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There’s something awful on Muir Island (1st story)
Spigot at the end of the universe (2nd story)
First Story :This is a reprint of X-Men (1st series) #125.
Second Story: Isolating himself from the myriad beings that inhabit Throneworld, Charles Xavier is locked into a game of 3-D chess, by himself. He is thinking over twenty moves ahead and concentrates hard to master the rules and skills involved. A large, pink being appears with his son and asks Charles if he can play a game with his boy. Charles coldly replies that he thinks not; he plays alone. The father ushers away his son, Skemp, saying that it’s getting a little chilly. How rude, he tells his son. Charles is just a human, and a consort at that.
Charles can’t tolerate much more of this. Throneworld has representatives from all the most advanced races, all of superior intelligence. To them, humans are placed at the low end of the intelligence scale. He swipes the chess pieces from the board in frustration. They don’t even give us a chance, he thinks. He uses his hoverchair to maneuver his way around and he heads off to find Lilandra. He feels that, on Earth, he is one of the most brilliant men on the planet. There, he is isolated by that brilliance. On Throneworld, he finds himself considered the village idiot and he is alone there too. If that weren’t enough, he is seen as nothing more than a mere plaything to the Empress. He is humiliated.
Lilandra is holding court in the strategy room. Around the table sit members of her council, beings of all shapes and sizes. They are discussing whether to impose economic sanctions on Remy-World, to try and deter violence that has erupted there. The council is split. Charles interrupts Lilandra as she speaks and says hello to the members. He suggests that the race in question be left alone to sort out their own fate. The members look at him in stony silence.
Lilandra asks them to excuse her for a moment and she leads Charles away from the table. She suggests that she leaves the governing matters to her. Charles sternly mentions that everyone treats him like an idiot; even her. Lilandra replies that maybe it’s because he’s beginning to act like one. She tries to comfort him by adding that the races here are amongst the most enlightened in the universe; much more advanced than humans. As a representative of the human race, shouldn’t he be trying to show them what is special and wonderful about humans? She says he should try at least. After all, intelligence comes in strange forms.
As they talk, a tall green woman named Chakra walks past, twirling a spanner in her hand. Lilandra ask her where she’s off to and Chakra replies that she’s off to fix the spigot at the end of the desert. It’s leaking again. She’ll either fix it or rassle it to death. Lilandra introduces her to Charles. She tells him that Chakra is Throneworld’s plumber. She fixes things.
Chakra says howdy and asks Charles if he fancies coming along. It’s nice out there in the desert. Lilandra suggests he take Chakra up on her offer. It will do him good. “Trust me.”
Later, out in the desert, Chakra sprints across the rocky ground, her tool belt swinging around her waist. Charles follows in his hover chair, still not looking like he’s enjoying himself. Chakra tries to break the ice by asking Charles if he wants to hear a dirty joke. It’s really dirty and he’ll love it. Charles replies by asking if she finds it humiliating to be the plumber among such advanced races. Chakra thinks that’s a hoot. If she didn’t fix their plumbing, the eggheads would be helpless. She laughs as she revels in the outdoor environment.
She begins to run out of air and uses an oxygen cylinder to replenish her lungs. Charles does likewise, as Chakra informs him that you need a little extra out in the desert or your lungs collapse. As he breathes in, she says, “Oops, you know, I forgot to fill the tanks!” Charles replies that they’ll have to turn back, but Chakra suddenly points out a meteor shower. They make her faint. She runs towards the shower and Charles calls her back, asking her not to be so foolish. Chakra responds by telling him that, if she passes out, he should slap her. She wants to be right under the shower.
Charles tells her they’ll die, but Chakra ignores him. She says that the showers are amazing. They make her tingle, and rush, and shudder all over. Charles insists they turn back, but Chakra spots her spigot in the distance. They reach it and Charles huffs and puffs, afraid of passing out himself. Chakra leans on the spigot and asks him to shush and save his air. “Relax! Why don’t you just… look up.” Charles doesn’t want to look up but, as his protestations emerge from his mouth, he raises his eyes skywards and is lost for words. It’s the most beautiful thing he’s seen for a long time.
Chakra bends down and Charles looks at her. He still can’t form a sentence and Chakra says it was indescribable. She tells Charles that she’d forgotten that the spigot had an oxygen hose. She hooks him up and his lungs feel the rush of fresh oxygen. Chakra sits, and Charles asks just who she is. She’s not just a plumber. “Who are you?” she retorts, “You’re not just the Empress’s consort.”
Charles asks why she pretends to be stupid; acting like a common plumber when, actually, she is very wise. Chakra replies that she is a plumber, and very proud of the fact. She’s essential. She fixes the planet’s inner workings. She fixes the guts of all things and makes it flow. Why is that so stupid? she asks. What is stupidity? Is stupidity wanting to see a star shower? Is intelligence knowing when you’re running out of air? She smiles, before sprinting off back towards civilization. She adds that, maybe, intelligence is accepting what you are, wherever and whoever you are, with as much grace and bounce as possible. She laughs as she skips over the ground.
Soon, Charles comes across Skemp again and asks, “How about that game of chess. Do you want to play?” Skemp sure does and, as they head for a table, his father thinks that perhaps there’s more to the human race than they thought. As Charles and Skemp play, Lilandra interrupts them for a kiss. Charles strokes her face and asks just who was that girl? “Why she’s the plumber,” Lilandra replies, “she fixes things.”


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How sharper than a serpent’s tooth…! (1st story)
Shreds of humanity (2nd story)
First Story :This is a reprint of X-Men (1st series) #126.
Second Story: (Muir Island)Reality bends. Nightcrawler and Wolverine are turned inside out as their sense of normality is ripped out from under them. Their bodies twist and turn and Kurt’s words turn to tears; tears that drip down the cheek, joined by his eyeballs that roll towards his friend. Wolverine drops his jaw and yells. His jaw becomes stuck where he left it, somewhere near his ankles. Ankles don’t usually bend, he thinks.
The two X-Men come round, lying on the grass, feeling like they’ve been toyed with. Proteus laughs at them, and asks if they’ve had enough. “Feeling a little brittle?” he smirks. “Stomach in your throat; backbone made of rubber?” He laughs with an assured sense of control. Wolverine stands and is ready to attack once again, but Nightcrawler asks him to stop. Wolverine is impatient, and tells Kurt that Proteus is his. “Don’t ruin my fun!”
Kurt insists they’re out of their limits here. He’s too powerful. Wolverine likes the odds and knows that Proteus bends reality, but only in ones mind. Next time, he’ll be ready for him. Kurt knows that is certainly not the case. This is no time to play tough guy, he warns his friend. Logan insists he’s not just a tough guy. Proteus can see that Kurt’s comment struck a nerve there. Proteus notes that now he’s seen what buttons to push, the game is infinitely more interesting.
Kurt tries to reason with Proteus. He insists Wolverine is out of his mind and he’s sinking into some kind of animal level. Please, he begs, if he has any shred of humanity in him…
Wolverine faces Proteus, not wanting Nightcrawler’s help. Proteus maintains his grin, and replies that he doesn’t have a shred of humanity, but Wolverine does. Using a tiny fraction of his power, Proteus once again toys with Logan’s mind. Logan’s skin seems to pull tighter; a brittleness that seems to come from forgotten childhood vulnerability, crackles out from soul to surface, and what was a face simply flakes away. Organs slip-slosh, piling up in a crashing heap. The heart beats too high and hard, pushing his throat closed. Logan’s teeth grind together till they explode like kicked pebbles, and lips close over the stumps of gravel remains. This is bad.
Something inside Wolverine wrenches and twists, alive underneath the panic to hold together the thousand pieces of his body. He is embarrassed that he has been exposed to his brittle core, with everyone gaping at his vulnerabilities. His body crashes to the floor like shattered glass.
Proteus releases his grip and Wolverine stands once again, nauseous but alive. “I see you, Wolverine,” Proteus grins, “I see the tough guy.” He laughs once again. Wolverine tells him to keep laughing. He’s a few steps closer to Proteus now. Suddenly, a strange sensation overwhelms him, as if a vacuum sucked everything inside, scraping it all away and leaving him empty. His mind is gone once more. His face becomes a skull and he looks over a godless landscape that reaches out in every direction. He yells, but his words stretch like dead telephone wires; limp, desperate and unheard.
Wolverine tries to stand and walk, but things only get worse. He sees himself as a kind of Daliesque painting, a spider, with eggs where his body should be. Words spin around his mind, but Wolverine still retains the tiniest amount of control over his functions. He moves one of his legs, one of the stumps that emerge from below the eggs. Proteus laughs as Wolverine struggles on his knees. Once again, Proteus releases his grip on Wolverine and Logan finds himself closer still to his opponent. He tells Proteus so, and says he’s close enough. “To what?” asks Proteus.
Proteus, for the fourth time in as many minutes, twists Logan’s reality around him. He decides to play on Wolverine’s vaunted healing factor. This time, Logan feels like he’s rotting inside. He hears a thought, a tiny wisp of a passing thought; some hidden fear of self abuse. Oh, how he abuses his healing factor that keeps him so healthy. How he abuses it. Proteus finds one paranoid scrap in Logan’s brain and enlarges it. What’s one more pack of cigarettes, Logan thinks.
He sees his body wither away into a skeletal wreck. He is a flea-bitten, stinking, shambling, char-broiled, coal lump of a man. Fifty thousand cigarettes, prickly black cigarettes, enough to nail a coffin shut. What’s a couple of beers? he thinks. What’s the harm? Red meat, a drink and a smoke. They’ll do him no harm. He sees his body dying, as if the healing factor was never there in the first place. He is dying, and on his way to join the family plot. He’s the tough guy, but he can’t fight cancer. Wolverine screams a deep guttural scream, which suddenly turns into the squeaky screech of a flat-faced, square-headed cartoon version of himself. “I’m strong and healthy,” he squeaks. The cartoon Wolverine stands with a determined sense of duty. His claws are readied.
Wolverine tells himself that he’s the toughest and baddest one around. He smokes bombs, eats bullets and brushes his teeth with porcupines. He’s the biggest and baddest man around. His self-belief gradually overcomes the evil that Proteus pours into him, and Proteus realizes that the X-Man is getting really close. Wolverine snaps out of it, and finds Proteus within arms length.
Proteus actually takes a step backwards, but he once again tries to toy with Logan’s mind. In his mind, Logan pushes his claws into himself and begins to shred his torso, lashing away until blood pours from every vein. In reality, he takes a swipe at Proteus, who loses his concentration, allowing Wolverine to return to reality much sooner than before. Proteus has three scars down his cheek, but defiantly asks Wolverine where it got him. He explains that he was curious to see what Wolverine was made of. He now knows his bravado was backed up by something else, but he asks Wolverine if he realizes that he’ll now destroy him.
Logan asks him to do his best. He doesn’t like being called a tough guy, but he had to find something out. He now knows his toughness goes all the way to his core. Proteus can do his best, but he can no longer hurt Logan. Proteus readies himself for a further attack. “We’ll see, won’t we?”


