The Claremont Run Profile picture
Nov 27, 2021 9 tweets 4 min read Read on X
The concept of self-definition in resistance to external forces is one of the most pervasive thematic threads throughout the Claremont run – the idea that we, as individuals, get to define ourselves, even when pressured to conform to pre-existing expectations. #xmen 1/9 Image
As most people know, the revamped X-Men was specifically created to attract an international market, using stereotypical characters linked to different ethnicities. But Claremont complicates that almost immediately upon coming onto the book. 2/9 Image
He complicates Storm by giving her mixed heritage and a pluralistic experience of different African nations. He portrays Forge as an Indigenous man living outside of tribal culture. Toward the end, he brings in Jubilee, an Asian-American experiencing racism from both sides. 3/9 ImageImageImage
In terms of sexuality, he does the same. Storm’s sexuality exists outside of easily-defined norms. Nightcrawler is deeply religious, but also fully sex-positive. Kitty is exploring her sexuality (subtextually) from a variety of angles. Boundaries and definitions are blurred. 4/9 Image
Then there’s more abstract forms of resistance to definition such as Jean refusing her destiny, refusing an enforced maternal role, refusing gender-based hierarchies, all whilst actively contemplating the impact these expectations have on her sense of individual agency. 5/9 ImageImage
Logan does something similar, refusing the perfect killing machine role that he was born to and cultivated toward by a wide number of forces. He refuses them all and pursues, despite incredible difficulty, self-definition. 6/9 Image
Cyclops takes it one step further, refusing even the reader’s expectations for him. He rejects his presumed obligation to live and die for Xavier’s dream, deciding instead to cultivate his own existence outside of both X’s vision and (metatextually) that of the reader as well 7/9 Image
Rogue rejects her parentage; Rachel rejects her dark destiny; Longshot rejects the cynicism of his newfound culture; Betsy rejects both class and gender presumptions; Alison rejects the shallow trappings of fame; on and on and on. 8/9 Image
The pattern is clear, and empowering. In a world where superheroes often represent values of duty and obligation, Claremont’s X-Men actively teaches all readers that other people’s expectations for us are bullshit, and that we have the right to (heroically) define ourselves. 9/9 Image

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More from @ClaremontRun

Oct 10
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 Image
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 Image
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 Image
Read 8 tweets
Oct 3
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 Image
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 Image
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 Image
Read 7 tweets
Sep 26
Though Jim Lee gets most of the credit for the 1990s X-Men aesthetic, Scott Williams’ inks played an immeasurable role in taking Lee’s line art from house style to the forefront of comics illustration thanks to harmonious collaboration. #xmen 1/10 Image
In a recent interview with Syfywire, legendary inker Scott Williams talks about some of the misconceptions surrounding what inkers actually do and about how his 30 year partnership with Jim Lee in particular has thrived on mutual influence. 2/10 Image
Williams immediately dispels the tragic misconception that inkers are tracers, describing a much stronger artistic contribution: "There are a lot of times where deadline strikes and the penciler is not able to give all the information within a given page that is required.” 3/10 Image
Read 10 tweets
Sep 5
UXM 261 feels more or less like a backdoor pilot for “Hardcase and the Harriers” but it also features some strong initial character development of Jubilee, defining the complex dualities and opposing extremes that readers identify with in Jubilation. #xmen #Jubilee 1/10 Image
The issue opens with Jubilee expressing her frustration at the Southeast-Asian cuisine she’s exposed to in contrast to her abiding love for American junk food (something Wolverine provides, thus showcasing his bond with her). 2/10 Image
Though a small and simple bit, the scene dramatizes Jubilee’s representational complexity as an Asian-American. This is actually important for a series that, since GSXM #1, was built around characters embodying essentialist national types. 3/10 Image
Read 10 tweets
Aug 29
At the time of Colossus’s 1975 debut, America was embroiled in “The Cold War” with the USSR, a war that was often fought through media propaganda. Though Piotr was built around familiar US symbols of Soviet people, Claremont developed him away from type. #xmen 1/8 Image
Steel and agriculture were dominant symbols of the USSR at the time (seen on their flag), so a farm-boy who turns to living steel is right in-line with type from the get-go. His costume also features the colours of the Soviet flag and he espouses communist philosophy. 2/8 Image
In “Asymmetric Warfare: The Vision of the Enemy in American and Soviet Cold War Cinemas,” Andrey Shcherbenok establishes US mass culture’s tendency to portray Soviet persons in media as homogenized, generic enemies, overdetermined by their hate of America. 3/8 Image
Read 8 tweets
Jul 25
The Forge/Storm reunion in Fall of the Mutants story hit a lot of emotional notes and thus offers a great object lesson on the importance of the illustration team to capture and project the emotional nuance of character melodramas through expression. #xmen 1/8 Image
The spectacle of working in the superhero genre has the potential to distract from an artist’s skill with rendering emotion, and Silvestri in particular has been badly undervalued in this aspect of his work. The quality and diversity of Storm’s expressions make that clear. 2/8 Image
Without these expressions, Claremont’s emotional beats really can’t come to fruition. The narrative of Forge and Storm – the intimacy and longing between them - can be seen in their words, but it’s really brought to life through the visual imagery more than anything. 3/8 Image
Read 8 tweets

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