Al Harahap
Feb 28, 2003, 12:50 am
<a href="http://x-mencomics.com/xfan/images/covers/xstatix08.jpg" target="_blank"><img src="http://x-mencomics.com/xfan/images/covers/xstatix08t.jpg" align=left alt="X-Statix #8"></a>Reviewer: Al Harahap, jazz_brat@yahoo.com
Quick Rating: Great!
Story Title: The Moons of Venus part 3 of 3: "The Dark Dimension"
The X-Statix team makes its final move on "Bad Guy," and works to exonerate Guy from public reprimand. But how does all this tie in to Venus' missing family?
Written by: Peter Milligan
Art by: Michael Allred
Coloured by: Laura Allred
Lettered by: Blambot's Nate Piekos
Assistant Editors: Warren Simons & John Miesegaes
Editor: Axel Alonso
Editor-in-Chief: Joe Quesada
President: Bill Jemas
This conclusion to The Moons of Venus is a mixed bag - a big and full bag at that. We're treated to some powerful characterisation, intense fight scenes, and resolutions to many recent subplots.
Just like the issue itself, I'd like to get into the identity of "Bad Guy" right off the bat. Yes, it's a major spoiler, but central to the story, so not something that can be avoided. I can't say I'm not disappointed at "Bad Guy" being the creature taking form of one of Venus Dee Milo's relative because I saw that coming from a mile away. And as this title's last review can attest, so did the majority of posters who participated in the poll. What the rest of us did seem to wager was that this and the cheese-obvious signs pointed at Guy Smith (a.k.a. The Orphan) were merely red herrings provided to throw us off what could've been a shocking true identity of "Bad Guy." I'm disappointed that scribe Peter Milligan didn't capitalise on the potential that was readily available. His unpredictability with plot points is one of - if not, the most - potent skills in his writing arsenal. On the other hand, you may want to excuse him because it is unpredictable for Milligan to be predictable… And perhaps that piece of paradoxical writing is something his genius intended all along. Now my head hurts…
With that said, I do think that the connection with a new side to Venus' powers is something to be commended. Even if it makes for a very convenient plot device, I have to applaud Milligan's endeavours to differentiate the powers of the title's teleporters, Edie Sawyer (a.k.a. U-Go Girl), Lacuna, and Venus herself, unlike many other teleporters in the X-canon who are merely set apart by means and effects such as pink sulphur-smelling smoke, swirling a sword around, or throwing pointy projectiles - which are respectable in themselves, but Milligan takes the creativity of powers to the next level. And if the concepts aren't enough, the husband-wife art team of Mike and Laura Allred always do an outstanding job of visually contrasting these individuals' powers.
This also goes for Guy's newly developed ultrasensitivity. Although with this development in powers, I'm yet to see any redeeming qualities from it being nothing more than a convenient plot device. It also suggests a level of psychic ability in Guy that could get very messy by testing reader acceptance with such open-endedness in its blurry definition. Hopefully, in future, Milligan will incorporate it more into other stories so that it does indeed pose a challenge for, and therefore become a major part of, the character. Although, something rather amusing that comes out of this, is during Professor X's testing of Guy's powers, where a very thick cable is connected to Guy's "nether regions" making for some phallic imagery. Along the lines of a Mel Brooks' scene, of all the places it could be placed, Allred unabashedly chooses the scrotal area. And the fact that the conversation taking place is so mired in seriousness makes it even more tongue-in-cheek. This scene is a great laugh and a half.
I'm also glad that Guy has moved into the same plane as the other characters, or at least somewhat behind the forefront, of screen time share in this issue. The major spotlight shifts smoothly onto Venus, and rightly so as she is literally the title character of this storyarc. Here, Venus becomes such a multi-faceted character as many aspects of her life are explored. With her development of powers, her inner demons, her very vocal opinions of the team and its direction, her family, and her budding romance with Guy, it's very hard not to grow fond of Venus as much as her typed predecessor, Edie.
