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No. 218470
>>218457
Your pic's from Inferno, in which Madelyne Pryor was the main villain, and one of the deadliest opponents the X-Men ever faced. Specifically it's from the scene where Sinister captures her, reveals that she's a clone and her whole life is a lie, orders her killed for being imperfect and weak, and promptly learns that he vastly underestimated her. She went on to bring the X-Men to their knees in Inferno, at a time when an effective female villain was a rarity (a time which hasn't passed...), but was also portrayed as a complex and conflicted character.
To be clear, it's not so much that I'm defending him (he was far from perfect, any many of his stories haven't stood the test of time), it's that I have considerable problems with two of your criticisms.
He had his kinks, but they didn't prevent him from being a couple decades ahead of every other writer in the industry when it came to writing women (hell, he had a better batting average than most mainstream writers do now). The trend of just looking at his quirks and dismissing everything he did in terms of writing women even though EVEN NOW most writers don't show them as much respect as he did? That's... really sad.
But what really rubs me the wrong way is the assertion that there's something wrong about a white guy trying to set some stories in Japan, in books meant to have a global scope, written during a period when Japan was emerging as a major power. That's the sort of flawed reasoning that ends with people claiming Avatar: The Last Airbender is "Cultural Appropriation" (or "Orientalism" if you'd prefer).
Saying that Claremont was allowed write Americans and Brits (despite growing up in America) but not Japanese or Native Americans like Dani is like saying Larry Hama was okay writing Americans and Japanese (third generation, he'd never been to Japan), but never should've been allowed write those stories with Russians or Native Americans like Spirit (Nat
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