The first issue set in XF’s new playground of Detroit. Whad’ja think?
PAD
47 comments on “OUT THIS WEEK: X-FACTOR #33”
1I like it a lot. Loved the dialougue and story. You really do a great job with these characters. I thought the art was ugly looking though. I thought it took away from the story. Not really my cup of tea.
PAD,
Just curious. When you set a story in a city you don’t live in (such as Detroit), do you leave it to the artist to learn what key areas of the city look like, especially in relation to each other (such as the view of Hart Plaza from the river, or what buildings you’d seen when approaching Comerica Park coming north on Woodward from Jefferson)? Or do you try to learn what you can, so you can give instructions to the artist, if necessary?
I know a lot of information can be found online, but unless a writer and/or artist knows a particular city pretty well, I suspect some degree of “faking it” (with, say, generic store fronts and/or neighborhoods) still takes place.
Rick
I though the story was great.
The art looks like it was done by my 5th grade nephew though. Stroman’s art just doesn’t fit the tone of the book the way Raimondi’s did, I think.
Well, big PAD fan and everything, but I was really let down to find out that Longshot is back but he’s all Skrully.
*sniffles* I just want Longshot back, and not a fugitive murderer (a la Ultimate X-men) or a Skrull.
Well, big PAD fan and everything, but I was really let down to find out that Longshot is back but he’s all Skrully.
*sniffles* I just want Longshot back, and not a fugitive murderer (a la Ultimate X-men) or a Skrull.
Brian awaits the inevitable segue into politics….
Hi PAD —
Longtime fan, first time poster. I really appreciated the story’s narrative complexity (particularly Val’s eavesdropping commentary), but I found the art ugly and distracting–it made the issue impossible for me to enjoy.
Just curious. When you set a story in a city you don’t live in (such as Detroit), do you leave it to the artist to learn what key areas of the city look like
The fact that Larry lives in Detroit is one of the reasons I set it there.
PAD
I found some of Stroman’s storytelling a bit confusing (notably the “Jaz tails Longshot” scene, which took a bit of decoding, and the “Val listening in on the new client” split), but am otherwise happy to see him back on drawing the gang.
I must concur with the other posters who say the art is disagreeable, though I don’t blame Stroman. His pencilling might look fine with a different inker. I’ve seen much better examples of his art before, but that proficiency isn’t visible in X-Factor.
I had to read the issue twice to get it down cold, but I enjoy the pacing and the narrative device of switching the dialogue between various characters. It’s interesting how Guido is aware of Jamie’s cooperations with Val Cooper while the rest of the team remains oblivious. Any particular reason why he’s the one who’s in on it?
Also, pregnant!Terry with her poor beleaguered bladder is soooo funny. Are she and Jamie officially together now? They were looking very cuddly last issue, but I don’t want to make any assumptions. What’s their relationship status?
Peter,
Search: Urban Spelunking Detroit, on Youtube.com. It’s people exploring some of the bigger abandoned buildings in Detroit.
Peter,
Search: Urban Spelunking Detroit, on Youtube.com. It’s people exploring some of the bigger abandoned buildings in Detroit.
I loved the story and am interested in where the Detroit team is going. Loved the final pages.
As for the art, I am not so down with it as the other posters. It is not the best Stroman art I have seen and he clearly is relearning how to draw the characters since his last run. I fully expect that he will get better on this book the longer he stays.
Not to sound rude, but this was the first and only time I’ve felt the need to comment on this book. Generally it’s basically a perfect read and my girlfriend and I fight over who gets to read it first. This art was too different (worse?) from what we’re used to though, and that made it so jarring it was really difficult to enjoy.
It looks like I’m in the majority here — the story was interesting, the art struck me as fairly messy and hard to follow. Stroman was pretty good back in the days of your first XF run, though, so I’ll wait and see.
TWL
It’s a testament to the cookie-cutter “realistic” style in most Marvel comics today that when people see someone dynamic and different like Larry Stroman’s art, they are turned off by it.
