As I said before, my sources for him speaking 4-5 languages are “semi-canon.” And by that, I mean they are the X-2 Prequel comic (written by Chuck Austen, who I think was the main writer for Uncanny X-Men at the time) and the X-2 novelization (written by Chris Claremont, who wrote far too many X-Men, Excalibur, and Nightcrawler comics to count).
…I wasn’t kidding. I bought this and read it because I’m in too deep and make ridiculous decisions. However, the book is full of little scenes and details that never made it into the movie that are fantastic. In the book, once the telepathic attack on all mutants everywhere ends, Kurt is naturally freaked out and begins to pray. However, Ororo notices that his prayers were a mix of German, French, and Latin, so that brings Kurt’s language total to 4.
And this is from the aforementioned prequel comic:
And Swedish makes it 5.
On an unrelated note, I thought you might appreciate this little tidbit from the book:
kind of a broad question, what do you think it means for a character to have agency
i think “agency” is mostly shorthand. any fictional characters we create, by rule of the fact that they are characters we create and control in the first place, do not actually have agency. they do what we write them to do. agency in fictional characters does not exist, really.
agency, then, becomes shorthand for a larger discussion and analysis and just a general feel of “is what the character doing work for the character, or is this done for the thrill of the audience”.
i’ll give an example from comics. rogue is a pretty well liked member from the x-men, right? and black widow has her own pretty good share of fans, both from the movies and the comics.
in A+X #2, an avengers and x-men teamup book, chris bachalo writes a story where rogue and black widow have to team up and fight a sentinel. but, he writes a scene which feels pretty clearly not for the characters, but for the audience.
of all the ways for rogue to get natasha’s knowledge, there’s tons - nose to nose contact would have done it, and rogue herself knows her powers well enough that she doesn’t need to be told that she can just absorb the knowledge from natasha on how to fire a sniper rifle. what’s more, the info she absorbs/remarks almost immediately turns to natasha’s private romantic/sexual life, and rogue remarks on what a good kisser she is. the scene, the plot, was put together to get them to kiss, everything else be damned.
it’s a scene that breaks any illusion of agency, because it comes off pretty clearly “i wrote a scenario to get the two hot girls to make out”, and like, exists solely for that. it’s not for the characters, it’s for the audience and it feels like, to some degree, the author themselves.
this isn’t even going into the horrible Emma Frost/Black Widow team up, which is a million times worse.
natasha and rogue do not have agency, flat out. they’re fictional characters, and they do what they are written and drawn to do. however, a writer and artist can construct a story, a narrative, where what the characters do feel like they are doing for the characters, and not for the author, and much more pertinently, the audience. discussion of camera angles and focus in any medium would be useful here, not just story choices - what the camera focuses on and how it frames characters very much changes internal feelings and ideas about a character’s “agency”.
agency doesn’t exist in fictional works, but how media frames characters, how they setup their stories, actions, and reactions, determines whether we feel like the character is being themselves, or if the character is doing something that raps on the glass of the TV screen or the glossy pages of the comic book and makes it clear that they have no agency.