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Diamond Select Toys in Store This Week: The Fantastic Four, Ahsoka Tano and More!

Diamond Select Toys has lots coming to stores this week! The Human Torch and the Thing team up to defeat Doctor Doom, Ahsoka Tano faces off with Asajj Ventress, and Iron Man and Rogue do whatever a couple of awesome busts do! Busts, action figures, statues… there’s a little bit of everything in this week’s offerings. It’s the best of all worlds!

Legends in 3D Marvel Comic Doctor Doom 1/2 Scale Bust 

A Diamond Select Toys release! Behold the magnificent visage of Doom! Victor Von Doom, ruler of Latveria, is a Legend among his people, and now he’s a Legend in 3D! This 10-inch bust depicts the monarch in scale, atop a castle pedestal decorated with Doom’s monogram, and features detailed sculpting and paint applications. Limited to only 3,000 pieces, it comes packaged in a full-color box with a numbered certificate of authenticity. Designed by Joe Allard, sculpted by Rocco Tartamella. (Item #DEC202073, SRP: $175.00)

Legends in 3D Star Wars Ahsoka Tano Half-Scale Bust

A Gentle Giant Ltd. release! She’s one of the most popular characters in Star Wars fandom, and now Ahsoka Tano is a Legend in 3D! This approximately 10-inch bust captures the Jedi Knight in scale, atop a sculpted, lightsaber-inspired pedestal. Limited to only 1,000 pieces, she features detailed sculpting and paint applications, and comes packaged in a numbered, full-color box with a certificate of authenticity. (JAN211969, SRP: $175.00)

Marvel Animated Style Thing Statue 

A Gentle Giant Ltd. release! It’s clobberin’ time! The rocky curmudgeon of the Fantastic Four is now a super-adorable animated-style statue! Based on the variant cover artwork of Skottie Young, this action-packed piece shows Thing running into the fray, and stands approximately 4 inches tall. Limited to only 3,000 pieces, it features detailed sculpting and paint applications, and comes packed in a full-color box with a numbered certificate of authenticity. Sculpted by Paul Harding! (Item # DEC202079, SRP: $49.99)

Marvel Animated X-Men Rogue Mini-Bust

A Diamond Select Toys release! Mutant pride, shugah! Southern belle Rogue enters the fray as the newest bust based on X-Men: The Animated Series! Capturing the cartoon’s costume and colors, this approximately 6-inch tall, 1/7 scale bust sits on a grey pedestal and is in scale to the rest of the X-Men. Includes a numbered certificate of authenticity in a full-color box. Limited to 3,000 pieces. Designed by Barry Bradfield, sculpted by Paul Harding! (Item #NOV201956, SRP: $59.99)

Marvel Comic Iron Man 1/7 Scale Mini-Bust

A Diamond Select Toys release! Iron Man flexes his technological might in this all-new bust based on Marvel Comics! Charging up a repulsor blast while extending various segments of his armor, this 1/7 scale bust stands approximately 6 inches tall atop a similarly armored pedestal base. Featuring detailed sculpting and paint applications, this resin bust is limited to 3,000 pieces, and comes packaged in a full-color box with a numbered certificate of authenticity. Designed by Nelson Asencio, sculpted by Juan Pitluk. (Item # DEC202077, SRP: $69.99)

Marvel Select Human Torch Action Figure

A Diamond Select Toys release! Flame on! The Fantastic Four’s hot-headed member gets his first-ever Marvel Select action figure with this all-new release! Standing approximately 7 inches tall and featuring 16 points of articulation, this figure is cast in translucent material, and comes with interchangeable flame effects, a flight stand and a Golden Age Torch head! It comes packaged in display-ready Select packaging, with side-panel artwork for shelf reference. Designed by Eamon O’Donoghue, sculpted by Chris Dahlberg! (Item #NOV201958, SRP: $29.99)

Star Wars Clone Wars Asajj Ventress 1/6 Scale Mini-Bust 

A Gentle Giant Ltd. release! Asajj Ventress makes her long-awaited entrance to the 1/6 Scale Star Wars bust line from Gentle Giant Ltd.! The Sith wields her twin red lightsabers and includes a removable cloak, making her a necessary addition to any Star Wars bust collection. She stands approximately 6 inches tall, 8 inches with lightsabers. Limited to only 1,500 pieces, it comes packaged in a full-color box with a numbered certificate of authenticity. (Item #DEC202068, SRP: $120.00)

