Stephanie Kay
Oct 13, 2007, 10:19 pm
<a href="http://www.comixfan.com/xfan/4images/details.php?image_id=10085" target="_blank"><img src="http://www.comixfan.com/xfan/images/covers/marvel/axmv3-17t.jpg" hspace=10 align=left alt="Astonishing X-Men #17"></a><B>Reviewer:</B> Kevin Jones, <a href="mailto:kcjones242@yahoo.com">kcjones242@yahoo.com</a>
<B>Story Title:</B> "Torn", Part 5 (of 6)
<I>"@#$%ing Shi'ar, wish someone would prophesy the end of <B>those</B> clowns."</I>
<B>Writer:</B> Joss Whedon
<B>Artist:</B> John Cassaday
<B>Letterer:</B> Chris Eliopoulos
<B>Colorist:</B> Laura Martin
<B>Assistant Editor:</B> Sean Ryan
<B>Associate Editor:</B> Nick Lowe
<B>Editor:</B> Mike Marts
<B>Editor In Chief:</B> Joe Quesada
<B>Published by:</B> <a href="http://www.marvel.com/">Marvel Comics</A>
The twists keep coming. In <B><I>Astonishing X-Men #16</I></B>, we found out who the destroyer of Breakworld is, as well as the identity of Perfection. But Whedon's far from done. There are even more developments in #17, which I'll try not to spoil. But these aren't contrived plot twists like the surprise at the end of an M. Night Shyamalan movie. Joss Whedon has a knack for revealing pieces of a puzzle and making you wonder why you didn't figure it out in the first place. His surprises aren't gimmicks, they're simply a sign of good writing.
This issue basically revolves around the Hellfire Club's attempt to coerce Kitty Pryde into opening the mysterious box in the mansion's basement. This could have been straight-forward and taken place in a few pages, but their method is a story by itself. Giving Kitty the illusion of motherhood is brilliant. Who could be more tenacious than a mother fighting for her child? The imaginary scenario even tugs on our heartstrings a bit. Even though we all know it's an illusion, it rings true. Teaching Kitty how to get past the box's safeguards inside the illusion is a nice touch, and it seems consistent with Deadly Genesis.
One reason why <B><I>Astonishing X-Men</I></B> works so well is because the styles of the people working on it gel together. Whedon gives us a deep story with tons of meaning and emotion by using sparse dialogue and well-placed actions. John Cassaday does the same thing with his linework. You feel as if it's very detailed, but pay attention to how many wide open spaces there are. He doesn't try to fill every square inch with details, but he gives detail where it's needed. This is what comic book art is supposed to do, and there are a lot of artists in the industry who could learn to do this better.
Another of Cassaday's major strengths is his facial expressions. When Kitty has just given make-believe birth, her face shows fatigue and joy at the same time. Childbirth is rough, but a lot of artists might have made her look like a model with perfect hair. For instance, though Bryan Hitch can be dramatic and exciting, his crying Iron Man from <B><I>Ultimates #5</I></B> was completely unbelievable. Cassaday, on the other hand, has characters surprised, scared, bored, and biting their lower lip. When it's time for action, he delivers; but it's the human moments that make people identify with characters.
There's only one bone I have to pick with Cassaday: the cover art is funny, but also seems pretty lazy.
<a href="http://www.comixfan.com/xfan/4images/details.php?image_id=10036" target="_blank"><img src="http://www.comixfan.com/xfan/images/covers/marvel/axmv3-17skt.jpg" hspace=10 align=right alt="Astonishing X-Men #17 (sketch variant)"></a>It's also worth noticing that the ink art and coloring complement each other. Laura Martin's colors appear muted compared to what you might see in a Jim Lee comic, and for good reason. With such line-sensitive drawings, heavy colors can overpower the lines and turn everthing muddy. But this doesn't mean the colors are weak. Martin's oranges and blues in Kitty's motherhood scenes set the mood precisely in the way the line art needs.
Coming back to the story, Whedon has given us a lot of drama and humor in this issue. I laughed out loud at the item which shocks Wolverine back to his normal self. I didn't expect to find out the identity of S.W.O.R.D.'s mole here, but it fits, and I think those who guessed correctly will be happy. I also like how Ord says he's going to "save the world." Of course he doesn't say "<I>my</I> world". When the X-Men save Earth, they don't call it "our world" either. It makes him more sympathetic to see that he thinks of himself as the hero. You can bet that if Xavier had a vision of a Skrull destroying Earth, the X-Men wouldn't waste any time kicking some green butt. And finally, I'm astounded that Whedon has gotten me so caught up in the story that I didn't figure out what's in the darn box. I'm curious how this relates to some things Grant Morrison established, but I'm sure there's a good explanation.
What's great is that there's still so much we don't know. We have an explanation of what the Hellfire Club wants, but do you believe it word for word? It can't be that simple. I'm still not sure if Cassandra Nova is projecting herself into Emma's mind remotely, or if this is some leftover programming from Genosha. Who among the Hellfire Club is even real at all, and why are there two White Queens? And who is Hisako taking orders from? One might guess Emma (the good one), but it might be someone we think is entirely outside the story. I'm reminded of the final episode of Firefly, where Whedon had River on another ship remotely helping everyone else.
With everyone running around the mansion in various conditions of confusion, there's no telling how things will be resolved. This is by no means a predictable plot grinding forward to an obvious conclusion. It would be nice if we didn't already know that Emma's still on the team in #19, but there's still plenty there to keep us coming. The final page of the issue is a nice cliffhanger, and gives hope for our heroes without looking forced. After reading this issue, we'll all be chomping at the bit for the final part. Thank God we don't have to wait two months. Thank you, Marvel, for switching this book to monthly!
