Where suggestive imagery is often considered a lazy and salacious aspect of comics storytelling, UXM 137 contains a sequence of vignettes that use sexuality to create a complex balance that advances important themes and symbols of the Dark Phoenix Saga. #xmen 1/10
Claremont & Byrne give the X-Men an evening’s respite before the final battle, and the narrative takes the time to portray each of them in brief scenes that highlight intimacy (and with it vulnerability), undress, and, in some cases, sexual drive. 2/10
Jean is seen in her robe in her private quarters; Logan emerges naked from the shower; Colossus rises out of bed in his underwear; Storm luxuriates in her own bed in the nude; Beast exchanges sexual innuendo with a Shi’ar attendant; and Scott and Jean kiss. 3/10
The exceptions are Angel and Kurt, who receive a distinctively out-of-pattern treatment, though we could even argue that exercise and flight have important symbolic connections to sexual activity (as Freud notes in “Interpretation of Dreams.” Probably just an outlier, though 4/10
The choice to sexualize the X-Men now is counterintuitive: they are facing a seemingly unwinnable battle for the life of a beloved teammate. Simply put, it’s really not sexy time, yet the sequence of vignettes bombards the reader with erotic gazes. 5/10
So what does this do? We could argue that it centres the reader’s attention on the body – using the erotic gaze to create bodily awareness in the minds of the reader, an awareness that might enhance the sense of vulnerability of said bodies later on. 6/10
It also, however, reflects sexual maturity, a major theme of the Dark Phoenix Saga in general, with particular emphasis on cultural restrictions on women’s sexual pleasure. Thus, a series of sexualizing scenes help to keep that theme forefront in the finale. 7/10
Perhaps relatedly, the erotic gaze also conveys a sense of vitality/virility – an important element to establish when seeking to add a sense of tragedy to Jean’s potential death; these are individuals in their physical (and sexual) primes. Death should be off the table. 8/10
Finally, the scene helps to build a fundamental sense of duality: sex/passion/life vs violence/responsibility/death. This duality is deeply woven into the Phoenix mythology and will continue to be cultivated by Claremont long after Jean’s demise. 9/10
In all of these things, the overarching effect is to add weight and balance to the battle that follows and ultimately to Jean’s death (though not originally planned), all in a way that might encourage us to move beyond one-note generalizations on the role of sex in comics. 10/10
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As a collaborative medium, comics are sometimes denigrated for their committee approach to character-building, but a closer look at the 'committee' behind Wolverine shows how a character like Logan offers a multifaceted connection to creative genius. #xmen #wolverine 1/10
As noted by Marvel historian Sean Howe, Wolverine was first “named and conceived by Roy Thomas, who detected a need to exploit the Canadian market” before being “developed further by Len Wein and John Romita” ahead of Logan’s debut in “The Incredible Hulk.” 2/10
Throw in Claremont, and the pedigree is quite impressive already. Thomas is perhaps best known as the greatest writer of Conan comics, a character that later artists would draw from quite directly in their interpretations of Wolverine. 3/10
In UXM #220, Claremont takes a moment away from a chaotic era to touch back upon the longstanding, well-evolved relationship between Storm and Wolverine, giving readers another character-revealing scene between this iconic X-Men duo. #xmen #wolverine #storm 1/9
The scene initiates a journey of self-discovery for Ororo, one of many throughout the series but this one will specifically create the rising action for the “Fall of the Mutants’’ event. She has to go alone, but someone has to lead the X-Men in her absence. She recruits Logan 2/9
The power dynamic is foreshadowed in the simple fact that Wolverine (an archetypal hunter) has literally scaled the highest mountain to be alone, but it doesn’t matter. Even without her powers, Ororo has tracked him down. 3/9
In an introductory essay penned in 1980, John Byrne recounts his personal perspective on Jean Grey and her transformation to Phoenix. His candid account paints a less grandiose view on the cultivation of the character within the series than we normally hear. #xmen #JeanGrey 1/7
“I’ve never liked Phoenix. There, I said it...It’s not that I don’t like Jean Grey. I have an abiding fondness for readheads, and have been in love with Jean since we first ‘met,’ about a millions years ago when I was 13.” 2/7
“Granted that her power were not nearly as spectacular as Cyclops’, or Angel’s, or even Iceman’s, but she looked real good in a tight uniform and could – and did – serve to get the X-Men out of tight places.” 3/7
Placing Kitty Pryde into the position of viewpoint character has to represent one of the most groundbreaking decisions within the entirety of the Claremont run – a move that ultimately impacted the series, comics as a whole, and even Western media in powerful ways. #xmen 1/10
The Claremont run begins with Cyclops as the main viewpoint character. Kitty joins the team right at his departure and soon enough takes over as a main viewpoint character for the rest of her tenure, as reflected in our data (noting that Kitty’s only on for 70ish issues). 2/10
At the time of her arrival, Claremont had already executed a turn toward more adult-oriented stories (something that becomes even more pronounced after the death of an X-Man in DPS). It’s therefore perhaps odd to bring on a teen protagonist. 3/10
Despite having all manner of characters (good and evil) express romantic interest in her, Storm’s first canonical love is Forge, a possibly counter-intuitive choice. But this might be the point, as Forge can better connect Ororo to her humanity. #xmen 1/10
Storm is routinely courted (or abducted – or both) by the wealthiest, most powerful beings on the planet/cosmos. She could be a queen, a goddess, a vampire, you name it, but she rejects all of these suitors out of concern for her own independence. 2/10
When asked in interview why it took so long for Storm to receive a relationship partner, Claremont would often reply “because nobody was good enough for her.” 3/10
Sharon Kelly is introduced to the readers in UXM #246 and is all-but killed in that same issue. She’s a character whose entire life and especially death exist in service to the plot, but, in spite of that, Claremont gives her story complexity, contradiction, and pathos. #xmen 1/9
We are first introduced to Sharon as she arrives at the Hellfire Club during a meeting between her husband (Senator Robert Kelly) and Sebastian Shaw. It’s revealed that Sharon was a Hellfire Club servant before marrying the senator. 2/9
Her brief interaction with her former colleagues showcases the kind of class exploration that one would see in a Bronte novel or, more recently, Downton Abbey. Hers is a story of rare class mobility and the perspective that comes with seeing both sides of the class divide. 3/9