POST SECRET-WARS STORY DISCUSSION, AHOY!
Rachel here!
A whole lot of you have been writing in to ask what we think of the recent revelation that the Terrigen Mists are gradually killing off the mutant population of the Marvel Universe. The popular theory of choice seems to be that Marvel has it in for the X-Men: that this is at best a pointless rehash of the M-Day storyline, and at worst a corporate grudge-fueled fictional genocide.
And look: Is Marvel putting more time, energy, and resources into the properties whose entertainment rights they control, and moving those lines front and center in shared-universe stuff? Yeah. But that has been happening roughly forever. In fact, it’s what made the X-Men so prominent in the first place: putting more resources into a line that was at the time tied significantly to the company’s financial success.
This is one of the main liabilities of investing emotionally in a company-owned superhero property: narrative resonance is often going to take a backseat to business. (To an extent, this is one of the main liabilities of investing emotionally in anything that someone else owns or creates: its development will ultimately be informed by priorities other than yours.)
Is Marvel actively sabotaging the X-line? Probably not. Occam’s Razor, y’all: I seriously doubt anyone there has the time–or the imperative–to plan a major arm of a publishing program based on sheer malice. That would be a baffling business move and a phenomenal waste of resources–and it really doesn’t jive with the creative attention that seems to have gone into the post-Secret Wars X-line we’ve seen so far. If Marvel wanted to destroy the X-line, they’d quietly back-burner it, whittle it down to one or two titles–or absorb the headlining characters entirely into other books–and walk away. That’s obviously not happening.
There have been five ongoing X-books announced post-Secret Wars, and we know of at least one other that’s going to be joining them (shhh, don’t tell)–and that’s entirely discounting the many X-affiliated characters who are part of other lineups. You may not like the direction the line is taking–which is fine; again, not every story or arc will appeal to every reader–but the line itself? Probably not going anywhere.
Okay? Okay. So, let’s talk about story.
A lot of the “Marvel is trying to destroy the X-Men” arguments are based on a few preview pages from Extraordinary X-Men, in which it’s revealed that the Terrigen Mists are killing and sterilizing mutants. Which, yes, sucks for mutants, and certainly bodes ill: remember the time Marvel introduced an incurable mutant-targeted virus that devastated the mutant population, destroying the X-line and permanently removing every mutant character from circulation?
Oh, wait.
Adversity is the bread and butter of good stories, especially good superhero stories. Two of the all-time best–and best loved–Daredevil runs are Born Again and The Devil in Cellblock D, and both of them are framed around horrible things happening nonstop to Matt Murdock. This did not happen because Frank Miller and Ed Brubaker hate Daredevil: it happened because adversity makes for good stories. As a writer, the more you love a character or group of characters, the higher the chances that you will throw them to the tigers just to watch them fight their way out. When you love a character, you give them challenges worthy of their narrative potential–and the X-Men, in particular, are a team and a line that historically have shined brightest with their backs to the wall.
The X-Men have been around for more than 50 years. They’re not going anywhere. The quality–and lineup–and the quality of individual titles will ebb and flow, as will their personal resonance for any given reader. (Remember the ‘90s? We do.) You’ll drift away, or you won’t; and you’ll come back, or you won’t; and either way, odds are good that the X-Men will still be around.
That this is happening in an X-title is also significant: the X-Men have a large, dedicated, and markedly diverse fanbase; one that tends to be particularly attuned to representation of minority issues. There are a couple reasons for that.