I loved Stroman’s off-kilter style when he penciled your work on X-Factor back in the early-’90s and I still enjoy it very much. Though I do have to agree — the chase sequence was a bit confusing. But I think that ties in with the other “Secret Invasion” books, where we’re not really supposed to feel certain or comforted in what we’re seeing.
In all, a good show, and as I wrote in my blog earlier today, PAD you tricky devil, you’re getting me to buy a She-Hulk comic next week.
i loved the writing, but the art leaves alot to be desired, you can tell its the pencils and not the inker based on the shapes of the characters, it just looks like everyone has an oversized butt. or a misshaped body.
I have to agree with many of the above posters – great story but terrible art. The faces look mangled, several scenes were confusing and characters looked significantly different from how they’ve previously appeared.
I’ll keep buying X-Factor for now, but unless the art improves I might have to drop it.
I have to agree with many of the above posters – great story but terrible art. The faces look mangled, several scenes were confusing and characters looked significantly different from how they’ve previously appeared.
I’ll keep buying X-Factor for now, but unless the art improves I might have to drop it.
Pj Perez:It’s a testament to the cookie-cutter “realistic” style in most Marvel comics today that when people see someone dynamic and different like Larry Stroman’s art, they are turned off by it.
Actually, I thought Larry Stroman’s work looked awful on X-Factor v.1 seventeen years ago….and my opinion hasn’t changed, so it’s certainly not a reaction to his style’s difference from any supposed flavor of the moment. There’s nothing wrong with a stylized look to the art, but when the artist’s style is to have everyone in the book look grotesque, you can’t blame people for responding negatively to it.
The story was great as always….and I feel like a big dummy-head for not realizing who Jazinda was, even though I knew that the crossover was coming, until she said “Jennifer”. I especially like the meeting between Val, Guido and Madrox, just because it leaves me feeling as frustrated and annoyed with the situation Val’s got them in as Madrox and Guido do.
Speaking of Guido, a question about the “Guido voted for Nader” bit: when Guido says “My mom owes her life to seatbelts”, is he referring to his aunt as a surrogate mother? Last I checked, some writer back in the 90s established that his parents died years ago.
Chuck
It’s a testament to the cookie-cutter “realistic” style in most Marvel comics today that when people see someone dynamic and different like Larry Stroman’s art, they are turned off by it.
Eye of the beholder. What you see as “dynamic” I too see as “deformed”. Some of the characters, such as Darwin’s father, have such screwed up faces, whereas all the women, Siryn, Monet, and Val, are all drawn properly up close. It’s very jarring and distracting.
I loved it, and I hope we get a good long run from the David/Stroman team. Their first run was one of my first exposures to the comics way back when. Now all we need is the mayo jar.
Having lived in the suburbs of Detroit, I find the setting intriguing. It opens up some interesting possibilities. It is just a bridge (or tunnel) away from Canada. It is a shell of itself (still) following the exodus of people (like mutant town?). And it is the center of great economic frustration.
The story was a little faster paced. Not a problem, and there was plenty of great banter. It just clearly was headed somewhere — like a crossover?
I do have to agree with most about the art. I normally am ok with a wide range of artistic styles. I read comics for the story. But this time the art was distracting. That said, I read it for the story and so the art won’t impact my staying with the series. I suspect it will get better or I will just get used to it.
Bottom line, I like the new direction. Especially having Val back in the picture. It makes up for a missing Layla (at least some) and is a great twist on the good old days when she was tied in with X-Factor. It feels a very natural evolution. Speaking of which, I am curious to see your development of Darwin. He was too vague and easy to misuse. I am sure you have plans since he is now in the picture.
Speaking of Guido, a question about the “Guido voted for Nader” bit: when Guido says “My mom owes her life to seatbelts”, is he referring to his aunt as a surrogate mother? Last I checked, some writer back in the 90s established that his parents died years ago.
