![]() It was this incredibly convoluted jumping-on spot that Simonson turned into comics gold, writing X-Factor from Issues #6 through 64, one of the notably lengthy runs of the '80s. ![]() X-Factor #37, cover art by Walter Simonson ![]() Meanwhile, the manager and financial backing for the team, Cameron Hodge, was manipulating the team to his own nefarious ends. When Cyclops found out, he abandoned his wife Madelyne and his son Nathan to be with Jean. It was decided that Jean was actually in a cocoon at the bottom of Jamaica Bay during the events of the Phoenix Saga and that the Phoenix had simply impersonated her. Having caused the genocide of an entire planet, Jean couldn't come back without repercussions. The concept of bringing back the original five X-Men for a team was conflicting due to the death of Jean Grey in Uncanny X-Men #137. The introduction of X-Factor is generally considered a bit of a debacle. It was this very specific vibe that Simonson brought to her first full-time X-book: X-Factor. The intersection between childhood innocence and adult themes made for a more complex story than the series is usually given credit for. Simonson chose to pursue freelance writing at Marvel after her editing work had run its course and created the Power Pack, one of Marvel's more interesting concepts of the mid-'80s. Simonson continued editing the book until #182, when the job was passed on to the equally rad and underrated Ann Nocenti. Today, Dark Phoenix is considered to be the greatest X-Men story of all time, so this is about as high-profile a debut as one could have. Simonson's first credit editing on Uncanny X-Men appears in Issue #137, the conclusion of The Dark Phoenix Saga. X-Factor #14, cover art by Walter Simonsonġ980 turned out to be a pretty big year for Simonson, who began working at Marvel Comics on what we now regard as one of their most important titles during its most crucial development phase.
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