<B>OVERALL:</B>
http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg
Buy Astonishing X-Men online now from X-WORLD and save! (http://x-worldcomics.com/yourvirtualstore/shopexd.asp?id=20653)
<B>Story Title:</B> "Torn", Part 5 (of 6)
<I>"@#$%ing Shi'ar, wish someone would prophesy the end of <B>those</B> clowns."</I>
<B>Writer:</B> Joss Whedon
<B>Artist:</B> John Cassaday
<B>Letterer:</B> Chris Eliopoulos
<B>Colorist:</B> Laura Martin
<B>Assistant Editor:</B> Sean Ryan
<B>Associate Editor:</B> Nick Lowe
<B>Editor:</B> Mike Marts
<B>Editor In Chief:</B> Joe Quesada
<B>Published by:</B> <a href="http://www.marvel.com/">Marvel Comics</A>
The twists keep coming. In <B><I>Astonishing X-Men #16</I></B>, we found out who the destroyer of Breakworld is, as well as the identity of Perfection. But Whedon's far from done. There are even more developments in #17, which I'll try not to spoil. But these aren't contrived plot twists like the surprise at the end of an M. Night Shyamalan movie. Joss Whedon has a knack for revealing pieces of a puzzle and making you wonder why you didn't figure it out in the first place. His surprises aren't gimmicks, they're simply a sign of good writing.
This issue basically revolves around the Hellfire Club's attempt to coerce Kitty Pryde into opening the mysterious box in the mansion's basement. This could have been straight-forward and taken place in a few pages, but their method is a story by itself. Giving Kitty the illusion of motherhood is brilliant. Who could be more tenacious than a mother fighting for her child? The imaginary scenario even tugs on our heartstrings a bit. Even though we all know it's an illusion, it rings true. Teaching Kitty how to get past the box's safeguards inside the illusion is a nice touch, and it seems consistent with Deadly Genesis.
One reason why <B><I>Astonishing X-Men</I></B> works so well is because the styles of the people working on it gel together. Whedon gives us a deep story with tons of meaning and emotion by using sparse dialogue and well-placed actions. John Cassaday does the same thing with his linework. You feel as if it's very detailed, but pay attention to how many wide open spaces there are. He doesn't try to fill every square inch with details, but he gives detail where it's needed. This is what comic book art is supposed to do, and there are a lot of artists in the industry who could learn to do this better.
Another of Cassaday's major strengths is his facial expressions. When Kitty has just given make-believe birth, her face shows fatigue and joy at the same time. Childbirth is rough, but a lot of artists might have made her look like a model with perfect hair. For instance, though Bryan Hitch can be dramatic and exciting, his crying Iron Man from <B><I>Ultimates #5</I></B> was completely unbelievable. Cassaday, on the other hand, has characters surprised, scared, bored, and biting their lower lip. When it's time for action, he delivers; but it's the human moments that make people identify with characters.
There's only one bone I have to pick with Cassaday: the cover art is funny, but also seems pretty lazy.
<a href="http://www.comixfan.com/xfan/4images/details.php?image_id=10036" target="_blank"><img src="http://www.comixfan.com/xfan/images/covers/marvel/axmv3-17skt.jpg" hspace=10 align=right alt="Astonishing X-Men #17 (sketch variant)"></a>It's also worth noticing that the ink art and coloring complement each other. Laura Martin's colors appear muted compared to what you might see in a Jim Lee comic, and for good reason. With such line-sensitive drawings, heavy colors can overpower the lines and turn everthing muddy. But this doesn't mean the colors are weak. Martin's oranges and blues in Kitty's motherhood scenes set the mood precisely in the way the line art needs.
Coming back to the story, Whedon has given us a lot of drama and humor in this issue. I laughed out loud at the item which shocks Wolverine back to his normal self. I didn't expect to find out the identity of S.W.O.R.D.'s mole here, but it fits, and I think those who guessed correctly will be happy. I also like how Ord says he's going to "save the world." Of course he doesn't say "<I>my</I> world". When the X-Men save Earth, they don't call it "our world" either. It makes him more sympathetic to see that he thinks of himself as the hero. You can bet that if Xavier had a vision of a Skrull destroying Earth, the X-Men wouldn't waste any time kicking some green butt. And finally, I'm astounded that Whedon has gotten me so caught up in the story that I didn't figure out what's in the darn box. I'm curious how this relates to some things Grant Morrison established, but I'm sure there's a good explanation.
What's great is that there's still so much we don't know. We have an explanation of what the Hellfire Club wants, but do you believe it word for word? It can't be that simple. I'm still not sure if Cassandra Nova is projecting herself into Emma's mind remotely, or if this is some leftover programming from Genosha. Who among the Hellfire Club is even real at all, and why are there two White Queens? And who is Hisako taking orders from? One might guess Emma (the good one), but it might be someone we think is entirely outside the story. I'm reminded of the final episode of Firefly, where Whedon had River on another ship remotely helping everyone else.
With everyone running around the mansion in various conditions of confusion, there's no telling how things will be resolved. This is by no means a predictable plot grinding forward to an obvious conclusion. It would be nice if we didn't already know that Emma's still on the team in #19, but there's still plenty there to keep us coming. The final page of the issue is a nice cliffhanger, and gives hope for our heroes without looking forced. After reading this issue, we'll all be chomping at the bit for the final part. Thank God we don't have to wait two months. Thank you, Marvel, for switching this book to monthly!
<B>OVERALL:</B>
http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg http://www.comixfan.com/xfan/images/reviews/xfull.jpg
Buy Astonishing X-Men online now from X-WORLD and save! (http://x-worldcomics.com/yourvirtualstore/shopexd.asp?id=20653)