X-Men Archives - Page 2 of 15 - Robot 6 @ Comic Book Resources
All-New X-Men #33, Fantastic Four #12, Inhuman #7 and Wolverine and the X-Men #11 include the phrase “Created By Stan Lee and Jack Kirby,” while Death of Wolverine: Deadpool & Captain America #1 states, “Captain America Created By Joe Simon and Jack Kirby.” The credits pages can be found below.
Added with no fanfare, the credits follow a settlement agreement announced last month, ending the five-year-old fight between Marvel and Kirby’s children over the copyrights to 45 characters created or co-created by their father — among them, the Avengers, the X-Men and the Fantastic Four.
Neither side has commented publicly on their agreement beyond the joint statement, issued even as the U.S. Supreme Court was expected to decide whether it would consider an appeal by the Kirby heirs: “Marvel and the family of Jack Kirby have amicably resolved their legal disputes, and are looking forward to advancing their shared goal of honoring Mr. Kirby’s significant role in Marvel’s history.”
For X-Men fans nostalgic for the 1990s — those halcyon days when Storm was clad in white and yellow, Cyclops was fitted with unnecessary straps, and Colossus still sported pointy shoulder-thingies — Funko is releasing a line of Marvel Classic X-Men Pop! Vinyl bobble-heads.
Available in November, the set features 3.75-inch figures of the aforementioned Cyclops, Storm and Colossus, plus Professor X, Magneto and Mystique, all in their ’90s finest. You can check them all out below.
According to the Dayton (Ohio) Daily News, a man called police to report his $140,000 comic-book collection was stolen from his apartment Thursday after he split with his girlfriend.
He apparently was told to leave the apartment while she moved out, and when he returned there was some kind of physical altercation with her family — the specifics of which weren’t revealed. Afterward, he discovered his box of comics, including X-Men #1, was gone.
That, of course, raises a few questions: Was that 1963’s The X-Men #1, or 1991’s X-Men #1 (I’m guessing the former)? Was it a long box, which holds about 250 to 300 comics, or something larger? What other presumably Silver Age or even Golden Age comics were among that little treasure trove? And why, for the love of Galactus, would you leave something so valuable in your apartment while your ex, or your ex’s family, moves out items in the aftermath of a clearly unpleasant breakup?
Police haven’t charged any suspects.
Marvel’s X-Men titles have by far the highest number of iconic female characters in all of comics — whether it be the superhero genre or elsewhere. It’s thanks in no small part to the work of writer Chris Claremont and artists like John Byrne and Paul Smith, but man others followed, and added to the ensemble, including Joss Whedon and John Cassaday, who created Abigail Brand. And now artist Kris Anka is paying tribute to these X-Men in an expansive, limited-edition print called “Ladies of X 2.”
In the first major update to its Uncanny X-Men: Days of Future Past mobile game, Glitchsoft has added Storm and Polaris as playable characters.They can be unlocked with the completion of the third level.
What’s more, the game is available for 99 cents from the App Store for the duration of Comic-Con International.
Marvel and Wizard World have unveiled Jorge Molina‘s exclusive variant cover for the 100th Anniversary X-Men Special #1, which will be given free to VIP attendees of the Aug. 1-3 Wizard World San Antonio Comic Con.
Limited to 3,000 copies, the variant is the latest entry in a deal between Marvel and Wizard World in which a limited-edition cover will be available at each of the 16 Wizard World Comic Con events scheduled this year. Previous variants in the series featured work by Neal Adams, Greg Horn, Michael Golden, David Mack, Mike Grell, John Tyler Christopher and J.G. Jones.
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.
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.
This undoubtedly should be prefaced with the warning “DO NOT ATTEMPT THIS AT HOME,” but considering it’s billed by U.K. garage inventor Colin Furze as “DIY X-Men Pyro,” that would be useless. So, yes, the manic mind behind those automatic Wolverine claws and Magneto shoes is back, this time with a device that will permit you to shoot 12-foot flames from your wrists, because … what harm could come of that?
Here’s hoping Furze follows that quickly with DIY Iceman or DIY Storm to diminish some of the damage this will very likely cause.
