The Krakoan Age was defined by the creation of a sovereign mutant nation on the living island of Krakoa and the effective immortality of mutantkind via the newly established resurrection protocols.

[4] It was subsequently announced in July 2019 at San Diego Comic-Con that there would be six new X-titles as part of Marvel's Dawn of X campaign;[5][6] Hickman wrote the flagship title, X-Men (vol 5), during this storyline.

The X-Office introduced a human 'power circuit' where writers, editors, and artists worked collectively on every aspect of the new launch, including the direction and execution of the full X-line.

[26] X-Men Red by writer Al Ewing, with art by Stefano Caselli, focused on the terraformed Mars now known as Arrako which became the home of millions of mutants freed during the X of Swords crossover.

[35] The final phase was kicked off in the third annual Hellfire Gala (July 2023) which drastically altered the status quo of series;[36][37] this event was written by Duggan, with art by Adam Kubert, Luciano Vecchio, Matteo Lolli, Russell Dauterman, Javier Pina, R.B.

In July 2019, Jonathan Hickman provided an official definition with the help of data page in House of X #1 and listed 14 Omega-level mutants (depicting as the assets of Krakoan Age) alongside their respective omega power.

These data pages have ranged from Sage's internal analysis of the Krakoan islands operations, to information about the secrets of Moira X's expansive 10 lives, as well as deep dives into the inner workings of one of the X-Men's main enemies, the mutant-hating Orchis".

[67]: 76–77  Butler highlighted that "Hickman and other writers show how mutants declare independence through exclusive trade, create laws and punishment, establish mass transit routes, identify a national language, and negotiate property rights—none of which would be possible without the island of Krakoa providing the means and/or permitting them to do so".

[85] During the X-Men: Trial of Magneto (August – December 2021) storyline,[87][88] Scarlet Witch worked with the mutants Polaris, Legion, and Proteus to increase the capabilities of the resurrection protocols.

[89] The protocols remained a secret from the world until X-Men #12 (June 2022), during the Destiny of X phase, when reporter Ben Urich broke the news of the mutant resurrection in the Daily Bugle.

[110] The X-Men trapped in the White Hot Room managed to escape back to Earth and defeat Orchis due to the efforts of Cypher and Rachel Summers.

[109] Additionally, Hope Summers sacrificed herself in X-Men: Forever (March 2024 – May 2024) "to rebirth Jean Grey and the Phoenix Force, and while this saved the universe from destruction at the hands of Enigma, it also meant the stranded mutants remained stuck".

[114] Micheal Foulk of The Beat commented on the "life-altering" impact of the resurrection protocols and how it is also a "metatextual commentary on the revolving door of death in superhero comics".

The incredible work by Leah Williams, Vita Ayala, Russell Dauterman, Pepe Larraz, Al Ewing, Rod Reis, Phil Noto, Gerry Duggan, and others, certified that I will be sticking around".

And the writer has also spoken candidly about how the Diamond Comics shutdown and Marvel's pause demanded a change in priorities: Any book that ended meant at least two creators out of a job in a very scarce time.

[118] Sava also highlighted one the "delightful" aspects of the Krakoan Age was its "fan engagement" since the initial series "got people invested in mutants again" – "Marvel has capitalized on the franchise's passionate fanbase with the annual X-Men election and Hellfire Gala".

[118] In May 2023, George Marston of Newsarama highlighted that "the Krakoa era instantly moved the metaphor of mutantkind as a self-identified reflection of the experiences of marginalized people in a new direction.

[115] However, after Hickman left the series, Marston thought the story was shifting back towards the traditional conflict with humanity and he hoped that the Fall of X would not lead to the return of the X-Mansion status quo.

[39] Following the conclusion of X-Men #35, Rich Johnston of Bleeding Cool stated that he and many fans would have trouble letting the Krakoan Age go but "with the time jump, Marvel Comics has placed it in a sealed coffin.

[119] Alex Schlesinger of Screen Rant highlighted that labelling the mutant society within the White Hot Room as New Krakoa "gives hope to anyone depressed over the transformative era's conclusion with just two simple words".

[109] Schlesinger commented that the era ending "is tragic for fans of the transformative reinvention of the X-Men franchise, but the words 'New Krakoa' bring light to a dark period.

Zachary highlighted that the formation of a new mutant nation "introduced an openly political subtext into a franchise that has always been rooted in heavy thematic exploration of redemption, hatred, and acceptance" and that the scale of the new direction "gave creators plenty of room to experiment, resulting in an X-Men line that defied expectations and felt wholly unique".

[...] As it approaches its end – and, notably, the era is coming to a close on its own terms – it's worth noting just how successful Krakoa has been in reminding readers of the sheer potential afforded by this corner of the Marvel Universe – and celebrating it for also being a phenomenal piece of comics creation and storytelling across the board".

[1] McMillan viewed it as an "uneven" era with an "increasingly messy" second half although he preferred that the Krakoan Age was ambitious with "enough fun touches to enjoy even when the overarching stories fall flat".

Krakoa as a concept was messy and incomplete (and, it should be noted, largely conceived and directed by a heterosexual white man); and yet, despite all of that, maybe even because of some of that, it felt genuine and honest in a way so many other comics hadn't".

[122] Joe George, for Den of Geek, also highlighted the shortcomings of the Krakoan Age; it had the typical franchise problems such as "messy continuity", too many spin-off books and "needless crossovers".

[123] George opined that "the Krakoa era offered a brief chance for the franchise to grow in compelling ways, but it fell short, refusing to fully embrace the conceit of mutation and change itself".

[124] Salem opined that "the parable of Krakoa is really a Greek tragedy, one that mirrors the promise of Israel when it was first founded (as a leftist egalitarian nation that even the Egyptian Communist Party supported publically [sic] at its inception) and what it has become over time".

[124] Asher Elbein of Defector viewed the Krakoan Age as "an impressively precision-engineered setup, something that can be plausibly read in multiple ways" where "you can, if you like, interpret it as a metaphor for the promises and failures of Zionism, or ethnonationalism more generally".

You can also read Krakoa just as easily as an invocation of the original Zionist nightmare: a small nation surrounded on all sides by enemies bent on its elimination, who poison its reputation and are ultimately successful in destroying it via brutal sneak attack".