In Excalibur #23, Claremont revisits one of his greatest character projects: Illyana Rasputin. Rather than take the AU story in the direction of the better-life-not-led, however, Claremont adds depth to Illyana’s 616 sacrifice by showing us the alternative. #xmen#Magik 1/8
In the pages of UXM, Magik, and The New Mutants, Claremont built Illyana up as a deeply symbolic character, exploring childhood trauma through an abstract metaphor of surviving hell and having to integrate back into a more innocent world. 2/8
It was Louise Simonson, however, who wrote Illyana’s ending (with some co-ordination from C) in which Illyana sacrifices the life she’s struggled to build to prevent the hell of her making from overtaking others. It might be the finest writing of Simonson’s storied career. 3/8
Thus, visiting an AU Illyana in Excalibur provides a simple opportunity to pull on the reader’s heartstrings with a tale of the hero alive and well (as later writers will do), but Illyana is only one of those things here. 4/8
This Illyana is depicted as fully corrupted by the Darkchylde. Where 616 sacrificed herself for the world, this Illyana would sacrifice the world for her aims. The depth of her corruption is, of course, most poignantly symbolized in her betrayal of her world’s Kitty Pryde. 5/8
It takes the Phoenix to defeat this Illyana (and purge the Darkchylde again) in this broken world that Illyana built. The message, thus, becomes clear: that Illyana’s 616 sacrifice was necessary for both the safety of the world, and for the preservation of her soul. 6/8
The natural quote to insert here would of course be from The Dark Knight: “You either die a hero or you live long enough to see yourself become the villain.” Illyana chose the former, and her portrayal in Excalibur #23 just solidifies this. 7/8
Through this approach, Claremont actually enhances (rather than cheapens) Simonson’s resolution to Claremont’s long-built and obviously much-beloved character story. It’s a very interesting example of effective shared-universe storytelling, something comics can struggle with. 8/8
For reference, we did a video essay on Magik's overall narrative and symbology over the years:
• • •
Missing some Tweet in this thread? You can try to
force a refresh
While the circumstances of Rogue’s absorption of the Carol Danvers persona are surreal and supernatural, they nonetheless provide an intriguing example of the concept of “restorative justice” in a manner that makes a compelling story at the same time. #xmen #rogue 1/9
Restorative justice is a system that focuses on “providing an opportunity for the parties directly affected by the crime – victims, offenders and communities – to identify and address their needs in the aftermath of a crime” instead of simple punishment. 2/9
Though more recently popularized, RJ was commonly practiced by First Nations communities in North America, forming the basis of entire judicial infrastructures (where most Western justice systems, up until recently, focused on the familiar penal structure). 3/9
As a collaborative medium, comics are sometimes denigrated for their committee approach to character-building, but a closer look at the 'committee' behind Wolverine shows how a character like Logan offers a multifaceted connection to creative genius. #xmen #wolverine 1/10
As noted by Marvel historian Sean Howe, Wolverine was first “named and conceived by Roy Thomas, who detected a need to exploit the Canadian market” before being “developed further by Len Wein and John Romita” ahead of Logan’s debut in “The Incredible Hulk.” 2/10
Throw in Claremont, and the pedigree is quite impressive already. Thomas is perhaps best known as the greatest writer of Conan comics, a character that later artists would draw from quite directly in their interpretations of Wolverine. 3/10
In UXM #220, Claremont takes a moment away from a chaotic era to touch back upon the longstanding, well-evolved relationship between Storm and Wolverine, giving readers another character-revealing scene between this iconic X-Men duo. #xmen #wolverine #storm 1/9
The scene initiates a journey of self-discovery for Ororo, one of many throughout the series but this one will specifically create the rising action for the “Fall of the Mutants’’ event. She has to go alone, but someone has to lead the X-Men in her absence. She recruits Logan 2/9
The power dynamic is foreshadowed in the simple fact that Wolverine (an archetypal hunter) has literally scaled the highest mountain to be alone, but it doesn’t matter. Even without her powers, Ororo has tracked him down. 3/9
In an introductory essay penned in 1980, John Byrne recounts his personal perspective on Jean Grey and her transformation to Phoenix. His candid account paints a less grandiose view on the cultivation of the character within the series than we normally hear. #xmen #JeanGrey 1/7
“I’ve never liked Phoenix. There, I said it...It’s not that I don’t like Jean Grey. I have an abiding fondness for readheads, and have been in love with Jean since we first ‘met,’ about a millions years ago when I was 13.” 2/7
“Granted that her power were not nearly as spectacular as Cyclops’, or Angel’s, or even Iceman’s, but she looked real good in a tight uniform and could – and did – serve to get the X-Men out of tight places.” 3/7
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
Despite having all manner of characters (good and evil) express romantic interest in her, Storm’s first canonical love is Forge, a possibly counter-intuitive choice. But this might be the point, as Forge can better connect Ororo to her humanity. #xmen 1/10
Storm is routinely courted (or abducted – or both) by the wealthiest, most powerful beings on the planet/cosmos. She could be a queen, a goddess, a vampire, you name it, but she rejects all of these suitors out of concern for her own independence. 2/10
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