Daily Archives: February 18, 2007

Quick Critiques – Feb. 18, 2007

Astonishing X-Men #20 (Marvel Comics)
by Joss Whedon & John Cassaday

I’ve been enjoying this series, despite its sporadic publishing schedule, pretty much since the start (well, since #2). and there’s a lot to like about it. Cassaday’s art is always breathtaking, and even though his detailed style tends to lean toward a more dramatic, stoic atmosphere, he still manages to capture the whimsical elements writer Joss Whedon tosses in. Whedon’s dialogue really makes these characters come alive, and he’s brought some intense action and innovative plotting to the mix. And despite those strengths, I just didn’t enjoy this issue. After reading it, I sat back and wondered how the plot shifted so suddenly and dramatically from a super-villain assault on the X-Mansion to a space opera. Whedon seems to refuse to allow any particular plotline to resolve before throwing the characters waist deep into their next catastrophe. It’s dizzying. The frenetic pace of the multiple plots almost seems desperate in tone. On top of that, this notion of the X-Men’s strongman as a prophesized destroyer of worlds strikes me as an awfully hard pill to swallow. Furthermore, Agent Brand fails to come across any kind of character, but rather the voice box for every all-too-convenient plot device that allows the impossible action to leap forward from scene to scene. Whedon strings together small, clever ideas about the application of the X-Men’s powers here, but the plot serving to link to those scenes just doesn’t work. 6/10

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Comics Prose from a Comics Pro

Batman #663
“The Clown at Midnight”
Writer: Grant Morrison
Artist: John Van Fleet
Letters: Todd Klein
Cover artist: Andy Kubert
Editor: Peter Tomasi
Publisher: DC Comics
Price: $2.99 US/$3.65 CAN

This issue of the Dark Knight’s adventures is not a comic book. I know… it looks like a comic and feels like a comic, but it ain’t a comic. Writer Grant Morrison offers up a prose short story, accompanied by illustrations by John Van Fleet, which appear to be digital paintings. It makes for a much denser read, and it forces Morrison to flex a different set of writing muscles. The manager at my local comic shop told me he wished DC had released this as a separate, special one-shot. After reading the story, it’s clear why it wasn’t, though. Morrison specifically follows up a plot point from his first issue on this series from a few months ago — the near-fatal shooting of the Joker. The script here manages to make the Joker’s latest resurrection a real event, and the writer reconciles the various, divergent versions of the antagonist we’ve see over the course of six decades. Unfortunately, the novel take on the character is marred by stiff, confusing artwork and unnecessarily verbose descriptions of peripheral details.

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