Or maybe at one point when Guido was very little she was saved by seat belts only to get hit by the satelite. She survives for a few years only to get hit by a satelite. No prize please.
Speaking of Guido, a question about the “Guido voted for Nader” bit: when Guido says “My mom owes her life to seatbelts”, is he referring to his aunt as a surrogate mother? Last I checked, some writer back in the 90s established that his parents died years ago.
Or maybe at one point when Guido was very little she was saved by seat belts only to get hit by the satelite. She survives for a few years only to get hit by a satelite. No prize please.
I have to join the chorus and say great story, horrible art. I too hated Stroman’s first run and if he is to be a long-term artist now my love for this book is going to be sorely, sorely tested.
Looking a this was like a bad acid trip back to the 90’s. And I still don’t really understand what happned in that chase scene. Bad, bad.
Ah, but the text indicates that Guido’s mother ‘owes’ her life to seatbelts. The word owes implies that she is still alive.
Maybe Guido’s parents got hit by a falling satellite before he came of age, and he got put into foster care for a few years? He’d likely be very close to a foster mother who’d willingly adopt a seven foot tall teenager with hulking muscles and severe chronic pain.
I just thought it was a better line than “My aunt owes her life to seatbelts.”
PAD
Another vote for “love the story, hated the art.”
Also, I didn’t care for Mr. Stroman’s art 17 years ago, either.
—matt
Hm. I’ve not read the new X-Factor yet, but I found Mr Stroman’s art to be something of an acquired taste way back when.
I mean, there’s no denying his art style is at least very different from the norm at Marvel. At first it was off-putting, but by the time the next artist came around (Quesada, right? Too lazy to check) I had grown to really love it. Still do.
So I don’t know, is this a case of “either Stroman’s your cup of tea or he isn’t” or have the commenters just not yet acquired the taste?
Being a Brooklyner, I confess I’m not super excited for the locale change, but hey.. there’s got to be another New York based super hero team out there somewhere, right? I’m sure I’ll cope.
Regardless, I’m a fan of yours and of Guido and Jamie’s and I’ll continue to buy the book until none of the three of you remain. And likely thereafter in the vain hopes that one or some of you will return, as I did for much of the nineties.
1 Was it just me or did I think it was a devious ploy by PAD to get fans to buy both titles he’s working on by starting the story off in X-Factor and ending it on She Hulk.hmmmm
I don’t mind the basic look of Stroman’s art, but his storytelling skills are way, way off. I studied that page with the chase over and over and still didn’t get it. Whoever was transforming into a Skrull had lace-up sneakers, but Longshot was wearing solid black shoes and the girl had high heels, so who was I looking at? Was there a third person/alien in the alley?? After I finished the issue I went back and I THINK I understand who was changing into what now, but it should have been clear the first time. Sloppy!
I guess I’m in the yay story, errr art, club. I really liked Stroman’s X-Factor work back in the day, and some of the panels in this issue I thought were very dynamic and cool. Overall, though, it felt a little disjointed, but I think it’s an issue of the pencils relating to the inking and the color rather than the pencils relating to the story.
Speaking of the story?
I loved it. I LOVED it. The script was fantastic. The dialogue filled my heart with joy. I can’t even define what it was (it sure as hëll wasn’t Detroit- I live about twenty minutes away from it, and dear God in heaven I wish I were anywhere but), but somehow, this script coming off of the Arcade arch and the destruction of the NYC HQ was just… more than I had expected and hoped for. It was invigorating to read. Loved it. Lurved it even.
I thought the art was “ok”. Where it lost me is when we are in the middle of the city, and all of the sudden ShatterSkull and Darwin are in the middle of a green field, with a bunny smiling at them, and a bird flying by. I was thinking for a second that they had walked from Detroit to a Disney movie.
