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In a quiet, understated way, Uncanny X-Men #19 acts as a capstone for the book’s first year. Brought to us by Gail Simone and regular artist David Marquez, this latest issue pays tribute to the tumultuous year since the “From the Ashes” era began by revisiting a story from their initial teaser in Free Comic Book Day 2024. By dipping back into this storyline, Simone acknowledges how far the characters have come, while also inadvertently touching on some of the more frustrating aspects of the new era.

The Free Comic Book Day 2024: Blood Hunt/X-Men teaser featured a short story about Jubilee. After Krakoa’s fall, she muses on what the once-proud Xavier School has become: a prison for mutants, many of whom aren’t even guilty, run by the hateful warden Corrina Ellis. The story effectively sets up the new era’s dangers. When Jubilee meets a young mutant named Uva at a diner, Uva’s mother pretends the girl has a skin condition to protect her from rowdy bigots. Jubilee extracts some revenge on their behalf, destroying their vehicle and threatening them if they ever return. It’s a short, effective story that establishes a world where mutants have lost the security of Krakoa.

Marvel Comics

In Uncanny X-Men #19, we revisit that story, though not in the linear way one might expect. The diner reappears, now visited by Ellis and her head of security. What seems like an obvious conflict; the bigot-in-chief confronting a young mutant, is actually a misdirect. Uva is in trouble, but the threat isn’t Ellis; it’s a more mundane, and perhaps more realistic, one: everyday bigots. Ellis is suitably villainous in leaving Uva to her fate, but her presence only serves to remind the reader of the frustrating Greymalkin plotline that has been largely untouched since the “Raid on Greymalkin” crossover nearly a year ago.

Guest stars Deadpool and Outlaw appear, quickly coming into conflict with the Outliers in a contrived moment that does, however, highlight the strong bond between Calico and Jitter, and Ransom and Deathdream. The quartet of young mutants truly feels like a family, and while some interactions might seem slightly saccharine to some, this reviewer finds them endearing. The conflict is swiftly diffused, but not before Deadpool breaks the fourth wall with characteristic zingers and references to X-Men meta and Hugh Jackman.

Jubilee, alerted to the trouble at the diner, heads there with Nightcrawler. The conflict is quickly resolved, as these bullies are no match for trained X-Men. While it doesn’t provide much drama, it’s great to see Jubilee take the lead and resolve a story set up for her over a year ago. She narrates the entire issue, while the other X-Men have smaller roles, largely confined to a scene where the city of New Orleans seeks collaboration with the team. This scene provides some laughs with more meta-references to the sex symbol status and marketability of characters like Gambit and Rogue.

Marvel Comics

David Marquez and Matt Wilson are the always-reliable art team. Marquez’s work is not quite at its sharpest here, but even when slightly looser, it remains high-quality and charming. Wilson’s bright, papered colors suit the work perfectly. It’s fitting that the art team who began this story is here to complete it.

Overall, this issue effectively serves as a capstone to the first year of Uncanny X-Men. It provides closure to a poignant story and gives much-needed focus to the often underutilized Jubilee. The character dynamics between the Outliers highlight the charming found-family element of the book, and the story also sets up an intriguing new arc with the New Orleans-Haven House plot. Marquez and Wilson’s seamless collaboration and charming art style consistently elevate the narrative.

However, the issue isn’t without its flaws. The guest stars are given very little to do, and their limited page time could have been better spent on Jubilee’s story. Additionally, the character of Doctor Ellis serves as an unwelcome reminder of some of the series’ more frustrating aspects. Despite these issues, Uncanny X-Men #19 is a charming revisitation of the “From the Ashes” era’s first true story. The focus on Jubilee is a welcome change, and the ending is satisfying and heartwarming.

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In a quiet, understated way, Uncanny X-Men #19 acts as a capstone for the book’s first year. Brought to us by Gail Simone and regular artist David Marquez, this latest issue pays tribute to the tumultuous year since the “From the Ashes” era began by revisiting a story from their initial teaser in Free Comic Book Day 2024. By dipping back into this storyline, Simone acknowledges how far the characters have come, while also inadvertently touching on some of the more frustrating aspects of the new era.

The Free Comic Book Day 2024: Blood Hunt/X-Men teaser featured a short story about Jubilee. After Krakoa’s fall, she muses on what the once-proud Xavier School has become: a prison for mutants, many of whom aren’t even guilty, run by the hateful warden Corrina Ellis. The story effectively sets up the new era’s dangers. When Jubilee meets a young mutant named Uva at a diner, Uva’s mother pretends the girl has a skin condition to protect her from rowdy bigots. Jubilee extracts some revenge on their behalf, destroying their vehicle and threatening them if they ever return. It’s a short, effective story that establishes a world where mutants have lost the security of Krakoa.

Marvel Comics

In Uncanny X-Men #19, we revisit that story, though not in the linear way one might expect. The diner reappears, now visited by Ellis and her head of security. What seems like an obvious conflict; the bigot-in-chief confronting a young mutant, is actually a misdirect. Uva is in trouble, but the threat isn’t Ellis; it’s a more mundane, and perhaps more realistic, one: everyday bigots. Ellis is suitably villainous in leaving Uva to her fate, but her presence only serves to remind the reader of the frustrating Greymalkin plotline that has been largely untouched since the “Raid on Greymalkin” crossover nearly a year ago.

Guest stars Deadpool and Outlaw appear, quickly coming into conflict with the Outliers in a contrived moment that does, however, highlight the strong bond between Calico and Jitter, and Ransom and Deathdream. The quartet of young mutants truly feels like a family, and while some interactions might seem slightly saccharine to some, this reviewer finds them endearing. The conflict is swiftly diffused, but not before Deadpool breaks the fourth wall with characteristic zingers and references to X-Men meta and Hugh Jackman.

Jubilee, alerted to the trouble at the diner, heads there with Nightcrawler. The conflict is quickly resolved, as these bullies are no match for trained X-Men. While it doesn’t provide much drama, it’s great to see Jubilee take the lead and resolve a story set up for her over a year ago. She narrates the entire issue, while the other X-Men have smaller roles, largely confined to a scene where the city of New Orleans seeks collaboration with the team. This scene provides some laughs with more meta-references to the sex symbol status and marketability of characters like Gambit and Rogue.

Marvel Comics

David Marquez and Matt Wilson are the always-reliable art team. Marquez’s work is not quite at its sharpest here, but even when slightly looser, it remains high-quality and charming. Wilson’s bright, papered colors suit the work perfectly. It’s fitting that the art team who began this story is here to complete it.

Overall, this issue effectively serves as a capstone to the first year of Uncanny X-Men. It provides closure to a poignant story and gives much-needed focus to the often underutilized Jubilee. The character dynamics between the Outliers highlight the charming found-family element of the book, and the story also sets up an intriguing new arc with the New Orleans-Haven House plot. Marquez and Wilson’s seamless collaboration and charming art style consistently elevate the narrative.

However, the issue isn’t without its flaws. The guest stars are given very little to do, and their limited page time could have been better spent on Jubilee’s story. Additionally, the character of Doctor Ellis serves as an unwelcome reminder of some of the series’ more frustrating aspects. Despite these issues, Uncanny X-Men #19 is a charming revisitation of the “From the Ashes” era’s first true story. The focus on Jubilee is a welcome change, and the ending is satisfying and heartwarming.