Ben can remain a clone and Peter even if the original look at his duty as father as a greater responsability and decide to retire...and later reverse all that with the time travel story or simply having Ben dying if the pubblic don't support this idea of a new spiderman
The Iron Age of Comics: Jim Shooter's Return to Marvel
- Thread starter Pyro
- Start date
Ben can remain a clone and Peter even if the original look at his duty as father as a greater responsability and decide to retire...and later reverse all that with the time travel story or simply having Ben dying if the pubblic don't support this idea of a new spiderman
More or less. Epic publishes and distributes the books but the artists' studios produce them.
His involvement with Sonic is butterflied away ITTL and he still works on DC's Star Trek titles. However, artist Manny Galan (who worked on the Archie Series OTL) is the regular artist on Star's Sonic instead of Transformers: Generation 2.
Hm. I might have to
Indeed I have, though it's been a couple years.
Chapter 5 - A Taste of Armageddon
DC’s annual crossover Armageddon 2001 went without a hitch. The final issue revealed Captain Atom as the future tyrant, Monarch [1], which drove the hero mad and sent him down a villainous path. His fall precipitated the “Breakdowns” storyline that ended the Giffen/DeMatteis run on the Justice League America and Justice League Europe titles where the captain’s betrayal tore the teams apart. Of course, this was all part of the house cleaning for the DC’s next big announcement: the reunion of Chris Claremont with John Byrne on Justice League.
Claremont left the X-Men titles after an unprecedented sixteen year run following disagreements with collaborator Jim Lee. Archie Goodwin, former Marvel editor-in-chief who then worked at DC, convinced the former X-Men scribe to jump ship to the distinguished competition to work on its flagship title. While both Claremont and Byrne were reluctant to work together again after so long, Goodwin eventually convinced them to collaborate once more under his editorship.
DC heavily publicized the return of the Claremont/Byrne team, emphasizing their genre-defining work Uncanny X-Men with the “Dark Phoenix Saga” and “Days of Future Past” to excite the readership. However, their return was not without complications. Both Claremont and Byrne had insisted on the classic line-up for their title; Byrne himself stated that, “a Justice League without Superman, Batman, and Wonder Woman [et. al] was an all-star team without any all-stars.”
The truth was that the editors of the solo titles were stingy with their characters. Denny O’Neil was quite adamant about keeping Batman street level and refused to allow Batman membership in the League. Most of DC’s editorial staff were eventually wrangled into agreeing. Mike Carlin and Dan Thorsland agreed to allow the use of Superman and Wonder Woman. Brian Augustyn signed off on the Flash though Green Lantern was slightly more complicated. Kevin Dooley refused to allow Hal Jordan to join because Green Lantern writer, Gerard Jones wanted the character to lead the rechristened Justice League International [2] title. However, they reached a compromise by giving John Stewart Hal’s place on the team.
The renamed Justice League title launched with issue #61 in February 1992 with its lineup consisting of Superman, Wonder Woman, Flash, Green Lantern [John Stewart], Hawkman [Katar Hol], Hawkwoman [Shayera Thal], Blue Beetle, Black Canary, Zatanna, and later, Firestorm. While it had not been as groundbreaking as their previous work, Claremont and Byrne’s Justice League was a strong seller and revitalized a title that had been flagging.
[1] Monarch’s identity never leaked ITTL so the story (more or less) ends as it originally did.
[2] The line-up for Justice League International is thus: Aquaman, Green Lantern [Hal Jordan], Crimson Fox, Doctor Light [Kimiyo Hoshi], Power Girl, Elongated Man.
Claremont left the X-Men titles after an unprecedented sixteen year run following disagreements with collaborator Jim Lee. Archie Goodwin, former Marvel editor-in-chief who then worked at DC, convinced the former X-Men scribe to jump ship to the distinguished competition to work on its flagship title. While both Claremont and Byrne were reluctant to work together again after so long, Goodwin eventually convinced them to collaborate once more under his editorship.
