Actor Simon Pegg ignited a firestorm last week when he posted photos of a recent visit to Marvel’s New York City offices, including one shot of himself posing in front of a mural and pointing to an image of Ant-Man. Could it mean he’ll re-team with frequent collaborator and good friend Edgar Wright for the long-brewing Marvel Studios film? No, Pegg was just having a little fun with fans.
So what was he doing in the Marvel offices? Apparently, he was just taking a tour, and recording a video to promote his new film The World’s End (opening Friday). Unless … the above image is Pegg’s way of telling us he’ll be replacing Chris Hemsworth in Avengers: Age of Ultron …
See more photos from his visit at Marvel.com.
Washington-based artist Clayton Crain has carved out a niche for himself in comics over the past 15 years with his distinctive, sinewy digital art on the likes of Ghost Rider, X-Force and Carnage. But that wasn’t always his style, and he wants to pull back the curtain to show his evolution as an artist in a new book called Evolver.
Announced today with a a Kickstarter campaign, Evolver is a 48-page hardcover profiling Crain’s work from the age of 15 all the way to his current output for Valiant. The 8-inch by12-inch book will include sketchwork, high school-era art and excerpts from Crain’s forthcoming creator-owned Into a Rift. His influences are deep in the vein of Todd McFarlane and Henry Stinson, and this book will show you Crain’s dynamic evolution from his high-school days as an early Image fanboy into the 2000s, where he found his own signature style and even did work alongside McFarlane. Crain hopes to raise $10,400 by Aug. 10, and have the finished book available in November.
Marvel has long had aspirations for Hollywood. Decades before The Avengers was a mega-blockbuster, years before George Lucas produced the ill-fated Howard the Duck movie, Stan Lee and his superiors knew the heroes at the House of Ideas could sell more than just comic books.
In the early ’80s, Marvel’s developed pitches for animated shows based on a number of its titles, and a number of new creations. And it’s no wonder, given Marvel’s past with the Fantastic Four show and the success DC Comics had with cartoons on the small screen. But the properties they prepped were, well, something else.
Typically, I’ll spend most of Saturday in panels, but the first one I was interested in wasn’t until later in the morning, so I killed time taking in some of the more offbeat exhibitors, like Ben the Bubble Guy, a businessman who hires himself out for birthday parties, corporate events, funerals. Okay, maybe not funerals.
When it was time, I headed up to the fourth floor for the AV Club‘s panel on the Future of Superheroes.
It’s okay to hate the holidays.
Really, no secret Santa brigade will beat you into being jolly. In fact, it’s perfectly natural to get a sort of dread around this season. The sun doesn’t shine as much, the weather outside is frightful, it’s the end of a year and the approach of a new one that we can only hope is better. As much as festive decorations, carols and family dinners might say otherwise, this is the season for frustrations.
Dear reader, I understand this feeling. I work retail. It’s perfectly fine to hate the holidays, and it’s perfectly normal to wish things were better. Charlie Brown Christmas Specials are all well and good, and it’s great to aspire to that Rockwell painting of a warm Christmas dinner, but let’s face it: that’s not reality. Reality sometimes is that a roast is burnt, the family just bickers and drinks, and all those Peanuts kids dance like idiots.
We can’t get the perfect Christmastime we want so badly, but sometimes we can be Avenged. We can take Christmas into our own hands, show some Scrooges what for and make them kinder. We can look at all the little things that make this time, if not perfect, uniquely special. And we can rocket a perverted uncle around in a frilly brassiere once we’ve shrunk him to the size of an action figure.
Folks, this is Ant Man’s Big Christmas.