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The quality of hatred! (1st story)
So good it hurts (2nd story)
First Story :This is a reprint of X-Men (1st series) #127.
Second Story: Havok and Polaris are barely conscious. They are trapped in the wreckage of their Jeep. As the vehicle swerved off the road, Alex could only think about Lorna. The first time he met her, he could barely tear his eyes away. She changed the course of his life and he feels as though he could wrap himself in her arms forever. He holds Lorna tightly as the Jeep melts and their bodies become fused into the twisted metal. He wonders if she is happy. She lies next to him so peacefully. He loves her dearly.
Suddenly, Havok hears Lorna scream for him to stop. He jolts and hits the brakes. He wonders what has just happened, and Lorna tells him that he just drove them off the road. He feels he must have fallen asleep or something, but Lorna informs him that his eyes were wide open. She yelled but he was a million miles away.
Lorna gets out of the Jeep and heads to the roadside. She asks what he was thinking. His actions could have killed them both. Alex follows her and vaguely replies that he doesn’t know. Lorna asks him to try. “What was going on in that mind of yours?”
Alex explains that lately, sometimes, when he’s driving, all he can think of is how fast they’re going and how easy it would be to just smash. He started having these feelings around the time he first met her. Driving, he continues, is like being in one of those particle accelerators. It’s like they’re rushing towards something, and the smash is inevitable. As he speaks, his words trail away, as his mind wanders again. Lorna doesn’t know whether to be angry, or feel sorry for him.
Lorna uses her magnetic powers to lift the Jeep back onto the road. They’re supposed to be on a surveillance mission and they’ll talk about this later. For now, she’ll drive. She takes Havok’s hand and takes to the air. As they drift over the meadows, Alex tells her that she has such a calming effect on him. He is a time-bomb that she continually defuses with a smile. Lorna is glad, but then realizes something is wrong. Alex begins to fall backwards and, as he heads to the ground, he tells her this is the end. He tells Lorna that he loves her and asks for one last kiss. As their faces near each other, their bodies merge and they plummet to the road below with a crash.
High in the air, Lorna once again pulls Havok out of his miasma. They land and he explains that he doesn’t remember what happened. Thankfully, however, Lorna is alive, and Alex thinks he’s beginning to understand. He holds her tight and explains that, lately, he’s been resenting the danger that being in the X-Men places them in. He resents the risk, the dangers; the fast-driving on all levels. All he can see is that eventual, inevitable crashing end. Lorna replies that he’s never felt that way before. No, he continues, it’s only since he began realizing how much he loves her. Maybe, he wonders, that ‘smash’ he fears is the end of love… confused with the violence of the end of their lives.
He turns away and asks why they risk it. Maybe people in love don’t make good soldiers, he thinks. They’re so happy, why risk losing it all? Lorna replies that it’s because they’re needed. The world needs them. Havok doesn’t care. He charges up one of his plasma beams and takes his frustrations out on a nearby rock, which shatters upon impact. Havok is agitated, and says he wants happiness for them. He wants a long life, safety and children. He doesn’t want their love to be just a slow car wreck. If they stay X-Men, they’ll end up shattered. He doesn’t want them to end in tears.
In the distance, they notice black clouds looming over the horizon. It must be Storm, Havok thinks, and his thoughts are confirmed when gunfire is heard coming from that direction. The battle has begun and they run quickly back to the Jeep. Havok drives and, despite drifting away again briefly, he manages to talk himself into concentrating. He can control himself. He’s not afraid. He’s an X-Man.
As they drive over a hill, they spot Phoenix in the air, with Banshee and Colossus below her in another Jeep. As they approach the battleground, all is quiet. They pull up to find Wolverine and Nightcrawler recovering from their ordeal. Storm just wants to be left alone, despite Jean’s concerned presence. Lorna asks Kurt if everyone’s okay, and he replies, “Yes, and no. It was a rough one, my friend.”
Havok approaches Wolverine but, as he places a comforting hand on his shoulder, Wolverine turns, surprised by Havok’s arrival. The look of fear on Logan’s face surprises Alex. He flinches at his touch. He’s so raw, so shell shocked. What, Alex wonders, has he been through? Has he seen the inevitable; the thing he fears too? As he looks around at the assembled X-Men, Alex is determined that he won’t see that horror, ever. He is no X-Man. He won’t fight that last battle. He wants out.


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The Action of the Tiger! (1st story)
 Double negative (2nd story)
First Story :This is a reprint of X-Men (1st series) #128.
Second story :A maid, dressed in the Hellfire Club’s typical black lingerie and nothing more, serves Jason Wyngarde some drinks. Quite decorative, the villain thinks. But on this brainless trollop the extravagancies of the Hellfire Club’s dress code are reduced to nothing. She is a mere trinket. An object in a cheap degrading package. He finds the way she openly allows him to stare at her embarrassing. The girl notices his glare and asks if there will be anything else. He just silently and derogatively stares at her.
The girl leaves the room, wondering what she’s doing here in this stupid outfit. Every instinct tells her this is wrong. And that man is so horrible.
She enters another room to find the White Queen dressing. The girl bursts out, asking whether Ms. Frost doesn’t just hate wearing those outfits. She hates being gaped at, she continues and Wyngarde is so rude. She hates the job. The money is obscene, but is it worth it? Isn’t it all so sexist? she continues. Shouldn’t they, as women, all stick together and protest?
Frost turns to her, asking what she is babbling about. Does she take her for another servant girl? She’s the White Queen!
Yes, when the girl wears that outfit and men look at her, it cheapens her. But when Emma wears it, it cheapens them. She continues, telling the girl a few things about sexism. It’s all in what you use it for. The Hellfire Club reeks of desire and ambition for success and world domination. But it’s all really about personal domination. Her clothes are her battle armor. She dresses for war. In fact, she’s going to do battle now. The girl may come and watch as she serves drinks, but she won’t see much. There is no such thing as sexism, she drives home, unless you give them that power.
The girl blurts out that she doesn’t understand about those power struggles and they are all horrible. Why does she think they call it the Hellfire Club? the White Queen adds offhandedly.
Arrogantly the White Queen enters the room, where Mastermind sits in front of a chessboard. A game? he suggests. Quite, she replies. The room is still, as both players play their game of chess on another level of reality, as the chess pieces come to life. The White Queens avatar is literally a White Queen chess piece, who like an innocent girl seems to be picking flowers from a checkered ground.
A cartoonish seeming black knight on an equally black horse attacks. The White Queen grabs his lance but nevertheless finds herself shattered, as she falls to the ground. The enthusiastic black king leaps for the checkmate, realizing too late that he falls into a trap, as the queen skewers him with his own lance. He dies at the end of his own weapon. She dies crushed by her own slain foe.
Through the ajar door the girl watches. She only sees the two foes staring at the chessboard before them. The girl thinks that the White Queen considers herself so superior. But she is a slave to games.
A good game, Mastermind tells Emma. A draw. For now, Emma coolly replies. The girl continues thinking that at least she knows one thing – to quit before the game has started is the only way to leave the Hellfire Club alive.


