Warren Ellis begins his much-hyped run on what has now clearly become the X-Men flagship title. There was little doubt that Ellis would turn in a pleasing first issue, but to suggest that it would actually rival Whedon’s was a bit of a stretch for me. Even so, that’s what he’s done.

Ellis’ version of the X-Men are, perhaps not unexpectedly, closest to Grant Morrison’s version, with emphasis on the scientific nature of mutation and their occasionally tenuous role as superheroes. Ellis immediately embraces the new status quo, with the team’s position in the San Franciscan community playing a substantial role in the events of the issue. Even when the pet Ellis theme of body-modification (in this case, on the genetic level) crops up, it fits in perfectly with the X-Men’s remit, and the idea of a spaceship graveyard both carries over themes from Whedon’s run and draws on the more Sci-Fi side of the property, taking a look at how the dynamics of how a society polluted by extra-terrestials and superheroes might be affected.

While the plot is off to a great start, what really makes the title stand out is the strong voices of each character in the cast. So far, the team closely resembles Whedon’s and the characterisation is nicely continuous, with particular comedy coming from Wolverine as the grumpy, uncouth old man and Emma the superbitch, and strong showings from Beast and Cyclops as well. Storm is perhaps the only time Ellis hits something of a bum note, with his version of her missing the combined sense of wonder and aloofness that she normally displays.

Bianchi’s art is undeniably beautiful to look at, though between his dense shading and Peruzzi’s colours, it all looks quite dark compared to Cassaday and Martin’s clean, bright look. Bianchi’s designs are occasionally a little outlandish (the new X-Jet, for instance, is an almost-hilarious mass of futuristic fins) but his minor costume tweaks suit each character perfectly.

Anyone upset by Whedon’s slow pace should find plenty of things going on in Astonishing #25. It’s a perfect jumping on point for readers, and as an aside, I’d like to point out how pleasing it is to see a title go through a major creative change WITHOUT anyone feeling the need to slap a number #1 on the cover. I love a book with a little history behind it. I was expecting Ellis to continue the title’s grand tradition of excellence, but he may have actually managed to raise its game at the same time.