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Thoughts on Astonishing X-men #18

whizbanggang
The other day I posted an essay about family dynamics and coming-of-age themes in Joss Whedon's first X-men volume Gifted. I had a follow-up in mind about the second volume, Dangerous but since issue 18 just came out and wrapped up the current Torn arc, I'm going to skip ahead and talk about recent developments instead.

Because everything goes better with Springsteen, I used "Growin' Up" as the theme song for Gifted. Now I'm declaring the Torn song to be Tunnel of Love which is, well, about riding into a dark and scary place, holding onto somebody you're supposed to be in love with (credit for inlovewithnight for calling this as a Scott Summers song; though please don't ask me who the fat man sitting on the little stool is).



This isn't so much an essay as a collection of thoughts and associations that I hope will add up to something. First, a couple of seemingly unrelated observations about human psychology --

1. A common symptom of 'survivor's guilt,' for those who have experienced or observed traumatic destructive events, is to believe that they have received warnings or premonitions of the events. Either events that actually occurred are given significance out of proportion to their actual meaning, or in extreme cases memories may actually be manufactured. Essentially, guilt is the closest emotion that we have for processing that kind of trauma, and in order for guilt to occur there must be some blame that can be attached to the survivors -- either that they could have prevented the tragedy or even that they were somehow responsible.

2. While there's a certain conventional/romantic wisdom (now there's an oxymoron!) about loss of a partner -- they were so in love; he's never going to be able to find that again -- there's a fair amount of research to suggest that a person who has been in a physically and emotionally satisfying relationship is actually more likely to find that again than someone who hasn't. The way we operate emotionally is something we learn from experience, and that includes knowing how to love, and be loved.

Taking those two propositions as true for the moment, I'm sure you can all see where I'm going with this. That's right, the pivotal character in the Torn arc of Astonishing X-men is Jean Grey.

Now I pause for a moment while the rest of you laugh and roll your eyes at the crazy Scott/Jean shipper. Some of you might even be tempted to raise trivial points such as: "likeadeuce, Jean isn't even in this book. She's a little bit occupied with being dead.

Well. . .yes and no.

Look at the starting point of issue 14. Emma starts her "mind game" by transporting Scott back into a key memory of his life with Jean -- the moment in the desert, during the Dark Phoenix Saga, when she suppressed his eyebeams in order that he can look in her eyes while they make love. Now there are a lot of obvious reasons that Emma would pick this approach to start breaking Scott down, psychically. Ostensibly, she is taking him on a tour of his own sense of failure and inadequacy, and here she is invoking his repeated failures to save Jean. The scene also plays into Scott's sexual anxiety and his anxiety about his powers getting out of control (which, over the years, have consistently been coded as closely related, if not identical). Finally, Jean's (apparent) benevolence in giving him a temporary fix for his powers dovetails with Emma's (apparent) cruelty in essentially traumatizing him out of them. The ultimate result is the same -- in both the opening panel and the closing panel, Scott's eyes are wide open.

So far, so good. All of that is pretty clear from the panels and some basic knowledge of character history. But, ah, the layers. Because, after reading 18, you can look at that Dark Phoenix vision and read it as something else entirely. It's not just about sex or about Scott's powers; it's about a woman Scott loves saying, "Stop me while you still can, before I do something terrible." Because the desert scene in 14 isn't a literal flashback. I think it is very close to Scott's memory, and that the Jean he sees there is very much like the Jean he remembers (on a sidenote, I do still hope Joss gets a chance to write more Jean at some point because she's so sexy and sassy and matter-of-fact and just a leetle bit scary here, and that's the Jean I wish we got more of).

