#writer: chris claremont

[nocontextspiderman]

Marvel Team-Up #88

[prontaentrega]

criticisms of xmen for the way it tries to represent every social issue at once and fails to do so are obviously correct but i think people get too taken in by those very obvious examples of like white authors writing white characters as victims of fantasy racism, and ignore the many instances where the writers are actually part of the identities theyre writing about and sometimes the writing is bad not out of misplaced well intentions or insensitivity but because the politics and intentions of that author are still bad even if they are themselves jewish/gay/disabled/etc

[allthegothihopgirls]

jason todd daedalus and icarus in utrh. shakes you by the shoulders eats drywall screams cries throws up etc

also favorite / least favorite dc and marvel writers ?

auurrrrrfggggfffgghhhhhhhh

i think all comic book writers should eat shit and die

[wanderingmind867]

To find comics writers who I tend to like is a hard task, because there's usually at least one thing from a writer that i'll really, really hate. But if i have to pick some writers for whom i seem to like most of their stuff: Stan Lee, Roy Thomas, Steve Gerber, Arnold Drake (i read his marvel stuff, it was pretty good), and probably some others could be added to my list of "almost consistently good writers (with exceptions, of course)".

But if we want to talk bad writers...oh, boy. Steady yourself as I go ahead and pull out a list of people i've read about (and who i subsequently now hate): Chris Claremont (his X-Men sounds horrible), John Byrne, Alan Moore (too depressing and bleak), Grant Morrison (too weird and creepy), Neil Gaiman (a personal vendetta since I saw Coraline at age 4, I want to kill that man), Frank Miller (too dark and edgy), Jim Starlin (killed Mar-Vell and Jason Todd), etc. So there's a short list of writers I hate. I would like to think my reasons make at least some amount of sense, as well.

[keycomicbooks]

Classic X-Men #5 (1986) Arthur Adams and P. Craig Russell Cover, Dave Cockrum, John Bolton Pencils, Chris Claremont & Bill Mantlo Writers

#ClassicXMen #5 (1986) #ArthurAdams and #PCraigRussell Cover, #DaveCockrum, #JohnBolton Pencils, #ChrisClaremont & #BillMantlo Writers / 1st Appearance of Polaris (Lorna Dane) "My Brother, My Enemy!" Professor X is plagued by nightmares of a galactic war, in which some alien being draws his attention to her lone ship attempting to escape the destruction. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA  https://www.rarecomicbooks.fashionablewebs.com/Classic%20X-Men.html#5   #RareComicBooks #KeyComicBooks #MarvelComics #MCU #MarvelUniverse #KeyIssue #XMen

[vertigoartgore]

1991's X-Men Vol.2 #2 page 1 by Jim lee (penciller), Scott Williams (inker), Joe Rosas (colorist), Tom Orzechowski (letterer). Words by writer Chris Claremont (soon to be leaving Marvel at that moment).

[stormandforge]

And just like that, Forge has a name.

I almost choked when I heard it. I use captions, so I could see I hadn't imagined it, and I was in absolute shock. I repeated "DANIEL?" in disbelief about 10 times, my hand on my mouth and my eyes wide. I looked at my husband to confirm I wasn't going insane. Then I stared into space for the rest of the episode.

X-Men '97 using Forge's real name was the last thing I expected. And the way they did it, too, so casually, in conversation. I'D BEEN WAITING FOR THIS FOR 30 YEARS.

You might think it's a small thing, but before X-Men '97 episode 10, so before yesterday, Forge didn't have a real name. He was introduced in 1984. Let that sink in: that's 40 years without a single Marvel writer bothering to give him a name.

The fans, myself included, came up with headcanon to justify the decision and sometimes made up names for him in fanfic (Jonathan Silvercloud being the most famous one - no it's not an alt reality name, it comes from fic), but no Marvel writer took the time to explain or rectify.

This was frankly insulting of them, especially when you consider Forge's constant presence in the comics, and the ridiculous number of names some other characters have. Also, and perhaps most importantly, Chris Claremont had already planned a name for him:

All Marvel needed to do was use this name to make it canon. Or perhaps ask Claremont if they could use it. (And if they didn't want to speak to Claremont, they could still just...make up another name. You know, that thing writers do all the time.) But no, even after the name was announced on Twitter, it still was never used, on panel or elsewhere.

Enter a simple piece of dialogue in X-Men '97, and boom, Forge has a name. It wasn't that difficult, was it? Such a small move, but it shook me like a bomb. It's a historic moment for the character, and for the people who love him as much as I do. It's like he was finally given an identity, and with it the basic dignity he deserves.