Meant “LongSkrull” there…
I have a friend that had stopped buying comics for a several years. He returned recently buying only three titles a month, X-Factor being one of chosen ones. He opened the most recent issue with a smile (he enjoys PAD’s writing a lot), and his expression dropped to one of total dissapointment, he looked at me, and just said… “the artwork is going to be the death of this title”. I have to agree, Sook’s and Raimondi’s charm was not entirely in their style, but also in their ability to draw FACIAL EXPRESSIONS, something vital for the way PAD writes. Stroman gives the characters faces that creates an iron barrier between character and reader.
The art was distractingly loose, but not a book-canceller. Honestly, though, the “change to Detroit” didn’t really seem that big a transition — perhaps I would have noticed it if I were a Detroiter.
Good story, though, and this Marvel-Spanning Event seems to be having less of a horrific impact than the previous ones.
Well, I liked Stroman’s first run in the early 90’s,
but I’m deeply shocked to look at his artwork today.
The book looks just plain ugly, the characters all look like cross between donkey and a human.
If he stays the book will be in deep trouble.
LOVED the story. Great changes for the team, and it’s nice to see them back in the P.I. game but the art…oh no.
The story was okay. I’d give it a C+ overall. As a set up for the next issue or two it works, but the book has stuttering momentum that seems to keep getting interrupted by crossovers.
The art here was average, at best. And I’m being kind. I really feel like it held the story back a little bit from realizing its potential.
Loved story and art, and my opinion is WAY more important, so the positives win! [/false smugness]
Strong Guy looks like Strong Guy again, and not like some awkward blork!
The art was such that I honestly could not tell that any of the people in the comic were normal humans…they all looked like super-deformed mutants to me.
Except for a few of the X-women, everyone was grotesque. I found it terribly distracting, enough so that I had to re-read the book to figure out what was going on.
PAD:I just thought it was a better line than “My aunt owes her life to seatbelts.”
Fair enough….and since Jamie, as I recall, wasn’t in the room back in X-Factor #72 when Guido told the story about his parents, it’s plausible that he dosn’t know about it.
I’ll stop being an annoying continuity cop now.
Chuck
I picked up She-Hulk #31 yesterday, and: …ouch, poor Guido. Darwin with his heart-shaped word bubble is so cute.
Sorry I’m a bit late to the game here, but I don’t get to read all that many comics the week they come out these days, what with a busy work schedule and a 10 month old baby at home.
Just wanted to say a couple of things though – firstly, I thought the writing here was absolutely top notch, I loved the pacing and although it feels slightly different to the tone of most of the previous stories, a change now and then is not a bad thing. This is a really strong issue, Mr. David, and I think this slightly new direction has got off to a fantastic start.
I was very interested to see the reaction to Larry Stroman’s art, I know it would be a little controversial as his style can be a litle ‘devisive’, and in this book it is certainly lighter in feel than the more noir-influenced artists that have worked on the book previously (Stroman can certainly do the darker tone stuff, his work on the ‘What If: Vulcan’ is proof of that, so I was a little surprised that it wasn’t more in this style). I will happily admit to being a big Stroman fan and I really enjoyed his art here; it’s great to see some unique styles at work, and once the whole creative team gels together I’m really excited to see what these guys can come up with going forward.
-Mark
I’m a bit saddened by some of the reaction to Stroman’s art. I remember the glory days of the original David/Stroman run and was delighted beyond words when I discovered they were to reunite once again. I adored Sook and Raimondi’s work on the new book, but we seem to be heading in a new direction now and Stroman seems to me a very apt choice of artist. Plus nobody gets Guido the way that Stroman does. For people to say they’re thinking of dropping the book after one issue of an artist they aren’t used to is extreme to say the least.
I’m made up Longshot turned out to be a Skrull. I can’t stand the man, or his mullet.
The art isn’t great, by any means. But Lord knows it isn’t the worst as some people seem to make it out to be. To those I can only say that at least Bill “I will draw Sam Guthrie to look like the Frankenstein monster” Sienkiewicz isn’t handling it. Count your blessings. And the story itself is as clever as ever.