But the conversation they have in the vision isn't the one they had in Dark Phoenix Saga. At that point, Scott was worried about Jean's powers getting out of control, but what he was more immediately worried about (and what they actually talked about during that scene -- along with the 'i love you so much, let's share brains' stuff that makes my shipper heart wibble, even while the left side of my brain is asking whether mindmelding with your high school sweetheart is really such a good idea) was Jean being victimized by Mastermind. Scott's concerns about Jean's power at that point didn't rise to "maybe she'll go insane and eat a galaxy" because, in legalistic terms, many things that are possible aren't reasonably foreseeable. No more than Emma, when she was living in Genosha, woke up one morning and thought, "Maybe a wild sentinel will show up today and kill everyone in the country, except me." Yet after the fact, survivors of the possible-but-unforseeable disaster want to look back and believe that they should have seen it coming, that there's something they could or should have done. Because as terrible as that thought is, it may somehow be easier to believe than the alternative. And so, in the psychic desert, Scott tries to have the talk he and Jean never had, about her uncontrollable power, trying to draw a parallel to his own struggles with his powers (and for once, it's not just a sexual metaphor; of the several ways I think Grant Morrison completely missed the boat re: Scott this is the biggest one -- looking at Scott's Phoenix issues, he picked up the sexual anxiety and let the much more interesting elements lie). Then Jean, in the dream, basically laughs in his face, and tells him that she is really Phoenix, and that the two of them have nothing in common. Of course, she's not really Phoenix. She's really Emma, having a severe case of Phoenix envy. I coined that term jokingly, back in issue 16, when Emma was revealed to have an (apparent) evil alter ego. But in a sense that really is what's going on here. It's not a coincidence, after all, that Emma chose that manifestation to start the psychic trip on Scott.

One of the problems I've been having with Emma's character since reading issue 14 is the assumption that what she was doing is somehow calculated to be for Scott's own good -- that she's actually trying to 'fix' Scott with the mind trip, that it really is about Scott's anxiety or his leadership issues. Well, as sionnain has pointed out, the answer turns out to be that what she did to Scott in 14 really wasn't about Scott at all. Like Jean-as-Phoenix, Emma is dealing with a shattered psyche that doesn't know whether she wants the others to save her or destroy her. She's saying whatever she needs to say in order to get Scott out of the way, because he's an X-factor. Either he loves her and he'll try to save her (and she doesn't think she deserves saving), or he doesn't love her and he'll destroy her (survival skills kicking in) or maybe he loves her and he'll have to destroy her anyway (and she doesn't want to put him through that again). She's treating him as terribly as she can think to do, maybe to cure him of any love he has for her (so he'll let her die, maybe do the deed himself) or to dare him to love her anyway. I can't tell you how confused I got just writing that; there seem to be a million contradictions, yet I think that for Emma, they are all partly true. Now all the shattered mirror images really make sense.

As for the events of issue 18 itself:

One thing I find fascinating about this issue is that that the big twists are not really twists of plot. Yes, there's an ingenious misdirect with Hank and the ball of string, and the revelation that Scott knows perfectly well he's not shooting people. (For what it's worth, my interpretation is that he maintained some kind of psychic connection with Emma after the mindtrip -- whether it was her intention or not -- so that he literally is talking to her as he's killing the manifestations, in order to show her they're not real, ie, proving his point). Still, I think the survivor guilt explanation has been fairly apparent at least since the White Queen was revealed in issue 16, with the only real question being the mechanism/MacGuffin by which this happened.

The real surprises and changes of direction in this issue are ones that go to the heart of character. Cassandra Nova, Breakworld, Lockheed's the mole, plot device plot device whatever. It's hard to come up with a really interesting surprise on those fronts, at least for me, because I don't fundamentally care about the MacGuffin. However. . .If you had told me that I would come out of this arc impressed by and a little in awe of Scott Summers' emotional intelligence? Now that's a twist. Scott and his team have every right to feel angry and betrayed by Emma. The question that I came away with from the last issue was, "How are any of them going to be able to forgive her?" I might even have said that I would be pissed off at Scott if he did.

Well. Eating crow can be pretty tasty, when it comes served up like this.

