Mutant X Quotes

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Anything's better than Gen X which is what we got. Thanks Douglas Coupland. We sound like a team of mutant vigalantees with frosted hair and chain wallets. Actually that's not completely horrible.
Patton Oswalt (Zombie Spaceship Wasteland)
Mutants are a community. We're a people and there's no way anybody can make us be what they want. We stick together and don't panic or overreact... you'll see. We're stronger than this. Miss Pryde... are you a #&$%ing retard?
Joss Whedon (Astonishing X-Men, Vol. 1: Gifted)
You come back with x-ray vision.. your eyes have become a hunger. You come home with your mutant gifts to a house of bone. Everything you see now.. all of it.. bone.
Eva H.D. (Rotten Perfect Mouth)
A man once said, “There are only two questions man can ask himself that mean anything. Why did God create the world? And what do I do next?” ...
Brian Michael Bendis (Ultimate X-Men, Vol. 8: New Mutants)
In the typical comic book of the fifties, humans ran and hid from the terrifying tyranny of monsters. In X-Men, the mutants were forced to run and hide from the terrifying tyranny of normalcy.
Siddhartha Mukherjee (The Gene: An Intimate History)
What is it with Dictators and Writers, anyway? Since before the infamous Caesar-Ovid war they've had beef. Like the Fantastic Four and Galactus, like the X-Men and the Brotherhood of Evil Mutants, like the Teen Titans and Deathstroke, Foreman and Ali, Morrison and Crouch, Sammy and Sergio, they seemed destined to be eternally linked in the Halls of Battle. Rushdie claims that tyrants and scribblers are natural antagonists, but I think that's too simple; it lets writers off pretty easy. Dictators, in my opinion, just know competition when they see it. Same with writers. Like, after all, recognizes like.
Junot Díaz
I’m starting to think the Watch isn’t a real place, like Hogwarts, or Dr. X’s academy for mutants,” Adam said. “Tell the truth, you’re just living in the desert getting high all the time and spinning these elaborate fairy tales about psychopathic Gen Zs.
Onley James (Maniac (Necessary Evils, #7))
Coming home is terrible whether the dogs lick your face or not; whether you have a wife or just a wife-shaped loneliness waiting for you. Coming home is terribly lonely, so that you think of the oppressive barometric pressure back where you have just come from with fondness, because everything's worse once you're home. You think of the vermin clinging to the grass stalks, long hours on the road, roadside assistance and ice creams, and the peculiar shapes of certain clouds and silences with longing because you did not want to return. Coming home is just awful. And the home-style silences and clouds contribute to nothing but the general malaise. Clouds, such as they are, are in fact suspect, and made from a different material than those you left behind. You yourself were cut from a different cloudy cloth, returned, remaindered, ill-met by moonlight, unhappy to be back, slack in all the wrong spots, seamy suit of clothes dishrag-ratty, worn. You return home moon-landed, foreign; the Earth's gravitational pull an effort now redoubled, dragging your shoelaces loose and your shoulders etching deeper the stanza of worry on your forehead. You return home deepened, a parched well linked to tomorrow by a frail strand of… Anyway . . . You sigh into the onslaught of identical days. One might as well, at a time . . . Well . . . Anyway . . . You're back. The sun goes up and down like a tired whore, the weather immobile like a broken limb while you just keep getting older. Nothing moves but the shifting tides of salt in your body. Your vision blears. You carry your weather with you, the big blue whale, a skeletal darkness. You come back with X-ray vision. Your eyes have become a hunger. You come home with your mutant gifts to a house of bone. Everything you see now, all of it: bone." A poem by - Eva H.D.
Eva H.D.
Normal cells could acquire these cancer-causing mutations through four mechanisms. The mutations could be caused by environmental insults, such as tobacco smoke, ultraviolet light, or X-rays—agents that attack DNA and change its chemical structure. Mutations could arise from spontaneous errors during cell division (every time DNA is replicated in a cell, there’s a minor chance that the copying process generates an error—an A switched to a T, G, or C, say). Mutant cancer genes could be inherited from parents, thereby causing hereditary cancer syndromes such as retinoblastoma and breast cancer that coursed through families. Or the genes could be carried into the cells via viruses, the professional gene carriers and gene swappers of the microbial world. In all four cases, the result converged on the same pathological process: the inappropriate activation or inactivation of genetic pathways that controlled growth, causing the malignant, dysregulated cellular division that was characteristic of cancer.
Siddhartha Mukherjee (The Gene: An Intimate History)
My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.
Grant Morrison (Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human)
Mutants, super beings, gods, aliens, a guy who sticks to walls at one extreme, a creature who eats planets at the other; Each one that comes into being, they feel, diminishes the rest of humanity, ordinary homo sapiens, that little bit more.
