Tag Archives: Jonathan Hickman

The Potential (And Pitfalls) Of Polyamory In The X-Men Comics

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Two years ago, I wrote an article that explored the idea of using polyamory to resolve the infamous Cyclops/Jean Grey/Wolverine love triangle in the X-Men comics. I admit that it was primarily a thought experiment. It was my way of attempting to resolve what I believe to be the worst manifestation of a love triangle in all of fiction. I never expected it to manifest in any form outside head canon of fan fiction.

Then, “X-Men #1” by Jonathan Hickman and Leinil Francis Yu came out, almost two years to the day that I published that article. While it wasn’t overtly stated that polyamory is now a thing in the X-Men comics, there were certain details that strongly hinted at it, so much so that multiple outlets in the world of comics have taken it seriously.

I’m not saying the article I wrote was prophetic. I certainly didn’t predict that Marvel would ever pursue this recourse or even hint at it. At the same time, it’s kind of surreal that this is something that might actually play out in mainstream superhero comics. The fact that it’s playing out in a company owned by Disney makes that even more astonishing.

Now, before I go any further, I want to make one thing clear. After reading “X-Men #1” and all the speculation surrounding it, nothing has been definitively confirmed. The writers and editors at Marvel have not stated outright that they’re actually making Cyclops, Jean Grey, and Wolverine a polyamorous couple. It’s been hinted at, but not confirmed on panel.

In comics, that means a lot. Like a death without a body, if it doesn’t happen explicitly on panel, then you can’t assume it did. That’s just how comics work. That extends to love triangles, polyamory, and everything in between.

That said, I think Hickman and Yu have created the right circumstances. Two years ago, Jean Grey was still dead, Cyclops was dead, and Wolverine had just come back to life. The events of House of X and Powers of X establish that the X-Men, and the rest of the mutant race for that matter, have established a new world for themselves on the living island of Krakoa. It’s a chance to do things differently.

In this new setup, the tensions and melodrama of the past are left in the past. The final pages of House of X #6 make that clear, especially with Cyclops, Jean Grey, and Wolverine. There’s even a nice moment between Jean Grey and Emma Frost, who have been bitter rivals for years. Hickman makes clear that these characters are looking to move forward and not revisit old drama.

The only question is what does that entail? Does moving forward simply mean moving past these old romantic complications? The final pages of “Uncanny X-Men #22,” which predate House of X and Powers of X, establish on panel that Cyclops and Jean Grey are still a thing. They still love each other and don’t hesitate for a second to embrace one another, now that they’re alive again.

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However, it’s not quite as clear that they’re content to pursue the same relationship they had before Jean died at the hands of Magneto back in 2004. On some levels, it makes sense to do something different. Both Cyclops and Jean Grey know what happens when they try to ignore these other feelings. They just fester under the surface and it hurts them both in the long run.

Even though their love for one another is very clear, the way they go about their relationship has shown plenty of flaws, going back to the days of Chris Clarmeont’s run on Uncanny X-Men. They still want to be together. They even want to be a family. The events of “X-Men #1” depict them as more a family than reunited lovers, which I thought was both sweet and overdue.

It’s also in this area that the potential for polyamory has already revealed itself. Most have pointed out the unusual arrangement of Cyclops, Jean Grey, and Wolverine’s rooms on the new moon-based Summer house. They’re all connected with Jean’s room in between Cyclops’ and Wolverine’s. They even have doorways between them, which is something the other rooms don’t.

It’s not definitive confirmation, but it certainly implies the possibility. Solicits of future issues have also hinted that Emma Frost may enter the picture as well. If Hickman, Yu, and Marvel are serious about pursuing this plot, then it could open the door for a very different kind of romantic sub-plot, the likes of which we haven’t seen in superhero comics.

While superhero comics have been quite progressive at times, and even somewhat daring, when it comes to pursuing non-traditional relationships, they’ve never attempted to tackle polyamory. Even though it exists in the real world, it’s not something superhero comics have ever taken seriously. This could change that.

A seriously, well-written polyamorous relationship between Cyclops, Jean Grey, and Wolverine could effectively redefine what it means for these characters to love one another. It helps that it’s happening at a time when the X-Men and the entire mutant race are redefining themselves on Krakoa. They’re building their own homeland and culture. Why wouldn’t they redefine how they handle relationships while they’re at it?