Conventions | MCM London Comic Con have announced that 101,600 people attended the May 23-25 show, which is being dubbed “the largest event of its kind ever held in the U.K.” That figure represents an increase of more than 31,500 from the May 2013 installment, and 13,600 from the October show. [MCM London Comic Con]
Creators | Kyle Anderson talks to director John Carpenter and writer Eric Powell (The Goon) about Big Trouble in Little China, the BOOM! Studios comic that picks up where the movie left off. Powell talks about renting the movie as a kid: “My sister and I would always go in there, and we’d always need to get a funny one and a scary one. Big Trouble kind of covered both of those situations.” The comic debuts on June 4. [Entertainment Weekly]
X-Men: The Last Stand was the last X-Men movie I thought I would ever see. I was so let down that I didn’t even want to watch X-Men: First Class when Fox tried to lure fans back with the promise of a clean slate. X3 was just too far. All the buildup and promise of the first two films was washed away with thoughtlessness and a complete misunderstanding of what made those adaptations great.
It’s easy to forget that the first X-Men movie really kicked off the revival of major comic-book adaptations that continue today. I know, Blade came first and was a big hit and really rekindled Hollywood’s love affair with comic properties, but X-Men was the start of the uniformed team, super-powers and the struggle between good and evil that modern audiences crave. The idea of peace and war for survival, the human-rights angle played as a mutant allegory portrayed by talented actors was all there comfortably next to stabby fight scenes, snarky quips and Halle Berry. From the first movie, we went to what could be debated as the best X-Men movie, X2: X-Men United. Themes were expounded upon, comic morsels were dropped for fans to pick up on, and the special-effects budget improved tenfold. After that, development problems, the wanton destruction of characters and the complete mishandling of the Phoenix storyline all combined to create a movie that nearly killed the franchise.
X-Men: First Class was a chance to get the audience back with a younger, sexier cast of mutant heroes and villains. For the most part it worked, but I didn’t want a new group of X-Men; I wanted the old one back. Everything in the first two X-Men movies still worked, and it didn’t feel right to just jettison it all because of one disaster. To borrow a phrase, just because one stumbles and falls doesn’t mean they’re lost forever.
If only we could go back in time and change X-Men: the Last Stand. ..
WARNING: SPOILERS for X-Men: Days of Future Past. I’ll try and remain vague, but I’ll definitely be talking about the final act because — short version — it’s worth the admission price to see if you’re a fan of the original films. For more, continue on, True Believers!
While Furze hasn’t figured out how to bend metal with his mind or hurl enemies with the wave of a hand (not yet, anyway), he has devised a magnetic shoes that allow him to walk on the ceiling. (OK, maybe he’s more Lionel Richie than Erik Lehnsherr.)
“Magnetic shoes, something it seems only NASA has done before me,” Furze writes. “Not even Ian McKellen used real ones in the X-Men films. I may not be controlling metal with my mind, but being ‘Magnetic’ is close enough for me.”
Just in time for the premiere of X-Men: Days of Future Past, high-energy U.K. garage inventor Colin Furze has created fully retractable metal claws that will undoubtedly make him the envy of every Wolverine fan, and the prime suspect in countless watermelon stabbings. While we can take issue with his “adamantium” claim in the video below — unless he’s also invented that metal alloy in our universe — there’s little denying the claws are pretty amazing.
They’re 12-inch stainless steel blades activated by a Spider-Man-like palm trigger and powered by a compressed-air system housed in a backpack. Furze also shot a video that explains the entire process. Watch both below.
Following a round of X-Men-centric Carl’s Jr./Hardee’s commercials that attracted widespread criticism, the latest stop on the Days of Future Past promo train is AXE, the male-targeted grooming brand that for for years marketed its body spray with the overt promise that the user would become cartoonishly irresistible to the opposite sex. Like Carl’s Jr., AXE in the past has been accused of sexist marketing — including a 2012 spot centered on disembodied female breasts — but this commercial plays it pretty straight, with the film’s Havok (Lucas Till) outshining two less impressive mutants in a competition administered by an unnamed character unlikely to be found in the Official Handbook of the Marvel Universe.
It’s all to promote the “AXE Limited Edition X-Men pack,” which can be found in “Phoenix, Dark Temptation, Apollo and Anarchy” varieties, and comes bundled with an “exclusive” Days of Future Past poster.
It’s not the first time AXE and comics have collided: In 2012, the company launched a digital comic, written by Scott Lobdell, to promote the “Anarchy” fragrance line.
With a $1.1 billion global box office and a certified-platinum soundtrack, Disney‘s Frozen is more that a blockbuster — it’s a pop-culture phenomenon. However, the folks at How It Should Have Ended found the animated film lacked a certain … something. Namely, an appearance by X-Men.
After all, where better than Xavier’s School for Gifted Youngsters for Elsa to learn more about her powers — and, of course, organize the joint faculty-student chorus?