I had imagined all sorts of scenarios in which his name would be revealed - all quite dramatic or emotional. But I guess the best way to retcon something that doesn't make sense is to pretend it never happened. So revealing his long-withheld name in conversation, natural like, is absolutely perfect. I love that Forge doesn't even react, because, you know, it's just his name, no big deal.

(I'm a bit sad that Ororo wasn't the first one to call him by his first name, but hey, you can't have it all.)

As far as I'm concerned, the name is canon now. '97 isn't the comics, but it's still Marvel, and that's good enough for me. I've waited long enough. And if the first name Claremont wrote is canon, then so is the last.

Which means: Forge has a full name. *SQUEEEEEEE*

I don't know who made the decision to use Forge's name or why, but I want to thank them. They righted a major wrong.

Now catch up, Marvel Comics. Everyone deserves a name. Even the monkey wrench repairman with non-flashy powers.

Everyone, meet Daniel Lone Eagle.

[hexespheres]

𝟲𝟬 𝙔𝙚𝙖𝙧𝙨 𝙤𝙛 𝙎𝙘𝙖𝙧𝙡𝙚𝙩 𝙒𝙞𝙩𝙘𝙝

(inspired by 40 Years of Psylocke)

→ First appearance: X-Men vol.1 #4 (1964)

→ Writers: Stan Lee (creator), Roy Thomas, Len Wein, Steve Englehart, Bill Mantlo, Jim Starlin, Chris Claremont, Mark Gruenwald, Steven Grant, Ralph Macchio, Roger Stern, Dennis Mallonee, John Byrne, Dann Thomas, Andy Lanning, Dan Abnett, Kurt Busiek, Geoff Johns, Brian Michael Bendis, Allan Heinberg, Rick Remender, James Robinson, Jim Zub, Al Ewing, Kelly Thompson, Steve Orlando & more.

→ Artists: Jack Kirby (creator), Don Heck, George Tuska, John Romita Sr., John Buscema, Sal Buscema, Rick Buckler, Bob Brown, Gil Kane, Jim Starlin, Jim Mooney, Jerry Bingham, Michael Golden, Rick Leonardi, Dan Green, Al Migrom, Richard Howell, John Ridgway, John Byrne, Steve Butler, David Ross, Andy Kubert, John Higgins, Mike Deodato, Ian Churchill, George Pérez, Joe Jusko, Mark Texeira, Alan Davis, Kieron Dwyer, Scott Kollins, David Finch, Olivier Coipel, Jim Cheung, John Cassaday, Jorge Molina, Daniel Acuña, Kevin Wada, Tula Lotay, Sean Izaakse, Pepe Larraz, Paco Medina, Javier Pina, Cian Tormey, Sara Pichelli, Russell Dauterman & more.

→ Costume designers: Jack Kirby, Don Heck, John Buscema, John Byrne, Richard Howell, Al Migrom, Colin McNeil, Mike Deodato, George Pérez, Alan Davis, Kieron Dwyer, Olivier Coipel, Jim Cheung, John Cassaday, Daniel Acuña, Kevin Wada & Russell Dauterman.

→ 𝘼𝙣𝙞𝙢𝙖𝙩𝙚𝙙 𝙖𝙙𝙖𝙥𝙩𝙖𝙩𝙞𝙤𝙣𝙨: Vita Linder (The Marvel Super Heroes), Katherine Moffat and Jennifer Darling (Iron Man), Susan Roman (X-Men: The Animated Series), Stravoula Logothettis (Avengers: United They Stand), Kelly Sheridan (X-Men: Evolution), Kate Higgins (Wolverine and the X-Men) & Tara Strong (The Super Hero Squad Show)

→ Various games: X-Men Legends II: Rise of Apocalypse, Marvel Super Hero Squad: The Infinity Gauntlet, Marvel: Avengers Alliance, Marvel Avengers: Battle for Earth, Marvel Heroes, Marvel Contest of Champions, Marvel Future Fight, Marvel Ultimate Alliance 3: The Black Order & more.

→ Current books: Scarlet Witch & Quicksilver by Steve Orlando & Lorenzo Tammetta, The Avengers (vol. 9) by Jed Mackay & C.F. Villa, Avengers United: Infinity Comic by Derek Landy & Marcio Fiorito, Blood Hunt by Jed Mackay & Pepe Larraz; Scarlet Witch (vol.4) by Steve Orlando & Jacopo Camagni

[racefortheironthrone]

What did you think of X-Men Blue Origins?

