X-Men: Before the Fall – Mutant First Strike #1: Damage Control (Not That One)

X-Men: Before the Fall – Mutant First Strike #1 — written by Steve Orlando with art by Valentina Pinti, colors from Frank William, and letters by VC’s Travis Lanham — continues the seeding of the upcoming Fall of X storyline, this time with a focus on Orchis’s plans to discredit the mutant nation. A massive explosion rocks the quaint town of Milford, causing ecological damage, waves of sickness, and staggering property damage. A new X-Men team responds after allegations claiming this was a mutant power gone wrong, working themselves into overdrive to support the residents. 

The team comprises Angel, Triage, Tempo, Penance, Jean Grey, Bishop, Storm, Cyclopes, Iceman, Theia, Thunderbird, Cerebra, and more not listed in the credits or opening splash. The collection of heroes provides assistance ranging from treating illness to communicating with the dead, and a small group defends the town from the Watchdogs. Meanwhile, a group plays as a mutant CSI team, piecing together the root cause behind the attack on the town (along with mutantdom). By the end, the town is restored physically and on the path to healing. At the same time, Orchis and its allies succeed in controlling the narrative and raising paranoia regarding the mutant’s desire for domination. 

Orlando’s script is an excellent ensemble piece, giving a range of mutants a chance to shine in the circumstances beyond fighting Sentinels. Characters like Wicked helping to provide closure for the dead, Triage clearing the dirty elements of the bomb from residents, and Icarus raising spirits are all interesting and different approaches to mutant gifts and feel like an opportunity to play up the reframing of mutations as boons. This approach is a bulk of the issue, and while the mutants are once again reacting rather than the proactive approach that kicked off in the Krakoa age, it feels fitting for these circumstances.

The issue’s most significant flaw occurs along these lines, in which the X-Men focus almost all of their dialogue through telepathic conversations. It feels equal parts exposition dumps for how the mutants are using their powers while keeping the mutants separate from the town’s folk. There’s little interaction between the X-Men while they help people, and it mostly comes off as preaching to them once they’ve repaired the town. With only a piece of the Orchis story, Orlando may be foreshadowing an issue around the mutants. Still, if that’s the case, it’s underdeveloped in this story and feels like a crutch to deliver information. 

That structural choice places this issue closer to the straightforward tights book than most other X-titles (except maybe Duggan’s X-Men). It’s a refreshing change in an era where while the mutants are thriving, something has felt lost by the seismic status quo upheavals. Wrapping this story in the broader plot of Orchis weaponizing the public against the mutants is a strong choice that ensures the issue isn’t disposable or a detour in the road to Fall of X. By centering on heroes in costumes helping a community and fighting alarmists, Orlando creates a bridge between classic X-Men and the Krakoa era that adds a new dimension to the current state of affairs. 

A more significant part of establishing that balance is thanks to the book’s visuals, including the red and white costumes in which all X-Men are cloaked. They were first introduced in X-Men Unlimited (the X-themed Marvel Unlimited digital series), in a story arc by Orlando and artist Emilio Laiso, which introduced a team of mutants assisting an attacked oil rig. The costumes evoke a sense of humanitarian (or humanitarian in this case) aid like the Red Cross for these superpowered first responders. The designs don’t distract from the art or plot of the book but feel more like a box check rather than an aesthetic flair. This isn’t necessarily bad, but this just felt a bit lacking in an era of X-titles with a robust and cohesive color palette. 

Where Pinti’s art thrives is in the various interpretations of various mutant gifts. Every character’s ability feels unique on the page, and even in matching costumes, they never bleed together in both the combat or rescue sequences. Pinti always puts mutants and their gifts forward, focusing on their helpful actions as the center of the frame for each panel they occur. The book flows consistently even as it jumps from moment to moment, watching these mutants exercise their abilities in interesting ways. Pinti’s action pencils aren’t lacking either, as the fight between the X-Men and the Watchdogs is kinetic and clear. There’s a moment where Angel (in his Archangel form) uses his metal wings to fracture Cyclopes’s concussive blasts, and it’s a fun use of powers combining that feels like a natural progression of the circuit element introduced in this era. 

The only other takeaway from this issue, and its place in the larger canon of the Krakoa era, is that it might be time to end the data pages in all X-titles. The pages in this issue are (literally) tacked on to the end of the story and do nothing to deepen or play with the form of the comic. Their inclusion feels like following a pattern rather than being used to enhance or deepen the story. It’s been almost four years, and while the use of these pages has been pretty intense, they’ve shown their weakness through overuses in the last few months.