The X- Men’s great­est writer Chris Clare­mont on the merry mu­tants’ de­fin­i­tive decade…

SFX - - X- Men - Joseph McCabe

Could the X- Men sto­ries you wrote in the ’ 80s have been made in a dif­fer­ent decade? The cre­ation of char­ac­ters grew or­gan­i­cally out of the evo­lu­tion of the X- Men as an on­go­ing story. Peo­ple are al­ways ask­ing what is my favourite X- Men story, and my an­swer is al­ways is­sues 94 to 279 in­clu­sive. To me it’s all one story in the same sense that a life is one life. What do you feel distin­guished the X- Men in the ’ 80s? The sem­i­nal dif­fer­ence be­tween the X- Men then and the X- Men now was free­dom. The ed­i­to­rial ethos of Marvel was dif­fer­ent in the ’ 70s and early mid­dle ’ 80s than it is to­day. You were ex­pected to do su­perb sto­ries on time and not be a pain in the ass. It was a much more free­wheel­ing en­vi­ron­ment. Few im­ages of the X- Men in that decade are as iconic as Storm’s mo­hawk. It looks like it’ll fea­ture in X- Men: Apoca­lypse… It will [ laughs]? The irony was that [ artist] Paul Smith did a se­lec­tion of looks. We wanted some­thing to shake ev­ery­body up about Ororo, and he drew that one as a gig­gle. I showed it to [ editor] Louise [ Si­mon­son] and she said, “Oh this is cool.” For me the be­gin­ning of it was in the wed­ding scene — Storm shows up in leathers with the mo­hawk and Kitty bursts into tears. What did you think of X- Men: Days Of

Fu­ture Past? The only thing I re­gret about Days Of Fu­ture Past is that it would have been nice to see John Byrne and I get a credit, since it was our story. I as­sume it has ev­ery­thing to do with con­tracts and talks and what have you. Days Of Fu­ture Past was, of all the nine X- Men films to date, the clos­est to a straight adap­ta­tion of the orig­i­nal work. Be­ing in the film [ in a cameo role] was a hoot.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.