Reviewer: William Cooling
Story Title: Planet X Pt. 4 of 5 ~ Phoenix in Darkness
Writer: Grant Morrison
Penciller: Phil Jimenez
Inker: Andy Lanning
Colourist: Chris Chuckry
Letterer: Virtual Calligraphy’s Rus Wooton
Editor: Mike Marts
Publisher: Marvel Comics
Grant Morrison is (aside from the Overlord himself) the reason I’m sitting here writing this. It was his New X-Men series, read in TPB form, that got me back into reading American comics, as opposed to just 2000AD related products. What made his run brilliant to read, was not the socio-political commentary on minority rights that were littered around the place or any other in depth or innovative ideas that Morrison brought to the X-Men. No, what made it a great read was how Morrison took things that had been done many times before and made them fresh again, his run has in short been Ultimate X-Men done right.
In Planet X, Morrison has been attempting to write the Magneto story, whilst foreshadowing his Phoenix story. Reaction has been mixed, with some enjoying it, some finding the portrayal of Magneto to be odd, some just trying to make sense of it all, and some who are experiencing all the above emotions. Frankly, I fit into the latter category. And the preparations for Magneto reversing the Magnetic Poles, by both pro and anti Magneto forces, featured in this issue do not change my mind.
Firstly, there is a lot to enjoy this issue, most obviously the fantastic art by Jimenez. After some dodgy artwork in the course of his run, Morrison’s penultimate arc manages to match the epic scope of Frank Quietly with detailed, expressive linework that truly brings out the dark, foreboding character of the part. He also has a great grasp on characterisation especially in regards to Magneto, who is regal and as dominating at one point, but with just a change in his facial expression Jimenez manages to convey the confusion and panic that he really feels. He also manages to make the movie costume work.
Morrison scripting also deserves praise for something that he is not always noted for, namely his characterisation. Although his portrayal of Magneto may not be to everyone’s liking (more on that later), but his three original creations (Angel, Beak and Esme) that feature heavily in this part are expertly handled. Beak in particular is allowed to shine, with Morrison succeeding in both giving him greater respect and bravery whilst exposing his naivety.
Another superb piece of characterisation is the city itself. In conjunction with Jimenez, Morrison is ably to comprehensively portray a city that has been engulfed by a new Dark Age. The destruction and anarchy on the streets, captured not only by the amazing attention to detail of Jimenez, but also by the mobs and gangs that Morrison has take over New York.
Where his characterisation does fall down is in the portrayal of Magneto, who becomes the demented Hitler character that lazier writers always assumed he was. Gone is the nobility of character and misguided idealism of cause that Claremont imbued him with so expertly, in his place we have a drugged manic whose only motivation is a personal rivalry with Charles Xavier.
However, what makes this portrayal bearable is the doubt as to whether it is actually Magneto speaking or whether some other agent is at work. The most obvious one has been that the drug Kick, he has taken to supplement his powers, is having adverse side effects. This is shown by his mood swings and lack of control over his powers in this issue when he accidentally kills one of the Brotherhood.
The second, and almost as obvious is that former Cuckoo, Esme, is controlling him either through her controlling his supply of Kick or telepathy. This idea is dealt a blow in a thunderous row the two have towards the end of this issue, an expertly written scene that gets across both Esme’s sense of ruthlessness and her naivety.
Another hint that Magneto may revert to a less extreme persona are the “pangs of conscience†he gets after said row. This is an imaginative scene that manages to make Magneto’s private musing dramatic, whilst furthering the perception we have of Magneto being bonkers and not leaving us entirely sure that we have witnessed Magneto’s internal monologue.
That said, if we’re unsure as to the meaning of that scene, then God knows what the word is for what we feel when confronted with the remnants of the X-Men. Not only does Morrison indulge in a horrible piece of exposition with one character (who shouldn’t really know that much) literally recapping the plot to the assembled audience. He also brings in important plot points blithely (a common fault of his) that more importantly make little or no sense. That said, he does finally explain where all the other heroes have gone, which will please the continuity geek in all of us (you are reading an X-Men comic, don’t deny it’s not in you).
This in many ways sums up what’s best and what’s worst about Grant Morrison. On the plus side: you have good dialogue, excellent visual imagery, good characterisation and some inventive ideas. On the minus side: you have the old problem of his eccentric plotting in regards to what is actually happening, and also showing the reader what is happening combined with what appears to be a poor grasp on a major character (not something you can normally accuse Morrison of). It’s a frustrating issue that comes very close to derailing the whole story, especially in regards to the X-Men resistance. However, Morrison manages to just stay on the side of the angels as there is enough here to build excitement for the conclusion.
