edition dealers/comic book store owners were usually unable to scan the comics they brought in as most Direct Edition carriers did not have scanners for barcodes at the time. The technology simply wasn’t there yet or was too expensive for the comic shop owner to take on!

Due to the lack of technology from many of the comic dealers, Marvel replaced the Direct Edition barcodes with things like the Spider-Man head, or DC with Batman. On top of that, it was a way to promote extra little tidbits. Who doesn’t remember “50 Years of Captain America”, or “Spider-Man’s 35th Anniversary”? It was printed on every comic where the barcode should be. It made more sense to put those on Direct Edition books anyway as the readers would be more familiar with what’s happening in their comic book universe rather than a random person purchasing a book at a corner store.

Nowadays, since everyone is mostly on par with technology, barcodes have returned and comics just state whether or not they are Direct Editions. For example, here is a picture of Uncanny X-Force #1 from October of 2010. What does it say right next to the barcode?

Until next time folks, keep on Space Truckin’! If you’d like, you can also follow me on Twitter and Instagram!

UPDATE May 18th, 2020 – What if there’s LITERALLY NOTHING to go on?

This barcode blog has certainly been one of the most-viewed pages on my site. I’ve had many people message me both on here or through private messages to help find information on their books and clarify the understanding of barcodes. However, a recent inquiry piqued my interest and prompted me to update this post.

I completely forgot about the comic books that do NOT have barcodes. And no, I don’t mean the Spider-Man head barcodes.

I had Benn from the UK message me. He sent me a couple of photos of his book and its lack of a barcode – and lack of a back page, of all things!

His issue was Spider-Man #3 – from Todd McFarlane’s run. This issue was “Torment Part 3” from 1990.

Looking at the cover, there’s red flags abound! There’s no barcode, no pricing, and no issue number! The information on the book’s cover are entirely stripped away. To make matters even stranger, the background colours are also different.

Benn also sent me a photo of the back of the book:

There’s no tearing or obvious removal of a back cover. The staples are intact. If you look closer, the cover actually wraps around to the back page. The book simply didn’t come with a back cover!

What gives? Benn’s book instantly reminded me of a Spider-Man giveaway series we saw here in Canada back in the early nineties.

I personally had Spider-Man’s “Chaos in Calgary” and “Hard Ball” issues. They were part of a five-issue Spider-Man promo/giveaway from Marvel which was targeted to Canadians to have them read more Spidey books. Unlike Benn’s book, these books had both their prices and issue number on them. However, there was no barcode at all, let alone a spot for one on the cover.

Based on my prior experience on a few books without barcodes, and because Benn’s book featured a colour variant, I have to assume it was a reprint of some sort. Due to a lack of barcode, it must not have been scanned into stores – similar to the Direct Edition Spidey-head barcodes. I also could not find any information in the Overstreet Guide or Comics Price Guide, as if Benn’s book wasn’t actual “comic books” per se. Without a barcode, if Benn’s book was free or offered as a promotion like “Chaos in Calgary,” it would not get scanned into inventory at all – tracking wasn’t important because the book would have had no inherent value at the time.

What Benn’s book reminds me of are the Comic Packs of the 90s. I remember one in particular which clearly had no barcode on the cover:

The Shadows of the Empire comic from Dark Horse all but confirms to me Benn’s book would have been part of a toy pack. Like Benn’s book, there’s no issue number, barcode, or price. Unlike Benn’s book however, the Shadows of the Empire book wasn’t necessarily a reprint because it hadn’t been published before. Benn’s book is a reprint for sure, but considering it to be from a toy pack, it may explain the lack of a back cover as the back would have been more expensive to print. The book would not have had a barcode because the barcode was on the packaging of the toy, not the book. It may also explain why I could not find any information of the “book” in either the Overstreet Guide or Comics Price Guide – because this may – and I’m using this term very loosely here – be labelled as a “toy” not a comic.

Personally, I’m not sure what it could be labelled as. Due to COVID-19, I certainly cannot go to any comic book or toy conventions to ask the dealers there.

Benn’s book leaves a lot of unanswered questions with it: was the book actually part of a toy or just a giveaway? Benn’s from the UK and certainly distribution and rules for it would have been different than in the Americas – does that play a factor to why there’s no numbering on it? Would you classify the book as a “toy?” If so, would “Chaos in Calgary” get a pass? Does packaging define the product? I’d argue Benn’s book is a comic book. Looking into the Overstreet guide, it doesn’t recognize Dark Horse’s Shadows of the Empire toy pack books. However, the Comics Price Guide does.

