The Claremont Runさんのイラストまとめ

From there we see Betsy’s relationship to her big brother Jamie in direct contrast to how Jamie treats other women in his life. And by the time Betsy gets out of the car, she’s become the feminine ideal that she had just openly disdained. 3/9

UXM 256 takes the classic heel-turn story and turns it into a 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 @LetsTalkBetsy

Claremont did not always succeed at escaping stereotype himself (see accents as one example of this), but under his watch the characters became progressively more independent from type, often undermining it altogether. 3/4

At the outset, the new X-Men were defined top-to-bottom by their nationality – with their personalities, power-sets and even costume colours frequently deriving from stereotypical perceptions of their respective nations. 2/4

From there C cultivated an existing rivalry with Rogue, a romance with Longshot, a friendship with the other X-Ladies, and a shared misery/rivalry with the other reluctant X-Man, Havok. At the same time, Alison contributed verve and style to an otherwise grim Australia team. 6/7

Here, Claremont picked her up and wove her into X-Men through an attack by the Marauder Malice and a subsequent roster position as the safest option for Alison in the wake of the Mutant Massacre. 4/7

Claremont’s roster has various characters out for certain issues or even for extensive runs. This creates gaps in the lineup, allowing Claremont to try-out, debut or cultivate other members, a process that has resulted in multiple enduring characters taking off. 4/5

While the impact of death in comics has been much discussed, long-term injury and rehabilitation has not, despite having similar effects on character, plot and setting. Predictably, this is something Claremont often does very well. 1/5 #xmen

In the broad sense, Mojo is a symbol of the influence of corporate greed upon media; the villain is characterized as a faux-artist (literally spineless) who will cross any moral boundary for the sake of ratings, marketing, and merchandising. 4/6

The satirical aspect is established through several references to Marvel comics production as well as the presence, on-page, of the X-Men creative teams, such as Claremont, the Simonsons, Art Adams and Ann Nocenti in several instances. 3/6