Into The Storm
“Into the Storm” / “The World” / “Disintegration”
Giant Size X-Men: Jean Grey & Emma Frost, Giant Size X-Men: Fantomex, and Giant Size X-Men: Storm
Written by Jonathan Hickman with Russell Dauterman (Jean/Emma)
Art by Russell Dauterman (Jean/Emma, Storm) and Rod Reis (Fantomex)
Color art by Matthew Wilson (Jean/Emma, Storm)
The Giant Size X-Men specials were initially sold as stand-alone one-shots, but as it turns out three of the five issues are, in fact, a coherent story arc that appears to advance the slow-burning Children of the Vault subplot. These three issues amount to 90 pages of story, but the plot isn’t particularly dense: Storm gets sick following getting zapped in her attack on the Vault in X-Men #5, Jean Grey and Emma Frost discover that she’s got a “machine virus” and will die within a month, Monet figures out that she can be saved in The World, and Fantomex brings Storm, Monet, and Cypher to The World to eventually extract the virus from Storm’s body.
The first issue of this arc is essentially a tribute/cover version of Grant Morrison and Frank Quitely’s famous “quiet issue” of New X-Men in which Jean and Emma perform a similar “psychic rescue” with Charles Xavier, and as such it’s more of a showcase for Russell Dauterman’s considerable skills as an artist. The Fantomex issue is also a blatant Grant Morrison tribute, with several scenes involving Fantomex quoted directly from New X-Men issues. This is all very nice and well-executed, but feels a little odd in the context of Jonathan Hickman’s larger project on the X-Men, which before this point had excised the “hey, remember this?” nostalgic references that had piled up quite a bit in recent years and fully metastasized in Mark Guggenheim’s vile X-Men Gold run. And true, those nostalgic nods were almost always to Chris Claremont comics, but the spirit is still the same. Also, the “hey, I’ve already read this” feeling makes these issues seem more slight than they actually are.
The Fantomex issue illustrated by Rod Reis is quite good. The plot depicts scenes from Fantomex’s life in which he brings different groups of people into The World, the artificial environment with accelerated time where he was created and raised. There’s an implication of unreliable narrative, that there’s only so much we should believe about what we’re seeing from the perspective of a man who is a living lie from a fake world – a “living contrivance, a product… a hall of mirrors with no end” as Psylocke puts it in Rick Remender’s Uncanny X-Force. But as much as the truth of it all is ambiguous, we see how Fantomex’s awareness of this weighs on his actual soul.
The big reveal of this issue is that Fantomex and Ultimaton – both products of A.I.M. and Weapon Plus’ project of developing mutant-hunting super soldiers in The World – are essentially identical twins raised with as much variance as possible. Fantomex was discarded as a baby, and the other gradually evolved into the Ultimaton we see in Morrison and Chris Bachalo’s “Assault On Weapon Plus” story. Each time Fantomex returns to The World he encounters Ultimaton at different stages of his development, always asking him if he would like to leave with him. Ultimaton always declines, and as time goes on sees Fantomex as an abstraction – “some primal direction of man, some primal direction of me.” The issue leaves off with Fantomex bringing Storm, Monet, and Cypher to The World, and the plot thread concludes in the Storm issue with Fantomex deciding to remain in The World with his ersatz brother. To be continued, of course, but there’s a nice emotional charge to this beat – Fantomex embracing the only sort of family he has, and giving up something of himself to help or guide this warped reflection of himself.
The Storm issue covers interesting ground. It’s a story about Storm fighting for her life, though in the first few pages Emma Frost points out how “overly dramatic” this is given that they have the means to immediately resurrect her. The point of the story is that Storm is a person who would fight for survival regardless – she refuses to surrender to anything, she will always try to find a way to overcome obstacles. Storm is also quite dramatic. It’s part of her charm.
The mechanics of the plot of this issue are driven largely by Monet and Cypher, who are clearly two of Hickman’s favorite characters. The story serves as a reminder that part of Monet’s impressive set of powers is advanced intelligence, and her genius is ultimately what saves Storm. Monet largely serves a plot function here, but her presence in this story, as well as in House of X and Empyre: X-Men amount to Hickman making a case for her as an essential X-Men heavy hitter from here on out after years of the character being sidelined as a result of relative obscurity.
Cypher is more of an observer and interpreter in the plot, just as he was in the Nightcrawler special. At the end of the issue we see the machine virus entirely removed from Storm’s body and held in a containment field to prevent it from rapidly evolving in the artificially accelerated time of The World. In the epilogue we see that Cypher recognizes that the machine virus is sentient and conscious. This is left as a ticking time bomb, as the possibility of an artificial intelligence developed in the artificial time of The Vault attaining “evolutionary critical mass” in the slightly different artificial time of The World can become an existential threat to mutants down the line.
We’ll be returning to this machine virus thing at some point, but it’s hard to say which ongoing plot this beat connects to – is this going to remain a part of the Vault thread? Or maybe, since there’s a direct tie from A.I.M. to Orchis, this is part of how their Sentinels evolve to a Nimrod state? It could just as well be part of the Phalanx subplot. Just as with the mysterious tower built for Emma Frost in the Magneto special, it feels like it could be quite a while before we find out the actual significance of this issue to the macro plot.
These specials were designed as showcases for artists, and as can be expected, these issues give a lot of room for Russell Dauterman and Rod Reis to flex. They’re both quite good but I prefer the loose, gestural qualities of Reis’ art to the extremely tight and slick lines of Dauterman. The latter’s work is beautiful and dynamic but a bit too stiff at times, and while he can draw very nuanced facial expressions, there are many panels where the faces seem oddly blank and vacant. Dauterman is called on to draw abstract environments in both of his issues, and while they work well on his terms, they seem rather cold and static compared to Reis’ more surreal and dreamlike drawings within The World. It’s an intriguing contrast of styles, with Reis more connected to cartooning while Dauterman’s aesthetics are more rooted in animation.