Review: Fantastic Four Grand Design #1 is Sometimes Overwhelming, Sometimes Fun

Fantastic Four Grand Design #1

Tom Scioli is a cartoonist whose works owes almost everything to legendary creator, Jack Kirby, and he gets to pay homage to one of his and Stan Lee’s finest creations in Fantastic Four Grand Design #1. The Fantastic Four don’t even show up as a team (Time travel be damned) until page 14 of the book. Scioli spends the first portion of this extended length comic trying to create a grand cosmic narrative for the Marvel Universe featuring the Krees, Skrulls, Deviants, Eternals, Inhumans, and cities of Attilan, Lemuria, and Atlantis with a side of secret societies and Uatu the Watcher as a POV character in a similar manner to Ed Piskor’s X-Men Grand Design. This prelude is just a foretaste of the overwhelming as a narrative, yet satisfying on a style and individual panel level that this comic is.

Scioli definitely has some storytelling chops and cleverness up his sleeve. He doesn’t start with Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm stealing a rocket to “beat the Reds into space”, but by paralleling the Fantastic Four with the four Celestials that helped accelerate evolution on Earth with a nifty pink, green, yellow, and red color palette. Uatu the Watcher saving Taa (Later Galactus) from the destruction of his planet as his body dissolves and changes form is clearly inspired by the Thing changing from human to monster and is a beautiful meditation on divine intervention. In the early going, the comic also has a nice structure with one page, almost Sunday comic strips introducing major cast members like the Fantastic Four as well as supporting cast members like the Inhumans, Namor, Dr. Doom, and even Black Panther.

However, after these character introductions, the FF’s origin, and some strong storytelling showing how Fantastic Four went from a monster to a superhero comic (It’s all about the branding.), Fantastic Four Grand Design #1 becomes an episodic, 20+ panels on a page mess. Tom Scioli has the cram 46 issues of comics into 21 pages, and he includes each and every villain battle and plot development before ending the first issue on the great, logical cliffhanger of right before the Galactus Trilogy. (The little appearances of Silver Surfer are majestic so far, and I can’t wait to see Scioli’s take on Kirby krackle and the way he moves through the cosmos.)

Tom Scioli does nail the dysfunctional family dynamic, and his Invisible Girl and Namor have some searing chemistry, but the lack of transitions once he hits the “Fantastic Four go on adventures” part is overwhelming. For example, Daredevil shows up in the middle of a battle, and he is neither introduced or commented on as he just disappears once the brawl is over. Scioli pummels readers with plot summaries from the past, but with a fun art style and better one-liners than Stan Lee. His Thing is sassy as hell when he’s not being used as a plot device. In general, Scioli’s characterization is up and down as he joins the long list of creators to fail at making the Inhumans likable with the exception of Crystal’s West Side Story type relationship with Johnny Storm plus Lockjaw being his adorable self.

Tom Scioli shows his clear reverence for Marvel’s Silver Age comics, especially the work of Stan Lee and Jack Kirby, in Fantastic Four Grand Design #1 with his powerful figure work, far out colors, and soap opera on speed plotting. He uses the beginning of the comic to try to place the Fantastic Four in an, er, grander cosmic narrative, but it all falls apart by the end. With its 20+ panel pages coupled with high attention to detail on each panel, Fantastic Four Grand Design is more hyper-caffeinated history level than an enjoyable comic, and honestly, would have worked better as a page a day webcomic in the vein of Scioli’s previous creator-owned work than a traditional floppy.

Story: Tom Scioli Art: Tom Scioli
Story: 6.0 Art: 8.0 Overall: 7.0 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Fantastic Four #1

After a three year absence, the book that kicked off the Marvel Universe is back sort of in Fantastic Four #1. Dan Slott, Sara Pichelli, Elisabetta D’Amico, and Marte Gracia’s first issue doesn’t have Marvel’s First Family fighting Mole Man or the Trapster just yet and creates a slow build to the reunion. However, there is plenty of sweetness, comedy, and a little of bit of familial strife along the way as Slott and Pichelli play in-universe with reader expectations about the team reuniting and the oil and water dynamic of the Human Torch and the ever loving blue eyed Thing. They do have a quite funny flashback to a “forgotten” adventure of the Fantastic Four that asks as a proof of concept that shows that Slott call pull off all the voices of the bickering, yet loving sitcom family with superpowers. In addition to this, Slott, Simone Bianchi, and Marco Russo craft a Dr. Doom backup story that is a little more traditionalist than his recent appearances in Invincible Iron Man and Marvel Two-in-One,  and there’s also a super fun and quite metafictional one page backup drawn by Skottie Young and colored by Jeremy Treece.

