New Mutants 50-52 portrays the tragic breakdown of Illyana’s relationship with her surrogate father, Professor Xavier, helping to set in motion the events that ultimately lead the character toward a path of outright destruction in the Inferno to come. #xmen#newmutants#magik 1/9
Issue 50 (somewhat cruelly) establishes the extent to which Xavier is viewed as a father in Illyana’s eyes through the extent of her jubilance at being rescued by him, but also through her reflection on the fact that Xavier has, in her eyes, earned the role of father to her. 2/9
Moving beyond reaction and reflection, however, Illyana fully demonstrates her devotion to X in that same issue, by taking up her magical powers (despite having purposefully abandoned them) in order to protect Xavier, something he observes quite directly. 3/9
In issue 51, however, Xavier is put in an impossible position: Illyana is having a breakdown, but the safety of all the students (including Illyana) depends on Illyana’s teleportation powers. With nowhere else to turn, X orders Karma to possess Illyana. 4/9
The betrayal is total in Illyana’s eyes, enhanced to the utmost degree by the fact that it specifically required Illyana (a former slave) to be forced against her will to pass through Limbo, the dimension in which her initial trauma occurred. 5/9
It is also perhaps interesting that Illyana’s breakdown may be portrayed in a slightly juvenile light – at least in the way she’s acting out like a teenager locking herself in her room. Her childhood was stolen from her, thus the betrayal re-stages a similar forced maturity. 6/9
Relatedly, the utilitarian use of Illyana’s power against her desires very much situates Xavier in the Belasco role. It’s not just that he fails as her mentor and protector, it’s that he becomes everything that she hates most in the world – a full circle fall from grace. 7/9
Once safely home, Illyana is portrayed in a state of righteous anger. What could have been a supervillain turn is staved off, however, in the issue that follows, thanks to the appearance of an unlikely replacement mentor in Magneto. 8/9
Magneto, however, becomes distracted by his White King role, leaving Illyana rudderless. Adding to this the absence of both her best friend and her brother, and Illyana is left to drown. But where others simply failed her, it is Xavier who betrayed her trust. 9/9
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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