Marvel Archives - Page 3 of 136 - Robot 6 @ Comic Book Resources
Hasbro has confirmed that the Marvel Spider-Man Legends Infinite 6-inch Agent Venom action figure announced last year at Comic-Con International will be available this fall, but it’s exclusive to Walgreens.
Although details are slim, the toymaker states that the figure will be available for preorder next month at Comic-Con; more information (presumably including price, and how and where you’ll actually get the figure) will be available at the Hasbro booth.
Comic-Con International will be held July 24-27 in San Diego.
Three organizations representing Hollywood actors, directors and screenwriters have thrown their weight behind an effort to convince the U.S. Supreme Court to hear an appeal by the heirs of Jack Kirby that could have ramifications far beyond Marvel and the comics industry.
The case, as most readers know by now, involves the copyrights to the Avengers, the X-Men, the Fantastic Four, Thor and other characters created or co-created by Kirby during his time at Marvel in the 1960s. The artist’s children filed 45 copyright-termination notices in September 2009, seeking to reclaim what they believe to his stake in the properties under the terms of the U.S. Copyright Act. Marvel responded with a lawsuit, which led to a 2011 ruling that Kirby’s 1960s creations were work for hire and therefore not subject to copyright reclamation. The Second Circuit Court of Appeals upheld the decision in August 2013, which brings us to the Kirby family’s petition to the Supreme Court.
According to The Hollywood Reporter, the Screen Actors Guild-Federation of Television and Radio Artists, the Directors Guild of America and the Writers Guild of America have filed an amicus (“friend of the court”) brief that insists the Second Circuit’s ruling “jeopardizes the statutory termination rights that many Guild members may possess in works they created.”
Tom Brevoort is a saint. Seriously, I don’t know how he can keep an open ask forum on Tumblr and be patient enough to answer incoming questions from fans morning, noon and night. He’s an incredible resource and incredibly honest, which makes some of his answers hard to stomach, but at least you know Brevoort cares enough about Marvel comics and his job as senior vice president of publishing-executive editor to give you the truth.
Recently, he was asked about the length of a comic’s storyline and, in particular, whether editors inform writers how long an arc is going to be. The question came in regard to Brian Michael Bendis’ run on his two X-Men books where, in a way, I agree that there doesn’t seem to be much in the way of answers and/or change. Particular complaints aside, Brevoort responded:
Every story is different, every series is different, and every creator is different. All throughout his career, Brian has engaged in long-form storytelling. And he’s not the only one — Jonathan Hickman is another good example. And for those that enjoy what they do and stay on for the ride, there are payoffs for that devotion.
Who are we putting that devotion into? The comic characters? The creative team? The publisher? Who decides where a book begins or ends?
In an interesting analysis, Eriq Gardner of The Hollywood Reporter sees signs the U.S. Supreme Court might consider the five-year dispute between Jack Kirby’s heirs and Marvel over the copyrights to many of the company’s most popular characters.
The Second Circuit Court of Appeals in August upheld a 2011 ruling that Kirby’s Marvel creation in the 1960s were work for hire, and therefore not subject to copyright reclamation by his children. (They had filed 45 copyright-termination notices in September 2009, seeking to reclaim what they saw as their father’s stake in such characters as the Avengers, the X-Men, the Fantastic Four and the Incredible Hulk; Marvel fired back with a lawsuit.) In their March petition to the Supreme Court, the Kirby heirs took aim at the Second Circuit’s “instance and expense” test, arguing that it “invariably finds that the pre-1978 work of an independent contractor is ‘work for hire’ under the 1909 Act.”
Gardner points out the the justices discussed the petition at a May conference, and then requested that Marvel respond (the company initially didn’t file a response). Those p0tential portents were followed by a pair of friend-of-the-court briefs: one filed by Bruce Lehman, former director of the U.S. Patent and Trademark Office, on behalf of himself, former U.S. Register of Copyrights Ralph Oman, the Artists Rights Society and others, and the other by attorney Steven Smyrski on behalf of longtime Kirby friend Mark Evanier, Kirby historian John Morrow and the PEN Center USA.
If you ever wondered how actor Clark Gregg prepared himself for Agent Coulson’s death scene — or, rather, “death” scene — in The Avengers, you only need to listen to KCRW’s “Guest DJ Project.” Hint: It’s music, but any additional information is probably above your clearance level.