DC heavily publicized the return of the Claremont/Byrne team, emphasizing their genre-defining work Uncanny X-Men with the “Dark Phoenix Saga” and “Days of Future Past” to excite the readership. However, their return was not without complications. Both Claremont and Byrne had insisted on the classic line-up for their title; Byrne himself stated that, “a Justice League without Superman, Batman, and Wonder Woman [et. al] was an all-star team without any all-stars.”
The truth was that the editors of the solo titles were stingy with their characters. Denny O’Neil was quite adamant about keeping Batman street level and refused to allow Batman membership in the League. Most of DC’s editorial staff were eventually wrangled into agreeing. Mike Carlin and Dan Thorsland agreed to allow the use of Superman and Wonder Woman. Brian Augustyn signed off on the Flash though Green Lantern was slightly more complicated. Kevin Dooley refused to allow Hal Jordan to join because Green Lantern writer, Gerard Jones wanted the character to lead the rechristened Justice League International [2] title. However, they reached a compromise by giving John Stewart Hal’s place on the team.
The renamed Justice League title launched with issue #61 in February 1992 with its lineup consisting of Superman, Wonder Woman, Flash, Green Lantern [John Stewart], Hawkman [Katar Hol], Hawkwoman [Shayera Thal], Blue Beetle, Black Canary, Zatanna, and later, Firestorm. While it had not been as groundbreaking as their previous work, Claremont and Byrne’s Justice League was a strong seller and revitalized a title that had been flagging.
[1] Monarch’s identity never leaked ITTL so the story (more or less) ends as it originally did.
[2] The line-up for Justice League International is thus: Aquaman, Green Lantern [Hal Jordan], Crimson Fox, Doctor Light [Kimiyo Hoshi], Power Girl, Elongated Man.
I could see all the Valient characters and titles being a Epic imprint for Shooter within his own studio as a way of ‘keeping his hand in’ and to break in new talent.
Either that or Malibu/Dark Horse gets them under say Stalin or even Moore.
Armageddon 2001?
I remember that crossover and enjoyed it a lot, it had aspects of DC’s own Elseworlds and Marvel’s What If about it I liked. Plus I thought Waverider was kinda cool.
Monarch being another other than Captain Atom was rubbish, though Hawk is due for a fall imho.
Is that Hawkman the alien cop who’s mini series tried to reinvent the messy Hawkman mythos? That series was decent even if it got very convoluted during the later years/crisis. Hopefully DC can hold the post-Crisis universe together better ITTL.
I remember that crossover and enjoyed it a lot, it had aspects of DC’s own Elseworlds and Marvel’s What If about it I liked. Plus I thought Waverider was kinda cool.
Monarch being another other than Captain Atom was rubbish, though Hawk is due for a fall imho.
Is that Hawkman the alien cop who’s mini series tried to reinvent the messy Hawkman mythos? That series was decent even if it got very convoluted during the later years/crisis. Hopefully DC can hold the post-Crisis universe together better ITTL.
Chapter 6 - Alan Moore's California Dreams
Malibu Comics was looking for its big break into the comics industry. Founded in 1986 by Tom Mason and Dave Olbrich had acquired several smaller companies such as Eternity Comics and Aircel Comics [1], but were still a small fish in a pond dominated by Marvel and DC. One of their later acquisitions would be the rights to the characters published by Gold Key Comics in the sixties: Solar: Man of the Atom, Magnus: Robot Fighter, Turok: Son of Stone, and among others--but needed the right talent to bring it to life.
The company’s financer, Scott Mitchell Rosenberg suggested Alan Moore whose seminal work on Eclipse’s Miracleman as well DC’s Swamp Thing and Watchmen made him an industry name. However, Moore had remained out of the mainstream since ending his relationship with DC, sticking to smaller publishers. Rosenberg enticed Moore with a favorable contract and near-unlimited creative freedom. While initially wary, Moore agreed and began work on what fans would dub the “Solarverse.”
