Results tagged “Marvel Comics” from Modern Mythology

SAMANTHA CRITCHELL
AP Fashion Writer

NEW YORK (AP) -- Tim Gunn is taking his fight against fashion crimes from the workrooms of "Project Runway" to the pages of a comic book. And, wow, does he get to wear a power suit.

The "Loaded Gunn" story line -- to save an exhibit of extraordinary superhero clothes from a cadre of villains -- is part of a book that reintroduces a group of Marvel's high-fashion "Models Inc." comic characters from the 1960s.

"It's a little 'America's Next Top Model' -- without Tyra (Banks) -- and a little 'Teenage Mutant Ninja Turtles,'" says Marvel editor Charlie Beckerman.

The Gunn project evolved on a whim, but it turned out Gunn was a childhood comic fan and a good sport, Beckerman says.

Gunn says the experience has been "the most bizarre thing."

"It's exciting and exhilarating, but bizarre. When they came to me, I said, 'I'm about to turn 56 years old. Are they crazy?' But it kept revealing itself in layers and next thing, I'm wearing the 'Iron Man' suit. I was dumbstruck."

Personally, Gunn says he always fancied himself more of a Batman type, but he's pleased with the result.


"Most superheroes are fighting the same thing -- good vs. evil -- but who's taking on crimes against fashion? Me!"

The biggest offense, hands down: clothes that don't fit properly, Gunn says. And, if he had the truly incredible power to remove one item from closets all around the world, no question it would be Crocs.

"It's the No. 1 fashion crime item -- and I see it a lot," Gunn says.

Click here to see pages from the first issue.

Don't get ticked yet that you're getting too much Disney/Marvel coverage.  This $4 billion Marvel Entertainment Inc. acquisition by Disney is going to be the talk for months... no, scratch that... years!

The G4 TV analysis tosses out a possible future without a "Thor" movie (not a big enough following) and other Marvel property films could end up a little more PG and less PG-13.  But hey, it's all speculation until it happens.

The one thing industry watchers sort of agree on is that the publishing side of Marvel Comics should be OK.  But what do you think?

FILE - In this March 21, 2006 file photo, comic book creator Stan Lee stands beside some of his drawings in the Marvel Super Heroes Science Exhibition at the California Science Center in Los Angeles. The Walt Disney Co. on Monday, Aug. 31, 2009 said it is buying Marvel Entertainment Inc. for $4 billion in cash and stock, bringing such characters as Iron Man and Spider-Man into the family of Mickey Mouse and WALL-E. (AP Photo/Damian Dovarganes, file)

JAKE COYLE
AP Entertainment Writer

NEW YORK (AP) -- Iron Man, Captain America and Thor may be nearly invincible, but they can also be bought.

In acquiring Marvel Entertainment Inc. for about $4 billion, Walt Disney Co. inherits a bevy of comic book characters whose history is almost dramatic enough to deserve a prequel of its own. And what could be a better ending than Hulk moving in with Donald Duck?

Marvel Comics, now a subsidiary of Marvel Entertainment Inc., was founded in 1939, a year after Disney released one of its biggest hits: "Snow White and the Seven Dwarfs."

Even Stan Lee, who would become an integral figure in Marvel's history and arguably its most public face, was a fan.

"The first expensive book I bought by saving my pennies was called 'The Art of Walt Disney,'" Lee said in an interview Monday. "I loved their cartoons: 'Pinocchio' and 'Bambi' and 'Snow White' -- all of them."

The first issue of Marvel Comics, released by Timely Publications, was published in October 1939 and included a now-classic character, the Human Torch. The issue sold for 10 cents.

The company's founder was Martin Goodman, a former salesman. A few years later, he hired a young office assistant named Stanley Lieber, who would eventually write under the name Stan Lee.

World War II changed the comic business as Lee and others were sent to battle. Afterward, superheroes weren't as in demand. Humor and romance replaced tales of good vs. evil. Captain America was out; Archie was in.