For this week’s episode of the Los Angeles radio show, the star of Marvel’s Agents of S.H.I.E.L.D. compiles a track list that includes Parliament-Funkadelic’s “Give Up the Funk (Tear the Roof Off the Sucker),” Public Enemy’s “Caught, Can We Get a Witness” and Radiohead’s “Go to Sleep.”
Characters from Disney, Pixar, Marvel and Star Wars appeared together on stage Monday for the first time ever as the entertainment giant touted its powerhouse brands ahead of the Licensing Expo in Las Vegas.
According to Variety, Disney is once again the world’s top licensor, with a record $40.9 billion in retail sales last year, up from $39.4 billion in 2012. With looming films like Guardians of the Galaxy, Big Hero 6 and The Avengers: Age of Ultron, based on Marvel comics, the live-action Cinderella and Star Wars: Episode VII, plus the Star Wars Rebels animated television series, that seems unlikely to change in the near future.
This weekend’s Special Edition NYC has brought confirmation on an earlier report by Bleeding Cool that two former DC editors have found new jobs at other publishers.
Katie Kubert, former editor of Batman, Detective and Batman Eternal, left DC Comics Friday after five years for a job as an editor at Marvel. Kubert appeared today on the Marvel’s Next Big Thing panel at Special Edition NYC, where her new job was announced and she discussed being a third-generation Kubert (her grandfather is legendary artist Joe Kubert, while Adam and Andy Kubert are her uncles).
Meanwhile, Valiant has confirmed to ROBOT 6 that former DC Assistant Editor Kyle Andrukiewicz has joined them as an assistant editor. Andrukiewicz worked on titles like The Movement, Animal Man and The New 52: Future’s End.
With DC Comics’ upcoming move from New York to Burbank, California getting closer and closer, it isn’t surprising to hear of current employees finding new opportunities with other publishers – if indeed that’s the reason why they left. Last month Comic Book Resources confirmed that Bob Wayne will leave his position as senior vice president of sales at DC Comics prior to the scheduled move in April 2015.
The past few weeks have given us drips and drabs of drama regarding two movies on Marvel’s amazing slate of cinematic wonders: Ant-Man lost long-attached director Edgar Wright and hunted down a new one (successfully, I might add; Peyton Reed’s indie-comedy cred is solid with Mr. Show and Upright Citizens Brigade, plus Down With Love is a personal favorite), and Doctor Strange now has Scott Derrickson directing and a slew of casting rumors. It’s made my Twitter feed abuzz with opinions and fancasts and denouncements of studio interference in the creative efforts of the auteur. It seems everyone wants to talk about the next Marvel breakthrough hit.
But not the comics. God forbid we ever talk about the comics. Ant-Man and Doctor Strange are absent from the shelves, outside of cameos in Original Sin, a canceled gig on the FF for Scott Lang and … well, something odd going on with Doctor Strange in New Avengers. As I scroll through Tumblr and Twitter demands about how Doctor Strange and Ant-Man should be presented, no one seems all that keen on picking up a comic with either character in a starring role. When contradicting someone’s fancast, I offered my own choice for Doctor Strange as a Ming Doyle sketch, and was told that “drawings are not good actors.” Oh, man, I hope they were joking …
Art dealer Sal Abbinanti has unveiled two new Alex Ross lithographs that will be available next month at Comic-Con International.
Ross, who’s been reaching back into Marvel history for a series of variant covers celebrating the publisher’s 75th anniversary, here depicts the 1970s X-Men lineup and a fairly timeless Captain America. The renowned artist recently tackled both subjects in a pair of variants, capturing Xavier’s first students in a later era.
Samsung on Thursday announced a partnership with Marvel designed to showcase the graphic capabilities of its new Galaxy Tab S tablets, a direct challenger to the Apple iPad.
With the July release of the Galaxy Tab S, users will receive a free three-month subscription to Marvel Unlimited, the digital service that features more than 13,000 issues from the publisher’s catalog. Over the next year, tablet owners will also receive early peeks at Marvel Studios films, including The Avengers: Age of Ultron, as well as access to Marvel One-Shots and other content.
The agreement also calls for “the world of Samsung Mobile” to be seamlessly integrated into the Marvel Universe, both on the screen and on the page, which translates as product placement in films and comic books. That’s of course nothing new for movies — indeed, Marvel’s The Avengers was used to debut the new Acura supercar — but it’s not seen quite as often in comics. That said, Marvel has inserted (if not exactly “seamlessly integrated’) sponsored logos into its pages, through in-story signs, billboards and T-shirts.
