X-Men and the Mutant Metaphor (15 page)

Image 21. This panel, which features both Rogue and Wolverine fighting without their costumes, could be seen as equal opportunity exploitation and sex appeal. However, within the story Rogue is sexually objectified, even being sexually assaulted.
The Uncanny X-Men #236
(Late Oct. 1988), “Busting Loose.” Chris Claremont (w) and Marc Silvestri (a).

Image 22. Psylocke, the second figure in from the left, was a very reserved character in dress and personality when she first appeared as a white British woman.
The Uncanny X-Men #248
(Sep. 1989), “The Cradle Will Fall!” Chris Claremont (w) and Jim Lee (a).

Image 23. After Psylocke’s mind was transferred into an Asian body, her costume became one of the most revealing of the team. Her attitude and actions became much more seductive as well.
The Uncanny X-Men #271
(Dec. 1990), “Flashpoint!” Chris Claremont (w) and Jim Lee (a).

Image 24. Despite Rogue’s mutant power providing an in-story motivation for the character to keep all of her skin constantly covered, the creators consistently find ways to remove as much of her clothing as possible in order to titillate readers.
The Uncanny X-Men #269
(Oct. 1990), “Rogue Redux.” Chris Claremont (w) and Jim Lee (a).

Image 25. Jean Grey comforts Jubilee after the death of Illyana Rasputin. Illyana was the first victim of the Legacy Virus, a disease which can be interpreted as an allegory for AIDS outbreak in the United States, therefore broadening the mutant metaphor to include a condemnation of homophobia as well as an anti-racist metaphor.
The Uncanny X-Men #303
(Aug. 1993), “Province.” Scott Lobdell (w) and Richard Bennet (a).

Image 26. As part of her transformation into a villain, Jean Grey/Phoenix began to dress in a much more sexualized manner.
The Uncanny X-Men #130
(Feb. 1980), “Dazzler.” Chris Claremont and John Byrne (w) and John Byrne (a).

Image 27. Similarly, Madelyne Pryor (a clone of Jean Grey) was drawn with a very sexualized appearance after she transformed into the evil Goblin Queen.
The Uncanny X-Men #241
(Feb. 1989), “Fan the Flames.” Chris Claremont (w) and Marc Silvestri (a).

Image 28. In contrast with Dark Phoenix or the Goblin Queen, when Professor Xavier transformed into a villain named Onslaught his evil form was hyper-muscular rather than hyper-sexual. This is image is from an advertisement found in
The Uncanny X-Men #355
(Aug. 1996). The original art by Adam Kubert appeared in
X-Men #53
(Jun. 1996).

Image 29. There was a period in the early 2000s when Stacy X was the only female member of the X-Men. A reformed prostitute, her overt sexuality was her defining characteristic.
Uncanny X-Men #399
(Dec. 2001), “For Unlawful Carnal Knowledge.” Joe Casey (w) and Tom Raney (a).

Image 30. Jean Grey was the only female member of the X-Men in the 1960s and largely defined by the men’s romantic interest in her. In the early 2000s Stacy X was the only member of the team, and a similar role was shown, but with Stacy X as the aggressor and the sexuality shown much more explicitly than it had been in the earlier era.
Uncanny X-Men #408
(Sep. 2002), “Identity Crisis.” Joe Casey (w) and Sean Phillips (a).

Image 31. One of the closing moments from a mini-series called
House of M
resulted in a decimation of the mutant population in the Marvel universe. This was done in an effort to reassert the minority status of mutants in the Marvel universe.
House of M #8
. Brian Michael Bendis (w) and Olivier Coipel (a).