The Lauras meet in X-Men #18, by writer Gerry Duggan, artist C.F. Villa, colorist Matt Milla, and letterer Clayton Cowles. This is yet another mediocre issue plot- and character-wise, a Duggan hallmark on X-Men, but at least the art and action are good.

This issue has a framing device of Beast questioning whether older Wolverine is actually who she says she is and then shifts to her and Synch meeting up with the X-Terminators. The two Lauras go into the tunnels on their own. Meanwhile, an Orchis base has an emergency and vents people into space, and the X-Men come to rescue them. Back in the tunnels, the Lauras discuss how they’re going to deal with their lives and then leave. Back at the meeting, Jean assures Beast that the older Laura is who she says she is and sasses Beast for who he’s become. As an epilogue, Corsair dictates a final message to his children after a catastrophic attack by the Brood.

On the one hand, there are some great, dynamic action scenes in this book, but that’s as much because of Villa’s art as Duggan’s writing. This issue kind of needed to happen, but it would have been better if anyone else had written it. Duggan never really had any kind of grasp on Laura’s character before, so putting the two of them together into one comic doesn’t help. On top of that, Duggan’s sense of humor has been terrible throughout his tenure on this book, and this issue makes it even worse, as he tries to work in the X-Terminators’ style of humor.

Then there’s the X-Men saving members of Orchis. Look, the X-Men are supposed to be the superhero team. They’re supposed to save people. But they just saved Orchis personnel, all stationed at a weapons platform meant to destroy them. It’s such a strange choice, especially since so many other books have shown Orchis to be a massive threat. It feels like Duggan wanted to establish the existence of this particular Orchis station, which is fine, but the way it’s done is strange. In fact, the only thing it feels like Duggan gets right in this comic is Beast, but then again, writing him isn’t exactly hard anymore. Even Jean Grey’s dialogue sassing him feels completely off. Just another issue of Duggan’s X-Men.

Villa and Milla have worked on this book before, so Duggan knows how to write for them. They do an excellent job, and it really buoys the piss-poor dialogue and characterization. The action scenes are fluid and kinetic, and Villa even gives the Wolverines the stoicism that runs through their dialogue. The character acting is good, there’s some nice detail throughout the book, and the linework is strong. Milla’s colors do a lot of heavy lifting. Villa’s linework can get pretty heavy, and there are many dark scenes, but Milla lights it all well, and his palette brings the action to life. Villa and Milla work well together, and it shows on every page.

X-Men #18 is another issue that would be a total fail without the art. However, that’s basically X-Men since Duggan took over, so there’s no surprise there. The dialogue is mostly terrible, the plots are mediocre, and the humor is bad. Luckily, Villa and Milla do a really fantastic job with the art. Reading this book is a groan-inducing chore, but looking at the art is pretty great.

Grade: D+