DOCSLIB.ORG

X-Men Allegory Allusion Essay

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
X-Men Allegory Allusion Essay Pull 1 Pull 2 Sam Pull are hated, feared, and despised collectively by humanity for no other reason than that they are Ms. Ekrofergustitz mutants. So what we have..., intended or not, is a book that is about racism, bigotry, and Language Arts 8 prejudice." In the comics, the X-men and others like them, were often victims of mob violence 31 January 2017 perpetrated by the hate group, “Friends of Humanity.” This is similar to the violence carried out Art Imitating Life against minorities by the Ku Klux Klan. There is no doubt that both groups struggled against “Your humans slaughter each other because of the color of your skin, or your faith or hateful humans. your politics, or for no reason at all. Too many of you hate as easily as you draw breath” Equally important are the characters and people involved. The leader and founder of the -Magneto (Stan Lee). Even though this quote comes from a fictional universe, it can still apply X-Men is Professor Charles Xavier, a telepath who believes in nonviolence. His character is to our world. Stan Lee, the creator of comics like Spiderman and The Avengers , invented an very similar to Martin Luther King, Jr. Xavier’s students even referred to their missions as allegory about discrimination with The X-Men . This comic series was published in 1963 when “Xavier’s Dream,” possibly referencing MLK’s “I Have a Dream” speech. Moreover, Xavier’s the United States was in the middle of the Civil Rights Movement. It is difficult to ignore the antagonist Magneto, who can control magnetic fields and uses a different approach to dealing similarities between the conflicts the X-men experienced and the discrimination endured by with hateful humans, is comparable to the militant civil rights leader, Malcolm X. In the first African Americans during the 1950s and 60s. Although not an exact replica, The X-Men X-men movie (2000), during a conversation with Professor X, Magneto tells Xavier that he will storylines allude to the American Civil Rights Movement by drawing parallels between events, control violence against mutants “by any means necessary,” a direct quote initially spoken by characters, and themes. Malcolm X regarding his reaction to racist whites (Singer). Both Xavier and MLK believed in Even though major conflicts in The X-Men center on humans with super mutant powers, nonviolent resistance, and Magneto and Malcolm X are associated with radical activism. we can still relate to their struggles during important events in the Marvel Universe. For Although the Marvel characters aren’t exact duplicates of the civil rights leaders, the similarities instance, the X-men were legally discriminated against because of their mutant powers. During are striking. the debate at the beginning of the first X-Men film, the fictional character Senator Kelly, an Finally, discussing a similar theme both The X-Men and the American Civil Rights “anti-mutant” politician, argues, “Now I think the American people deserve the right to decide if Movement share is essential. The theme, “It is important to stand up against prejudice and they want their children to be in school with mutants” (Singer). This is similar to Southern discrimination,” is apparent in both universes. First, in The X-Men , the team helps other mutants resistance to desegregating schools when the Supreme Court made a ruling in favor of avoid persecution during its missions. In the pilot of the original animated series, Night of the desegregation in the Brown v. the Board of Education in 1954. By focusing on the separation Sentinels , the X-Men are tasked to destroy the registration files of documented people with between both groups, Lee created a comparison between his universe and racial segregation in mutant abilities. Required by the Mutant Registration Act, these files were documented so that the 1950s and 1960s. In 1982, writer for The X-Men , Chris Claremont, explained, "The X-Men corrupt people could track down and eliminate mutants. By destroying the files, the X-Men were Pull 3 Pull 4 saving innocent lives from violence stemming from prejudice and discrimination. Additionally, 1964-malcolm-x-s-speech-founding-rally-organization-afro-american-unity/> [Accessed during the American Civil Rights Movement, there were hundreds of notable protests that arose 10 January 2017]. during the 1960s. One such memorable protest was the 1963 Children’s March in Birmingham, Alabama. Thousands of African American school children deserted schools at 11:00 a.m, “touching off a week of mass demonstrations and rioting that shocked the nation. Police tried to stop them. Yet, the children prevailed” (Mighty Times). This resistance to discrimination ultimately led to the desegregation of Birmingham. Both examples show how protest has power hatred and bigotry. Given these points, it is easy to see how The X-Men series is similar to the American Civil Rights Movement. The X-men represent African Americans in several different ways, from character types and leaders, to the stand against discrimination. Ultimately, both groups struggled due to hate, fear, and prejudice occuring in their worlds. It was the dream of both Martin Luther King Jr. and Professor Xavier for the world to live in peace, and maybe one day that can be achieved. “Any dream worth having is a dream worth fighting for.” -Professor X Works Cited Demby, G., 2014. NPR Choice Page. [online] npr.org. Available at: < https://www.npr.org/sections/codeswitch/2014/01/11/261449394/who-gets-to-be-a-super hero-race-and-identity-in-comics >. “Mighty Times: The Children’s March.” Zinn Education Project, Hudson & Hudson, 2005, zinnedproject.org/materials/the-childrens-march/. Singer, Bryan, director. X-Men . 20th Century Fox, 2000. X, M., 1964. (1964) Malcolm X’S Speech At The Founding Rally Of The Organization Of Afro-American Unity. [online] Blackpast.org. Available at: <https://www.blackpast.org/african-american-history/speeches-african-american-history/ .
