I’m likely not the only comic book fan who has said “the X-Men really put the X in complex.” It’s an awful pun, of course. Though considering this is the X-Men we’re talking about, it’s also no less true. With dozens upon dozens of characters, each with their own detailed personal histories (and alternate histories in some cases), the X-Men have one of the most elaborate mythologies in all of comics.
Little wonder then in his attempt at revitalizing them, Jonathan Hickman created two miniseries instead of one. Last time, House of X presented the new status quo for Marvel’s mutants. Powers of X (pronounced Powers of Ten) reveals where they might be heading. It’s also the more ambitious of the two. Only after reading Powers of X #1, however, do you realize just how ambitious it is. Even the official solicitation, describing it as “[revealing] the secret past, present and future of mutantkind” doesn’t do ample justice.
Divided into four parts, the comic opens with the first meeting (or is it?) between Professor Charles Xavier and his soon to be fiancée, Dr. Moira MacTaggert. Part two takes place moments after the conclusion of House of X #1. Part three then jumps forward one-hundred years into the future, where a new generation of X-Men fight a war for survival against a coalition of humans and the robotic Sentinels. Finally, the conclusion moves even further into the future, revealing the apparent fate of both humanity and mutants.
As you might of guessed, Powers of X #1 doesn’t make for light reading. It may even demand multiple readings to fully appreciate and comprehend it all. But Hickman does drop important details which expand the X-Men’s new lore and deepen its mysteries. For starters, it confirms Xavier did recruit Mystique, Toad, and Sabretooth to break into and steal data from Damage Control. This revelation alone proves Professor X’s mutant utopia isn’t all it appears to be.
Likewise, the scope of Hickman’s worldbuilding for the X-Men continues to be on a whole other level. Most superhero comics never take the time or care in developing their fictional settings, particularly possible futures. Hickman is the rare exception. What would otherwise be supplemental fluff, Hickman makes into required reading. But instead of dragging the comic down, it makes the X-Men’s fictional universe feel all the richer.
Hickman also spends much of his narrative introducing new characters, particularly the trio of new X-Men. The products of decades of crossbreeding experiments, these “Chimeras” as they’re called, are a literal eclectic mash-up of fan-favorite mutants. Unfortunately, they’re also one-note archetypes. The Soulsword-wielding Rasputin is your garden variety raging warrior maiden. The Nightcrawler-Esque Cardinal is a pious pacifist whom Rasputin, of course, butts heads with. And the “black brain telepath” Cylobel acts defiant despite being just a damsel in distress.
Thus for all the rich, in-depth setting, Hickman falls short in crafting rich, in-depth characterization. The concept behind the Chimeras is more fascinating than the Chimeras themselves. Only the already established characters, especially Nimrod, who show any signs of true personality. Their character designs, on the other hand, are visually pitch-perfect.
Speaking of visuals, these are some stunning illustrations from R.B. Silva. True, the outlines of his figures appear too thick at times, creating a “magic sticker” effect. Yet they’re also full of life and passion. Even the Sentinels, along with their androids and cyborgs, look organic in both posture and expression. Moreover, he has a full grasp of the environments. From the Renaissance Fair which opens the prologue, to the rubble-strewn urban landscapes of the future, each setting looks distinctive.
It also proves once again just how invaluable a colorist Marte Gracia has been for these books. As with House of X #1, the scenes on Krakoa appear lush, vibrant, and ethereal. In depicting the interiors of Nimrod’s tower, Gracia applies flat grays, purples and radioactive green, enhancing the artificiality. You couldn’t ask for a better visual contrast between the mutants and their human/machine antagonists.
Powers of X #1 doesn’t match House of X #1 in terms of perfection. It does, however, act as a nice compliment to House of X. As for whether it will have any bearing on the X-Men going forward, that may be a little trickier. After all, the X-Men have dealt with apocalyptic futures before, particularly those involving Sentinels. At least this time around, Hickman is giving it a fresh, ambitious new polish.
Stillanerd’s Nerdy Nitpicks
- I’m not one for conspiracies, but it’s looking more and more like “Charles Xavier” isn’t Charles Xavier. For one thing, Xavier doesn’t have telekinesis. For another, the jawlines for both Xavier and Professor X look different, especially on the first page. Unless, of course, it’s just artistic inconsistency.
- Hmm…not exactly subtle about those Tarot cards and what they represent, are we comic?
- As for the much-touted “most important scene in the history of the X-Men?” I suspect there’s some historical–and mental–tampering going on. Also, the allusions towards the classic “Days of Future Past” Powers of X makes are no coincidence either.
- “While you slept, the world changed.” When the dying mutant from “X-Men: Year One Hundred” says the same Xavier quote from House of X #1, you know Hickman’s planting some clues.
- What’s this? Mister Sinister starts a mutant breeding program. And he betrays the X-Men? I’m shocked, shocked I tell you! Even the comic points out how Sinister’s betrayal was a foregone conclusion. Which makes you wonder why the X-Men, including the telepathic Professor X, didn’t see it coming?
- Okay, Rasputin has the genetic make-up of Kitty Pryde, Colossus, Kid Omega, X-23 and…Unus the Untouchable? Talk about random.
- Interesting to see which present-day characters survive a hundred years into the future. At least two are easy to guess, but certainly not the guy who now resembles Groot.
- Also that last page? Tell me I’m not the only one who gets the Biblical allusions here, particularly Genesis 2:5-25.