Its augural title Solar: Man of the Atom--launched in April 1992-- involved a physicist named Dr. Philip Solanski at the fictional Nevada Supercollider [2] whose experiments gave him virtually omnipotent power over matter and energy. Unfortunately those same experiments allowed extra-dimensional aliens to invade our universe. Solanski battles them as Doctor Solar, an identity inspired by the superheroes he read in youth, but their battle destroys the universe itself save for himself. Using his powers to create a new big bang to remake the universe, which not only now included Magnus and Turok, but heroes of his own making. Moore followed Solar up with his second project for Malibu: 1963.
1963 was a metafictional homage to Marvel from the sixties with Moore referring himself as “Affable Al” and his collaborators (Steve Bissette, John Totleben, Dave Gibbons, Rick Veitch) by nicknames similar to the Marvel Bullpen of old. From there Moore would create pastiches of Marvel character not limited to:
Issue #1: Mystery Incorporated (based on the Fantastic Four) featuring Crystal Man, Neon Queen, Kid Dynamon, and the Planet.
Issue #2: Sky Solo, Lady of L.A.S.E.R. (based on Nick Fury, agent of S.H.I.E.L.D.)
Issue #3: Tales of the Uncanny, an anthology featuring USA, Ultimate Secret Agent (Captain America) and Manowar (Iron Man) [3].
Issue #4: Tales from Beyond another anthology featuring the Unbelievable N-Man (Hulk) and Doctor Spektor (a Gold Key refashioned to resemble Doctor Strange.)
Issue #5: Horus, Lord of Light. A pastiche of the Thor that uses Egyptian mythology as opposed to Norse.
Issue #6: The Protectors (The Avengers) featuring USA, Manowar, N-Man, and Horus as well as Sparrow Man (Ant-Man), and Sparrow Girl (The Wasp.)
1963 would end with an annual where they would travel forward through time to meet the contemporary heroes of the Solarverse (many of whom were future counterparts.) Sales on the initially wave of Solarverse titles were incredibly strong with 1963 #1 approaching Todd McFarlane Spawn in sales, thanks to aggressive marketing that included television commercials. Even non-Moore books such Prime were strong sellers and Malibu came within a hair’s width of overtaking DC Comics during some months of 1992/93.
Moore himself would eventually amicably part ways with Malibu, having given them a foundation to build on. Dave Olbrich did however have a capable stable of creators that included James Robinson, Mike Barr, Steve Englebert, and Steve Gerber (to name a few) to work on these titles while Moore collected the royalties. While Malibu’s fortunes had been looking upward from 1992 to 1993, its sales would see a noticeable decline in 1994. Not enough to shutter the company, but enough to catch the hungry eyes of Mike Eisner.
[1] The latter of whom published Men in Black.
[2] Inspired by the Superconducting Super Collider, which butterflies narrowly save ITTL.
[3] Closer to the Ultraverse’s Prototype than Valiant’s X-O Manowar.
The company’s financer, Scott Mitchell Rosenberg suggested Alan Moore whose seminal work on Eclipse’s Miracleman as well DC’s Swamp Thing and Watchmen made him an industry name. However, Moore had remained out of the mainstream since ending his relationship with DC, sticking to smaller publishers. Rosenberg enticed Moore with a favorable contract and near-unlimited creative freedom. While initially wary, Moore agreed and began work on what fans would dub the “Solarverse.”
Its augural title Solar: Man of the Atom--launched in April 1992-- involved a physicist named Dr. Philip Solanski at the fictional Nevada Supercollider [2] whose experiments gave him virtually omnipotent power over matter and energy. Unfortunately those same experiments allowed extra-dimensional aliens to invade our universe. Solanski battles them as Doctor Solar, an identity inspired by the superheroes he read in youth, but their battle destroys the universe itself save for himself. Using his powers to create a new big bang to remake the universe, which not only now included Magnus and Turok, but heroes of his own making. Moore followed Solar up with his second project for Malibu: 1963.
1963 was a metafictional homage to Marvel from the sixties with Moore referring himself as “Affable Al” and his collaborators (Steve Bissette, John Totleben, Dave Gibbons, Rick Veitch) by nicknames similar to the Marvel Bullpen of old. From there Moore would create pastiches of Marvel character not limited to:
Issue #1: Mystery Incorporated (based on the Fantastic Four) featuring Crystal Man, Neon Queen, Kid Dynamon, and the Planet.
