The Claremont Runさんのイラストまとめ

“Wolverine’s sense of honor is personal. He does not defer to the standards of the communities he serves; he serves them in accordance with his own code. Admittedly, this makes it hard to distinguish his code from a subjective set of personal values.” 2/6

Nonetheless, the fact that Claremont’s departure is followed by an instantaneous and pervasive absence of female voices in the series is obviously condemning. 8/9

Reflexively, Misty refuses, leaving Jean visibly shaken but pretending nothing is amiss, all the while contemplating how easily she could simply remake the world to her liking, an ominous reminder of the burden of a power that readers know will eventually consume her. 9/11

He begins with a quaint and juvenile bit of word-play about sitting cozily by the fire – describing how the fire “roasty-toasts” Jean. It’s the kind of disarming prose that readers might expect to find in Milne’s ‘Winnie-the-Pooh’ rather than an X-Men comic. 3/11

Lee brought all of these attributes to his illustration style in UXM, thus connecting the visuals of the series (indirectly) to modern cinema, rock and roll, and, above all else, a youth movement in popular culture. 5/5

Thus, this coordinator role has the potential to make Rachel the leader (as does her role in first bringing the team together), but Rachel often isolates herself from the team and does not seem to take on that responsibility of leadership outside of coordinating the team. 4/8

The villains had gotten a bit generic in the waning arcs of Claremont’s run, coinciding with a change in editorial direction and artist-input. Where C had injected nuance to UXM villains from very early-on, the last few stories featured wall-to-wall evil megalomaniacs. 4/8

Cortez is a classic Iago-style villain with a healthy does of Grima Wormtongue. He plays on people’s insecurities and needs in order to manipulate them, thus complicating the hero/villain dynamic through the mediation of a bad agent. 2/8

“Wolverine’s love interest in the miniseries, Mariko, and her father, Shingen, are exemplary of the stifling strictures that Orientalizing brings to Japanese characters in the large mediascape of American superhero comics.” 4/7

Though hard to imagine in our current ninja-saturated culture, Sobel starts by acknowledging the important cultural precedent of the miniseries being among “the first superhero comics to extensively represent Japanese culture from an American perspective” (226). 2/7