It could address some of the most egregious flaws that the love triangle has propagated over the years. Jean Grey would no longer be a prize to be won by Cyclops or Wolverine. Cyclops would no longer be an obstacle for Wolverine. More importantly, it would allow Wolverine to have his romantic connection with someone without being limited by it. For someone with his extensive romantic history, that’s very important.

However, that’s the best case scenario. It also assumes that Hickman is serious about pursuing this sub-plot. Like I said earlier, it has not be confirmed on-panel. There’s no hint in House of X, Powers of X, or “X-Men #1” that there’s something elaborate going on with them. They just carry themselves as though they’re on much better terms than they were before they all died on one another.

There are risks associated with pursuing this kind of relationship. While Hickman is a great writer with a great pedigree for superhero comics, he’s never tackled a love triangle with this much baggage. If handled poorly, it could do serious damage to all the characters involved.

It could devalue the depth and history of the Cyclops/Jean Grey romance, which is one of the most iconic in all of superhero comics. It could also take a character like Wolverine, who has a complicated history as a loner who rarely gets tied down by one relationship, and make him seem out of character. Him becoming a part of the Summers/Grey family would be like James Bond joining the clergy.

There’s also a chance that a polyamorous relationship with these three could devolve into something that is just played up for novelty. The fact that it’s so different can’t be the only reason for doing it. If it is, then it’s not going to be believable and the characters involved will suffer because of it.

Given how these characters have already suffered, I don’t think the time is right to deconstruct their relationships and romantic sub-plots the only reason for doing so is shock value. These are characters poised to enter the MCU at some point. I doubt Disney will want them overly complicated before that occurs.

Personally, it’s for that reason that I doubt Marvel will seriously pursue a polyamorous relationship between Cyclops, Jean Grey, and Wolverine. They may hint at it. They may tease it. They’ll do everything possible, except depict it on panel, which will keep readers guessing and speculating. It’s something they’ve done before, much to the chagrin of fans.

If they do try it, though, I sincerely hope that Hickman, Lu, and the rest of Marvel’s creative team takes the concept seriously. The X-Men, throughout their history, have depicted characters who are very different, if not downright weird compared to the rest of the world. If that’s going to extend to how they pursue romance and relationships, then it deserves a serious effort.

However, it cannot and should not come at the cost of the characters or the iconic romances that came before it.

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Jack Fisher’s Weekly Quick Pick Comic: X-Men #1

At their most basic, superhero comics involve extraordinary characters saving the day against extraordinary threats. Whether it’s battling invading aliens, fighting giant robots, or thwarting evil scientists, a simple superhero comic makes the most of this dynamic. To become something better, though, it has to do much more than the basics.

X-Men comics have never relied heavily on the basics. While they’ve fought their share of aliens, killer robots, and mad scientists, that has only ever been a small part of their story. From the early days of Stan Lee and Jack Kirby to the heyday of Chris Claremont, the X-Men are at their best when they’re more than just superheroes. They’re a family.

They may not be a family in the traditional sense. Then again, part of the X-Men’s defining trait is that they’re not traditional. They’re mutants. They’re outsiders. They’re different, but uncannily so. That’s the spirit that Jonathan Hickman and Leinil Francis Yu capture in “X-Men #1.”

They still fight bad guys. They still save the day, living and fighting in a world that can’t resist the urge to slaughter them with killer robots. They also live, love, and cherish one another, as any other family. Theirs just happens to be more uncanny than most.

Building on the foundation that both “House of X” and “Powers of X” so masterfully built, X-Men #1” establishes how the X-Men operate in a world where they have a homeland in Krakoa and unprecedented unity among their kind. There are still battles to be fought, some of which began during the events of “House of X.” Fittingly enough, Cyclops is at the front line of those battles.

For a character who has been denigrated, killed off, brought back to life, and endlessly criticized for how he’s handled his personal life, it’s nothing short of refreshing. Say what you will about Cyclops and the questionable choices he’s made, he’s still the X-Men’s consummate leader. He always has been and always will be. It’s one of the most defining aspects of his character.