Issue #2: Sky Solo, Lady of L.A.S.E.R. (based on Nick Fury, agent of S.H.I.E.L.D.)
Issue #3: Tales of the Uncanny, an anthology featuring USA, Ultimate Secret Agent (Captain America) and Manowar (Iron Man) [3].
Issue #4: Tales from Beyond another anthology featuring the Unbelievable N-Man (Hulk) and Doctor Spektor (a Gold Key refashioned to resemble Doctor Strange.)
Issue #5: Horus, Lord of Light. A pastiche of the Thor that uses Egyptian mythology as opposed to Norse.
Issue #6: The Protectors (The Avengers) featuring USA, Manowar, N-Man, and Horus as well as Sparrow Man (Ant-Man), and Sparrow Girl (The Wasp.)
1963 would end with an annual where they would travel forward through time to meet the contemporary heroes of the Solarverse (many of whom were future counterparts.) Sales on the initially wave of Solarverse titles were incredibly strong with 1963 #1 approaching Todd McFarlane Spawn in sales, thanks to aggressive marketing that included television commercials. Even non-Moore books such Prime were strong sellers and Malibu came within a hair’s width of overtaking DC Comics during some months of 1992/93.
Moore himself would eventually amicably part ways with Malibu, having given them a foundation to build on. Dave Olbrich did however have a capable stable of creators that included James Robinson, Mike Barr, Steve Englebert, and Steve Gerber (to name a few) to work on these titles while Moore collected the royalties. While Malibu’s fortunes had been looking upward from 1992 to 1993, its sales would see a noticeable decline in 1994. Not enough to shutter the company, but enough to catch the hungry eyes of Mike Eisner.
[1] The latter of whom published Men in Black.
[2] Inspired by the Superconducting Super Collider, which butterflies narrowly save ITTL.
[3] Closer to the Ultraverse’s Prototype than Valiant’s X-O Manowar.
So Disney Buy Malibu? Ouch as we loss Valiant/Acclaim, the few comics i could genuine read(they were republished in videogame magazines) and liked(you can notice i hate comics book and modern superheroes movies)
Hooray Moore at Malibu - sounds like some decent content there. Suprised he does not stay and launch what became ABC through them. Or does he launch ABC seperatly and publish through Malibu?
While he is there does he try his hand at a Star Trek comic since Malibu had the rights and made a Deep Space 9 comic? I could see Garek or even Sisko appealing to Moore.
Hoping Malibu holds the license for longer. Heck, hoping Malibu, and their rather amazing print process is around a lot longer. A DC/Marvel/Dark Horse/Malibu/Inde market is better than OTL's crashed out burnt up mess.
While he is there does he try his hand at a Star Trek comic since Malibu had the rights and made a Deep Space 9 comic? I could see Garek or even Sisko appealing to Moore.
Hoping Malibu holds the license for longer. Heck, hoping Malibu, and their rather amazing print process is around a lot longer. A DC/Marvel/Dark Horse/Malibu/Inde market is better than OTL's crashed out burnt up mess.
Chapter 7 - The Four's Fantastic Arcade Debut
Spider-Man vs. the Kingpin would be a strong seller for the Sega Genesis in 1991, but it wouldn’t be the only hit Sega/Marvel partnership produced that year. Both Jim Shooter and the man himself, Stan Lee, were adamant to celebrate the thirtieth anniversary of the Fantastic Four with something big. Admittedly, the team’s fortunes were on a slight decline with the popularity of Spider-Man and X-Men eclipsing them so they needed something big to grab the attention of both longtime fans and also bring in a new audience to the team that brought in the Marvel age.
Rumours persist that an anonymous Marvel staffer brought the Teenage Mutant Ninja Turtles arcade game to the Shooter’s attention who would then pitch the idea of a Fantastic Four beat-em-up to Sega Enterprises CEO, Hayao Nakayama. While Nakayama was skeptical of the project, he trusted Sega of America CEO Tom Kalinske (who vouched for the project) enough to greenlight it. Under the directorship of Noriyoshi Ohba [1], Fantastic Four would begin the direct collaboration of both Sega branches and Marvel.
