In the pages of UXM, Claremont would go on to achieve a number of highly significant comics firsts for representation, but one of his most famous comes in Iron Fist, with what is widely considered the first mainstream interracial kiss in comics’ history. #xmen#IronFist 1/11
C’s UXM resume includes what has been identified as the first African-American superheroine (Cocca 125), the first black superhero team leader (Darowski 78), and the first canonically Jewish superhero (Cronin). Misty/Danny comes before all of these, however. 2/11
The kiss comes in 1977. Really importantly, it is not a high fantasy setting, a future story, or a random kiss with no emotional attachments, but the rational fulfillment of a pre-established and carefully cultivated romantic trajectory. 3/11
Beginning in Iron Fist #1 (or earlier, depending on perspective), Claremont cultivates the Misty/Danny relationship as a fraught partnership (usually built around a shared love of Colleen Wing) then a friendship, and finally a love, declared on-panel by both characters. 4/11
The relationship also features a great deal of power and agency on the part of Misty, who is the worldly, experienced partner, in contrast to Danny’s naivety. She isn’t just there to be rescued by him; she does a lot of rescuing herself. 5/11
Misty also shows a commitment to her autonomy/agency and a sense of non-romantic priorities. She becomes angry when Danny befriends a former IRA bomb-maker and, when pressed, sticks to her ideals, abandoning Danny in a complex show of commitment to her beliefs. 6/11
Misty shows further autonomy in her existence outside of Iron Fist. She doesn’t simply orbit Danny (as many Marvel girlfriend characters live for the hero). She has her own adventures as a PI, a secret agent, and as Colleen’s partner in the Daughters of the Dragon. 7/11
One of those adventures even has Misty taking on an implicitly sexual relationship with a crime lord as part of a deep cover assignment. This removes her from the sort of fidelity/chastity dynamic that we often see in Marvel girlfriends and giving Misty sexual agency instead 8/11
Simply put then, this isn’t just AN interracial relationship; it’s actually a pretty solid one, with a fair amount of give and take between both parties by the standards of the time. 9/11
We should also note that Claremont’s approach to the relationship is race-blind (which can be good or bad, depending on perspective). Though Danny actively battles misogynist tendencies learned in K’un-Lun, nobody even comments on race in their relationship. 10/11
In all of this, Claremont shows the kind of commitment to progressive representation that would become a benchmark of his time on UXM, whilst offering numerous points of comparison to interracial X-relationships like Storm/Forge, Storm/Yukio and Logan/Mariko. 11/11
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Mariko Yashida is a fairly minor character in UXM (though certainly not to Logan), but a fascinating one, situated within a complex nexus of historical and fictional Japanese women within the Western imaginary. #xmen#wolverine 1/8
In an essay on Wolverine, Eric Sobel connects Logan/Mariko to the longstanding trope of “The Geisha and the White Man” which scholar Sheridan Prasso discusses as a Western media conception popularized by “Madame Butterfly” (beginning with Puccini’s 1904 opera version). 2/8
This idea is broad, but tends to operate around a narrative in which the Geisha character is trapped by honour and duty – including a lack of agency within her society - and thus doomed by her tragic love for the white man. In Butterfly, her only option is suicide. 3/8
In a 2006 interview, John Byrne discusses his personal vision for Wolverine in contrast with what eventually found its way into Marvel canon. Byrne had wanted to Logan to have a different backstory, different species, and even a different (but familiar) face. #xmen#wolverine 1/7
“My back-story for Wolverine was that Sabretooth was his father. Sabretooth was the mutant, and the mutation had bred true. So Wolverine was in fact the first of a new species and I intended him to turn out to be a hundred years old, something like that.” 2/7
This may have been C’s plan as well, as Byrne suggests by noting a throwaway reference to Logan’s complex mutanity. Byrne also envisioned that “His mother was a Native Canadian and he’d lived up in the mountains for most of his life, feral, until he was found by James Hudson” 3/7
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
The Wolverine/Storm relationship, in all its facets, is one of the most complex and longstanding in the entirety of Claremont’s run, focusing on his two most foregrounded characters as they mutually support each other’s development and growth as characters and as people #xmen 1/7
The pair is defined through mutual respect, intimate trust (something that does not come naturally to either), romantic subtext, and an implied casual sexual relationship that gets interrupted by circumstance, but could easily have been happening the entire time, off-panel. 2/7
Author Miles Booy argues that in early portrayals, Wolverine is symbolic of a primitive masculinity (through “ferocity”) while Storm symbolizes, in contrast, “feminine grace” through her primitive closeness to nature (26). Sort of Adam and Eve of the X-Men. 3/7
If read in the context of the queer metaphor of X-Men (what scholar Ramzi Fawaz calls “queer mutanity”) UXM’s repeated exploration of parental estrangement and possible reconciliation can hold a particularly poignant resonance. #xmen 1/6
Character arcs built around reconciliation w parents are extensive in the Claremont run and feature prominently in the stories of major characters such as Cyclops, Rogue, Storm, Wolverine, Nightcrawler and Rachel. 2/6
These arcs consistently explore themes of familial estrangement and the emotional fallout that results, whilst building tension toward a possible reconciliation and even sometimes resolving with an actual reconciliation and the catharsis it can produce. 3/6
In “Mutant Mutandis: The X-Men’s Wolverine and the Construction of Canada,” scholar Vivian Zenari explores the portrayal of Canada within the X-Men narrative and how that portrayal informs the character of Wolverine (and vice versa). #xmen#wolverine 1/7
Zenari sees Logan’s nationality as a somewhat lazy product of international market-building, with Wolverine’s Canadian-ness generally underconsidered in terms of its connection to his character/identity. 2/7
"The imagined Canada of Wolverine is for the most part the imagining of another country. At the level of language, a Canadaphile will notice factual errors, such as misspelled place-names…and incongruous terminology… that could be chalked up to a careless copyeditor.” 3/7