Hickman affirms that at every turn in X-Men #1.” Cyclops is the one who leads the charge against Orchis, the big human-led conspiracy to counter mutant evolution, who proved themselves quite capable in “House of X.” They may have lost a big chunk of their operation, but they’re still a threat and Cyclops leads the charge against them.

On paper, it’s simple. The way it plays out offers plenty of complexities. The exchanges between Cyclops, Storm, and Magneto highlight the strength of their personalities. They aren’t just costumed heroes saving the day. They have personal stakes in this battle and it only gets more personal at the story unfolds.

The battle they fight is only a small part of a more intimate story. Just saving the day and further crippling Orchis isn’t enough. The most endearing moments of X-Men #1” are the ones that show Cyclops living his life outside his heroic persona. They show that, when he’s not in battle, he has a home to go back to.

That home doesn’t just include his friends and fellow teammates. They include his father, his brothers, and his kids, including ones from dystopian timelines. Given the many complexities and complications surrounding the Summers family, it’s refreshing to see this family come together again. If anything, it’s downright refreshing.

It shows that the X-Men aren’t just about going from battle to battle, saving the day and stopping the next great extinction event. They have lives they wish to build. They have close personal connections they wish to foster. Beyond making them better superheroes, it helps show that they’re still very human at their core.

However, this personal touch doesn’t just apply to the X-Men, Cyclops’ family, or superheroes in general. Even their enemies have a personal stake in this new post-Krakoan world. Just as he did in House of X,” Hickman makes it clear that Orchis aren’t just another generic threat to mutants that rely heavily on killer robots. It’s personal for them too.

Many of the individuals involved in Orchis are still unknowns, but their motivations become much clearer in X-Men #1.” It’s also clear that they still have the resources and the will to become a much bigger threat. They may not be a family on the same level as Cyclops and his fellow X-Men, but they’re every bit as driven to protect it. That makes them more dangerous than any killer robot.

Overall, X-Men #1” has both the basics and the more advanced features that make for a quality superhero comic. Hickman sticks closely to the classic X-Men formula that has been subject to so many tweaks, overhauls, and upheavals in recent years. Yu’s dazzling artwork brings vibrant, colorful aesthetics to that formula. It’s as complete an X-Men comic as you’ll get without a Patrick Stewart voice-over.

It’s a bold new era for the X-Men. Hickman deconstructed and rebuilt the X-Men through “House of X” and “Powers of X.” However, the core components remain the same and as strong as ever. There’s heroics, killer robots, and sweet family moments. It’s a big part of what makes the X-Men so uncanny.

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Jack Fisher’s Weekly Quick Pick Comic: Powers of X #6

When assessing the greatness of a particular story arc in comics, there are many factors to consider. There’s the quality of the writing, the strength of the characterization, the cohesiveness of the plot, the vibrancy of the artwork, and how it all fits together in terms of the greater narrative. Many comics succeed in some of these areas and are worth reading. Very few manage to succeed in most.

I usually try to avoid spoiling too much of a great story, but I will spoil one thing. “Powers of X #6,” and the overall story arc it capped off, is among those select few. In the history of X-Men comics, Marvel Comics, and superhero comics in general, this is one of those stories that will likely stand out as an example of what’s possible when all the right story elements are in place.

Writer Jonathan Hickman has always been someone with big ideas who builds even bigger stories around them. He starts with a concept. Then, he positions the characters around it in such a way that requires them to evolve in ways that they’ve never dared. From there, the story only gets bigger in terms of scope, scale, and impact.

He did it with the Avengers. He did it with the Fantastic Four. Now, he’s done it again with the X-Men. As a lifelong X-Men fan, who has seen some pretty awful runs and some exceedingly dark times, I cannot overstate how refreshing this story is. I honestly cannot think of a time when an X-Men story arc felt so meaningful and relevant.

I’ve highlighted and praised various issues of House of X and Powers of X before, but “Powers of X #6” faces a unique challenge that many story arcs fail to overcome. It can’t just end the story on a particular note. It has to fill in some lingering plot holes while leaving just enough unfilled for future stories to build on. It’s a difficult balance to strike and one past X-Men story arcs have come up short.

