The Claremont Runさんのイラストまとめ

For his part, Claremont remains relatively coy about the queer subtext of his work, saying X-Men can be an allegory for any experience of prejudice. Yet he also suggests that without the restrictions of Marvel editorial or the Comics Code, his comics would have been queerer. 8/8

Though perhaps interpreted at times as the mindless bruiser type, Colossus is portrayed by Claremont as having a unique emotional sensitivity and capacity for self-questioning that adds a compelling contrast to his lack of rational intelligence. #xmen 1/9

In Excalibur #6 Kitty has to go pee. While this might seem deeply relatable yet gross and irrelevant, it is exactly those qualities that make the scene impactful – maybe even important. #xmen @GoshGollyWow 1/7

@thiagossantos @amoshiashwili I also thought this section in particular was very much addressed at the writers of Avengers 200

As a sidenote the M-Squad’s non-death is explained in a backup story in X-Factor Annual #4 by Mark Gruenwald. They are interviewed by the Blues Brothers (for reasons) and they explain that it was all a “hallucination.”

The missing link here, however, is X-Factor. Debuting in 1986, X-Factor was essentially X-Men meets Ghostbusters, but, as Marvel historian Sean Howe describes, X-Factor was known at Marvel as “Chris-Busters” for the series’ capacity to disrupt Claremont’s X-Universe. 3/7

The connection between the M-Squad and the Ghostbusters is readily apparent. The first Ghostbusters film came out in 1984 and the M-Squad make their first appearance in 1989 (in which they are brutally dispatched after some comic relief). 2/7

One of the most downright meta integrations of filmic influence in all of the Claremont run is, perhaps counterintuitively, the M-Squad, a silly, simple Ghostbusters riff with a whole lot of subtext simmering through to create internal criticism of X-Factor. #xmen 1/7

That these Reavers are built from symbols of a deeply Australian pop culture villain group with an established visual lexicon plays an important role in defining what the outback era is and how it sets itself apart from earlier eras and eras yet to come. 9/9

This is made particularly clear in Psylocke’s vision, in which she sees herself made into a Reaver. It is this vision that specifically prompts Psylocke to drive the X-Men through the Siege Perilous, officially dissolving what was left of the team. 7/9