Load more

Recommended publications
  • The Motivational Mind of Magneto: Towards Jungian Discourse Analysis
    Page 1 of 30 The motivational mind of Magneto: towards Jungian discourse analysis Jacquelyn Seerattan-Waldrom Supervised by: Dr Geoff Bunn April 2016 Page 2 of 30 The motivational mind of Magneto: towards Jungian discourse analysis ABSTRACT Discourse analysis has been a prominent area of psychology for 25 years. It traditionally focuses on society’s influence on the world through the rhetoric (implicit persuasion) and symbolism, dealing with important psychological areas such as ‘identity’ and many social justice issues. Graphic novel analyses is also increasingly more common. Social justice issues are especially prominent in analysis: particularly in X- Men, through metaphors of ‘oppression’, ‘sexuality and identity’ (Zullo, 2015). Psycho-discursive analysis focuses on the 'subject' neglected in traditional discourse analysis, which has been provided recent attention. A Freudian and Jungian psycho-discursive analysis of DC comic character, 'Batman' has been studied regarding motivation and psyche (Langley, 2012). However, ‘reflexivity’ in Freudian psycho-discursive analysis is a known problem that previous psycho-discursive analyses have been unable to tackle effectively. Therefore, this study proposed a step towards Jungian psycho-discursive analysis adapted from personality and motivation theory, ‘Psychological Types’ (1971) and theoretical expansions by Myers and Myers (1995). It was applied to fictional representations of psyche within the X-Men comic character, ‘Magneto’, due to fictional inspirations which commonly form Jungian theory. Magneto was interpreted as the type, ‘INTJ’, and future implications of further applications to psyche are discussed. KEY PSYCHO- JUNGIAN PERSONALITY X-MEN GRAPHIC DISCURSIVE PSYCHOLOGY NOVEL WORDS: ANALYSIS ANALYSIS Page 3 of 30 Background Discourse analysis For 25 years discourse analysis has been a prominent area of psychology (Stokoe, Hepburn & Antaki, 2012).
