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December 14, 2004
Subway Reading: She-Hulk, District X
I have been rightfully taken to task for failing to include spoilers warnings in my reviews. So if you're waiting for the trade with these books, be warned that there be SPOILERS AHOY! Arrrr!
She-Hulk #10 - This issue kicked off the long-awaited (at least by me) Titania story arc. I have mentioned before how much I like Paul Pelletier's art, so I'm not going to get into it here. I will simply direct your attention to the Eisner-inspired title panel on page 4:
I found this issue to be a little longer than necessary. Most of it was taken up by Titania's origin, including a long look at the character's life before she was introduced in Secret Wars. This segment could have been edited down pretty easily. Titania wasn't exactly multi-dimensional before this tale, and by the end she hasn't gained more than a quarter of a dimension. I also question whether it was necessary to devote 4.5 pages to re-drawing panels and re-telling events from Secret Wars. There were some nice touches along the way, such as Titania's disappointed tears while she and the Wrecking Crew pounded on She-Hulk. But on the whole this origin story was too long by half. 3 stars.
District X #8 - My opinion of this title has now flipped 180 degrees. I used to suffer the art because I enjoyed the story. This is no longer the case because the art has improved substantially. Penciller Lan Medina's figures have grown more anatomically accurate, while simultaneously losing the lifeless stiffness that has plagued them. Alejandro Sicat's inks have become a little less reliant on outlines, as his line weights have begun to vary and his marks have become slightly more expressionistic instead of strictly descriptive. At times this team's style reminds of Martha Washington-era Dave Gibbons. It has been fun to watch them improve month by month.
The writing, on the other hand, has slipped drastically. Early on in this issue, Officer Ortega meets some guy named Gregor, whose mutant power seems to be an uncanny ability to spew expository dialogue. Our hero then returns home to play his role in a blatantly telegraphed cliche of a scene and to engage in some jarringly uncharacteristic domestic violence. The scene then shifts underground, where we are treated to some unnecessary captions that read like directions to the artist. "He watches as they answer the call, swarming from the tunnels, a silent, shuffling, throng." Or "There is no anger in Melek's voice [then why did he look so angry two panels ago? Maybe it was constipation.], only the suggestion of an immense inner sadness. His eyes close and the silent telepathic command is given." This is Claremontian redundant narration at its worst.
The last few pages worked nicely, though. The final sequence with the worm-boy was an effective reminder of the overarching theme of misfit mutants whose deformities outweigh any "powers" that they might have. Nonetheless, this scene and the improved art were not enough to wipe the grimace off my face. There was a time when I would have described this title as "grounded" but this issue is more squarely in the realm of "inane." 1.5 stars.
Posted by jdonelson_nyc at December 14, 2004 01:53 PM