For her work on Fantastic Four #1, Sara Pichelli brings a looser, almost more playful art style that still shows emotions and body language in a fluid way with the help of inker Elisabetta D’Amico and colorist Marte Gracia. Even though he’s made of rocks, Pichelli’s take on The Thing is lively and utterly human. Beneath his ungainly movements, he’s a loving man, and the scene where he proposes to his long time girlfriend Alicia Masters is sentimental without being sappy. Dan Slott writes The Thing as maybe giving up on seeing Reed, Sue, Valeria, and Franklin ever again, but he still has a family in Alicia and Johnny. However, The Thing and the Human Torch aren’t always loving BFFs, and Gracia shows the subtle difference in the Torch’s flame when he’s going off in action and when he flies off the handle after Ben asks him to be his best man. This scene shows that there’s still tension in Ben and Johnny’s relationship in an organic, not drama for the sake of drama way and even builds off the way that Chip Zdarsky has written them in Marvel Two-in-One where Ben knows that Sue and Reed are lost forever while giving Johnny a false sense of hope that they’re somewhere in the multiverse.

Johnny still believes the Fantastic Four will reunite and immediately flames on to where their sign shoots off in the sky with a flare gun like in the original Fantastic Four #1. Of course, it’s just a prank, but it’s foreshadowing to a grander, earned moment all overlaid in a beautiful blue by Marte Gracia like hope in the midst of despair. And hope and family are major themes throughout Dan Slott and Sara Pichelli’s story in Fantastic Four #1. Even if Ben and Johnny don’t interact with Ben and Sue, they share plenty of moments with the “extended” Fantastic Four family, including Wyatt Wingfoot, Jennifer Walters, and the aforementioned Alicia Masters. Johnny and Wyatt take in a Mets game, and Slott engages in what is either queer subtext or queer baiting using the stadium kiss cam while Jen pops up later to flirt with Wyatt and also legally represent the Yancy Street kids who set off the false Fantastic Four flare. Slott modernizes the relationship between the Thing and what was formerly known as the Yancy Street gang making him kind of a community leader instead of the participant in an endless Itchy and Scratchy situation.

Other than the poetic ending, the best moment of Fantastic Four #1 is the flashback sequence where the Fantastic Four and supporting cast find their way back to New York City through the power of Johnny singing the Wayne Newton standard, “Danke Schoen”. It’s funny, cheesy, heartwarming, and adventurous all at once like the best Fantastic Four stories. This is thanks to some little details emphasized by Pichelli like the way Reed cranes his neck when explain the quantum science or whatever of this karaoke journey home situation and then immediately retracts when he doesn’t want to out and out say that Sue isn’t the greatest singer. There’s also time for some transcendent beauty in the midst of screwball comedy: a Marte Gracia colored cosmic flame in the deep blue night sky that even Alicia, who is blind, can see. This little adventure shows the Fantastic Four are about science as well as deep human wonder through the vessel of a family ensemble.

Slott, Simone Bianchi, and Marco Russo’s Dr. Doom backup story creates a different kind of wonder, and the baroque severeness of Bianchi’s art easily contrasts with the cosmic smoothness, yet expressive cartooning of Sara Pichelli and Elisabetta D’Amico. It’s a back to basics Doom story as one of his former subjects pays a visit to the half-abandoned Doomstadt (There’s lots of Doombots per usual.) and asks him to liberate Latveria from one of the many stop gap authoritarian regimes that have been in place since he left them to play hero/Iron Man. And the way Slott writes Doom and Bianchi draws him is the complete opposite of the “Infamous Iron Man” as his face is no longer pretty, and he’s ready to rule with an iron grip and an iron mask. Like the main story of Fantastic Four #1, the Doom backup is about hope and symbols, but it’s a dark and twisted mirror to Marvel’s First Family.

