Tagged: Iron Man

Marvel Ups Joe Quesada to Chief Creative Officer

ComicMix congratulates Joe Quesada on his justly deserved promotion, recognizing the strides he has made in salvaging Marvel as a creative entity in the years since the company emerged from bankruptcy.

Here’s the official release:

New York, NY – June 2, 2010 – Marvel Entertainment, LLC announced today that it has promoted Joe Quesada to Chief Creative Officer of Marvel Entertainment.  In this new role, Mr. Quesada will work alongside Alan Fine, Executive Vice President, Office of the President and Chairman of Marvel Studios’ Creative Committee, to ensure that all portrayals of Marvel’s characters and storytelling remain true to the essence of Marvel’s rich history. Additionally, Mr. Quesada will provide creative oversight of all areas of Marvel’s business including theatrical, television, publishing, animation and games, while also actively participating in all story and script development for Marvel’s films and animation. Prior to this promotion, Mr. Quesada held the role of Chief Creative Officer & Editor-In-Chief, Marvel Animation & Publishing and oversaw the creative aspects of Marvel Comics and Marvel Animation. The announcement was made today by Mr. Fine, to whom Mr. Quesada will report.

Mr. Fine stated, “I am excited to have Joe join me as Marvel Entertainment enters the next chapter in our history. Joe has already played an instrumental role as Editor-in-Chief in changing the face of the comic book industry with bold new ventures and an unprecedented penetration of the mainstream consciousness. His love and passion for Marvel, along with his experience guiding publishing for the last decade, will be invaluable as we bring our characters to life in new media.”

“I am honored to take this new position at Marvel Entertainment and work with Alan to bring the rich history of Marvel to a brand new audience” said Mr. Quesada.  “Together with the incredible talent here at Marvel, in all our divisions, I look forward to making Marvel an even bigger part of the entertainment industry and showing why we’ve been an industry leader for over 70 years.”

Mr. Quesada will also continue to serve as Editor-In-Chief, Marvel Publishing, where over the past decade he has helped usher in bold new imprints such as Marvel Knights, the Ultimate Universe and Marvel MAX. During his tenure, Marvel received acclaim for its Heroes special to commemorate the events of September 11, 2001; the groundbreaking Death of Captain America storyline; and President Obama’s historic team up with Spider-Man. Mr. Quesada is also one of the industry’s most popular artists, providing cover and interior art to blockbusters such as Amazing Spider-Man, Daredevil, Invincible Iron Man and more.

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‘Captain America’ Will Likely Sling Shield in 3-D

Marvel’s super-heroes continue to dominate the headlines as Iron Man director Jon Favreau told MTV he imagined it was time for the Mandarin to step front and center in Iron Man 3. After setting up the Ten Rings in the first film, it was clear he was already heading in that direction.

Meantime Marvel Studios president Kevin Feige confirmed to the Los Angeles Times that they were studying 3-D technology and were likely to let Captain America: The First Avenger be the first film in the new format. With Thor already shooting, an up-conversion was not ruled out.

“The team has been doing a lot of research into 3-D processes, and we’re looking at it on future films when we have the time. We will be doing it at some point,” Feige told Geoff Boucher.

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Iron Man’s Costly Armor

iron-man-2-7927418Our friends over at io9 attempted to price out what it would cost to construct Iron Man’s movie armor using real world technology.

Annalee Newitz concluded, “So, what’s the final price tag? $100,420,000

“To put that in perspective, the cost of the F-35 fighter plane is estimated at $95 to $113 million. So this suit might easily fit in today’s military budgets.”

However, please think twice before suggesting this to your Congressman.

Meantime, the film took in $133.6 million over the three day weekend, making the fifth best domestic opening in history. Add in the $194 million of international box office and the film has already achieved stratospheric numbers.