That balance never falters in “Powers of X #6.” It fills in a few key plot holes, most notably the events of Moira MacTaggart’s mysterious sixth life. At the core of this story, and everything that stems from it, is the impact of Moira MacTaggart. It’s not hyperbole to state that she is now the most important character in the X-Men mythos.

Her role doesn’t just involve revealing what worked and didn’t work in terms of mutants trying to survive in a world that hates and fears them. In “Powers of X #6,” she witnesses the ultimate endgame for the human/mutant conflict. She sees the inevitable result of this conflict, regardless of which side she takes.

It doesn’t matter if someone sides with Magneto.

It doesn’t matter if someone sides with Professor Charles Xavier.

It doesn’t even matter if someone swears allegiance to Apocalypse and fights by his side.

The events in “Powers of X #6” establish that none of these conflicting groups, who have been clashing in X-Men comics since the Kennedy Administration, will be vindicated in the long run. Ultimately, they will be defeated, but not by the forces they think.

It’s a point that Hickman makes clearly by building on key moments established in past issues of Powers of X and House of X. Within these moments, harsh truths are dropped and fateful choices are made. They help give the achievements that played out in “House of X #6” even more weight. They also establish the stakes the X-men, and the entire mutant race in general, face moving forward.

These are powerful moments that impact the past, present, and future of the X-Men. Through Moira, the greatest threats facing mutants takes a very different form. It’s not a menacing new Sentinel. It’s not some mutant tyrant, either. It’s not even some bigoted human who thinks interment camps are still a good idea. I won’t spoil the particulars, but c makes clear that the X-Men have an uphill battle.

That’s saying a lot, considering the mutant race is more united than it has ever been. They have a home in Krakoa. Teammates who have been dead or missing for many years are back. They have valuable resources that the world wants. They’ve even won over their greatest enemies, like Apocalypse.

However, even with Moira’s foresight, that still might not be enough.

It might be the greatest achievement of “Powers of X #6.” It is an ending to a bold new beginning for the X-Men, but it also redefines the challenges they face. Through Hickman’s skilled world-building and artist R. B. Silva’s brilliant renderings, it genuinely feels like a true paradigm shift for X-Men comics.

They’re still mutants. They’re still the same superheroes they’ve always been. Their goals haven’t fundamentally changed that much. What has changed are the stakes, the forces opposing them, and their approach to dealing with them. It feels both hopeful and dire at the same time.

Whereas “House of X #6” establishes the promise of a brighter future for mutants, “Powers of X #6” reveals the ultimate barrier to that future. It’s not something they can shoot, blast, stab, or punch. If they want to succeed, then they have to fundamentally change how they go about Charles Xavier’s dream. Moreover, the dream itself needs to evolve.

Years from now, X-Men fans will likely look back on “Powers of X #6” as a defining moment for a narrative that has been unfolding for over 50 years. Those moments are few, far between, and precious. This one in particular may go down as one of the most uncanny.

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Jack Fisher’s Weekly Quick Pick Comic: House of X #4

In life, there are usually a handful of moments when you can say that you’ve had your finest hour. Whether it’s winning a championship, finding the love of your life, or winning a buffalo wing eating contest, those moments are special. They reveal just how good and capable you can be. For the X-Men, “House of X #4” is that moment.

Writer Jonathan Hickman and artist Pepe Larraz have been redefining, revamping, and at times revolutionizing who the X-Men are and what they stand for. As a lifelong X-Men fan who will find any excuse to write about them, I could fill a pool with the tears of joy I’ve shed while reading this series. With “House of X #4,” however, those tears are mixed with a host of other feelings besides joy.

Since it began, House of X has put the X-Men and the entire mutant population in a bold new situation. They’re no longer hiding in fancy mansions, isolated islands, space stations, or hellish dimensions. Hickman has gone heavy on the world-building, turning the living island of Krakoa into a vast, expansive sanctuary for mutants. The results have been both functional and awe-inspiring.

However, building a new world for the mutants of the Marvel universe is just part of the story. Protecting their future and preventing their extinction at the hands of Nimrod and the Sentinels are a much larger part. That part of the story is what culminates in “House of X #4.”

