EXCL. PREVIEW: Tony Stark is... Spider-Man(?!) in "Invincible Iron Man" #10
So here I was, gentle reader, tapping away at the keyboard this morning, polishing up my thoughts on Wolverine’s current employment trajectory and comparing it to a popular comedian from the ’80s when I got a message from my distinguished colleague, Mr. Tom Bondurant.
“Why is Marvel releasing solicits Friday afternoon, like the Pentagon doing a big document-dump?” he asked via Twitter, causing me to drop everything and run to my favorite and most trusted news source, this very website. Lo and behold, Tom was right, and Marvel’s solicitations for April had gone up just in time for the weekend. Normally, these are released in a timely fashion, as we comic book fans and retailers have a rhythm worked out for peculiar way we look forward to, order and then receive comics. Having these guys show up on a Friday and, more telling, having them seemingly reiterate information we learned throughout the week feels as if that rhythm is mutating somehow — that we might get previews for events in a different way and that Marvel promotions might be delivered to us differently in the months to come. This could either be the herald of a new way to talk about our future in our present about comics that have come out in the past, like trades or reprints, or it could be a very busy week at the Bullpen and they only got this list out today.
Either way, April is waiting. Read on!
In just three months, we will be pretty entrenched into the new NOW! of Marvel. So far, so good, right? Can’t say that they’ve all been hits, but considering the alternative (*cough*reboot*cough*), I’d say we’re doing pretty well.
Will this be an era that’s looked back at as a radical change in publishing and a landmark era of storytelling for Marvel? I get the feeling that a lot of people are hoping so, most of them in marketing. This is a fresh face for the Marvel brand, and we should be looking at a moment that will be well-documented by journalists, historians and (more importantly to the layman) comic book price guides. Sadly, my precognitive powers are only available in March solicitations, so let’s look at those and see what NOW! will look like then. Or THEN! I’m not sure.
First, let’s talk about the trades. I rarely get to do so because they’re always at the bottom and there’s normally a huge amount of comics to sort through and events to define before we reach the reasonable road of the trade paperback. But in March, Marvel NOW! will officially be the final status quo on the shelves, so we’ll begin a steady stream of trades for major titles in hardcover and softcover format.s The first volumes of Uncanny Avengers, Iron Man and Avengers will be out in hardcover, with Fantastic Four, Red She-Hulk and X-Men: Legacy getting softcover editions; I think the change in format probably has to do with the price of the original issues.
“Despite Marvel coming to me and asking for the Cap series, rather than my pitching it to them, it was constantly being sidelined and eventually dropped to my disappointment. Since Ultimates ended, I’d been less and less involved in a collaborative process at Marvel. They now had their various brain-trusts, architects or whatever the gang was calling themselves, and that was what led their creative process. It seemed a very closed shop and not what it was like when I signed up to do Ultimates at all. I felt like they wanted an illustrator not a creator, and that was very frustrating to me. I’d submitted several proposals for various series, getting nowhere; Cap was dropped, and I didn’t even feel involved in the story I was working on. It really felt like I wasn’t contributing the way I wanted to be.
Obviously the work I did there over more than ten years is a true high point in my career and, in looking at the Marvel movies, clearly influential, but I guess there’s a time when you feel like you don’t know anybody at the party anymore or nobody’s laughing at your jokes and it’s time to call a cab. Possibly, had I known the Ultron series was longer than the five issues I’d originally thought and if I hadn’t had the Cap book pulled from under me, I may never have considered moving on, but stuff changes I guess.
I don’t want any of this to sound anything other than light, frothy and pleasant though. There’s no regret or bitterness, far from it. There’s always things one could have done differently or better but I had an amazing time and got play with a lot of company toys, and it made my career in the best way possible. Now in going forward I feel like I have some incredible opportunities I might otherwise not have had.”
– Bryan Hitch, in a lengthy interview with Comic Book Resources, discussing his departure from Marvel following Age of Ultron
If it seems like only last week that we were looking back on Marvel’s 1980s sci-fi series ROM: Spaceknight, that’s because we were. Spurred by Hasbro’s new trademark filing for ROM, we summed up the inauspicious history of the Parker Brothers action figure, and the more successful — and more fondly remembered — comic book it spawned.
But no sooner had we left Galador and the Dire Wraiths behind than Comic Book Resources debuted art from Marvel’s Age of Ultron #2, by Brian Michael Bendis and Bryan Hitch. And right there on the massive two-page cork board, squeeze between photos of Doctor Strange and Wiccan, is none other than ROM, greatest of the Spaceknights!
Are the two things related? It’s certainly possible — after all, Marvel and Hasbro have had a long (and presumably profitable) relationship that continues to this day with Avengers and Superhero Squad action figures, giant plastic Hulk hands and the like. So who better than the House of Ideas to help revive that plastic relic of 1970s toy chests? However, it’s unlikely Marvel would plunk another company’s character into a major story event, particularly after it’s had to untangle its own creations from licensed properties over the decades (ROM, Micronauts, Godzilla, et al). It seems more probable that Bendis and Hitch are having a little fun, dropping a figure from Marvel’s past among some of its more prominent players. Still, though, an Easter egg like that is usually tucked away along the edges of a panel or a page, not smack-dab in the middle …