In UXM 201, Cyclops famously duels Storm. Immediately prior to this, however, he verbally duels his own wife, Madelyne Pryor over his desire to stay with the X-Men in an exchange that features some of Claremont’s most direct analysis of Cyclops’ character hang-ups. #xmen 1/10
Before this, Madelyne expresses her building frustration to Ororo. Storm tells her “He is a very private man. Such feelings are hard for him to face, much less reveal. But they are there, Madelyne. He does love you very much.” Madelyne isn’t convinced. 2/10
The debate scene in question begins with Cyclops’ declaration to Madelyne that “I have to stay. To lead them.” His concerns are his distrust for Magneto and his (terrible) observation that Storm would be a combat liability without her powers. 3/10
Madelyne, who has her own career as a pilot, calls him on the implicit misogyny of his presumption. “What about me? I have a life of my own – a career – do you expect me to chuck it?!” Cyclops’ then makes it clear that he absolutely did expect that. 4/10
Madelyne then points out that a child is a shared responsibility between partners and (somewhat delightfully) even takes the conversation into the territory of financial earning potential: “I have skills, I can earn a living – can you say the same?!” 5/10
In her (justified) frustration, Madelyne then effectively psychoanalyzes Scott: “Are you saying you - and you alone – are absolutely essential to the X-Men’s survival?! Or are you afraid they really can get along without you?” 6/10
She continues, “Is your life so hollow – your sense of self-worth so fragile – that you believe you’re nothing without them? What about me, what about us? My commitment supersedes everything – are you telling me the same doesn’t hold true in reverse?!!” 7/10
Cyclops has no response, and the pair hover in a beautifully-rendered silence by Leonardi, Portacio, and Oliver with an unnecessary panel gutter between them to signify the distance that has now formed within their marriage. They are divided, literally and symbolically. 8/10
Storm (perhaps mercifully) breaks the silence and requests her duel, whilst also offering Cyclops the chance to step aside. He walks away from both Storm and Madelyne, declaring simply “no.” Madelyne then holds their baby alone, again in silence, as Storm departs. 9/10
It’s a great little scene that adds emotional heft to the duel that follows (and the choices that inform it), whilst advancing the inherent conflict between Cyclops’ sense of duty and self as well as the fundamental inequity emerging in his relationship to Madelyne. 10/10

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More from @ClaremontRun

Feb 28
In his original scripts for the Muir Island Saga, Claremont had planned to bring the character of Charlotte Jones to the forefront by having her personally defeat the physical body of the Shadow King, Jacob Reisz, as the climax of the story. #xmen 1/4
Claremont had already showcased Jones (created in X-Factor) in a recent UXM story in which she and Forge worked together to escape from a Genoshan death squad. For practical rather than symbolic reasons, Jones even got to wear the X-Men uniform in the story. 2/4
However, in a fax from Bob Harras, dated 4/9/91, Claremont is advised by his editor that “while I appreciate the notes on the plot to X-Men #280, I have doubts about Charlotte Jones being the cause of the S.K.’s defeat. I think we’ll pump it up here.” 3/4
Read 4 tweets
Feb 27
In UXM 183 Claremont takes the seemingly superficial concept of a teenager getting dumped and lends it a weight and interiority beyond all expectation. As Piotr breaks Kitty’s heart, she is run through a complex gamut of emotional responses to devastating effect. #xmen 1/10 Image
The backdrop for the scene (cliffs at sunset) is both dramatic and (ironically) romantic. This is enhanced by JRJR’s use of hot pink colour shade panels as well as Piotr’s tendency to stare out across the endless water, while struggling to make eye contact with Kitty. 2/10 Image
While his actions in Secret Wars (not written by Claremont) were indeed callous, Claremont’s Piotr is arguably noble in this scene, laying out the truth as he sees it out of respect for Kitty’s feelings. The damage, however, is already done. 3/10 Image
Read 10 tweets
Feb 8
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
Read 10 tweets
Feb 6
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 Image
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 Image
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 Image
Read 12 tweets
Jan 26
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 Image
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 Image
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 Image
Read 10 tweets
Jan 17
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
Read 11 tweets

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