It’s not overly elaborate. Hickman doesn’t try to reinvent the nuts and bolts of how the X-Men go about saving the day and their species. He simply raises the stakes while Larraz makes it a visual spectacle. It effectively builds on what was set up through the events of Powers of X and the many lives of Moira MacTaggart.

For once, the X-Men aren’t on the defensive. They’re not the ones caught off-guard by an army of Sentinels or some new mutant-killing menace. They know what’s coming. They know that Mother Mold will give rise to Nimrod and Nimrod will be the end of mutants, humans, and everything in between. Now, they’re in a position to stop it.

They don’t send the B-team for this mission, either. They throw the X-Men’s heaviest hitters with Cyclops, Wolverine, Jean Grey, Mystique, Arcangel, and Nightcrawler. They even add in some lesser-known, but still-effective names like Husk and Monet. Their mission is simple, but the logistics are not. It’s an opportunity for the X-Men to be at their best and they take full advantage of it.

The struggle is intense. The battle is dramatic. Larraz’s artwork is simply stunning every step of the way. There’s never a sense that this is a mission from which the X-Men will escape intact, unscarred, and completely triumphant. This isn’t a Saturday morning cartoon or a movie where the good guys have to win outright. This is a battle for the present and future of the X-Men. Battles like that will come at a cost.

There’s definitely a sense that this mission is a suicide mission. There’s no teasing this mission will require heavy sacrifices. That sort of thing has been par for the course with X-Men comics for years, now. After they killed Wolverine for a while, the death of any character become much more trivial.

Making anything count in any comic these days is a challenge. Fans who have been reading the books for more than a few years know that nobody stays dead, nothing remains stable, and Deadpool never shuts up. The key is giving the conflicts weight and substance. In that, Hickman definitely succeeds in “House of X #4.”

The previous issues help establish why the X-Men need to take down Mother Mold. They also establish what happens if they don’t. The past, present, and future are all at stake at the same time and for once, it’s not because someone is abusing a time machine. For any superhero comic, especially an X-Men comic, that’s nothing short of revolutionary.

It all comes down to this single mission. Cyclops takes lead. Wolverine does something incredibly badass. Nightcrawler is astonishingly charming. Jean Grey has a flare for the dramatics. Even Monet gets a chance to cut loose. It’s a dire sequence of events, but one that has depth and meaning.

If someone ever wants to show who the X-Men are and why they’ve resonated so much since the Kennedy Administration, they would be wise to cite “House of X #4.” It doesn’t just depict heroes saving the day. It shows what the X-Men are willing to fight for and sacrifice for the sake of their future.

It’s not just about defeating the villains and winning the day. There are many personal moments in this battle that show the strengths and bonds of each character. Some shine more than others, but they never stray far from what makes them great. The stakes are high, but the characters stay consistent.

At their core, the X-Men are mutants and mutants are human. They’re not these larger-than-life icons in the mold of Superman, Captain America, or Spider-Man. They’re real people who didn’t get their powers by choice or circumstance. They were born that way. They can’t escape who and what they are. They don’t want to, either. They want a future for their kind and those who hate them.

They fight for that future in “House of X #4.” They know what will happen if they lose. There’s no ambiguity in what they do or why they do it. This is just X-Men being the kinds of heroes they need to be when everything is at stake. The story isn’t over, so their finest hour may still be ahead of them. However, the astonishing events of “House of X #4” are going to be very hard to top.

 

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Jack Fisher’s Weekly Quick Pick Comic: House of X #2

What would you do if you could live your entire life over again with all the memories of your previous life? What if you could do that more than once and come into the world with knowledge and experience equivalent to multiple lives? Movies like “Groundhog Day” and “Edge of Tomorrow” attempted to answer that question in part. Jonathan Hickman tries to answer that question more fully in “House of X #2.”

As someone who has been reading comics for a sizable chunk of his life, I know how rare it is to see a single issue come along that both redefines a character and explores a host of new, exciting concepts. I thought “House of X #1” was one of those once-in-a-decade comics that wasn’t going to be matched for a good long while. I was wrong.