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God spare the child ... (1st story)
Paper, not Paper (2nd story)
First Story :This is a reprint of X-Men (1st series) #129.Second Story :Kitty instinctivly saved herself from an attack and phased herself through a wall. She passes out and dreams that's she's in a library. A freaky dream version of the White Queen shows up, accompanied byweird dancing mannequins. The White Queen destroys all the books and as Kitty is upset over what's been happening to her, a dream version of Storm appears. She talks to Kitty about people changing and "giving to another and forgetting the self, it is in the other that the self is found." This makes the White Queen angry and more mannequin like things on wheelchairs knock Storm down.Kitty lifts Storm into one of the wheelchairs and runs the White Queen down. She keeps on going right through the walls, into a physics labratory, her home and again the library, and realizes that her mutant power is phasing. Kitty wakes up in time to see the X-Men being carried into the Hellfire's hovercraft and secretly phases into the ship.


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Dazzler (1st story)
 Outside in (2nd story)
This issue reprints X-Men (1st Series) #130.
Second story :It’s an ugly stormy day and Moira MacTaggert stands at the graves of her estranged husband, Joe, and her son, Kevin, her bleak mood matching the weather. At a respectful distance, Moira’s lover, Sean Cassidy, is waiting for her, not knowing the right things to say. Moira knows that he wants to help, that he would like to mend her broken heart, but she won’t let him. She has lost her child and her husband. How could he ever understand the depth of her grief? She heads back to the car, curtly telling Sean to drive.
Back at Muir Isle, Moira buries herself in her work. Sean makes some tea and asks her to give herself a break. She doesn’t react. If she has so much work, he asks, why did she take the time to go to the cemetery? Because she wanted to grieve alone, she snaps. Why, does he think, did she send Alex, Lorna and Jamie to the mainland? So he’s supposed to leave her alone, he asks. She neither answers nor looks at him. Telling her “fine,” he leaves. Moira wants to ask him to come back, to apologize, but she doesn’t. Instead, she peruses an article on cloning.
Sean, in the meantime, heads for the gym, blowing off some steam in training. He wishes he hadn’t reacted so rashly. He worries about Moira cutting herself off from everybody. Being in love should mean facing problems together, right? The way he did, when he lost his powers? he wonders. Moira never talked to him about it, but he knows, she’s mad at him. She believed he was dead for weeks. He should have called her, but he was afraid. He felt he wasn’t a whole man without his sonic powers. His training finished, he vows that he won’t let Moira make the same mistakes. He heads back up to the den, stating that they have to talk but Moira is no longer at her place.
Moira is in one of her labs, calling up info on her son, Kevin aka Proteus. Kevin’s corpse lies in an airtight sealed chamber. She remembers s how her son was conceived in an act of hatred and violence. His life was hell, but it doesn’t have to be that way a second time.
Sean heads for her lab, but finds that his entry code is denied. He asks Moira not to play games over the intercom, but she doesn’t react and focuses on her work instead.Frustrated, Sean heads up to the bedroom, where he finds a photo album on the floor. He looks at the pictures of Moira’s life, things he didn’t know. Her wedding to Joe MacTaggert, her time with Xavier, the day she received the Nobel Prize, memories. But they are more for Moira, aren’t they, he thinks. She wants Kevin will to from memories to life like a phoenix from the ashes. This can’t work.
In her lab, Moira carefully takes a cell sample from Kevin’s body. According to the spectograph readings, there is a chance for her plan to work.
Outside, Sean is fumbling with the electronics. You don’t have to be a Nobel prize winner to short-circuit them, he figures correctly as access is finally granted. Inside, Moira stands over a nutrient bath with her cell sample. She need only lower it, but hesitates. Sean calls out to her, asking why she’s doing this. It’s a second chance, she defends her decision. For Kevin or for her, he asks and begs her to reconsider.
But she won’t do it, she tells him. Is the clone going to revive itself, he asks. No, Moira explains that Kevin himself will do it, The power to alter reality is in his genes. His body and mind are dead, but his energy can recreate him. She steps down, urging Sean to imagine what could be. He’d be an innocent babe born without hatred and violence this time. Sean tells her that there is no perfection. She just wants a proper life for her son, she tells him, no more loneliness for him. She wants to make amends. Moira stumbles. Sean catches her, but the container with the cell sample falls and crashes.
Sean hugs her, telling her she made no mistakes. It was impossible to help her son, but her research helped hundreds of other mutants. That’s quite a legacy her son left the world. It’s not fair, she complains, looking at Kevin’s corpse. He reminds her of those she helped and is going to help in the future and suggests that he was wondering why his powers haven’t returned yet. Irish Whiskey should have helped. With a smile, she tells him that the doctor will take a look. As they embrace, he tells her he’d be the happiest patient in the world. Now they can build the future without clinging to the mistakes of the past. Life begins tomorrow. Moira looks back and presses a button. Air rushes into Kevin’s containment chamber and the corpse begins to dissolve. She wishes him to rest in peace and turns back to Sean, asking, “why not tonight?”


