Not Jake said:
Dear Dread,
You are totally wrong about this issue of Astonishing X-Men. It was fantastic. Iffeminate child Logan hasn't worn thin, it was great. Kitty's "huh" shot was perfection in a panel. I read it 20 minutes ago and now I have just grabbed it to re-read it after your post. Just so you know, it appears to me a brilliant beacon of quality against the vast sea of your whiny text. I think your choice to forego paragraphs in favor of screen-length blocks of text really accentuates the massive downer that accompanies reading your reviews.
Ever your lovehole,
Jake
My opinion on ASTONISHING X-MEN #16 is just that, my opinion. Everyone will feel differently about it, such as the "emasculated Logan" bit. I was initially amused by it last issue because, well, as the "archetype for maniless" that the furry midget has become, you rarely see him this swishy (even when telepaths muck with his head), but by the time it started again this issue it got old. I didn't say the issue was BAD, not at all. It just obviously is a set-up issue, and with a bi-monthly schedule, set-up issues read worse then they are when you first get them. It'll read better all together, but all stories do, so that doesn't count.
The theory of "all of it being Frost going bonkers" is an interesting one that I hadn't thought of, but if so, then this simply was another arc of an X-book of, "The X-Men never leave their Mansion, crap happens" which is so overplayed that I'd almost want a reappearence of Magneto, teamed up with Norman Osborn, in comparison. Yes, THAT overplayed. Stories that end in "just a dream" basically are overdone and usually worthless, meant as excuses for why hardcore stuff can be negated (just look at DALLAS for that classic example). Whedon has already tried writing an overdone story with DANGER and while I can live, somewhat, with him endlessly homaging the 80's, I don't want this to be another "dream/psychic illusion" story unless he just so happened to be able to do what countless other writers who've done this sort of story fail to do or something. Almost every plotline in life has been done, the trick is finding that one hook or twist somewhere to make your own. As overrated as DANGER was, I'm not holding my breath.
I agree with someone that his "original" villians Danger and Ord aren't the best, but I won't fault him too much as original villians are not easy. Was JMS's Morlun anything to write home about? How about The Collective? They're not easy for any writer and Whedon's not the first to run into some issues. At least Ord is a fun tanker for Colossus to box, and Danger is not only potent, but an interesting design for Cassaday to draw.
Just with agrueably the best roster in an X-book, one'd hope that more would happen. The next ASTONISHING arc looks to be explosive, but all that says to me is, "why am I bothering wading through THIS one to get to it?" Writers do that all the time and I hate it. "I'll build up something awesome, but first I'll string you along with something mediocre in comparison!" Gah! Especially when even fans of some of Whedon's TV shows have criticized him of wasting heaps of episodes to "build to the good stuff". And all this is magnified when you have a 2 month gap. This is something that, say, JUSTICE at this point has done a better time with.
That said, I again state that I like the fact that ASTONISHING is better able to keep secrets and have some bonafide twists here and there than a lot of other books. And naturally even with a confusing, set-up or overdone story, Whedon and Cassaday can make it look and read better. And it's the only 616 X-book that I'm reading at all, so that has to count for something.
To each their own, of course.
More notes:
- I agree with
Brainiac 8 that
ANNIHILATION #1 was good and deserves more attention. The entire event has had more wholesome hero stuff then CW at times to me, and instead of come classic characters being mutilated or going about personality-altering changes (Reed, Stark, both acting more like the very villians they've been fighting, and for Stark that's saying something), in ANNIHILATION you have classic characters being revisioned to greatness like Drax or stepping up like Nova. Considering I'm hardly a space buff and I'm liking it, I'd recommend it. Shame it's not getting as much promotion.
- As for Morrison's BATMAN, I'm not saying it's "dross" or something, just that in comparison to Dini's DETECTIVE and now Wagner's MAD MONK, and considering this is DC's equalivent to a NEW AVENGERS-esque creative team and title, it's underwhelming. I understand Morrison's points about how in the last decade Batman's at times been almost borderline psychotic, but the fact remains that that "brooding grimness" that came on in the 70's-80's made him a lot more interesting. It would be like if a new writer on DAREDEVIL wanted to return him to the "wisecracking, acrobatic poor man's Spider-Man" that he was circa the 60's and 70's may times. DD found his niche as a gritty hero in gritty urban noir stories, and would be less interesting to many if you had him wisecracking while fighting Asborbing Man again. I feel the same with Batman. That darkness is part of his appeal. There can be a happy medium, of course, which can be best shown in the JUSTICE LEAGUE/JLU cartoons, but I'm not seeing that in Morrison. His Wayne is snarky and has sitcom-like bickering with Alfred, and his Batman is in "standard superhero mode" that a half dozen "karate and gadget" heroes could do. That said, I liked this issue better than the first, namely because of the action and the neat trick with the art gallery. I still think "Ninja Man-Bats" are something right out of a Saturday Morning Cartoon. But, what do I know? I don't heap praise on any book with a ninja or a gorilla like WIZARD does.
- I can harp on DC too when warrented, I simply read less of it and am less immersed in the universe. I will say that despite the fact that IDENTITY CRISIS was good as a whole, they made the trend of "attaching dispicable backstories onto old-style 'goofy' characters to apologize for Silver Age hamminess" popular. From making rape "in" again to turning Maxwell Lord from an excentric businessman to Satanic supervillian, DC made this sort of thing game. Naturally, Marvel is going to follow suit, and now we have Mr. Fantastic looking more like a stretchy Nazi yes-man and Damage Control, the "sitcom" of the MU about to be turned into another piece of your "evil corporations/governments/conspiracies-are-trendy" sort of stories.
- I did actually like USM #99, I claimed it was a "B" book in my review, and if "B" is bad, then I want to see all of your grade school report cards.

I just feel it could be better and because I was actually initially jazzed about CLONE SAGA, I was very irked when Joe Q and Marvel just went about with spoilers on it last issue. With other books and writers I can understand, Marvel doesn't give a fig about you unless you can pull a 6 figure readership, but Bendis is their #1 guy! Out of all writers whose work should be given more leeway, you'd think it'd be him. You'd think his work'd be safe, as it is from his teet that Marvel's been suckling for years. But no, it's not. He's game to have his mysteries undermined before they see print just the same as Brubaker or anyone else. That irks me.
Plus, CLONE SAGA is hitting a point of no return and it getting very complicated, which depending on the next chapters will either justify it or we'll just have Nick Fury and the Ultimates come in to save the day and explain everything, which'd really, REALLY suck (because "having an outside source show up, solve the problem with zero effort and explain everything to the hero(s)" is an ending that Bendis has done WAY too often that needs to bloody stop). Still, no USM storyline has gotten me to anticipate issues as readily in ages (even when I was buying it in trade), so that says something. USM was a book I liked more than the 616 Spider-Man books because it kept his forumla. No, I don't mean high school; I never had an issue with Peter in college or grad school or even just out working. By formula I mean the fact that Peter actually has a seperate social life from being Spider-Man, and his heroic life causes hassles with his personal one. That's been his draw for generations, because it works. But once you merge both lives into one, like CW has done to 616, then he becomes less interesting and more generic. I would hope for Bendis to steer "his baby" into so deep a corner. I hope it'll pay off.
Still, at this point I'd probably say that USM is better than Kirkman's Ultimate X-Men so far. With Millar gone from UFF, we'll see how Carey stacks up. Carey's stories for UFF in his 2 issue fill-in, the annual, and the UX4 series are good & fun, just not as snazzy as Millar's were.