Conor ⊗🔺さんのイラストまとめ

It drops characters and references to the X-Men in almost too haphazardly, and without the context of a story we're already familiar with, doesn't feel like Illyana is quite sure what she wants this story to be.

But in the same breath, it feels like a story a child-teenager...

Illyana's story itself is actually enjoyable, even if its plot doesn't make *complete* sense from moment to moment–but it becomes less engaging when couched within its framing device.

Whereas Kitty's fairytale was just that–a fairytale for a restless child with the unintended...

...and Black King (albeit seemingly with allusions to Cloak and Dagger, given Emma's ensemble and Shaw's nebulous ability to control darkness), Illyana's story opens with a plot all too familiar to Kitty...

...the White Queen wants her and no effort is too great to have her.

In the face of their various recent defeats–literal and emotional–Illyana's campfire story is her way of demonstrating that not only does she understand Kitty as a person, but the moral Kitty needs the story to tell.

Introducing Emma and Shaw as the intergalactic White Queen...

...a child-appropriate retelling of the Dark Phoenix Saga, Illyana's tale–Lockheed the Space Dragon and his Pet Girl Kitty–is much less of a retelling, but rather an amalgam of various moments in continuity that Illyana uses to gently lecture many of the downtrodden X-Men.

...the timejump that closed out UXM #192.

I opened the thread describing this annual as a pseudo-response to Kitty's fairytale, but only in its use of framing narrative and the swap of its storyteller and primary audience.

Whereas Kitty's fairytale was functionally...

...can only assume was deliberately written by CC to parallel gay bashing, even more rampant in 1980s America.

The Mutant Metaphor has been purposefully, if not officially, couched in queer politics and with that, the subversive politics of Claremont's Run take on new shape.

...and his under-confidence–struggles to lead, watches helplessly as the brawlin' belle flies off to take on Magus alone.

She impairs the alien–but leaves herself sorta-Technarched (?) and impaired herself. Magus leaves, impressed by the mutants' power, but eager for revenge.

...reflection of her past-future, finally unlocking the memories of her arrival in the present. Alongside the elder Kate Pryde in a moment seemingly after DoFP, the two storm a Sentinel facility to deal with Project Nimrod (!).

One note in Claremont's scripts is future-Kate's...

...the rapid rise of anti-mutant hysteria in the wake of Dazzler: The Movie, now far more mainstream than fringe.

These are the attitudes that culminated in the Sentinel/human despotism in Rachel's dark timeline, and the escalating tensions, naturally, bring her into a deep...