#x-men meta
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who would win: eddie boy vs professor x
Professor X.
The thing about Professor X is that he's able to stop people's actions at a thought and do so over a very vast distance. He doesn't have the telekinetic abilities of Jean but he's known as the world's greatest telepath for a reason.
While Edward physically could beat him, he presumably has no defenses to Charles so with enough warning, which Charles would have due to the mind reading at a larger range than Edward, Charles easily beats him.
#twilight#twilight meta#twilight headcanon#twilight renaissance#x-men#x-men meta#x-men headcanon#edward cullen#anti edward cullen#professor x#charles xavier#meta#headcanon#opinion
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I’m not sure if you want to answer this (you don’t if you don’t want to). When you say the X-Men thing fails what do you mean? I’ve seen it said a lot and just wanted your opinion
Hi anon! Sorry for just now getting to this its been sitting in my drafts bc I didn't want it to get deleted when I mass-deleted my anons and I totally forgot about the anons in my drafts! I will be getting to those too!
But sure I'd love to talk about this! I actually got something similar when I talked about my problems with Falcon and the Winter Soldier. In bits - I liked the show, but its focus on passivity and its demonization of radicalization (in response to Western imperialism and racism) is something I just could not get into. This is a problem I had (in retrospect) with AtLA and especially Legend of Korra.
The X-Men allegory - for all intent and purposes - is not a bad one. It makes sense within the narrative we're given in a vacuum. So the problem is never about the X-Men properties in the world. It's not a secret that the X-Men property is influenced by Civil Rights and so on the surface level - the problems that the mutants face run parallel to the ones we saw Black people facing. As an allegory, that's fine. But what happens with X-men (and many other pieces of media with fantasy racism) is that at many points the media (or the fans) always like...try to transcend the allegory by equating the fictional issue on par or even more important than the issue that influences them. Or the story tries to replicate systems of oppression while also insinuating that the people who traditionally deal with them are a part of the oppressive force. Or the allegorical piece of media implements a white savior to convey these points and then essentially sidelines the actual oppressed groups (* coughs LOUDLY* DISTRICT 9, AVATAR).
For example: Kitty Pride. I think all comic book heads already know where I am going with this. Kitty Pride and her use of the N world is just one moment out of many that the allegory begins to crumble. Because then the story is (1) acknowledging that racism as we know it actually exists in this universe (so anti-blackness, the civil rights moment, slavery, etcs. all exist within this world) and (2) the story is trying to make the point that the world 'mutie' is somehow just as bad or worse as the N-word. At this point, the story is transcending the idea of X-Men being just an allegory to the civil rights movement and it demonized the real implication of racism (and the people who still go through it) in the story. Of course - different comic book runs evoke different things - but I think many X-Men runs don't deny that racism as we know it, and history (more broadly) as we know it are things that are existent in the world. I also think that X-Men only works when we don't consider the history of racism and why it exists in the first place.
addition: and I think a good example of this recently is the story SIDELINING the black god-tier mutant - Darwin - while still trying to be an allegory. It's a very hard slap in the face IMO. like-- if the Xmen series is historically about civil rights and racism...its a wild choice to then kill off (or sideline if you count the unreleased) REAL LIFE embodiment of that struggle.
X-Men works in a vacuum. It doesn't really work past that. Nor do I think it always tries to, it's just a very good example of how fantasy racism doesn't equate to an understanding and consciousness of real-life racism. Hence why I also believe that fandom doesn't equal allyship.
But I also think that in this case and in the case of Shadow and Bone the allegory is only meant to inform. The Grisha may be informed by LB as a Jewish woman, but it isn't a 1:1 allegory. I think I would love to make a post about Children of Blood and Bone because it suffered the same problem too. It's a world that is informed by Tomi's identity as a Nigerian-American woman, but at some point in the story, the allegory merely informs the vague dynamics in the world. It's not like a 1:1 allegory. And some of the parts that are (i.e. the orishas, the racism, and the colorism) don't always mesh well with the story. And in that case (much the same with LB) all of the fantastical elements muddle some of the perspectives. But It would make sense that both and Jewish woman and a black/Nigerian woman would write stories that are influenced by their lineages. It doesn't always mean it works but it's there. It doesn't make them racist or anti-Semitic (which is honestly a very wild, and very unfair way of critiquing marginalized women's work). Did I like how Children of Blood and Bone turned out? No. Do I think Tomi is somehow anti-black because some of her ideas didn't mesh well with the story at hand? No. Not in a million years.