Unfortunately I am unable to offer Benn a true answer to his book. It certainly is a unique piece though! If you know of any action figures that may have sold with Benn’s Torment #3, please let me know!

Happy collecting, everyone!

Wednesday’s Reviews: The Avengers and The Alternate Avengers

Firstly, read Jim Shooter’s blog. It’s absolutely astounding to see what he does and has done. This recent entry is one of the most fascinating ones I’ve read thus far:

Hank Pym was not a Wife Beater

As for reviews, I swear I’m not going to bring this up again – but Bendis & Romita Jr. in The Avengers series have been up to that “multiple panel” deal in their books for the umpteenth. I thought I was going crazy. Then I took a look at Avengers #1, #5, #9, #10, and #11. I left out some half-page ones in other issues because they arguably are the norm for comics.

Panels

This is how I felt after laying all of these comics out:

Bert

Variety is all I’m asking for.

Now on to one of the most anticipated books this month.

Age of X Universe

Age of X Universe #1 of 2
Main Story:Simon Spurrier (writer), Khoi Pham (pencils), Tom Palmer (inks), Sonia Oback (colours).
Spider-Man Story: Jim McCann (writer), Paul Davidson (art), Antonio Fabela (colours).
Joe Sabino (letters), Simone Bianchi & Simone Peruzzi (cover). $3.99

For $3.99, this book is a steal. In fact, it’s an unbelievable steal which will impress every fanboy of the Marvel U.

Basing itself off of the current X-Men crossover, The Age of X, AoXU is how the other heroes have been affected by the mutants who are all over the world. Team leader and book narrator, Captain America, leads his unusual strike force of Avengers such as Vengeance, the Hulk, and Sue Storm to a mutant prison riot, to Fortress X itself.

But the excitement lends itself not to the battle, but to the quick back stories of each Avenger – and why they’re there. Throughout the book, we’re invited to see how the world has twisted its ways into the AoXU. Through that, we’re given little tidbits of character leaking themselves out into the page. We see Captain America and Sue Storm have consciences, while Iron Man is a vengeful deteriorating freak of nature and Spider-Woman is the top hit-woman. To top it all off, Frank Castle is the Chief of the Avengers – the man running the show. Of course, that will lead to extremely violent results.

Making things more interesting, forgotten mutants of the Marvel U make short, if not saddening appearances. Maggott, who I haven’t seen alive since 2003, makes a cameo, while Marrow, Mr. Sinister, and Whirlwind make for some extra mutant-loving goodness. (Did I just say that?) Don’t even get me started with Sabretooth’s depressing story.

Khoi Pham does one helluva great job delivering so many jaw-dropping moments in this book. A personal favourites are Vengeance taking on Chamber for a few fiery blazes of panels, and the final page with Hulk and his bug-eyes. My only beef is first in the book with Legacy (Rogue), as she seems rather mannish than well, being Rogue.

To top it all off, a bonus story featuring Spider-Man and a pregnant Mary Jane shows how certain heroes with altered DNA are considered “Post-Muties” – meaning Spider-Man is on the run. A short but enriching tale, we don’t see Spider-Man with his usual quips aside from the introductory narration at the beginning. Concluding on a moment where I’m not sure if I’m happy or sad, Spider-Man’s tale really ties together how perverse the AoXU is.

Regardless if you’re reading the X-Men crossovers or not, you’d be foolish not to pick this up.

Grade: 9/10

Unfortunately I’ve been busy so I cannot really focus on more reviews. Until next time folks, keep on Space Truckin’!

Wednesday’s Reviews: Result!

This was an incredible week for comics – even for Uncanny X-Men, which I’ve picked on a lot recently.

Given my massive pull-list, I’ve decided on doing mini-reviews for a few of the comics released this week. Enjoy!

FF #1
Jonathan Hickman (writer), Steve Epting (pencils, inks, cover), Paul Mounts (colours), Rus Wooton (letters). $3.99

FF

After the death of the Human Torch, the family still goes through their mourning periods – most noticeably with The Thing who blaming himself for Johnny’s death. Reed plays a video of Johnny’s suggesting that in the case of his death, Spider-Man would be the best choice for his replacement. Of course, Spider-Man can’t say no to such an offer.

What intrigues me most about the story is how down-to-earth it has become. The family sits and has dinner together, while Reed’s father adds much-needed flavour to the established characters. Tossing in AIM and the Wizard as villains, I can already see the Future Foundation becoming an excellent series.

Of course, Epting crafts emotions brilliantly throughout the story – making the dinner scene one of my favourite panels this week.