• 
1I like it a lot. Loved the dialougue and story. You really do a great job with these characters. I thought the art was ugly looking though. I thought it took away from the story. Not really my cup of tea.
PAD,
Just curious. When you set a story in a city you don’t live in (such as Detroit), do you leave it to the artist to learn what key areas of the city look like, especially in relation to each other (such as the view of Hart Plaza from the river, or what buildings you’d seen when approaching Comerica Park coming north on Woodward from Jefferson)? Or do you try to learn what you can, so you can give instructions to the artist, if necessary?
I know a lot of information can be found online, but unless a writer and/or artist knows a particular city pretty well, I suspect some degree of “faking it” (with, say, generic store fronts and/or neighborhoods) still takes place.
Rick
I though the story was great.
The art looks like it was done by my 5th grade nephew though. Stroman’s art just doesn’t fit the tone of the book the way Raimondi’s did, I think.
Well, big PAD fan and everything, but I was really let down to find out that Longshot is back but he’s all Skrully.
*sniffles* I just want Longshot back, and not a fugitive murderer (a la Ultimate X-men) or a Skrull.
Well, big PAD fan and everything, but I was really let down to find out that Longshot is back but he’s all Skrully.
*sniffles* I just want Longshot back, and not a fugitive murderer (a la Ultimate X-men) or a Skrull.
Brian awaits the inevitable segue into politics….
Hi PAD —
Longtime fan, first time poster. I really appreciated the story’s narrative complexity (particularly Val’s eavesdropping commentary), but I found the art ugly and distracting–it made the issue impossible for me to enjoy.
Just curious. When you set a story in a city you don’t live in (such as Detroit), do you leave it to the artist to learn what key areas of the city look like
The fact that Larry lives in Detroit is one of the reasons I set it there.
PAD
I found some of Stroman’s storytelling a bit confusing (notably the “Jaz tails Longshot” scene, which took a bit of decoding, and the “Val listening in on the new client” split), but am otherwise happy to see him back on drawing the gang.
I must concur with the other posters who say the art is disagreeable, though I don’t blame Stroman. His pencilling might look fine with a different inker. I’ve seen much better examples of his art before, but that proficiency isn’t visible in X-Factor.
I had to read the issue twice to get it down cold, but I enjoy the pacing and the narrative device of switching the dialogue between various characters. It’s interesting how Guido is aware of Jamie’s cooperations with Val Cooper while the rest of the team remains oblivious. Any particular reason why he’s the one who’s in on it?
Also, pregnant!Terry with her poor beleaguered bladder is soooo funny. Are she and Jamie officially together now? They were looking very cuddly last issue, but I don’t want to make any assumptions. What’s their relationship status?
Peter,
Search: Urban Spelunking Detroit, on Youtube.com. It’s people exploring some of the bigger abandoned buildings in Detroit.
Peter,
Search: Urban Spelunking Detroit, on Youtube.com. It’s people exploring some of the bigger abandoned buildings in Detroit.
I loved the story and am interested in where the Detroit team is going. Loved the final pages.
As for the art, I am not so down with it as the other posters. It is not the best Stroman art I have seen and he clearly is relearning how to draw the characters since his last run. I fully expect that he will get better on this book the longer he stays.
Not to sound rude, but this was the first and only time I’ve felt the need to comment on this book. Generally it’s basically a perfect read and my girlfriend and I fight over who gets to read it first. This art was too different (worse?) from what we’re used to though, and that made it so jarring it was really difficult to enjoy.
It looks like I’m in the majority here — the story was interesting, the art struck me as fairly messy and hard to follow. Stroman was pretty good back in the days of your first XF run, though, so I’ll wait and see.
TWL
It’s a testament to the cookie-cutter “realistic” style in most Marvel comics today that when people see someone dynamic and different like Larry Stroman’s art, they are turned off by it.