The idea that people have taken to is that LB's use of her own background to influence a fictional system = the story is a 1:1 rundown. It's not. Like Underworld: Rise of the Lycans was co-written by a black man (Kevin Greivioux - this was a fact that made me very happy when I was a little girl) and the conflict is partially influenced by issues of race. It's very apparent. But the story ends the allegory there. I remember running to look up who wrote that movie because even as a kid, I thought there were some subtle hints that a black person was partially involved. Sometimes, points are made. At the same time, the allegory doesn't equate to a 1:1 allegory. It's definitely informed by it, but it is still a story about vampires and werewolves. And even then it is just that: an allegory. Spiderman: Across the Multiverse was an allegory as well. Miguel was an allegory for how people denied that a black man could be Spiderman. Is Miguel racist in world? No. Does it inform the plotline - yes. But the story is also telling...a story. The whole anomaly plotline was very brilliantly done IMO. It's a very good example of how to integrate allegories for racism in a way that doesn't get meddled when the fantasy elements get added in.
#im not sure i wanna tag this#maybe just#x-men meta#fantasy racism#leigh bardugo#shadow and bone#marvel#children of blood and bone
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Non-ASOIAF Content: People's History of the Marvel Universe, Week 20: The (Mutant) Registration Act(s)
Non-ASOIAF Content: People’s History of the Marvel Universe, Week 20: The (Mutant) Registration Act(s)
In his sixteen-year tenure of the X-line, Chris Claremont put his own spin on the mutant metaphor any number of ways, but one of the longest-lasting and most influential has been the idea of a Mutant Registration Act. In the original Days of Future Past storyline, Claremont first mentions the Mutant Control Act passed by a “rabid anti-mutant candidate…elected president,” as a reaction to the…
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#phomu#people's history of the marvel universe#x-men#xmen#xmen meta#x-men meta#chris claremont#mutant registration act#walt simonson
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Cyclops gets such a rough deal man. imagine having brain damage that caused you to uncontrollably shoot laser blasts out of your eyeballs destroying everything in sight that you had to worry about literally 24/7 and also you had to supervise teenagers throwing cars at each other because your father figure and his ex are taking leftist infighting to the streets and also on top of that whenever you show any amount of concern over this situation people are like "jeez what a buzzkill. loosen up control freak. why can't you be all chill and cool like wolverine" meanwhile wolverine is having his amygdala forcibly removed by the us military for the third time this month
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Thank you Beau DeMayo
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Something about Ed and Stede and nonverbal communication and invitation/consent. I don't have the right words but I love them so much. Something about bodily autonomy and treating one another as equals. Something about giving and receiving that level of attention. Something about checking in.
#ofmd gifs#ed teach#gentlebeard#ofmd#stede bonnet#ed x stede#blackbonnet#our flag means death#i love these old men okay#they're in love your honor#ofmd meta#they're actually my age
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A funny thing that comes up when you're reading very early All New All Different X-Men is how much mileage Claremont is milking out of the rest of the team being bewildered when Wolverine abruptly turns out to Have Traits. Wolverine's backstory has been basically completely fleshed out for as long as I've been reading comics, and I think his collective gestalt image in the fandom as a result is that he's that one grumpy uncle on the team who everyone knows really well at this point, but when you're reading the early ANAD stuff it's a cavalcade of the rest of the team going "Oh my GOD those are fused to your goddamn skeleton we thought they were built into the gloves," "Oh my GOD you're fluent in Japanese for no obvious reason," "Oh my GOD you have a first name and a social circle outside this team," etc.
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The Magneto/Rogue/Gambit love triangle is not only great because of how #telenovela it is, but because it puts Rogue into a dilemma that forces her to make character-defining choices and grow as a person. It’s classic Want vs Need. Rogue wants physical intimacy, mistakenly believing that it is necessary for love, but needs to realize that real love is so much more than that. “Some things are deeper than skin.”
This is an example of how to do a romantic subplot that actually serves the narrative and character development. Plus, the chemistry that Rogue has with both Magneto and Gambit feels natural instead of forced (seriously idk how they managed to make Magneto x Rogue genuinely hot).
I know a lot of folks like to argue about the morality of the situation and make it all about Gambit and his hurt feelings, but I find that to be a boring way of looking at it. This subplot isn’t about a man getting his heart broken, it’s about a woman learning about love for the first time.
We gotta remember that Rogue is incredibly inexperienced when it comes to love, and the little experience she does have is colored by pain and regret. The first time she kissed her first boyfriend, her powers almost killed him. That’s obviously going to traumatize you. Then she met Magneto, the only person she could safely touch* and explore her sexuality with, but that relationship was never going to pan out for obvious reasons. After that, she was afraid of getting romantically involved with anyone.
