In a 2020 piece for the Journal of Comics and Graphic Novels, Nicholas Holm speaks to the “Britishness” of Claremont’s Excalibur and how it implicitly validates Thatcherism through a lack of understanding of British society outside of popular culture. #xmen 1/9
“Claremont’s Britain would seem to have its shallow foundations in cultural references, rather than a social existence, and therefore manifests almost entirely at the level of aesthetic surface.” 2/9
“The result is more however than simply a denial or absence of politics, but rather a celebration of a timeless and stable UK that feeds into conservative worldview.” 3/9
“Hence, while elsewhere noted as a writer of relatively progressive comics, with Excalibur Claremont’s reliance upon genre convention and bloodless tropes leads, whether intentionally or not, to a quietly reactionary political aesthetics.” 4/9
For Holm, Claremont’s experience (and subsequent portrayal) of ‘Britishness’ comes “second hand via popular culture,” such as we see in his use of the very British “school days genre” to build the “Girls School from Heck” story arc. 5/9
The result could be framed in terms of Baudrillard’s concept of “Simulation and Simulacra.” Claremont simply didn’t have enough of what Holm describes as social experience of “the fractious tenor of British life in the waning years of Thatcher’s leadership.” 6/9
The argument is interesting, as it suggests that Claremont’s lack of sincere engagement with British social reality ends up affirming British conservatism – that even a comic openly mocking Margaret Thatcher, kind of validates her ideology, by accident. 7/9
Thus, Excalibur portrays a version of Britain that might read truth-y to a non-British audience, but likely less-so to the actual British public. This distinction is important, suggesting an implied audience for the book and thus a commodification of "Britain" as a concept. 8/9
For a fun point of comparison, as a Canadian, I always found Alpha Flight to be kind of hilarious in what it suggests Canada is; moreso because a Canadian (who would obviously know better) created and cultivated it. 9/9
In the Classic X-Men #2 backup story "First Friends" Claremont finally fills in one of the most notorious gaps in his own X-Men continuity: the initial cultivation of Ororo’s friendship with Jean. #xmen 1/8
In the story that unfolds, Jean has invited Ororo alone to a social gathering at her Manhattan loft. Her logic is “There are so many guys in the X-Men, we gals have to stick together” thus establishing an intentional construction of a sororal community. 2/8
From there Claremont falls into some of his familiar interpretations of feminine bonding: being naked in front of each other, wearing each other’s clothes, and going shopping together. This isn’t to say these things can’t work, of course, just that he does this a lot. 3/8
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
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
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
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
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
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
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
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
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
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
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