Jim Lee (X-Men: Mutant Genesis)
Selection on one of two genetically correlated characters will lead to a change in the unselected character, a phenomenon called 'correlated selection response.' This means that selection on one character may lead to a loss of adaptation at a genetically correlated character. If these two characters often experience directional selection independently of each other, then a decrease in correlation will be beneficial. This seems to be a reasonably intuitive idea, although it turned out to be surprisingly difficult to model this process. One of the first successful attempts to simulate the evolution of variational modularity was the study by Kashtan and Alon (2005) in which they used logical circuits as model of the genotype. A logical circuit consists of elements that take two or more inputs and transform them into one output according to some rule. The inputs and outputs are binary, either 0 or 1 as in a digital computer, and the rule can be a logical (Boolean) function. A genome then consists of a number of these logical elements and the connections among them. Mutations change the connections among the elements and selection among mutant genotypes proceeds according to a given goal. The goal for the network is to produce a certain output for each possible input configuration. For example, their circuit had four inputs: x,y,z, and w. The network was selected to calculate the following logical function: G1 = ((x XOR y) AND (z XOR w)). When the authors selected for this goal, the network evolved many different possible solutions (i.e. networks that could calculate the function G1). In this experiment, the evolved networks were almost always non-modular. In another experiment, the authors periodically changed the goal function from G1 to G2 = ((x XOR y) or (z XOR w)). In this case, the networks always evolved modularity, in the sense that there were sub-circuits dedicated to calculating the functions shared between G1 and G2, (x XOR y) and (z XOR w), and another part that represented the variable part if the function: either the AND or the OR function connecting (x XOR y) and (z XOR w). Hence, if the fitness function was modular, that is, if there were aspects that remained the same and others that changed, then the system evolved different parts that represented the constant and the variable parts of the environment. This example was intriguing because it overcame some of the difficulties of earlier attempts to simulate the evolution of variational modularity, although it did use a fairly non-standard model of a genotype-phenotype map: logical circuits. In a second example, Kashtan and Alon (2005) used a neural network model with similar results. Hence, the questions arise, how generic are these results? And can one expect that similar processes occur in real life?
Günter Wagner (Homology, Genes, and Evolutionary Innovation)
somehow reminding Chloe of Nightcrawier in X-Men United. Who needs movies when you are a mutant?
Liz Braswell (The Nine Lives of Chloe King (The Nine Lives of Chloe King, #1-3))
Millions of dollars spent on destroying a single mutant... ... While millions of their children go to bed hungry every night.
Scott Lobdell (Uncanny X-Men (1963-2011) #305)
almost a grown man, yet when it came to his mutant
Chris Claremont (X-Men 2)
I’m starting to think the Watch isn’t a real place, like Hogwarts, or Dr. X’s academy for mutants,” Adam said. “Tell the truth, you’re just living in the desert getting high all the time and spinning these elaborate fairy tales about psychopathic Gen Zs.” “Don’t be jealous,” Archer said, blowing him a kiss. “You can come visit whenever you want.” “He’s just sad he didn’t get his owl,” Noah said, patting Adam on the head like a puppy.
Onley James (Maniac (Necessary Evils, #7))
X-Men producer Brian Singer admitted that the mutant characters’ struggle for acceptance in the film was a metaphor for homosexuals seeking to be accepted. In the movie, the mutants are seen as superior to humans, having evolved into the next phase of evolution, similarly to how the gay mafia portrays bisexuality.
Mark Dice (The Illuminati in Hollywood: Celebrities, Conspiracies, and Secret Societies in Pop Culture and the Entertainment Industry)
Xavier: I swore long ago that I would see no more X-men die. If Magneto's is the only means to that end...then so be it. Scott: I won't accept that, Charles. Granted, times are tough for us and they'll probably get a lot worse. Granted, we probably could conquer the world--though the cost in blood would be staggering. But don't you see-either of you- we're human, too! A different branch, perhaps, but the same basic tree! Such a fundamental shift in attitude can't be imposed-to have any meaning, it must grow from within. You brought us together to fulfill a dream, Charles- one born out of hope and the noblest of human aspirations- and we've sweated and bled, and some of us have died, to make it a reality. I'm not prepared to give up. The means are as important as the ends- we have to do this right or not at all. Anything less negates every belief we've ever had, every sacrifice we've ever made.
Chris Claremont (The Uncanny X-Men: God Loves, Man Kills)
If you could learn entire languages in a week, draw perfect pictures without thinking about it, and make complex calculations in your head in seconds, would you be willing to trade that for the ability to comfortably walk into a coffee shop and shake a stranger’s hand? My thoughts went racing to modern comic mythology such as X-Men: The Last Stand, in which mutants are presented with a drug that could make them normal by robbing them of their powers. Would purine treatment in autistic savants be the same sort of thing? I had to know, so I asked Dr. Naviaux, “Will savants lose their mutant powers if we cure them? “Treating an autistic savant with a purine inhibitor should not change his or her extraordinary abilities at all,” he said. The hyperconnected islands of neurons that were formed when an autism patient was young would still be there. The powers that the islands grant would still be available, but they would no longer be the only neural connections available. “In younger patients in particular, new connections, longer ones, stand a good chance of forming once the danger response is shut down by a purine blocker,” says Dr. Naviaux. The result? A superhuman mind without the burden of autism. Wow.
Matt Kaplan
se había transformado en algo que era más, y a la vez, menos que humano
Paul Jenkins (Wolverine: Origin)