The most obvious distinction between the “all-new, all-different” Uncanny X-Men and just about any other team book on Marvel’s stands was the international aspect. There are any number of factors that can account for the success of Claremont’s take on the team, from the larger aspects to the finer details. Claremont seemed to spot a window to do things that nobody was really thinking about in mainstream American comic books at the time – things that we take for granted today. That’s not to do a disservice to the original book that Lee and Kirby produced, but merely a fair and accurate appraisal. Whether it’s X-Men: The Animated Series, Bryan Singer’s X-Men (or Matthew Vaughn’s X-Men: First Class) or even later comic books like Grant Morrison’s New X-Men or Mark Millar’s Ultimate X-Men or Joss Whedon’s Astonishing X-Men, all those classic iterations of the characters and the team find their roots in Claremont’s distinct take on Uncanny X-Men. Virtually any X-Men property or adaptation you’ve seen owes a huge stylistic debt to Claremont.
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