ASTONISHING X-MEN #10 is an intriguing issue. The artwork from ACO and Rachelle Rosenberg is some of the most psychedelic artwork to hit comic books. Charles Soule juggles his plethora of characters with style. Read Full Review

Soule's dialogue between team members gets better with each issue, though this issue is a bit light on substance. Read Full Review

The early issues were strong, and the series wavered some in the middle, but with only two issues remaining, this volume just may live up to its predecessors in the Astonishing line. [not counting the Age of Apocalypse volume]. Read Full Review

Nothing really happens here of relevance beyond a nice reference to Giant-Size X-Men and Krakoa while building to an inevitable confrontation between X and Proteus. Read Full Review

If this book was being judged solely on the art, it would be getting an A, but Soule's scripting is so bad, it drives it down a few notches. Read Full Review

This issue added to my growing sense of unease about the direction of this title. The chemistry of the team doesn't seem to be drawn out, X is unlikable and not an appealing draw, and the rest of the team are cast into his shadow given his central role. I'll stick with this title but, with a massive amount of new and exciting books coming on stream in the coming weeks and months from the big two, its place on the pull list may be in jeopardy. Read Full Review

This book is notable mainly because of the artist. Not much happens to move the plot, as this issue is mainly a giant psychic battle between the X-Men and Proteus, but it is a dynamically portrayed psychic battle. Aco, who stood out for his awesome and stylistically innovative work on “Nick Fury,” really makes his pages come alive. This comic’s revolving door artist policy has brought us a few duds, but issues like this make it worth it.

The X-Men fall into Proteus's reality-optional garden and he has a snotty philosophical conversation with X. The stars here are, of course, ACO's eye-poppingly intense layouts. There's plenty of imagination and polish invested in the art, but these images are built on flimsy bones. Characterization, plot developments, philosophical depth - they're all pretty lacking. This seems chronic across ACO's career. Does he have a fetish for shallow scripts? Or do they naturally gravitate toward his very flashy, very "capable of concealing weakness" style?

Just a terrible series.