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Collects House of M: Masters of Evil # You've seen how the mutants and the heroes were changed in the world ruled by Magneto but what.
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Mutant Metaphor

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Your browser does not appear to support JavaScript, or JavaScript is currently disabled. This page uses JavaScript for certain types of content, so we strongly recommend that you enable JavaScript for browsing this site. In the comic book world of the X-Men—constituted by multiple universes of heroes and villains, time travel, space travel, aliens, cyborgs and all things fantastical and bizarre—mutant status has indeed always signified otherness.

The X- Men are a band of mutants—humans with extra abilities caused by accidental mutation—assembled under the tutelage of Charles Xavier, also referred to as Professor X, who harbors ideals of peaceful cooperation between mutants and all other human beings and who instructs his students to defend mankind against all manner of threats, particularly against those posed by more 'radical' mutants—like the professor's main challenger and adversary Magneto—who would claim mutant 'racial' superiority to ordinary humans and attempt to subjugate humanity.

Questions that will be considered in pursuit of this aim are whether or not modern comic books and early modern emblem books are generically related, whether the features they share allow any conclusions about both genres, and, finally, whether a medium which combines text and image is inherently better suited to express metaphor and allegory than other media.

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The traditional definition of the emblem, a member in the pictura-poesis family Daly 12 , conceives of it as a tripartite entity consisting of heading, image, and explanatory verse see fig. Image and text—both heading and verse—interact in such a way that each conditions the meaning of the other. In the ideal emblem, however, the picture is never only illustration but shares in the narrative process and it is this circumstance which forms the basis of the emblem's allegorical disposition.

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Material to be converted into emblem format could be found anywhere: anecdotes were harvested from "Graeco-Roman, Judaeo-Christian, archaelogical, theological, literary, historical" sources Manning 1. The emblem book combined the functions of entertainment and education, and didactic purposes were not infrequently touted as a justification for the inclusion of images and the gratuitous pleasures their contemplation might evoke. Indeed, the popular appeal of the genre was matched by the scholarly derision it elicited.

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Daly delineates two broad ways of seeing the emblem: as primarily a literary form which is characterized by the allegorical potential of language, or as essentially a hybrid form in which two forms of equal importance meld The two options, however, do not contradict each other and I would suggest that it is precisely the interplay of verbal and visual codes which heightens the allegorical potential of the emblem. The two main functions fulfilled by the constituent elements of the emblem are representation and interpretation. At least two distinct levels of meaning, therefore, always interact, support or interrogate each other in a manner that is comparable to the reciprocity of source vehicle and target tenor in the composition of metaphors.

Like emblem books, the medium of comics has generally been categorized as fundamentally popular and therefore trivial. With the specter of Fredric Wertham's assessment in Seduction of the Innocent —that comics corrupt youth—still hovering over the medium, the form continues to be encumbered, in some quarters, by its popular origins, its historically young readership, and the negative value judgments of previous critics.

Katherine Roeder confirms that "comics suffer from their inevitable association with childhood and adolescence" Roeder 6 , and in Ditschke and Anhut still refer to comics as an anti-intellectual form "das wenig intellektualistische Medium Comic" While there is no universal agreement on exactly what it is that defines comics as a medium, my focus here lies firmly on its characteristic interplay of word and image. Influentially, Scott McCloud has described the deliberate sequencing of images, with or without additional verbal components, as the quintessence of comics 5 , [5] though others, like RC Harvey, have considered the integration of images and text to be crucial to the medium Harvey, Art of the Comic This reciprocity of codes differs markedly from mere illustration.

In this way, visual and verbal tracks cooperate in meaning-making but also constantly produce tension. The comic book has shared the fate of the emblem book in that scholarly attention has been relatively late in alighting on it as a medium worthy of serious study. Doubtlessly the composite nature of both formats has contributed substantially to this situation.

