REVIEW: ‘X-Men ‘97’ Episodes 1–2

A revival and continuation of X-Men: The Animated Series that ran from 1992 until 1997, X-Men ’97 gloriously picks up where the original left. A year has passed since the death of Charles Xavier, and his sacrifice has inspired humanity to have greater sympathy for mutants. However, things are far from perfect, and in X-Men ’97 Episodes 1–2, the series beautifully tackles the aggression mutants face, no matter their sacrifices. Capturing the essence of the original, the series has some of the best writing of any Marvel project in recent memory.

X-Men ’97 Episodes 1–2 begin with a necessary refresher, but the story is accessible to both old and new fans. Scott Summers, aka Cyclops (Ray Chase), is the current team leader. His X-Men included his wife, Jean Grey (Jennifer Hale), Ororo Monroe/Storm (Alison Sealy-Smith), Logan/Wolverine (Cal Dodd), Morph (J.P. Karliak), Rogue (Lenore Zane), Henry McCoy/Beast (George Buza), Remy LeBeau/Gambit (A.J. Locascio), Jubilation Lee/Jubilee (Holly Chou), and Bishop (Isaac Robinson-Smith). While many of these characters are familiar faces, the series allows time and space for those who haven’t appeared in mainstream media franchises, such as Morph, Jubilee, and Bishop.

While there are tensions between Scott and Logan about the former leadership, most of the initial drama of Episode 1, “To Me, My X-Men,” is internal. Scott is worried he isn’t living up to Charles’ example as a leader. As kidnappers attack and sell mutants, he worries there’s a lack of diligence in his team despite the persistent threat of humanity’s bigotry. As Jean contemplates whether the two should leave the X-Men with the arrival of their son imminent, Scott has to figure out whether he’s ready to leave behind the only foundation he’s ever known.

The depiction of his character is wonderful. As Episode 1 unravels, it’s clear he’s a strong leader. It’s what makes the final revelation sting all the more. In Charles’s final will, he left the school and his fortune to Magneto (Matthew Waterson). It’s one of the most interesting developments of the series, which impresses more through its writing than its animation. Magneto is such an endlessly layered and complex character. His arrival spells greater concern for Scott and a significant shift in how we view the character.

Created and written by Beau DeMayo, X-Men ’97 Episodes 1–2 deliver moving, introspective, and engaging writing. X-Men has always acted as an allegory for discrimination, and DeMayo serves this thematic underlining. From a young mutant hiding his powers from his parents who claims he doesn’t want to “be myself,” to Jean’s concerns of raising a mutant son and the fear and prejudice he’ll face, the writing understands the draw of these characters. Characters who discover their found families on the outskirts they were pushed to by those who fear what they don’t know. Magneto’s involvement only heightens this emotional pull by allowing him to exist in a gray area.

Perhaps Magneto will turn on the X-Men again. Regardless, his character is interesting because he doesn’t exist purely in the good or bad. And here, his love for Charles is made clear as he readies himself to earn back the X-Men’s trust. He even allows arrest to stand trial to prove himself, though it ends in tragedy. Storm loses her powers while taking a shot meant for Magneto, bringing us to the most significant moment of the second episode, “Mutant Liberation Begins.”

Magneto, furious at the gall of humans and their self-righteous need to make mutants feel small and inferior, threatens the life of the man who fired the shot. “Bigots, ingrates, sycophants, worms,” he calls them. He condemns the jury who put him on trial, asking what else they can do to be “good enough” in their eyes to avoid attempts on their lives. But instead of killing them, as he might’ve once done, he spares them due to Charles’ last wish. He asks them to please, “Don’t make me let you down.”

While the writing is the key highlight of the premiere, the animation shines in the action. Scott’s initial fight scene with the mutant traffickers plays with his abilities. The direction captures the buzzy, kinetic frequency as he uses his optic beams to move around the warehouse they’ve found themselves in. In a scene with the whole team versus broken down Sentinels, the art direction flourishes as we watch the group work together in sync, each character getting their moment to shine. Storm is a highlight, with her combat in Episode 1 a potent reminder of her considerable powers.

Not all of the animation style works, however. It thrives on motion, so any moment of stillness exposes the stiffness of facial expressions and the clunky movements. This is particularly noticeable in Episode 1 at a club where Jubilee dances. However, the series has so much charm and energy that it helps cover the moments that don’t land as well. Marvel might not have as excellent a track record with animated series, especially compared to DC, but X-Men ’97 is a definite step up despite some unsatisfying moments.

The series clearly has fun with the characters and the many different dynamics of the team. From the character designs that lay into the ’90s aesthetic and the playfulness of their interactions, there’s a distinct reverence for the heroes they’re celebrating. Like My Adventures With Superman, X-Men ’97 speaks to the heart of these characters and the defining elements that make them endlessly lovable.

X-Men ’97 Episodes 1–2 are a promising start. With an abundance of heart and humor, along with some genuinely superb writing, the series declares itself a must-watch. While there are some minor hindrances, they don’t get in the way of the pure enjoyment of taking in these characters and their relationships. Ending on a major cliffhanger that spells trouble for the X-Men, the biggest problem is that we have to wait another week for Episode 3.

X-Men ’97 Episodes 1–2 are out now on Disney+.