In Phoenix: Endsong, Emma asks Jean (spirit Jean, or what the hell ever) how it feels to be loved the way she is loved. Now, I hope, she knows.

I have an ongoing problem with the enormous amount of weight, in fannish discussion, that seems to be put on who X character loves, or who they say "I love you" to -- partly because people who say 'I love you' often don't mean it, and people who mean it often don't say it. But beyond that, even people who mean it often don't mean it because 'love' can mean so many things to so many different people. I often find myself saying, "I don't care if X thinks he loves Y; if you love somebody, you don't do that to them." Of course, even "true" love can lead to stupid and selfish acts, but in my mind, at the end of the day, if you don't really want what is best for the other person, it isn't love. Full stop.

"Greater love hath no man than this: that he lays down his life for his brother." That's certainly hard to argue. The Bible says so. Chris Claremont said so in Xmen 102 (?) when Jean gave her life to save the gang the first time (you know, the time Scott had to be conked on the head and stowed in the baggage compartment of the space shuttle so that he didn't get in the way and get them all killed?) Pretty much all the X-men have had the chance at some point to lay down their lives for the greater good, and it makes us all teary-eyed until a resurrection or retcon comes along and makes the point moot. I'm going to go out on a limb though and say (I hope!) that the vast majority of us will never have to get to a point where that situation actually comes up -- do I sacrifice my life to save my friend?

On the other hand. . .I bet most of us have had, or will have, or do have on a regular basis, this chance: to see that somebody we care about is hurting or in trouble, put our own issues and problems and perfectly legitimate grievances aside, and help the person who needs that help most. That's what Scott does for Emma, who has hurt him (possibly, Cassandra can take the lion's share of the blame for what happened to the others, but it's pretty clear to me that Emma, however confused and broken she was, chose the manner of going after Scott). When Kitty tries to argue about what was done to her, Scott's response is essentially, "get over it." They've each been forced to face their worst fears (which was Cassandra's m.o. from Imperial) but they're just that -- fears. They now know that their hells were imaginary, but Emma still thinks hers is real. And Scott believes he can talk her out of it -- because he's a good leader, because he's cool in a crisis (the decision makes tactical sense regardless of his feelings about Emma; there's no guarantee that killing Emma would shut Cassandra down, and the X-men have always viewed even the killing of enemies as a last resort -- that's why Cassie's in the slug in the first place. Emma had argued argued for killing her).

But Scott also, ultimately, understands what Emma's going through because he has been there himself. He knows about survivor's guilt, he knows about feeling lost, and he sure as hell knows about hating himself and wishing he was dead (you didn't do much for Scott, Grant Morrison, but you did give him that. yay?) He also knows about loving somebody who's falling apart, and wanting to save them, because it's the thing that he never was able to do for Jean. So, while Emma may have chosen to start Scott's mind-trip with that scene in the desert in order to make him hate her -- a sure way to get him angry; a blasphemy against the one god he still believes in -- it ended up pointing him toward what he needed to do. Emma still thinks love is a zero-sum game; the more Scott loved Jean, the less he really loves her. But it isn't true. I said at the beginning that Jean is pivotal to this arc, because if Scott hadn't loved Jean as much as he did, if he hadn't had those experiences with her, he wouldn't be as ready to open up to Emma here. It's the most unselfish and truest and maybe the most heroic thing he's ever done.

I sure as hell hope it worked.



ETA: On a totally superficial level, this issue made me very happy about the song choices I made for Scott and Emma in A Certain Kind of Light. However, I know wish I had given Logan something by Percy Dovetonsils.

Comments

( 34 comments — Leave a comment )
alittlebriton
Nov. 16th, 2006 07:20 pm (UTC)
I love you so much right now for that. Beautiful, beautiful analysis. Everything in this arc now fits together so wonderfully. I think I heart Joss more than ever now.
likeadeuce
Nov. 16th, 2006 07:22 pm (UTC)
Hee, I love that icon because Kitty really does have the Cordelia role in this ensemble.
alittlebriton
Nov. 16th, 2006 08:29 pm (UTC)
*snicker* Thank you! She does indeed.
resolute
Nov. 16th, 2006 08:25 pm (UTC)
Damn you for posting this during the middle of the day, when I don't have time to reply.