(I may turn this into a People's History of the Marvel Universe later today, so keep an eye on this space.)

X-Men Blue: Origins and the Power of the Additive Retcon

(WARNING: heavy spoilers under the cut)

Introduction

If you've been a long-time X-Men reader, or you're a listener of Jay & Miles or Cerebrocast or any number of other LGBT+ X-Men podcasts, you probably know the story about how Chris Claremont wrote Mystique and Destiny as a lesbian couple, but had to use obscure verbiage and subtextual coding to get past Jim Shooter's blanket ban on LGBT+ characters in the Marvel Universe.

Likewise, you're probably also familiar with the story that, when Chris Claremont came up with the idea that Raven Darkholme and Kurt Wagner were related (a plot point set up all the way back in Uncanny X-Men #142), he intended that Mystique was Nightcrawler's father, having used her shapeshifting powers to take on a male body and impregnate (her one true love) Irene. This would have moved far beyond subtext - but it proved to be a bridge too far for Marvel editorial, and Claremont was never able to get it past S&P.

This lacuna in the backstories of Kurt and Raven - who was Kurt's father? - would remain one of the enduring mysteries of the X-Men mythos...and if there's one thing that comic writers like, it's filling in these gaps with a retcon.

Enter the Draco

Before I get into the most infamous story in all of X-Men history, I want to talk about retcons a bit. As I've written before:

"As long as there have been comic books, there have been retcons. For all that they have acquired a bad reputation, retcons can be an incredibly useful tool in comics writing and shouldn’t be dismissed out of hand. Done right, retcons can add an enormous amount of depth and breadth to a character, making their worlds far richer than they were before. Instead, I would argue that retcons should be judged on the basis of whether they’re additive (bringing something new to the character by showing us a previously unknown aspect of their lives we never knew existed before) or subtractive (taking away something from the character that had previously been an important part of their identity), and how well those changes suit the character."

For a good example of an additive retcon, I would point to Chris Claremont re-writing Magneto's entire personality by revealing that he was a Jewish survivor of the Holocaust. As I have argued at some length, this transformed Magneto from a Doctor Doom knockoff into a complex and sympathetic character who could now work as a villain, anti-villain, anti-hero, or hero depending on the needs of the story.

For a good example of a subtractive retcon, I would point to...the Draco. If you're not familiar with this story, the TLDR is that it was revealed that Kurt's father was Azazel - an evil ancient mutant with the same powers and the same appearance (albeit color-shifted) as Kurt, who claims to be the devil and is part of a tribe of demonic-looking mutants who were banished to the Brimstone Dimension, and who fathered Nightcrawler as part of a plot to end this banishment.

I don't want to belabor Chuck Austen, because I think that Connor Goldsmith is right about his run actually being a camp cult classic in retrospect. However, I think we both agree that the Draco was a misfire, because of how the retcon undermined Kurt's entire thematic purpose as established in Giant-Size X-Men that Nightcrawler was actually a noble and arguably saintly man who suffered from unjust prejudice due to the random accident that his mutation made him appear to be a demon, and because of how the retcon undermined the centrality of Mystique and Destiny's relationship.

X-Men Blue Origins

This brings us to the Krakoan era. In HOXPOX and X-Men and Inferno, Jonathan Hickman had made Mystique and Destiny a crucial part of the story in a way that they hadn't been in decades: they were the great nemeses of Moira X, they were the force that threatened to burn Krakoa to the ground by revealing the devil's bargain that Xavier had struck with Sinister (and Moira), they were the lens through which the potential futures of Krakoa were explored, and they ultimately reshaped the Quiet Council and the Five in incredibly consequential ways.

This throughline was furthered after Hickman's departure, with Kieron Gillen exploring the backstories of Mystique and Destiny in Immortal X-Men and Sins of Sinister, and both Gillen and Si Spurrier exploring their relationship with Nightcrawler in AXE Judgement Day, Sins of Sinister, Way of X, Legion of X, Nightcrawlers, and Sons of X. One of the threads that wove through the interconnected fabric of these books was an increasing closeness between Kurt and Irene that needed an explanation. Many long-time readers began to anticipate that a retcon about Kurt's parentage was coming - and then we got X-Men Blue: Origins.

