There’s something about the yellow, blue, and hand-drawn animations that will always define the X-Men to me. While Jack Kirby and Stan Lee created the characters in 1963, it was the 1992 show that introduced me to comics. The Saturday morning cartoon X-Men spawned games, cards, and my first comic book purchases. Gambit, Dazzler, and Wolverine overtook Batman in a matter of years. X-Men ‘97 looks to bring that era back to television. Picking up where the Saban series left off, Beau DeMayo and Marvel have created a brilliant revival. Visually stunning and emotionally raw, X-Men ‘97 far exceeds the expectations for the animated reboot.
After Charles Xavier’s death, the X-Men need a new path forward. Cyclops and Jean-Gray expect a baby, allowing Storm to step into leadership. With a squad including Wolverine, Bishop, Gambit, Dazzler, Rogue, and Morph, the team remains strong. However, when Magneto arrives at the mansion with unexpected news, the X-Men must adapt once more. While Charles may be gone, the threats to the X-Men are greater than ever.
The stunning storylines over the first three episodes (the only episodes provided to critics) showcase the power of these characters. Part of what always made X-Men so interesting was their emotional maturity compared to other heroes. They could be raw and unfettered but still address complex themes. While Spider-Man and others felt more grounded, X-Men took on major themes of race and sexual orientation. Picking up threads from the comics allowed the series to touch on relevant issues facing America in the mid-1990s.
That work continues in X-Men ‘97, which delivers some of the strongest political commentary of any superhero property to date. It’s impossible to ignore the ties to the January 6th riots in “Mutant Liberation Begins.” The questions surrounding colonial structures of power force a discussion on terrorism versus freedom fighters. This version of X-Men ’97 showcases ethical and moral questions that many animated series never attempt to confront. As a result, it shines brighter than many of its peers.
Additionally, X-Men ’97 excels in its creativity. The fight sequences are not just exciting to watch but instead highlight the unique aspects of each mutant. While many superhero fights boil down to brute strength, this is not true here. For most brawls, the victorious hero must think outside the box and use their powers to their furthest reach. Reviving the feeling of the old series, our heroes make ridiculous quips and jabs. It makes for a complete experience that is both very funny and wildly entertaining to watch.
This experimental streak also extends into the third episode. Approaching Lynchian visions of X-Men powers, the brilliant art shines. While episode 3 is the standout in that regard, it shows X-Men ’97‘s willingness to utilize animation to its fullest extent. There are many things present on screen that can only be completed in this medium with this tone. Imagining Marvel or Disney trying to restage these fights in live-action is a fool’s errand. It could not look as cool or feel as rewarding in any other setting.
For all the chances X-Men ’97 takes with these iconic characters, it’s clear Marvel has big plans for the show. Immediately integrating diverse characters and mature themes is frankly far more than we expected out of the nostalgia play. Instead, X-Men ’97 instantly rises as one of the best-animated series on television today. Everything about this series works and actually provides hope for the future of superhero TV.
