The Iceman Cometh Out; New York Times. February 19, 2018

Stephanie Burt, New York Times; The Iceman Cometh Out

"Superhero comics address, and empower, straight white nerdy boys. That’s been true of most comics, for most of their history. But is it the genre’s central truth? For some of us, it never was. As Ramzi Fawaz, a professor at the University of Wisconsin-Madison, has pointed out, superhero comics are the only popular genre in which anomalous bodies are not just tolerated but celebrated: The same thing that makes you look weird means you can save the world. Moreover, comics — because they involve stories of human (and superhuman) conflict and change; because they show hand-drawn pictures, with stylized faces; because they often appeal to us first in childhood — invite identification: We read them in search of ourselves, or our future selves.

These facts about comics explain — in part — why the X-Men became the most successful superhero franchise of the 1980s. Mutation, the source of X-powers, could stand, well or badly, for stigmatized real-world identities, as well as for the outsider status most kids, at some point, feel. The best X-books integrated real-world diversity too. Under Chris Claremont (who wrote many of them from 1975 to 1991) the core cast included a few women of color, one of them a virtual god, along with very strong hints of queer sexuality. More than almost any other gaudy bang-pow-pop cultural property, X-books offered — then and since — an imaginative space where L.G.B.T. readers could feel at home."