The arcade cabinet would be a four-player one similar to Konami’s TMNT cabinets using the System 32 arcade board. Jim Lee, along with Adam and Andy Kubert, would contribute character designs as well as production artwork. As with arcade games at the time, the game’s plot was a simplified one where the team’s nemesis, Doctor Doom allied himself with the Skrulls in a bid for world conquest. Even worse, it appears that former allies like Namor the Sub-Mariner and T’Challa the Black Panther have joined in on the plot.
The game starts on streets of New York City where the Four might repel the combined forces of Latveria, Atlantis, and the Skrulls. Mister Fantastic is the jack-of-all trades with average speed and strength with elastic reach. The Invisible Woman is a glass cannon with incredible speed and power, but incredibly frail without her force fields. The Human Torch is the ranged fighter who uses his fire as projectiles, and the Thing, while slow, is the strongest fighter and extremely durable due to his rocky skin.
(Eagle-eyed fans would be able to notice a familiar shadow swinging in the background of the first level, which would be the first of many cameos in the game.)
From there the Four would travel to Atlantis and Wakanda, where they would discover that both “Namor” and “Black Panther” were, in fact, Skrull imposters. Meanwhile, Doctor Doom would drop in to impede the team’s progress by sending them to the Mole Man’s subterranean kingdom, the Negative Zone, and Attlian where Maximus the Mad has overthrown the Inhuman royal family. It all culminates in a confrontation at Castle Doom where Doom briefly sends the team back to the pirate era [2], before facing them in combat.
However, they were merely fighting a Doombot (isn’t that always the way?) and the Four must board the Skrull mothership where they must fight both Doom (again) and the Super-Skrull. Once defeated, the Super-Skrull activates the ship’ self-destruct with both him and Doom escaping capture. While the Four couldn’t apprehend Doom, the world is safe once more.
Fantastic Four earned lavish praise from critics upon its release in October 1991 for its detailed graphics and sound, which included voice samples and the iconic “kirby crackle” effect. Stan Lee himself was heavily involved with the marketing, showing enthusiasm matching the game’s (much) younger audience at his appearance at 1992’s Consumer Electronics Show to promote the Genesis and Sega CD ports.
Needless to say that Fantastic Four was an unqualified success for both Sega and Marvel. The Genesis port was only behind Sonic the Hedgehog 2 for the highest selling title of 1992, and the enhanced Sega CD version (that included cutscenes to flesh out the story) helped move units. Moreover, it helped push up the sales of the comic book, which had been slumping, and would climb higher after Jim Lee took over in 1993.
Sega would not be done as the success of Fantastic Four prompted them to greenlight their next collaborative project to challenge Street Fighter II’s arcade supremacy... Marvel Heroes: Contest of Champions. [3]
[1] Whose credits include Streets of Rage on the Sega Genesis/Mega Drive. This, however, delays the release of Streets of Rage 2 to 1993.
[2] A nod to Doom’s first appearance in Fantastic Four #5.
[3] Replacing OTL's Eternal Champions.
Rumours persist that an anonymous Marvel staffer brought the Teenage Mutant Ninja Turtles arcade game to the Shooter’s attention who would then pitch the idea of a Fantastic Four beat-em-up to Sega Enterprises CEO, Hayao Nakayama. While Nakayama was skeptical of the project, he trusted Sega of America CEO Tom Kalinske (who vouched for the project) enough to greenlight it. Under the directorship of Noriyoshi Ohba [1], Fantastic Four would begin the direct collaboration of both Sega branches and Marvel.
The arcade cabinet would be a four-player one similar to Konami’s TMNT cabinets using the System 32 arcade board. Jim Lee, along with Adam and Andy Kubert, would contribute character designs as well as production artwork. As with arcade games at the time, the game’s plot was a simplified one where the team’s nemesis, Doctor Doom allied himself with the Skrulls in a bid for world conquest. Even worse, it appears that former allies like Namor the Sub-Mariner and T’Challa the Black Panther have joined in on the plot.
