Claudia Gray reopens The X-Files with Perihelion, very clearly establishing a de facto season 12 in print that builds on the mythology of eleven televised seasons and two movies that came beforehand. Set soon after the eleventh season series finale, Perihelion quickly brings readers up to speed with the current status quo. FBI Agent Dana Scully is pregnant, presumably with conspiracy-minded Fox Mulder's child, and Walter Skinner, one of their last remaining allies within the Bureau, is left comatose in a care facility following a car accident. Mulder and Scully are brought back into the FBI's questionably good graces following an eruption of unexplained phenomena, while Gray works on giving this novelized reboot of the series a reason for existing.
Along the way, Gray draws from the usual tropes that kept series creator Chris Carter's clunky, convoluted conspiracy running. The shadowy Syndicate of the show, and its villainous front man, Cancer Man, have been replaced by their 2.0 versions in The Inheritors and Robin Vane, a merciless killer who can, at will, teleport in a burst of smoke. Mulder, meanwhile, is given a new mysterious informant in Avatar, a spunky woman with her finger firmly on the pulse of pulp culture and who may be as obsessed with geekdom as Mulder is with little green men.
Meanwhile, a serial killer is stalking the streets of D.C. and murdering pregnant women. At each scene is an unexplained electrical disturbance that causes lights to flash and explode, and melt cell phones. Needless to say, Scully is quickly drawn into the crosshairs of this killer's obsessions.
The A- and B-stories driving Perihelion are, unfortunately, the book's biggest weaknesses. The two cases never intersect in a satisfying way, particularly the B-story involving the killer Mulder dubs "Bright Eyes." This latter involves some very spurious revelations that never satisfactorily align with what has been presented and raise more questions than it answers. That, I suppose, is at least in keeping with typical X-Files investigations, but the loose threads Gray leaves dangling feel too inauthentic and incredulous. Some of the narrative gets bogged down a bit too much in comic book-like gimmicks, with Gray drawing parallels to our current Marvel-obsessed Hollywood machinations in a misguided effort to keep The X-Files relevant amidst the dominant pop culture of present-day America.
What she does get right, though, are the characters of Mulder and Scully themselves. With Perihelion's alternating viewpoints, we get to spend a lot of time in both agents' heads and their thoughts and words ring true to the characters we've spent many years obsessing over on television. In some segments, you can very clearly hear David Duchovny's off-screen narration, or picture Scully writing in her jounal while Gillian Anderson's voice reads off the words to us. Gray does a fine job capturing Mulder's wry sarcasm and Scully's incredulous indifference to his more oddball theories. These two characters have always been the most engaging aspect of The X-Files, keeping us glued to our screens even through less-than-spectacular investigations, and Gray understands this wholly, even if at times it feels like she's trying to shoehorn them into something that feels more like X-Men than X-Files.
It's a shame that Perihelion leans so far into comic book-like showiness given the very real-world actors and events that would allow for a deeper exploration of what makes The X-Files tick and why such government conspiracy-driven shenanigans are still relevant. We're living in an age of deep state, deep fakes, fakes news, and constant surveillance. Right-wing conspiracy theories have moved from the fringe and into the mainstream of American zeitgeist with its MAGA and QAnon whackadoo, PizzaGate, and Epstein lists. The distrust and paranoia surrounding the US government and its various actors is at an all-time high, and a clownish orange buffoon is headmaster of a parade of disinformation and outright lies. If ever there was a time for the resurgence of The X-Files, then the time is now, right now.
Unfortunately, Gray sidesteps a lot of these issues to focus on the well-worn and creaky mythology that all reads like a lot of been there, done that. It's not entirely dissatisfying, though, and Gray helps to reinvent the alien-government conspiracy in a more streamlined fashion than Carter's unnecessarily and increasingly complex mythology that continually defies resolution. It even posits an interesting and systemic reason for the continued existence of The X-Files, showing that Mulder and Scully's work isn't quite finished yet, and may never be. One thing she does get right to the heart of is the motivation of The Inheritors that parallels real-world groups of this nature, particularly in an era of climate change and rising Christofascism -- a shadowy group of rich people looking to bring about the end of the world in order to profit off civilizations collapse for little reason beyond money, money, money.
Gray also goes a long way to attempt some measure of course correction in Carter's regressive, tired old man-style plotting that caused so much uproar amongst X-philes during the eleventh broadcast season. She spends much of Perihelion walking back the continual victimization of poor, embattled Scully following the late-stage reveal that her previous pregnancy was the result of insemination from Cancer Man, who had drugged and knocked her up. It's clear that Gray intends for subsequent novels in this (presumably) newly established series to go a very different route than Carter's storyline for Scully, Mulder, and their son, William, and that's all for the better, in my estimation.
Perihelion makes for an interesting and intriguing set-up for The X-Files as a whole as this franchise moves from television to canon novelizations, but it's not without its rough patches. Gray takes some liberties with the property, introducing some flashier, showier aspects in print that would likely be beyond a television budget, but the story isn't any better for it, in my opinion. That said, I am eager to see what comes next and am hopeful we get a return to some classic Monster of the Week installments that are lighter on the, arguably weaker, mythology aspects. I, for one, welcome the return of The X-Files and still want to believe that the truth is, indeed, out there somewhere, even if it does feel farther away than ever.