    [Show full text]
  • Aliens of Marvel Universe
    Index DEM's Foreword: 2 GUNA 42 RIGELLIANS 26 AJM’s Foreword: 2 HERMS 42 R'MALK'I 26 TO THE STARS: 4 HIBERS 16 ROCLITES 26 Building a Starship: 5 HORUSIANS 17 R'ZAHNIANS 27 The Milky Way Galaxy: 8 HUJAH 17 SAGITTARIANS 27 The Races of the Milky Way: 9 INTERDITES 17 SARKS 27 The Andromeda Galaxy: 35 JUDANS 17 Saurids 47 Races of the Skrull Empire: 36 KALLUSIANS 39 sidri 47 Races Opposing the Skrulls: 39 KAMADO 18 SIRIANS 27 Neutral/Noncombatant Races: 41 KAWA 42 SIRIS 28 Races from Other Galaxies 45 KLKLX 18 SIRUSITES 28 Reference points on the net 50 KODABAKS 18 SKRULLS 36 AAKON 9 Korbinites 45 SLIGS 28 A'ASKAVARII 9 KOSMOSIANS 18 S'MGGANI 28 ACHERNONIANS 9 KRONANS 19 SNEEPERS 29 A-CHILTARIANS 9 KRYLORIANS 43 SOLONS 29 ALPHA CENTAURIANS 10 KT'KN 19 SSSTH 29 ARCTURANS 10 KYMELLIANS 19 stenth 29 ASTRANS 10 LANDLAKS 20 STONIANS 30 AUTOCRONS 11 LAXIDAZIANS 20 TAURIANS 30 axi-tun 45 LEM 20 technarchy 30 BA-BANI 11 LEVIANS 20 TEKTONS 38 BADOON 11 LUMINA 21 THUVRIANS 31 BETANS 11 MAKLUANS 21 TRIBBITES 31 CENTAURIANS 12 MANDOS 43 tribunals 48 CENTURII 12 MEGANS 21 TSILN 31 CIEGRIMITES 41 MEKKANS 21 tsyrani 48 CHR’YLITES 45 mephitisoids 46 UL'LULA'NS 32 CLAVIANS 12 m'ndavians 22 VEGANS 32 CONTRAXIANS 12 MOBIANS 43 vorms 49 COURGA 13 MORANI 36 VRELLNEXIANS 32 DAKKAMITES 13 MYNDAI 22 WILAMEANIS 40 DEONISTS 13 nanda 22 WOBBS 44 DIRE WRAITHS 39 NYMENIANS 44 XANDARIANS 40 DRUFFS 41 OVOIDS 23 XANTAREANS 33 ELAN 13 PEGASUSIANS 23 XANTHA 33 ENTEMEN 14 PHANTOMS 23 Xartans 49 ERGONS 14 PHERAGOTS 44 XERONIANS 33 FLB'DBI 14 plodex 46 XIXIX 33 FOMALHAUTI 14 POPPUPIANS 24 YIRBEK 38 FONABI 15 PROCYONITES 24 YRDS 49 FORTESQUIANS 15 QUEEGA 36 ZENN-LAVIANS 34 FROMA 15 QUISTS 24 Z'NOX 38 GEGKU 39 QUONS 25 ZN'RX (Snarks) 34 GLX 16 rajaks 47 ZUNDAMITES 34 GRAMOSIANS 16 REPTOIDS 25 Races Reference Table 51 GRUNDS 16 Rhunians 25 Blank Alien Race Sheet 54 1 The Universe of Marvel: Spacecraft and Aliens for the Marvel Super Heroes Game By David Edward Martin & Andrew James McFayden With help by TY_STATES , Aunt P and the crowd from www.classicmarvel.com .
    [Show full text]
  • Martin Luther King Jr. and Malcolm X Talk It out 17
    Writing for Understanding ACTIVITY Martin Luther King Jr. and Malcolm X Talk It Out 17 Overview Materials This Writing for Understanding activity allows students to learn about and write • Transparency 17A a fictional dialogue reflecting the differing viewpoints of Martin Luther King Jr. • Student Handouts and Malcolm X on the methods African Americans should use to achieve equal 17 A –17C rights. Students study written information about either Martin Luther King Jr. • Information Master or Malcolm X and then compare the backgrounds and views of the two men. 17A Students then use what they have learned to assume the roles of Martin Luther King Jr. and Malcolm X and debate methods for achieving African American equality. Afterward, students write a dialogue between the two men to reveal their differing viewpoints. Procedures at a Glance • Before class, decide how you will divide students into mixed-ability pairs. Use the diagram at right to determine where they should sit. • In class, tell students that they will write a dialogue reflecting the differing viewpoints of Martin Luther King Jr. and Malcolm X on the methods African Americans should use to achieve equal rights. • Divide the class into two groups—one representing each man. Explain that pairs will become “experts” on either Martin Luther King Jr. or Malcolm X. Direct students to move into their correct places. • Give pairs a copy of the appropriate Student Handout 17A. Have them read the information and discuss the “stop and discuss” questions. • Next, place each pair from the King group with a pair from the Malcolm X group.