Rogue and Gambit maintained a casual flirtation with undercurrents of real passion and yearning for a deeper relationship, but Rogue understandably kept him at a distance — she couldn’t forgive herself if she hurt him. Gambit understood this, and for his part, was afraid of getting into a serious relationship because he felt that he was unworthy.
Magneto is the catalyst who forces Gambit and Rogue to do some necessary introspection and be honest about their feelings, instead of playing this endless game of “will they or won’t they.” For Gambit and Rogue to build something real together, they need to step out of their performative roles as Scoundrel and Cher. Of course it’s messy, and dramatic, and confusing, and frustrating, and heartbreaking. But that’s love. “There is no love without sin.”
In fairness to all three of them, I think they handled the situation as maturely as they could, with honest communication about what they wanted. There’s no deception or manipulation here, just three people trying to navigate a messy and emotionally-charged entanglement.
As for Magneto, I think he genuinely cares for Rogue and loves her in his own way. But I feel like he’s using her to fill the void left in his heart by Charles. I don’t think he’s secretly “evil” or anything like that — but Gambit is right to be skeptical of his motives.
Overall, once Magneto and Gambit come back (AND THEY BETTER COME BACK OR ISTG MARVEL — ), they’ll get necessary closure, and Rogue and Gambit will offically become the power couple they were always meant to be.
*I’ve seen people wonder why Rogue doesn’t just wear one of those mutant suppression collars so she can safely touch Gambit. Idk how the comics deal with that issue and I don’t remember if the original 90s cartoon did, but the way I see it, it’s not just about the physical act of touching. It’s about intimacy. Being able to be your full, truest self with another person. Having to wear a collar that was made to oppress your people in order to experience a basic human pleasure would be degrading and take away from that intimacy.
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Favorite Rogue Panels : Gambit (1993) #1
While not at all related, XMen 97 got me thinking of this panel. The first time Rogue says that she loves Remy out loud. (If I'm remembering correctly, forgive me it's been a while since I've read the early stuff.)
She's so unsure of herself, in a way, holding herself close because just saying it, admitting it makes her feel vulnerable. Rogue always kind of holds herself close. She can take hits from the heaviest of hitters. But breaking through and getting to her heart? It's like she has to physically comfort herself, shield herself, from what that statement means. But she is sure of the words she's saying. She is sure of what her heart is telling her as much as it scares her.
And the statement is so simple. Just a simple declaration of how she feels. Something, like touch, that can be so easy for other people, but not for her. But at this point she knows. She longs, she wants, she's deeply, deeply in love with Remy even here and it's just this fantasy that she doesn't think she'll ever have. Not with her situation. Not with him having a wife... Just a mockery of a dream despite her heart.
This panel is so melancholy and beautiful and just packs a lot in a very simple moment.
I love this moment so much.
#xmen#x men#rogue#anna marie lebeau#roguegambit#romy#gambit 1993#marvel meta#don't mind me - i love meta'ing#and honest to god one of my favorite early moments in the comics#i also love that wolverine is like no shit hun we all knew that#okay that's it for the night!
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funniest thing to #Me about the use of charles' telepathy in charles' and erik's relationship in the prequels is how both of them suck SOOO bad at using it LMAOOOO
like, you'd think having a telepath in the dynamic would actually help things along with the communication, but they are both USELESS at making use of it
charles will use it to crossdress erik and tell angel how much he wants to fuck him and erik will use it to tell charles how much he wants to be controlled, but that's ALL they use it for. it's not even horny or funny anymore it's just SAD, man. they suck so bad at it
(the only time they ever make good use of it is when charles unburied one of erik's memories with his mother, and that's it)
erik just automatically assumes charles knows everything and that he knows WHY erik does the things he does (because charles is in his head, so he MUST know, right?) and charles automatically assumes erik understands the hidden meaning of every single thing he says (because erik is also in charles' thoughts, so he SHOULD know, right?)