Fantastic Four #1 is nothing short of a triumphant return for Marvel’s first superhero team. Dan Slott hits a nice balance between tearing heart strings, broad humor, and the wonders of the universe in his script while also crafting an aura of mystery and terror in the Dr. Doom backup story with Simone Bianchi and Marco Russo. In the visual department, Sara Pichelli shows why she is one of Marvel’s best and versatile artists hitting all the smaller, yet very important character beats as well as the big spreads and “Flame on!” moments.

Whether you’ve been reading the title since 1961 or this is your first FF adventure, Fantastic Four #1 is definitely worth your $5.99.

Story: Dan Slott Pencils: Sara Pichelli Inks: Sara Pichelli with Elisabetta D’Amico
Colors: Marte Gracia Backup Art: Simone Bianchi, Skottie Young
Backup Colors: Simone Bianchi and Marco Russo, Jeremy Treece Letters: Joe Caramagna
Story: 9.0 Art: 9.5 Overall: 9.3 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Marvel Two-in-One #1

In Marvel Two-in-One #1, writer Chip Zdarsky, penciler Jim Cheung, inkers John Dell and Walden Wong, and colorist Frank Martin break every emotional bone in your Fantastic Four loving body. A comic co-starring the Human Torch was the last place that I expected to see an homage to the opening scene of The Dark Knight Returns where an aging, alcoholic Bruce Wayne tries to find a “good death” by crashing a very expensive stock car. However, Zdarsky, Cheung, and company pull it off complete with a nine panel grid, downcast eyes, and red and blacks from Martin that look like a funeral pyre. And Marvel Two-in-One has a quite wistful tone throughout the issue as Johnny Storm and Ben Grimm come to terms with their grief for the missing Richards family as well as the adventures they once had.

From his work on Jughead Howard the Duck, and of course, Sex Criminals, Chip Zdarsky does funny very well, and that shows in Marvel Two-in-One with the Thing’s deadpan one-liners (Apparently, he was just the Fantastic Four’s “bus driver”.) and a hilarious meta-joke featuring all the actors who have played the Human Torch. But he mainly goes for pathos in this comic, which is helped by the range of expression in Jim Cheung’s pencils and the detailed added in by veteran inkers John Dell and Walden Wong. For example, there is a two page almost silent sequence where the Thing visits a warehouse with all the FF’s stuff, including the Fantasticar, and remembers his family and their last adventure in blue tinged flashbacks. The first half of the comic is almost overwhelming for him with reminders of Reed and Sue everywhere and call from beyond the grave for him to watch after Johnny, who is suffering from both grief and the possible loss of his powers.

Also, the Thing and Human Torch don’t really team up in Marvel Two-in-One #1, which is perfectly fine. We do get a nice nod to the original Two-in-One series when the Thing lays out a villain in one panel that would probably have taken Spider-Man an entire issue or two to defeat depending on decompression. Zdarsky and Cheung have the two emotionally charged brothers physically and verbally butt heads before finally confiding in each other and finding a shared goal in exploring the multiverse using a very cool Reed Richards doodad. Martin turns on the flames before cooling down and going for simple muted colors as they start to talk and trust in each other again. Since the original Jack Kirby and Stan Lee Fantastic Four run, Johnny and Ben have butted heads with the Thing being jealous of Human Torch’s good looks and popularity while he is treated like a monster. However, they are family even if Zdarsky sneaks in a dark end-of-comic twist to get them to team up. It’s so dark that it makes presumably reformed supervillain Dr. Doom shudder.

In Marvel Two-in-One #1, Chip Zdarsky, Jim Cheung, John Dell, Walden Wong, and Frank Martin craft a comic that is true to the legacy of Marvel’s First Family and deals with the emotional fallout of their disappearance at the end of Secret Wars. They also set up a rocky course for the Thing and Human Torch to begin their own adventures with Dr. Doom watching from the shadows as he is still a little salty that he is not the one responsible for Reed Richards’ demise. Marvel Two-in-One is the first step of a road story featuring two brothers that butt heads, yet still love each other with plenty of nostalgia and a sliver of hope to boot.

Story: Chip Zdarsky Pencils: Jim Cheung Inks: John Dell with Walden Wong Colors: Frank Martin
Story: 9 Art: 8 Overall: 8.5 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

A Cup Tea & A Few Comics Issue Three: The Marvels Project

In what may or may not become a new feature – although with this being the second post under that tagline, it’s looking more likely that it will be – I decided to make a cup of tea (PG Tips again) and sit down and read a comic or two whilst I drank said cuppa. My intention isn’t to read review copies, or digital copies if I can help it, but either graphic novels, TPBs, or floppy comics because I much prefer to relax with a physical comic. I may have read them before, or they may have been on my To Read pile for far too long.  Whether this happens monthly, weekly, daily… never again… will depend entirely on the time I have.

