As other critics have noted, Marvel's story arcs are often characterized by their decompressed approach to storytelling. Why tell a story in four issues when you can stretch it out to six? Well, there are reasons for and against the approach. Aguirre-Sacasa takes the opposite tack here, though, as he really the gets the story going quickly, establishing who the bad guy is surprisingly early on. Still, he maintains a thoroughly mysterious tone throughout the issue. The overall feel of the issue is not unlike that one finds in Exorcist III, an underrated movie that combines supernatural horror with a detective mystery. Furthermore, Darick Robertson's art is a bit surprising as well, boasting a softer quality than what we've seen in his other recent efforts.
In a children's psychiatric ward in a New York hospital, a guard steps away from a locked door for a few minutes. Behind that door are 14 children, playing happily. At least, there were 14 children. Upon his return, the guard discovers only one child... and the bloody remains of the other 13. The X-Men become interesting and involved in the investigation because of the possibility of teleportation and mutants, so Nightcrawler is sent to check it out... in part due to his expertise in teleportation, but also because his peaceful demeanor might open doors for him.
Compare Robertson's art on this book and last week's Wolverine #19. There's a harsher quality to the linework in the latter that suits the title character. Here, the penciller's work takes on a softer touch and more realistic quality. I would imagine the shift in inkers helped with the change in tone as well. Robertson's style shines through, but one has to be impressed with how subtle differences can make for a completely different look at the same time. I like that the artist seems to have "cast" John C. Reilly in the role of the hospital guard.
Aguirre-Sacasa opens with a deliciously impossible scenario that's quite possible in the confines of the Marvel Universe. Nevertheless, by having the characters acknowledge those other possibilities, the writer maintains an entertaining level of mystery throughout the book. The detached tone of the narration in the opening two pages helps to draw the reader in until the horrific reveal hits on the third page.
By the end of the issue, it's entirely clear who's responsible for what happened to the children, and the antagonist's personality already had the reader champing at the bit for his comeuppance. The guard's emotional turmoil is incredibly compelling and -- given how convincing the combination of dialogue and art is -- quite unenviable. The writer also captures attractive qualities in the title character, such as modesty and intelligence, that make his foray into the world of humans easier to accept.
