Episode #22: Aces And Eights
Original Airdate - September 25th, 2009

Wolverine is tipped off by Future Xavier that a mutant spy hired by Senator Kelly will steal Magneto’s helmet and it may be the flashpoint of the war. Wolverine and Nightcrawler take off to try and stop the thief. Genosha has closed its borders and it already appears that Magneto is bracing for conflict. Gambit arrives on Magneto’s shores and openly admits that he is there to steal his helmet, but claims he would rather take refuge in their paradise. Magneto puts Gambit in the guest quarters while he considers. Lorna has taken an interest in the mysterious Gambit who exploits her naivety asks her take him on a tour of the island while unknown to her he plants explosive devices. Wanda finds her smitten sister with Gambit, is furious and locks him up in the underground prison. Lorna is devastated and heartbroken. She sneaks into the cells and will release Gambit if he’ll take her away form Genosha with him. At Gambit’s boat Lorna almost seems to have second thoughts, she’s never left the island before. As she contemplates, Gambit pushes away form the shore, pulling Magneto’s stolen helmet from his satchel. He floats away apologizing for not being the man she thought he was. Furious by his trickery Lorna yanks the helmet from Gambit’s hands and magnetically draws it back to. Her father appears on the shore to his weeping daughter as the island erupts in explosions behind them. Magneto is determined that Senator Kelly will pay for this. Wolverine and Nightcrawler are too late. Magneto storms Kelly’s office and is about to enforce his word when Rogue and Shodowcat make a surprise visit taking both men with them back to the X-Mansion. Wolverine decides to show them what their war will bring. Future Xavier reveals the grim future that is governed by neither mutants nor man but machines. This terrifying apocalyptic revelation is enough for the Senator to halt the Sentinel program.

Story by Greg Johnson, Craig Kyle, Joshua Fine
Written By Greg Johnson
Directed by Nick Filippi
Music by Dean Grinsfelder
Animation By Noxxon Entertainment

Steve Blum as Wolverine
Jim Ward as Professor X
Phil Lamarr as Gambit, Trask
Tom Kane as Nightcralwer

Review: Arsenal - I love crazy Lorna. For years, Lorna Dane was an ignored character. She was the girlfriend of Iceman, then Havok, but no one particularly cared.

She had magnetic powers, then super strength. But nobody cared.

She may have been related to Savage Land voodoo mystic Zaladane. But nobody remembered.

Peter David wrote her as insecure and a tad unstable in his excellent X-Factor series (the first one.) Some cared.

Creators gave up the ghost and made her the daughter of Magneto, which had been hinted at before. It made sense. It linked her to a popular character and gave her something to do while in limbo.

Then, the creative team behind X-Men made Lorna Dane one of the few survivors of a massive genocide and freakin’ nutso. And suddenly she was memorable.

Wolverine and the X-Men have not lifted this interpretation of Lorna wholesale. However, they have alluded to it cleverly in her interactions with the FX-Men and hint at it with her actions in the “present.”

Instead, Wolverine uses Lorna as the sheltered, naïve and potentially dangerous daughter of Magneto. Pietro is the spited progeny, Wanda is the practical one, and Lorna is the one they keep in the attic.

In this episode, Gambit manipulates Lorna so he can cripple Genosha’s infrastructure. (Naturally, his services have been hired.)

What the viewers get, in essence, is another episode of Nightcrawler’s adventures in Genosha as he tries to stop Gambit.

There are twists and turns and, at least, one genuine surprise.

I have criticized this show for being humorless and failing to reach its potential previously. However, most of the recent episodes—especially those set in the “present”—have been very good.

This episode may not be as bracing as “Breakdown” or “Guardian Angel,” but it is even better than both. It makes excellent use of its ensemble cast and forwards to long-standing plotlines.

Those who believed the creative team knew what it was doing were right.

Finally, since I did make a big deal out of it last time, Phil Lamarr’s Jamai-Cajun accent is much less distracting this time. Either I got used to it or he has made it more subtle. Lamarr also manages to render some touching regret from an otherwise (deliberately) shallow Remy.


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