NIGHTCRAWLER #2
"Passion Play, Part Two: Without a Sound"
Mildly Recommended (5/10)
|
Marvel Comics
Writer: Chris Kipiniak
Pencils: Matthew Smith
Inks: Mark Morales
Colors: Hi-Fi Design
Letters: Jon Babcock
Editor: Pete Franco
Price: $2.50 US/$3.75 CAN |
Kipiniak takes the X-Men's teleporting mutant into the real world. He presents him with a problem that none of us could solve, and his powers aren't going to be of any help either. This dose of realism grounds the title character, but both the script and the art still seem to lack focus after two issues. I'm intrigued, but I'm a bit confused as well.
Kurt Wagner, better known as Nightcrawler, makes something of a confession to the priest under whom he is studying. He tells him of how he stumbled upon a hideout for men who have been smuggling deaf illegal immigrants into New York. He learned how they keep the poor people caged up in a house in Queens. He learned how these people are forced to sell trinkets and to give the profits to their slavemasters. And finally, he decided to put a stop to it.
Smith's dark, gothic art suits the downtrodden tone of the script quite well. Hi-Fi Design reinforces that dark mood with some appropriately deep colors as well. However, in the earlier half of the book, the art doesn't match up well with the corresponding script. And in the latter half, the action doesn't flow all that clearly. It's difficult to tell the bad guys apart from those that Nightcrawler is trying to help.
After reading the first issue, I was surprised that Kipiniak wasn't focusing more on the title character. Here, he comes closer to achieving a balance between the real-world problem he is spotlighting and the inner turmoil that Kurt is facing. The callousness of the immigration scam comes off as far more powerful because the writer connects it with something just about anyone can understand. Furthermore, I enjoyed seeing Nightcrawler wrestle between the life of violence associated with the X-Men and the one of peace and forgiveness he has chosen by joining the church.
There are aspects of the writing that don't click so well, though. I'm at a loss when it comes to Nightcrawler's priestly mentor. I don't even know his name, let alone what role he's really serving in this story. Furthermore, the symbol of the church that the title character has incorporated into his costume is often focused on by other characters and the artist, but Nightcrawler himself doesn't seem to dwell on it at all. It's that symbol and the choice it represents that really sets this character apart from other super-hero types, and I'd be interested in reading more about it.
Email Don MacPherson comments about this review, or discuss it on the Fourth Rail message board.
|
