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It doesn’t work, however, as Scott can’t see their relationship as tragic. “Through her, I faced the best and worst of humanity. I learned the true meaning of courage – and of love. Yielding to you, D’Spayre would have been the ultimate denial – and betrayal – of that love.” 6/8
As mentioned, the structure here is really interesting, showing the increasing gravity of the Goblin Queen – a gravity strong enough to pull the main antagonist right out of orbit from his own character-defining conflict, and all at the Goblin Queen’s “whim.” 10/13
When questioned, she speak to her authority and will (her “whim”) but also to motivation: “From chaos, change, and change, growth. The pattern of life, as old as creation. Question, though, is this the growth, the change – or the chaos?” And then she burns him. 7/13
Leonardi’s illustration depicts a sort of mix of Francisco Goya and MC Escher, with a horrific scene of brutality that is attributed to Madelyne’s power, despite Wipeout’s assertion that she does not have any mutant powers. 4/13
Covetous of the power of the rings now, Betsy easily dispatches her former comrades in brief scenes that foreshadow the eventual reveals of each character’s location after the Siege Perilous, all part of Matsuo’s plan to have her “execute” her heroic links. 6/9
UXM 256 takes the classic heel turn narrative and turns it into a complex, character-revealing psychodrama as Psylocke murders her way through years of her characters’ comics continuity in order to finally achieve the power that a violent attack once took from her. 1/9 #xmen
The scene would later be altered and adapted by Peter David, who took over X-Factor, with some notable alterations and a less nostalgic tone. It is interesting, however, to consider the extent to which Claremont laid the new X-Factor’s foundations. The scene reads as follows: 2/6
In the “A” plot, Cyclops must choose between returning to Earth to marry Madelyne Pryor & seeking adventure with his father’s spacefaring Starjammers. This is not a binary masculine/feminine conflict; each choice offers different romantic & familial pleasures. 5/12
Editorial intervened, however, and prevented that reckoning (and potential retconning) from taking place through a last-minute shuffle of the creative team, thus preserving Claremont’s long-developing character arc. 10/11
In a preview interview from Marvel Age 48, published one month prior to Issue XvA 1’s publication, Stern describes how he (like Havok) identifies with the previous X-Men and extensively discusses the problem with Magneto’s face turn in Claremont’s X-Men. 8/11