The Claremont Runさんのイラストまとめ

Mildly amusing anecdote: just ran a spell-check on my 57,000 word manuscript on Claremont's UXM and freaked out when it flagged 500 spelling errors. Turns out 10 of them were mine - the majority were from the quotations I'd included that feature C's phonetic dialogue and accents.

@skullcrusher

Hugs in Claremont's UXM. Maybe more cute than informative, but we could argue that physical affection is an expression of characterization. #XMen

Where the North Pole isn’t a ski chalet but actually much closer to the South Pole in an outback treasure vault that Santa helped to liberate from a group of genocidal cyborgs, one of whom was like a centaur but with tank-butt instead of horse-butt; 2/7

Meanwhile, Prof. X is on Earth, left to contemplate the cycle of renewal. Believing his students to be dead, he must choose whether to pursue his craft by forming the New Mutants or to give up entirely in the face of an ephemeral world. 6/7

For Kitty the story is about mortal consciousness and the fear of death as a motivating force. Essentially carpe diem. The brood force her to contemplate her life, the things she wants to accomplish, even spurring her to rush her (age-inappropriate) relationship with Colossus 3/7

Where Dark Phoenix moves toward a cohesive metaphor, The Brood Saga instead offers variations on a theme – that of death, approaching the issue from multiple angles based on individual character experiences surrounded by obvious death symbols. #xmen 1/7

“What I’m going to work with is characterization. I think it’s a book that requires it more than most in that the characters are so diversified, not only in their nationalities but their upbringings and 'so I want to concentrate on all the characters, not just any one.” 2/5

Unfortunately, the issue also establishes how ruined the X-Men are at this point, highlighted by Longshot’s departure (off-panel) and punctuated by how many mistakes they make in defending themselves against Nanny’s attack. 6/9

It’s Nanny and Orphan Maker, significantly less-serious villains who first appeared in X-Factor 30-31. They might even be slapstick. The effect here is to disarm the reader by presenting them with villains who aren’t half as threatening as the ones closing in from afar. 5/9