If there's a trend with Avengers vs. X-Men, it's that every act seems to peak at the very beginning. Issue #9 is a rousing start to the third and final act, easily rivaling Jonathan Hickman's AvX #6 as the strongest chapter of the series to date. Jason Aaron manages that all-too-rare balance of character drama and spectacle that most event comics are sorely lacking.
There isn't a terribly distinct transition between acts as there was with issue #6. As issue #9 opens, the Avengers are still on the run from the Phoenix Five (or Four, now that Namor is out of the picture) and hiding out in K'un Lun. The situation has grown more desperate, however, now that a good portion of Captain America's team have been captured by the X-Men. There's a real sense of desperation to the conflict as the Avengers realize they've completely run out of options beyond placing all their faith in the unknown factor that is Hope. Meanwhile, the dissension among the X-Men is also growing. Aaron explores how characters like Storm and Xavier react to the darkening conflict, and also the losing battle each of the Phoenix Four are facing in maintaining control.
One of the reasons issue #9 works so well is that it addresses many of the recurring complaints about the event. As mentioned, we finally see how characters like Storm are responding to the growing instability of the Phoenix Four. In general, Aaron is able to present more even-handed views of both sides of the conflict. It's difficult not to sympathize with the Avengers at this point, desperate and battle-weary as they are. But he also spends time on each of the Phoenix Four, showcasing just how precarious their mental state is and reiterating the idea that, on a fundamental level, these characters are simply doing what they feel is right. Aaron shows an especially deft hand with Emma Frost, who struggles harder than anyone to keep the Phoenix's influence at bay.
As the cover suggests, Aaron also shifts to Spider-Man as the sort of "man on the ground" figure for this issue. That role has regularly bounced between characters like Wolverine, Black Panther, and Beast throughout the series, but Spider-Man is used more effectively and more heavily in that capacity than anyone. The script highlights the drama of Spider-Man's situation by opening in the midst of a battle and then shifting back several hours. We get to see Spidey settle uncomfortably into his Uncle Ben-style mentor role with Hope and then prove why he's the greatest hero in the Marvel Universe as he confronts two insurmountable foes. Suffice it to say, this issue makes Spidey's infamous brawls with Morlun look like mere sparring matches.
There are a couple weak points to the script. Though the Avengers score a much-needed win for once, their method of victory is a little silly and overly convenient. There's also a scene between a certain X-Man and certain Avenger that reads more like editorial mandate rather than a necessary piece of the AvX equation. This scene would probably have been better saved for a different book. Still, Aaron writes the interaction well despite the odd circumstances.
Adam Kubert delivers some gorgeously detailed and vibrant artwork in his second installment. Having collaborated with Kubert before, Aaron seems to know how to best put the artist to use, and there are plenty of dynamic camera angles and surreal, dark imagery to go around. Visual highlights include Cyclops and Emma's private meeting in a sweltering desert and the clandestine rescue operation in the mountains of Siberia. Unfortunately, the inking holds the issue back a bit, as the line work sometimes becomes unnecessarily flat and heavy.
At its best, AvX manages to deliver on all the hype Marvel has placed on it. As we near the finish line, I can only hope that this renewed momentum means the event will remain at its best through the home stretch.
Source : feeds.ign.com
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