It's been a while since I was so encouraged by an issue of Uncanny X-Men and so disappointed at the same time. Austen has a strong premise as the foundation for this issue, but there's a tangent at the end that makes it fall apart. The artwork is both strong and distracting at the same time. It's unfortunate this was an uneven issue, because it had the potential to be a great one. This is still a much better effort than the preceding story arc -- "The Draco" -- and it's a light at the end of the dark tunnel that has been Austen's tenure on this title to date.
The Juggernaut has been taken into custody by Canadian law enforcement in British Columbia, and the X-Men have hired a couple of lawyers -- a mutant with a photographic memory and the noted Jennifer Walters, AKA She-Hulk -- to defend him and to facilitate his extradition to the United States. Those efforts aren't meeting with a lot of success, though. Meanwhile, in a Canadian metahuman holding facility, officials are so focused on the Juggernaut's detention that another prisoner slips through the technological cracks. A breakout presents the former X-Men foe with an opprtunity of his own... actually, several opportunities, truth be told.
Garney's artwork really shines at times in this issue. His depiction of the noted villain in mutated form is a striking one, and it puts me in mind of Mike Deodato's strong work on The Incredible Hulk. More importantly is how this action-packed script really lets Garney show off. It's been a while since we've sampled the strength he exhibited with his work on Captain America years ago. His portrayal of the She-Hulk strikes me as more in keeping with a dominatrix than a consummate legal professional, though, and the colors in the opening scene are off, robbing She-Hulk of the vibrant green glow that makes for a more striking visual.
Austen offers up an accessible script here, but more importantly, he delivers a plausible take on international and American law as it might apply in a world full of superhumans. Furthermore, while the Juggernaut's change of heart is a little too convenient, I like the notion that he's well aware of his own emotional shortcomings. He comes off as intelligent and introspective here, but Austen hasn't sacrificed Cain Marko's rougher edge either. The other classic Marvel villain appearance is a lot of fun as well, as is how he plays a role in the resolution of the legal conflict.
Unfortunately, the closing scene is completely frustrating. It may be in keeping with Juggernaut's cruder personality, but it makes another strong, intelligent character seem like a completely vacuous and foolhardy figure. Furthermore, the cliffhanger seems to set up a scenario in which Juggernaut's change of heart isn't part of any characterization development, but a hard-to-swallow, super-hero plot trick that emphasizes the fantastic aspects of the character rather than the grounded ones that have been lacking in him for so long.
