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X-Men: Red #11

Comicscore Index
Universal acclaim

Based on 7 critic ratings.


After Brand’s machinations and the Sins of Sinister, the mutants of Arakko are catching their breath…but even as Storm begins a new romance, she has no time to rest.

Charles Xavier has questions about Magneto’s death. He’s not asking nicely.

Publication Date
Kindle Edition
Print Lenght
24 pages
Amazon ASIN

Cover Artists
Variant Cover Artists

7 Critic Ratings & Reviews from:
  • 100

    You Don't Read Comics

    X-Men Red #11 is so fantastic it isn’t funny. Ewing is like a multi-instrumentalist, playing everything perfectly. Camagni and Blee do a wonderful job on the art, bringing the whole issue to life. This comic has always been incredible, but this issue is something special even among the amazing books that came before.
  • 95

    Multiversity Comics

    The stakes continue to rise on Arakko, cosmic threats making contact with the mutant planet, but it all pales into the spectacular war or words between Xavier and Ororo. In a medium judged on its spectacle, to have an issue this breathtaking, achieved through dialogue, is special. “X-Men: Red” #11 raises the stakes in all the right ways, but in a single issue, it shows a full fallout and changes the mutant world forever. It’s impressive stuff and continues to show why Ewing is one of the greats. “X-Men: Red” #11 continues to tell engaging and impactful stories while shifting the power of the Mutant nation.
  • 94

    Comic Watch

    Ewing has, once again, proving that he understands his characters. Storm, Roberto, and Xavier are all fully realized and human. Storm and Xavier have always had a complex relationship that is as much defined by the former’s abuses as by his mentorship. I don’t believe this relationship has ever been explored as fully as it is in this book. After Xavier summons Storm, intruding on an intensely private moment, he demands to hear Magneto’s final words. When Storm (obeying her fallen friend’s wishes) refuses him, Charles attempts to force his way into Storm’s mind. Storm recognizes this betrayal as a reflection of the fact that Xavier has only ever been ethical. The moment a person ceases to conform to his will willingly, he will cast ethics aside and force the issue because his hubris is so incredible that not only does he believe that he is always right, he believes that he is entitled to alter the identities, the minds, and hearts, of the people to whom he feels the closest. He underlines this by refusing to honor Magneto by the name that he has chosen. This is true when he whistles for Storm, expecting her to drop everything and run to his side like a dog. This is true even (and especially) when his own identity is at its shakiest. Xavier has proven, time and again, that he is willing to batter Storm into a shape that he feels is more appropriate to her, telling her over and over again that her sense of self is wrong, that her identity is incorrect, that he (a straight, cis, white man) has the right to define who and what she is and her role in the world. And The Goddess has finally had enough of his bullshit. Xavier reads, in this instance, like every cis ‘ally’ a trans or nonbinary person has ever had who will support their identity only as long as it is convenient for them. Xavier reads like every white person who tries to tell a Black colleague how it is ‘appropriate’ to act. Xavier does not come off very well and receives an appropriate judgment. The scene in which Storm forces Xavier out of her mind, slamming the door on him with tomb-like finality (using the technique he taught her), is among the most satisfyingly rendered double-page spreads in X-Men history. It’s a beautifully constructed scene, using panels from the characters’ long history melded together in a collage that recontextualizes certain specific events. It’s got the literary power of a top-rate erasure poem and effective work. As for the rest of the art, this issue was not up to the usual standard I’ve grown to expect from this series. Caselli’s art was as lovely as ever, but Jocapo Camigni’s work (although pleasant) didn’t mesh with it as effectively as one might prefer. This wasn’t the fault of either artist. They’re both extraordinarily skilled. But it’s fair to say they’re much better when working alone. The characterizations in this issue are among the best in X-History. This is the Goddess at her absolute best — and Xavier at his very worst.
  • 93

    Major Spoilers

    I’m not thrilled with all the decisions that the X-Men mythos has made in the last year or so, but X-Men #11 shows that there are great stories to tell. I am thrilled to read the following issues and see how this all works together.
  • 90