The game starts on streets of New York City where the Four might repel the combined forces of Latveria, Atlantis, and the Skrulls. Mister Fantastic is the jack-of-all trades with average speed and strength with elastic reach. The Invisible Woman is a glass cannon with incredible speed and power, but incredibly frail without her force fields. The Human Torch is the ranged fighter who uses his fire as projectiles, and the Thing, while slow, is the strongest fighter and extremely durable due to his rocky skin.
(Eagle-eyed fans would be able to notice a familiar shadow swinging in the background of the first level, which would be the first of many cameos in the game.)
From there the Four would travel to Atlantis and Wakanda, where they would discover that both “Namor” and “Black Panther” were, in fact, Skrull imposters. Meanwhile, Doctor Doom would drop in to impede the team’s progress by sending them to the Mole Man’s subterranean kingdom, the Negative Zone, and Attlian where Maximus the Mad has overthrown the Inhuman royal family. It all culminates in a confrontation at Castle Doom where Doom briefly sends the team back to the pirate era [2], before facing them in combat.
However, they were merely fighting a Doombot (isn’t that always the way?) and the Four must board the Skrull mothership where they must fight both Doom (again) and the Super-Skrull. Once defeated, the Super-Skrull activates the ship’ self-destruct with both him and Doom escaping capture. While the Four couldn’t apprehend Doom, the world is safe once more.
Fantastic Four earned lavish praise from critics upon its release in October 1991 for its detailed graphics and sound, which included voice samples and the iconic “kirby crackle” effect. Stan Lee himself was heavily involved with the marketing, showing enthusiasm matching the game’s (much) younger audience at his appearance at 1992’s Consumer Electronics Show to promote the Genesis and Sega CD ports.
Needless to say that Fantastic Four was an unqualified success for both Sega and Marvel. The Genesis port was only behind Sonic the Hedgehog 2 for the highest selling title of 1992, and the enhanced Sega CD version (that included cutscenes to flesh out the story) helped move units. Moreover, it helped push up the sales of the comic book, which had been slumping, and would climb higher after Jim Lee took over in 1993.
Sega would not be done as the success of Fantastic Four prompted them to greenlight their next collaborative project to challenge Street Fighter II’s arcade supremacy... Marvel Heroes: Contest of Champions. [3]
[1] Whose credits include Streets of Rage on the Sega Genesis/Mega Drive. This, however, delays the release of Streets of Rage 2 to 1993.
[2] A nod to Doom’s first appearance in Fantastic Four #5.
[3] Replacing OTL's Eternal Champions.
A Justice League without Aquaman? Especially given the Peter David run of Aquaman was one of 90s DC Comics best selling titles? I am very skeptical of that.
It is indeed the Silver Age Hawkman who is the Thanagarian cop. His timeline will be ironed out after TTL's Zero Hour and hopefully not turn into the mess he became with that Hawk God nonsense.
Yup, rather unfortunate, but I couldn't see a way for Valiant to come into being without Shooter so it was an early casualty.
I'm toying with the idea that he will be arrested for possession of CP earlier.
Moore could return to Malibu given that they initially parted on good terms so it's possible. It will depend on if he's will to work for the mouse.
More or less.
While the Atlantis Chronicles did come out in 1990, the ongoing Aquaman written by Peter David didn't come out until 1994 OTL. Aquaman is a member of the League as of 1992 ITTL, he's currently part of the International branch based out of London because editorial wanted at lease a couple big name leaguers (him and Hal Jordan, and later, Martian Manhunter) on the team to give it more legitimacy.
Chapter 8 - Many (Un)Happy Returns
Cameron confirmed that he would write and direct Spider-Man as the flagship title of a shared cinematic universe slated for a Summer 1994 release. The webslinger would not be alone as the announcement included X-Men for 1995 along with rumours of Captain America, Hulk, and Iron Man films on the way too. This spooked the executes at WB who, up until this time, had a stranglehold on the genre. Plans for a third Batman film and a Catwoman spin-off ended back on the shelf while the studio reconsidered its strategy. T2 and its massive success made Cameron a force to be reckoned with and WB would turn to one its most reliable hit makers who also had a history with DC Comics: Richard Donner.
