Writer – Joss Whedon
Artist – John Cassaday
The return of Astonishing X-Men has been long-awaited in certain corners of fandom. The last issue was released in September 2005, but the gap in-between is a deliberate Runaways or She-Hulk style break, rather than a Daredevil/Bullsye: The Target delay. Effectively, this is Astonishing X-Men season 2. Is it any good? Well, yes. And no. And then yes again.
We start with the art. It’s John Cassaday. For a lot of people, this is all that needs to be said. For his work on the previous issues of this title, and on Planetary, he is one of the most highly-regarded artists in comics – and once again, he demonstrates exactly why. He excels at both the small moments and the bigger ones. There are a couple of sequences of Kitty and Peter, which are quite frankly beautiful, but he also manages moments of jaw-dropping, eye-popping splendour – keep an eye out for the S.H.I.E.L.D. helicarrier, for instance, and another shot a page or two later. Special praise should also go to colorist Laura Martin, who manages to add an extra layer of wonder.
A lot has happened in the Marvel Universe in the gap period since the last issue, and Whedon acknowledges that with references to the reduction in the number of mutants and to the disappearance of S.H.I.E.L.D. boss Nick Fury. For the most part though the issue concentrates on Emma Frost – which is where the potential downside comes in.
Throughout the first run, Whedon teased that Emma had a secret. It appeared that she was plotting behind her team-mates’ backs, with person or persons unknown. At the end of issue twelve, he revealed that it had been a new line-up of long-time X-villains, the Hellfire Club. The surprise appeared to be that the reformed enemy wasn’t quite so reformed after all. Not exactly the biggest shock reveal of all time, and one potentially marred by a couple of continuity points (Or geeky pettiness, depending on your viewpoint). Firstly, a new Hellfire Club had only appeared a few months previously in one of the other X-titles. Secondly, Emma’s conversion from out-and-out villain to x-person did not begin in Grant Morrison’s New X-Men title, but in the mid-nineties x-book Generation X. However, this does depend on a belief that there is nothing deeper going on here than “She’s always been a baddie” – and hopefully, there’s a lot more to it. Going on this issue alone, it would appear not. There are revelations going back to the start of Morrison’s run which, while appearing to add an explanation for a couple of small moments, seem to be adding to the “baddie” plot. On the other hand, anyone familiar with Whedon’s previous work will be aware of his talent for misdirection.
Whedon’s writing excels, but coming from the creator of some of the best-written television of all time, that’s not a surprise. Plus, let’s face it - the beauty of those aforementioned quiet moments and moments of eye-popping splendour comes from the words as well as the pictures. If you don’t gasp and/or swear when the lights go out in the Danger Room, or at the final page, then you’re incredibly jaded - or just very hard to please.
A wonderful return for a justifiably praised title, with great art and writing, and only one annoying little fanboy whine - possibly. Recommended.
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Russell Hillman was born in London but now lives in Coventry. His hobbies include precious little. He doesn’t get out much, but thinks reading a lot of comics makes up for it. He’s wrong.