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Run For Your Life! (1st story)
Was Not What Will Be (2nd story)
This issue reprints Uncanny X-Men #131.
Second Story:Tuesday it was Zappa’s out on Staten Island for some outdated Aerosmith and Zep. Wednesday it was some progressive Elvis the C and Graham Parker for the folks on the island at O.B.I. East. Thursday’s gig at Rutger’s Barn was canceled. Friday is Disco Night at L’Amour’s. Whoopdeedoo. This is her life. Her name is Alison Blaire. She is a singer. She is a mutant. She owes three months rent.
(ca. 0:30 a.m.)Dazzler is on stage with her band, wearing her silver disco outfit and her blue trademark make-up. She is closing her act with her own version of “Ring my bell,” supporting her act with her light powers. Her voice is so beautiful that it’s almost painful to hear it wasted on such a song, but to Alison it doesn’t matter. She loves being on stage more than anything else and all her troubles are forgotten for these hours.
The show over, Dazzler and her band get off stage, only to be congratulated on their great show by Gags, the owner or barman of L’Amour's. He wonders about the secret behind the special lightshow though, and Alison says that one day he might figure it out. She then asks for the time and, to her surprise, learns that it’s already a quarter to one. She quickly puts on a jacket, grabs her bag and asks Gags to tell Mickey the next time he does a ten minute drum solo “I’m gonna shove my skates up his Buddy Rich autographed snare!” As she rushes out of the stage door, putting on her magnetic clip-on skates, she thinks that she is late again, but it’s partially her own fault as she jus had to add an extraverse to Knock on Wood and Stayin’ Alive.
As she blades out of the back alley, Alison cheers as she spots a ’56 fin-back Cadillac passing by, almost crying to be taken for a ride. She holds on to the car’s back, letting herself be dragged along, and asks the teenagers in the car if they don’t mind her hitching a ride on the back of their “batmobile.” Sure they don’t, the boy in the backseat says, even asking her if she wants to share a brew with them. Dazzler refuses, asking if their parents know what they are doing out this late at night, which the teenager thinks must be a joke, coming from a babe like her wearing silver spandex and blue face paint. Alison replies that the joke will be on them when they wrap themselves around a telephone pole, but maybe they’ll see the light themselves. Dazzler lets go of the car as it passes the exit towards Brooklyn Bridge, but she manages to create a glow above the car. Immediately, the four teenagers start to panic, dropping their beers.
Now holding on to a van, Dazzler thinks that she can’t really change the world as she has already troubles changing herself. Doctor, lawyer, Indian Chief. Can’t choose a path, can’t find no relief.. Alison reminds herself to stop thinking in bad lyrics, especially when they hit too close to the core. Crossing the Brooklyn Bridge, Dazzler admires the view; it’s too beautiful for such silliness. Entering Manhattan, though, that’s a whole other matter. As she skates next to the traffic, Alison thinks that the shortest distance between two points is a straight line, which is why she finds her logical course of action to be rather illogical indeed. Ready or not, it’s time to take a bite out of the big apple.
Dazzler heads for the government district and leaps over a barrier of a construction site, hoping that the work there will be finished soon. She crosses Canal Street, marvels at egg rolls being sold for two dollars, passes Thompson Street, an area where many artists live, and sees that the Fantastiks are still playing there. Dazzler proceeds, proclaiming her love for the village as there is so much to see, including a guy opening his trenchcoat, who she hopes is just selling hot watches. She reaches Washington Square Park, passes the huge monument there and calls out to the Insomniacs that she is coming. Finally having reached her destination, the Nighthawk Diner, she waves her friends who are sitting at a table behind one of the windows.
(1:05 a.m.)Entering the diner, Alison greets her friends; “Fellow Insomniacs – your Guiding Light has arrived!” Over an hour late again, though, Andy reminds her, to which Alison replies that makes her consistently on time. Sitting down, Alison greets Fritz, the cook, but her three friends finish her sentence for her “Wet naps.” Dazzler says that they must think themselves really funny, and one of them answers they have to be to put up with her. This, coming from a woman who renamed herself Arrogant Cur, the blind Andy says, also commenting how he looks forward to these Friday nights they spend together.
Grunt, the waitress, approaches the table, ready to take orders. Alison learns that the others have already ordered and asks what they have for a buck-fifty. The waitress’ only response is “hurm.” Dazzler wonders what the matter with her is, but her friend Harry explains that she won’t acknowledge her as long as she is wearing the sins of the 80ies, referring to her blue stage make-up. As he hands her a handkerchief, Alison protests; she has to keep up her image. Cur agrees with Harry and tells her to “scrape off the trappings of your decadent existence, Disco.” Dazzler does as told and tells the waitress she’ll have one of each of whatever the others are heaving. Then she asks what the agenda for today’s discussion is. Harry announces: religious freedom of expression versus religious fanaticism. In particular, do the actions of Ayatollah constitute a legitimate act of survival or is it a constraint on the Moslem faith? Dazzler though asks if anyone saw Buck Rogers last night. Andy, of course, didn’t. Arrogant Cur calls Gil Gerard the Adam West of the 80ies, as their meals are served.
(2:25 a.m.)Cur admits that her parents were decent enough folks, but – Harry finishes her sentence for her, saying that for some reason she felt this indescribable need to step all over anyone who’s ever loved her in the name of personal independence. Well, when put that way, yes, Cur is forced to agree. Dazzler interrupts her, there has got be more than that. Cur’s dad is a successful chiropractor; her own father is a lawyer, yet they have both chosen to distance themselves from them. Cur jokes that, in Dazzler’s case, it could be that her father heard her sing, but Andy takes the discussion back to a serious level, as he thinks Ali has a point. He knows that half of his own songs are about how his parents dying affected him. He wonders why so much of how he perceives the world is filtered through his ambivalence to them. Harry suggests that it’s because he never got the chance to tell them his feelings while they were still alive. In his own case, his still alive mother is a burden though. Dazzler agrees; his mom has won the Pulitzer price for poetry, but Andy can’t muster a rejection slip. Seriously, though, she wonders if she has this problem because she tried telling her family of her feelings but either they didn’t care or believe her.
(2:45 a.m.)Harry asks if she is honestly telling them that she has never walked past a residence-free individual and averted her eyes. Arrogant Cur says that she was one of these individuals before and, indeed, she does not ignore them. She gives them what little she has, a nickel, a dime – whatever. Harry says that he is simply not that magnanimous, but Andy sides with Cur that it doesn’t have to do with being able to afford it. Cur agrees; it’s not like she is a regular J. Paul Spaghetti, it has to do with responsibility to people.
This prompts Andy to ask Alison a question. Does she feel guilty for not joining the Avengers or some other group and strut around in the city in spandex and glory? Alison is taken aback a little bit, prompting Harry to offer a change of topics. However, she insists on answering, feeling that her friends has the right to know. She says that she is unsure if being a mutant with some light show power makes her eligible for this sort of dilemma, so she rephrases the entire question: Should having a power prevent her from being allowed to live her life as she sees fit as long as it’s in a reasonably legal and responsible manner?
(3:25 a.m.)Andy announces that it’s time to do something about their immediate environment and starts clearing the table of the dishes. Alison wonders why Grunt doesn’t do it, but Andy says that he believes in personal accountability. They made the mess, they have to clear it up. He hands the dishes over to Fritz, whom he can smell standing on the opposite side of the counter. As he returns to the table, he finds that his statement about personal accountability has started another discussion.
Alison wonders how many of them are willing to put the burden of their own poverty on their own shoulders. She does; she could have gone to daddy’s law school and would be a 2L now, cruising down corporate tracks, but instead she chose to be an impoverished canary instead. Cur is not so sure about that. Granted, the choice to become a singer was hers, but in many ways it was made for her, wasn’t it? Dazzler says that can be said about any choice. Andy disagrees; it’s not that he chose to be blind. Harry says that he has captured the essence of the discussion – sometimes life dictates them, sometimes they dictate life. The process of balancing the two out is what keeps them sane, agree – disagree ? Right then, the waitress comes to the table, asking if she can help with the dishes. Alison comes up with answer C: Grunt rules all. The friends laugh.
(4:05 a.m.)Four cops of fresh coffee are on the friends’ table, all of them being quiet. It’s an eerie silence, the Nighthawk Diner being the only building in the neighborhood with lit lights. The two males yawn, the ladies too look tired, but that doesn’t stop Alison from starting a new topic “Well, what about Reagan!?”
(5:12 a.m.)Andy says that he doesn’t agree with what the man says, but he admires the way he says it. Dazzler wonders if he is saying that style is more important than substance, earning her a snappy remark from Cur. Harry asks her to stay fair, to which Arrogant Cur replies how fair it is that the dividing line between the haves and have nots is disappearing. Andy, speaking from the have nots side, asks what she expects; after all they are living in a capitalist society. Alison asks if he thinks it okay that the rich get richer. Andy explains that if that’s what they want, why not. He too could have been an accountant or something else. Harry thinks Andy is missing the point – what about those who can’t make the choice, what about them? Andy comments, “Gotta do work works for numero uno.” Alison, rhetorically asking even if it means walking all over everyone else in line, states that she wonders if she is going to like this decade.
(6:21 a.m.)She’d be a super-anarchist, Cur is convinced; she’d be speedier than a politician’s denials. No kidding, she’d crush entire governments in her bare hands, that’s the stuff supervillains are made of. Dazzler asks Andy what he would do. He answers he’d make everyone who is blind sighted, and everyone who’s sighted blind – just for one day. To let them all see the light, Alison asks. He confirms it, saying “Moreso than you are, Ali.” Harry says that was a low blow, and right then Fritz announces that their time’s up.
As the friends put on their coats and jackets, Alison asks where the law is that says she has to be a “card-carrying stupidhero.” Cur answers it’s more a question of ethics than law. Dazzler is slightly annoyed, feeling that they are dogpiling on her. Once outside, though, Andy assures her that this is not the case; it’s just that they thinks he could do so much more with her powers than light up a stage at some crummy disco club. Harry and Cur agree. What about laser technology, fiber optics or working as stage director for Styx? Ali thanks them for their great suggestions, but all night they have been talking about personal choices, and she chooses never to be a superhero. That said, she skates away, telling the others they’ll meet again next Friday.
(6:28 a.m.)A new day begins.


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And Hellfire is their Name! (1st story)
Strangers on a Lift (2nd story)
This first story reprints X-Men (1st series) #132.
Second Story:At night, in an almost empty parking level, the only thing heard is the click click of a woman’s high heels, though suddenly echoed by the shluff shluff of a man following her. They match step for step, until both of them reach a confined space. “What floor, Miss?” the man asks, and, thanking him, the woman, wearing a red dress and a matching jacket of the same color, thanks him. She is Alison Blaire, also known as the Dazzler. The man slowly closes the elevator door, it being a rather old model and the door being a fence of metal.
Alison thinks it weird that they aren’t moving and eyes the elder man suspiciously. Despite a sign reading “No smoking,” he has a lit cigar in his mouth. She wonders why he just stands there and whether he realizes that they aren’t moving, when suddenly she notes that he is standing closer to her than needed, as the elevator isn’t that confined. Suddenly, the man raises an arm towards her face, but then reaches next to her to operate the elevator’s lever. He does it rather slowly, the lever making some noise and, feeling rather unpleasant, Alison wonders if he really does have to lean so close to her and if he is trying to threaten or scare her.
The lift begins to move and Alison tells herself that she is just paranoid. Of course, he is just the elevator man. Then again, he is sort of quietly perverse. The elder man, slightly obese and one head taller than her, stares at Alison with interest. Though looking the other way, Alison feels him staring at her. She begins to wonder if he really is the elevator man and tells herself to stay calm. She manages to gather enough courage to turn her head and look at the uncanny man, but now it’s he who is looking away. Alison tells herself that she must be imagining things, or did he just turn away?
All of a sudden, the power fails, the lights go out and the elevator stops. Alison sums up the obvious “We’ve stopped,” and the man answers that he knows and that the lift must be broken. Alison once more thinks to herself to cool down and that this is just an ordinary situation. Surely, he’ll know how to fix the lift – but why is he so still? As the seconds pass by, Alison wonders what the man is doing, when she feels his breath on her neck. She cries out, asking him what he is doing, when the power returns. Indeed, the man is now standing behind her and his simple answer is, “I’m the elevator man. I’m running the lift.” Alison feels rather uncomfortable, but there isn’t much she can do.
Finally, they reach the top floor and the man tells everyone to get off. Alison wonders at this choice of words, as she was the only passenger, but she is happy to be finally out of the lift. The man says that it could be dangerous up there, alone in the dark, and that he will walk her to her car. Alison tells herself not to mind him, just to walk straight, get to her car and this being an ordinary car park nothing will happen. Without warning, one of the few cars parked there turns out its lights and starts driving towards her. Although Alison sees the car approaching her fast, the man tells her to look out and pushes her out of the way, despite her telling him to let go. He takes advantage of her being off-balance for a split second and cuffs her left hand to a pole.
Fear in her eyes, Alison asks him what he thinks he is doing and demands to be uncuffed, to which the man answers he is sorry, it’s just a little joke. Her tells her not to be scared but sometimes it gets boring around there. Her tells her there is no harm done and that he’ll unlock her. However, when reaching into his pocket, he doesn’t find the key, so he reasons he’ll go and get it. Be right back, he says, disappearing into the darkness.
Finally alone, Alison thinks to herself that he asked for it; she’s not some helpless bimbo he can torture; she’s the Dazzler. She cuts herself free with a focused laser blast, takes off her shoes and runs over to a fuse box, using her laser on it too. Dazzler wants to return the favor of the joke, as she can play games in the dark as well. She spots the obese man, confused in the darkness, just like she was in the elevator. But before she can face him, she needs a little music to give her power some juice to dazzle-blast him some of his own perverse medicine. Alison hurries over to her car and turns on the radio.
Transforming the sound into lightwaves, Alison glows brightly, scaring the man, who is now engulfed in white light. He asks whoever is there to stop and tries to get away, but the light sparks follow him wherever he turns. The man goes down to the ground, the bright spots hovering above him taking on different shapes and colors, spirals, flares, stars. Terrified, the man pleads for it to stop, as he is sick and can’t take any more of it. Alison approaches him, introducing herself as Dazzler and asks why he purposely tried to scare her half to death.
Kneeling before her, the man says that he is not what he seems to be. Running the elevator is only a part-time job, while actually is a filmmaker and obsessed with fear. As he noticed that the car park is a scary place at night, he used it to merely study fear up close and personal for his next project. Hiding his face in shame, the man says that he is sorry. Alison stops glowing, saying that he got his chance to study fear and asks him if he has enough material now. “Quite enough, miss,” he says, as Alison helps him get up.