I loved Stroman’s off-kilter style when he penciled your work on X-Factor back in the early-’90s and I still enjoy it very much. Though I do have to agree — the chase sequence was a bit confusing. But I think that ties in with the other “Secret Invasion” books, where we’re not really supposed to feel certain or comforted in what we’re seeing.
In all, a good show, and as I wrote in my blog earlier today, PAD you tricky devil, you’re getting me to buy a She-Hulk comic next week.
i loved the writing, but the art leaves alot to be desired, you can tell its the pencils and not the inker based on the shapes of the characters, it just looks like everyone has an oversized butt. or a misshaped body.
I have to agree with many of the above posters – great story but terrible art. The faces look mangled, several scenes were confusing and characters looked significantly different from how they’ve previously appeared.
I’ll keep buying X-Factor for now, but unless the art improves I might have to drop it.
I have to agree with many of the above posters – great story but terrible art. The faces look mangled, several scenes were confusing and characters looked significantly different from how they’ve previously appeared.
I’ll keep buying X-Factor for now, but unless the art improves I might have to drop it.
Pj Perez:It’s a testament to the cookie-cutter “realistic” style in most Marvel comics today that when people see someone dynamic and different like Larry Stroman’s art, they are turned off by it.
Actually, I thought Larry Stroman’s work looked awful on X-Factor v.1 seventeen years ago….and my opinion hasn’t changed, so it’s certainly not a reaction to his style’s difference from any supposed flavor of the moment. There’s nothing wrong with a stylized look to the art, but when the artist’s style is to have everyone in the book look grotesque, you can’t blame people for responding negatively to it.
The story was great as always….and I feel like a big dummy-head for not realizing who Jazinda was, even though I knew that the crossover was coming, until she said “Jennifer”. I especially like the meeting between Val, Guido and Madrox, just because it leaves me feeling as frustrated and annoyed with the situation Val’s got them in as Madrox and Guido do.
Speaking of Guido, a question about the “Guido voted for Nader” bit: when Guido says “My mom owes her life to seatbelts”, is he referring to his aunt as a surrogate mother? Last I checked, some writer back in the 90s established that his parents died years ago.
Chuck
It’s a testament to the cookie-cutter “realistic” style in most Marvel comics today that when people see someone dynamic and different like Larry Stroman’s art, they are turned off by it.
Eye of the beholder. What you see as “dynamic” I too see as “deformed”. Some of the characters, such as Darwin’s father, have such screwed up faces, whereas all the women, Siryn, Monet, and Val, are all drawn properly up close. It’s very jarring and distracting.
I loved it, and I hope we get a good long run from the David/Stroman team. Their first run was one of my first exposures to the comics way back when. Now all we need is the mayo jar.
Having lived in the suburbs of Detroit, I find the setting intriguing. It opens up some interesting possibilities. It is just a bridge (or tunnel) away from Canada. It is a shell of itself (still) following the exodus of people (like mutant town?). And it is the center of great economic frustration.
The story was a little faster paced. Not a problem, and there was plenty of great banter. It just clearly was headed somewhere — like a crossover?
I do have to agree with most about the art. I normally am ok with a wide range of artistic styles. I read comics for the story. But this time the art was distracting. That said, I read it for the story and so the art won’t impact my staying with the series. I suspect it will get better or I will just get used to it.
Bottom line, I like the new direction. Especially having Val back in the picture. It makes up for a missing Layla (at least some) and is a great twist on the good old days when she was tied in with X-Factor. It feels a very natural evolution. Speaking of which, I am curious to see your development of Darwin. He was too vague and easy to misuse. I am sure you have plans since he is now in the picture.
Speaking of Guido, a question about the “Guido voted for Nader” bit: when Guido says “My mom owes her life to seatbelts”, is he referring to his aunt as a surrogate mother? Last I checked, some writer back in the 90s established that his parents died years ago.