(wrong. they are both stupid and they will keep going in circles for 30 years straight)
like. take their first interaction in xma as an example
(on the other hand, i don't even want to think about the "you are looking in the wrong place" line because it makes me want to k1ll myself in front of the writers)
they are in each other's heads right now, and yet they are not even LISTENING to each other, they are just going in circles because both of them are too wrapped up in erik's own grief to actively try to hear what the other is trying to say. and while you can tell charles is hurting for erik and wants to help him, he's probably not going about it the best way
also if you pay attention at the start of the scene, when erik feels charles in his mind he just... looks confused, curious maybe, as to why charles is there, but he doesn't get angry or defensive straight away. he just lost his family for the second time (simon kimberg i'm in your walls) so he's probably even welcoming the only familiar thing he still has left.
he doesn't get defensive UNTIL charles starts talking and just kind of... also starts putting his own foot into his mouth. bless his heart.
and the thing is, while they get interrupted by apocalypse... being there lmao, i don't think this would have pan out any different if it was just the two of them. as i said, they are not listening to each other. charles means well but he's not really listening to what erik is trying to tell him, and in response to this erik is rejecting any type of help charles wants to give him.
and we know apocalypse was using erik's grief (about magda and nina, about the camps) to manipulate him - *we* as an audience know that, but back in this scene, charles doesn't even NOTICE apocalypse. and this, plus the fact that as we've established, they SUCK at trying to listen to each other and communicate, just brings the entire thing to failure.
(also imagine being the most powerful telepath in the world and being too focused on your best friend to notice the god standing a few steps away from him... which could mean nothing)
(mind you. they are literally in each other's heads rn. they can hear what the other is thinking and feeling. AND YET)
and it's even funnier (no) how they are even WORSE without charles' telepathy. take as an example, both of their fights in the plane in dofp
from charles' point of view, erik was the one that left him. erik literally and physically LEFT him in cuba, took the only teleporter there was and left charles to bleed out (lmao). meanwhile, from erik's point of view, he might have left first physically, but he only did so after charles rejected him. so, from HIS point of view, charles was the one to pull away FIRST. when he told him they didn't want the same thing (rejecting erik's ideals and by thus rejecting erik himself as well)
(and charles also let erik to rot in prison for 10 years so he could be also referring to that lmao)
this also brings me to my other point. which is something that i do think is pretty much ignored by everyone, but to be fair, it's also ignored by the movie so,
and it's the fact that the movie establishes that erik has been isolated for 10 YEARS. again, we as the audience know that charles has been struggling for the past 11 years, we know he did all he could for the mutants and we know he's been struggling, and we also know he's been using the serum because he couldn't stand the voices.
mind you, erik doesn't know any of this. not only because he's been in prison for 10 years (and i doubt they let him keep up with the news) but also because charles doesn't tell him any of this (fair)
and the last thing erik said to charles before they parted ways in cuba was that they wanted the same thing, which charles denied.
so from erik's point of view, all that he knows is that charles promised him all those years ago that he wasn't alone, and then he rejected erik in cuba, sent him away, and then proceeded to give up on erik and on their cause by doing nothing when the mutants were being tortured and experimented on. and he started using the serum and living with hank like a normal human being, sacrificing his powers and 'betraying' their cause.
ofc none of this is what actually happened, and *we* know that. but erik doesn't. and for some reason??? that i find extremely hilarious??? no one ever BOTHERS to correct erik's assumption, lmao. also none of this ever comes up again in the movies which to me just means erik went on believing that charles just briefly gave up on their cause for 10 years LMAOOO
okay, moving on bc i still have things to yap about
the other plane scenes comes in. erik shows up with the chessboard, they actually DO talk a bit and erik tells him he didn't mean to kill jfk (can't believe i wrote that down these movies were insane) and then they settle to play chess. AAAND this scene comes in
and he apologizes for SHOOTING charles, because he never meant to hurt him, and he does regret that. but he's not apologizing for leaving, because, once again, from his point of view, charles left HIM
and then charles hits him with the most pathetic saddest wettest expectant look in existence (james mcavoy you are insane) because he thinks erik is going to apologize for leaving
and then erik hits him with this LMAOOO
and charles realizes erik is apologizing for shooting him (something i'm pretty sure charles didn't exactly blame him for? his biggest accusation was that erik abandoned him)
and you can see charles literally and figuratively backtracking and shutting down immediately AGAIN.
(because, again, charles thinks erik left him, and erik should apologize for that, but from erik's pov? charles rejected him, he pulled away FIRST so he wasn't the first to abandon the other. charles was)
(they both are wrong and right in a way. they also don't tell each other any of this)
then it's erik's turn to give charles the wettest and saddest look known in mankind, charles shuts down, refuses to even look at erik, he changes topics and erik lets him.
