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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...
Hello and welcome back everyone! (Or, welcome to any new followers entertained by my Madelyne Pryor jokes!) Today, we're reading X-Men/Alpha Flight #1!
To catch anyone new up, (just about) every day I read through an issue of Claremont's Run on the Uncanny X-Men with the hope...
...a heavy hand in pointing out Ororo's hopelessness to herself (but, to be fair, she did learn manners from an allegorical Satan).
No matter who's telling the story, be it Claremont or Illyana, Kitty will always be given an opportunity to dramatically monologue, and the girl...
damn somebody really needed to bonk Claremont and Byrne with the horny stick 😳
#KyleReadsXMen
The original allegory of X-Men can be seen to conform to the concept of the “model minority” in abstract ways. Despite being definitive of the franchise, however, Claremont only rarely employed this foundational allegory, instead favouring a more fluid moral imperative. #xmen 1/9
...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.
...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...
In true Claremontian style, Peter’s conflicted understanding of his new family represents a hint of melancholy to contrast Ororo’s sense of contentment. To his credit, Claremont leaves the scene here, not trying to resolve the conflict, but letting it linger instead. 7/8
...a rare example of one of the early-Run's "meh" issues. There's a lot of the story that happens in Claremont's head and not on page, which can make certain moments–like Wasp's random collapse–feel unearned.
Similarly, we get first mention...
In this, we get an interesting example of Claremont taking Byrne’s Phoenix retcon (which C opposed) and making a compelling character beat out of it by integrating the consequences of that retcon into Logan’s character development. 5/14
Hoy tenenos nuevo capítulo de #LaRemesaMala en @DisneyPlusES, así que lo celebramos con un dibujo de nuestros nuevos clones favoritos!
@StarWarsSpain
Callisto has largely thus far proven herself antagonist to the X-Men, but Claremont manages to frame Callisto as an honorable, devoted leader to her people.
The Morlock seems genuinely upset with the news of Ororo's assault, and swears vengeance on those who would bring her...
Qro cortar o cabelo
Antes de falarem que eu sou maconheira, não, só achei daora essa opção de mão lol
talvez eu faça um redesign dele, mas ele era o personagem q eu ia usar antes de cancelarem a sessão de teste
nao é como se tivesse muita coisa sobre eleKHJKJJ
...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...
...to mentor Sam, his carefree but compassionate nature makes himself the perfect choice for our struggling hero.
As deliriously fun as yesterday's Annual was, NM #22 gets out its laughs and turns up the pathos to 110%, Claremont and Sienkiewicz convincingly selling Sam's...
...written right on the page. Even playfully framed, it's still an uncomfortable moment, even assuming Claremont meant no ill will with its plotting.
Bobby, still sullen after his father's heel turn during the Nova Roma Saga, talks out his angst with Sam, their relationship...