But the '60s were a creative heyday for Marvel. It published hundreds of comic books with superhero stories, including the introduction of the Fantastic Four. Lee created many of the characters, along with designers such as Jack Kirby and Steve Ditko.

Among them: Spider-Man, Iron Man, the X-Men, the Hulk and Thor. And, of course, there were the villains, too: the Green Goblin, Doctor Doom, Magneto and others.

With more serious, detailed storytelling, Marvel seized the comic book energy from DC Comics, which over the years has birthed Batman, Superman and many others. (DC has its own corporate owner: Warner Bros., since 1969.)

Marvel was sold in 1986 to New World Entertainment, and soon thereafter, was sold again to investor Ronald Perelman. He took it public in 1991, but bankruptcy followed. Marvel's current chief executive, Isaac "Ike" Perlmutter, snatched Marvel assets out of bankruptcy in 1998, outmaneuvering Perelman and investor Carl Icahn.

Marvel's commercial boom arrived in the '90s and the '00s, when the rights to its famous characters became highly profitable in video games, merchandising and blockbuster movie adaptations. Marvel Studios was formed to co-produce films with other studios.

There were also lawsuits that fought over the complicated web of ownership, including one filed by Lee, who successfully sued Marvel in 2002 for a piece of revenue from movies and merchandising.

The 86-year-old Lee, though, remains affiliated with Marvel and holds the title of "chairman emeritus." His company, Pow! Entertainment, has its own deal with Disney that gives the studio the first look at new projects. Pow! has three films in the works with Disney.

Perhaps because Lee has always worked as a collaborator, he harbors no ill feelings about seeing his characters shipped from one corporation to another.

"Luckily for me, once I stopped writing the stories, the people who took over were so good and so talented themselves," Lee said. "The people who are making the movies and the people who are putting them on video games are doing such a good job that I don't really feel I've lost control. I feel like I've handed control over to people who are perfectly qualified at what they do. They're making me look better than ever."

The image below is just a sample of the fun. Check out Paul DeBenedetto and Matt Occhuizzo's parody cover art work over at DeBenedetto's blog Wednesday's Child.

Warren Ellis, notable writer of Astonishing X-Men, Fell and my favorite from him, Planetary, will introduce and discuss the anime remix of four Marvel Comics characters at next week's San Diego Comic-Con.

This is exciting for me because it's Ellis doing the writing, of course. Also, Japanese animation studio Madhouse (Paprika) is a producer on the project.

On his blog, Ellis writes that It's the only thing he'll be in San Diego for. I expect there will be some promotional trailers or at least some artwork from the upcoming animation at the panel Friday July 24 in room 6BCF from 4:30 p.m. to 5:30 p.m.

See the press release at WarrenEllis.com.  And just because I want you to see this; check out the cover to the Ellis' final issue of Planetary by artist John Cassaday.  


  

Recently we had a chance to get some questions answered by Marvel writer Greg Pak about his main projects: Incredible Hulk, Skaar Son of Hulk, and War Machine. He also told us about how some of these ideas came about, and some of his plans for the future.

Modern Mythology: I've read that you're coming back to being a regular in the "Hulk" series with issue #601. What can you tell us about the direction you're going to take with the characters?

Greg Pak: This is the culmination of a crazy plan the Hulk office has been cooking up since the end of "World War Hulk." I can't say too much for fear of spoilers, but the story launches out of the climactic conclusions to Jeph Loeb's "Incredible Hulk" #600 in July and my own "Skaar" #12 in June. It's a whole new world of smash and a perfect jumping on point for "Planet Hulk" and "World War Hulk" fans as well as brand new readers ready for a shocking new direction, massive emotional payoffs, and multiple megatons of gamma powered smashing.

Modern Mythology: And how is it working with artist Ariel Olivetti?

