Once established, Kitty carries more and more of the viewpoint character role in the series. That role is always distributed across different characters, but never equally (see Colossus as example) and Kitty becomes Claremont’s goto. 5/10

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...clear that he is perhaps the most benign of David's personas, his nature as an "occupying" force confuses whatever intentions Claremont set out to write through the metaphor.

It's further noteworthy that Jack Wayne, the persona whom Xavier quickly aligns himself with might...

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...and potential leader of the X-Men. By isolating the youngest Power sibling from the Pack, Claremont is able to contrast Katie against the youngest X-Man, Kitty Pryde.

In our last issue of Uncanny, Logan pointed out that, aside from Kurt, Kitty is the next most qualified...

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When asked in interview why it took so long for Storm to receive a relationship partner, Claremont would often reply “because nobody was good enough for her.” 3/10

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...the robot, but her phasing abilities prove ineffective at overcoming his hardware, launching the girl backwards and headlong toward a steel girder, rescued by Rogue with moments to spare.

Obviously, a lot of later X-Men canon takes its inspiration from Claremont's Run, but...

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Sharon Kelly is introduced to the readers in UXM and is all-but killed in that same issue. She’s a character whose entire life and especially death exist in service to the plot, but, in spite of that, Claremont gives her story complexity, contradiction, and pathos. 1/9

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Eventually, C even relocated the team to a foreign country, thus making their dream and vision more clearly international. Again, however, the results were mixed due to Claremont’s representation of Australia falling back on broad stereotypes. 8/11

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Additionally, Claremont lets his international team travel more and, as Grant Morrison notes, UXM used “accurate photo references and up-to-date travelogue descriptions of the exotic locales that the X-Men would visit in the course of each new headlong adventure.” 7/11

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Language is iffy, but Claremont does consistently include a small smattering of foreign languages in his X-Men’s dialogue alongside C’s notorious phonetic renderings of accents. Though fodder for jokes, this does at least represent an attempt at acknowledging difference. 5/11

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Marvel Comics Presents

Wolverine: Chris Claremont/John Buscema

Man-Thing: Steve Gerber/Tom Sutton

Shang-Chi: Doug Moench/Tom Grindberg

The Captain: Al Milgrom

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Thanks so much to everyone who has ordered my fine art giclee print 😊 “Hay Bales”.

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...Kurt immediately assumes blame for his injuries, his self-flagellation extra painful to watch given his typically joyous demeanor.

It's great emotional work on Claremont's end, rendering Kurt more human than ever; it was just a few issues ago in New Mutants that he coached...

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...that permits his assimilationist attitude.

In many ways, Xavier is truly the "star" of the issue, rare even in the Run's main title–but necessary character development given Claremont's intentions to transition the mutant metaphor to the book's main focus.

The team learns...

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Día 13
Lobezno/ Parche, se encuentra con Mr. Fixit (Hulk) en Madripur. Por Chris Claremont y John Buscema.

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...that Emma is singularly characterized as a less-than-one-note villain in the book, evil to the point that it becomes cartoonish.

Under Claremont, Emma is *emphatically* an evil woman, but there's still a depth to her character absent in this series. I'm all for others...

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162. Excalibur Vol. 1 (1989) nº 8 - 14

Guión: Chris Claremont
Dibujo: Ron Lim / Alan Davis / Marshall Rogers
Entintado: Josef Rubinstein / Paul Neary / Terry Austin
Colorista: John A. Wilcox / Glynis Oliver

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...be unable to defend her and the rest of the X-Men. Ross, transformed into the Lore Lord, confirms Logan's report that the Gift is killing those with sorcerous potential, but Rachel begins to suggest that those sacrifices are worth the cost.

Claremont's argument here is one...

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...mystery, the limited series' concluding plot is efficiently moved forward (at least for the reader, if not for the characters), allowing Claremont extra time to devote his scripts to the emotional character work he's best at.

With the revelation that she won't be the first...

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In UXM Claremont finally defines the parameters of the Kitty/Piotr relationship, establishing both the nature of their shared attraction as well as, importantly, the boundaries that limit the pair’s capacity to act on said attraction. 1/10

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