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 wake of an epic volcano collapse, UXM 114 starts out with a simple scene of Hank and Jean trapped in an Antarctic blizzard. Brief though it is, the scene highlights a depth of skill and craftsmanship by all creators involved, achieving a rare emotional impact. #xmen 1/12
The opening splash shows a haggard-looking Hank fighting the elements with Jean in his arms. In true Will Eisner style, the hill Beast is climbing forms the stylized title of the issue: “Desolation.” Ice crystals form all across his fur and his face is mired in shadow. 2/12
The previous issue had ended with Hank’s strength failing, causing him to collapse in the snow. The opening splash thus portrays his heroic second wind. Claremont’s narration accentuates this by highlighting Hank’s indomitable will within an utterly doomed enterprise: 3/12
There’s an argument to be made that many of the unique ideas that manifest in Uncanny X-Men, including the codename and backstory of Illyana Rasputin, come forward from a small occult store in Chelsea and the culture surrounding it. #xmen 1/10
A key member of this culture is Bonnie Wilford, aka Greymalkin, alleged to be a prominent Wiccan High Priestess in NYC, and known to be a skilled jeweller, a traffic manager for Marvel (and occasional colorist) and Claremont’s first wife. 2/10
Wilford also teamed with Claremont to compose a sort of occult story bible for future Dr. Strange authors to re-outline the occult mythology surrounding that character – a mythology still in use extensively today, including the MCU. 3/10
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
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