Comic Review: Uncanny X-Men #14 – Mutants, Memory, and Monsters in the Catacombs

“Uncanny X-Men #14” is the kind of comic that makes even the most skeptical fans ask themselves: Is this the moment when the series finally finds its rhythm? The answer is: almost. Gail Simone continues the “Dark Artery” storyline, and although it’s still uneven in places, the direction is finally starting to feel clear—and honestly, pretty promising.

Three Storylines, One Heart

This issue still juggles three concurrent plotlines: Gambit’s strange arc with Sadurang, the 1920s flashbacks featuring Lady Henrietta Benjamin, and the present-day story of the Outliers. But this time around, Simone does a much better job thematically linking all three. Each thread asks the same question: Who are you when someone looks you in the eyes and says, "Prove you are who you say you are"?

That theme lands most strongly in the Outliers segment, where the characters undergo a trial overseen by… Man-Thing, who is now chilling in some catacombs like a cryptic dungeon boss. Why is he there? Has this always been his job? Did he take time off from his swamp duties for this gig? The comic doesn’t explain, but visually—it slaps.

The Outliers Finally Get a Voice

Up to now, some of the Outliers have felt like placeholders—barely defined sketches of characters. That finally changes here. The scene where they confess their powers to Man-Thing is maybe the best moment in the whole issue. Ransom gets his long-overdue spotlight, Calico drops a devastating reveal about her horse (ouch), and we start to feel how Lady Henrietta’s century-old ambitions are bleeding into the present.

Even Jubilee—who had been sidelined for far too long—gets a short but touching scene with Gambit, where they mention Shogo. It’s just a few lines of dialogue, but it does more for her character than anything in the last dozen issues. It’s a small win, but it means a lot. Simone is starting to understand the emotional importance of the legacy X-Men.

Gambit and Sadurang: A Battle Beyond Blood

Gambit’s storyline with Sadurang continues from last issue, but with more emotional weight. Sadurang, now in his full ice-drake/god/former-cannibal glory (seriously), feels like a growing part of the series' mythology. Their clash is more than physical—it's a psychic battle over the future of mutantkind. Gambit’s internal monologue is rich with doubt, grief over Rogue, and genuine self-reflection.

Some of this arc is clearly setting up later events, but there’s enough intrigue here to keep it engaging. Plus, Sadurang’s design—somewhere between a Norse god and Nasir’s dragon form from Fire Emblem: Path of Radiance—is such a visual win that you’ll forgive the exposition overload.

Henrietta, Racism, and Gothic Horror

In the 1920s flashbacks, Lady Henrietta Benjamin is trying to establish Haven House—a sanctuary for mutants in a racially segregated America. This plot continues to blend historical trauma with mutant allegory, and it works. Simone avoids heavy-handed messaging and instead lets emotion and subtext carry the weight. You can tell she gets the tone of Southern Gothic, and David Marquez brings it to life with haunting, painterly visuals.

The final page of the issue delivers a brutal cliffhanger—even if you see it coming, it still lands. Henrietta continues to evolve into one of the series’ most interesting characters, balancing between visionary and fanatic.

David Marquez Is the MVP

Let’s be real: this book would not be half as compelling without David Marquez’s art. The page where the Outliers confess to Man-Thing is a masterpiece—he looms above, their faces shown in tight, emotional closeups framed by vines and flowers. It’s moody, surreal, and deeply personal. And his recreation of 1920s Louisiana? Incredible. From textures to architecture, every panel oozes with atmosphere.

So… Is This It?

After thirteen issues of ups and downs, “Uncanny X-Men” is finally starting to feel like a book with something to say. There are still stumbles—underdeveloped side characters, odd scene transitions, plot holes you can drive the Blackbird through—but the core is taking shape. Simone has found her voice, Marquez is still killing it, and even the groan-worthy Outliers are starting to grow into real characters.

Pros:

+ Stunning artwork from David Marquez – moody, cinematic, full of meaning

+ The Outliers finally feel like people, especially Ransom and Calico

+ Powerful confession scene with Man-Thing

+ Gambit and Jubilee’s short moment feels genuine and earned

+ Strong symbolic storytelling with Henrietta and Haven House

+ Sadurang’s evolving mythology is getting genuinely interesting

Cons:

- Man-Thing still makes no sense being in the catacombs

- Some characters are still underused (looking at you, Firestar 2.0)

- Parts of the issue are clearly just setup

- Expository dialogue can get heavy

- Still waiting for the X-Men to fully matter in their own book