Conor ⊗🔺さんのイラストまとめ

Teleporting the kids into Limbo (in a moment made incredibly visual by Sienkiewicz), Illyana attempts to exorcise the darkness within the younger New Mutants.

The spell backfires, forcing Illyana to absorb and redirect the abilities, only to return the kids from Limbo without...

...willingness to abandon her if he can at least have Zsaji. But ultimately, he can't... leaving him in a despondent state close to giving up before Rahne's intervention.

The Professor, Rogue, and the New Mutants arrive at the church, where a terrified Rahne reverts to her...

...at deeper emotional depth. Bobby's darkness forces him to relive his choice to leave Kitty after meeting Zsaji during Shooter's 12-Issue Toy Commercial.

In the disturbing scene, Piotr's choice quite literally brings Kitty's bright world to an end and highlights the man's...

...but it leads Rahne to realize that she can rescue Piotr from within Bobby's darkness.

One thing I love about Claremont's time on both titles is that his casts are truly interwoven and unsiloed, giving Piotr (who otherwise doesn't get to do much emotionally in UXM) a chance...

...themselves off from the world is a painfully real one that adds a lot to their altered characterizations.

Elsewhere, Cloak & Dagger escape from the hospital, anticipating a return visit from the New Mutants. I'm not familiar with how central it is to their characterization...

...Cloak's all-consuming hunger. Bobby, now possessed by this same hunger, immediately becomes the more tragic of the two figures, yet Rahne's forced position of codependent caretaker all hurts.

The metaphor of a substance disordered person and their "caretaker" cutting...

Well, it might have ended, if not for the quick intervention of Rahne. There's something truly sad about seeing the two youngest members of the New Mutants warped in this way.

Cloak and Dagger's origin story is deeply tied to drug addiction, especially within the context of...

...and sure his decision to join the Club will put him in more danger than it will ever reap him rewards.

The brewing antagonism between Shaw and Selene starts to spill over, with the latter mocking Shaw.

As Shaw puts it: she wants his power... and doesn't care if he knows it.

Rahne strikes against her two foes gleefully, delivering what seem to be fatal blows against the sorceress and baron.

After slashing at throats and biting with murderous intent, Rahne returns home, stolen locket in hand, to peacefully fall asleep, a girl again.

Her prince charming returns, only to collapse as Rahne's fantasy turns nightmare.

This is no story–despite the fantasy trappings–this is all a carefully crafted delusion, meant to lure Rahne into the city to face an almost familiar woman in white and man in black.