In this one issue, Si Spurrier had the difficult assignment of figuring out a way to "fix" the Draco and restore Claremont's intended backstory in a way that was surgical and elegant, that served the character arcs of Kurt, Raven, and Irene, and that dealt with complicated issues of trans and nonbinary representation, lesbian representation, disability representation, and the protean nature of the mutant metaphor. Thanks to help from Charlie Jane Anders and Steve Foxe, I think Spurrier succeeded tremendously.

I don't want to go through the issue beat-by-beat, because you should all read it, but the major retcon is that Mystique turns out to be a near-Omega level shapeshifter, who can rewrite themselves on a molecular level. Raven transformed into a male body and impregnated Irene, using bits of Azazel and many other men's DNA as her "pigments." In addition to being a deeply felt desire on both their parts to have a family together, this was part of Irene's plan to save them both (and the entire world) from Azazel's schemes, a plan that required them to abandon Kurt as a scapegoat-savior (a la Robert Graves' King Jesus), and to have Xavier wipe both their memories.

Now, I'm not the right person to write about what this story means on a representational level; I'll leave it to my LGBT+ colleagues on the Cerebrocast discord and elsewhere to discuss the personal resonances the story had for them.

What I will say, however, is that I thought this issue threaded the needle of all of these competing imperatives very deftly. It "fixed" the Draco without completely negating it, it really deepened and complicated the characters and relationships of both Raven and Irene (by showing that, in a lot of ways, Destiny is the more ruthless and manipulative of the two), and it honored Kurt's core identity as a man of hope and compassion (even if it did put him in a rather thankless ingénue role for much of the book).

It is the very acme of an additive retcon; nothing was lost, everything was gained.

I still think the baby Nightcrawler is just a bad bit, but then again I don't really vibe with Spurrier's comedic stylings.

[nocontextspiderman]

Marvel Team-Up #68 (1978)

[superectojazzmage]

X-Men works best, I feel, when writers understand on at least some level that it's really basically a cyberpunk/biopunk horror story that just happens to also be a superhero comic.

X-Men is the story of the world entering a new epoch where any random person on the street might randomly get superpowers - ranging everywhere from green hair to mind control - simply because they happened to win(?) a genetic lottery as part of a cosmic process programmed into humanity in ancient times by ineffable star gods. All around you are people who are ostensibly still people, but are also inhuman entities with alien powers who are gradually developing their own subculture that tells them they are the future dominant species destined to replace mankind. Many of them are just normal folks... but just as many see you the same way ancient homo sapiens saw neanderthals.

X-Men is the story of fear and hatred rising in the hearts of men in the face of that new epoch. Corrupt humans and mutants alike use bigotry and xenophobia to divide the two peoples, pushing them into a war not just for politics, but for evolution and the planet themselves. Mankind begins altering themselves and building machines of death to keep up with the mutants, in the process creating a third race of humanity; transhumans and robots, that in time come to be no different from the mutants, superpowered monsters of society's own making that see the humans as flatscan wastes of genes at best, oppressors to be destroyed at worst.

X-Men is the story of humanity fighting amidst themselves in their senseless darwinistic war while their world tumbles through a swirling universe of terrifying eldritch threats. Out in the stars and spiritual dimensions are alien empires once like us now advanced beyond comprehension, legions of magical wonders and nightmares in equal measure, lovecraftian machine hive minds that eat planets, demons that feast on our sin, cosmic entities that have as much in common with us as we do ants.

And above it all, X-Men is the story of how recognizing each other's humanity, of embracing love instead of hate, may be the only thing that ensures even a hope of survival in the face of the unimaginable, mind-breaking horror of a world entering a new era whether it's inhabitants like it or not... or perhaps, the only thing that decides whether or not we deserve to survive.

The best X-Men writers are the ones who recognize this. Chris Claremont, Johnathan Hickman, Grant Morrison, Kieron Gillen, etc.. The writers who recognize that there's something profoundly and utterly, existentially TERRIFYING about what the series really boils down to (a self-defeating war between mechanical and genetic evolution with normals caught in the middle that may be the extinction of all three races) and reflect that in the aesthetics and tone by emphasizing a cyberpunkish vibe.

Emphasizing that this is a world where people - willingly or not - alter their bodies like mechanics alter cars and any random person you see on the street might be a mutant or Sentinel or something that can kill you with a look, and that random person is probably hiding from something even worse that wants to kill them just for being born.