Okay. Quick check -- I don't think you said anything here that contradicted anything I said in mine?

You are Absolutely. Completely. Totally. Right, that Scott can do what he does for the team in part because he lost Jean.

Do you mean Cordelia from Lear or Cordelia from Buffy or from Angel or Cordelia from P.D. James or Cordelia from Lois Bujold?


:)

likeadeuce
Nov. 16th, 2006 08:33 pm (UTC)
The Kitty as Cordelia reference is to Buffy ("What is your childhood trauma?" is a Cordy line from the show). EMMA is actually Cordelia Lear (her backstory with the father choosing his favorite child being explicitly modeled on same).

I pretty much love anybody named Cordelia, though.

The Jean parallel was why I suggested re-reading issue 144 which has a strikingly similar storyline, in some ways. I'm a little sad that Scott/Jean in some ways functions better when she's dead, but it's sort of hard to deny.
resolute
Nov. 16th, 2006 09:04 pm (UTC)
have you read the P.D. James? _An Unsuitable Job for a Woman_?
inathunderstorm
Nov. 16th, 2006 08:53 pm (UTC)
So much love for this. So much.

In Phoenix: Endsong, Emma asks Jean (spirit Jean, or what the hell ever) how it feels to be loved the way she is loved. Now, I hope, she knows.

Absolutely. Wow. This whole thing is brilliant, sweetie, but that part really resonates with me.

Great thoughts. I love your insightful meta on this stuff. Part of the joy of reading comics is having brilliant friends to discuss them with afterwards :)
likeadeuce
Nov. 16th, 2006 09:03 pm (UTC)
This issue really broke my heart in a happy way, if that makes sense.

youngest_one
Nov. 16th, 2006 09:31 pm (UTC)
Emma still thinks love is a zero-sum game; the more Scott loved Jean, the less he really loves her. But it isn't true. I said at the beginning that Jean is pivotal to this arc, because if Scott hadn't loved Jean as much as he did, if he hadn't had those experiences with her, he wouldn't be as ready to open up to Emma here. It's the most unselfish and truest and maybe the most heroic thing he's ever done.

Everything here was excellent, but his really summed up the main theme perfectly. Bravo.
jadecanary
Nov. 17th, 2006 02:32 am (UTC)
I just linked this in the latest comicstore_news, but I wanted to come over and complain that you made the issue later than it would have been if I hadn't had to read these wonderful thinky thoughts while pointing and saying "Yes! That's it exactly!" a lot.

In other words, yes! That's it exactly!
selenak
Nov. 17th, 2006 06:42 am (UTC)
Because, after reading 18, you can look at that Dark Phoenix vision and read it as something else entirely. It's not just about sex or about Scott's powers; it's about a woman Scott loves saying, "Stop me while you still can, before I do something terrible."

And this is where I slap my forehead and say "OF COURSE!" You can even wonder whether it wasn't a subconscious warning of Cassandra, due to the Mastermind parallel - there is a third party triggering disaster in the woman in both cases, and in the desert, Scott doesn't know this yet, but he's going to find out immediately after.

I agree that Scott's strong relationship with Jean, and specifically the Dark Phoenix experience, the ability to keep faith with her during that time and the guilt about not being able to save her are what made him able to respond to Emma the way he does here. And yeah, so hoping it worked.

