I've been quite taken with this limited series, impressed that the title character isn't so much a player in the drama and with the focus on desperate parents who have lost their children. I felt that this stood out as one of the most grounded Silver Surfer stories I'd ever read, but that feeling faded a bit with this issue. Here, the focus shifts away from the sadness and determination of the parents and onto the more cosmic, evolutionary elements in the plot. The storytelling is still pretty good, but this issue lacks that human hook that kept me coming back for more. Furthermore, I'm struck by the fact tha the series is now on its third artist in just five issues.
Denise Waters returns home to New Orleans, cast aside by the wealthy Stewart Acheron as being of no use to him in his quest to find his missing son. Denise has given up on her wish to be reunited with her daughter once again and takes steps to see her in her dreams one last time. It seems young Ellie Waters is having similar thoughts, and she's entered into a dream-state that threatens to undo all of the work the children's alien benefactors have done. Meanwhile, Acheron has made certain acquisitions to allow him to pursue his goal.
First, we had Milx's art, then Lan Medina came on with the second issue to complete the work the Malaysian artist left undone. Now, we're joined by penciller David Yardin. Editor Tom Brevoort is to be applauded for hiring artists to maintain a consistent tone in the artwork for the series as a whole, but the shift in the visual style here -- even one as slight as this -- is a little jarring. Yardin's work here puts me in mind of Frank Quitely's style, especially in the latter part of the book set in the alien academy.
The element in this issue that most entertained me was the notion that the current Republican administration would sell off NASA to a wealthy friend. It's wasy to relate to Acheron's pain, but his obsession and drive here are somewhat disturbing. The writers use that as a way to criticize the trend toward the privatization of government services and to lampoon the less-than-subtle patronage that goes on every day.
Denise Waters is still a well-crafted character, but the writers' attempts to connect her to the caring cop who looks out for her comes a little late in the story. I did enjoy, however, their portrayal of the fine line the character walks between the determination of a mother's love and the suicidal despair. There's something unsettling about Denise's acceptance of losing Ellie and her fervent belief the child is still alive.