Greg Pak: Ariel's been fantastic to work with so far -- wait until you see the cover to issue #602! He's justifiably renowned for his amazing work on "Punisher War Journal" and "Cable" drawing giant guys fighting, so that makes him a natural for "Incredible Hulk." But he's got a great touch for little emotional details and funny, human moments -- he's making every element in the book really come alive.

Modern Mythology: Perhaps you answered this in the last question, but I hear your last Skaar issue is #12 -- Will he figure into your new Hulk run, and if not, any hints on how will Skaar will figure into the Marvel Universe now that he's in the neighborhood?

Greg Pak: Skaar will indeed play a big role in my "Incredible Hulk" run -- that's definitely him behind Banner on the cover to #601. I'll just say he's about to have a massive impact on his pop and just about everyone else he meets in the Marvel Universe.

Modern Mythology: Do you like taking certain characters that you are personally interested in, and revitalizing them? Or does Marvel pitch the idea to you?

Greg Pak: Sometimes a Marvel editor will approach me with a character and pitch that I just can't say no to. "Magneto Testament" was like that for me. I've always thought Magneto was a fantastic character, but for one reason or another I hadn't independently come up with many stories featuring him. But when editor Warren Simons approached me about telling Magneto's origin story as a boy during the rise of the Nazis and the Holocaust, I was immediately hooked and knew I was going to do everything I possible could to write that project and do it justice. And then there are characters that I've been itching to write forever and have basically lurked around waiting for my shot. My first run on the Hulk came about that way. I bonded with editor Mark Paniccia while working on a completely different project, and at every opportunity, I'd shamelessly tell him how much I dug the Hulk. And eventually when it came time for Marvel to pick a new Hulk writer, all those hints I'd been dropping must have paid off.

Modern Mythology: Where did you get the idea for the direction of the new War Machine series?

Greg Pak: The idea was actually editor Bill Rosemann's. I heard him pitch the idea of Jim Rhodes as a one man army taking on the world's worst dictators and madmen at a Marvel creative summit two years ago and couldn't get it out of my head. I asked him if he had a writer; he grinned and said no. And within a few weeks, we were off to the races.

Modern Mythology: What's coming up in War Machine this year?

Greg Pak: Everything changes for Rhodey this year. Even as we speak, he's finally brought his fight against madmen and monsters to American soil. He's fighting to save the country -- but he might just end up branded a traitor in the process. Key issues are #7 and #8, in which we learn about his target and see how he reacts to a high-octane intervention from his former teammates in the West Coast Avengers. Then at long last there's a War Machine versus Iron Patriot showdown in issues #9 and #10 -- and only one man will be standing at the end. It's a massive turning point for James Rhodes that might just tear the heart and soul out of the Marvel Universe. I'll say no more.

Modern Mythology: How was the Marvel Comics retreat? Were you surprised by anything that happened there?

Greg Pak: Something surprising always happens at the creative summits. My non-disclosure agreement prevents me from saying much more, but there were a lot of big smiles at the end of this last meeting.

Modern Mythology: Finally, how does writing for comics compare to your work as a film writer-director?

Greg Pak: Writing comics can often be more time consuming that writing a film script. Film writing tends to be very stripped down. A screenplay is read by all kinds of people, not just the folks involved in actually making the movie -- so I never overexplain visuals. The idea is to write simply and evocatively in a way that allows any reader to "see" the movie while reading.

On the other hand, comic book scripts are generally read only by the people who are actually making the comics. So I fill them with what in the film world would be my director's notes. In a comic script, I'll break each page down into panels, which would be the equivalent of breaking each scene down into different shots in a film script. I may give very specific visual direction, directly address editors and artists and letterers, or maybe even digress for a minor treatise about the visual look of the whole book. As a result, my film scripts tend to be a bit more elegant, a touch closer to a satisfying literary read in and of themselves. But the comic scripts probably provide a better window to an outsider into the actual workings of the creative process, since they're chock full of practical details of creative choices.

Modern Mythology: Any plans for new film projects in the coming year?