BTW, another reason why I think the "go to hell" was directed at Cassandra not Scott - because what Cassandra is asking Emma to do is to give her not just anyone's body (or for that matter Kitty's), but that of one of Emma's students. The very thing that triggered the guilt to begin with - being unable to save/dooming her students. Add to that what Scott says to her, and I think she found the strength to eject Cassandra.
resolute
Nov. 17th, 2006 01:04 pm (UTC)
BTW, another reason why I think the "go to hell" was directed at Cassandra not Scott - because what Cassandra is asking Emma to do is to give her not just anyone's body (or for that matter Kitty's), but that of one of Emma's students. The very thing that triggered the guilt to begin with - being unable to save/dooming her students. Add to that what Scott says to her, and I think she found the strength to eject Cassandra.

That's a really good way of putting it, god, I hope you are right!
simonf
Nov. 18th, 2006 07:22 pm (UTC)
likeadeuce
Nov. 18th, 2006 07:51 pm (UTC)
Thank you!

I'm not on Whedonesque but you can tell Joss I said thanks for writing such amazing comics that make readers think such interesting thoughts.

Though if he wants, he can always throw a Bruce reference in the next arc. Or a reference to the time when Scott lived on the shrimp boat, because that was awesome. Or else have Emma run off with Kitty, and resurrect Jean to live in a 3some with Scott and Logan. Whichever he thinks would cause the least stir.
logicalargument
Nov. 19th, 2006 02:38 am (UTC)
I am in awe. The idea that Scott can love Emma with this much courage not in spite of the way he loved and still loves Jean, but because of it ... that makes SO much sense to me. But Emma's view of it, seeing it as a zero-sum game, is an attitude that I can understand so well.

I hope you don't mind that I friended you without asking permission first.
likeadeuce
Nov. 25th, 2006 04:15 pm (UTC)
Ahh, sorry, I'm just getting to the comments on this post. . .I'm glad you liked the review, and welcome!

I love that icon, it's so adorable.
crossoverman
Nov. 25th, 2006 07:59 am (UTC)
Holy crap. I loved the issue and I loved this post about the arc. It's gotten my thoughts clear in my head, so thank you for this.

No wonder Joss loves you :-)
likeadeuce
Nov. 25th, 2006 04:14 pm (UTC)
I'm glad you liked it!

I'm also glad this issue seems to be so universally well-received. I was a little nervous when I read it because I knew I liked it but I wasn't sure how it was going to go over with fans at large. But folks seem happy with it and it's a genuinely good story, so, all told, yay!
asitiswhenitwas
Dec. 7th, 2006 12:36 am (UTC)
Absolutely brilliant analysis… dead on.

What floors me is that I’ve read some message board trash using issue 18 as “proof that Scott is Emma’s B$@%&.” …or some other insulting tripe...

Ugh…

Apparently finding it within himself to save the woman he loves after being unable to do so eight times before with Jean/Maddie/Phoenix, is not good enough for some kids…

Oh, and when/if she snaps out of this, she best say ‘hi’ to which to only acceptable reply is ‘hi yourself.’

... no we haven't met. A pleasure.
asitiswhenitwas
likeadeuce
Dec. 7th, 2006 01:14 am (UTC)
Thanks! And. . .sigh. I was hoping the "shooting people" would at least save Scott from the "bitch" label for a while.

Did you follow the link over here from Whedonesque?

Just curious.
likeadeuce
Dec. 7th, 2006 01:15 am (UTC)
Also --

What's the "Hi" -- "Hi yourself" from? I'm blanking.

Really, I had to comment again so I could remember to use this icon.

asitiswhenitwas
Dec. 7th, 2006 02:11 am (UTC)
I half did... I had read your LJ and a handful of your fics a while ago (which were lovely btw, however I had no account then, nor desire to do so at that point.) This weekend, while stuck at work for 3 hours of forced OT due to a call-in I had plenty of time to waste doing a search for information about UNSTOPPABLE. 12 clicks or so later I ended up here by way of whendonesque. Thanks Google!

"Hi" - "Hi Yourself." Is tough to explain, it’s like the dialogue he and his current girlfriend has after something big happens.

