I didn't get picked on much when I was a kid, but those rare occasions when I was bullied were terrible. I wished I could make those bigger kids scared of me somehow. I think we've all felt that way about somebody in our lives at one point or another, and Austen taps into that universal experience to tell an effective story that focuses on the racism analogy that's at the heart of the X-Men concept. This stands out as Austen's strongest effort on the title to date, and one of his best efforts in the industry in general in months. Larroca's artwork marks a welcome visual shift for this title as well, and Austen's more reflective scripts plays to the artist's strengths.
Sam Guthrie, as Cannonball, was a founding member of the New Mutants, and he has since grown up to be a hero in his own right, joining the ranks of Storm's X-Treme X-Men. Paige Guthrie followed a similar path, joining the young Generation X as Husk before being accepted as an X-Man herself. It seems there's plenty of mutant potential in the Guthrie line, as their younger brother Jeb has manifested powers of his own, and he's using them in a radically different manner. Meanwhile, Josh, another member of the Guthrie clan, is putting gifts of his own to a more soothing use.
Larroca's work on early issues of X-Treme X-Men was rough; the digital inking technique did not agree with his loose pencils. Danny Miki's brings a depth and polish to the penciller's work here that really makes it stand out. Larroca's work later in this issue reminds me of the hazy and alluring style of Joshua (NYX) Middleton. Udon's colors add texture and depth as well, and they really bring out the intensity and energy of Jeb's powers. Unfortunately, unless I'm missing some important background information, they get Angel's and Husk's hair color wrong, which will no doubt throw off diehard X-fans.
The first half of this book is all about violence and energy and anger. A dialogue-driven scene erupts in an inevitable climax that really brings a sense of urgency and menace to the story. But what really caught my interest was the dream-like quality of the concluding scene that introduces another mutant. I'm reminded me of Brian Michael Bendis's recent introduction of the Angel into the world of the Ultimate version of the X-Men. There's a palpable sense of magic and beauty at play, and it's easy to see why the characters are so entranced by it all. It also makes for a nice balance with the uglier events earlier on in the issue.
Is "She Lies With Angels" going to shock readers and stand out as a milestone in X-Men history? Well, based on this first chapter, it doesn't seem so. The script achieves what it sets out to do, but ultimately, the story and themes are somewhat familiar, part and parcel of the X property. Austen serves that property well, but he doesn't do much here to expand or add to it. If you want something better from Austen, you'd be better off checking out this week's new issue of Uncanny X-Men.
