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May 15, 2022 11 tweets 4 min read Read on X
An important aspect of Storm’s duality, and one that contrasts her passion and will quite starkly, is her sense of interiority and self-isolation. Perhaps even moreso than iconic loner, Wolverine, Ororo often needs to withdraw and be alone. #xmen 1/11 Image
While her self-isolation can be read as part of her burden-of-leadership arc, we actually see it manifest quite clearly when Cyclops is still leading the X-Men. 2/11 Image
We first see it in the aftermath of the team’s battle with Garokk, which saw Storm desperately try to save the villain from death, but overcome by her own claustrophobia, she failed. She grieves alone, and Wolverine can see clearly that she needs her space to do so. 3/11 Image
We also see it when she revisits her childhood home in Harlem. Wolverine demands to chaperone her, but she simply informs him: “What I do to today, I must do alone.” 4/11 Image
Her famous connection to nature is important here as well. Storm likes to be alone, to fly high above the maddening crowd with just nature surrounding her. It’s how she decompresses and is clearly a solitary ritual. 5/11 Image
We see her isolationism again in the aftermath of her relationship with Forge with the loss of her powers and her subsequent pilgrimage (leading up to Lifedeath II), which, of course, also has to be undertaken alone. 6/11 Image
This recurs in the pocket dimension she shares with Forge during the Fall of the Mutants crossover. She helps Forge recover from his injuries and then she leaves – alone – to (re)discover who and what she is within the context of a new world. 7/11 Image
Importantly, Storm’s isolation isn’t born of necessity – she is surrounded by people who love her but she still requires space. The isolationism isn’t presented as a character flaw, either. It’s simply her process, in sharp contrast to the processes of other X-Men. 8/11 Image
This interiority is reflected in our data-set which reveals that Storm has, by far, the most thought bubbles of any character, and a significantly higher ratio of thought:speech bubbles than any character (double that of Wolverine). 9/11 Image
Her isolation also adds heft to key character choices: giving herself to Jean in the M’Kraan crystal; sacrificing her sense of values to defeat Callisto; returning to the X-Men after Gambit offers her a way out; and on and on. 10/11 Image
Though Storm would later be represented as an impulsive emotional being, Claremont’s characterization grounded her through this interiority, giving her a reluctance to open up to people and connect, a nice balance to her primal passion. 11/11 Image

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More from @ClaremontRun

Nov 22
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 Image
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 Image
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 Image
Read 8 tweets
Oct 10
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 Image
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 Image
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 Image
Read 8 tweets
Oct 3
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 Image
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 Image
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 Image
Read 7 tweets
Sep 26
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 Image
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 Image
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 Image
Read 10 tweets
Sep 5
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 Image
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 Image
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 Image
Read 10 tweets
Aug 29
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 Image
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 Image
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 Image
Read 8 tweets

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