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Too Late, The Heroes! (1st story)
Fundamental Imbalance (2nd story)
This first story reprints X-Men (1st series) #134.
Second Story:(flashback)
A middle-aged woman says: ” You know that you’ll have trouble finding work with, uh, your disability. Maybe you should take some sort of vocational classes... ?”
(present)Though at Xavier’s school, for some time now, Kurt Wagner has only now begun to explore lower New York City. As he walks the streets, his demonic looks disguised with a trenchcoat and a large hat, he thinks about Scott not having been exaggerating when he described the city. It’s as if it is a different country every few blocks, with every race and culture intermixed. A gathered crowd catches Kurt’s attention. He reasons there must be something amazing going on to attract that many people just before rush hour, and he wonders if it’s really coincidence that they have stopped at the same place he was heading.
Kurt gets a little bit closer and sees that in the center of the crowd there is a teenage girl breakdancing, while swinging around a cane. Leaning next to the wall, in front of her ghetto blaster, there is a crutch. Kurt notes that her dance is so frantic that the crowd has to keep shifting. In all his years with the circus, Kurt thought he had seen all acrobatic dances, but never has he witnessed something so full of temperament and free as this – and on top of it all, the girl is doing it on just one leg, her left lower leg missing. Still marveling about the girl’s performance, Kurt also becomes aware that, with everyone continually lurching back and jostling each other, the crowd doesn’t notice a bunch of pickpockets stealing their wallet. Kurt yells for the thieves to stop and, immediately, they run away. Passing the dancing girl, the pickpockets’ leader whispers to her to forget about the boombox, but she answers to look after himself and that they’ll meet the same place tonight.
(flashback)
“You’d make more friends if you’d take pride in your appearance. I’m sorry I don’t have as much time for you now, with your dad gone, but I’ll try to make it up to you. We can do your hair, go downtown and get you some things...”
(present)While the people of the crowd run after the thieves, the handicapped girl thinks to herself that everyone is ignoring her, as usual. She grabs her crutch and leaps over a railing into the entrance to a subway station. Just another second and she will be safe. However, Nightcrawler too jumps down the stairs and once more marvels at the girl, who didn’t even hesitate before the jump. Kurt thinks that he will catch her in the rush of commuters, but the girl leaps over the passenger waiting in line. Rather naively, Kurt thinks that someone will see her jumping the turnstile and raise an alarm, but the people waiting are all lost in their own thoughts. Waiting for the incoming train, the girl thinks about the guy who chased her down the stairs and that they were doing good business until he started yelling.
(flashback)
“I’ll give you some money, then, so you can go shopping by yourself. Be careful, now. You know how I worry that strangers will take advantage of you.”
(present)As the train comes in, the girl is already thinking about tomorrow being Friday, meaning lots of people will be carrying cash. Suddenly, she is startled by Nightcrawler teleporting in right next to her. She shouts for him to get away from her and slips past a few other people into the train. Kurt goes after her and says that it’s not what she thinks. During the ride, he tells her how impressed he was by her shows and that he is not from this country but has never seen moves like hers. Kurt continues that his teacher would be interested in talking to her, but the girl showing only little interest says that he would have to contact her agent. That said, she gets out of the train that has already reached the next stop. Kurt calls for her to wait, but she doesn’t listen and, as several passengers get in his way, Kurt thinks to himself how embarrassing it all is as he is supposed to be the agile one.
(flashback)
“Watch out for yourself. Be sure to come straight home this time.”
(present)Kurt runs up the stairs and sees the girl run off between those buildings. He chases after her, but it’s a blind alley. As there is no hiding spot, he reasons that she must have entered one of the buildings through an open window, but he has no time to check which one, as he finds himself face to face with a local gang. The four youths ask him what he is up to, breaking and entering? Kurt replies that he was following someone, a young woman, but immediately realizes that it was the wrong thing to say. The four teens attack him and, confident in his powers, Kurt thinks that he will make it quick and as painless as possible. After all, he is intruding on their turf and they are not carrying weapons or anything. But soon, Kurt finds that he was too arrogant, his camouflage outfit having certain disadvantages. The large hat blocks his sights and two of the teenagers grab his coat.
(flashback)
“Those kids you’ve been hanging around with... they look to me like they’re in some gang! I hope you’ve got sense enough to steer clear!”
(present)Kurt’s pulled to the floor and the teenagers start to beat him up with their fists and a large chunk of wood. Kurt thinks to himself that he never trained in the Danger Room wearing a bulky coat, and also that he is somewhat holding back as he fears to hurt the youths. Still, he needs to get out of the situation and, with there being no room to maneuver. He needs to pull the fight closer, Kurt decides, grabbing one boy by the hair.
Up above, sitting on a fire escape, the girl is observing the fight. She thinks that usually she’d mind her own business, but these guys have been giving her grief lately. Though the weirdo, as she calls Kurt, is doing pretty well, it looks like he might need a hand and this might be her only chance to kick the guys’ butts. She jumps down from her hiding spot and lands perfectly on her single foot, holding her crutch in one hand and the cane in the other.
(flashback)
“You’re good on that crutch, sure, but don’t you think you take too many chances?”
(present)The girl swings around the crutch, hitting one of the gang members in the face. Kurt uses this opening to get back up and is unsure whether to curse her or to thank her. Together, they quickly finish the four teenagers and the girl says that he shouldn’t go walking into alleys, as people can be rough on him. Kurt answers that he was wondering for how much longer she was going to stay up there. The girl asks what his problem is and why he keeps following her.
(flashback)
“Please do more to help out around here. Your little brother and I are always picking up after you.”
(present)Kurt repeats how her dancing impressed him and that he wants to talk about it with her. He asks why she did get him beaten up, and the girls asks in return how she is supposed to trust a guy who is following her and appears in a puff of smelly smoke. As they walk out of the alley, Kurt admits that the teens surprised him and that he might wave been hurt if not for the girl jumping into the fight. He congratulates her on her excellent sense of balance. The girl responds that it’s one of things one learns when he has to. However, she too was impressed, as he probably would have dealt with the gang even if she hadn’t intervened.
Pointing at his costume underneath the coat, the girl asks if that outfit means he is one of the Avengers. Kurt shakes his head, though he is in the same line of work he says. Kurt explains that he and his friends are called the X-Men and they attend a school for people with mutant powers, extraordinary gifts people are born with. The girl is not convinced and thinks that he is making it up, but Kurt leaps before her and asks her to hear him out. He reveals that they have a device called Cerebro that detects mutations in a person’s genetic make-up, and that its signal alerted led him to a powerful mutant nearby – her.
(flashback)
“I don’t want you bringing those creeps home with you. All of you – clear out! Now!!”
(present)Walking through China Town, Kurt tells the breakdancer that he followed her because he was concerned; her friends are thieves and, sooner or later, they’ll get into trouble living that way when the police gets involved. The girl doesn’t see his point. After all, the others are just like her; roadies, while she puts on a great show, and the uptown folks surely can afford to have their wallets stolen once in a while. She also claims that they are honest as they only keep the cash, but not the credit cards. Kurt tries to explain her the difference between performance and endowment and tells her of his upbringing in Bavaria with a family of Circus performers before coming to the States. The girl asks whether he left because they gave him grief, but Kurt says it’s more complicated than that. Circus folk always stick together, but he was forced to leave after a tragedy that ended with his foster brother’s death.
(flashback)
“So you don’t like the way we do things around here, hey? Well, I don’t like your attitude!”
(present)Kurt asks himself that if he had been a better brother, things might have turned out differently, and they would still be living in Europe. But, as it happened at the time, he was contacted by the professor to join his school and quite a few others joined at the same time. There, Kurt is always meeting people from all over the world. The girl, however ,points out that they walked through half of the world while passing the few blocks they just have. Apparently, he doesn’t get out of the school too much, she reasons.
(flashback)
“You want to go, then go. Who’s going to take care of you out there? Those worthless friends of yours?”
(present)Kurt and the girl are in the back area of a Chinese restaurant. While cleaning a minor injury on Kurt’s cheek, Mrs. Wah asks why the kids can’t stay out of trouble for a week. Holding up a few boxes, the girl thanks her for the food, before the woman tells them to leave as she needs to finish closing up.
In a park, the two mutants sit down on a bench to eat the food. The girl thanks Kurt for being straight with her, but she says she doesn’t need his sympathy. She knows how to keep herself from falling over, her meals are taken care of and she has got friends from all over the world. Right on cue, the gang of pickpockets appear all around the bench.
(flashback)
“You think you can just show up around here when you’re in trouble?! Get out!!”
(present)The girl tells Kurt that his way sounds nice, but so boring. This is her family and her school. Everything he talks about, she’s got it too. Of course, sometimes the cops have to help them with the really weird stuff, but other than that she is doing fine and she doesn’t want to be part of any prep school. As Kurt gets up, however, she tells him to keep in touch, as they might have an opening. Kurt thanks her for the offer and, if it is about real street performing, he is tempted to accept. They could put out his hat and work for donations, rather than pinching wallets. Walking away, he tells the girl she knows how to reach him if she would be interested.
After a while, it occurs to Kurt that he never had a chance to tell the girl what the X-Men really do, and she probably must think them to be a finishing school for circus artists. But, at least he’s still got time to catch the last train back to Westchester. During the ride home, Kurt thinks that he was rather lucky that the gypsies gave him a loving home and saved him what would have been a brutal life otherwise. Later that night, sitting alone in the mansion, Kurt writes a latter about how, until Stefan’s death, he never knew what the alternative would have been and he regrets that there are so many things he never told his foster family. However, he knows that it’s just another letter he won’t send, as his foster mother, Margali, still thinks he deliberately murdered Stefan.
Meanwhile, back in Manhattan, the girl checks if anyone is around before heading to a local phone. She dials a number and, once the call is picked up, she greets her mom. She tells her that she is still mad, but asks how she and the kid are doing...