Of course, the film cost in the neighborhood of $175 million coupled with a global marketing budget of $150, and the expenses are $325 million. The movie will have to gross something on the order of $900 million to show profit from the feature alone. Of course, ancillary merchandise already on sale followed by cable, disc and other revenue streams, no one will cry poverty when the finally tallies are completed some time next year.

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Review: ‘Iron Man: The Ultimate Guide’

ironmanguide1-9795500Anticipating today’s release of [[[Iron Man 2]]], DK Publishing released [[[Iron Man: The Ultimate Guide to the Armored Super Hero]]] back in February. The book, like last year’s [[[Wolverine]]] offering, is in their new thicker but shorter trim size and at 200 pages is chock full of information regarding only the comic book career of the Golden Avenger.

Matthew Manning, who also wrote the Wolverine volume (and is my co-author on [[[The Batman Vault]]]), returns to tell us everything about Tony Stark, his metallic alter ego and his friends and foes.

The book takes us through the origins of the character up through the beginning of the acclaimed Matt Fraction “Stark: Disassembled” storyline. Sections are devoted to his Stark Industries staff, his friends, his foes, and of course the many, many women in his life.

Maybe it’s because of Marvel’s own Iron Manuals, but the section devoted to his many armored incarnations is perhaps the weakest portion of the book. We get a few pages detailing how the more current armor works and then artwork depicting many but not all the variations. By using pick-up art in this manner, we’re treated to the work of many different artists but many of the shots are details and not full figures so for a visual guide, it feels oddly lacking.

Matt does a better job detailing the other sections starting with the various versions of Stark’s family business. Oddly, his spread on Pepper Potts seems written for people only familiar with her from the movie, ignoring her elopement and troubled marriage to Happy Hogan. Instead, that aspect of her life can be found in Happy’s own section.

A six page timeline concisely gives you what you need to know about the character’s career before getting into decade by decade sections with additional details. The 1960s was the decade it all got stated and the foundation was built. A little too much space is given to team-ups and battles and not enough given to the feature’s early Cold War-inspired stories or Stark versus Congress, rooting the series to the real world setting it apart from the other Marvel titles at the time.

The 1970s sadly gets the shortest shrift, with emphasis entirely on the classic “[[[Demon with a Bottle]]]” story. Yes, the series floundered after Archie Goodwin stopped writing it in favor of many hands until settling in with David Michelinie and Bob Layton in the latter 1970s. Still, the feature endured and should have been explored a little more.

Stark and Iron Man’s growing prominence in the Marvel Universe over the last decade does get a much stronger review and is among the best portions of the book.

Rather than devote two-pages to a montage of covers and splash pages at the end, the book could have benefitted from expanding the Ultimate incarnation of Iron Man from two to four pages to better explore how this Stark differs from the core Marvel Universe version.

Matt does a solid job keeping many of the convoluted storylines clear for readers – not an easy feat – and his affection for the character is clear. Similarly, the publication design is a little more straight-forward than some of DK’s hyperkinetic earlier offerings.

To be honest, this is one of those dream jobs I wish I had a shot at writing, but Matt does a fine job here and makes the character, his world, and his importance to the Marvel Universe clear. At $24.95, you couldn’t find a better resource on the Armored Avenger.

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Review: ‘X-Men Volume Five’

With [[[Iron Man 2]]] opening on Friday, everyone has decided to jump on the comics bandwagon and is flooding the shelves this week with Marvel-related fare. Walt Disney Studios Home Entertainment joins in the fun with the two-disc[[[ X-Men]]] Volume 5, completing the classic 1990s animated collection.

The 14 episodes presented here are in airdate order and span 1996-1997 and seasons four and five of the Fox series, which has remained the longest running Marvel animated title. The show was incredibly faithful to the source material, with former X-editor and then-Editor-in-Chief Bob Harras working as a story consultant. The show also had the unqiue aspect of having lengthy sub-plots allowing breadth and depth of subject matter most animated fare previously could not enjoy.

Comparing this to the adaptations of the same stories by the more current [[[Wolverine and the X-Men]]] shows the greater freedoms taken by the new creative staff—and not always for the better.