Even supporting characters, Spike Freeman, Tike Alicar (a.k.a. The Anarchist), and Dead Girl, are brought to the fore in some scenes. Although, the inconsistencies of Tike's character continues with the friendly and understanding Tike making a return, while the testosterone-filled alpha-male Tike is absent, in this issue. I think this problem could be easily avoided if Tike were to be officially presented with clinical bipolarity, and perhaps to emphasise this aspect a bit more. But as it is, it's not being addressed, and therefore comes off as inconsistent characterisation.
A supporting character who does shine, however, is the always-witty Myles Alfred (a.k.a. Vivisector), whose one-liners are on par with the classic Claremont Hank McCoy (a.k.a. Beast) of yesteryear - the difference (neither for better nor worse) being that X-titles luminary, Chris Claremont, used a sophisticated linguistic art with Hank, while Milligan weaves Myles' lines with sarcasm galore. Allred enhances Myles' character even more by portraying him as a nonchalant intellectual who cracks his voice from behind his books. Sometimes, he doesn't even bother to look up from his read to his subject, which can come off as arrogance or cowardice, but I'd say suggests his ability to multitask, and therefore Milligan and Allred's display of his superior intellect, over anything else. I dare say that Myles, in these few scenes, is very close to the epitome of the desirable synthesis between writer, artist, and character.
Even the awkwardly delectable character of Doop stands out as it retains its function in the title as a representation of the public, the media, and most of all, the curiosity of readers, all of which are ever-looming above these characters. Doop's omnipresence, especially in the scene where Venus and Guy make love, are at the same time humorous and unsettling because it renders Doop somewhat godlike, much like the omnipresence of a god. But it is Allred's cosmetic treatment of the character, into something considered repulsive by our sensibilities, that brilliantly perverts this notion of a powerful Doop into another guise.
Moreover, the characters and scenes in general have been rendered spectacularly in this issue. Although Milligan's somewhat erratic plot points throughout this issue can be overwhelming at times, they do provide a great outlet for the Allreds' versatility in art. From the steel-cold electronic labs of Professor X, to the arid desert, to the geometric quarters of Venus, the Allreds prove their capability in taking on a wide variety of settings. And from Venus' shyness in wearing her new suit, to Myles' facetious smirks, to Guy's apathetic versions of various emotions, Mike Allred displays his master of portraying a wide variety of facial expressions - something that's seen very little as the characters are more often in a state of flat expression to complement the retro feel of the book. The only minor gripe I have is that some backgrounds aren't as detailed as we're used to seeing by Mike Allred. And Laura Allred's striking contrasts of colours aren't present, bar the final other-dimension scene. Although, this may have been done purposely so that said scene stands out. Other than that, the Allreds choreograph a couple of great fight scenes. And I'm laughing hysterically at realising how it has apparently become ritual to decapitate, dismember, and/or split Dead Girl in half when she participates in a fight scene - much like the comical killing of South Park's Kenny in every episode of the older seasons.
As a conclusion to The Moons of Venus storyarc as a whole, I'm left feeling dissatisfied because the tumultuous unravelling of plot points overshadows such a neat, clinical ending, which makes the ending seemingly dull by comparison. However, as a single issue on its own, X-Statix #8 is much better, particularly because it harkens back to Milligan's quick-pace storytelling of X-Force - and so filled with meaty and juicy plot points, you can cut it with a steak knife - albeit without the usual level of unpredictability. And with the end of X-Statix's second storyarc, Guy and Venus come out on top once more. Hopefully, fresh things will come starting next issue with the imminence of a new seventh member to round out a full X-Statix team.
BEST LINE:Venus: "What is this? A mutiny? A coup?" :mad:
Myles: "Or, even worse, a democracy?" :rolleyes:
SYMBOLISM: Professor X's spherical vat along with its liquid containing Guy for his powers tests represents a womb, with the phallical metal cable as an umbilical cord. This "womb" symbolises Guy's impending "rebirth" after a long, difficult period in his life ((Edie's death, then Arnie (a.k.a. The Mysterious Fanboy), then the "Good Guy, Bad Guy" debacle)).