I’m glad I was wrong too because what Hickman accomplishes in “House of X #2” is as remarkable as it is engaging. It doesn’t just give context to the previous events that were revealed in both “House of X #1” and “Powers of X #1.” It completely redefines the entire history of the X-Men.

For a series that includes multiple time travel plots and multiple dystopian timelines, that’s quite an accomplishment. It’s how Hickman and artist Pepe Larraz go about it that makes “House of X #2” so impactful. It begins and ends with how the story rewrites the role of Moira MacTaggart.

It’s not hyperbole to say that this single issue makes Moira the most important character in the history of the X-Men, the mutant race, and their future. For a character who was either a love interest for Charles Xavier or a side-character who often got overshadowed by other mutants, that’s quite an accomplishment.

This is not the same Moira from the “X-Men First Class” movie. This version of Moira is a mutant with a very unique power. It doesn’t involve shooting lasers out of her eyes, reading minds, or shape-shifting. Her power is basically a more complete version of the abilities that Bill Murray and Tom Cruise enjoyed in the aforementioned movies.

In essence, Moira lives her entire life, dies, and is reborn with all her memories and experiences intact. It’s not restricted to a single day. It’s not indefinite, either. Like an old Mario game, she has a limit to the number of lives she can live. What she does with them is up to her. Knowing what happens to mutants, humans, the X-Men, and Charles Xavier informs her choices.

It raises many profound questions about Moira’s role in the history of the X-Men and the Marvel universe in general. It also expands on how Moira came to influence the events of “House of X #1” and “Powers of X #1.”

The story, itself, is built around the multiple lives that Moira has lived. I won’t spoil the details, since this is one of those comics that needs to be read to appreciate the impact. I’ll simply confirm that she tries multiple approaches to averting yet another dystopian future for the X-Men, mutants, and humanity as a whole.

Some of those approaches involve working with Charles Xavier. Others involve actively opposing him. In all the lives leading up to her tenth, there are a few common themes. When two competing species inhabit the same world, there’s bound to be conflict. Efforts to escape or preemptively win that conflict rarely pan out.

Like Phil Connors constantly waking up on Groundhog Day, no matter what he does, Moira keeps hitting a proverbial wall. No matter what she attempts, there doesn’t seem to be a way around this conflict. It’s not until her 10th life that she comes to the realization that leads to “House of X #1.”

It’s hard to overstate how much “House of X #2” changes the overall context of the X-Men comic. Suddenly, Moira MacTaggart is the most influential character in the history of the X-Men, mutants, and everything in between. What she does, why she does it, and how she goes about it changes how we see the past, as well as the present.

The benefits of hindsight make it seem simple, but it isn’t. It also raises a great many questions. If Moira has all this knowledge, why didn’t she use it to achieve more? What made her choose the path that led to the most recent events for the X-Men and the Marvel universe, as a whole? Most of these questions go unanswered, but there are some telling clues that add even more intrigue.

Hickman and Larraz achieve something truly uncanny with “House of X #2.” I know I said the same thing about “House of X #1,” but that comic now has a greater meaning thanks to this one. The stakes for every other X-Men story that unfolds after this has a new meaning as well. Few comics can boast that kind of impact without being written by Jack Kirby, but “House of X #2” is definitely one of them.

Even for those unfamiliar with the convoluted history of the X-Men can appreciate the concepts this comic explores. We see someone who has lived multiple lives, cursed with knowing how things play out for those she cares for. She wants to make that life better for herself and the world as a whole. She’s in a unique position to pursue that change, but it’s fraught with more complications than any “Groundhog Day” rip-off could convey.

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Jack Fisher’s Weekly Quick Pick Comic: Powers of X #1

Lifelong comic book fans like myself wake up every Wednesday morning with a mix of excitement, anticipation, and dread. It’s a weekly event in which the worlds we love grow just a little bit bigger. However, not all New Comic Book Days are treated the same. Some are more memorable than others and I have a feeling that “Powers of X #1” will make this particular Wednesday feel special for X-Men fans.

The X-Men comics are in a major state of transition and upheaval. In the past, that has usually meant they’re facing yet another extinction event. Whether it’s Sentinels killing 16 million mutants or the Scarlet Witch going crazy, big change usually means the X-Men have to stave off another genocide.