This week, I sat down with Marvel’s The Marvel Project graphic novel.

 

I should probably switch up my cup for these pictures sooner or later, eh?

Anyway, I really enjoyed this. It’s told from the perspective of The Angel, a long forgotten hero from the Golden Age of superhero comics, and set in the year or so before the U.S.A. entered into WWII. Despite Captain America featuring on the front cover, this isn’t a Captain America story. It’s a tale of the time during which Americans were aware of the war in Europe but had yet to enter the fray. The Marvels Project is a genuine page turner – I devoured the entire trade in a single sitting, bar a bathroom break, and never actually touched my tea until I was several issues in.

Reading about superheroes and vigilantes from the late 30’s to the 50’s or so has always been a (not-so) guilty pleasure of mine. I love the that time period in American history, and as most of the pulp novels and superhero stories set in that time are typically based in New York or Chicago, it’s always a win-win for me. But with my misgivings about Hydra-Cap prevalent in my head as I finally decided to read this TPB, I was worried that I’d not enjoy the story – and I’ll admit they did cloud my judgment initially when Steve Rogers appeared in the comic, but after a few pages I was reminded just how great a character he is when written well, and consequently I was able to enjoy Captain America’s presence in the remainder of the comic.

For me the highlight was the way the story was presented; by having The Angel as both the narrator and the closest thing to a central character in the comic. The story telling style was very reminiscent of Hollis Mason’s autobiography snippets in Watchmen adapted to comic form. Every page was a joy to read, and thankfully the TPB is a completely standalone story.

I picked this up for $5 at my LCS. It’d be a bargain at twice the price.

Writer: Ed Brubacker Art: Steve Epting Colourist: Dave Stewart

Review: Peter Parker Spectacular Spider-Man #1

Spidey definitely has the jokes in the new series Peter Parker Spectacular Spider-Man #1 from one of comics’ greatest comedy writers Chip Zdarsky, stellar and steady artist Adam Kubert, and colorist extraordinaire Jordie Bellaire. (It rhymes on purpose.) Instead of trying to tell some epic, interweaving crossover story or as a vehicle for his Batman fan fiction, Zdarsky and Kubert focus on the humorous and relational sides of Spider-Man. In this issue, he stops a mugger, basically goes on a date with Johnny Storm, sets up a date with a new character which he will probably miss, and there’s a soap opera ending. Sure, there might be one or two too many guest stars, but a little bit of comedy covers a multitude of gratuitous superhero cameos.

In its page layout, Spectacular Spider-Man #1 evokes the art of late 80s/early 90s “hot” artists Erik Larsen and Todd McFarlane, who tried to make every double page spread a poster you wanted to throw up on your bedroom wall unless you were one of those Goth kids that liked Sandman and Sandman alone. Except Adam Kubert is a hell of a storyteller, who kicks off the issue Manhattan style with an aerial shot of Spider-Man and his (boy)friend Human Torch eating shawarma on a New York rooftop after a frenetic opening page that both retells his origin and pokes fun at the incessant retellings of his origin in both comics and films. In his art style, Kubert strikes a balance between the cartoonish goofiness of, say, Erica Henderson and the strong superhero work of Andy Kubert. There’s punching, web swinging, and size changing when Ant-Man pops up, but Kubert leaves the page open for Zdarsky’s banter with bright pops of color from Bellaire, who is operating in happy superhero mode.

Chip Zdarsky and Adam Kubert spend most of the time with Spider-Man in costume because his weak Breaking Bad puns as Peter Parker either fall flat or work as excellent “your parents just spent a weekend binging Better Call Saul and didn’t answer any of your calls” jokes. Plus it sets up excellent sight gags like Spidey trying and failing to do a good cop/bad cop routine when he investigates a hacked phone in Chicago. (His costume is too damn bright.) Kubert brings the iconic splash pages while Zdarsky brings Spidey back to Earth with awkward phone conversations with Aunt May about the copyright friendly version of Tinder or freaking out about his powers when it was really just Ant-Man lending a helping hand.  Spider-Man is still about power and responsibility, but Zdarsky and Kubert show him struggling with his web fluid (This leads to so much dirty subtext if your mind’s in the gutter.) and freaking out whether to call or text back a standup comedian named Rebecca that he rescued earlier. Spidey is back to protecting ordinary people, being awkward and funny, and occasionally geeking out about science until Zdarsky pulls the proverbial rug out with a couple reveals in the last few pages.

