After the end of Grant Morrison‘s run on X-Men vol. 2 titled New X-Men, the title was used for a new series, New X-Men: Academy X. The title was later shortened to simply New X-Men.
New X-Men: Academy X was launched during the X-Men ReLoad event. The Academy X subtitle was dropped from the title when the new creative team of Craig Kyle and Christopher Yost took over the series with issue #20.
Whereas the other X-Men comics mostly deal with established adult mutants, this series concentrates on the lives of young students residing at the Xavier Institute for Higher Learning as they learn to control their powers.
After the 2007 crossover X-Men: Messiah Complex, the New X-Men title was canceled and briefly relaunched as Young X-Men for 12 issues. The series was written by Marc Guggenheim. After the first arc of Young X-Men, the characters began appearing in the pages of Uncanny X-Men. With the cancellation of Young X-Men the characters were folded onto the main X-Men books, appearing most prominently in the pages of X-Men: Legacy, Wolverine and the X-Men, and most recently, in X-Men.
Gambit plays his cards right and vaults into his own kinetically charged solo adventures! He’s a lover and a thief, but what else does ragin’ Cajun Remy LeBeau get up to when he isn’t hangin’ wit’ de X-Men? Would you believe raiding lost temples of Doom? Clashing with the deadly X-Cutioner? Or teaming up with Sabretooth? Still, there’s always time for the ladies- like old friend Storm and his favorite cherie, Rogue. But who is Gambit’s gaseous green guardian?
A thriller that will take readers across the Marvel Universe – and beyond! Kurt Busiek (MARVELS) is back, with the biggest, wildest, most sprawling series you’ve ever seen – telling stories that span decades and range from cosmic adventure to intense human drama, from street-level to the far reaches of space, starring literally anyone from Marvel’s first heroes to the superstars of tomorrow! Featuring Captain America, Spider-Man, the Punisher, the Human Torch, Storm, the Black Cat, the Golden Age Vision, Melinda May, Aero, Iron Man, Thor and more – and introducing characters destined to be fan-favorites! Get to know Kevin Schumer – an ordinary guy with some big secrets – and the mysterious Threadneedle! But who (or what) is KSHOOM?
In the wake of S.H.I.E.L.D.’s collapse, an ancient and primordial evil has been awakened beneath the streets of New York. And with it, something equally evil has been awakened in that most wicked of web-slingers: Venom! The symbiote may still be a Lethal Protector of innocents in New York, but this never-before-seen threat could possibly force Venom to relinquish everything it holds dear – including its human host, Eddie Brock!
“Eve of Destruction” was part of a four-month period in 2001 on the two core X-Men books, as former X-Men writer Lobdell was brought back to wrap up the dangling plotline of the Legacy Virus and produce filler material while Marvel planned the highly anticipated arrival of Grant Morrison and Joe Casey as writers for the main two X-Men books. As a result, this can be seen as a “finale” to the X-men storylines from the 1990s era. It would be several years before Uncanny X-Men and X-Men crossed over with each other since this story.
Later in 2001, X-Men had its title changed to New X-Men and writer Grant Morrison took over. When Chuck Austen moved from writing Uncanny X-Men to New X-Men, the title returned to its old name of simply X-Men, with Salvador Larroca, who had been working with him on Uncanny X-Men doing the art. In 2007, the X-Men title would change once again into X-Men: Legacy.
With a civilian life as a married man, the Spider-Man of the 1990s was different from the superhero of the previous three decades. McFarlane left the title in 1990 to write and draw a new series titled simply Spider-Man. His successor, Erik Larsen, penciled the book from early 1990 to mid-1991. After issue #350, Larsen was succeeded by Mark Bagley, who had won the 1986 Marvel Tryout Contest and was assigned a number of low-profile penciling jobs followed by a run on New Warriors in 1990. Bagley penciled the flagship Spider-Man title from 1991 to 1996.
Issues #361-363 (April–June 1992) introduced Carnage, a second symbiote nemesis for Spider-Man. The series’ 30th-anniversary issue, #365 (Aug. 1992), was a double-sized, hologram-cover issue with the cliffhanger ending of Peter Parker’s parents, long thought dead, reappearing alive. It would be close to two years before they were revealed to be impostors, who are killed in #388 (April 1994), scripter Michelinie’s last issue. His 1987–1994 stint gave him the second-longest run as writer on the title, behind Stan Lee.
The world is ever in peril, and a new team of Avengers mobilizes to meet any dangers that dare threaten the planet. But when Terminus attacks, a new and insidious danger rears its head: one that the Avengers know all too well, and one that comes to them in the most dangerous of guises – that of a friend.
The ALL-NEW Michael Morbius? Morbius, is back, but on the run and desperate to quell his vampiric tendencies. But has the midnight son really changed? As Morbius tries to stay under the radar, a new threat arises, and they want Morbius dead.
Marvel relaunched The Punisher War Journal in 2009 as simply Punisher, with a thematic link tied to the events of the “Dark Reign” storyline. As part of his work on the character, Rick Remender wrote the one-shot title Dark Reign: The List – Punisher, which, as part of the “Dark Reign” storyline, shows the character dismembered and decapitated by Daken.
In 1997, Deadpool was given his own ongoing title, initially written by Joe Kelly, with then-newcomer Ed McGuinness as an artist. Deadpool became an action comedy parody of the cosmic drama, antihero-heavy comics of the time. The series firmly established his supporting cast, including his prisoner/den mother Blind Al and his best friend Weasel. The ongoing series gained cult popularity for its unorthodox main character and its balance of angst and pop culture slapstick and the character became less of a villain, though the element of his moral ambiguity remained. The writer Joe Kelly noted, “With Deadpool, we could do anything we wanted because everybody just expected the book to be cancelled every five seconds, so nobody was paying attention. And we could get away with it.”
The series was taken over by Christopher Priest who noted that he found Kelly’s issues to be “complex and a little hostile to new readers like me” and that by issue 37, he realized that “it was okay to make Deadpool look stupid.”
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