X-Men #14-16: The Sentinels

The long-running antagonists for the X-Men debuted in X-Men #14. An anthropologist named Dr Trask warns mankind that the mutants are among us and that they are a severe danger to mankind:



For starters, it seems unlikely that an anthropologist would be issuing this warning; anthropologists study other cultures and attempt to do so without making judgments about right and wrong (not always successfully, mind you). And later events in the story make the idea that Trask is an anthropologist very unlikely. For example, after Professor X demands a TV debate with Trask, the latter brings out his sentinels:



Okay, so now we've got an anthropologist who's skilled at making robots? Then again, maybe he's not all that skilled, for the Sentinels quickly turn against him:



This is possibly the biggest cliche of the Silver Age: robots and computers were constantly rebelling against their masters. Indeed, the series Magnus, Robot Fighter which I have discussed several times recently, is based on that premise. But there are many, many other examples, like Computo rebelling against Brainiac 5, or Wonder Man (one of Superman's robots) who briefly replaced Superman.

It also ties into one of the odder conundrums of the Silver Age. While there was enormous respect for "science", the writers were considerably more suspicious of technology (i.e., applied science). To a certain extent, this may be due to the shoddy workmanship of electronic devices of the time.

The X-Men race to the TV studio in response to a mental summons from Professor X. Most of the Sentinels leave with Trask, but one remains behind. The X-Men have a minor battle with it, when it inexplicably keels over:



Professor X hears the robot say something about a "Master Mold" before it collapses. He is also able to get an impression of the HQ of the Sentinels. The team heads there, but they get split up and the Sentinels start catching them:

Trask, now a prisoner of the Sentinels himself, learns of the real mission of the X-Men:

This story also tells us the origin of the Beast, aka Hank McCoy. His father worked at an "atomic project", as an ordinary laborer, which of course raises the question where Hank got his prodigious loquacity (of course, in the real world, he got it from Kirby's earlier "Big Words" character, who got it from "Johnny" in the Doc Savage series, who probably picked it up from somewhere else). Hank discovered that he had extraordinary agility, which he put to good use on the gridiron:

His extraordinary feats brought him to the attention of Professor X, who invited him to join the X-Men.

In the finale (X-Men #16), the team escapes from the prison where the Sentinels were holding them, and using teamwork are able to hold them off briefly. Meanwhile, Professor X has determined what stopped the original Sentinel in the TV studio; it was a crystal which interfered with the transmission signals from the Master Mold to the Sentinels. Professor X has the crystal flown to the Sentinel's headquarters. At the same time, the Master Mold is forcing Trask to create more Sentinels:

But at the last moment, Trask rebels:

Trask destroys the Master Mold and is killed in the process. The X-Men manage to escape the Sentinel's HQ via some solid teamwork.

Comments: A terrific and exciting tale with lots of excellent characterization. If the entire X-Men run had been as solid as this one, it would not have been canceled before the end of the Silver Age.

The stories described in this post have been reprinted here:

Single Issue Review: X-Men #8

X-Men had continued to specialize in one-off stories, but much like the Avengers, and the Fantastic Four, they quickly found their major antagonist. Magneto (who appeared in the first issue) and his evil mutants (popping up in #4) became regulars in the early issues of X-Men, much like Dr Doom had a few years earlier in FF, and Zemo and the Masters of Menace in the Avengers.

But there really had been little development of the individual characters. Yeah, Bobby (Iceman) and Warren (Angel) had a little feud going and yes, we knew that Scott and Jean were in love with each other, but the team still really hadn't been fleshed out much beyond that.

X-Men #8 (November 1964), while still a one-off story, offered some interesting developments that would characterize the team for the rest of their history.

The book starts with what by now had become somewhat cliche in X-Men stories; an introduction in the Danger Room, where the drills were being ordered by Scott:



Later that page was the end of the snowman-looking Bobby, as he adopted the chiseled ice sculpture look that would characterize the rest of the series. It was a good move.

We had always heard that the outside world distrusted the mutants. Now we found out just exactly how much. While on a break in Greenwich Village, the Beast saves a little kid who has climbed up on a water tower. But the crowd quickly turns ugly:



This was a theme that would recur over and over in the X-Men, and clearly Stan is drawing parallels to racial prejudice here. Angered over his treatment by the crowd, Hank quits the X-Men and becomes a pro wrestler. Of course, he was the second Marvel character to enter the ring; Spiderman had a brief career as a grappler as well.

The Beast discovers the newest menace facing humanity: a fellow wrestler named Unus the Untouchable. Unus' power lies in his ability to fend off any attack:



Hank observes the Mastermind, one of Magneto's minions, in the audience. Afterwards, we learn that Unus has asked to join up with the Evil Mutants. He comes across a bank robbery in progress and steals the money from the crooks. When the X-Men face him they discover his invulnerability. Returning to the school in Westchester County, they discover that Hank is back.

But is he on the side of good or evil? He is using his scientific knowledge (previously undiscussed) to create a ray that will dramatically increase Unus' powers. At first the X-Men fight to prevent him from using the ray, but he succeeds in bathing the villain in its beam, and it turns out that he was acting for good, as Unus discovers his uncontrollable powers prevents him from doing certain necessary things, like eating:



This idea of a villain so powerful that the only way to defeat him is to make him more powerful is one that would recur many times over the years. The Beast reverses the ray's effects and Unus agrees to go back to the wrestling ring (apparently the authorities don't want him for the bank robbery).

Overall issue comments: A solid story with some movement forward in the characterization of the X-Men, especially the Beast and featuring beautiful sequential art from Jack Kirby. Unus did not go on to become one of the major villains in the Marvel pantheon, but aside from that this is an excellent example of the Marvel magic.