(they never talk about this again, btw)
(it probably blew up in their faces in genosha. i just know they make everyone's life miserable as hell in there . god bless)
anyways, i'm sure someone smarter than me could make a more interesting analysis of how you can tell they do genuinely care about each other, but their failing to communicate properly just brings them to their fall down over and over. especially because it's something that keeps blowing up in their faces all the time in the prequels. something something the failure of telepathy something.
#tbf to erik charles DID tell him he knew everything abt him in xmfc so you cant blame a man for taking things literal#cherik#x-men#long post#meta#text#otp: i want you by my side#erik lehnsherr#charles xavier#since ppl liked me yapping abt them in dp i thought i should post this that has been sitting on my drafts forever#yapping*
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So. That PowerPoint I joked about making? Turns out I am even more passionate about this than I thought.
#dani moonstar#mirage#new mutants#x men#marvel comics#meta#if everyone who rb'd my rictor pp could also rb this i'd appreciate it
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What would Tom's powers be if he was a Mutant? (How would you "translate" his magic into the mutations of x-men world like you did with twilight's gifts? I feel he's in danger of being too op even in a world where Phoenix and Magneto exist)
The universe doesn't have a law of "thou shalt not be too op". In a comic book, particularly an ongoing one like X-Men that features various fights against people who are not guaranteed to win/lose, it matters to not have any one character be too stacked because that's the driving force of the series. However, it is not a law in a narrative that a character must have equal abilities to other characters. But my point was Tom could absolutely be as overpowered as he wants, same as Jean can be, there's nothing saying he can't be.
As it is, I'd just leave it as is, mainly because I have thoughts on what magic even is and how it's inherited.
To nutshell it though for this post, magic in the world of Harry Potter, does seem to be a specific rare genetic mutation that propagated out into a few main families (who are really pretty much the same family) and is now struggling along in an extremely small subset of the human population.
Tom in the world of X-Men would be a mutant, same as all other wizards, the difference is that most of the other wizards might not realize it/wouldn't be as potent as they don't have the same wandless abilities that Tom always did. It'd be Tom without a wand or Hogwarts education, so perhaps limited, perhaps not depending on your perspective.
At the very least, he'd be mind reading, controlling animals, forcing the truth out of people, and whatever else he was doing as a child without education at Hogwarts/before he knew magic existed.
#harry potter#harry potter meta#harry potter headcanon#x-men#x-men meta#x-men headcanon#the wizarding world#tom riddle#voldemort#meta#headcanon#opinion
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Rogue: "Morph was barely on the team 30 minutes before we tossed them to the wolves!"
Me who watched the original '92 series: "That's funny cuz they're a non-canon character literally invented to die in the pilot."
#meta#i understood that reference#x men#x men 1992#x men 97#x men rogue#x men morph#x men the animated series#marvel#nightcrawler#cyclops#wolverine#professor x#x men 97 spoilers#anna marie darkholme#xmen spoilers
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rogue saw gambit die and he died before she got to tell him she loved him. she thought magneto was dead and that he’d died with her just having rejected him. she was so full of rage at what happened to them but i think also part of it was anger at herself for letting them both go with them thinking she didn’t care
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Hello, bit of a follow up and the Magneto question. How do you think magneto feels about non mutant jews? Does he feel a kinship, or does he see them as other homo sapiens, still below the homo superior he now more more closely identifies with? Cause he really emphasizes the tragedy of the holocaust in his backstory but apart from kitty pryde, I can't actually think of any moment where he connected with a fellow jewish person? Thank you in advance for your answer and hope you are well.
That’s a great question!
So as I’ve said in the past, while Magneto thinks of himself as mutant first, he does consider himself culturally or ethnically Jewish, although he’s very firmly an atheist who does not give a shit about things like kosher.
If you’re looking for an example of Magneto interacting with non-mutant Jews, I would recommend you check out X-Men #199, the issue immediately preceding the “Trial of Magneto” recently adapted in the second episode of X-Men 97. In this issue, Magneto and Kitty visit the National Holocaust Memorial.
Here, we see that Magneto keeps in touch with fellow survivors and regularly attends reunions, and is a respected member of the community. As in the show, Magneto is arrested by Val Cooper to stand trial for crimes against humanity, but rather than handing himself over to prove himself to the X-Men, he does so because Val Cooper’s quisling paramilitary force (there is a reason why the Zalagang refer to her as “the bitch Val Cooper,” and personally I think Mystique and especially Destiny have never adequately repented for their anti-mutant collaboration and this incident in particular) attacks the Holocaust Memorial, and Magneto is shaken by how his self-defense has endangered and frightened his old friends.
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I love how the nature of public domain characters means that the X-Men just periodically have to fight Dracula
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