Donner’s history with the Salkinds and the feuding behind the scenes of 1978’s Superman made him wary of returning to the property. However, his wife and partner, Laura Schuler Donner, was interested in producing a Wonder Woman feature film and convinced her husband to take the job. Thus Warner Bros. announced that work had begun on a new Superman film alongside Wonder Woman after the home release of Lethal Weapon 3 later that year. Unfortunately, one of the casualties of that announcement would be the Superman television series that DC Comics president Jenette Khan had championed. [2]
Indeed American cinema was standing on a precipice of a new boom. Fans were buzzing with rumours of Christopher Reeve’s return to the role and a potential team-up with Keaton’s Batman gaining traction. There were even wagers in comic shops and newsgroups over which X-Men not named “Wolverine” were going to make the cut. It was an exciting time to a nerd and to quote Stan Lee, “Stay tuned, True Believers.”
[1] This butterflies away Cutthroat Island, but will it save Carolco?
[2] And Lois and Clark: The New Adventures of Superman bites the dust, which will start a domino effect for the comics which I will elaborate on in a coming update.
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So the X-Men, Spider-Man, etc will be in the same universe from the off- well that will certainly change the tone of this MCU. The Mutants theme and metaphors do seem to work better when they are not in the same universe as other 'costumes'.
90's effects will obviously change the look and what can be achieved on screen. Will they try and do the comic skintight costumes as they did for Captain America and Fantastic Four? Actually is Corman's 1994 FF going ahead? Perhaps Shooter's Marvel drops more money into it than the $1m it got OTL. Some of it was not totally rubbish.... *cough*
Donner's Superman compared to Burton's Batman is certainly going to be a tone shift- though be interesting see what they do with Wonder Woman. Perhaps Joss Weldon or Peter Jackson gets involved?
90's effects will obviously change the look and what can be achieved on screen. Will they try and do the comic skintight costumes as they did for Captain America and Fantastic Four? Actually is Corman's 1994 FF going ahead? Perhaps Shooter's Marvel drops more money into it than the $1m it got OTL. Some of it was not totally rubbish.... *cough*
Donner's Superman compared to Burton's Batman is certainly going to be a tone shift- though be interesting see what they do with Wonder Woman. Perhaps Joss Weldon or Peter Jackson gets involved?
By saving Carolco, you just greenlit one of my all time favorite alternate history movies that never were: Paul Verhoven's Crusade. It was ready to start shooting when Cutthroat Island killed the studio. The script is online... it would have been amazing. Robert Duvall and Schwarzenegger would have been up for Oscars ala Braveheart.
Oh, and if Cameron is doing Spiderman, we likely see Arnie as Doc Ock at somepoint. Cameron and Schwarzenegger always joked about that.
Oh, and no Cutthroat Island means you likely save the career of Geena Davis... who might be a good fit for Wonder Woman actually.
Oh, and if Cameron is doing Spiderman, we likely see Arnie as Doc Ock at somepoint. Cameron and Schwarzenegger always joked about that.
Oh, and no Cutthroat Island means you likely save the career of Geena Davis... who might be a good fit for Wonder Woman actually.
I think it can work out as Spider-Man's in-universe popularity was low thanks to the JJJ and the Daily Bugle. Captain America has the "living legend" aura going for him, and Iron Man can use Stark's PR department to make him a celebrity. We'll see where this goes.
90s effect will probably be why we won't see a Hulk or Green Lantern film before the end of the nineties. Corman's FF was made to hold onto the rights, but a successful Spider-Man could mean a big-budget FF is possible.
Peter Jackson on Wonder Woman. Hmmmm. -eyebrow raise-
Spider-Man and X-Men will be making major bank so Crusade is going to see productions with a 1996 release date in minds. The 1997 Oscars will be an interesting affair.
-whistles-
Check your PMs.
I was contemplating casting her in the role of Jean Grey, but that actually makes more sense to cast her as Diana and hand the role of Jean to a younger actress.
Methinks I know what I'll be doing for the next update.