And like a post-credits sting that stands alone as a complete narrative and adds a certain level of intrigue to the main plot, Chip Zdarsky, Goran Parlov, and Nathan Fairbarn cook up a one one one battle between Spider-Man and his fellow arachnid themed superhero, Black Widow. Zdarsky gives Spider-Man all the goofy, pleading dialogue he can handle while keeping Natasha silent and stoic until the final couple pages. She’s there to kick Spider-Man’s ass, and Parlov’s return into interior art is a true tour de force of action choreography. Spidey isn’t as good of a martial artist as Black Widow so he focuses on his speed, agility, and Spider sense as he dodges kicks that would incapacitate any ordinary person. However, his powerful figures aren’t lost under the speed lines, and you can see every move as the fight progresses. The backup makes you wish that Marvel would let Parlov draw an action-driven comic featuring any Marvel hero. Hell, he could even make Stilt-Man look badass.

If you want a Spider-Man comic that reminds you of flipping through comics with big, open layouts by John Romita Sr, Todd McFarlane, or Mark Bagley and still has a quirky, clever, and occasionally adult sense of humor, then Peter Parker Spectacular Spider-Man #1 is the book for you. Chip Zdarsky is truly the king of comedy featuring iconic pop culture characters with his playful, sometimes encyclopedic, and joke-a-minute approach to the webslinger just like he did with Jughead for Archie.

Story: Chip Zdarsky Art: Adam Kubert Colors: Jordie Bellaire
Backup Art: Goran Parlov Backup Color: Nathan Fairbarn
Story: 9.0 Art: 8.5 Overall: 8.8 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

What Could Be Expected in Phase 4 of the Marvel Cinematic Universe

After its initial success with Iron Man, the Hulk, Captain America and Thor, Marvel Studios quickly realized that it had a formula for success on its hands and seemed ready to take advantage of it.  To do so though required a plan, and studio head Kevin Feige soon had broken down the movies into various phases, with the most recent Ant-Man signaling the end of phase 2.  Aside from the developments inside the movies, there have been some developments outside the movies which have affected the universe as well, chief among those the partial reversion of the rights to Spider-Man back to Marvel, or at least the use of Spider-Man inside the shared universe in a collaboration with Sony.

At the moment, we kn ow the entire lineup for phase 3, starting with Captain America: Civil War and continuing through two new Avengers movies and the Inhumans.  What might be expected in the next phase of the Marvel Cinematic Universe?  The release of the newest Fantastic Four might signal some of the changes which we can anticipate ahead (there are some spoilers below).

Ant-Man and Wasp

waspMany expected Ant-Man to be one of the bigger disappointments thus far in the MCU, due to its ongoing problems with the direction, after it passed from Edgar Wright to Peyton Reed.  It seemed as though the studio was not going to take any risks with the character as they could not even confirm his role in any future movies.  This presumably will all change now that the movie has been released.  Although it can’t compare to the financial success of the year’s other Marvel movie, Avengers: Age of Ultron, it also is noteworthy as being a better critical success, with a better rating at Rotten Tomatoes than Avengers.  With both financial and critical success it seems as though there will be more to come from these characters.  As was hinted at the end of the movie, there is still a lot of story left to tell as well, as the end hinted that Janet van Dyne might not be truly lost.  Furthermore Hope van Dyne was presented with a Wasp suit by her father.  There could be a lot of places to take the story of the two heroes, though one in particular might make the most sense …

Micronauts

micronautsThe Micronauts are a bit of an oddity in comics.  They started out as a line of toys, who were written into comics after in the 1970s after Marvel writer Bill Mantlo saw his son open a box of the toys.  The series started as somewhat of a standalone, but slowly was incorporated into the Marvel Universe, with appearances by some other mainstream characters.  While the rights for the characters do not presently rest with Marvel, there is a long publication history with the characters and as the rights rest with other smaller comic companies, it would likely not be too difficult to reacquire the rights.  Furthermore for the film studio that might try to replicate the runaway success of Guardians of the Galaxy, they might look smaller instead of bigger and find their next surprise hit there.  There would be some hurdles, but also there might be a few benefits, as Janet van Dyne disappeared into the smallest dimension, the Microverse.  This small universe is not in itself small, but the pathways to enter it are, and could give an explanation as to where the character disappeared.  They might find Janet in the Microverse, but they might also be able to find some other heroes there as well…