Examples:

His proposal to Jean/Phoenix during Dark Phoenix Saga just after he talked her down and the professor sealed her power again.

On his first date with Madelyne; she surprised him by not walking out on him after the ‘jean’ talk.

When he resuscitated Maddie in ‘from the ashes.’ (Just before my icon.)

Oh, and I suggest the ‘from the ashes’ trade because I’m a huge Scott/Maddie fan, and it has just a little shrimp boat-age that I think you may enjoy.
likeadeuce
Dec. 7th, 2006 02:21 am (UTC)
Hmmm, well. . .

I haven't read much of any of the Scott/Maddie stuff, and I have to admit that I'm prejudiced against the notion that somebody thought "Let's have him fall for a girl that looks just like Jean!" was a GOOD idea. It just seems. . .necrophiliac and creepy and kind of demeaning to both of them, even before all the increasingly absurd retcons.

Am I missing something?
asitiswhenitwas
Dec. 7th, 2006 02:50 am (UTC)
To an extent I think marrying Madelyne was supposed to be his happy ending… it seemed while reading the issue after Dark Phoenix wrapped up that they wanted to retire him then; considering the block text spelling out “the end” as he left the funeral. Perhaps they wanted something less depressing. (From Scott? Who am I kidding?)

There is something about Maddie I really liked… They were really cute before they were forced to fall apart. I Kind of like the creepy… it led to a lot of good Scott angst, awkward moments, his friends trying to kill her, and his absolute breakdown during the early X-Factor days.

I’m not sure where the idea came from, but unfortunately it seemed as if she was doomed from the start…

Why his happy ending couldn’t have been the shrimp boat? I’m not sure.
likeadeuce
Dec. 7th, 2006 02:59 am (UTC)
See, all I've really read of Maddie except a few bwahahaha Goblin Queen kind of things is the really really painfully bad domestic scenes in the early issues of X-factor. And then the idiot plot where Jean is back from the dead and nobody bothers to TELL her Scott is married and then he seems to FORGET he's married for a while, until it's time to have angst about it and. . .yeah, it kind of makes me want to pull my hair out.

On the other hand, I'm sort of in love with the issue of Cable where Maddie's ghost attacks Nathan while he's meditating, and tries to trap him in his unconscious and then Jean is able to save him because she is his real mommy and she loves him more and. . .yeah, I got nothing, and with my Summerscest shipping preferences (nods at icon) it's not like I have room to talk about anybody else's pairings. Just, practically speaking, the introduction of Maddie seems to have been the beginning of a long detour of really questionable writing for Scott that I'm not sure was fully remedied until Joss got his hands on the guy.
asitiswhenitwas
Dec. 7th, 2006 03:31 am (UTC)
Point taken, but I do kind of like the way he was written in the early X-Factor days because it was seventeen different types of crazy.

As I said before I think early Scott/Maddie was really cute, and worth scanning through if you see ‘from the ashes’ at you local shop. His ‘coming out’ as a mutant scene with her is awesome; as his all too short scene with Lee. Which I think is his swan song with shark bay. Leafing through it right now (well, a minute ago… tough to type while reading) it’s just full of awesome. (Well… IMO.)

But yeah, if I don’t get:

Emma: ‘Hi.’
Scott: ‘Hi Yourself.’

I will be slightly disappointed.
…only slightly.

Oh, and they are promising ‘what happened to Cyclops’ in the solicit for Astonishing #20, here is hoping for a montage of the 7 or 8 ‘should have saved her’ moments.
likeadeuce
Dec. 7th, 2006 03:43 am (UTC)
Oh, I love it when Scott is crazycakes; it's the issue 1 stuff where he won't change the baby's diapers because he's too busy watching the news. I mean, I sort of like the CONCEPT that Scott thinks he wants to hang it up and have domesticity but he clearly really wants to be a superhero (though I'm not sure I actually give the writers credit for such thing as a concept)-- it's just the actual execution of the bad-soap-opera style writing that makes me cringe. (For some reason, Chris Claremont's bad writing just makes me LAUGH while with Xfactor 1 I'm just like MAKE IT STOP).