The Florida Department of Citrus is hammering out a roughly $1 million deal for Marvel to give its mascot Captain Citrus a superhero makeover in an effort to market orange juice to teens and children.
The Lakeland, Florida, Ledger reports that the contract, expected to be finalized later this month, calls for Marvel to transform the cartoonish anthropomorphized orange (above) into a buff male superhero who will preach the nutritional benefits of orange juice. The company will publish 1 million comics for free distribution through schools, summer camps and the like, and create an additional two stories to be released online.
Another 2.5 million Captain Citrus inserts will be included in the Blu-ray and DVD release of Captain America: The Winter Soldier, which arrives Sept. 9.
Dustin Weaver is best known for his work on such Marvel titles as Infinity, Avengers and S.H.I.E.L.D., but he’s also been busy creating his own space epic that most likely didn’t know existed: Amnia Cycle is a longform story that follows a space pilot named Tara and a bizarre alien life form named Amina. Weaver has drawn, and published online, three full issues of Amnia Cycle with plans to begin serializing the fourth “chapter” later this month.
Although Weaver has been seen primarily as a cover artist since the end of Infinity, that will change later this year with Marvel’s newly announced Edge of Spider-Verse series, which he’ll both write and draw. Senior Editor Nick Lowe told Comic Book Resources last week that Weaver’s work on Amnia Cycle helped secure him the writing gig.
Creators | Jim Toomey sets his comic strip Sherman’s Lagoon under the sea, and now he’s going to get a close-up look at underwater life: As the artist in residence on Alvin, a Navy deep-sea submersible vehicle, he will get an up-close look at undersea life in the Gulf of Mexico. “Only three people are able to go down on the sub at a time, so it’s a very coveted opportunity,” said Toomey, who will talk to his children’s class from aboard the submersible and has set the current Sherman’s Lagoon story in the Gulf so he can introduce the sea creatures he is seeing firsthand. [The Washington Post]
Pop culture | Eighty years ago today, Donald Duck was introduced as a supporting character in the animated short “The Wise Little Hen,” part of Walt Disney Productions’ Silly Symphonies series. His comic strip debut came a few months later, in an adaptation of the short by Ted Osborne and Al Taliaferro that ran in Sunday newspapers between Sept. 16 and Dec. 16. To mark the milestone, the National Turk publishes “a love letter to the duck,” while The Telegraph offers 10 surprising facts about the character. [National Turk, The Telegraph]
Political cartoons | The South African cartoonist Zapiro, himself no stranger to controversy, said the Eyewitness News cartoon depicting the South African legislature and the people who voted for them as clowns (and calling the voters “poephols,” or idiots) was a mistake. “I think the EWN cartoonists made a big error in the way they depicted the voters, what they called them and the shadow in the bottom corner, which could be misconstrued as meaning black voters,” he said. “They should have – and the editors of EWN should have – picked it up. But, they have apologised and anything that goes beyond that now is just bandwagoning by politicians.” Meanwhile, a fake Zapiro cartoon made the rounds on social media over the weekend. It’s based on a real 2002 cartoon that showed doctors finding the brain of then-president George W. Bush while giving him a colonoscopy; the fake cartoon substitutes South African President Jacob Zuma, who went into the hospital over the weekend. [Times Live]
Warren Ellis and Declan Shalvey have commented on Wednesday’s announcement that they’ll leave Marvel’s Moon Knight after August’s Issue 6, with the artist revealing he’s taking a break from monthly comics.
Part of the publisher’s All-New Marvel NOW! initiative, Moon Knight debuted solidly in March, landing in Diamond’s Top 20 and earning praise for both the characterization by Ellis and the art by Shalvey and colorist Jordie Bellaire (she’ll remain on the series).
“Issue 1 went to three printings, and 2 and 3 went to two printings, and so I consider that a job reasonably well done,” Ellis wrote in his email newsletter. “The job has been, simply, reactivating Moon Knight as a productive property for the Marvel IP library. And, in personal terms, producing six single stories that held together, because I thought it would be amusing to provide a book that could be entered at any point and still give the reader a complete experience. Which goes against the grain a bit, because the modern commercial-comics reader has been very much entrained to expect long arcs rather than singles. I’m sure there are plenty of complaints out there about the lack of character arcs or long stories. But the book is still getting bought and reordered. So I guess we found an audience after all.”