Conor ⊗🔺さんのイラストまとめ

...case, either, as it wildly skews from surreal into caricature in its Orientalist, insulting depictions of the possessed Karma.

Even when the plot tries to return to its earlier thesis–that the bonds of family, provide better support than the intoxicating draw of power...

...undermines whatever efforts he's making. Kitty has often been (and will often be, for better or worse) Claremont's mouthpiece for what he actually means to say, and so her use of derisive fatphobic insults also cuts at his point.

Sadly, Sienkiewicz's art doesn't help his...

...fairly problematic storytelling (and wildly regressive, especially considering the more typically feminist nature of his books) is made worse by the reappearance of Claremont's fatphobic characterizations.

Claremont has used weight to signal the "evil" in characters before...

...a monumental send off for the incredibly talented artist, however, is unfortunately marred by Claremont's indulgence of some of the Run's worst characteristics.

Claremont loves his personal tropes–chief among them involuntary body modification–and what would already be...

...its earliest issues looked closer to the Silver Age X-Men series than it did Uncanny. Yes, it featured Claremont's signature mastery of pathos, but it often stumbled through plots as Claremont worked to find voices for each of his new characters.

What should have been...

...indicative of an evil we've already met–and while we'll contend with Claremont's use of fat bodies to indicate evil over the next several issues–we're clearly on the precipice of the New Mutants' next great villain.

Hopefully they–and Ali–will be able to make it out alive.

...note, literally beginning with the phrase "I can't go on". Ali is okay–at least physically–but her note hits the same beats with Lila's earlier description of Alison as someone with an addiction of her own.

The only foil to those emotions would be an all-consuming gluttony...

...the Beyonder, where only together they're able to escape a second Darkchylde-ing (?) and try to interpret the nature of his presence on Earth.

Rachel reaches out to the cosmic entity with her telepathy, managing to scrape parts of his nature...

...fully understand the consequences of that decision and the full afflictions of that identity; if she's going to survive, she's going to need her fellow mutants–her family–by her side.

It's a through line about mutant survival contrasted against the kids' second run in with...