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Dark Phoenix (1st story)
Little Boy, Lost! (2nd story)
This issue reprints X-Men (1st Series) #135.
second storyMany years ago at the playground of the Nebraska State Home for Foundlings, a group of children surround two boys in a fight. 12-year-old Scott Summers runs to join the group. Somehow, he knows, when he hears the sounds of a fight, that Nate’s involved. He always is. And he’s always getting the worst of it. And, as always, Scott Summers charges to the rescue. Scott appeals to the stronger boy, Toby, to cut it out. Nate’s half his size. No problem, Toby replies and hits Scott. He’s bigger, so he can take Nate’s place. Scott does his best but it isn’t enough as he receives a fierce beating.
Finally, the fight is broken up by a teacher, who shouts at the boys to stop it. Anderson steps between the boys, while Scott shouts to let him go. He wants to finish it once and for all. Toby Rails shoots back that he has a suicide complex and goes on to insult the teacher. Angrily, Anderson sends him to the administrator’s office and Scott to the infirmary.
There, he meets the new doctor, Robyn Hanover. Scott sulks that he really doesn’t need any treatment. Robyn, a young and charmingly unconventional woman, jokingly tells him that he didn’t lay a finger on the other guy while she treats his injuries. She suggests that the sweet science of pugilism may not be the right career choice for him. When Scott accuses her of making fun, she tells him that he is taking himself too seriously. She asks what happened and why Scott played the hero. Scott doesn’t know. Nate was in trouble, so it seemed natural to help. Robyn tells him that Nate can consider himself lucky to have a friend like him. Scott admits that they are both born losers and only have it each other, but actually he doesn’t even like Nate all that much. Something about him rubs him wrong. A lousy attitude, he knows, but it comes natural around this place.
At night, Robyn takes a walk outside and notices a moan coming from one of the above dorm rooms. It’s the room Scott shares with Nate. Scott is suffering from his recurring nightmare, that has been occurring more and more frequently lately. It’s always about fire, open space and cold. In his dream, he hangs from a ceiling holding on to Nate who begs Scott not to let them fall. Shapes in the fire are coming closer and Nate asks Scott not to let them get him.But as Scott starts to see the face in the fire, the frightened faces of a man and a woman, he knows it’s not Nate they want. He tries to hold onto Nate, but the boy falls.
Scott wakes up screaming “No!” Nate sits at his side assuring him that everything’s fine and it was only a dream. Robyn joins them as well as several other boys alarmed by Scott’s scream. Nate haughtily tells Robyn that Scott has a nightmare but he will be ok. Robyn steps between the boys telling Nate that she’d rather determine that for herself. Angrily, she thinks to herself that Nate acts as though he runs the place.
She examines Scott while, in the background, Rails and his pals are cracking filthy jokes about Nate and Scott. With mock-concern he tells Roby she’d better check them for drugs. Robyn admonishes him to quit, he’s had his fight for the day.
Nate impatiently asks if Robyn is finished and she replies that Scott will stay in the infirmary that night. Watching them leave, Nate declares that she is making a mistake. But Toby has made a bigger one… A while later, Toby who is heading for his room suddenly finds himself in the clutches of Mr. Sinister. The villain gloats that he tolerated Toby’s actions because they suited his purposes, but he has gone too far and become counterproductive and now must be dealt with as he deserves…
On the next day, Robyn does some investigations on Scott’s background, rifling through the orphanage’s files on him. A secretary informs her that Scott has been with them for over four years. Seems like just the other day he was brought over from County General. Why was he in the hospital? Robyn asks. The secretary tells her that he had a skull fracture and was in a coma over a year. With his medical history, he’s never been adopted. Brain-damage…The combined effect of his injury, plus exposure from being out in the prairie in the middle of a blizzard. It’s a miracle he survived at all! How did he get there, Robyn wonders. Story is he was almost kidnapped by space aliens, the other woman jokes.
Robyn exits the office, mulling over her meager findings. There’s no sign of physical or mental impairment… Chief Adminstrator Pearson addresses her asking pointedly whether her feet are bothering her. Robyn explains that she is wearing sneakers out of habit from med school. They are more comfortable. Pearson stiffly points out that this isn’t med school and a more decorous length of skirt would also be appropriate. That aside, he trusts, she’s settling in well. Robyn gives a polite reply and Pearson tells her that while he may originally have opposed her appointment, now that she’s here they’ll do everything to make sure she’ll fit in.
He is however concerned that she’s focusing her interest on one child to the possible detriment of his fellows. They pride themselves on playing no favorites. Robyn politely thanks him for the advice and he urges her to come to him if there’s anything she needs.Perfectly legit and respectable, she thinks as he walks away but something about the man makes her feel creepy.
Absolutely ignoring his advice, she asks Scott to help her move in her stuff into her office in an attempt to get him to open up. Everyone needs friends, she tells the shy boy, to which he bitterly replies that they’ll only hurt him. He becomes curious when he sees Robyn hanging up a picture showing her with a small plane.
She can fly? he asks exited. Robyn realizes she’s found her opportunity with the boy and asks him if he likes planes. He loves them, he tells her enthusiastically. Has he considered applying for his own license? For one moment, Scott considers it but the happiness fleets: He has no chance of passing the physical. The brain damage. He still gets these headaches like something inside is trying to smash his skull to bits. He couldn’t risk this happening while he was in the air. Robyn commends him on his responsible attitude, when they hear some kind of commotion outside. The other children are shouting that Toby Rails is in trouble.
Robyn and Scott hurry outside and see Rails standing on the roof of one of the buildings. A crowd has gathered but nobody is doing anything. What if he jumps? Scott asks. No great loss, Nate states cynically. Scott angrily swears at him and runs up the fire stairs. Robyn asks Nate if he doesn’t think he is being too harsh. It’s what Toby deserves, Nate replies. Robyn tries to appeal to Nate’s conscience but the boy blows her off. She offers her friendship, but he grimly tells her that he isn’t going to be hers like Scott. Robyn wonders if he truly dislikes her or resents the fact that she’s come between him and Scott.
She suddenly notices that Scott is on the roof. Scott tries to talk with Toby, but the other boy won’t be dissuaded. He doesn’t seem to be in control of his faculties as he jumps. Scott reaches for him and manages to grab the other boy’s arm. Scott pleads with Toby to help him pull him up but, instead, Toby hits him and Scott has no choice but to let him fall to his death.Later, Robyn climbs up telling Scott not to blame himself; it’s not his fault. Easy for her to say, he replies glumly as the ambulance drives off.
Changing the subject, he points out the sunset. Has she ever noticed how sometimes the sunset’s colored so the sky seems to be on fire? It’s lovely, she agrees. All he can think of, Scott confides, is that, somewhere, something is burning. And somebody is losing something precious to the flames. He can’t hold onto anything. The harder he tries, the more easily they slip through his fingers. She’d said he’d acted like a hero but, if he were any good at it, maybe Toby would still be here. He doesn’t listen, as she says that he did her best.
Robyn watches as he climbs down to where Nate is waiting for him. Robyn wonders why he is being so hard on himself and what falling and flames, the key components of his nightmare have to do with it. As the boys walk away, Nate looks back and shoot her a murderous look. The same kind of look, she realizes, he gave Toby the other night…