Professor X's new suits for both Venus and Guy are also a symbol of rebirths of sorts (as is the case for most - if not, all - costume changes). In Venus' case, the new complete suit (no longer with blank shoulder gaps as in her old costume) is also a sign of her person and life being "more" complete.
Sneaking into Venus' bed and putting "squirmy, slimy insects" all over her, and threatening to beat her if she told anyone is a euphemism for sexual molestation - whether an intentional downplay by Venus, or as a thematic toning down by Milligan himself.
CULTURAL REFERENCES: The cover sports an image of guy with a bright yellow round shape around his head. This imagery is akin to the halos used in Renaissance paintings to depict Jesus, Mary, saints, Greek gods, and other holy figures as righteous, virtuous, and divine. In this case, it also signifies Guy's enlightened state after everything he's been through recently.
Myles' line, The King is dead, long live the Anarchist!," refers to the British Commonwealth's tradition of yelling out, "The King/Queen is dead, long live the King/Queen!," whenever a monarch dies as a welcoming nod to the next in line to the monarchy.
Venus' line, "The desert. Always a good place to face a devil," followed by "Bad Guy's" line, "Half-baked Christian and Freudian mumbo-jumbo," refers to two things. Firstly, several Christian stories of saints confronting the Devil with the backdrop of a desert. Secondly, one of Sigmund Freud's more well-known case studies in dream interpretation, wherein his patient meets her cousin in a desert, with this cousin being detrimental to her survival.
Dead Girl's line, "There are more things in Heaven and Earth, Bad Guy, than are dreamt of in your philosophy," is a reference to a scene in Shakespeare's Hamlet which includes the line, "There are more things in Heaven and Earth, Horatio, than are dreamt of in your philosophy," wherein Hamlet explains the existence of the undead and their power to his best friend, Horatio. In this case, the undead is of course Dead Girl, who is exclaiming her existence and power to "Bad Guy."
ART:
http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xshalf.jpg
STORY:
http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xshalf.jpg http://x-mencomics.com/xfan/images/reviews/xsnone.jpg
OVERALL:
http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsnone.jpg
Buy this issue online now from X-World Comics and save! (http://x-worldcomics.com/yourvirtualstore/shopdisplayproducts.asp?id=51&cat=X%2DSTATIX+%28X%2DFORCE%29)
Quick Rating: Great!
Story Title: The Moons of Venus part 3 of 3: "The Dark Dimension"
The X-Statix team makes its final move on "Bad Guy," and works to exonerate Guy from public reprimand. But how does all this tie in to Venus' missing family?
Written by: Peter Milligan
Art by: Michael Allred
Coloured by: Laura Allred
Lettered by: Blambot's Nate Piekos
Assistant Editors: Warren Simons & John Miesegaes
Editor: Axel Alonso
Editor-in-Chief: Joe Quesada
President: Bill Jemas
This conclusion to The Moons of Venus is a mixed bag - a big and full bag at that. We're treated to some powerful characterisation, intense fight scenes, and resolutions to many recent subplots.
Just like the issue itself, I'd like to get into the identity of "Bad Guy" right off the bat. Yes, it's a major spoiler, but central to the story, so not something that can be avoided. I can't say I'm not disappointed at "Bad Guy" being the creature taking form of one of Venus Dee Milo's relative because I saw that coming from a mile away. And as this title's last review can attest, so did the majority of posters who participated in the poll. What the rest of us did seem to wager was that this and the cheese-obvious signs pointed at Guy Smith (a.k.a. The Orphan) were merely red herrings provided to throw us off what could've been a shocking true identity of "Bad Guy." I'm disappointed that scribe Peter Milligan didn't capitalise on the potential that was readily available. His unpredictability with plot points is one of - if not, the most - potent skills in his writing arsenal. On the other hand, you may want to excuse him because it is unpredictable for Milligan to be predictable… And perhaps that piece of paradoxical writing is something his genius intended all along. Now my head hurts…
With that said, I do think that the connection with a new side to Venus' powers is something to be commended. Even if it makes for a very convenient plot device, I have to applaud Milligan's endeavours to differentiate the powers of the title's teleporters, Edie Sawyer (a.k.a. U-Go Girl), Lacuna, and Venus herself, unlike many other teleporters in the X-canon who are merely set apart by means and effects such as pink sulphur-smelling smoke, swirling a sword around, or throwing pointy projectiles - which are respectable in themselves, but Milligan takes the creativity of powers to the next level. And if the concepts aren't enough, the husband-wife art team of Mike and Laura Allred always do an outstanding job of visually contrasting these individuals' powers.