Writer Jonathan Hickman is not taking that approach. As someone who has been reading X-Men comics for a good chunk of his life, I find it both overdue and refreshing. In “House of X #1,” he set out to build a bold new world for mutants. In “Powers of X #1,” he puts this world into a much greater context that will likely have X-Men fans talking for years to come.

This new vision for the X-Men isn’t just causing major upheavals in the present. It’s having an impact on the past and future, as well. Historically, this usually means that there’s yet another terrible dystopian future about to unfold and the X-Men already have way too many of those.

With Hickman, however, it’s not nearly as clear-cut and that’s exactly what makes “Powers of X #1” so engaging.

This isn’t just another case of some fateful decision in the past having dire consequences in the future. There’s no moment with Skynet or time traveling assassins. With “Powers of X #1,” the story unfolds across four distinct time periods. One takes place in the X-Men’s past. The other continues part of the story in the present that begins in “House of X #1.” The last two take place at multiple points in the future.

While much of the story unfolds in the future, there’s a never a sense that they’re too disconnected from the past or present. There are a host of new characters with familiar powers and appearances. Artist R. B. Silva is not subtle in who inspired the designs of these characters and that’s critical because a lot transpires in a short span of time.

We don’t get to know these characters very well, given their limited face time, but they do plenty to establish distinct personalities and motivations. We get a sense for what they’re after and what’s at stake. It’s not entirely dystopian in tone, but it is dire and not just for mutants.

Once again, Hickman goes heave on the world-building. In between Silva’s colorful depictions are little insights into how this future took shape. It’s not a simple as one fateful choice or one fateful death. It’s more a culmination of conflicts.

Mutants are on the brink, but it’s not because of a plague or a genocidal war. In this future, humans aren’t the enemy, but what they’ve become certainly is. They’re not just a bunch of fearful, mutant-hating zealots trying to product themselves with killer robots. They’ve actually become something more menacing.

The details aren’t all in place, but the hints are there. While mutants built on the foundation that Charles Xavier established, humanity went down a different path and it’s not one conducive to peace, love, puppies, and whiskey. Familiar faces like the Nimrod Sentinel make that abundantly clear, but it’s the new faces that add the most intrigue.

Nimrod and the other humans around it aren’t just human anymore. They’ve become part machine, as well. However, these aren’t Terminator knock-offs. They still have personalities. They even talk and converse like humans. They’re a whole new order of humans that Hickman identifies as the Man-Machine Supremacy. Given the events of “House of X #1,” it fits perfectly.

It also makes a twisted bit of sense in a not-so-dystopian way. In a world where mutants are suddenly organized, complete with a homeland and collective vision, humanity seems doomed to obsolesce. They’re only choice is to evolve in a new way so they have a chance at competing.

The story covers many concepts and raises many questions, but “Powers of X #1” works because there are just enough hints at the answers. It perfectly complements what “House of X #1” established with respect to setting, tone, and vision. Hickman creates a perspective that neither humans nor mutants want to go extinct. They both seek a bold vision for their future, but there’s only room for one in the future.

Every vision begins with a dream. Bold visions inspire bolder actions. This is the heart of what makes the X-Men who they are. It’s also the driving force behind the many conflicts they face. A book like “Powers of X #1” doesn’t attempt to subvert that conflict. It simply dares to evolve it in a new direction.

What this means for the X-Men comics moving forward remains to be seen, but it’s very likely that “Powers of X #1” will be one of those comics that gets cited for years to come as a major turning point. It affirms that while all New Comic Book Days are special in their own right, some will always be more special than others.

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Jack Fisher’s Weekly Quick Pick Comic: House of X #1

Ever comic book fan has been conditioned to revere Wednesdays as New Comic Book Day. It’s basically Christmas every week. However, much like Christmas, not all Wednesdays are equal in terms of the presents they bring. Every now and then, a Wednesday comes along that a certain segment of comic fans come to revere for years to come.

For X-Men fans, this will likely go down as one of those Wednesdays because “House of X #1” is just that astonishing. Every now and then, a book comes along that is presented as a major paradigm shift for the characters, the themes, and the over-arching narrative of a series. In superhero comics, books like that are hyped up at least once a month. Very few deliver on that hype. “House of X #1” is one of those select few.

