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@ClaremontRun

Mar 22

In a brief self-insert scene from UXM Annual #12, Claremont uses the 4th-wall-breaking character Mojo to shine the satirical lens onto Claremont himself and onto his own creative team for a bizarre bit of autocriticism. #xmen 1/9

The narrative problem presented is that the X-Men have recently died in “Fall of the Mutants” and thus the demand for X-Men stories on Mojoworld has no supply. Mojo goes off on his team of sycophants, but this time, among them, is the X-team of creators themselves. 2/9

In a single panel, we see Bob Harras, Glynnis Oliver, Ann Nocenti, Art Adams, a blustering Chris Claremont and Tom Orzechowski. Notably absent is inker Bob Wiacek, though perhaps this is reflective of the fact that Wiacek was not the main x-inker at the time. 3/9

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The Claremont Run

@ClaremontRun

Mar 20

In a selected chapter for “Comics Studies: A Guidebook,” covering the very broad subject of “Superheroes,” scholar Marc Singer provides an account for the secret of Claremont’s success as writer of X-Men comics: representational metaphor. #xmen 1/6

“The X-Men were depicted as objects of fear, prejudice, and oppression, leading readers to interpret them as free-floating metaphors for African American, gays, Jews, and other marginalized groups – not to mention adolescents, particularly those outcasts who read comic books” 2/6

“Turning his mutant heroes into a malleable allegory, Claremont created a powerful vehicle for reader identification by conflating a conditional social ostracism with systematic and institutional oppression.” 3/6

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The Claremont Run

@ClaremontRun

Mar 12

Where X-Men elevated the idea of the internally-conflicted superhero group to new heights, Excalibur at times subverted that formula by bringing together characters with established connections to a wide variety of different genres. #xmen #excalibur 1/11

A genre is ultimately a series of expectations within a story that a writer can play to or play off of. Genre is important in storytelling. Jacques Derrida notes that “As soon as genre announces itself, one must respect a norm...one must not risk impurity." 2/11

The relationship to genre in comics is especially fraught, however, due to a widely held perception that comics are about superheroes alone, a perception that burdens the form with an expectation of genre conventions, even when it might like to explore other genres. 3/11

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The Claremont Run

@ClaremontRun

Mar 11

In “The Black Body in Ecstasy, “ Women’s Studies professor Jennifer C. Nash advances a revision to the discourse of Black women in visual culture (through the study of pornography) that may offer insight to the complex intersections of sex and race in the X-Men’s Storm. #xmen 1/8

Nash opens by establishing “black feminism’s approach to representation, which treats visual culture, unless produced by black women, as presumptively problematic.” Her complaint is that critics always fall into this exclusively “protectionist” approach that oversimplifies. 2/8

Storm’s portrayal of sexual exoticism is well-established in Claremont studies, often with emphasis on the exploitative potential through her participation in long-standing stereotypes that might be seen to dehumanize, objectify, or fetishize Ororo as a character. 3/8

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@ClaremontRun

Mar 10

Chris Claremont laid the groundwork for Kitty Pryde and Kurt Wagner/Nightcrawler to develop one of the X-Men franchise’s most complex and sustained cross-gender friendships. 1/8 #xmen

Kitty’s initial fear of Kurt compels intersectional explorations of how different mutations are perceived differently, even by other mutants, and inspires Kurt to reflect on his ingratiating approach to acceptance. 2/8

Their relationship has several important turning points, including a buddy adventure in space (Uncanny X-Men #155-57), and a second space adventure in which Kitty (inadvertently) takes her first sentient life, to save Kurt (Uncanny #163). 3/8

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@ClaremontRun

Mar 1

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

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