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The X-Files (Wildstorm) #3-4 (Review)

This January, to prepare for the release of the new six-part season of The X-Files, we’re wrapping up our coverage of the show, particularly handling the various odds and ends between the show’s last episode and the launch of the revival.

Frank Spotnitz could not stick around forever.

The veteran X-Files writer and producer could not stick around for even half a year. These days, it is customary for “big name” authors to commit to a very short run of comic book issues before jumping off; while comic book veterans like Marv Wolfman or Chuck Dixon or Chris Claremont would have committed to years on a particular title during the seventies and eighties, it became increasingly common for higher profile writers to enjoy shorter stints. While this is the case for high-profile industry veterans like Warren Ellis, it is particularly true of celebrity authors.



Brad Meltzer wrote thirteen issues of Justice League of America. Kevin Smith wrote eight (and a bit) issues of Daredevil and fifteen issues of Green Arrow. Richard Donner wrote seven issues of Action Comics, and contributed a short story to the anniversary special. Sam Hamm wrote three issues of Detective Comics. While these creators might have had great stories to tell with these characters, they were also not necessarily comfortable with committing to a month schedule indefinitely. (They also had careers outside the medium, to be fair.)

Still, there is something quite jarring about Frank Spotnitz’s departure from Wildstorm’s X-Files comic book after only three issues. Spotnitz barely had time to define what the comic was supposed to be, beyond a glimpse into a weird alternate universe where Mulder and Scully are trapped in a perpetual 1998. It is debatable whether a licensed tie-in really needs anything more than that, given the tendency to treat such tie-ins as little more than a supplement to a more mainstream iteration of the same basic product.



At the same time, it feels like Spotnitz’s departure leaves an already confused monthly series with no strong identity of its own. Quite pointedly, Spotnitz’s name still appears on the full cover to the first issue written by Marv Wolfman; whether this suggests that Spotnitz was intended to write the issue or simply the result of a rush to press is unclear. As a result, Wildstorm ended up passing its X-Files monthly series from one writer to another, with industry (and DC comics) veterans Marv Wolfman and Doug Moench each handling a two-part story.

The results are intriguing, if not particularly compelling. Wildstorm’s X-Files comics are most remarkable for its sense of detachment from anything and everything. It is “unstuck” in a way that none of the franchise’s other flirtations with comic book storytelling are not. In its own way, this feels entirely appropriate; this is The X-Files as published by one of the two most largest and most iconic comic book publishers. Continue reading