The Claremont Run is a SSHRC-funded academic initiative micro-publishing data-based analysis of Chris Claremont's 16 year run on Uncanny X-Men and spinoffs.
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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 
“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 
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 
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 
Silvestri’s now iconic cover sets the tone with an homage to Buscema’s work from the 1970s Savage Sword of Conan, presumably, in illustration of a very famous scene from the Conan mythology, first published in 1934 in “A Witch Shall Be Born.” 2/14 
"There was a moment I think when I made a conscious decision by looking around seeing how few people were portraying heroic rational sensible women in books and comics. I thought, "I'll fill that vacuum - since no one else is doing it, I'll give it a try." 2/6 
Hank reflects on his isolation within the Avengers and his longing for the found-family of the X-Men, just as the call for help comes in. Torn between allegiances, he ponders his obligation and chooses the X-Men. 2/5 
The image references Burt Reynolds’ famous 1972 Cosmopolitan nude centrefold, an historic image that is credited with, among other things, inspiring Doug Lambert to create Playgirl Magazine the following year. Reynolds recounts the development as such: 2/10 
The first thing to note is that Claremont sees Mojo as some commentary on the comic book medium. We see this quite clearly in Mojo Mayhem when the X-Babies escape into a Mojo-Verse building labelled “The House of Jack and Stan” as well as other Marvel signifiers. 2/9 
“The one Marvel book that actually made a ton of royalties for me was the Excalibur special I did, which surprisingly enough, is the book I hate the most that I've done!” 2/5 
The issue presents the aftermath of the legendary “Warlord” issue of the Cross-Time Caper. It’s essentially a denoument for that story mixed with an interesting new story about Rachel’s pursuit of identity. Meggan is barely in it, but there’s a lot happening for her still. 2/10 
The unplanned-for joy of the project has been the social component of the social media, of talking to people for whom X-Men meant a very great deal, as it did for me personally as well. This isn’t always literary valuation – sometimes it’s about getting by. 2/9 
As Carnes notes “As early as The X-Men #97, Marvel printed a letter from Tom Runningmouth, a self-identified American Indian, who writes ‘I was proud to see one of my people, an American Indian – America’s First citizens – become a member….’” 2/7 
First and most obviously, her backstory is truly horrific. She debuts in Marvel Team-Up #100, co-created by Claremont and Frank Miller with a backstory connected to the Indochina Refugee Crisis. Her parents died shipboard, and Xi’an was subjected to sexual assault. 2/8 
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 
“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 
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 
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 
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 
John Byrne was “slammed” and “we needed a penciller of his caliber who could handle team choreography, action galore, physical and emotional characterization, spectacular visuals, special effects, the works!” 2/5 