The X-Files Volume One is the first graphic novel I have reviewed. I am not a fan of the comic genre in general. I follow specific comics, usually spin-offs of TV shows that I am a fan of. That said, if I had to pick a graphic novel for my first such review it doesn’t get any better than this for me.
I am a very large X-Files fan, and have been since the very first trailer for the show that appeared the summer before the series premiere. I was there for episode 1. I was there for episode 201 and everything in between. I’ve seen everything that’s come out and read everything. I am a big admirer of Chris Carter’s style, as well as all of the writing and production staff, so I consider myself a good judge of material X-Files related.
The X-Files Volume One is a graphic novel compilation of a number of the X-Files comic books released in the mid-to-late 90’s. Produced by Topps, the title ran for 40 issues, plus several special editions, before ending. I own almost all of the original comics but it’s been years since I’ve read them. I was looking forward to seeing what Checker brought us in glossy, graphic novel form.
This volume is made up of Issues 13-17 of the Topps comic series, plus adaptations of the pilot episode and the episode Squeeze. Writing credits for these issues go to Stefan Petrucha and Miran Kim, with artwork by Charles Adlard. In all there are 7 chapters, telling 6 different stories. I am not sure how they choose their issues for this graphic novel, but I do recall that the 4 stories covered between issues 13-17 were among the best of the original stories that were done. They stayed very true to the spirit of the show and to the characters, while staying away from the core mythology of the show. A couple of the stories in the collection were relatively similar to one another, but were still well done. I have seen artwork that was more realistic and spot on than the renderings of Mulder and Scully. I think that Charles Adlard, the artist, was going for a style, since he was consistent throughout, but I am more of a fan of realism. What I did like about the artwork was how the sequences of violence were handled. That drawing style was darker and gloomier, almost abstract, in a way that depicted the violence but without either showing it directly and making the panel too graphic, or by showing it and having it appear downplayed by looking too “cartoony”. Violence was often handled on the show in the same way, shown indirectly after a camera cutaway. I recall that Chris Carter said in an interview once that the imagination can produce a far scarier picture than anything he could put on the screen. So he let the imagination fill in the blanks in the violent depiction. The comic handled this very well, in that same way, and the combinations of darkness and swirling colors reminded me personally of the dark and shadowy feel that was the trademark of The X-Files while it filmed in Vancouver.
Chapter One is “One Player Only”, in which Mulder and Scully investigate why a well liked computer programmer would suddenly go on a spree killing at his workplace. This chapter captured the creepy X-Files feel through the addition of an abstract; more artistic and sinister drawing style intermingled with the normal drawing style best of all. I liked the story, but it seemed like the ending was abrupt, even though it had a bit of that chilling effect that the X-Files was always good for. It kept you thinking even after the credits were rolling.
Chapter Two is “Falling”. Mulder is in search of a crashed UFO. But he finds that the most dangerous beings that he has to face aren’t alien at all, or even adult. This was interesting, but “characters in peril” isn’t the most interesting thing to me, when it’s a sure bet that the peril will not come to pass.
Chapters Three and Four and “Home of the Brave, Parts One and Two. Mulder and Scully are again in search of aliens, but find themselves captured by anti-government survivalists. If they make their way outside they may be in danger. But if they don’t, they may be in even worse danger. This story was in-depth enough that it was a two- issue story. See my previous statement though about “characters in peril”. This story did make another character (or guest star) a bit of the focus of the story, and we see some things through her eyes, which was always a staple of good episodes. That character was the most intriguing part of this story.
Chapter 5 is “Into Thin Air”. When a Navy Pilot returns 50 years after vanishing without a trace in the Bermuda Triangle, there is much more going on than meets the eye. I personally thought that this was the most interesting story of the non-episode adaptations. It had some mystery to it, so it kept you guessing.
Chapters Six and Seven are the episode adaptations. For readers perhaps getting a first exposure to The X-Files adaptations of the pilot and Squeeze are very good episodes to select. The pilot started it all. Tooms in Squeeze was the first very popular “monster of the week”. Both adaptations were very true to the episodes, catching all the visual high points of both episodes. The essence of both episodes were still there, all the key dialogue, the key camera angles, the key shots.
The plots were not overly simplistic, but they were not extremely complex either so they could fit in a single comic. “Home of the Brave” was a two-parter that went into a bit more detail. As I recall, there were some arcs that ran at least as long as 4 comics during its run. I can only assume that this graphic novel wanted to expose readers to as many different stories as they could get into one small novel, so they went mostly with “standalone” single issue stories.
For a fan of The X-Files, or for someone who likes the characters of Mulder and Scully, this collection does justice to the spirit of the show and captures the characters very well. Expect a series of stand-alone investigations, which are opened and closed. The interaction between the characters is basic. There are no bombshells of character development or plotline. Chris Carter was involved to an extent with the stories so that means that they will have a certain standard of excellence. It also means that there aren’t going to be any big bombshells since those were being saved for the TV show. He did however pick writers and artists who he thought could best bring his vision onto the Comic book page. That was certainly done, and I think this collection shows that.
I think though that The X-Files is a must have for any fan of the show who doesn’t have the comics. It’s glossy and has a neat cover that is appropriate for the show. It looks good on the outside and doesn’t disappoint on the inside. The writing is high quality enough that a general comic fan would find this a good read, even if they don’t know the show. The Pilot episode is the last chapter in the novel, so reading it first would give enough character background to understand the characters. With that in mind, it might have made more sense to make the pilot the first chapter rather than the last.
I give this a 7.5. The 10 standard here would be held if Chris Carter himself did a comic that picked up storyline from where the series ended, as Joss Whedon did to a small extent with Firefly, and to larger extents with Buffy the Vampire Slayer and Angel. The same thing for The X-Files would be something to dream about, but X-Files Volume One is a good read until that happens. There is a new movie coming out in July as well, so this graphic novel can whet the appetite.