This also goes for Guy's newly developed ultrasensitivity. Although with this development in powers, I'm yet to see any redeeming qualities from it being nothing more than a convenient plot device. It also suggests a level of psychic ability in Guy that could get very messy by testing reader acceptance with such open-endedness in its blurry definition. Hopefully, in future, Milligan will incorporate it more into other stories so that it does indeed pose a challenge for, and therefore become a major part of, the character. Although, something rather amusing that comes out of this, is during Professor X's testing of Guy's powers, where a very thick cable is connected to Guy's "nether regions" making for some phallic imagery. Along the lines of a Mel Brooks' scene, of all the places it could be placed, Allred unabashedly chooses the scrotal area. And the fact that the conversation taking place is so mired in seriousness makes it even more tongue-in-cheek. This scene is a great laugh and a half.
I'm also glad that Guy has moved into the same plane as the other characters, or at least somewhat behind the forefront, of screen time share in this issue. The major spotlight shifts smoothly onto Venus, and rightly so as she is literally the title character of this storyarc. Here, Venus becomes such a multi-faceted character as many aspects of her life are explored. With her development of powers, her inner demons, her very vocal opinions of the team and its direction, her family, and her budding romance with Guy, it's very hard not to grow fond of Venus as much as her typed predecessor, Edie.
Even supporting characters, Spike Freeman, Tike Alicar (a.k.a. The Anarchist), and Dead Girl, are brought to the fore in some scenes. Although, the inconsistencies of Tike's character continues with the friendly and understanding Tike making a return, while the testosterone-filled alpha-male Tike is absent, in this issue. I think this problem could be easily avoided if Tike were to be officially presented with clinical bipolarity, and perhaps to emphasise this aspect a bit more. But as it is, it's not being addressed, and therefore comes off as inconsistent characterisation.
A supporting character who does shine, however, is the always-witty Myles Alfred (a.k.a. Vivisector), whose one-liners are on par with the classic Claremont Hank McCoy (a.k.a. Beast) of yesteryear - the difference (neither for better nor worse) being that X-titles luminary, Chris Claremont, used a sophisticated linguistic art with Hank, while Milligan weaves Myles' lines with sarcasm galore. Allred enhances Myles' character even more by portraying him as a nonchalant intellectual who cracks his voice from behind his books. Sometimes, he doesn't even bother to look up from his read to his subject, which can come off as arrogance or cowardice, but I'd say suggests his ability to multitask, and therefore Milligan and Allred's display of his superior intellect, over anything else. I dare say that Myles, in these few scenes, is very close to the epitome of the desirable synthesis between writer, artist, and character.
Even the awkwardly delectable character of Doop stands out as it retains its function in the title as a representation of the public, the media, and most of all, the curiosity of readers, all of which are ever-looming above these characters. Doop's omnipresence, especially in the scene where Venus and Guy make love, are at the same time humorous and unsettling because it renders Doop somewhat godlike, much like the omnipresence of a god. But it is Allred's cosmetic treatment of the character, into something considered repulsive by our sensibilities, that brilliantly perverts this notion of a powerful Doop into another guise.
Moreover, the characters and scenes in general have been rendered spectacularly in this issue. Although Milligan's somewhat erratic plot points throughout this issue can be overwhelming at times, they do provide a great outlet for the Allreds' versatility in art. From the steel-cold electronic labs of Professor X, to the arid desert, to the geometric quarters of Venus, the Allreds prove their capability in taking on a wide variety of settings. And from Venus' shyness in wearing her new suit, to Myles' facetious smirks, to Guy's apathetic versions of various emotions, Mike Allred displays his master of portraying a wide variety of facial expressions - something that's seen very little as the characters are more often in a state of flat expression to complement the retro feel of the book. The only minor gripe I have is that some backgrounds aren't as detailed as we're used to seeing by Mike Allred. And Laura Allred's striking contrasts of colours aren't present, bar the final other-dimension scene. Although, this may have been done purposely so that said scene stands out. Other than that, the Allreds choreograph a couple of great fight scenes. And I'm laughing hysterically at realising how it has apparently become ritual to decapitate, dismember, and/or split Dead Girl in half when she participates in a fight scene - much like the comical killing of South Park's Kenny in every episode of the older seasons.