However, I cannot go without saying how rushed I feel with the book. Maybe I’m out of the loop, but it was as if the Future Foundation was already planned-out and assembled between Fantastic Four #588 and now. If this was Marvels “.1” issue, I’d still be lost. My only other little tidbit is the action with AIM seemed a bit out of the blue. Either way you look at it, this is a very promising start for Marvel’s first family.

P.S. You cannot honestly tell me that Sue Storm does not look like Creepy Chan on the cover.

Grade: 7.5/10

Osborn #3 of 5
Kelly Sue DeConnick (writer), Emma Rios (pencils, inks), Jose Villarrubia (colours), Clayton Cowles (letters), Ben Oliver (cover). $3.99

Osborn

Nothing is more sinister than a great villain book. Kelly Sue rocks the Marvel U with another incredible tale of Norman Osborn incarcerated – but for how much longer?

Mixed between insanity and clarity, Osborn continues his push to escape from prison, now with reporter Norah Winters as a potential ally. Wanting a story on Osborn, Winters listens to Osborn’s arguably mad rantings while rebutting him with some of her own. As calm as ever, Osborn seems to somehow have a grand scheme already planned out, and uses his keen manipulation skills to find his way to an escape pod with his new companions and Winters. But of course, he cannot do so without killing hundreds. This is Norman Osborn, after all.

What I cannot seem to get over is Emma Rios. If Marvel does not give her a contract, I’ll be ridiculously angry. Gorgeous, simply vibrant panels mix moods of chaos and wit together with genuine emotions of strength and cunningness. A truly fantastic visual experience. She nails Osborn right on the head as an insane mess. I seriously cannot get enough of her panels. Jose Villarrubia too, does a great job with the environment only having so-few colours. For an underwater jail, I feel as if I’m looking at a rainbow. What a creative team.

For the love of all that is amazing in the world, read Osborn already!

Grade: 9/10

Uncanny X-Men #534
Matt Fraction & Kieron Gillen (writers), Greg Land & Paul Renaud (pencils), Jay Leisten & Paul Renaud (inks), Justin Ponsor (colours), Joe Caramagna (letters), Greg Land & Justin Ponsor (cover). $3.99

Uncanny X-Men

As I said before, Uncanny has picked itself out of a rut with this issue. But maybe I only feel this way because the storyline is finally over. . . Regardless, Emma and Kitty’s story finally concludes with Shaw, while the X-Men put an end to Lobe, and Fantomex is – well, who knows.

The X-Men on Utopia decide to break quarantine to help Storm and gang battle rich science-made mutants. To their advantage with mutants now fighting mutants, everyone gets sick from the X-Men and thanks to Lobe, dying as he tries to destroy what’s left of the X-Men. Fail. Being sick himself, he can has to give the cure to everyone, thus ending the plague – because the sickness was controlled by a remote. Makes sense. On top of it all, the X-Men realize they may file a lawsuit for copyright infringement against Lobe for using the X-Men’s faces on his products. Yeesh!

Unfortunately, I still saw Land doing some things he’s done in the past. I even showed some friends, comparing this recent book to pictures in my blog about Land at an earlier time. HOWEVER, I will say that his work between Shaw & Emma is an incredible change of pace in terms of his art style. The final pages with Shaw were excellent. As for Ponsor, all I will say is yellow backgrounds ftw. That, and the Emma/Kitty scenes were greatly polished with colour. For Uncanny, this has definitely been a step-up.

To top it off, Avengers Academy #1 is reprinted in the issue. Two major books for $3.99? Count me in!

Grade: 6/10

New Mutants #23
Mike Carey (writer), Steve Kurth (pencils), Allen Martinez (inks), Brian Reber (colours), Joe Caramagna (letters), Leinil Yu & Marte Gracia (cover). $2.99

New Mutants

The Age of X continues with another unexpected twist in story. Who knew that Magneto didn’t know that Xavier knew this wasn’t the world they know of? If you had to re-read that sentence because it was mind-boggling, now you know how I felt with New Mutants! So many twists and turns leave me begging for more!

As expected, Rouge, er, Legacy and Gambit were not killed in the last issue, but actually saved by Magneto, despite it seeming to be the other way around. However, to the rest of the mutants, it still looks Magneto’s a murderer. Distrust fills Fortress X and mutants begin to question Magneto’s leadership. Unfortunately for Magneto, after rescuing Xavier from his own prison, he is knocked out of his leadership role, changing the way mutants in the Age of X will live. Meanwhile, Legacy and Gambit uncover the secret to what really is going on.

As mentioned, this story has more twists and turns than a kid putting together a Hot Wheels racetrack. Strong writing and intense scenes put this story ahead of its parent-title by a long shot.