Neither art historians nor scholars of literature considered themselves to be quite responsible for these unclassifiable 'stepchildren' within their respective disciplines. Confirming this, Will Eisner recalls of comics: "While each of the major integral elements, such as design, drawing, caricature and writing, have separately found academic consideration, this unique combination took a long time to find a place in the literary, art and comparative literature curriculums" xi.

The superhero genre has been significantly intertwined with the history of comics since the s. According to Peter Coogan, superheroes are primarily determined by their "mission, powers, and identity" 39 , and while some heroes, like the X-Men, have an ambiguous relationship with the official authorities, the superhero's mission commonly "fit[s] in with the existing, professed mores of society" Coogan Yet, superheroes did not materialize, fully formed, out of thin air.

The building blocks of the genre, both in terms of structure and content, were already in existence in such formats as newspaper comic strips and pulp magazines. Saige Walton reinforces the perception of generic combination and fusion: "Arguably, the superhero genre is one of the most historically hybrid of all, embracing and redeploying conventions derived from other genres as well as other media throughout its comic book development" The genre has traditionally been subject to a three-stage classification: a Golden Age of "classical do-gooders" Oropeza 10 chasing depthless villains that lasted roughly from the s to s; a Silver Age of flawed, sometimes brutal heroes and humanized villains, which prepared the way for the ascent of the 'graphic novel' ibid.

Taking into account superhero comics of all types, Jason Tondro maintains, in Superheroes of the Round Table , that the genre itself is essentially allegorical. All in all, "the superhero romance" may be strange and spectacular but it "lends itself to the metaphors of human life" ibid. On the place of the X-Men within the superhero genre, Ramzi Fawaz argues that the "series helped lay the foundation for reimagining the superhero as a figure that, far from drawing readers to a vision of ideal citizenship through patriotic duty, dramatized the politics of inequality, exclusion, and difference in postwar U.

Culture" Without arguing that the more recent format descends from the older one, emblem books and comic books share a number of relevant features: an inherently hybrid nature, [10] not only—but most significantly—with respect to the interaction of text and image, immense popularity at the cost of academic disdain, as well as more recent scholarly neglect resulting partly from classificatory problems. With Will Eisner attesting to the entertaining and instructive functions of sequential art , both formats share yet another aspect, since a certain bias toward the didactic also traditionally characterizes the emblem.

Just as the twentieth century witnessed considerable innovations in printing processes, "[t]he s bore witness to the overlap between manuscript and print cultures that came with the period of adaptation to the technical newness of both moveable type, and [ The volumes and issues referred to can only serve as a paradigmatic sample of different periods and 'universes' and is by no means meant to comprehensively represent the entirety of the year history of the X-Men—a task that may border on the impossible. Storytelling in the X-Men comics is certainly not completely and exclusively allegorical but allegory is an integral part of the narrative.

Though incorporating playful and fantastic elements, the 'mutant metaphor' is very much overt and has long been plain to readers of X-Men comics. They are individuals—as are we all—and should be judged as such" n. This shared experience is taken up and explored by the comics, with their focus on minority identity—forged in the face of a majority's fear and violence, or mere disinterest—and on the associated questions of integration vs.

Mutants are indeed "the ultimate minority," repeating the words of Chris Claremont, in as far as they are a generic minority. Various particular identities may be simultaneously projected onto the mutant template and, thus, the weakness of generalization is also a strength: because mutants do not represent one marginalized group specifically, they can potentially speak to them all. The metaphor holds true despite the fact that the very first team of X-Men created by Stan Lee and Jack Kirby—Beast, Iceman, Angel, Cyclops, and Marvel Girl—were all, at least on the surface, white heterosexual Americans of unspecified religious affiliation.

Chris Claremont's and Dave Cockrum's s run created more diversity by introducing a Russian national, a German national, a Native American, and a woman of African heritage to the core team, and, in doing so, also notably increased the popularity of the series Fawaz Yet, even the members of the original team of X-Men already stood for—a still largely invisible—minority. While the plot of these early issues tended to center on the confrontation and defeat of a villain of the week, the X-Men also struggled from the beginning with their mutant identity and encountered the hostility and suspicion of non-mutants.