"So yeah, Chris is verbose, that's his style. And sometimes it works. Chris is the only writer I've ever worked with that managed to make me cry reading a page I had drawn. That was a page in Iron Fist. When I got to that page and read what he had written, I actually teared up. It was beautiful. So give the guy his props. Chris Claremont is the best Chris Claremont out there. No doubt about it."
Chris Claremont (born 1950) is a comic book writer, most famous for his work as the writer of X-Men from 1975 to 1991, and a few shorter runs later. During his first tenure on the series, Uncanny X-Men developed from one of the least popular Marvel comics to one of its flagship titles, and spawned many spin-offs (such as New Mutants, X-Factor and Excalibur). His original run on Uncanny X-Men is one of the longest tenures by a single writer on any superhero comic, if not the longest. In fact, it wasn't until his tenure that the X-Men became the major hit they've been ever since.Claremont was one of the first superhero writers to deliberately set out to create strong female protagonists. During his original time at Marvel, he created or strongly influenced many of the female characters that remain centerpieces of the line today, including Storm, Jean Grey, Rogue, Misty Knight, Colleen Wing, Kitty Pryde, Carol Danvers, Jessica Drew, and the Empress Lilandra. This makes him one of the single most influential writers in comic-book history, although modern audiences mostly know him as "that guy with the strong mind-control, S&M gear, and dominatrix fetish who used to write X-Men."After departing from Marvel in 1991, owing mostly to repeated clashes with the editorial department at the time, Claremont worked on several other projects. This includes a series of original novels (First Flight, Grounded!), contributions to George RR Martin's Wild Cards series, and co-writing Shadow Moon, a novel set in the Willow universe, with George Lucas. He also wrote an original series for DC called Sovereign 7 that was eventually canceled.He returned to Marvel in the late nineties, writing Fantastic Four and X-Treme X-Men with Salvador Larroca and Igor Kordey. He was later put on Exiles, which was later relaunched as New Exiles before being canceled. As of this writing, his most recent comics project is the alternate-universe reboot X-Men Forever.You can spot a comic he's written instantly from the dialogue, known by some fans as "Claremontese."
And a few of the men. His novelization for the third X-Men movie has Iceman practically melting (no pun intended) over Angel.
Northstar's homosexuality was introduced by John Byrne in Alpha Flight and Karma's by other writers during Claremont's absence from the X-books; he did use them in stories of his own, though. As Claremont wrote them, Mystique and Destiny were an unambiguously lesbian couple (his plan to reveal them as Nightcrawler's parents, with Mystique as the biological father was nixed by his editors), it was other writers who introduced heterosexual relationships into Mystique's biography. Since at the time of Claremont's first run homosexuality could not be addressed openly and he does have a predilection to write about close friendships as well as strong female characters who are not defined by their romantic relationships, people who like to see Les Yay and Foe Yay everywhere have a field day with his stories. Thus one critic in the mid-1980s read rather squicky subtexts into the relationships between young teenagers Kitty Pryde and Rogue and their mentors/surrogate mothers Storm and Mystique (overlooking the much more obvious and probably intentional lesbian undertones to the friendship between Storm and Yukio).
Claremont's mother was a British World War II veteran and a bona fide badass; he's also heavily influenced by Robert A. Heinlein. When he looked at mainstream American comic books in the mid-seventies when he started, he saw almost no female characters he liked, and set out to redress the problem. As such, he's arguably one of the most influential superhero writers of all time. Unfortunately, he's pretty much recycling cliches and writing his own fetishes at this point.
In his heyday, Claremont was the continuity master, with events in other books always having an impact on whatever it was he was writing. Since he started writing for Marvel again, though, he's never been shy about retconning, rewriting, or undoing several things that happened right after he left the X-books in 1991.
Creator Cameo: Claremont, or a barely-concealed version thereof, shows up in his comics every once in a while, and something bad usually happens to him about ten seconds later. Kitty Pryde once stole his car and left him stranded in the middle of Scotland. Kitty Pryde is also a big fan of Emma Bull's band Cats Laughing.
Cross Over: It's not quite so consistent as for there to be a "Claremont Universe," but he enjoys throwing in a lot of relatively subtle cameos or shout-outs in his later work. The X-Men supporting character Lila Cheney is apparently a popular rock musician in the Grounded! universe, and the Sovereign Seven operated out of a small restaurant that was inexplicably popular with various members of the X-Men.