Kurth’s work is good, but nothing out of the ordinary. For example, I loved his panel with Legacy and Gambit with just their lips. It was an unusual panel, but very well rendered. But when I look at Magneto I can’t stop thinking “baby face.” Overall, for a lack of action-book, it feels action-packed. It was on my second read-through did I realize no “fighting” actually took place. I’m also left wondering where Wolverine and “Cyclops” are.

With Age of X nearing its conclusion, it reassures me that Mike Carey needs to be given more major crossover stories.

Grade: 7/10

X-Men #8
Victor Gischler (writer), Chris Bachalo (pencils, colours), Tim Townsend, Wayne Faucher, Jaime Mendoza & Al Vey (inks), Joe Caramagna (letters), Terry & Rachel Dodson (cover). $3.99

X-Men

Thanks to Gischler & Bachalo, another great issue of X-Men is in my hands. Unlike Spider-Man’s take on this tale in the “Shed” storyline, the villain is a surprise all-together – and one I did not see coming.

Opening up from where we left off – Wolverine is taking out lizard-folk, Bachalo-style. From there, a good portion of the story focuses on the children captured by the new villain. I really start to feel for these characters – which is amazing given their short page-time in the book. The fact that I begin to empathize with minor characters the way Gischler makes me, shows that the creative team in this book really are ahead of the game. And despite the unexpected villain, the book ends on a ridiculous cliffhanger leaving Emma in a whole lot of trouble.

I cannot stress (still) how great Bachalo is with this book. I wish he could draw Wolverine all of the time. Heck, let him colour too. He’s doing an incredible job. Of course, we also get four inkers again this month leaving me to wonder who did what. I wish I could get a feel for inkers the way I can with colourists. It’s frustrating!

X-Men went from a decent first story arc to something incredible in no-time! Not to mention that the Dodson’s rocked the cover.

Grade: 8/10

X-Force #6
Rick Remender (writer), Esad Ribic (pencils, cover), John Lucas (inks), Matt Wilson (colours), Cory Petit (letters). $3.99

X-Force

I think it’s great when I can say, “this is the worst Uncanny X-Force book to date,” yet the story is still impressive.

Deathlok’s appearance at the end of last issue actually meant he was on Fantomex’s side. Admittedly, I didn’t see that one coming. The rest of X-Force eventually meet up with Fantomex and Deathlok to discover why random cyborgs are trying to kill them. Turns out they’re from the future and superheroes are not allowed to exist! But luckily Fantomex comes up with a great plan to defeat them – to destroy the future in the next issue! Despite all of that, the issue seemed like a miss for me.

Surprisingly, the most exciting part of this book for me was when Psylocke had tea with her brother, Captain Britain. She spoke her feelings about how X-Force conducted themselves with Apocalypse. She feels like she’s a changing person and she needed to know that someone understood her. Remender delves into Psylocke’s character with great emotional detail. I can tell he has great plans for her. Not to mention the twist with Captain Britain too. What a doozy!

I really cannot complain about Ribic’s work. He’s a very strong artist and takes what Opena did in the last arc and sharpens it up a bit – leaving us with a less gritty attitude. However, I have realized what feels the most different in the artwork – the colouring. Although Matt Wilson does great work, in comparison Dean White in the last arc, I feel as if the colours on the characters are too bright and plain in comparison to the pencils. I only say that with the characters because Wilson does an excellent job on everything else – particularly on landscapes.

It’s another strong issue for X-Force, but admittedly it’s their weakest too. And in accordance to the story, the cover of the book seems to be ahead of itself by about a month.

Grade: 6.5/10

As a side, see if you can spot the two Star Wars references in Wolverine & Jubilee #3 this week too. An obvious one was mentioning the “Death Star.” You get bonus points for finding the other.

Until next time, keep on Space Truckin’!

Wednesday’s Reviews: Part 2 – Fantastic Four, Avengers, and more X-Men!

As promised, here is part two of my reviews for this week.

Fantastic Four Final Issue

Fantastic Four #588
Jonathan Hickman (writer), Nick Dragotta (pencils, inks), Paul Mounts (colours), Rus Wooton (letters), Alan Davis, Mark Farmer & Javier Rodriguez (cover). $3.99

The final issue of the Fantastic Four.

I don’t think any amount of words could capture what both Hickman and Dragotta put into this issue. The amount of raw emotion really draws the reader into the story with no words. Quite literally, there are no words spoken until the final page of the book.

The book goes over the immediate moment when Johnny dies, up to a month of mourning with the Fantastic Four and Marvel family.

