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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According to former Marvel EIC Jim Shooter, where most Marel writers took a hands-off approach to recruiting artistic talent to work with them, Claremont instead actively participated in scouting artistic talent for UXM. #xmen 1/5
Shooter observes that “Chris was very good at finding artists. I mean, other writers, they just let the editor find an artist. Chris is out bird-dogging artists all the time.” 2/5
“He was actively looking for artists. I know one time in Chicago, Chicago Con, this guy comes over asked me if I’d look at his samples and I did. They were really great. I said, ‘This is really good.’ I said, ‘Listen, give me your information, I’m going to see what we can do’”3/5
In his chapter on “Marvel, X-Men, and the Negotiated Process of Expansion” from the book “Convergence Media History,” scholar Derek Johnson describes how the aggressive expansion of the X-line was necessitated by the emergence of the direct market in comics. #xmen 1/7
“Comic distribution in the 1980s had shifted away from mass-market drug stores and newsstands towards the ‘direct’ market, where specialty retailers gauged audience demand and ordered products directly from the publisher on a no-returns basis.” 2/7
“With retailers eating the cost of unsold titles, the market for content contracted, with only those titles which retailers felt confident they could sell reaching the shelves.” This meant that name recognition and intellectual property suddenly became much more important. 3/7
The relationship between comics and nationalism is well-researched, and in Classic X-Men #29, Claremont defies the established comics treatment of The Cold War by revisiting and recontextualiing Colossus’s relationship to his motherland. #xmen 1/7
CXM 29 debuts in Jan 1989, very much during The Cold War between the US and USSR, a war that was largely fought through the media at a time when sympathetic portrayals of Soviet citizens with a genuine love for their country was still quite abnormal. 2/7
In his 1975 debut, Colossus was portrayed by Wein as brash/aggressive. Claremont would progressively push the character toward a more sympathetic portrayal, emphasizing both his vulnerability and his internal conflict with the excesses of American capitalism. 3/7
In Classic X-Men #6, simply titled “A Love Story,” Claremont uses a near-wordless sequence to create an intimate portrayal of Jean Grey’s world as she plans and anticipates her date with Scott, unaware of the cruel fate that awaits her. 1/7 #xmen
Importantly, the story reveals that Jean had been planning on seducing Cyclops. A note from roommate Misty Knight, and the (maybe) subtle action of hiding a photo of her parents from her nightstand make this abundantly clear. 2/7
Canonically, Jean only consummated the relationship in the Dark Phoenix Saga, which places her sexual agency in the hands of the cosmic entity, not her own, especially after the resurrection retcon that the Phoenix was entirely foreign – not Jean at all. 3/7
In keeping with Claremont's subversive representation of queer characters for young readers, the article looks at the importance of LGBTQ+ positive characters in contemporary comics, shining a spotlight on @Gingerhazing and @JamesTheFourth, among others.
The original draft actually specifically mentioned Claremont (through an interview with Tynion IV that you can find linked in the article), and which we did a thread on last month that you can find here:
Wolverine’s first solo series launches with a 6-page intro story about a bear that immediately establishes who Logan is, the duality that defines him, and his capacity to symbolize and disrupt perceptual boundaries between animal and person. #xmen#wolverine 1/9
The miniseries is built around the conflict between the primal and the civilized, with particular emphasis on destabilizing the distinction between the two of them by portraying the violence of civility as well as the nobility of the primal. 2/9
The grizzly encounter demonstrates this principle perfectly. The bear is terrifying and deadly, but only because of the interference of man. A good comparison might be to Grendel, with Logan thereby cast in the Beowulf role. 3/9