Midnight X-Men #1: Vampires Among Us

Midnight X-Men #1 marks Jonathan Hickman’s return to the X-Men, albeit under Marvel’s new Midnight imprint rather than within the main continuity. In late 2019, Hickman kicked off a massive shift in the franchise’s status quo with House of X/Powers of X, ushering mutants into the Krakoan Age. Although the direction was vastly different from anything that had come before it, the bold new status quo earned widespread acclaim from fans and critics alike, especially after years of the franchise feeling directionless. Fans were heartbroken when Hickman stepped away before the era could reach its intended conclusion, which ultimately fell to other creators to complete. Despite the wild speculation surrounding his departure, Hickman remained at Marvel, going on to shepherd G.O.D.S. and the Ultimate Universe relaunch. Now, somewhat unexpectedly, he has returned to the X-Men under a brand-new imprint, giving Marvel’s mutant heroes a chilling reinvention through a horror lens.

The issue opens by establishing the state of mutants within this universe. Throughout the story, it becomes clear that four major factions are being followed: vampires, empyres (mutants who have been turned into vampires), mutants, and the Catholic Church. Somewhere among those groups are the humans, who seem to have some stake in the conflict but considerably less influence than the other factions. While the history of this world is not explored in great detail, there is an overt implication that some sort of uneasy peace exists between the traditional vampires and the empyres. As a result, both groups largely operate from the shadows. At the same time, a growing conflict appears to be brewing between them, with each faction taking actions that directly undermine the other.

When it comes to the mutants themselves, it is hinted that there was once an X-Men team whose members were eventually turned into vampires. Although the X-Men are clearly positioned in opposition to these various factions, they do not necessarily feel like the primary antagonists. Instead, they seem to be another catalyst in the larger conflict the series is setting up. The same can be said for the Catholic Church, which arrives almost immediately and promises to launch its own crusade against the empyres.

Truth be told, there is a lot going on in an issue that is supposed to establish such a large portion of this new Midnight Universe. Not only are multiple factions already in conflict, but there are also interpersonal motivations and struggles that seem to be developing beneath the surface, even if they have yet to be fully defined. Anyone familiar with Hickman’s work knows that his storytelling tends to be dense and heavily driven by lore, so it makes sense that this issue is only scratching the surface of the concepts he intends to explore. That does not prevent some questions from emerging about how this universe actually functions, particularly when it comes to the relationship between vampires and the rest of society. Vampires appear to be relatively well-known within this world, yet the issue does not provide much context for how that knowledge has shaped everyday life.

Like the other books in this publishing line, the issue also features an info-dump page explaining the differences between vampires and empyres. While that information is useful, it would have been nice to see something similar that established the broader rules of this universe. With so many factions, histories, and competing ideologies introduced almost immediately, a little more foundational information could have gone a long way toward grounding the story.

Matteo Della Fonte handles the art duties and does a genuinely excellent job capturing the horror elements this publishing line is striving for. There is an overtly mature quality to the artwork, particularly in the sheer amount of blood, gore, and visceral violence on display. That brutality not only reinforces the horror-driven identity of this universe but also serves as a reminder that these stories are intended for a mature audience. Even though the issue throws a considerable amount at the reader in a single chapter, Della Fonte’s artwork keeps everything visually engaging and helps distinguish this version of the X-Men from their counterparts in the main Marvel Universe.

Lastly, it feels important to discuss how similar Midnight X-Men feels to DC’s Absolute Universe, particularly because this entire publishing initiative feels like something of a direct response to what DC has been doing. Many of the concepts are familiar: a darker universe, reimagined versions of classic characters, and an emphasis on exploring what this new continuity means as a whole. However, Midnight X-Men immediately feels considerably more mature than anything currently being published under DC’s Absolute line. That is not to say the Absolute books shy away from body horror or visceral imagery, but the way it is presented here is significantly more grotesque, often evoking the feeling of an R-rated horror movie.

Ultimately, Midnight X-Men #1 is an ambitious, dense, and surprisingly brutal introduction to Marvel’s new horror universe. Hickman is clearly establishing a much larger mythology than what is presented on the surface, and that makes the issue both intriguing and occasionally overwhelming. The biggest question is whether the series will provide enough definition as it progresses to make all of these competing ideas feel cohesive. If it can, the sheer amount of lore and world-building could become one of its greatest strengths. If it cannot, the complexity may ultimately become its biggest weakness. For now, though, Midnight X-Men is an intriguing reinvention that feels genuinely distinct from the mainline X-Men books, and I am very interested to see where Hickman takes it.