For values of "recent" that can be read "the past thirty", yes. In addition to ideas that were outright rejected by the higher-ups (most famously, his plan for Mystique and Destiny to be Nightcrawler's parents, with the shapeshifting female Mystique being his father), most of his storylines get interrupted by Marvel sending him to a different book, and bringing in a new writer who scraps Claremont's plans. Although it has gotten worse lately.
Getting Crap Past the Radar: Famously refers to Destiny as Mystique's "leman" near the end of his most well-known run — yes, that means "lover."
Claremont evolved a lot of his characters' unique oaths due to Jim Shooter being much more strict about foul language in Marvel's comics than was industry standard at the time. Most of it's since fallen by the wayside.
Gratuitous Foreign Language: Each and every of his characters that don't come from an English-speaking country will have it. Colossus and Nightcrawler can be pretty much considered the most prominent examples, being long-running front-line X-Men and all.
Kid from the Future: Claremont did this with two different characters. Both have even used the same Code Name. No, surely he wasn't plagiarizing himself.
Kill 'em All: As early as the mid-eighties, Claremont has been in love with plots and scenes that involve most if not all of the cast of his book at the time dying or appearing to die. This always gets undone somehow by the end of the issue. So far, this has included the remaking of reality, with only a few survivors retaining their memories of the event in question; Mystique wiping out an entire team of X-Men before we find out she's only fighting a bunch of X-Men robots in Murderworld; quick resurrections by Rachel Summers or Roma; dream sequences (most recently with a sequence in X-Men Forever where Kitty has a dream about Wolverine massacring the X-Men); alternate realities; dark futures; or immediate reincarnations. Like most of his go-to tropes, this is really shocking the first time you see it, but he just keeps doing it.
The bloody massacre of the entire Grey family in Uncanny X-Men is an example of this trope being played completely straight.
Kudzu Plot: The man loved his subplots, but he never followed through on three-quarters of them. Often, he never got the chance to follow through, because he'd be shuffled to a different book partway into his elaborate storyline and the new writer would take it in a different direction. Probably the only time things went more or less as he planned even after he moved to another book was with Excalibur, as after a couple of years of not much happening in it, his co-creator Alan Davis returned to the book (this time as both artist and writer) and implemented their original plan. Since Excalibur was relatively obscure and isolated from the other X-books at the time, and no other creative teams had any real clue what to do with it, the status quo was basically intact when Davis returned and thus his and Claremont's plans were still viable. Every other time one of Claremont's stories has been interrupted by staff changes, that's not been the case.
Note that he was originally on X-Men for 15 years in a row! The list of dangling plot threads from then would require its own wiki.
Claremont spent most of his original X-Men run with Jim Shooter as the editor in chief, and the two of them had frequent clashes over the directions in which Claremont wanted to take the story. Many abandoned subplots had to beö dropped suddenly because Shooter vetoed them, such as Mystique and Destiny's relationship. Continuing this fine pattern of Executive Meddling, Claremont clashed so badly with his editor Bob Harras that he left the X-Men franchise entirely in the early nineties, which is one of the early benchmarks that marks the start of superhero comics' Dark Age.
Put it this way: compared to Claremont, Chris Carter is an amateur.
The Psycho Rangers: Evil versions of the original five X-Men came to bedevil the "all new, all different" X-Men on multiple occasions. When Xavier's dark side was out of control, it manifested the original X-Men as psychic projections. Not long after that, evil robot versions of the original X-Men appeared in the story that led to Jean becoming the Phoenix. More recently, New Excalibur had the Brainwashed and Crazy X-Men of a different dimension (their Xavier was possessed by the Shadow King and warped his students.)
Rogues-Gallery Transplant: Claremont created Mystique, Rogue, and Deathbird as Ms. Marvel villains, and Sabretooth was originally a villain for Power Man and Iron Fist. In general, if Claremont takes a shine to a character on one book then leaves the title or it's canceled, the character will pop up in another book he writes.
Sesquipedalian Loquaciousness: A component of Claremontese. While it's not like the whole cast thinks they're Beast, everyone drops a big or obscure word now and again. (This is probably how "leman" got past the radar - by now, editors had stopped saying "what's that mean?"