[dailydamnation]

Illyana Rasputin in New Mutants: War Children #1

Confession. Chris Claremont will always be my favorite X-writer and probably just plain writer, but I’m of the side that doesn’t think he should be put back on a (main) X-book. There’s more to it, but one thing I dislike is that in his later work, he tends to lean towards “Illyana is evil at her core” rather than the “Illyana fears she is evil at her core even though she contradicts that by always fighting against it” that is so meaningful in his original run.

The return of the Claremont/Sienkiewicz team-up in War Children was absolutely still great, and at the end Illyana is back to her normal teen self, but you do get this.

[rei-ismyname]

X-WOMEN highlights

X-women was a one shot released in 2010 with the explicit purpose of showing women in 'skimpy clothes' - at least according to the wiki which references a now dead Marvel URL. With Chris Claremont on words and Milo Manara on pencils, you can decide that one for yourselves. Implied SA content warning.

Believe it or not, there's several pages of other girls gone wild shit before the plot actually starts, with Rogue inheriting a villa in Greece (from who? Never mentioned.) Gal pals only, except for the gay dudes Kitty busta in on when phasing on a jetski.

Turns out they recognise her, lol. She's entering people's rooms on a cruise ship - it'd be more surprising to not see fucking. Ororo does Karaoke, nailing Proud Mary. Rachel sneaks off with that dude, but he shoots her and shit goes wild. 'I can't quite make sense of it' wild.

The cruise ship gets attacked so they flee and somehow end up in the dingy boat with Captain Dave. They notice they're depowered so Rogue takes the opportunity to touch someone - Ororo is happy to be that person. While platonic intimacy is wonderful, I'm going to label this 'pretty damn sapphic.'

The least believable bit is Storm wearing those jeans tbh.

Then that boat gets attacked too, and they're shipwrecked with the 'chief' who claims to be a God-King that can bring down planes. The tribe worship him and planes, which seems odd. I think they're all his wives now, but he takes special interest in Storm. Dude never gets a name, but he's creepy AF. I assume Captain Dave is dead.

Less favoured wives perform manual labour. Believe it or not, this explicitly rapey chief is not the bad guy of this tale. Rachel and Kitty's psychic rapport runs through the mini, something famously associated with platonic friends. There's some nonsense in the background about China and India doing ... something. War, maybe?

This whole 'trying to rape Ororo' scene goes on for quite a while, and the chief's main wife is jealous of her for the attention. Gross. Ororo beats him down a bunch but he does have some powers. She agrees to 'stop fighting' if her friends are released. Nope! He likes it. Again, this creep is not the bad guy in this narrative. What the fuck was CC thinking?

The real bad guys show up with guns and start shooting but the chief has fucking eye beams and some kind of telekinesis. Or magic, or maybe he really is a God. The X-Women, sigh, team up with him to take down the Baroness' troops. Baroness of where? Doesn't matter. I definitely hate aristocrats who try to steal my friends' brain juice but this jerk enslaved them.

The Baroness' plan has been developing off panel and is now ready. She tries to fire the 'weapon' which involves the psychics' cooperation, but Emma Frost (who is in this story!) says nah. The chief becomes a reasonable person all of a sudden and does ... something. Whatever it is it works and he releases the X-Women without incident, saying he'll miss Ororo. She tells him to pay attention to his main wife, who is surely a slave too? I have no idea - this was such a bad idea.

The Baroness can control mutant powers and tries to get away. Storm unloads on her with max weather and freezes her solid. Emma punches her and breaks a nail. 🙄 I don't think she could possibly survive this, so yay?

After all the bullshit, the girls realise they never truly got to frolic. They do so, yet the chief is there? He's literally chasing Ororo in the last panel and she doesn't look happy about it. Everyone else is partying so I don't think we're meant to worry, but I do. Let's pretend she murdered him. This was in 2010, and it's not like rape culture doesn't exist - but it's baffling that this was either missed or just approved. Wait, no it's not. Marvel is not great with anything like this, and middle aged white dude writers and editors could totally see this as unproblematic. Rogue is doing some Coyote Ugly shit, the others are grinding on each other, and Ororo is playing chasey with the rapist with 50 wives? 💩

[ffverr]

hello I come to you with a request. I watched x men 97 recently and was saddened by how little time the whole magneto in charge of the x men storyline got and I know he does this longer in the comics (I can't say why but the phrase "its seven in the morning max..." lives rent free in my brain) so I wanted to ask if you have any recommendation for comics from that era / any recommendations for comics with mister magnet-os because I want to get into x men comics but comics as always are so daunting

It is my great pleasure to answer this!!

Disclaimer 1, I am still going through a lot of the issues of this era but I will try my best to make it as clear a guide as I can for you!