Given a variety of technical production delays, episodes were prepared out of order and writer Steven Melching always directs fans to the script numbers to show the proper story evolution. Instead, the five volumes have presented the shows in airdate order, which could prove confusing.

The series had horrible vocal casting but at least had strong animation direction. However, when Fox belatedly ordered a handful of additional episodes, Saban farmed out the animation to the Philippine Animation Studio, and the inferior quality is marked as you will see upon rewatching.

Disc one opens with the two-part “Phalanx Covenant” featuring the goofy but loveable Warlock. We switch focus to Omega Red, a then popular foe, in the long-delayed “A Deal with the Devil” which nicely spotlights Wolverine, Storm, and Rogue. Also delayed and finally aired at this point are “No Mutant Is an Island” and “Longshot”. The former treats Jean Grey as still dead although the animated continuity at this point had resurrected her but nothing was done to accommodate this. And while Longshot himself was nicely handled, I never cottoned to Mojo, who is played far too broadly here.

Any real sense of episode to episode continuity is gone by the second disc and the inferior animation is truly sad to see. As highlighted on the box cover, “Old Soldiers” is a flashback to World War II and a Wolverine tale. He partners with Captain America to take down a traitorous American scientist and the Red Skull (of course). The dialogue is nicely handled by Len Wein although the story felt tired.

The additional order did allow for a finale, “Graduation Day”, which saw the anti-mutant prejudice take a decidedly deadly turn as Xavier is fatally shot. Mutants around the world seek a leader and flock to Genosha, looking to Magneto for guidance. The X-Men arrive to solicit his help and Xavier gets a happy ending. He also gets a chance to say farewell to the core X-Men and the viewers, with the series ending on a cautiously optimistic note.

There are no extras on the collection, but if you have the first four volumes, you can’t possibly miss out on this one. 

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‘Iron Man 2’ already has a 100 million dollar weekend

Nikki Finke has the numbers: “Early
overseas estimates from Paramount have Iron Man 2
grossing just over $100 million from 53 markets. And some large
territories haven’t even opened yet, like Germany, Japan,  and China. In
local currencies, the film opened 25% ahead of the original Iron
Man (despite the fact that in those two years both the British pound
and Euro have dropped significantly). IM1 opened at $99
million (that opening also included Germany). The largest opening was
the UK ending the weekend with $12M including previews. Second was Korea
at $11M. Third was Australia at $9M. Fourth was France at $8.5M.”

Nikki goes on to guess at a $155 million opening weekend in America this weekend, with an outside chance of topping
The Dark Knight‘s 3-day record of $158.4 million.

That’s a lot of gold-plating on that armor.

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Tim Gunn talks comics fashion

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Tim Gunn, fresh off his stint in the Iron Man armor and his guest appearances with Aquaman, reunites with Alan Kistler to discuss super-hero fashion
and judge the looks of Mr. Miracle, Star Sapphire, Power Girl,
Catwoman, Spider-Man and Batwoman on this episode of Crazy Sexy Geeks!

Saturday Morning Cartoons: Iron Man, Smooth Jazz Style

With Iron Man 2 coming to theaters soon, and fan anticipation at an all time high, we figured it might be fun to take a leap back in time. Here’s a little ‘Iron Man’ ala 1966. Enjoy the smooth jazz theme song! Marvel at the fluid animotion! Revel with each CLANG! POW! and ZZZOOOOOOM! You’ll gasp at the revelation that Happy knew all along!

This wonderfully cut episode pits Iron Man against Titanium Man. We personally love the whole “Radio Show” feel of the piece. And Gene Colan’s Iron Man design is timeless. Of course the special effects are… well… amazing. And the voice acting? Well, it’s not quite Robert Downey Jr. and Mickey Rourke, but it should put a lil’ twinkle in yer eyes. So, without further adieu, enjoy the “Cool exec with the heart of steel…”