Gut-wrenching moments with Dr. Doom arriving at the funeral, while Thing unleashes anger upon the Hulk and Thor – all are breathtaking moments which had my own eyes swelling up.

The secondary story involving Spider-Man and Franklin Richards places Spider-Man as the face of helping, reasoning, and understanding.

I really don’t think there is anything bad to say about this book. It’s a wonderful, sad, yet optimistic way to conclude the series.

Grade: 10/10

Avengers

Avengers #10
Brian Michael Bendis (writer), John Romita Jr. (pencils), Klaus Janson & Tom Palmer (inks), Dean White & Paul Mounts (colours) Cory Petit (letters), John Romita Jr., Klaus Janson & Dean White (cover). $3.99

Despite the this cover and the last one, there has really been zero action between The Hood and the Avengers. The majority of the story is the members of the Illuminati gathering the Infinity Gems from their hiding spots. Namor, Thor, and Red Hulk go into the furthest depths of the sea to gather a gem, while Professor X and a large band of Avengers encounter the Danger Room to retrieve another. Iron Man and friends go to Area 51 – a place which Tony Stark apparently owns, to get the third – but The Hood is already there. He snatches the gem and teleports to the next closest one – that being in the possession of Thor.

And that’s really the book in a nutshell. Pages are dedicated to unlocking, swimming, and finding the gems. I am aware that they are to show the importance of how secretive of places the gems were in – but it felt like watching the doors opening in Mystery Science Theater 3000 – only this was about 20 pages of it.

Admittedly, there was a fight in the Danger Room, but it really lacked oomph and trailed quickly into a who cares what happens because there didn’t seem to be any threat from the machine.

Another lull appeared in the story where for I believe, for the fourth time, we see faces bunched up on a page like this. It’s pretty bad when I’m able to start counting on these things in these issues.

A slow story from Bendis with half-decent art from Romita drags this current issue into the ground. Definitely a step-down from last-issue.

Grade: 4/10

X-Men Serve and Protect

X-Men: To Serve and Protect #4 of 4
Chris Yost, Kathryn Immonen, Jed Mackay & James Asmus (writers), Derec Donovan, Stuart Immonen, Sheldon Vella, Eric Koda, Sandu Florea & Miguel Munera (pencilers), Wade Von Grawbadger, (inker), Andres Mossa, Jesus Aburto & Jeremy Cox(colourers) Dave Sharpe (letters), Guiseppe Camuncoli & Marte Gracia (cover). $3.99

In the final issue of the X-Men: To Serve and Protect anthology, four very-different stories wrap up the series. The first involves Rockslide and Anole versus Mr. Negative and the Serpent Society. This story spanned all four issues and grabbed the attention to the reader in each book. Coincidently, it was written by Chris Yost, making the two unknown X-Men really stand out as both relevant and hilarious characters. Great cartoonish art and colours was also portrayed by Donovan and Mossa.

Kathryn and Stuart Immonen run the second story involving both Gambit and Hellcat – on a date! Hilarity ensues as Gambit’s frustration of Hellcat’s care-free attitude make for an interesting night. Kathryn’s storytelling, as far as I can see with her shorts as well as Osborn and Heralds, are beyond-witty and really excel at true storytelling in a limited space. Kathryn shines as one of Marvel’s best writers.

The third story by Mackay and Vella was probably the weakest story out of the bunch, but arguably one of the oddest stories in the whole series. Dazzler, Misty Knight and Colleen Wing act as a super heroine trio, “Dazzler and Her Radical All-Girl Roller Death Squad!” Indeed. They fight M.O.D.O.R.D. (The Mental Organism Designed Only for Roller Derby), as well as Armadillo, Klaw, a Sentinel, Whirlwind, and even Doctor Bong. The three find that Chadmaster (or the Grandmaster in disguise), is letting her fight so she can have cosmic powers. Of course, she beats up Chad because she’s a mutant pop star that roller blades. What else could she want?

The final issue by Asmus, Koda, Florea, Munera and Cox features Psylocke and Hercules defeating the Griffin. After winning, Herc offers Psylocke a chance to “union” with him. We’re then taken to a flashback where the two met before in London above a beaten Crimson Dynamo. There, Herc asks her the same question. Flashing forward to the present, Herc innocently asks, “so. . . did we?” followed by a sock in the face by Psylocke. Brilliantly executed and dramatically simple, the final story was my favourite to the entire series (and not because Psylocke is a favourite of mine).

A great mash up of stories by a group of immensely talented writers – X-Men: To Serve and Protect concludes its series very strong.

Grade: 8/10

Godspeed, and keep on Space Truckin’!