Review by Frank Plowright

Having spent his first year on the X-Men writing an extended space opera Ed Brubaker’s smart enough to follow up Rise and Fall of the Shi’ar Empire with something completely different. However, it’s equally frustrating.

The X-Men have always symbolised alienated outcasts in the real world, and with The Extremists Brubaker uses mutant allegory to represent the fear of Islamic terrorism. The stand-ins are a bunch of fanatical Morlocks, once subterranean mutants with less cinematic looks and abilities, led by Masque, able to mold flesh like clay. He’s seen a prophecy of the future that suits him, and is going to do anything he can to bring it about. An initial attack on the subway sends shockwaves.

It’s not as if the X-Men are in any great position to do much about it, as since the mutant population retaining their powers has been reduced to 198 people, the X-Men are imprisoned within their HQ by patrolling Sentinels. Brubaker’s way around this is to have Storm’s diplomatic immunity open some doors.

Salvador Larroca both pencils and inks his art, which possibly accounts for it being unusually stiff in places, relying on poses rather than movement. He’s obviously glad of the opportunity to draw Storm, though.

As with Rise and Fall of the Shi’ar Empire, the journey occupies much of The Extremists, the X-Men attempting to track down Masque and his allies. Their threat is further bolstered by a proposed association with Magneto, presumed dead by most, but not Professor X. Magneto is shown, but not as most would know him, with his appearances leading into the following Messiah Complex crossover. Although he’s not often seen, he has a quiet presence that’s ultimately a greater pull than the shrill repetition of Masque’s murderous beliefs.

In terms of character development, the most interesting is Warpath’s, a minor X-Man, but someone Brubaker can claim as his own and point in his own direction. He’s also good with Storm’s regal poise, but ultimately what seems to start with a point to make devolves into something standard.