Conor ⊗🔺さんのイラストまとめ

...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...

...attack the singer (this is... maybe not the right call, guys) in a Gladitorial "Danger Room" session, which Ali reads as a total bridge burning and she turns her backs on the New Mutants altogether.

Even though she's outed herself publicly as a mutant, Ali doesn't seem to...

...a chance for fame while she does it.

At one point, Ali even laments that her desire for celebrity has cost her a relationship with her father and is beginning to do the same with the mutants and is unable to accept any accountability for her actions.

Berto and Amara...

While I'm told (hey @olevelo!) that Ali's characterization under Claremont isn't completely congruent with how she's grown in her own title, I found his storytelling choices surrounding the mutant queen of pop compelling–namely, that he dares her to confront the costs of fame.

...is Alison Blaire.

While Weezie hasn't taken over any of the books yet, Claremont's editor and other major Run contributor Ann Nocenti has had her turn at penning a series–Beauty and the Beast–which Claremont pulls directly from to tell the tale of this singer and her song.