    [Show full text]
  • Rationale for Magneto: Testament Brian Kelley
    SANE journal: Sequential Art Narrative in Education Volume 1 Article 7 Issue 1 Comics in the Contact Zone 1-1-2010 Rationale For Magneto: Testament Brian Kelley Follow this and additional works at: http://digitalcommons.unl.edu/sane Part of the American Literature Commons, American Popular Culture Commons, Art Education Commons, Comparative Literature Commons, Creative Writing Commons, Curriculum and Instruction Commons, Educational Assessment, Evaluation, and Research Commons, Educational Methods Commons, Educational Psychology Commons, Feminist, Gender, and Sexuality Studies Commons, Higher Education Commons, Illustration Commons, Interdisciplinary Arts and Media Commons, Rhetoric and Composition Commons, and the Visual Studies Commons Recommended Citation Kelley, Brian (2010) "Rationale For Magneto: Testament," SANE journal: Sequential Art Narrative in Education: Vol. 1: Iss. 1, Article 7. Available at: http://digitalcommons.unl.edu/sane/vol1/iss1/7 This Rationale is brought to you for free and open access by DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in SANE journal: Sequential Art Narrative in Education by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Kelley: Rationale For Magneto: Testament 1:1_______________________________________r7 X-Men: Magneto Testament (2009) By Gregory Pak and Carmine Di Giandomenico Rationale by Brian Kelley Grade Level and Audience This graphic novel is recommended for middle and high school English and social studies classes. Plot Summary Before there was the complex X-Men villain Mangeto, there was Max Eisenhardt. As a boy, Max has a loving family: a father who tinkers with jewelry, an overprotective mother, a sickly sister, and an uncle determined to teach him how to be a ladies’ man.
    [Show full text]
  • (“Spider-Man”) Cr
    PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership.
    [Show full text]
  • By Any Means Necessary
    MALCOLM X BY ANY MEANS NECESSARY A Biography by WALTER DEAN MYERS NEW YORK Xiii Excerpts from The Autobiography of Malcolm X, by Malcolm X, with the assistance of Alex Haley. Copyright © 1964 by Alex Haley and Malcolm X. Copyright © 1965 by Alex Haley and Betty Shabazz. Reprinted by permission of Random House Inc. Excerpts from Malcolm X Speaks, copyright © 1965 by Betty Shabazz and Pathfinder Press. All Rights Reserved. Reprinted by permission of Pathfinder Press. “Great Bateleur” is used by permission of Wopashitwe Mondo Eyen we Langa. If you purchased this book without a cover, you should be aware that this book is stolen property. It was reported as “unsold and destroyed” to the publisher, and neither the author nor the publisher has received any payment for this “stripped book.” Copyright © 1993 by Walter Dean Myers All rights reserved. Published by Scholastic Focus, a division of Scholastic Inc., Publishers since 1920. SCHOLASTIC, SCHOLASTIC FOCUS, and associated logos are trademarks and/ or registered trademarks of Scholastic Inc. The publisher does not have any control over and does not assume any responsibility for author or third- party websites or their content. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012. ISBN 978-1- 338- 30985-0 10 9 8 7 6 5 4 3 2 1 20 21 22 23 24 Printed in the U.S.A.
    [Show full text]
  • The Contemporary Rhetoric About Martin Luther King, Jr., and Malcolm X in the Post-Reagan Era
    ABSTRACT THE CONTEMPORARY RHETORIC ABOUT MARTIN LUTHER KING, JR., AND MALCOLM X IN THE POST-REAGAN ERA by Cedric Dewayne Burrows This thesis explores the rhetoric about Martin Luther King, Jr., and Malcolm X in the late 1980s and early 1990s, specifically looking at how King is transformed into a messiah figure while Malcolm X is transformed into a figure suitable for the hip-hop generation. Among the works included in this analysis are the young adult biographies Martin Luther King: Civil Rights Leader and Malcolm X: Militant Black Leader, Episode 4 of Eyes on the Prize II: America at the Racial Crossroads, and Spike Lee’s 1992 film Malcolm X. THE CONTEMPORARY RHETORIC ABOUT MARTIN LUTHER KING, JR., AND MALCOLM X IN THE POST-REAGAN ERA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of English by Cedric Dewayne Burrows Miami University Oxford, Ohio 2005 Advisor_____________________ Morris Young Reader_____________________ Cynthia Leweicki-Wison Reader_____________________ Cheryl L. Johnson © Cedric D. Burrows 2005 Table of Contents Introduction 1 Chapter One A Dead Man’s Dream: Martin Luther King’s Representation as a 10 Messiah and Prophet Figure in the Black American’s of Achievement Series and Eyes on the Prize II: America at the Racial Crossroads Chapter Two Do the Right Thing by Any Means Necessary: The Revival of Malcolm X 24 in the Reagan-Bush Era Conclusion 39 iii THE CONTEMPORARY RHETORIC ABOUT MARTIN LUTHER KING, JR., AND MALCOLM X IN THE POST-REAGAN ERA Introduction “What was Martin Luther King known for?” asked Mrs.