As a conclusion to The Moons of Venus storyarc as a whole, I'm left feeling dissatisfied because the tumultuous unravelling of plot points overshadows such a neat, clinical ending, which makes the ending seemingly dull by comparison. However, as a single issue on its own, X-Statix #8 is much better, particularly because it harkens back to Milligan's quick-pace storytelling of X-Force - and so filled with meaty and juicy plot points, you can cut it with a steak knife - albeit without the usual level of unpredictability. And with the end of X-Statix's second storyarc, Guy and Venus come out on top once more. Hopefully, fresh things will come starting next issue with the imminence of a new seventh member to round out a full X-Statix team.
BEST LINE:Venus: "What is this? A mutiny? A coup?" :mad:
Myles: "Or, even worse, a democracy?" :rolleyes:
SYMBOLISM: Professor X's spherical vat along with its liquid containing Guy for his powers tests represents a womb, with the phallical metal cable as an umbilical cord. This "womb" symbolises Guy's impending "rebirth" after a long, difficult period in his life ((Edie's death, then Arnie (a.k.a. The Mysterious Fanboy), then the "Good Guy, Bad Guy" debacle)).
Professor X's new suits for both Venus and Guy are also a symbol of rebirths of sorts (as is the case for most - if not, all - costume changes). In Venus' case, the new complete suit (no longer with blank shoulder gaps as in her old costume) is also a sign of her person and life being "more" complete.
Sneaking into Venus' bed and putting "squirmy, slimy insects" all over her, and threatening to beat her if she told anyone is a euphemism for sexual molestation - whether an intentional downplay by Venus, or as a thematic toning down by Milligan himself.
CULTURAL REFERENCES: The cover sports an image of guy with a bright yellow round shape around his head. This imagery is akin to the halos used in Renaissance paintings to depict Jesus, Mary, saints, Greek gods, and other holy figures as righteous, virtuous, and divine. In this case, it also signifies Guy's enlightened state after everything he's been through recently.
Myles' line, The King is dead, long live the Anarchist!," refers to the British Commonwealth's tradition of yelling out, "The King/Queen is dead, long live the King/Queen!," whenever a monarch dies as a welcoming nod to the next in line to the monarchy.
Venus' line, "The desert. Always a good place to face a devil," followed by "Bad Guy's" line, "Half-baked Christian and Freudian mumbo-jumbo," refers to two things. Firstly, several Christian stories of saints confronting the Devil with the backdrop of a desert. Secondly, one of Sigmund Freud's more well-known case studies in dream interpretation, wherein his patient meets her cousin in a desert, with this cousin being detrimental to her survival.
Dead Girl's line, "There are more things in Heaven and Earth, Bad Guy, than are dreamt of in your philosophy," is a reference to a scene in Shakespeare's Hamlet which includes the line, "There are more things in Heaven and Earth, Horatio, than are dreamt of in your philosophy," wherein Hamlet explains the existence of the undead and their power to his best friend, Horatio. In this case, the undead is of course Dead Girl, who is exclaiming her existence and power to "Bad Guy."
ART:
http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xshalf.jpg
STORY:
http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xshalf.jpg http://x-mencomics.com/xfan/images/reviews/xsnone.jpg
OVERALL:
http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsfull.jpg http://x-mencomics.com/xfan/images/reviews/xsnone.jpg
Buy this issue online now from X-World Comics and save! (http://x-worldcomics.com/yourvirtualstore/shopdisplayproducts.asp?id=51&cat=X%2DSTATIX+%28X%2DFORCE%29)