Disclaimer 2, Headmaster of the school and leader of the X-Men are quite different positions that they kind of fused together in the 97 show so I do want to make it clear that magneto in the "seven in the morning" era is headmaster of the school, teaching young kids, while Storm is leading the X-men team and Scott is leading the X-factor team, so with that said:

Magneto's teacher arc starts in uncanny X-Men issues 199 and 200 (iconic issues containing the trial of magneto that was adapted in the show!) And then he is headmaster of the school in the book "The new mutants" by Chris Clermont, from issue 35 to issue 75. It is A LOT I admit and he gets a more minor place considering the book is about the kickass young class of new mutants that he's teaching. But it is worth checking out! Many consider this to kind of be peak magneto because.... he's trying so hard to be a good teacher and to handle all these kids and it's very humanizing for him!

I mean look at him and his 8 kids!

Now, how to get into Magneto overall? Let's get into it:

I believe it is impossible to get into Magneto without reading his ultimate origin story, Magneto: Testament by Greg Pack. It is a quick intro, it barely features his powers (not an action comic) and it is a very very emotional read. I consider it essential magneto reading!

Next up: Two One shots if you want to get a quick primer on the character pre moral arc instead of sitting through his few appearances in the Stan Lee comics:

A classic one: X-Men: God Loves, Men Kills by Chris Claremont. It is an iconic comic book one shot that can be read out of continuity just to see what his deal is when he's not necessarily on the side of the X-Men but fighting for his own ideals! It's overall a brilliant comic book!

If you want a more recent retelling of the first appearances of magneto you HAVE to read X-Men Mythos that retells magneto's major first appearance in the 60s in quite a beautiful and amazing way! It also has an absolutely insane magneto scene that is very memorable! (So this would "chronologically" come before God loves men Kills)

Now for his switch from cartoon villain of the 60s/early 70s to complex guy in the 80s, read the issues 149 and 150 from the run Uncanny X-Men by Chris Claremont. This is THE pivotal moment for "good guy" Magneto

(know that after issue 150, somehow he falls in the ocean from asteroid M, is rescued from a shark attack by Scott's girlfriend Lee Forester. They have a quick relationship where he struggled with his change of morals then he comes to the new mutants)

if you want to continue chronologically you read the issues 199 and 200 that I recommended at the start then go to the new mutants book I talked about earlier!

If you want MORE MODERN comics, then I advise you get right into what's happening at the moment!

House of X powers of X are two series that intertwine (you'll easily find them in the right order) by the same writer, Jonathan hickman!

It serves as a status quo change/relaunch of the X-Men universe. Magneto plays a big part of the story as he is directly involved in building a mutant nation. I'd say it's a bold but quite functional intro to X-Men comics!

Then he appears as a major character in the GREAT series X-Men Red by Al Ewing alongside Storm, a character that meant a lot to him in the 80s, so it's really nice to see again.

In this he is- epic, depressed, suicidal, sassy, it's great magneto stuff! This series is widely regarded as the best X-Men comic out right now!

(if you want context for this book read the event X of Swords, or I could explain if interested)

That's about all I will lay on you ! If this is hella confusing, don't hesitate to dm me! I can detail more cleanly exactly what you have to read and when!

Good reading!

[keycomicbooks]

Marvel Team-Up #83 (1979) Rich Buckler and Steve Leialoha Cover, Chris Claremont Writer, Sal Buscema Pencils, 1st Appearance of Virgil Ames & Maggie McCulloch, Featuring Nick Fury

#MarvelTeamUp #83 (1979) #RichBuckler and #SteveLeialoha Cover, #ChrisClaremont Writer, #SalBuscema Pencils, 1st Appearance of #VirgilAmes & #MaggieMcCulloch, Featuring #NickFury "Slaughter on 10th Avenue" Spider-Man lies on the snow-covered roof of the West Side Manhattan tenement where Nick Fury gunned him down a few hours before...  https://www.rarecomicbooks.fashionablewebs.com/Marvel%20Team%20Up.html#83 #RareComicBooks #KeyComicBooks #MarvelComics #MCU #MarvelUniverse #KeyIssue

[vertigoartgore]

1978's X-Men Vol.1 #111's (LGY : Uncanny X-Men #111) last page by writer Chris Claremont, artist John Byrne, inker Terry Austin, colorist Mary Titus and letterer Tom Orzechowski (what a dream team, also joined by editor Roger Stern in the next issues).