    Graphic Policy

    From the ashes of Sins Of Sinister arise the calm before the storm! War is coming! X-Men Red #11 by Al Ewing, Jacopo Camagni, and Stefano Caselli is the series’ triumphant return after a three-month hiatus. Even though the series went on break, the aftermath of the intervening Sins Of Sinister event and Storm & the Brotherhood of Mutants carries on in this issue. It’s an issue entirely of conversations with no action scenes. Luckily Al Ewing deftly navigates this with precision cutting dialogue filled with tension and excitement. The art is no slouch either. The scenes are well-crafted and filled with interesting back-and-forth layouts. Of particular note is one amazing spread toward the end of the issue. This issue is the rising tension before the much-teased Genesis War storyline coming up in the following issues. Even with that being said it’s still a great issue filled with moments readers won’t want to miss!
  • 85


    X-Men: Red is always a highlight within the X-Men slate, but issue #11 does exactly what more comics need to do: It gives characters a chance to breathe. It doesn’t need to rely on meaningless fights to create genuine emotional tension and explores its heroes in a fresh and profound way. While the story it’s building up to has already been told, it will still be interesting to see what Ewing will do with it.
  • 80

    X-Men Red #11 balances the aftermath of multiple consequential events—both "Sins of Sinister" and Judgment Day—while reestablishing its own ongoing story and status quo after a 4-month hiatus. Luckily, it's able to address these by focusing on two of its most charming characters, Storm and Sunspot, addressing the immediate concerns of their own lives. The former provides the issue with most of its sizzle as a long-brewing conflict with Professor Xavier comes to the fore and is brilliantly addressed in a spread that captures the flawed foundations of their relationship. The latter offers a lot of cosmic charm, dipping into lore from S.W.O.R.D., Guardians of the Galaxy, and more in a manner that effectively reorients the role of Arrako in cosmic Marvel. Even as the issue is engaged in housekeeping, it's close attention to character and readiness to embrace the many fantastic settings and powers on display ensures it remains an absorbing read. Let's hope it doesn't go on hiatus or get roped into yet another crossover again any time soon.

More From X-Men: Red (2022)

About the Author: Al Ewing

Al Ewing (/ˈjuːɪŋ/) is a British comics writer who has mainly worked in the small press and for 2000 AD and Marvel Comics.


Al Ewing began his career writing stories in the four-page Future Shocks format for 2000 AD and moved on to regular stints on Judge Dredd (2008–2015), for which his 2010 story “Doctor What?” marked Brendan McCarthy’s return to 2000 AD. They later worked together on a new series entitled The Zaucer of Zilk. Ewing worked on Damnation Station and Zombo, the latter illustrated by Henry Flint, which was collected in trade paperback in 2010.

Ewing has also contributed to Solar Wind, FutureQuake, and The End Is Nigh. He is responsible for the mobile comic Murderdrome, created with P. J. Holden.

In May 2007, Ewing created the comedy blog “The Diary of Ralph Dibney”, writing as the titular DC Comics superhero (also known as Elongated Man), Dibney’s therapist, or as the even more obscure DC Hero Richard Dragon, as they react to the events of each week’s issue of the comic book 52.

Breaking into American comic books, Ewing was also picked by Garth Ennis to provide a six-issue arc on Jennifer Blood, published by Dynamite Entertainment, and a spin-off series The Ninjettes.

His debut prose novel Pax Britannia: El Sombra, published by Abaddon Books in 2007, features a mysterious Mexican hero fighting back against the menace of steam-powered Nazis. It is set in the same Steampunk alternate history as the other novels from the Pax Britannia series. Three other novels have been published since, with a fifth on the way.

Ewing wrote Mighty Avengers and Loki: Agent of Asgard for Marvel Comics and co-wrote the first year of the Eleventh Doctor Doctor Who title with Rob Williams for Titan Comics.

Ewing has since written New Avengers, U.S.Avengers, Ultimates, Rocket, Royals, and The Immortal Hulk, all for Marvel. The Immortal Hulk was a nominee for the 2019 Eisner Award in the “Best Continuing Series” category, and had earned publisher Marvel Comics a Diamond Gem Award the previous year as “Best New Comic Book Series.”

In 2021, Ewing won the GLAAD Media Award for Outstanding Comic Book at the 32nd GLAAD Media Awards for his work on Empyre and received an additional nomination in 2021 and one in 2022 for Guardians of the Galaxy. In June 2021, it was announced that Ewing would serve as co-writer of Venom alongside Ram V, with Bryan Hitch serving as artist.

Personal life

At the end of Pride Month 2021, Ewing came out as bisexual.

[Latest Update: July 23, 2022]