Fantastic Four

fantastic fourThe Fantastic Four is one of the best known Marvel properties that does not lie within the company’s grasp at the moment, instead being controlled by Fox.  While Fox has managed to control the X-Men franchise strongly enough with some decent movies, the Fantastic Four has mostly been a sequence of failures.  The first of the series was good enough to warrant a sequel, but this was before the wake of Marvel movies changed how fans expected superhero movies to turn out.  Marvel Studios was looking to be innovative, not just rehash generic action/sci-fi plots with superheroes thrown in.  The most recent attempt by Fox to revamp the Fantastic Four might have been an attempt to do the same, to get some new excitement into the mix, but it evidently did not turn out that way.  Critical response (and probably financial) will mean that the characters will have to be shelved for a while before the public has forgotten enough about them.  Using the Sony/Spider-Man approach, lending the characters back to Marvel Studios might be a wiser choice, one that would probably make more money for both, and one which would keep the fans happy.  By this point though, with two origin movies behind them, it might make sense to jump straight into the Fantastic Four with them already established as heroes.  They could exist in a similar sense to Hank Pym in the Marvel Cinematic Universe, unknown but still present.  More so, one of the places that is visited by the Fantastic Four is the Microverse, and if they were stuck there then it would be an easy bridge between Ant-Man and the return of Marvel’s first family.

Namor

namorIt is not entirely clear where the rights to Namor presently rest.  Kevin Feige has indicated that Marvel, if they desired, could make a Namor movie, but that there would be some “entanglements”.  Rights to the movie have rested with Universal, but seem to have at least partially lapsed.  What remains is speculated to be the same arrangement with 2008’s The Incredible Hulk, that Marvel creates but Universal distributes.  While it was not a problem when the Marvel Cinematic Universe was still nascent, it seems moving forward that Marvel likes to create and distribute, and to get rewarded financially at 100% for its efforts.  It might make exceptions for Spider-Man and the Fantastic Four but maybe less so for Namor.  Another factor to consider is what DC Comics will manage to do with its own movies.  The other of the big two comic companies is playing catchup, but also has the benefit of controlling the movie rights to nearly all of its characters.  They have already greenlit an Aquaman movie, but it remains to be seen just how well it will do.  Aquaman is after all a hero that is taken not so seriously in pop culture, but if DC can make it work, maybe it will give Marvel second thoughts about its own underwater hero.

Thunderbolts

thunderboltsThe fact that DC Comics is playing catchup in the movie game can also be to the advantage of Marvel.  Marvel has already taken its gambles and seen those pay off, as with Guardians of the Galaxy.  DC Comics, who are eager to catch up, are also taking their own gambles, and chief among those is the Suicide Squad.  Featuring a group of villains forced into a heroic role, it might catch on, or it might flop.  Fans certainly will not be very familiar with the concept, and the concept in itself is strange enough that it might not work.  On the other hand, it might work, and if yes then it could serve as a gamble that Marvel gets to witness the results of without gambling anything itself.  If popular it could use its own villain-turned-heroes team the Thunderbolts and catch the wave of people wanting more Suicide Squad before a sequel to the DC movie comes out.  If played right as well it could help quieten those that think that the MCU’s villains are the weakest part of the movies.

Defenders

defendersMarvel is already a long way along in its development of the Doctor Strange movie, and holds the exclusive rights to the Hulk as long as he is not the featured character in a movie.  A Namor movie could be forthcoming depending on the success of Aquaman, and if Fox sees the benefits of doing so, a collaboration might be in the works to return the Fantastic Four and associated characters to the MCU, which would include the Silver Surfer.  Those four make up the original four members of the Defenders.  For those that are getting a bit tired of seeing the Avengers over and over again on the big screen, it might be an excuse to feature this other Marvel team (although Marvel is working on a street level Defenders television show as well.)  One interesting aspect about this team is that as opposed to the Avengers that the original team is made up of all non-street level characters, meaning that the stakes could be higher and that bigger things might happen as a result, such as …

