It is amazing to think that Topps’ licensed comic book tie-in to The X-Files lasted three-and-a-half years, let alone that it was such a success that it spawned a second on-going series, a miniseries and a considerable volume of one-shots and digests and annuals. If anything, Topps enjoyed greater success exploiting the license than even IDW has – despite the fact that Topps was a relatively young company with minimal experience in comic book publishing while IDW has a reputation for (and a lot of experience at) skilfully leveraging these sorts of tie-in properties.
This success would be remarkable in any context, but the comic book succeeded at a time of turmoil for the entire comic book industry. The late nineties were not a good time for comics, with the speculation bubble imploding and Marvel filing for bankruptcy. The success of Topps’ X-Files comic book is in many way a triumph of the brand, yet another reminder of how the series was on top of the world. There were lots of others – the ratings, the film, the tie-in video game – but the success of the comic was part of the narrative of The X-Files at this stage of its life.
The comics themselves are actually surprisingly good. There is a reason that one of the first things that IDW did upon receiving the license was to publish “classic” collections of these comics. One of the more interesting aspects of the monthly series was the way that it managed to feel like The X-Files while still seeming suited to the medium in question. Stefan Petrucha and Charles Adlard pitched their run as something akin to a Vertigo comic, feeling like a crossover between The X-Files and the work of Grant Morrison or Neil Gaiman.
The influences on John Rozum’s run are a lot less ambitious. Time and time again, Rozum seems to position his run on The X-Files as a rather strange hybrid between the first season of the television series and pulpy fifties horror comics. There are quite a few stories in Rozum’s run that might easily be read alongside Fantagraphics’ E.C. Comics archives, albeit guest starring Mulder and Scully. (And modern fashions. And phones. And so on.) It is a perfectly reasonable and legitimate way to approach the idea of “X-Files comic books.”
Indeed, it seems especially reasonable given the existing tensions between Ten Thirteen and Topps over the comics. The relationship had been fraught since the early days of the comic, with Ten Thirteen objecting to both Petrucha’s dense and ambitious plotting and Adlard’s moody and atmospheric art. Petrucha was fired from the title after sixteen issues, while Adlard was phased out in favour of better likeness artists like Gordon Purcell or Alex Saviuk. Ten Thirteen wanted a safer and more conventional comic book under Rozum’s pen, and they got it.
While it is easy to understand why these creative decisions were made, it does not make them any more palatable. Rozum’s work on The X-Files is generally quite consistent and occasionally even impressive. But it seldom seems ambitious or exciting. Under Petrucha, the tie-in comic carved out its own space that intersected with the parent show. Under Rozum, the comic book seems to do nothing but skirt the margins.
Filed under: The X-Files | Tagged: alex saviuk, Charles Adlard, comic books, Comics, compromise, ec comics, gordon purcell, horror, john rozum, ten thirteen, the x-files, tie-ins, Topps, topps comics, x-files | Leave a comment »