The Cross-Time Caper is easily the most famous story arc from Claremont’s Excalibur, but it’s also a misnomer. Rather than ‘time’ (or even dimensions) the caper is actually built around a tour of famous fictional settings. 1/7 #xmen#excalibur@GoshGollyWow
The story begins with a dive into a world of Arthurian Romance in the spirit of Thomas Mallory’s “Le Morte D’Arthur” or T.H. White’s “The Once and Future King.” This initial foray sets the tone for juxtaposing Excalibur with a different fictional universe. 2/7
From there, the team lands into a metatextual alternate version of the Marvel Comics Universe itself; After that they find themselves in Edgar Rice Burroughs’ John Carter of Mars; after that: a Manga universe with direct connections to Dirty Pair and Speed Racer. 3/7
Next, the team lands in an alternate history “What If?” in the spirit of “The Man in the High Castle” by Philip K. Dick. Instead of WWII here, however, it’s the American revolution that was lost and the world thus unfolds along a different trajectory. 4/7
The final stop ahead of the conclusion in the omniversal hub is a universe inspired directly by Judge Dredd. Interspersed or overlapped with these major arcs and storylines are brief touches to other fictional universes such as Doctor Who, Lone Ranger, Star Wars, etc. 5/7
Excalibur had always been the self-referential X-book (long before Milligan’s X-Force, Deadpool, or Worst X-Man Ever), but the Cross-Time Caper can bee seen as something of a jam session, exploring and riffing on a series of iconic fictional universes. 6/7
Along the way, stories unfold directly around the setting, offering readers’ a sort of sampler package of some much beloved fictional universes, each of which holds the potential to impact, define, or redefine the Excalibur characters as they encounter it. 7/7
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Arguably the most poignant costume transformation in UXM is that of Storm’s embrace of a costume that signifies the punk subculture (or counterculture) and digging a bit deeper into what it represents can illuminate the full significance of that shift on her character. 1/8 #xmen
The punk movement is often badly misunderstood in the popular zeitgeist. It isn’t about wrecking, it’s about resisting. Even the concept of anarchism contains a number of beautiful ideals at its core, including an enhanced commitment to community and love. 2/8
Claremont shows complete awareness of the significance of Ororo’s transformation in the form of Kitty’s reaction, which surfaces the same misconceptions about what punk fashion represents. Kitty comes around, though, and so too does the reader. 3/8
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
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
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