World War Hulk

wwhThis has been a long rumored development in the MCU, but also not one that has not yet come to fruition.  Marvel has been careful to include in story arcs from the comics, and it has made for some great connections for fans of both mediums.  Although World War Hulk is not necessarily the best all time Hulk story, it is up there, and would be a better vehicle for putting a new spin on the Hulk stories, more so than what we are seeing at the movies, with both Hulk movies fitting the same general pattern of the Hulk being hunted by the government after smashing up a bunch of stuff.  It would also allow the character to move beyond the Avengers, which is a connection that is not as strong in the comics.  Also if all the pieces fell into place, it would mean that a lot of the major players from the crossover might be able to make it into the movie, save for the X-Men.

Hawkeye

kateRumors abound that another major character will die in the upcoming Captain America: Civil War (especially that there are pictures from the set of a funeral sequence), and without any other way to verify this other than by seeing a movie that will not be released until 2016, it still seems likely that one of the characters that might be easiest to kill off would be Hawkeye.  He is among the less popular of the main characters in the MCU, and has been almost a footnote to the movies series, appearing to provide fans with another superhero, but also one that doesn’t really do much.  Even if he does not die in the movie, it is also worth noting that the character is one which is on the verge of retirement, being somewhat older than the other heroes and with responsibilities to his family.  This could leave open the possibility for a Hawkeye movie except not as we might expect.  As the movies expand in popularity it makes sense to be closer to four quadrant movies, and one way to do this is to introduce more female characters.  If Clint Barton were to retire on screen, it could open the door for Kate Bishop to step up, providing the MCU with another superheroine, and one with a lot more of an edge than Clint.

She-Hulk and Spider-Woman

shehulkOn that same note, if Marvel is looking to keep its female fans happy it might look to develop these characters as well.  Most of the main Marvel superheroines would be tied up elsewhere, with most of the major heroines being members of the X-Men, and other such as Sue Storm or Medusa mostly only operating as parts of teams.  Others such as Elektra and even Hellcat are tied to the television series, which mean that only a few major female characters would be left to get the big screen treatment.  She-Hulk and Spider-Woman could both be strong contenders to hold down their own movie, especially if Marvel did something unexpected and went off the script with the Spider-Gwen version of Spider-Woman.  It would also help to fill the ranks of the Avengers, a team which needs to be mixed up a bit from time to time to keep the roster fresh and the fans intrigued.

Ka-Zar

tigraKa-Zar is one of the longest running Marvel characters, but also one that has not had a very solid fanbase in modern years, although unquestionably popular among many.  Although Marvel is keen on taking risks, could it make the Savage Land work the same as it made Guardians of the Galaxy work?  The Savage Land is the source of many stories within the Marvel Universe, though most of them with the X-Men.  Why might the MCU be interested in the Savage Land?  It is a fantasy setting, and while it does not match up with other heroes, could still serve as an explanation for the re-appearance of some characters who also happen to be Avengers – Hercules, Tigra or even the Black Knight.  It might be a stretch, but Marvel will be looking for new blood for its Avengers as it moves forward, as is evident from the new roster after Age of Ultron.  Tigra especially might be interesting, as she not only is her own character, but is also indirectly responsible for the development of Hellcat, whose non-superpowered version is already set to be introduced in the Marvel television show Jessica Jones.

Iron Man 4

iron manThis is perhaps the biggest question to solve in phase 4.  A big part of what made the MCU so popular is that it based its hopes on the initial movie, Iron Man.  If this movie had failed so too would the plans for the shared universe.  Success would probably have still come the way of the studio, but it would have been a longer road.  Part of the runaway success of the original Iron Man was that Robert Downey Jr. was perfectly cast as Tony Stark, what some might say is not even really acting as he seems to be mostly playing himself.  That having been said, superheroes never really age but actors and actresses do.  While the studio can get a few more years out of Chris Hemsworth, Chris Evans and Scarlett Johansson (all in their early to mid 30s), and even a lot more out of Paul Bettany (whose character the Vision wears so much makeup as to be ageless) and Elizabeth Olsen (who is in her mid 20s), it can probably expect less out of Robert Downey Jr, who is now 50.  They might push him for a couple more movies, but eventually he will need to be replaced, and the biggest question would then be by who, as the character is one that is of highest importance to the MCU.  There might be no bigger question heading forward in the MCU than who will fill this role.

Almost American
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