Okay fine, but I still think Matt Fraction sounds like a bad wrestling gimmick!
Lets get straight into it...
Anyone who can write such a well-thought out fight-scene between the JLA and Deathstroke, make Green Arrow interesting again (the first time since, oh, Meltzer wrote him), fit the book into current continuity so well and tell an interesting and compelling story is all right in my eyes. But he gets accused of not writing in the superhero genre?!?
Jesus, Millar made Giant Man slap piss out of his wife and no-one said a peep. Is it just because Meltzer and Straczynski made careers outside of the comic book industry that people criticise their stories which involve real-world ideas? I thought Ellis got people past superheroes giving villains super-wedgies every issue for ever and ever until the end of time?
Meltzer even gave Calculator a purpose other than to be a walking advert for abortion.
But, lets say that he is writing outside of the genre, which I don't think he is but that's just me. Why would that be a bad thing?
Ellis, Ennis, Morrison, Millar and other forward-thinking Brit guys have all been writing out just to the side of the genre for years, with much success. Gaimans 1602 was hardly standard Marvel fare was it?
Incidentally, your plot for a movie doesn't sound too abstract, I could quite easily imagine Mr. Shyamalan making a movie like that.
"(Having said that, the ending *did* seem lazy. "She tricked and murdered and ruined lives... because she wuvs her widdle ex-husbwand. Awwwww... isn't that just typical of those crazy mixed up emotional women? Tsk-tsk." Colour me unconvinced...)"
As far as that goes, both Scarlet Witch and Jean Loring have a history of mental problems in the comic, but they are two of the only females with mental problems in comics (not including villains), there are a shit load more male heroes with mental problems, such as Green Lantern, Giant Man, Tony Stark, hell Superman has been to a shrink and Spiderman has had a mental breakdown.
But isn't that just typical of those crazy mixed up emotional men living out personal male adolescent power fantasies ; )
This is one of those points that will always inevitably boil down to personal preference (as with most arguments really). I loved ID Crisis from a personal Point of View, it was the first book I read the third week of every month for seven months, I loved the art and I loved the story, even if the covers were a little shoddy. From a business point of view, ID Crisis was very, very good, in our store it outsold every book for seven months, outstripping its nearest DC rival (Superman Batman if anyone cares) by two-to-one, easily. It was an excellent book for DC as it managed to bring in a lot of new readers to the DCU, and we've tripled our orders for DC Countdown.
In a time when Marvel is pulling a 1995 throwback, with variant covers, foil covers, 2nd prints, Age of apocalypse and 80 titles a month most of which are X books selling way below 40,000, DC is moving the industry forward and bringing in a lot of new readers to its little corner of the industry and at the same time maybe, just maybe, bringing in a few readers from outside of comics.
And that brings me to the most important part of ID Crisis. Like most comics in the Marvel and DCU, its part of a continual narrative, and like all good ongoing dramas, it left as many questions unanswered as it did solved. Keeping people coming back for more.