![]() But there’s no word on Eternals 2 or Doctor Strange 3, which would round out another Phase Three trilogy. So far, only a Shang-Chi sequel is confirmed and I believe Thunderbolts is a de-facto Black Widow 2 (especially if it’s the Marvel Studios film Scarlett Johansson is producing). However, Phase 4 has a few more stand-alone entries like Black Widow, Eterna l s, and Shang-Chi. In contrast, the Guardians of the Galaxy, Ant-Man, and Spider-Man trilogies continued over in The Multiverse Saga. The Iron Man, Captain America, and Thor trilogies were completed within The Infinity Saga itself. Every Infinity Saga film apart from The Incredible Hulk has gotten a sequel and most of Marvel’s mini-franchises have become trilogies. Don Cheadle introducing ‘Armor Wars’ at the 2022 D23 Expo () MCU trilogies That’s a route Armor Wars could have taken, but I’m thrilled to see it become a major theatrical feature in The Multiverse Saga. Īnd thanks to the new Special Presentation format, I also think it would be interesting for Marvel Studios to make more budget-friendly MCU films specifically for Disney+. Some of them seem better suited for film, particularly Hawkeye (originally intended to be a feature film) or simply longer series, which we’re luckily getting with Daredevil: Born Again. They simultaneously drag and feel rushed and messy at certain points. Remember when it seemed Armor Wars was straight-up canceled after July’s San Diego Comic-Con panel? Well, Kevin Feige certainly showed us!Ī lot of fans have found Marvel’s six-episode Disney+ series to be lacking. Given Marvel’s intricately planned phases and several upcoming films already fighting for release dates, this is a major switch-up no one saw coming. Armor Wars Prol og ue may appeal to anyone who bought the original comics when young, but it’s difficult to see anyone born after 1980 being able to move beyond the ill-advised look of the times.It’s finally happening: Marvel Studios is taking a Disney+ original series and turning it into a movie! Armor Wars is doing a reverse Hawkeye, going from a six-episode “special event” series to a theatrical film. It prompts a suspicion, and that leads into Armor Wars proper. Gatherings of mismatched super villains are always fun if written inventively, and the collection ends strongly with several gimmick foes uniting to take on Iron Man. In the #MeToo generation what was intended as Stark’s old school charm transmits as slightly sleazy, and their narrative style incorporating multiple thought balloons and much emoting is dated. However, the writing again suffers from changing times. ![]() ![]() Also good is their introduction of a viable new enemy for Iron Man in the form of corporate spy the Ghost, given a visual effect by Bright dropping out black lines and rendering him in blue outlines. Michelinie and Layton throw in one good surprise early, although it’s diminished by being divorced from the relevant character’s long involvement with the series, and their decision to reintroduce rival corporate titan Justin Hammer is welcome, although he’s a background figure. Otherwise he tells the story well enough without ever providing an image to really stick in the brain. Stark’s jogging gear midway through and his permed hair toward the end have to be seen to be believed, and Bright’s landed with some particularly clunky remodelled armour that makes Iron Man resemble a Transformer. This is partly because artist Mark Bright hasn’t the same eye for fashions, technology and cars that John Romita had (see Demon in a Bottle), and partly because the fashions featured here have dated even further. They’d been previously been very successful in presenting Tony Stark’s world of one of up to the minute glamour, but it doesn’t work as well the second time round. Their return in 1987 followed a period in which the series again sank into the doldrums, but it took them a fair while to settle back into the groove, and this is their opening selection. There’s a case to be made that from 1979 to 1982 the writing team of David Michelinie and Bob Layton produced the first continually high quality run of Iron Man comics.
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