[Enzo]

	Citation:			Posté par Fred le mallrat
	J ai parfois l impression que les gens y compris brevoort ont moins lu xmen que moi..

Bah Brevoort ne cache pas le fait qu'il a moins aimé la tournure prise par les X-Men de Chris Claremont suite au départ de John Byrne (quand le focus est concentré sur Kitty, Ororo & Logan plutôt que Scott), au point d'arrêter de lire ce run vers cette période "Malicia/Magneto".

https://tombrevoort.com/2024/03/31/g...nny-x-men-171/

	Citation:
	By 1982 when I was forced to pare back my comic book buying due to a lack of income, there was no more popular series in the land than UNCANNY X-MEN. Following the enormous reaction to the “Dark Phoenix Saga” by Chris Claremont and John Byrne a year or two earlier, the title simply exploded, especially in the fan-oriented Direct Sales market. But this growth also coincided with my growing progressively less enchanted with the series, which had been a favorite up to that point. Byrne’s departure changed the ethos of the book in some way, and I found that I was becoming less and less interested in the mutants and their struggles. So accordingly, i ceased buying it with this issue, #171.

	Citation:
	X-MEN was a really good book during this time, a testament t the creative tripod that was writer Chris Claremont, artist and co-plotter John Byrne and editor Roger Stern. These three creators all balanced one another’s strengths and weaknesses well, creating a series that was fun and exciting and unexpected and which carried a bit more depth than the typical Marvel title of the era.

	Citation:
	By the time of UNCANNY X-MEN #171, two of the three were gone, with Claremont as the sole survivor. Byrne’s departure was a great loss, his visual treatment (and his co-potting skills) were essential to the appeal of X-MEN. But this was offset, it seemed, by the return of the title’s co-creator Dave Cockrum. I had loved the early Cockrum issues as I dug them out as back issues–in some ways, I liked them better than the Byrne ones. So I was ready for this change. Unfortunately, something just wasn’t right. Cockrum’s work seemed to have lost a lot of the power and sleekness it once had, constrained into pages with lots of tiny panels with lots of full figures in them, as was the preference of EIC Shooter. It likely also didn’t help that inker/finisher Joe Rubinstein wasn’t as slick an inker as the departed Terry Austin.

	Citation:
	This is a period that is particularly beloved by a whole generation of X-MEN readers. But to me, it moved the series away from the aspects of it that I most liked and towards territory that I wasn’t as comfortable with. I was a typically conservative comic book reader who was averse to change, if you come right down to it. Also, the centerpoint of the series had shifted since Byrne’s departure. When I began reading the title, the pivot-point of the entire affair was the relationship between Cyclops and Phoenix. When Jean died and Cyclops left the book, Chris needed to find a new pivot-point. For a while, he tried to make it newcomer Kitty Pryde. But I found this just made her annoying to me–I had liked her in her earliest appearances, but when she became a genius girl and was the center of every storyline, it was too much too fast for me. Eventually, later on, Claremont would come to move Wolverine and the radically recreated version of Storm into the center square. But that didn’t feel right to me either.