I don't know why they couldn't have moved her back for X-Men Gold. Seems like a missed opportunity with the rest of the mid-80's team back together there.

All I can contribute here is that I'm reading Low, which is gorgeous, but also completely soul-crushing. I'm intent on finishing the third book, but I'm not sure I can call it "enjoyable".

I agree. Claremont's run was great because there was so little editorial mandate interrupting the story with big events. Granted, that changed as they started forcing the annual crossovers into things, but even that was handled more as ongoing story elements rather than "wait, we have to stop everything and be mad…

I've convinced myself to give X-Men Gold a chance, based solely on the fact that the team is almost exactly the one that I was first introduced to with my first issue, Uncanny #210. I dropped them by around #300, and have revisited them in fits and starts since. I'm not familar with Guggenheim's writing, though.

Whaaaaaaa??!?!?! It seems to be almost universally regarded as his big "comeback" record, and is my favorite most days. I'd say it's required listening for most any Dylan fan.

I completely understand the first, and am completely bewildered by the second. Any list that doesn't include Time Out of Mind at/near the top just looks wrong to me.

That's good to hear. Unfortunately for me, I think my interest has just waned to the point I won't check out the subsequent albums unless I'm practically forced to. I think I listened to Shadows about three times, and that was it. Even Tempest, before then, only lasted a handful of listens. Modern Times was maybe…

I've mostly been into instrumental synth stuff recently, split between Tangerine Dream and Jean-Michel Jarre. I need to find more stuff in that vein. Unfortunately, it seems "synthy" tends to mean "dance", which I'm not into. I like the more atmospheric, ambient type stuff, but with accessible melodies. I like a…

Shadows of the Night was the last Dylan album for me, I think. If he comes out with an album of original stuff, maybe. I even liked seeing him perform a couple of years ago. But no interest in him continuing to do covers of standards.

That's my understanding as well, and it also took awhile for me to learn. There was a group in college that I was sort of tangentially involved with through an ex-girlfriend, which dealt with diversity and race issues. This is essentially how it was presented to me.

THIS guy gets it!

I kept wondering if they'd reveal that she was Emma—either an older version, or one who influences how people see her, a la the one in the Old Man Logan comic.

Such a great show. I was surprised at how little of the X-comics made it onto the screen. I kept waiting for an appearance by Moira Mactaggart, or Madrox—and we did get sort-of versions of them. I'd be curious at the thought process that went into the characters, since they all seem to be like versions of actual…

How did it feel?

Maybe that's the problem then, that they eventually DID reveal it. But while keeping his past a mystery, I feel like maybe they should have at least known what his past really was, even if HE didn't.. For a long stretch, every new character they introduced had some connection to his past, making it all the more…

I figured they could skirt some of the more disturbing details, and stick to the basic outline.

Eh.

Gesundheit!

I think the key there is Claremont, and the fact he was on the book for 17 years. These days, they reboot every couple of years with a new creative team, new direction/team members, and little consistency between each iteration. Instead of reading "X-men", it's more often like you're reading an author who happens to…

Yeah. I got the trade a few years back, and remember it reading like an odd mix of Watchmen and 80's Marvel Comics-Code books.