*"Logan! It's death!"*
*"Aww, Charlie... don't you think I know that?"*
Written by Scott Lobdell, Joe Quesada, J.M. DeMatteis, Fabian Nicieza, and Larry Hama.
Pencils by Joe Quesada, Greg Capullo, John Romita Jr., Jae
Lee, Chris Sprouse, Brandon Peterson, Paul Smith, Andy Kubert, Adam
Kubert, Ken Lashley, Darick
Inks by Al Milgrom, Bob Wiacek, Dan Green, Matt Ryan, Jimmy Palmiotti, Scott Hanna, Kevin Conrad, Terry Austin, Tom Palmer, Keith Williams, Mark Farmer, Mark Pennington, Cam Smith, Randy Elliott, Randy Emberlin, and Mark Nelson
It's all in the execution. A man with magnetic powers could be a third-rate Green Lantern villain. That's really all there is to Magneto. But as he's developed, Erik Lansherr, AKA Magnus, AKA Magneto, has become the X-Men's greatest and most popular foe, earning the villain spot in the 2000 film. *X-Men: Fatal Attractions* is one of the best examples as to why.
*X-Men: Fatal Attractions* collects into trade paperback the story that ran through X-Factor #92, X-Force #25, Uncanny X-Men #304, X-Men # 25, Wolverine #75, and Excalibur #7. And as much as I've complained about "X-Overs," this one is *tight*, consistent in tone and telling a gripping story.
So much happens in this story that cuts to the heart of what *X-Men* is all about. Here is Magneto, finally declaring all-out war on the non-mutant earth, leading to the death of millions. Here is the moment when Wolverine is plunged into incomparable agony at Magneto's hand, sweetly tempted to follow the light into death itself, if not for the call of someone in need. Here is Professor X, swallowing years of coddling and holding back, years of service to his ideal of peace, and hitting Magneto with all the force he can muster. In the same way that "guy with magnetic powers" becomes a three-dimensional character with the right execution, *Fatal Attractions* masterfully took all of the developments of the *X-Men* characters and set them on a violent collision course.
I've always been impressed with the operatic heft of the conflicts at the core of *X-Men*. On the one side you have Professor Xavier, who believes that mutantkind should use their abilities to protect humanity and earn its place as planetary brethren. They should combat prejudice with understanding and education. (This is the *ideal*. In practice, they should recite these beliefs, over and over, in looooong thought balloons while hurling large objects at other mutants.)
On the other side is Magneto, once Xavier's closest friend, a Romani survivor of the Holocaust. A man who first used his powers when an evil landlord prevented him from entering a building where his daughter was trapped in a fire. Magneto believes that mutants are locked in a jihad that will end when humanity finally lays down its arms to its new ruler, *homo superior*.
That's pretty simple. *X-Men* in its various incarnations has juggled this yin/yang dichotomy for decades, and the beauty of it is that the philosophical debate between Magneto and Professor X has always given the mutant books a weight they would otherwise starve for. Without the constant debate over which way is best (protect humans/ run from humans/ destroy humans), the title would have devolved into the soap opera plots that keep its gigantic cast manageable. Think how lucky *X-Men* is to have a theme. What, exactly, is the theme of *Justice League*?
*X-Men: Fatal Attractions* begins at a low point for the X-Men, as the team (which is less a team than a long line of characters variously involved with one another) reels from the recent "mutant-killing virus" death by of Illyana Rasputin, the sister of Colossus. It's a death that's shaken the X-Men's faith in the righteousness of their cause, and different characters react to Illyana's passing differently. Warrior from the future Bishop, for instance, has no interest in mourning, whereas Colossus has become the metal man he was always tempted to be, cold and unfeeling. We first see Colossus in this story burning the portraits he has painted of his friends. He no longer sees a use for them.
In this context return the Acolytes, servants and worshippers of Magneto, who has been missing since his apparent fall to earth a while back. In their Lord's absence, the Acolytes have been executing their Jihad, slaughtering innocent humans in acts of violent genocide-- acts that, of course, bring more and more scrutiny on all mutants from the fearful humans. When Magneto returns to take up residence in the colossal orbiting space station Avalon, we imagine that he might draw the line at the outright slaughter of innocents. We imagine incorrectly.
*X-Men: Fatal Attractions* is skillfully executed in that it has a clear procession of story, as the extended X family and Magneto build towards an inevitably dark and intense conclusion-- a conclusion that does not disappoint. Even better, we get a denouement that is just as dramatic. There are wonderful moments here: Wolverine's near-death experience, and his wistfully dramatic return-- a moment that brought chills to my spine. Colossus' final moments aboard the station with the body of Magneto in his arms. And more. And of course, lots of recitations of the good old *X-Men* theme, war versus peace.
*X-Men: Fatal Attractions* does what other giant crossovers often fail to do-- it tells a complete story that moves as a real story should. Rather than simply a marketing tool, * Fatal Attractions* is good storytelling about the X-Men, and the greatest villain they've ever faced.