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As the Age of Revelation event looms, Uncanny X-Men #21 serves as the final issue of the year, bringing the story that started in issue #20 to a close. Written by Gail Simone, with art by Luciano Vecchio and colors by Matthew Wilson, this issue takes Wolverine and Ransom on a quest to Argentina to find Ransom’s estranged brother. While the previous issue did an excellent job of juggling multiple characters and delivering meaningful, heartwarming interactions, this one doesn’t quite live up to those same heights. The story loses focus in the middle before finding its way to a solid, wholesome conclusion. It’s an issue that stumbles a bit but ultimately lands on its feet.

Wolverine and Ransom are confronted with Ransom’s painful past. Their journey leads them to his father, a man Simone quickly establishes as ruthless and cold. This man’s lack of love for his son isn’t because Ransom is a mutant or the product of an affair, but simply because he lacks the same brutal drive that defines his father. In sharp contrast, Wolverine is cast in a more empathetic, fatherly light. Throughout the issue, he acts as Ransom’s protector, guarding his feelings and showing him a different side of himself. Their mission to save Ransom’s brother eventually brings them to a comic convention, full of attendees dressed as X-Men characters.

This is where the issue begins to lose its way. The humor involving the convention is meta and amusing, but it lacks punch and real meaning. An extended sequence with a Phoenix cosplayer evokes warm but sad emotions in Wolverine, yet it feels like an odd distraction from the main narrative. It doesn’t reveal much that hasn’t already been covered in Wolverine’s solo comic. The intention may have been to show Ransom another side of his mentor, but Wolverine’s pining for a married character by proxy just feels a bit strange. The distractions continue with a jump to the Outliers back at school, focusing on Deathdream and his awkward social life. Like the convention scene, it’s a nice moment, but it feels irrelevant to the main story, taking up pages that could have been used to strengthen the climax.

This loss of focus leads to a somewhat rushed conclusion by Simone and Vecchio. There’s a quick fight sequence and a rushed exorcising of family demons. The villain of this arc is nearly irrelevant to the overall conflict, and it’s clear that some things should have been left on the cutting room floor to give the climax more room to breathe. But the final few pages are strong, with Simone’s skill and warmth making them hit hard, both literally and figuratively. This is a story about the meaning of family, and especially the role of a father. Ransom comes out of these two issues as a more realized character, and his bond with Wolverine is solidified.

Luciano Vecchio and Matthew Wilson have become a well-practiced team at this point. While their partnership never quite synergizes as well as Marquez and Wilson’s, the art Vecchio provides is consistently strong. The page where Ransom unleashes his powers to slug his enemies is particularly visually striking, conveying momentum, energy, and color that make it feel impactful and appealing.

Ultimately, Uncanny X-Men #21 falls short of the previous issue. It loses focus and struggles to tell a cohesive story. The middle portion feels out of place and is better in concept than in practice. Still, it brings things to a strong enough conclusion, giving Ransom a good character arc and helping this new character shine. 

With strong visuals, some good gags, and a heartwarming conclusion, Uncanny X-Men #21 embodies the essence of the book itself: it isn’t always the most focused, but it is consistently heartwarming and wholesome. At its core, it’s built on the idea that the X-Men are a family, and no matter how much of an outsider you feel, you can find people who will value and care for you. And in the end, what’s more X-Men than that?

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As the Age of Revelation event looms, Uncanny X-Men #21 serves as the final issue of the year, bringing the story that started in issue #20 to a close. Written by Gail Simone, with art by Luciano Vecchio and colors by Matthew Wilson, this issue takes Wolverine and Ransom on a quest to Argentina to find Ransom’s estranged brother. While the previous issue did an excellent job of juggling multiple characters and delivering meaningful, heartwarming interactions, this one doesn’t quite live up to those same heights. The story loses focus in the middle before finding its way to a solid, wholesome conclusion. It’s an issue that stumbles a bit but ultimately lands on its feet.

Wolverine and Ransom are confronted with Ransom’s painful past. Their journey leads them to his father, a man Simone quickly establishes as ruthless and cold. This man’s lack of love for his son isn’t because Ransom is a mutant or the product of an affair, but simply because he lacks the same brutal drive that defines his father. In sharp contrast, Wolverine is cast in a more empathetic, fatherly light. Throughout the issue, he acts as Ransom’s protector, guarding his feelings and showing him a different side of himself. Their mission to save Ransom’s brother eventually brings them to a comic convention, full of attendees dressed as X-Men characters.

This is where the issue begins to lose its way. The humor involving the convention is meta and amusing, but it lacks punch and real meaning. An extended sequence with a Phoenix cosplayer evokes warm but sad emotions in Wolverine, yet it feels like an odd distraction from the main narrative. It doesn’t reveal much that hasn’t already been covered in Wolverine’s solo comic. The intention may have been to show Ransom another side of his mentor, but Wolverine’s pining for a married character by proxy just feels a bit strange. The distractions continue with a jump to the Outliers back at school, focusing on Deathdream and his awkward social life. Like the convention scene, it’s a nice moment, but it feels irrelevant to the main story, taking up pages that could have been used to strengthen the climax.

This loss of focus leads to a somewhat rushed conclusion by Simone and Vecchio. There’s a quick fight sequence and a rushed exorcising of family demons. The villain of this arc is nearly irrelevant to the overall conflict, and it’s clear that some things should have been left on the cutting room floor to give the climax more room to breathe. But the final few pages are strong, with Simone’s skill and warmth making them hit hard, both literally and figuratively. This is a story about the meaning of family, and especially the role of a father. Ransom comes out of these two issues as a more realized character, and his bond with Wolverine is solidified.

Luciano Vecchio and Matthew Wilson have become a well-practiced team at this point. While their partnership never quite synergizes as well as Marquez and Wilson’s, the art Vecchio provides is consistently strong. The page where Ransom unleashes his powers to slug his enemies is particularly visually striking, conveying momentum, energy, and color that make it feel impactful and appealing.

Ultimately, Uncanny X-Men #21 falls short of the previous issue. It loses focus and struggles to tell a cohesive story. The middle portion feels out of place and is better in concept than in practice. Still, it brings things to a strong enough conclusion, giving Ransom a good character arc and helping this new character shine. 

With strong visuals, some good gags, and a heartwarming conclusion, Uncanny X-Men #21 embodies the essence of the book itself: it isn’t always the most focused, but it is consistently heartwarming and wholesome. At its core, it’s built on the idea that the X-Men are a family, and no matter how much of an outsider you feel, you can find people who will value and care for you. And in the end, what’s more X-Men than that?