Non, mais c’est pour voir jusqu’où nos goûts divergent.
Et pour être honnête, un bon run sur Iron Man, c’est devenu bien rare.
Devenu ? Je te trouve bien gentil c’est l’un des grands héros qui à le moins de « bons » run sur l’ensemble de sa carrière.
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À tel point que dès les années 70 (en particulier la période post-Goodwin/pré-Mantlo), Iron Man était considéré comme l’un des parents pauvres des titres Marvel.
« It was a sad reality of the 1970s that for most of that decade, IRON MAN was a book that just wasn’t very good. Today he’s at the forefront of worldwide consciousness about Marvel thanks to Robert Downey Jr’s performance as Tony Stark in the films–but in the 1970s, his series trundled along, a lower-middle tier title without a lot of excitement to it. Things would get better right at the end of the decade, just about where I came in, actually. »
« Writer Bill Mantlo had helped to bring IRON MAN out of the doldrums of the previous couple of years and was just beginning to find his stride here. It’s maybe hard to remember in these days when Iron Man is a household word, but throughout much of the 1970s particularly, IRON MAN often seemed like a title that nobody especially wanted to work on. It was out of step with the zeitgeist and treated as second tier if not third tier. (At one point, it was almost combined into a split book with DAREDEVIL, which also suffered for much of this period.) But Mantlo seemed invested in making the series his own, and hit it with more focus and enthusiasm than he maybe brought to a lot of his one-off fill-in jobs. »
« It has to be said, the 1970s were not a great time for Iron Man. While some good people worked on his series, it never felt like a title that anybody particularly wanted to write or draw. It was definitely a second-tier book, and seldom got the services of the best and most in-demand creators. Additionally, in the era of the Vietnam War, Iron Man’s true identity as a pro-government arms manufacturer was woefully out of step both with the largely Anti-‘Nam young audience and even the perspectives of most of the creators writing the series. As such, a series of stories were written in which Tony Stark learns of the horrors of war firsthand, and pivots his enterprises away from making weapons, becoming himself a peacenik in the process. None of this really felt especially genuine either, and it left the series with a bit of a hole at its center. Still, by 1978, writer Bill Mantlo had been helming the character for a while, and he seemed like he relished the opportunity to make something out of him. Bill would only be in the chair for another couple of issues when I dove in, but better days were right around the corner for ol’ shellhead in the person of the following creative team. But that’s a story for another time. »
"This next issue of IRON MAN represented the beginning of one of the most storied runs in the title’s history, even though it was the second part to an adventure already in progress. And that’s because this issue heralded the arrival of a pair of creators who would leave their mark on the armored Avengers, David Michelinie and Bob Layton. They joined artist John Romita Jr who had debuted in the previous issue to become the series’ new regular creative team, and together they defined the look and the flavor of IRON MAN for the 1980s. Michelinie had come to Marvel after being cast adrift by DC during the DC Implosion, and he wound up working closely with Layton, who contributed to the plotting as well as inking the book.
Their interpretation of Tony Stark and his world is immediately a lot more modern and contemporary than much of what had been done with the character in recent years. We were headed into the “greed is good” 80s, and so Tony Stark as a billionaire playboy super hero living the good life was very much in synch with the times, in opposition to how out of synch with them he’d been during the Vietnam War era, when he came across as a profiteer. JRJR hadn’t quite yet grown into the artist he’d become, but he knew how to tell a story dramatically already, and Layton provided his work with a slick finish that elevated it. It immediately looked better than the prior issue."
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Il était même bimestriel non à l’époque ?