    [Show full text]
  • Jack Kirby Influence Paper-2
    Magi Hossameldin Professor Thelma Bauer Digital Media Foundations- D304 8:00 - 11:20AM Class December, 18th 2018 Jack Kirby-The Real Unknown Hero ​ Often praised as the “King of Comics”, Jack Kirby has influenced generations of comic book artists and writers alike. Not only a talented comic book artist, he was also a great storyteller, which is considered to be responsible for his success and longevity. Kirby’s influence can still be seen in any modern superhero comics, and even on the big screen. Kirby is responsible for creating many iconic and beloved comic book characters. Jack Kirby was born as Jacob Kurtzberg on August 28, 1917, on the Lower East Side of Manhattan in New York City. From and early childhood, Kirby aspired to be a storyteller, having being influenced by the stories his mother told him, and the stories in the newspaper comics and in the movie theaters. As a self-taught artist, he started drawing cartoons for the newspaper of the Boys Brotherhood Republic. By the age of 14, he was enrolled in Pratt Institute, but dropped out the afternoon of his first day due to financial pressures. He worked at various studios before starting his career as a super-hero comic book artist. Kirby didn’t begin his career in comics but in the animated cartoons, namely Popeye cartoons at the Max Fleischer studios. He began working at Lincoln Newspaper Syndicate as a political, gag, and strip cartoonist. Through work, he met Joe Simon, and formed a team. In 1940, they were hired by Timely Comics Company, which is known in the present as Marvel Comics.
    [Show full text]
  • Hulk: World War Hulks Vol. 6 Ebook
    HULK: WORLD WAR HULKS VOL. 6 PDF, EPUB, EBOOK Jeph Loeb,Ed McGuinness | 112 pages | 29 Apr 2011 | Marvel Comics | 9780785142676 | English | New York, United States Hulk: World War Hulks Vol. 6 PDF Book Cover Artist. Strange, causing the demonic entity to flee. However, when he turns to tell Spider-Thing to get ready, he spots the web-slinger pulling the main doors off the Smithsonian so he can get inside. You know the saying: There's no time like the present Overwhelming rage causes the Hulk to unwillingly radiate energy that threatens Earth. Edgar Delgado. Dec 12, Louis rated it it was ok Shelves: graphic-novels. He then grabs Hydra Bob and leaps out of the Hellcarrier. To view it, click here. It is a game of hunting and wrestling. Chris Sotomayor. Views Read Edit View history. Other books in the series. The plot is the culmination of a series of events that began with the Hulk being tricked into space by the Illuminati and a Life Model Decoy of Nick Fury. Also for how calculated and cold he can be, as he doesn't mind some "collateral damage" in order to attain his goals. They all have the "noir" aspect where we hear the character's thoughts, and each character is completely bland and could easily be swapped out for another. We find out here Cancel Create Link. Red Hulk and Banner have failed, and their worst nightmares have come to kill them. The fact that this is Volume 6 might have something to do with why I found it incomprehensible.