Or maybe at one point when Guido was very little she was saved by seat belts only to get hit by the satelite. She survives for a few years only to get hit by a satelite. No prize please.
Speaking of Guido, a question about the “Guido voted for Nader” bit: when Guido says “My mom owes her life to seatbelts”, is he referring to his aunt as a surrogate mother? Last I checked, some writer back in the 90s established that his parents died years ago.
Or maybe at one point when Guido was very little she was saved by seat belts only to get hit by the satelite. She survives for a few years only to get hit by a satelite. No prize please.
I have to join the chorus and say great story, horrible art. I too hated Stroman’s first run and if he is to be a long-term artist now my love for this book is going to be sorely, sorely tested.
Looking a this was like a bad acid trip back to the 90’s. And I still don’t really understand what happned in that chase scene. Bad, bad.
Ah, but the text indicates that Guido’s mother ‘owes’ her life to seatbelts. The word owes implies that she is still alive.
Maybe Guido’s parents got hit by a falling satellite before he came of age, and he got put into foster care for a few years? He’d likely be very close to a foster mother who’d willingly adopt a seven foot tall teenager with hulking muscles and severe chronic pain.
I just thought it was a better line than “My aunt owes her life to seatbelts.”
PAD
Another vote for “love the story, hated the art.”
Also, I didn’t care for Mr. Stroman’s art 17 years ago, either.
—matt
Hm. I’ve not read the new X-Factor yet, but I found Mr Stroman’s art to be something of an acquired taste way back when.
I mean, there’s no denying his art style is at least very different from the norm at Marvel. At first it was off-putting, but by the time the next artist came around (Quesada, right? Too lazy to check) I had grown to really love it. Still do.
So I don’t know, is this a case of “either Stroman’s your cup of tea or he isn’t” or have the commenters just not yet acquired the taste?
Being a Brooklyner, I confess I’m not super excited for the locale change, but hey.. there’s got to be another New York based super hero team out there somewhere, right? I’m sure I’ll cope.
Regardless, I’m a fan of yours and of Guido and Jamie’s and I’ll continue to buy the book until none of the three of you remain. And likely thereafter in the vain hopes that one or some of you will return, as I did for much of the nineties.
1 Was it just me or did I think it was a devious ploy by PAD to get fans to buy both titles he’s working on by starting the story off in X-Factor and ending it on She Hulk.hmmmm
I don’t mind the basic look of Stroman’s art, but his storytelling skills are way, way off. I studied that page with the chase over and over and still didn’t get it. Whoever was transforming into a Skrull had lace-up sneakers, but Longshot was wearing solid black shoes and the girl had high heels, so who was I looking at? Was there a third person/alien in the alley?? After I finished the issue I went back and I THINK I understand who was changing into what now, but it should have been clear the first time. Sloppy!
I guess I’m in the yay story, errr art, club. I really liked Stroman’s X-Factor work back in the day, and some of the panels in this issue I thought were very dynamic and cool. Overall, though, it felt a little disjointed, but I think it’s an issue of the pencils relating to the inking and the color rather than the pencils relating to the story.
Speaking of the story?
I loved it. I LOVED it. The script was fantastic. The dialogue filled my heart with joy. I can’t even define what it was (it sure as hëll wasn’t Detroit- I live about twenty minutes away from it, and dear God in heaven I wish I were anywhere but), but somehow, this script coming off of the Arcade arch and the destruction of the NYC HQ was just… more than I had expected and hoped for. It was invigorating to read. Loved it. Lurved it even.
I thought the art was “ok”. Where it lost me is when we are in the middle of the city, and all of the sudden ShatterSkull and Darwin are in the middle of a green field, with a bunny smiling at them, and a bird flying by. I was thinking for a second that they had walked from Detroit to a Disney movie.