Greg Pak: I just got greenlit to direct a new short film entitled "Mister Green," which should be a blast. I should have more info about it soon at www.pakbuzz.com.

Pictures courtesy of Marvel.com and pakbuzz.com

By RENE A. GUZMAN
San Antonio Express-News

SAN ANTONIO (AP) -- The Force is definitely in the cards for local artist Cat Staggs.

Besides wielding pencils and markers the way most Jedi wield lightsabers, Staggs wields quite a reputation as a "Star Wars" artist, illustrating numerous trading cards and other works for the sci-fi franchise.

Staggs channels the Force of her talents yet again with 75 original sketch cards and a full-painted base card for the new "Star Wars" Galaxy set, a trading card series now in stores.

For Staggs, 36, that galaxy far, far away has been one she's drawn from since she was a kid. "As soon as that Star Destroyer flew over my head. ..," Staggs says of the opening to "Star Wars: Episode IV -- A New Hope."

That passion shows in her many "Star Wars" sketch cards, each an original work of art she crafts right on the card.

A sketch card is a very rare and therefore very collectible hand-illustrated card, a one-of-a-kind catch in the sea of mass-produced trading cards for a series. Prices vary on the secondary market, though some sketch cards sell on eBay for hundreds of dollars apiece.

Of Staggs' 75 Galaxy sketch cards done in marker, 25 of them are in packs exclusive to Target stores. (The Target exclusive sketch cards are all red and all bad guys such as Darth Vader and Darth Maul.) The other sketch cards, which feature "Star Wars" heroes such as Han Solo and Luke Skywalker, are in packs you'd find in comic and hobby shops.

NEW YORK (AP) -- Shareholders of an ill-fated Stan Lee venture are seeking more than $750 million in profits from films and other works based on Marvel comic characters such as "Spider-Man," ''X-Men" and "Iron Man."

The lawsuit was filed Monday in a Manhattan federal court on behalf of shareholders of Stan Lee Media Inc. Defendants include Lee, his wife, New York-based Marvel Entertainment Inc. and former Marvel chief executive officer Avi Arad.

The suit names four shareholders who live in Florida, California and Canada. Their lawyer, Martin Garbus, said the suit is aimed at reclaiming money for all Stan Lee Media Inc. shareholders.

The lawsuit claims profits from Lee's comic creations belong to the company, which emerged from bankruptcy in 2006. The suit claims Lee, Marvel and others have violated Stan Lee Media's copyright interests and that the firm is due profits from all properties, including blockbuster films that were made after 1998 and based on Lee's creations.

The lawsuit's allegations were immediately rebuffed, with Marvel issuing a statement that said the lawsuit is filled with "ridiculous claims."

Lee's attorney, Mark W. Williams, said: "We look forward to a positive resolution for Stan Lee and his family."

Marvel also claimed the lawsuit features claims that have been pursued in previous cases.

Garbus said Monday's suit differs in that it names Lee, Arad, who produced several of the blockbuster films featuring Marvel characters, and current Marvel CEO Isaac Perlmutter.

"It's a very different lawsuit," Garbus said. "It's different money."

He said he suspects that Lee, who once sued Marvel over profits from his creations, entered into an agreement that deprived Stan Lee Media of the windfall from blockbuster movies such as the "Spider-Man" and "X-Men" trilogies.

"He made a deal," Garbus said of Lee's confidential settlement that led to his reconciliation with Marvel. "That money should have gone to the corporation."

Lee helped found Stan Lee Media, an online comic site in the late 1990s, but the company went into bankruptcy in 2001 and several of its officers were arrested and accused of manipulating its stock price.

Lee was never implicated in the scheme, but the company's meltdown has sparked court actions in New York, Colorado and Los Angeles.

In 2007, Lee sued Stan Lee Media for copyright infringement, cybersquatting, defamation and other claims. In a document filed last year, Lee's lawyers denied he gave the company copyright interests in characters he created during his Marvel career.


