The following is a video from my YouTube Channel, Jack’s World. As someone who has followed and praised X-Men comics for years, I wanted to make a video that articulated just how important the recent House of X/Powers of X story by Jonathan Hickman is in the history of the franchise. I tried to do it justice while trying not too hard to geek out. Enjoy!
Tag Archives: Jonathan Hickman
Happiness and joy often come in small doses, but like good investments, they compound quickly. I learned that early in life when I discovered how much more joy I got from a $3 comic than I did by trying to be the most popular kid in school.
Don’t get me wrong. Having friends is great. Being popular is great. It’s just easier to pay a few bucks for a comic than it is to jump through all the assorted hoops that come with seeking more elaborate forms of happiness. In terms of the simplest things that make me happy, a comic is one of the best bargains out there.
They’re not very expensive. They’re colorful and easy to access. You can even take them with alcohol. Kids and adults alike can appreciate them. Once you find a few series and titles you like, you’ve got a consistent source of joy to look forward to every week. That’s a big part of what makes New Comic Book Day such a delight.
My comic book consumption has changed over the years, but I’ve always found a way to enjoy every Wednesday. Thanks to Comixology, it has never bene easier. In a year like 2020, we need whatever sliver of joy we can get. New Comic Book Day can be part of that effort. To that end, here’s my pull list and picks for the week. Enjoy!
My Pull List
My Pick Of The Week
Giant-Size X-Men: Storm #1
Growing up, you learn vital life lessons from strange sources. For those my age, we all probably remember those after school specials or those public service announcements. They usually amounted to things like “eat your vegetables,” “listen to your parents,” and “hating someone because they’re different is wrong!” It was very preachy and crude. Most of us just rolled our eyes and went back to being kids.
Looking back on my youth, I don’t think those life lessons really taught me anything I didn’t already know. In fact, I think the most useful life lessons I learned back then came from comics. I still knew that comics could be preachy too. They always have been, despite what the assholes at associated with certain hashtags may claim. They just got their point across in a different way.
Personally, I think that way was more effective. The stories in comics didn’t just tell you to be honest, selfless, and kind. They showed you why those values are important and dared to have some fun along the way. Within the stories, you learn why Captain America and Superman’s altruism is so powerful. You also learn why Lex Luthor and the Red Skull’s selfish narcissism is so bad.
That really helped shape my understanding of right, wrong, friendship, tolerance, and understanding. My parents, friends, and teachers all played a part too. However, the stories I read in comic books made those life lessons fun and engaging. That’s not to say every comic teaches valuable lessons. If you try to learn life lessons from Deadpool, you will get mixed messages.
Those messages are still there, along with plenty of life lessons. More and more unfold every week with every New Comic Book Day. Once again, I offer to you my pull list and pick of the week. There are life lessons to be had. Even if they just involve how to kill zombies, they’re worth learning. Enjoy!
My Pull List
My Pick Of The Week
Empyre: X-Men #4
Everyone has their vice. Some are more destructive than others. There’s no question that crack and heroin are more damaging than a spicy foods and late 90s boy bands. Some are only destructive to your wallet. In that sense, I’m lucky my vice is comics. Say what you will about the cost of a collector’s item. It’s still cheaper than cocaine, cars, and caviar.
Wednesdays are the days I know I’ll blast a hole in my wallet. When I was in college, new comic day almost always coincided with Ramen Noodle day. I don’t doubt that dining on cheap food had an impact on my health. For a fresh stack of comics, it was worth the stomach pains.
I’m not in college any more and I don’t have to plan new comic day around cheap meals either. For that, I’m thankful. I’m also thankful that as my financial situation has improved, I’m able to better absorb the weekly splurge I often do at the comic shop and on Comixology. It makes new comic day that much more enjoyable.
In terms of vices, it’s plenty manageable. Sometimes, the message boards are a little dramatic and so is social media. It’s still a price worth paying. Some weeks cost more than others. This week is definitely one of them, but considering what I get from that money, it’s still a bargain.
With that in mind, here’s my pull list and my pick for the week. My wallet may be hurting, but I’ll manage.
My Pull List
My Pick of the Week
When you’ve been a fan of a particular comic or franchise for years, you get a sense for which issues will be controversial. It doesn’t always involve character deaths or betrayals, although that is an all-too-common trope. In fact, those that don’t involve character deaths tend to be the most controversial because they raise difficult questions that even long-time fans struggle to answer.
That’s exactly the kind of controversy that I imagine “X-Men #7” will inspire. It’s one of those books that introduces concepts that are sure make certain fans feel uneasy, but for entirely nuanced reasons. This goes far beyond Charles Xavier lying to the X-Men or Wolverine sleeping with Squirrel Girl. Writer Jonathan Hickman is taking the X-Men into some very morally gray areas that are sure to have larger consequences down the line.