And you know, I just reread the "Hi," "Hi Yourself" scene in DPS, and I'm pretty sure I didn't remember it because I was too busy being amused/appalled by the completely gratuitous bit in the next panel where Jean is giggling at the idea of her father seeing her naked.

But I'd forgotten that Scott actually just THINKS the marriage proposal, and Jean hears it and accepts. And I'm like, "You're looking at her naked and thinking about getting married? Oh, Scott you are too dorktastic for words."
asitiswhenitwas
Dec. 7th, 2006 04:08 am (UTC)
Yeah, it was pretty bad, and most likely one of the main reasons Layton only lasted 5 issues on X-Factor.

By the way; that is, in my mind, why Scott/Maddie could never work in the long run. The one thing she never understood. Scott needed to be a super hero. She wanted just Scott, but he has to be Scott and Cyclops or he falls apart. Leading the X-Men was, to that point, the only thing he ever had… and hell, sometimes it still seems that way.

Oddly enough Lee realized this and told him he needed to decide between her and the life… Damn. She may have been the best girlfriend he ever had.

On DPS, “I just killed 5 billion people, tee-hee.”

That scene worked for me, because even though I knew it couldn’t end like that I was still crossing my fingers saying “Come on happy ending… Come on happy ending…”

Oh; that and the fact that Scott totally talked her down before the professor stepped in. That was just awesome. He talked Dark Phoenix down, I’m pretty confident that after that; getting through to Emma would be cake. Ice cream cake that doesn’t know how good she has it… again, fingers crossed.
logicalargument
Dec. 7th, 2006 04:14 am (UTC)
Oh, she knows how good - that's why it's so scary. I identified with Emma in the Emma/Scott relationship from the beginning, but AXM #18 put the frosting on that ice cream cake. No one has ever seen her as clearly as he does right now.
likeadeuce
Dec. 7th, 2006 05:10 am (UTC)
Yeah, Lee's a great girlfriend because she realizes she can't be his girlfriend. Poor Scott.

And yeah, the multiple fakeout happy endings . . . and the 'yellow crayon' speech. . .everybody should have realized Joss was a Cyclops fan before AXM, considering how many times he rewrote DPS in Buffyverse canon. I count three distinct major plotlines that are variations on the theme.
asitiswhenitwas
Dec. 7th, 2006 05:28 am (UTC)
Yeah, Lee's a great girlfriend because she realizes she can't be his girlfriend. Poor Scott.

That realization may have had something to do with why Maddie tried to hold on so tight.

It seems to be a theme... just about every love interest he has had (well, other than Jean) seemed to move really fast. Hell, Collen Wing gave him a key to her apartment after what? an airplane ride, a fight with alpha flight, and three dates.

AXM makes me wish I paid more attention to Joss' other works.
distractedone
Aug. 13th, 2007 06:19 am (UTC)
I was looking through some more fan fiction and found this essay! ...And...
Oh! This is so true. You surely nailed this one in the head! I keep reading what people say on the message boards and how terrible Cyclops was in Torn, etc., etc.
SO glad there are people here who actually "get" him. You were dead on and excellent analysis of Emma as well. Thank you!
likeadeuce
Aug. 13th, 2007 03:16 pm (UTC)
Thank you!

People were saying he is terrible? That breaks my heart! Why???

This is the reason I stay away from message boards!
distractedone
Aug. 13th, 2007 08:33 pm (UTC)
It breaks my heart too. :( Unfortunately, Cyclops seems as one of the most hated X-Men ever. Not only that, they call HIM a manwhore....ugh..whatever. I should be like you and stay away from message boards also; but I get so caught up in these ridiculous conversations sometimes. =/
( 34 comments — Leave a comment )

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