Photograph of Stan Lee By Dan Steinberg/Associated Press

He may not have been in many high-profile parts in the states lately, but actor-director Kenneth Branagh ("Hamlet," "Frankenstein") is reported to be close to becoming the director of the Marvel Comics produced movie "Thor."

Branagh is negotiating to make the picture and these things have a way of, well, going different ways as time goes on. It appears to be a pretty solid deal according to Variety.

I may be slow to embrace the "Captain America" idea but this is "Thor the God of Thunder" we're talking about. Trolls, Odin the All-Father, that twisted villain Loki and some of the best battle sequences a comic book could pack.

The kid inside who still remembers having his dad buy him a giant sized Thor comic many moons ago wants to see a movie that goes all out.

The script by Mark Protosevich ("I Am Legend") is said to include Thor's earth-born alter ego Dr. Donald Blake. My hope and expectation is that the filmmakers don't ignore a grand opportunity to give audiences a big battle in Asgard (Thor's home).

I know we want to set up an Avengers movie with Ironman, Hulk and all that, but to me, Thor is always best in battle and in his home environment.

Just in case you weren't sure... "HAWKEYE IS A BAD-A--!"

I know someone out there is reading the "Old Man Logan" storyline running through the regular "Wolverine" comic series. Mark Millar and artist Steve McNiven continue to deliver the goods.

I would call the third part of this 50-years-in-the future series thrilling or something like that, but it isn't that kind of party. To thrill a
reader usually involves an element of surprise of some sort.

There's no surprise that several someones are getting whipped when Wolverine snaps out of his anti-violence trip. Regular readers of Wolverine are
waiting for the inevitable "Unforgiven" moment in this story and I know it's coming you know it's coming and so does Millar.

I'll spare you too many details but the third part of this story includes more surprise future characters, more brilliant rendering by McNiven and a little action sequence that proves again that even a blind, old-codger Hawkeye is more dangerous than traditional readers would
think.

Remember it was Millar who portrayed Hawkeye better than he had been in years over in "The Ultimates" series.

The Hugo Award, one of the highest literary honors a work of science fiction or fantasy can achieve, will add a "graphic story" category in 2009 to accommodate graphic novels.

Past winners under special circumstances include "Watchmen" and a nomination for "Sandman: The Dream Hunters."

This category addition has not been ratified as of yet, but will likely be as convention organizers have already added a "temporary category." There are more details at ICv2.com and Newsarama.

While this award specifies "Any science fiction or fantasy story told in graphic form appearing for the first time in the previous calendar year," as reported in ICv2, I imagine this excludes collections of comics work that has come out earlier than 2008 and in monthly form before being collected.

This would leave out some fine works that are better in collection in my opinion like "Ex Machina." But the same can be said for a lot of the Marvel and DC Comics collections of individual issues.

  But there are terrific works that go straight to graphic novel. (i.e. a number of Manga, Vertigo, Oni Press and Image Comics stuff.) I hope to run through some of the ones I would consider for a Hugo and if anyone has suggestions from 2008 let's hear them.

I'm still a little hurt about the series "Civil War." A number of Marvel Comics characters I thought I understood from the Fantastic Four's Reed Richards to Iron Man were so offbeat I thought I was reading a "What If?" series.

Then I had to check myself. I'm one of those fans who want fresh takes on old stuff. And "Civil War" changed the game in the Marvel Universe, like it or not.

The 'Civil' writer Mark Millar and artist Steve McNiven re-team on the "Wolverine" comic arc "Old Man Logan" which takes us 50 years into the future and the picture aint pretty. The heroes have fallen and from what we know the country, maybe even the world is under the divided mercies of different villain factions.

Logan A.K.A. Wolverine is still alive and only two issues in we are given glimpses of the past events that kept the tough guy X-Man on the sidelines operating a farm in Sacramento. The character has gone from berserker avenger to docile farmer.