There’s a context to those actions and one that has a basis in the founding of Krakoa. It’s established in “House of X/Powers of X” that creating a powerful mutant nation isn’t enough. Mutants are still a vulnerable species. They’ve been decimated through acts of genocide and de-powered through reality warping. To realize their potential, they need to get take back what they’ve lost.
However, doing so requires a somewhat distressing recourse, to say the least. It involves a process they call Crucible. It’s nothing what it sounds like. I won’t spoil it, but the goal is simple. It gives mutants who have been de-powered a chance to regain their powers, but how they go about it raises some serious moral dilemmas.
It’s a dilemma that some veteran X-Men, namely Cyclops and Nightcrawler, have mixed feelings about. It also raises questions about Krakoa’s resurrection protocols, which they’ve both experienced at one point. They act mostly as observers because as distressing as Crucible is, it’s something that de-powered mutants freely choose and who is anyone to question their choice?
It still feels like the X-Men are crossing some lines in their effort to make mutants stronger. It also raises more concerns about the nature of Krakoa and how the X-Men are going about realizing their goals. Years from now, “X-Men #7” might be one of those comics that acts as a turning point in a larger narrative. Hickman has never shied away from bold ideas, but this might be his boldest to date.
There are many concepts he’s explored since Krakoa’s founding in “House of X/Powers of X.” Many others are hinted at in “X-Men #7,” including some innuendo with Cyclops and Wolverine I’m sure will get a certain sub-set of fans talking. The X-Men franchise is entering uncharted, morally ambiguous territory. If nothing else, “X-Men #7” makes clear that there’s no going back and that’s why I believe it’s my pick of this week.
That said, it might be a good idea to avoid comic book message boards for a while. It’s going to get heated.
I’m a man of simple tastes. It really doesn’t take much to make me content. Give me a glass of whiskey, a box of donuts, and a fresh batch of comics and I’m as happy as a clam on ecstasy. I try to find joy in the little things. I believe that if you need to jump through elaborate hoops to be happy, then you’re missing the point.
On Wednesdays, it’s even easier. As soon as I wake up, there’s a fresh crop of comics waiting for me, thanks to Comixology. As long as my iPad is charged and my whiskey bottles aren’t empty, I know I’m going to have a great day. It doesn’t matter if the weather sucks or another troll army has taken over social media again. I’ve got everything I need to be happy.
That’s not to say new comics and whiskey are a perfect cure, but for a guy like me, it’s close enough. Some weeks are more eventful than others. Many weeks leave me wanting more. Overall, it all balances out. When new comic day arises, the odds are on my side and I’m happy to roll the dice.
Once again, I’m happy to share my pull list for the week, as well as my pick. If you’re a comic fan, this is a day to rejoice. If you’re a comic fan and you happen to enjoy donuts and whiskey as much as I do, then we’re bound to have an awesome day.
My Pick of the Week
What makes a good Wolverine comic?
For longtime X-Men fans, that’s like asking what makes a cake more delicious. There are so many things that make a Wolverine comic appealing. It’s not just about gratuitous violence or having a spitting, swearing, womanizing, hard-drinking Canadian. There many little details that set Wolverine apart from every other stab-happy, violence-prone badass in the world of comics. “Wolverine #1” just happens to capture most of them.
There’s nothing subtle or contrived about it. Writer Benjamin Percy takes all those little ingredients that make Wolverine awesome and mixes it into “Wolverine #1.” It could’ve easily gotten messy and it certainly does in many areas, but in the best and bloodiest way possible. The final product is a perfect reminder as to why Wolverine comics are so delicious.
It helps that “Wolverine #1” is giant sized, just like many of the other first issues of the series to spin out of “House of X/Powers of X.” Percy takes full advantage of those extra pages. There are actually two stories stacked into this comic. Both involve different conflicts with different setups. Both succeed in the sense that it gives Wolverine an opportunity to do what he does best.
One focuses on the ongoing conflicts surrounding Krakoa. Wolverine, as the leader of X-Force, is the first to get his hands dirty any time someone tries to undermine Krakoa’s standing as a nation. When someone is stealing and exploiting the life-saving drugs Krakoa uses to maintain that status as a nation, that requires more than a stabbing. It only goes horribly wrong from there, in appropriately bloody fashion.
The second story is more detached from the politics of Krakoa and tied more closely to Wolverine’s colorful past. That past includes both the beautiful women he’s seduced and the ruthless enemies who want to torture him endlessly. Unfortunately, this story is centered around the latter instead of the former. I’m not saying Omega Red is ugly, but there isn’t enough vodka in Russia to make anyone inclined to kiss him.
That story is every bit as bloody as the first, but for entirely different reasons. It puts Wolverine in the cross-hairs of Marvel’s blood-thirsty, non-parking vampire population. It’s a solo endeavor, but one that gives him just as many opportunities to be exceedingly violent and lovably gruff about it.