Meant “LongSkrull” there…
I have a friend that had stopped buying comics for a several years. He returned recently buying only three titles a month, X-Factor being one of chosen ones. He opened the most recent issue with a smile (he enjoys PAD’s writing a lot), and his expression dropped to one of total dissapointment, he looked at me, and just said… “the artwork is going to be the death of this title”. I have to agree, Sook’s and Raimondi’s charm was not entirely in their style, but also in their ability to draw FACIAL EXPRESSIONS, something vital for the way PAD writes. Stroman gives the characters faces that creates an iron barrier between character and reader.
The art was distractingly loose, but not a book-canceller. Honestly, though, the “change to Detroit” didn’t really seem that big a transition — perhaps I would have noticed it if I were a Detroiter.
Good story, though, and this Marvel-Spanning Event seems to be having less of a horrific impact than the previous ones.
Well, I liked Stroman’s first run in the early 90’s,
but I’m deeply shocked to look at his artwork today.
The book looks just plain ugly, the characters all look like cross between donkey and a human.
If he stays the book will be in deep trouble.
LOVED the story. Great changes for the team, and it’s nice to see them back in the P.I. game but the art…oh no.
The story was okay. I’d give it a C+ overall. As a set up for the next issue or two it works, but the book has stuttering momentum that seems to keep getting interrupted by crossovers.
The art here was average, at best. And I’m being kind. I really feel like it held the story back a little bit from realizing its potential.
Loved story and art, and my opinion is WAY more important, so the positives win! [/false smugness]
Strong Guy looks like Strong Guy again, and not like some awkward blork!
The art was such that I honestly could not tell that any of the people in the comic were normal humans…they all looked like super-deformed mutants to me.
Except for a few of the X-women, everyone was grotesque. I found it terribly distracting, enough so that I had to re-read the book to figure out what was going on.
PAD:I just thought it was a better line than “My aunt owes her life to seatbelts.”
Fair enough….and since Jamie, as I recall, wasn’t in the room back in X-Factor #72 when Guido told the story about his parents, it’s plausible that he dosn’t know about it.
I’ll stop being an annoying continuity cop now.
Chuck
I picked up She-Hulk #31 yesterday, and: …ouch, poor Guido. Darwin with his heart-shaped word bubble is so cute.
Sorry I’m a bit late to the game here, but I don’t get to read all that many comics the week they come out these days, what with a busy work schedule and a 10 month old baby at home.
Just wanted to say a couple of things though – firstly, I thought the writing here was absolutely top notch, I loved the pacing and although it feels slightly different to the tone of most of the previous stories, a change now and then is not a bad thing. This is a really strong issue, Mr. David, and I think this slightly new direction has got off to a fantastic start.
I was very interested to see the reaction to Larry Stroman’s art, I know it would be a little controversial as his style can be a litle ‘devisive’, and in this book it is certainly lighter in feel than the more noir-influenced artists that have worked on the book previously (Stroman can certainly do the darker tone stuff, his work on the ‘What If: Vulcan’ is proof of that, so I was a little surprised that it wasn’t more in this style). I will happily admit to being a big Stroman fan and I really enjoyed his art here; it’s great to see some unique styles at work, and once the whole creative team gels together I’m really excited to see what these guys can come up with going forward.
-Mark
I’m a bit saddened by some of the reaction to Stroman’s art. I remember the glory days of the original David/Stroman run and was delighted beyond words when I discovered they were to reunite once again. I adored Sook and Raimondi’s work on the new book, but we seem to be heading in a new direction now and Stroman seems to me a very apt choice of artist. Plus nobody gets Guido the way that Stroman does. For people to say they’re thinking of dropping the book after one issue of an artist they aren’t used to is extreme to say the least.
I’m made up Longshot turned out to be a Skrull. I can’t stand the man, or his mullet.
The art isn’t great, by any means. But Lord knows it isn’t the worst as some people seem to make it out to be. To those I can only say that at least Bill “I will draw Sam Guthrie to look like the Frankenstein monster” Sienkiewicz isn’t handling it. Count your blessings. And the story itself is as clever as ever.