To say that the X-Men comics needed a book like this is like saying an insomniac needs a good night’s sleep. For years now, going back to the days of “House of M,” both the X-Men and the entire mutant population of the Marvel Universe has been in a constant state of extinction-level crisis. Even when they’re not about to go extinct, they’re caught up in something that has them just one slip-up away from another dytopian future.

In “House of X #1,” writer Jonathan Hickman dares to rebuild the X-Men’s world without first sending them to the brink of extinction. For anyone who has followed X-Men comics for more than two years, this is like a breath of fresh air, a massage, and a chocolate milkshake all rolled into one. It shouldn’t be that radical a concept, but between Hickman’s vision and Pepe Larraz’s beautiful artwork, it sure feels like it.

This bold new world for the X-Men isn’t built around mansions with high-tech jets hidden below the tennis court. You won’t find orbiting asteroids, isolated nations, or island sanctuaries in the middle of San Francisco Bay. This world is more than a nation or sanctuary. It’s a bold new form for Charles Xavier’s dream.

It comes courtesy of Krakoa, a name right out of one of the most iconic X-Men comics of all time. This living island has evolved and Charles Xavier is maximizing its potential with intriguing results. He comes off as more than just a visionary or messianic figure in “House of X #1.” He has a bold new plan for the entire mutant race and it’s big.

By that, I don’t just mean it’s big in terms of goals and scope. This plan is something that changes the way the X-Men operate. It’s not just flying around in X-Jets anymore. It’s not just peaceful protests and confronting bigotry. Charles Xavier is rallying mutants to his cause in a bold new way. He’s also dealing with humans in a new way, as well.

It’s here where “House of X #1” explores some very interesting concepts that take the X-Men into uncharted territory. For much of their history, the X-Men have been either reacting to attacks by their enemies or trying to counter intense hatred and mistrust of mutants. It hasn’t just hindered Xavier’s efforts at peace and understanding. It has kept them isolated and always on the brink.

Rather than simply brace for the worst, Charles Xavier decides to offer something tantalizing to both humans and mutants alike. I won’t spoil too many details. I’ll just say that he puts the X-Men in a unique position, in terms of how the world sees them. It may not win them the love and adulation that the Avengers get, but it does provide some bold incentives.

That’s something that few X-Men comics have ever attempted on this scale. It’s not enough to confront hatred and mistrust. Hickman puts the X-Men in a position to be more diplomatic with the world. They have something to offer the world. Accepting that offer benefits humans and mutants in a tangible, positive way.

Again, that should not be such a radical concept, but Hickman and Larraz present it in a way that feels both novel and vast. It’s not entirely utopian in its potential, but it has the potential to bring positive change to a world and a narrative that needs it.

As a lifelong X-Men fan, “House of X #1” fills me with both curiosity and awe. There’s a lot to love about this bold new world that Hickman and Larraz are building. For once, it’s not just another threat that puts the mutant race on the brink of extinction. There’s a larger effort to do something bigger.

That’s not to say the threats aren’t there. Just as Charles Xavier pursues his bold new vision in “House of X #1,” other visions forged by other characters emerge to present obstacles. Some parts of that vision are new, but there is some familiar imagery that X-Men fans will recognize. It ensures that there will still be plenty of mutant-powered fights in this new world.

At the same time, “House of X #1” creates a clear impression that fighting killer robots will only be a small part of this new vision for the X-Men. There’s so much more going on, both with the characters and with the larger Marvel Universe. After all the upheavals they’ve had over the past 15 years, it finally feels like they have room to grow again.

It’s an exciting time to be an X-Men fan. On top of Kevin Feige confirming that mutants are finally coming to the Marvel Cinematic Universe, Hickman and Larraz are taking X-Men in a bold, if not overdue direction in the comics. This sentiment is even captured perfectly in Charles Xavier’s first lines of the book.

“Humans of the planet Earth. While you slept, the world changed.”

Truer words were never spoken. In a world that gets invaded by aliens, Hydra, and renegade gods every other day, that’s saying something.

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