There’s plenty of violence, which is the core ingredient of every Wolverine comic. There are also hints of drama mixed in, which bring out the softer side of Wolverine. He’s not just a stab-happy, hard-drinking loner. He does have friends and he values them greatly. He does everything he can to protect them and horribly maim anyone who threatens him. Even when he’s covered in bloody wounds, he’s still lovable in that respect.
Overall, “Wolverine #1” has a little bit of everything for Wolverine fans of all kinds to enjoy. It’s a perfect complement to other over-arching stories in the X-Men comics. It’s also a great singular issue that reminds us why we love this Canadian brute so much. It’s a giant-sized issue packed with the best ingredients for a good Wolverine comic. It’s as delicious as you want it to be.
Now, if you’ll excuse me, I’ve got a hankering for some imported whiskey.
There are just a few days left until Valentine’s Day. For a romance lover like myself, it should be exciting. However, since I’m currently single, it’s hard to get that excited. Being single on Valentine’s Day is like being sick at an all-you-can-eat buffet. You feel awful, but see so many others enjoying the many treats available to them.
I still hold out hope that I’ll one day meet someone that will make every Valentine’s Day both exciting and special. In the meantime, it helps to be a comic book fan. It’s not just that comics offer a weekly dose of concentrated joy, courtesy of Comixology and my local comic shop. Many of my favorite comics also include top quality romance narratives.
I’ve mentioned a few before and every week seems to build on that foundation. Lately, romance in superhero comics has been more refined than usual. I attribute that to far less reliance on horrendous love triangles and more emphasis on actual romantic chemistry. What a concept, right?
Romantic undertones aside, superhero comics are a fertile ground for romance. Some are more iconic than others, but even the non-iconic ones help add a little drama into the narrative. I find myself appreciating those narratives more and more as my tastes in romance mature.
Eventually, I’d like to craft my own real-world romance narrative with that special someone. For now, I’m content being single and enjoying a fresh batch of new comics. Below is my pull list, which tends to be larger than usual around Valentine’s Day, and my pick of the week. Enjoy!
My Pick of the Week
It’s never too late for a character to become more compelling. It doesn’t matter if they’re in a superhero comic, a Seth Rogan movie, or cartoon created by Seth MacFarlane. A character, no matter how flat or one-dimensional they may be, needs just one quality story to give them the depth they need.
It’s been years since Mystique had a story like that. Aside from the underrated and over-criticized version offered by Jennifer Lawrence in the X-Men movies, Mystique has been one of the flattest characters in the entire X-Men franchise. In a franchise that includes the likes of Deadpool and Mojo, that’s saying something. That finally changed in “X-Men #6.”
This is one of those issues that may ultimately become one of the most important single issues in Mystique’s chaotic, yet colorful history. Writer Jonathan Hickman builds on the role she played in “House of X/Powers of X.” Having been part of the deadly battle to destroy Mother Mold and the Orchis Forge, she was on the front lines of the pivotal battles that helped establish Krakoa.
In the shadow of those events, “X-Men #6” expands on Mystique’s motivation and how it clashes with both Charles Xavier and Magneto. For once, her motivation has nothing to do with tormenting the X-Men, alienating off her kids, or messing with Wolverine. Instead of her usual hatred and vindictiveness, this duplicitous woman who never misses a chance to back-stab the X-men is driven by love.
It’s true. Mystique is capable of love. It may seem strange to anyone familiar with her blood-soaked history, but it’s true. She has always had one true love in her life. Her name is Irene “Destiny” Adler.
It’s impossible to overstate how important Destiny is to Mystique. She may be selfish, violent, and misguided most of the time, but her love for Destiny has always been a driving force. Even though Destiny has been dead for years, she still influences Mystique a great deal.
That makes her continued absence a bit of a problem for Mystique. She was among those resurrected by the Krakoan resurrection protocols in “House of X/Powers of X.” She knows the protocols work. She knows that Magneto and Charles Xavier have the ability to resurrect Destiny, but they won’t.
While they have their reasons, which were also made abundantly clear in “House of X/Powers of X,” it’s not enough for Mystique. She wants the love of her life back. Hickman further establishes just how much Destiny means to her. It makes her motivations and frustrations understandable. It even makes Mystique somewhat sympathetic, which is saying a lot for someone with her body count.
It’s refreshing and ominous. “X-Men #6” doesn’t just give Mystique an overdue does of depth. It sets her up to be one of the biggest threats to the future of Krakoa. She’s willing to do all sorts of horrible things for selfish reasons, but when she’s motivated by love, she’s more dangerous than a million sentinel attacks. That’s what makes her worth keeping an eye on. It’s also what makes “X-Men #6” my pick of the week.
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.
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.
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 and
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.
Hickman affirms that at every turn in
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
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 inHickman 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
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.
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.
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.