Issue #14 of Excalibur features a visual and narrative sequence that offers rich potential for a sexual interpretation (within a series that relishes sexual symbolism) when perceived through that particular interpretive lens. #xmen 1/10
The centrepiece of this reading is the single panel of Rachel, rippling with energy, reaching toward Widget who is placed at the exact location of her genitals with an almost orgiastic grin upon his face in an example of what's called “yonic imagery.” 2/10
The narrative of the story only enhances the symbolism through escalating tension building to climax. The entire planet is about to collapse and Excalibur needs to power up Widget in order to escape. The dialogue includes a double entendre in “jump-start that little sucker.” 3/10
Additionally, the juxtaposition of images surrounding Rachel – a swelling tide of surging water and raw energy on either side of her, and a complete eruption of the entire planet beneath – again contribute to an orgiastic interpretation. 4/10
To be clear, the text doesn’t require this reading, and it could be incidental to intent, but the text possibly does use subconscious multimodal sexual symbolism in order to create a visceral engagement with the reader, presumably without them knowing it. 5/10
We should also note that, as much as some might like to dismiss all sexual symbolism as vulgar projection there is indeed tremendous evidence to support that this is something very intentionally integrated into the superhero industry. 6/10
As Anna Peppard notes in Supersex, “By wearing their underwear on the outside and proudly displaying their exaggeratedly hard and sensuous curves inside revealing, skin-tight costumes, virtually all the most famous superheroes openly invite erotic possibilities.” 7/10
Now, we can stop here (and good sense suggests we should considering how Twitter debates on this subject can sometimes go) but we can also go further and look at how the specifics of the sexual imagery can contribute to Rachel’s characterization. 8/10
Rachel has frequently been seen to reject sexual advances in early issues of Excalibur. Portraying the character in a form of symbolic onanism could (arguably) connect her sexuality to her emerging sense of independence – a major theme of her characterization in Excalibur. 9/10
Finally, from a representational standpoint, the excision of female sexual pleasure in mass media has been the subject of extensive scholarly work. Thus, reading Rachel’s symbolic orgasm (even if completely unintentional) can offer a rare and significant counter-discourse. 10/10
In a coincidental (by which I mean carefully coordinated) bit of brand synergy, Excalibur 14 is the subject of this weeks’s GGW podcast where we don’t talk about this at all – hence why I decided to write a thread for it and save it for today. goshgollywow.com/episode-archiv…
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Placing Kitty Pryde into the position of viewpoint character has to represent one of the most groundbreaking decisions within the entirety of the Claremont run – a move that ultimately impacted the series, comics as a whole, and even Western media in powerful ways. #xmen 1/10
The Claremont run begins with Cyclops as the main viewpoint character. Kitty joins the team right at his departure and soon enough takes over as a main viewpoint character for the rest of her tenure, as reflected in our data (noting that Kitty’s only on for 70ish issues). 2/10
At the time of her arrival, Claremont had already executed a turn toward more adult-oriented stories (something that becomes even more pronounced after the death of an X-Man in DPS). It’s therefore perhaps odd to bring on a teen protagonist. 3/10
In his 2006 essay “Mutant Readers, Reading Mutants: Appropriation, Assimilation and the X-Men,” scholar Neil Shyminsky capably argues that X-Men comics can be seen to appropriate and sell a narrative of disempowerment to the empowered. #xmen 1/6
“Rather than reflecting…that disempowered minorities are reading about and identifying themselves in the pages of the comic book, most readers are being taught to identify with oppressions that are unfamiliar and, I would argue, unequalto their own.” 2/6
For Shyminsky, this approach is problematic as it creates an implied “equivalence” between (in his example) being a geek and other forms of oppression such as “racism, sexism or homophobia.” 3/6
One of the more fundamental problems with Wein’s launch of the new X-Men was the paradox of trying to appeal to an international market while still presenting a form of colonialist cultural centralism. Claremont didn’t always escape that, but he made important strides. #xmen 1/11
GSX 1 begins with Xavier traveling the world to recruit a new batch of X-Men from their homelands, often removing them from existing hero (or goddess) roles for their respective peoples with the promise of an obligation to the world that lands them squarely in upstate NY 2/11
Once Claremont takes over, some more rational considerations appear, however. In UXM 94, for example, Sunfire leaves the X-Men immediately out of a sense of obligation for his homeland. Fans were confused by this initially, but it’s actually pretty sensible. 3/11
In 2000, former Marvel EIC, Jim Shooter sat down with CBR to discuss his legacy in comics, including his enduring perspective on his infamously contentious yet mutually beneficial relationship with Claremont on UXM. He tends to ramble a bit, but here’s some highlights: #xmen 1/11
“I inherited a company that was going out of business and losing money. I turned it around. In order to turn it around, I had to do things like tighten the ship. Creative people who have lived in anarchy do not like to be suddenly told no.” 2/11
“It's funny now, talk to people like Claremont. When I first sat down and talked to people like Claremont, and I'm saying story structure, identify your characters. Introduce your characters and concepts. Stuff he knew.” 3/11
In UXM’s first hand-off of penciling duties from Cockrum to Byrne, we can see an important stylistic shift in panel structuring and character framing that had strong consequences on the theme of team unity and cohesion. #xmen 1/9
Cockrum was overtaxed in trying to keep up with the burden of UXM and of drawing Claremont’s enormous cast of characters (both heroes and villains). In the interest of economy, Cockrum would often isolate individual characters in individual panels through close-up. 2/9
While this technique of using extensive close-ups works quite well for establishing things like intimacy, character reaction through expression, and perspective, it can have a negative effect on things like scale and sense of the group dynamic. 3/9
Though only briefly glimpsed at in the pages of X-Men comics, Captain Britain’s relationship to Meggan in Excalibur offers a poignant portrayal of a toxic and dysfunctional coupling in superhero comics. #xmen#excalibur 1/8
While there’s actually a pretty rich tradition of such relationships in superhero comics (Harley/Joker, Wasp/Giant Man, Reed/Sue), Brian/Meggan demonstrates a lot of self-awareness and utilizes superhero identity components to enhance the symbolism. 2/8
Meggan’s power set (empathic metamorph) serves as a metaphor. She changes her body to match the desires of those around her. In this she is quite literally adopting the toxic trait of defining herself through what her partner wants her to be. 3/8