    [Show full text]
  • S/E(F% /02 R/E',A F- B/Uez
    -: s/e(f% /02 r/e',A f- B/uez- Page No. 03/24/93 MALCOLMDEBATES IN 1992-93: Spike Lee's Movie and the Problematic of Mainstreaming Malcolm X Compiled by Abdul Alkalimat, aesisted by Mei-Ling McWorter AUTHOR TITLE SOURCE DATE Abrams, Garry The X Factor Los Angeles Times 02-06-92 Abrams, Garry The X Factor Los Angeles Times O2-L8-92 AIim, Dawud R Abdul What's in a Name? Malcolm "X" The American Muslim Journal 09-18-92 Man Not The Image Alkalimat, Abdul "Malcolm X: A warrior for these People's Tribune Volume tt-23-92 tlmeE" 19 Number 47 p.1 of special supplement Alkalimat, Abdul "Malcolm X and the struggle for the People's Tribune Volume Ll-16-92 future" 19 Number 46 p.4 AIkaIimat, Abdul "Did spike Lee do the right thing? People's Tribune Volume 12-28-92 I think not, and here's whyl" 19 Number 52 p.3 AIs, Hilton "Picture This: On the Set, the vilLage Voice tt/tolg2 Street, and at Dinner with X \*L-- Director Spike Lee" Ansen, David "From Sinner to Martyr: A Man Of Newsweek p.74 Lt-t5-92 4\ Many Faces" Armstrong, Jenice "X Marks Profit for Merchants" The Philadelphia Daily LO/30/92 News Atkins, Clarence "Trumpeter Terence Blanchard New York Amsterdam News l-L/14/92 Composes 'Malcolm X, Soundtrack" Austin, Curtis "Daughter's View of Malcolm X" USA Today tt / t6/e2 BaiIey, Ester "MaIcoIm X Rebel Without A pause" Spare Rib Magazine fssue 05-01-92 234 p.28-36 Bailey, Peter A.
    [Show full text]
  • Holocaust Avengers: from "The Master Race" to Magneto I Kathrin Bower I
    University of Richmond UR Scholarship Repository Languages, Literatures, and Cultures Faculty Languages, Literatures, and Cultures Publications 2004 Holocaust Avengers: From "The aM ster Race" to Magneto Kathrin M. Bower University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/mlc-faculty-publications Part of the European History Commons, Illustration Commons, and the Place and Environment Commons Recommended Citation Bower, Kathrin M. "Holocaust Avengers: From "The asM ter Race" to Magneto." International Journal of Comic Art 6, no. 2 (2004): 182-94. This Article is brought to you for free and open access by the Languages, Literatures, and Cultures at UR Scholarship Repository. It has been accepted for inclusion in Languages, Literatures, and Cultures Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. 182 Holocaust Avengers: From "The Master Race" to Magneto I Kathrin Bower I In the classic genealogy of the superhero, trauma is often the explanation ' or motivation for the hero's pursuit of justice or revenge. Origin stories for superheroes and supervillains frequently appear in the plots of comic books long after the characters were created and with the shift in the stable of artists involved, different and sometimes competing events in the characters' biographies are revealed. This is particularly true of series that have enjoyed long periods of popularity or those that were phased out and then later revived. The stimulus for this m1icle was the origin story conceived for the X-Men supervillain Magneto under Chris Claremont's plotting, after the series was resurrected in 197 5 and by the foregrounding of Magneto's Holocaust past in the opening sequence to Bryan Singer's 2000 filmX-Men.
    [Show full text]
  • Uncanny Xmen Box
    Official Advanced Game Adventure CAMPAIGN BOOK TABLE OF CONTENTS What Are Mutants? ....... .................... ...2 Creating Mutant Groups . ..... ................ ..46 Why Are Mutants? .............................2 The Crime-Fighting Group . ... ............. .. .46 Where Are Mutants? . ........ ........ .........3 The Tr aining Group . ..........................47 Mutant Histories . ................... ... ... ..... .4 The Government Group ............. ....... .48 The X-Men ..... ... ... ............ .... ... 4 Evil Mutants ........................... ......50 X-Factor . .......... ........ .............. 8 The Legendary Group ... ........... ..... ... 50 The New Mutants ..... ........... ... .........10 The Protective Group .......... ................51 Fallen Angels ................ ......... ... ..12 Non-Mutant Groups ... ... ... ............. ..51 X-Terminators . ... .... ............ .........12 Undercover Groups . .... ............... .......51 Excalibur ...... ..............................12 The False Oppressors ........... .......... 51 Morlocks ............... ...... ......... .....12 The Competition . ............... .............51 Original Brotherhood of Evil Mutants ..... .........13 Freedom Fighters & Te rrorists . ......... .......52 The Savage Land Mutates ........ ............ ..13 The Mutant Campaign ... ........ .... ... .........53 Mutant Force & The Resistants ... ......... ......14 The Mutant Index ...... .... ....... .... 53 The Second Brotherhood of Evil Mutants & Freedom Bring on the Bad Guys ... .......
    [Show full text]