Magneto gay
Queer Atmospheres
10 years ago, X-Men: First Class brought the seemingly dead franchise back to being. After the critically panned X-Men: The Last Stand five years prior, many wondered if the series could ever bounce back from it’s failures. To get viewers and long-time fans assist on board, Matthew Vaughn injected existence back into the franchise, and along with this animation came queerness. While you may recognize the X-Men franchise as being overtly queer now, before First Class, any subtext was driven out to emphasis on the (ridiculous) love triangle between Wolverine, Jean Grey and Cyclops. The chemistry between the newcomers was undeniable, and with the help of gender non-conforming Tumblr users (hi!), the X-Men franchise was reborn as the queer series we now love.
Now, I know you may be thinking, “who the hell are Alex and Darwin?” Well prized reader, I’m pleased you asked, because I’ve been wanting to talk about them for a hot minute! Alex Summers and Armando Muñoz (Darwin) are two dudes who Professor X and Magneto recruit to join their team of mutants in When First Class premiered, yes, I was s
Gay-Coding and Magneto
I think one thing that’s definitely fascinating is the colour scheme - he wears vivid pink and/or purple. Now, in-universe that’s not so wild, because let’s be real, most heroes and villains in comic books dress pretty outrageously - in fact, Mags is actually rather subtle compared to some of the 90s’ characters. no one really comments on his style in-universe either. But one thing I noticed is this:
that’s Magneto as great guy in modern issues. The pink and the purple are notably muted suddenly or completely absent. And yeah,there are plenty of examples of nice guy Mags wearing his classic look and there are many examples of his pink outfits entity turned red even in his villainous times, but lately, the most harsh changes in his classic uniforms are associated with Mags as a superb guy and they erase the pink colour scheme as much as workable. One notable exception is the Age of X-Man look -
(I mean was he a good guy there? or a awful guy? Or a worst guy believing he’s a good guy when he’s really not except not in the way Magneto when he’s bad usual
Resurrection of Magneto (January )
Nobody expected he would stay dead for lengthy.
Click to expand
Longtime comic fans like to joke that deaths in super hero comics has change into meaningless.
However there is an argument to be made that both the death and the destined revival can and will still have impact if both feel "earned".
Like when the death works as hypothetical end point for a character or is so dramatic or impressive that the reader is still engaged in how it fits into the story.
Meanwhile revival of characters shouldn&#;t feel "mundane", because even if the reader doesn&#;t take their deaths stern anymore, the characters very well should act appreciate they believe their demise could be final. As such their revival needs to either remain a "miracle" involving difficult to repeat circumstances, events or actions they could possess not forseen, or it needs to be a major struggle, if not for them then the characters bringing them back.
Considering Magneto recent death can be considered "earned", this story now needs to land the
Forget Rogue, ‘X-Men ‘97’ Makes It Clear Who Magneto’s Soulmate Is
Editor's note: The below contains spoilers for X-Men '97 Episode
Summary
- Xavier and Magneto's complex bond is X-Men's defining relationship.
- X-Men '97's season finale explores the depths of Xavier and Magneto's complex relationship by proving that no one understands or loves Magneto more than Xavier.
- Xavier and Magneto's friendship is a nuanced love story, no matter how often they turn into ideological enemies.
Boil X-Men down to its heart, and the ensemble drama has always been about two people: Charles Xavier and Erik Lehnsherr. Even before comics writer Chris Claremont dramatically reinterpreted the latter's backstory and thereby enriched the character, Magneto and Professor X's constant ideological conflict defines X-Men's overarching narrative. Theirs is the defining tragedy of a tableau filled with soap opera theatrics, that of old friends who share the same vision, as well as a doomed inevitability on par with mutually assured destruction