At the current time of great renovation for the X-Men franchise under the ‘Dawn of X’ relaunch, we look back at one of the great modern runs of the publishing line, that of “Astonishing X-Men” by Joss Whedon and John Cassaday.
Written by Joss WhedonCover by John Cassaday
Illustrated by John Cassaday
Colored by Laura Martin
Lettered by VC’s Clayton CowlesCyclops and Emma Frost re-form the X-Men with the express purpose of “astonishing” the world. But when breaking news regarding the mutant gene unexpectedly hits the airwaves, will it derail their new plans before they even get started?
When it was published, “Astonishing X-Men” had the daunting task to follow what Grant Morrisson and the creative team behind “New X-Men” had created on the years before. And instead of following on those same footsteps and steer further into deep sci-fi and generally new concepts, the creative team of Joss Whedon and John Cassaday went to the past, to some great moments of X-Men lore, infuse it with a modern sensibility, to create a run that is filled with nostalgia, but not bogged down by heavy continuity. The fact that it still managed to add quite a few surprises along the way was a major added bonus. Spoilers ahead for those unfamiliar with the run and its surprises.
Visually, Cassady does some of his best work, which is saying a lot. Perhaps the best element on this first arc is how Cassady quickly established a visual identity to each character, not only in the returning costumes (after the era of the black-leathered clad mutants), but even more by the different body and facial nature of each team member. Cyclops is slender and not overly muscular, Wolverine is once again picture as the short, staunch brawler, Emma and Kitty are as different as night and day of body poses and demeanor. It is really obvious how much attention and planning Cassaday invested to get to that point, which makes for a very consistent reading throughout.
Another aspect where Cassaday shines is on his narrative pacing. The artist shifts heavier panels, filled with panels and dialogue, with more open, creative pages, where the action explode, where simply where a broader canvas is shown for the school grounds or other vistas. That keeps the story constantly fresh, changing its beat from moment to moment. It also goes without saying how fluid and dynamic his action pages are, especially a two-page spread on the final issue of this arc, where the famous fastball special by Colossus and Wolverine explodes, jumping off the page.
Colors by Laura Martin are equally impressive. She further contributes to the identity and consistency that Cassaday excels, from power signature, costumes, and backgrounds. Even more than that, the shifts from day to night moments add to the fluidity the story is calling for.
Whedon shows his own colors tremendously, right from the opening pages of the run and arc. He writer is clearly a fan, pulling heavily from the Chris Claremont years, but connecting them to a modern setting, and recognising the evolution these characters have had since them. Probably the most noticeable application of that logic is the relationships between Kitty Pryde and Emma Frost, years before what readers are experiencing today on the “Marauders” book. These two become unwilling allies, which is particularly hard for Kitty, who has the worse memories of Emma Frost imprinted into her mind. The now-famous “I can smell” you line speaks wonders on how well Whedon nails both characters.
Plot-wise, Whedon follows a relatively well-kwown concept, that of how the mutant and human clash evolves into different types of conflict, this time around with a mutant cure in play. Connecting with the prejudice notion of other “cures,” Whedon utilizes what Marvel’s mutants have become so known for, i.e., a perfect analogy for the bigotry and intolerance humans can be capable of. Despite of playing a safe road on this regards, Whedon does it well, combining it with just enough new cards on the deck to make it exciting.
On that note, there are two other elements that the writer introduces in “Astonishing X-Men,” one that works really well, the other which leaves room for improvement. Talking about the bad first: Ord, as a formidable foe, pales in comparison to other noticeable additions to the X-Men lore. Yes, that enemy gets better as the overall run develops, but here he is often played for laughs, which was an odd and misguided idea for introducing the villain.
Continued belowOn the other hand, and recalling this was in an age pre the massive Internet explosion and comic’s media coverage, the reintroduction of Colossus was brilliant. Readers at the time were steered wrong in thinking that Phoenix would be making a comeback, down to fake promotional material. So when the reveal happens that Piotr is returning, and the way the script and art execute on that premisse, that might be the highlight of the entire run.
All in all, “Astonishing X-Men” is a great example of how to utilize nostalgia in the right way, mixing the old with the new, and using a modern tone to explore older concepts. The fact that it is wrapped in gorgeous art throughout and simply, pun intended, astonishing.
“Astonishing X-Men” has in ‘Gifted’ one of the best modern tales of the X-Men lore. It is a must have for fans of Marvel mutants and, being honest, readers of good comics. Period.
