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...again as a possession to be bought and used.
It feels (cw // child sexual abuse) deliberate that in the moments following her loss of control in Limbo, Illyana is again the subject of victimization with obvious sexual elements.
The "pleasure ray" is open sexual assault in...
...met with too many determined answers, but it does reground the book in one of its strongest truths: the kids are at their best when they're together.
With Magik conspicuously absent over the last several issues, New Mutants #50 visits her in an unending battle against the...
...when writers–and in this particular instance, white writers like Chris–use their own vantage point to tell stories about marginalized experiences.
It'll always risk being a story from the top looking down.
...Claremont has chosen Roberto, the second-most visible (well, only other in 1987) Black main character across both of his titles.
While it certainly feels like the logical extreme conclusion of Berto's rage throughout the series, the book's indulgence of the mutant metaphor...
...not worth the cost of fomenting racist lies and beliefs about the "danger" that folx of color supposedly pose to "good white" (or in this instance, "good mutant") society.
But just like Katie Power explains, some folks just simply don't care enough to do anything about that.
...written–much like Kitty's use of slurs–for the benefit of white or privileged readers without considering the implications it has for the marginalized folx it's meant to represent.
The danger of this inversion is that it amplifies, even if unintentionally, the philosophy...
...its victims–and perhaps falsely delude themselves into finding marginalization in their own privilege–New Mutants #49 offers a chance for that reader to investigate the cost of the systems of oppression they benefit from.
This inversion of the mutant metaphor, however, is...
...the story's marginalized class.
Children with genetic potential are stolen from their parents, humans exist as a literal underclass and live in a heavily policed state.
It is the wrong future–and given Claremont's assumption that readers have identified with the mutants...
...spurs the team into action with hopes to rescue their only escape from this scorched earth.
Amara creates a distraction and Xi'an watches the skies as the others break into the expected dyads of Sam and Berto, Dani and Rahne.
The boys are attacked by a Sentinel...
The King, however, makes it clear: what brings glory is not always what's right.
Doug asks the King why he's not scared, and centuries away from mutantkind being a (known) presence in society, they find the acceptance they're so starved from the king.