Joss Whedon

Writer: Joss Whedon - Artist: John Cassaday - Publisher: Marvel Comics

The Plot: The mystery at the Mansion deepens as all the telepaths are somehow incapacitated. The X-Men are completely cut off from the outside world when the remains of an old adversary lumbers outside the Mansion’s perimeter. As the X-Men leap into battle, S.W.O.R.D. realizes they’ve lost contact with their agent(s) inside the Mansion. Cyclops and the gang prevail, only to realize the threat isn’t from outside the Mansion, but inside - and one area of the Mansion in particular.

Comments: This issue might be the weakest of Whedon’s eight so far, but that’s like saying the 2001 New England Patriots were the weakest of the three championship seasons. The first couple of pages are laid out in a confusing manner with three different locations and multiple dialogue streams and word bubbles spread across only 15 panels. But the direction of the mystery shortly shakes itself out focusing on the X-Men and their efforts. A page thrown in with the green-haired Agent Brand and S.W.O.R.D. connects this story arc with the previous one. Add the art of Cassaday - the best penciler in the business - and fans have no excuse not to return for more.

Just what is going after the X-Men is a complete and utter mystery, as is the identity of the mole in the Mansion - which is perfect. Though Emma was seen talking to a mysterious character off panel at the end of issue #6, there’s no indication she’s the mole, as all contact with the Mansion is blocked. Each and every issue of this series ends with a final page mystery, taking advantage of the serial nature of single-issue comic books, not trade paperbacks. Marvel would do well to teach its other writers this technique (*cough* Bendis *cough*).

The classic-style Sentinel is a nice touch. Someone once commented that he missed the stories when the Sentinels were threatening, not giant cartoon robots that look cool when they blow up. Well, this issue is that story. It’s equally creepy and threatening to see a half-intact Sentinel missing its lower extremities dragging itself across southern New York on a mission to destroy our heroes. The X-Men’s struggle to defeat even half a Sentinel demonstrates their deadly efficiency. The manner in which Cyclops dispatches the Sentinel demonstrates the best of the comic book medium when used to maximum effectiveness.

By now, readers know that Whedon “gets” the X-Men, but his work still remains impressive nonetheless. He’s keen enough to recognize that given the mutant media juggernaut over the past 15 years, non-X-Men and non-comic book readers inherently recognize the main characters and their powers. He doesn’t need to include Claremont-esque captions in every issue like “His name is Cyclops. His mutant power to destroy keeps him from truly seeing the world blah blah blah.” Whedon also manages to avoid the more opaque and baffling moments that infected the otherwise brilliant run of Grant Morrison. A writer from T.V., the medium that needs to appeal to as many viewers as possible, has crafted a title that appeals to as many readers as possible. What a surprise.

The art, as always, is superb. Cassady’s best art and best sequence is reserved for the most important sequence - the battle with the Sentinel. Particularly wall-poster worthy is the moment when Lockheed guides the X-Men outside the Mansion towards the danger. As Cyclops asks for lights, the reader turns the page. Lockheed’s flame breath lights up the red-eyed Sentinel reaching for the X-Men. Battle ensues. Classic.

The Final Word: A menacing villain, excellent superhero action and an ever-deepening mystery. If Grant Morrison’s X-Men run was number one this decade because of intellectual depth, Whedon’s is number one this decade because of kinetic action.