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Child of Light and Darkness! (1st story)
 When Dreams are Dust (2nd story)
This issue reprints Uncanny X-Men #136.
Second story :Sage Airforce Base, Nebraska. Every year, the base throws an open house fair, inviting planes and pilots all over the prairie states to come visit. Scott Summers always wanted to go there but never had a chance until Robyn Hanover, the orphanage’s new physician, took him with her. He’s utterly happy, as he watches the planes, and rattles off his knowledge about them to Robyn and her friend, Trish Bogart. They are watching Trish’s husband, Rick, strut his stuff in one of the planes, impressing Scott. While the husband and wife tease each other, both quickly take a shine to the excited young boy and Rick offers him a ride in the plane. Scott first excitedly accepts, but then suddenly becomes dejected and turns the offer down.
Robyn tries to change the subject and points out the parachuters. The skydivers enhance their show with smoke flares. When Scott sees the smoke, he shouts out in horror that they are burning. Rick tries to explain but Scott, in a state of hysteria, insists that they are on fire. Robyn tries to calm him but he won’t listen and shouts, “the canopy’s burning! A Roman candle!” Robyn runs after him and Rick wonders if he can make some sense of Scott’s words.
Robyn finds Scott in the grass, slapping himself, as though he were on fire. She holds onto him and, for a moment, he believes he sees his mother. He asks where she’s been and begs her not to send them away again. Suddenly, he shouts that someone’s shooting at them. That they are burning. Then he shouts, “hold onto me, Alex—I’ll protect you!” As he sinks into her arms, Robyn wonders what happened to the boy and who Alex is. She tells the worried Bogarts that she’ll take him home and hopes that she hasn’t done him irreparable harm by taking him to the show.
Later, at the state home ,after she’s tucked Scott in, his roommate, Nate, gloats that he’d told her so. He adds derisively that she figures she knows it all just because of her stupid diploma. If she is so good, he needles, what is she doing working in a dump like this? Maybe this place needs someone better than the bottom of the barrel, Robyn points out. Cynically, Nate mocks her idealism. Turning the tables Robyn asks why he has the perpetual need to lash out at people. He coolly tells her that, one fine night, he may decide to tell her.
Sometime later, on a plane with Trish Bogart, Robyn confides that she’s scared of the boy. Sometimes, he seems more like a changeling than a real boy. She wonders if her inexperience isn’t the real cause for trouble. She’s a physician, not a psychiatrist. She’s out of her depth. Suppose she’s making things worse for both boys? Trish reassures her. She’s a fine doctor with sound instincts. Robyn tells her that she’s worried about bringing Scott back to the base but he’s been begging her to bring him back. Trish tells her that Rick loves kids and especially likes Scott. They’ll be fine together.
On the ground, Rick and a colleague watch as Scott goes through the preflight routine on a jet. The other man states that Scott acts as though he’s been around “blue suits” since he was born. Rick asks Scott if his father was a phantom driver. Mostly for fun, Scott replies but actually he was a Blackbird pilot. He intended to join NASA’s astronaut program. Rick shivers, telling Scott that he must be getting old as he can’t handle the cold as well he used to. Scott laughs and states that this isn’t cold. Now home, that’s cold. And where is that, Rick asks. Where’s what? Scott wonders. Home? The orphanage, he guesses. He seems to have completely forgotten what he told the grown-up about. Scott confides that he was in a coma and is a braincase. He lost part of his memories and will probably never be adopted. He’s damaged goods.
Later, in the base’s cafeteria, the grown-ups discuss Scott’s case, while he’s sitting a at the bar wolfing down an ice cream cup. Robyn tells the Bogarts what she knows about his medical history. While the trauma he received sounds grim, aside from his amnesia, there doesn’t seem to be any lasting effects. However, she hesitates, his eyes are extremely sensitive with a far wider field of perception than normal, causing him intense headaches. The only thing alleviating the pain are lenses of a special value of ruby quartz. Within a few years, he’ll probably have to wear glasses made of that substance permanently. Robyn adds that Scott does indeed have a brother, who was adopted almost immediately upon arrival, but his files are sealed. As far as Scott is concerned, his history begins the day he was wheeled into County General’s emergency room.
Rick states that he might be able to help. Scott mentioned that his father was a blackbird pilot with an application with NASA’s astronaut program. Scott’s familiarity with cold narrows the list of bases even further down. He plans to run down the leads and see if he has a family. Robyn objects. According to the files, every attempt was made to trace them. In that case, the Bogarts offer, maybe it’s time for him to get a new family.
The orphanage’s administrator, Pearson, is less than happy, however, accusing Robyn of having overstepped her authority. Robyn angrily shoots back that their evaluation profile shows the Bogarts to be extremely suitable parents ands states that one might almost get the impression that they are out to find families for every child but Scott Summers.Pearson coolly denies this, while expressing disappointment in Robyn’s lack of professionalism. He doesn’t intend to oppose the Bogarts application. Robyn has set these events in motion. They’ll have to let them take their proper course now. Scott, who was eavesdropping from outside, smiles happily.
On a visit, Rick Bogart tells Scott he has been making inquiries, but no luck so far. Maybe he’s a space alien, Scott suggests sarcastically. Rick tells him he won’t give up. They’ll find the answers. Scott asks if they don’t want him and just want to dump him on someone else. Rick assures him that they do want him, but they want what’s best for him more. If he does have a family, they need to find them. In the meantime, they want him to be a part of their family. Rick tells him that their request is worked on and that Robyn thinks that there won’t be a real problem. He and Trish have to fly out for a meeting. Does he want to spend Christmas with them afterwards? Calling him ‘Dad,’ Scott happily agrees.
At night, Robyn Hanover wakes up to find she is no longer in her room, but in a strange lab, surrounded by machinery. She is greeted by the mocking voice of Mr. Sinister, who informs her that she and her friends, the Bogarts, have become a nuisance with their meddling. That is going to end now.
Later, during the day, Nate mocks Scott for being a dreamer. He has to learn that they don’t care about him. It was all an act. He assures Scott that he knew right from the beginning that they’d hurt Scott worse than he was ever hurt in his life. Scott sees Robyn walk by and calls out to her. Robyn no longer is as casually dressed as usual, but now dresses formally, with her hair pulled back in a tight bun. As she replies to Scott, she does so coldly and Scott hardly finds the courage to ask if there has been any word from the Bogarts. Nothing since they left weeks ago, Robyn states, clearly not caring. If they don’t care enough o pursue the application, it will be dropped, she announces and leaves.
Somewhere, in the mountains, undiscovered, lie the bodies of the Bogarts in the wreck of their plane.
Late at night, Scott gazes out of his room’s window. He refuses to believe Nate. He believes the Bogarts were good people, who cared. If they don’t come, it’s because something happened to them, same as Robyn. It’s this place. It does something to people, but it won’t get him. First chance he gets, he’ll be gone.
Suddenly, looking outside into the snowstorm, he sees two shapes, those of a bald man in a wheelchair and of a young red-haired girl Scott’s age. The girl, addressing the man as professor, tells him she can sense another mind, calling to her. Fascinating, Professor X states, that their mentalities should resonate on such a synchronous frequency. Is he a mutant, Jean wonders. Xavier admits that he doesn’t know, as he can only sense the boy though Jean’s perceptions for some reason.
Jean tells Scott not to be afraid. Scott, believing this to be a dream, steps towards them. Xavier cautions Jean away and one aspect of her follows, but another, surrounded by a flaming bird, reaches out to Scott. And, for the first time in his memory Scott responds in kind. This is one fire that doesn’t make him afraid and he knows that, on the darkest night of his soul, it will always be there to keep him war.


