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
As Johnson describes, this also created a “zero sum game” where selling a new Marvel title to a retailer could result in said retailer purchasing one less DC comic to sell to their consumers, and thus Marvel could help itself while hurting the competition through expansion. 4/7
“By launching New Mutants but also several additional mini-series like X-Men and the Micronauts and Illyana and Storm that drew upon the X-Men name and characters, Marvel forced a choice upon its readers:” 5/7
“Obtain the full X-Men experience by buying multiple titles, or spend that money on the competition and miss out. This franchise strategy of expansion, therefore, emerged as a negotiation of direct market conflicts.” 6/7
How that expansion impacted UXM is hard to say. While it increases the visibility of the broader franchise and expands the canvas that Claremont and team had to work with, it also can be seen to dilute the overall impact of the series and create some internal conflicts. 7/7
We did a video essay on the X-Spinoffs a couple years ago as well:
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The Forge/Storm reunion in Fall of the Mutants story hit a lot of emotional notes and thus offers a great object lesson on the importance of the illustration team to capture and project the emotional nuance of character melodramas through expression. #xmen 1/8
The spectacle of working in the superhero genre has the potential to distract from an artist’s skill with rendering emotion, and Silvestri in particular has been badly undervalued in this aspect of his work. The quality and diversity of Storm’s expressions make that clear. 2/8
Without these expressions, Claremont’s emotional beats really can’t come to fruition. The narrative of Forge and Storm – the intimacy and longing between them - can be seen in their words, but it’s really brought to life through the visual imagery more than anything. 3/8
While the circumstances of Rogue’s absorption of the Carol Danvers persona are surreal and supernatural, they nonetheless provide an intriguing example of the concept of “restorative justice” in a manner that makes a compelling story at the same time. #xmen #rogue 1/9
Restorative justice is a system that focuses on “providing an opportunity for the parties directly affected by the crime – victims, offenders and communities – to identify and address their needs in the aftermath of a crime” instead of simple punishment. 2/9
Though more recently popularized, RJ was commonly practiced by First Nations communities in North America, forming the basis of entire judicial infrastructures (where most Western justice systems, up until recently, focused on the familiar penal structure). 3/9
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