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X-Men #4

Comicscore Index
Mixed or average ratings

Based on 10 critic ratings.

HEADS UP! It’s Halloween and the X-Men have to face a horror born of a neighboring town in Westchester… the Headless HORSEMAN?! And that’s not the only terror targeting them…

Publication Date
Kindle Edition
Print Lenght
25 pages
Amazon ASIN

Cover Artists
Variant Cover Artists

10 Critic Ratings & Reviews from:
  • 100

    But Why Tho?

    X-Men #4 is the perfect example of how to do a holiday-themed issue, as it leans into the Halloween atmosphere and serves as a character piece for Jean Grey. I’d recommend other creators to look at this comic if they plan to do their own holiday-themed issues. And even though this issue is a bit of a ‘breather episode,’ it ends with a new foe heading to the X-Men’s newly terraformed nation of Arakko.

  • 89

    Comic Watch

    X-Men #4 is another episode where Duggan can show off his familiarity with newer and older canon, the greater 616 continuity as well as his ability to thread moments together, issue by issue, in a Halloween holiday-themed installment that’s brought to life by an absolutely stellar fill-in art team whose work elevates the issue on every front. Also if you a jean grey fan this is a must own issue plain and simple.

  • 84

    The Comicbook Dispatch

    With the focus being almost solely on Jean, incredibly small clues as to the future direction of the series, and little action to speak of, I found this week’s installment of X-MEN a little flat. Not bad by any stretch” just less compelling. Don’t get me wrong, X-MEN #4 wasn’t bad, yet my expectations surrounding the cover and preview were a bit more.

  • 80

    Manga Mavericks / All-Comic

    X-Men #4 is a good entry into the creepy side of the X-Men mythos. Gerry Duggan is picking up and using the ground work that Jonathan Hickman laid out. The art is a thing of beauty this issue. If you’re in the mood for a creepy superhero book this week, X-Men #4 should whet your whistle.

  • 73

    The Super Powered Fancast

    The Story: Duggan makes an interesting departure from the arcs that have previously been part of this series. The return of Nightmare is interesting, but the story doesn’t really do much besides showcase how powerful Jean is. From the lead up I was expecting the character to at least have some impact on the characters and the story, but it never really got that far. The issue overall was fine, but it doesn’t really add anything to the overarching storyline or any of the characters in the series.

    The Art: Javier Pina does an excellent job with the art in the issue. There are some great moments in the dreams of the characters that are visually and thematically interesting.

  • 70


    While a decent issue on its own merits, it is a bit of a rough issue in the overall picture of the series. A fun detour that feels a bit out of place.

  • 70


    X-Men #4 is another mostly-light installment in the new series. When the title wants to pack a punch, it really does and when it is silly, it’s really, really silly. Javier Pina flexes his art talent and proves himself a worthy successor to the likes of Larraz who did the last three issues.

  • 50

    X-Men takes a detour in its fourth issue that isn’t entirely satisfying. Gerry Duggan and the guest art team of Javier Pina and Erick Arciniega spin a slightly spooky yarn of the mystical villain Nightmare taking advantage of Doctor Strange’s recent death to frolic through New Yorkers’ dreams. Upon noticing the Tree House for the first time, he can’t help but pay a visit, biting off more than he can chew in the process. Such an incursion in the realm of dreams should be an opportunity to do something altogether different and unexpected. Instead, Nightmare elucidates barely-beneath-the-surface subtext, spelling out the simple motivations driving these characters that weren’t all the hard to discern previously. There are some small revelations, but the way they come through feels like cheating, simply saying the quiet part out loud instead of letting each character’s truth emerge organically. Visually, the only difference between the dream world and the physical realm is a ruddy overlay. There’s an interesting premise here, but the plot built around it is too thin, which might be why the latter portion of the issue shifts focus to the new villain, who will presumably become a relevant threat at some point. Yet here, his presence doesn’t amount to more than a vaguely defined menace. There’s the start of a good idea here, but the execution is boring, and the whole thing runs its uneventful course too quickly to be fulfilling.

  • 50


    A seemingly random use of Nightmare accomplishes not much of anything in this standalone(?) issue. Things were gangbusters for the first three issues, so I don’t know where this one came from.

  • 30

    You Don't Read Comics

    X-Men #4 is one of the worst X-Men books of the Krakoa era, if not the worst. The only thing that saves it is the art by Pina and Arciniega. Duggan makes so many mistakes its almost like hes never actually read X-Men comics before. If this is what the supposed flagship of the franchise is, its in trouble.

More From X-Men (2021)

About the Author: Gerry Duggan

Gerry Duggan‘s extensive career in the comic book industry is marked by a unique blend of humor, action, and heartfelt storytelling. With a diverse portfolio that includes some of the most beloved characters and teams in the Marvel Universe, Duggan has established himself as a dynamic storyteller capable of navigating the complex worlds of antiheroes, cosmic adventurers, and, notably, mutants.

Duggan’s significant contributions to Marvel’s mutant narratives stand out as a key aspect of his career. His work with the X-Men and their extended universe, particularly through the series “Marauders,” has been pivotal in exploring new dimensions of the mutant experience. In “Marauders,” Duggan brings a fresh perspective to the mutant saga, focusing on themes of freedom, identity, and societal acceptance. This series not only highlights Duggan’s skill in balancing ensemble casts and intricate plotlines but also underscores his ability to inject new life into established mythos, making the stories accessible and engaging for a broad audience.

Before venturing into the world of mutants, Gerry Duggan made a name for himself with his work on “Deadpool,” where he masterfully balanced the character’s trademark humor with unexpected depth and vulnerability. This approach revitalized Deadpool’s character for a new generation of readers and demonstrated Duggan’s versatility as a writer.

Beyond the realm of humor and the intricacies of mutant politics, Duggan has showcased his range through various genres and characters. His contributions to “Hawkeye” and “Guardians of the Galaxy” highlight his adeptness at both ground-level storytelling and cosmic adventures, respectively. Each narrative, whether set on the bustling streets of New York or the far reaches of space, is infused with Duggan’s distinctive voice and keen narrative insight.

Duggan’s creator-owned projects, such as “Analog” and “The Infinite Horizon,” further illustrate his storytelling range, exploring dystopian futures and retellings of classic tales with a modern twist. These works, characterized by their thought-provoking themes and complex characters, offer readers a glimpse into Duggan’s broader literary interests and his proficiency outside the superhero genre.

Collaborations with top artists have been a hallmark of Duggan’s career, resulting in visually stunning and narratively rich projects. His respect for the comic book medium as a collaborative art form is evident in the seamless integration of story and art, enhancing the overall impact of his narratives.

As a key player in the comic book industry, Gerry Duggan continues to leave an indelible mark on the characters and worlds he touches. From the humorous escapades of Deadpool to the societal struggles of the X-Men, Duggan’s work resonates with fans for its emotional depth, humor, and inventive storytelling. For enthusiasts and newcomers alike, Gerry Duggan’s body of work represents the vast potential of comic books to entertain, challenge, and inspire.

[Latest Update: April 8, 2024]