Conor ⊗🔺さんのイラストまとめ

...dread hangs over the book that builds with each reappearance of the Beyonder.

Arguably a Secret Wars II tie-in, UXM #196 never feels bogged down by that whole mess's content–rather, Claremont uses the Beyonder as a plot device rather than a plot driver.

His presence works...

...has less to do with her mutant identity and more to do with the Strucker twins general awfulness and Naziism, it sets the tone for the rest of the issue.

Even as the team meets at a deli (and talk among each other as if the person next to them can't hear them?), a sense of...

...of a wicked man, but that it doesn't even offer the context of the Shadow King's possession until much later; Xi'an's weight is to be assumed related to her heel turn, not her psychic assault by the Shadow King.

The shame of New Mutants #31 is that it mars an otherwise...

...as a grotesque creature couldn't possibly be a woman–that to look as the possessed and victimized Karma does belies any femininity you might possess.

The cruelty of New Mutants #31 isn't just that it warps a girl *introduced* to us as victimized once again at the hands...

After being suggested over the last two issues, Karma's puppetry of the Arena is only formally revealed when Sam confronts her face to face.

The subtext of his response, "Glory! It's a girl!" communicates that we should all be shocked that what Claremont wants us to see...

...even in a Run as celebrated as Claremont's–because the truth is that these stories are, in fact, harmful.

They equate the size of one's body with amoral wickedness, ironic given the specific underpinnings of the mutant metaphor that encourage us to think the opposite is true.

...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...