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The fate of the Phoenix! (1st story)
 Flights of Angels (2nd story)
This issue reprints Uncanny X-Men #137.
Second story :Flashes of Jean Grey’s life:Young Jean holding her dying friend, Annie Richardson, in her arms, psychically bonded to her until she dies. A little older, fiercely trying to save her mentor Charles Xavier. All grown-up, trying to save her friends, the X-Men, by guiding a space shuttle through a solar storm. Later still, using the power she’d won that day to save the universe. Her love for Scott Summers and her corruption into a threat to the universe. That role, she refused to play and so she killed herself… in front of Cyclops’ eyes.
All those snapshots and more form the pattern of a human shape on the ground. The shape begins to burn, a Phoenix raptor rises and, when the fire fades, Jean Grey awakes, horrified that she still appears to be alive when she tried so hard to die.
Suddenly, on the ground besides her, a trapdoor opens and a whistling construction worker comes up, carrying a load of girders. He gets to work, erecting the girders, while Jean tries to start a conversation. She explains that she’s lost and he blissfully ignores her until she loses her temper, shouting that she’s talking to him. He tells her that he’s a schedule to keep and the universe doesn’t revolve around her. He has no time for idle chitchat. She walks away pissed, telling him to go to Hell.
A moment later, she wonders about the implications of that word. Is she dead? Is this Hell? It’s certainly not her notion of Heaven. She takes in her costume for the first time. She is still wearing a version of the Phoenix costume, but it is completely white. Green and gold stood for the good Phoenix, red and gold for the bad one; so what does this color scheme mean?She looks at the stars above and walks to the edge of the construct, only to jump back startled a moment later. She’s on the top floor of a construct, similar-looking to a skyscraper, which floats feely in space. A moment later, the realization hits her. Those aren’t simply stars she sees above her. Those pinpricks are entire galaxies. Is that the whole universe she’ looking at? she demands.
Handing her a cup of coffee, the worker agrees that this view takes some getting used to. When Jean asks where she is, he cryptically replies his place and only gives an evasive answer when she asks why he’s building it.
Jean wonders if this isn’t just some hallucination. Maybe her entire life as a super-heroine has just bee a mad hallucination or this is the last delusion before death. Whatever works for her, the worker shrugs. Angrily, Jean orders him not to patronize her. What would happen if she jumped, she announces and proceeds to do so. She’d fall forever, he angrily replies and catches her by the wrist. At that moment, Jean realizes that her powers don’t work It’s been too long since she’s known such quiet.
Unimpressed, the worker tells her he has work to do. Jean has had enough and descends the stairs the construction worker originally came from, only to find she ends up again where she came from. Seeing no way out, she finally agrees to help the worker.
Some time later, Jean has finished her work, but she wonders why does he build an entire floor of the construct while she got to build a miniature representation of the building? She looks closer at her construct and sees a flash of light inside.
Suddenly, she finds herself on D’Bari, reliving the life of a D’barian, surrounded by friends who are trying to set her up with a boy. Jean refuses. A moment later, they all see the sun go nova, surrounded by the Phoenix effect. As she burns, Jean remembers that she as Dark Phoenix destroyed that sun, never stopping to consider the consequences.
A moment later, Jean finds herself as an ensign on a Shi’ar dreadnought. The dreadnought, she realizes, Dark Phoenix destroyed. As Phoenix attacks, she feels her backbones breaking and the terror of the young ensign, as she is sucked into open space, her last image the glee on Dark Phoenix’s face.
Back on the construct, Jean shouts in horror and denial as the construction worker tries to calm her. She’s finally figured out who he is – Death. He explains that this place is the beginning and end of all, where the physical universe merges with the domain of spirit and imagination. Just words, Jean protests. That, he points out, merely describes the image of her perception, not of his being. Jean caustically states that she got her wish after all. She managed to die.
So which room of his edifice is meant for her? He laughs telling her if she was meant to be here, she’d be there. Part of the construct, as are those in her small contribution. Horrified, Jean asks if that means she is to be his apprentice. Is she death as well? No, and she already made her choice, he tells her. But she killed, Jean states and she built a piece of his tower, what else could she be but a part of him? Life is a part of death he explains and death the frame that gives life structure. The universe revolves about his tower. He builds the structure that the Phoenix may craft her chaos within and without and Jean is hers, body and soul. Why can’t she just belong to herself, Jean protests.
Death tells her that he’s never encountered a creature as fiercely devoted to life. That’s why the Phoenix heard her; they are kindred spirits. It wasn’t an accident, he continues, that, as a child, her thoughts touched those of Scott Summers’ or that he was orphaned by the Shi’ar. That fleeting contact eventually drew Scott to Xavier’s school, where he became Cyclops, leader of the X-Men. He and Jean fell in love so that, at their proper time and place, when D’ken attempted to obliterate the universe, Phoenix would be there to stop him. If she wants to judge herself, she should also consider the countless lives she saved.
So, this was pre-ordained, Jean asks. Are they all just toys for him? Patiently, Death explains that she is the embodiment of life itself and couldn’t bear to see her handiwork undone. She required a form, an avatar through which to act. And who better than a spirit carved most closely from her own?
Fine, Jean sulks, but why couldn’t she have gone back where she came from when she was done? Because she came from Jean, Death explains. He and Phoenix are concepts defining themselves in terms Jean can comprehend easier. The Phoenix isn’t a being or entity, it’s a force, the sum and substance of all that lives. It is Jean’s unique gift to be capable of wielding that force. It came to her, as it will come to her children, because it is hers by right. Too bad, Jean states. She’d selfishly hoped that there were two of them. That she had been possessed by some frightful creature she could blame for what happened. Passion is a two-edged blade Death warns. But, when the scales were lifted, the balance came down in the side of love. A hard lesson, but she’s learning. Who pays the price while she’s in school, Jean muses. She swore no more blood on he hands. She wonders what comes next, as she jumps, her powers restored once more. Jean tells Death that she won’t forget him, nor their talk, and that this time things will turn out right.
As she disappears, Death pities her, knowing some things she doesn’t. He looks at more snapshots, mosaic pieces Jean isn’t aware of:Phoenix sacrificing herself on the moon.Mr Sinister intending to destroy a lifeless clone of Jean’s.The Phoenix trying to wake Jean Grey’s body in Jamaica Bay only to be rejected.Phoenix fleeing to take possession of the next best thing – the clone.Madelyn Pryor awaking in Sinister’s arms.
These are things Jean couldn’t be told but had to learn for herself, Death muses. She won’t remember him but she will learn… the hard way.


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Elegy (1st story)
Her first and last (2nd story)
This issue reprints Uncanny X-Men #138.
second storyA teenage Rogue is having the time of her life, riding on the steering wheel of her friend Freddy’s bicycle. Freddy is riding wildly, but Rogue just urges him to go faster. The bike hits a stone and Rogue falls onto the porch of the house where she lives. They don’t notice a car arriving, as Freddy states admiringly that she landed like a cat. Freddy sweeps her down like a mock-Rhett Butler and tries to kiss her. Rogue stops him with a judo throw and admonishes him to stop it. He’s ruining it. The boy laughs, telling her that kissing ruins nothing. It’s fun. Before he drives his bike away, he tells her to meet him at the cliff later. Rogue plays coy, but he knows she’ll come.
Rogue stays on the lawn, playing with the flowers, and an elegant woman joins her, a woman who changes shape to become Mystique, her foster mother. She admonishes her daughter to stay strong and stay away from boys. She is having the opposite effect, however, as Rogue angrily shouts ah her to shut up. She can have boys and everything a normal girl can have! She wants to love and play! Angrily, she runs away, refusing to listen to Mystique, who calls after her that her power is special and needed for a mission. Rogue doesn’t want to go on a mission, she wants to be normal.
Destiny has witnessed the whole scene from her place on the porch. She turns to Mystique, explaining that Rogue isn’t like them. She may be a mutant, but she will reject their mutant brotherhood when she understands that they embrace some… darker ways. Mystique respects her lover’s foresight but points out that she is Rogue’s mother and must protect her. Mothers often lose their daughters, Destiny retorts. She shouldn’t guard her so jealously. She is not jealous, Mystique protests. She decides that Rogue can have the boy. When she’s broken, she’ll need Mystique all the more.
At the cliff, Freddy and Rogue are playing. Freddy warns Rogue to stay away from the rope that’s swinging over the cliff. It’s old and rotten and only boys swing on it on a dare. Wrong thing to say as, now, of course, Rogue has to try it. She swings and mocks that he has to save her. Freddy catches her once more, intent on kissing her. Rogue shoves him away. Why not, he asks disappointed. She takes risks everywhere else. He dares her.
Suddenly, while still holding on to the rope, Rogue kisses him. A moment later, Freddy falls unconscious and Rogue swings back, caught in the rope as she relives his life. All those things he would have told her in time: how he got his puppy for Christmas, his first fireworks, his first cigarette, his first loss, his first terror… She would have unlocked those stories slowly, all adding to the mystery that is another person. Instead, in a split second, all that Freddy is is now hers. She has her lifetime with Freddy crammed into one brutal moment.
The moment is over. Rogue sees his unconscious form and cries. For her to know someone is to rip his mind out, possess it and spit it out again. This is not and never will be love. She cries, mourning the normal life she will never have. And, finally, runs. Freddy will wake up and wonder what happened, as he will always wonder why that feisty girl named Rogue kissed him once and would never speak to him again.
Later, a hyper Rogue returns to her parents, babbling and chattering. Munching on cookies, she assure Mystique that she wants nothing more than to go on that mission she mentioned before. Mystique warns her that it will be dangerous. Great, Rogue announces. She doesn’t care. She’ll do anything.


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[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None


[User]
<image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image><image>
Provide a full summary of the comic book.

[Assistant]
None
None