The Claremont Runさんのイラストまとめ

Havok makes the usual hero play by infiltrating the army in disguise and attacking when Lorna is threatened. Zaladane, of course, saw this coming a mile away and nonchalantly has her men immediately subdue and capture Alex. 7/11

Transported to the Savage Land, Claremont and Silvestri portray a very Frazetta-like world with Zaladane vamping it up appropriately in high heels, sitting on her throne with her preposterously coiffed hair and ordering around her army of monstrous minions. 6/11

As the mission gets underway, Havok seeks to fulfill the Wolverine role by intimidating a prisoner for information (even using Wolverine’s language). It goes poorly. 5/11

Next, Havok finds his potential aspirations toward leadership (another traditionally masculine role outside of X-Men, of course) immediately squashed by Psylocke who unilaterally declares herself the new leader of the X-Men, despite Havok’s concerns. 4/11

As we move inside, Havok is doing the tortured male bravado thing, but manages to knock himself out entirely, thus missing the phone call from his damsel in distress. 3/11

In UXM #250-251, Claremont provides Havok the opportunity to fulfill his apprenticeship of Wolverine by placing him (in Logan’s absence) into a supremely hypermasculine fantasy role. The results go pretty terribly, thus forming a subversion of masculinity as a concept. #xmen 1/11

Later, Deathstrike allies with Donald Pierce’s Reavers. On multiple occasions she exhibits empathy, nobility and sympathy alongside a healthy dose of disdain (even side-eye, so to speak) for the dishonorable crew of techno-pirates who comprise her new team. 8/11

Though Claremont did not create Lady Deathstrike, his contributions to the cultivation of the character are quite notable, leading to a powerful villainess with a nuanced combination of malice and nobility, thus forming a worthy foe to Wolverine. #xmen 1/11

Claremont’s X-Men operate in a similar way – constantly expressing a lack of interior confidence and routinely questioning their own capacity to even function as superheroes. Whole pages are filled, at times, with self-condemning internal monologues in the vein of Hamlet. 4/9

Influence is difficult to substantiate in any medium, but here we have a fairly concrete example of Claremont’s creative works directly informing stories and storytellers in an entirely different medium and for an entirely different generation. 7/7