And thus Jonathan Hickman’s House of X and Powers of X sets as the “Dawn of X” rises. As an introduction for the X-Men’s new status quo, the “Two Series That Are One” have more than exceeded expectations. Between the multiple timelines, cloning, secret alliances, nation-building, political intrigue, and suspicious behavior, the series has engaged and energized the fans Marvel’s “Merry Mutants” from page one.
The overwhelmingly positive reception for these comics isn’t solely to Marvel treating the X-Men like an A-list property again. Most of the credit lies with how Hickman, along with artists Pepe Larraz and R.B. Silva, along with Tom Muller, have structured House of X and Powers of X. Thanks to its nonlinear narrative structure, several intriguing mysteries have arisen about the X-Men’s attitude shift and Krakoa’s emergence as an independent mutant state.
One of these mysteries is what Moira X, a.k.a. Moira MacTaggert, has been up to during the events of House of X. Powers of X #6 finally tells us, along with why she faked her death and kept herself hidden. Moreover, we finally learn the significance behind the “X-Men, Year One Thousand” storyline, in which the future people of Earth decide to merge with the Phalanx collective. More than likely, fans have already guessed its central twist, and what, if anything, these scenes have anything to do with the X-Men. Yet the conclusion of this storyline contains two additional twists I suspect nobody saw coming. At least I didn’t.
Obviously, I can’t disclose any more than this. What I can say is that after reading Powers of X #6, you will almost see how Hickman fits everything together into a complex, but perfect tapestry. And yes, I’m emphasizing the word “almost” for a reason. Because it’s clear Hickman is still hiding plenty of secrets and is waiting to slowly reveal them during his upcoming X-Men and New Mutants series. This does, however, risk frustrating readers and new ones in particular. After all, it does mean both House of X and Powers of X have essentially acted as a twelve-issue prologue.
Finding out why Powers of X #6 has an extended page count may also put some folks off. Except for an additional splash page, the first seven pages reprint the beginning of Powers of X #1 word-for-word and panel-for-panel. It also reprints panels from House of X #6. In fairness, reprinting those scenes do have a legitimate narrative purpose. Knowing what we know now, we can look back on those scenes and read them in an entirely different and appropriate context.
This also applies to the characters we’ve seen throughout both series. The Librarian’s doubt over the upcoming “Ascension” into the Phalanx and his beliefs on freedom, evolution, and immortality provide compelling insights into his culture and fascinating reading besides. Moira herself becomes even more multifaceted than her depiction in House of X #2. Plus her observations via Hickman’s “White Pages” are equal parts sad, funny, revealing, and mysterious. Of all that Hickman has done with House of X and Powers of X, his greatest success is his reinvention of Moira, and Powers of X #6 solidifies this.
The comic also acts as a great capstone to the artists’ work throughout both series. Both Larraz and Silva have gone to great lengths in making their illustrations as detailed as possible. The same goes for colorist Marte Gracia, who is almost single-handedly responsible for making these comic come alive. With this final issue, however, all three, along with David Curiel, exceed themselves. The Habitat scenes alone are filled with such meticulous detail that you can distinguish different varieties of leaves. The way the shadows of the trees fall across the characters’ faces and bodies make the panels as close to photorealistic as comic art can get. Just this comic alone should earn these four Eisner Award nominations.
By itself, Powers of X #6 makes for a decent enough ending. When seen as part of a greater whole, though, it firmly roots both House of X and Powers of X as a modern masterpiece. Hickman, along with Larraz, Silva, Gracia, Curiel, and Tom Muller, hasn’t just revitalized the X-Men; they have told an engaging, thought-provoking science fiction story. Taken together, this not only could be regarded as one of the best X-Men stories of all time, it could easily be a candidate for one of the best graphic novels of the 21st century. And best of all, this is only the beginning.
Stillanerd’s Nerdy Nitpicks (with potential spoilers)
- “Logan Howlett James.” Don’t you mean “James Logan Howlett,” comic?
- So all this time, the Librarian, his blue-skinned colleagues, Nimrod, and the Phalanx weren’t speaking English? Then why didn’t the earlier issues not bracket the speech in their word balloons as this comic did?
- Oh, so that’s who the man and the woman in the nature preserve are. Though it’s curious how Powers of X #1 shows them buff naked whereas they’re now wearing tights. Maybe they decided to act modestly when the knew the Librarian would be coming to visit? Not to mention they probably would’ve worn clothes more often if they’d known he’d been “eavesdropping” on them this whole time.
- “…the real get for someone in my position…” Don’t you mean, the real gift, Mr. Librarian? Sheesh, for someone “fascinated” by “dead languages,” you sure don’t do a very good job studying them.
- The same blood type, eh? Somehow, I have a feeling this won’t be the only connection they’ll have.
- “…was that fast enough for you?” Oh, Logan. It’s perfect one-liners like that which make you the Clint Eastwood among mutants.
- Okay, given the Moira X retcon and how it ties in with established X-Men history, you realize just how manipulative she and Xavier have been all along. Even so, after reading the 17th entry in Moira’s journal? Wow! No wonder Proteus and Legion are so screwed up.
- Okay, just whose mutant DNA did Mister Sinister inject himself with besides Thunderbird?
- “…one of mankind’s greatest culinary cities.” Gee, that really narrows it down, Moira.