Welcome to a special edition of the Movie Show podcast. Today our guest is an epic musician, filmmaker, and solid entrepreneur. Back in 1988, Marvin Young, aka ‘Young MC’ released ‘Know How’ – today, the song is featured in Edgar Wright’s new film ‘Baby Driver’. Meanwhile Young is making a name for himself in the horror genre with the release of his film JUSTICE SERVED available now on all digital platforms.
Sit back, relax, and enjoy our conversation with Marvin Young.
About JUSTICE SERVED:
Luke Palmer, a Los Angeles widower, has been in therapy for a year since his wife’s accused killer was found Not Guilty at trial. In an attempt to get away from his anguish, Luke takes a trip to Scottsdale for a three-day vacation, but is kidnapped and awakens to find himself in a room with a recording device…and an electrified restraining chair. The next thing Luke knows, a hooded man is dragged into the room and secured in the chair. The hood is removed to reveal Galen Terry, the man acquitted for Luke’s wife’s murder. An ominous voice comes over a loudspeaker and says “My name is Justice. You are here to retry the case of California vs. Terry for the murder of your wife… The defendant’s chair is electrified. The electricity is controlled by the red button. Feel free to use it.” Luke is one of three individuals whose loved ones were victims of crimes, and the accused perpetrator was inexplicably exonerated. Now, these individuals will be given a second chance to re-litigate the crime in a private setting, under the auspices of “Justice”.
Today was the day that Marvel was going to “shake the comic book industry” with its Legacy reveal. Speculation, excitement, and anxiety consumed the Marvel fan community. After a day full of reveals, Marvel Legacy is mostly a mixed bag of confusion.
Seven rounds of reveals across seven different sites delivered nothing but variant covers and the same quote over and over again about “shattering the industry.” One new title was announced, Spirits Of Vengeance. Everything else was simply a variant of a current series returning to legacy numbering.
Marvel publicly stated that art doesn’t sell books, then tried to sell their entire line of books with new homage art. Without any creative teams tied to these books, assuming they’re at all different, what exactly are we supposed to be excited about?
I struggle to see the difference between a month’s worth of Legacy variant covers and what they’ve already been doing (Venomverse, Hip-Hop Variants, AoA, etc.).
These variants will likely sell but, just like their current sales tactics, it’s not sustainable. Legacy numbering and homage covers are no different than cancelling and rebooting all your titles every year. This can’t be all that Legacy is.
Assuming that the content of the covers is actually somewhat related to what’s inside, some of these look pretty great. The X-Men titles in particular look promising (LONGSHOT FTW). We might be getting the first interesting Spider-Man arc in a while with Miles facing off against the Sinister Six.
It’s not all bad, but it’s certainly not anywhere enough to win back the readers they so desperately miss. If this were a soft reveal out of nowhere, they would probably have gotten the response they wanted. Instead, after hyping up this earth shattering announcement and delivering almost nothing, it hurts more than helps.
For a lot of Marvel diehards, until we see Fantastic Four in some capacity there will be no celebration. The Legacy covers paying homage to FF are a slap in the face to fans of the first family.
At the end of the day, we don’t really know much more about Marvel Legacy than we did yesterday. For most of us, our pull lists will likely contain the same amount of Marvel titles this fall.
There’s no way they showed all their cards today, no major publisher can be that oblivious to its industry. Expect more from Marvel as Secret Empire comes to a close and we actually get closer to the next era.
What do you make of Marvel Legacy? Let us know in the comments below!
Is a certain member of Sword Art Online guilty of several crimes? After you have enjoyed enough Manga and Anime you are able to read between the lines and can see a detail or two another may have missed. Through this and other detailed evidence you are able to piece together what really happened in a particular series. This results in an abstract idea, a thought which doesn’t have a physical existence but can be speculated. Welcome to Anime Abstract.
SPOILERS FOR SWORD ART ONLINE
The subject of this Abstract is the man behind the Nervegear and creator of everyone’s favorite RPG world Sword Art Online, Akihiko Kayaba. On top of giving this great gift to the world he also appeared at just the right moment in the series and bestowed upon Kirito the ability to hack the system and thereby saving his beloved of Asuna from an unspeakable fate. Truly a man among men.
Hold your horses! Don’t call the vatican anytime soon to get see if he can be canonized. Akihiko or Heathcliff (his character name in the game world of Sword Art Online) is not getting off so easily. Remember this guy was the main villain of the first part of the show. If you thought his last minute save of Kirito and Asuna at the end of second arc of this series totally exonerates him, you have another thing coming. The fact is he is guilty of an insane number of crimes. How many crimes specifically? Let’s take a look shall we?
The series, Sword Art Online starts by revealing 10,000 players are unable to logout of the game without clearing all 100 floors. They must fight monsters and each other along the way, forcing them to engaged in the ultimate gaming experience. If a player dies in the game, the nervegear destroys the player’s brain in real life, killing them instantly. More than enough incentive to ensure people worked hard to clear the game.
There is a lot to unpack here so it’s better to break it down individually to see what he would be guilty of. First off there is Dehumanization, a term meaning depriving someone of human qualities, personality, or spirit. By forcing the players to remain in the game, Heathcliff is no longer looking as them as people but simple objects which can be used to help further test the limits of the game. This leads into the second crime, human subject research. As Heathcliff was using the players to test the depths of the system, technology, and software, he is using them as research subjects.
Now considering 10,000 people are removed from their lives you would think it constitutes as kidnapping but in actuality, it fall under another crime known as forced disappearance. The definition of which is when someone is
arrested, detained or abducted against their will or otherwise deprived of their liberty by officials of different branches or levels of Government, or by organized groups or private individuals acting on behalf of, or with the support, direct or indirect, consent or acquiescence of the Government, followed by a refusal to disclose the fate or whereabouts of the persons concerned or a refusal to acknowledge the deprivation of their liberty, which places such persons outside the protection of the law.”
Next, there is torture. By imprisoning the players in the game and not allowing them to log out, he is directly affecting how they are able to eat, sleep, and even use the restroom. Sure it was later revealed players were transported to hospitals, fed through tubes, and cleaned up by the nursing staff, but what about those didn’t get transported in time? This of course leads to the last crime of Murder. Thought not proficient with a degree in law, considering over 3,800 players didn’t make it out of the game alive, a case of some degree of murder would be levied against Heathcliff for his actions.
Anyone of these crimes would be detrimental on there own but even more so when you realize what each of them are. Each of these crimes falls under the category known as A Crime Against Humanity. Courtesy of the United Nations official website:
‘crime against humanity’ means any of the following acts when committed as part of a widespread or systematic attack directed against any civilian population, with knowledge of the attack
These are the crimes which get national attention and given the 10,000 individuals who were involved, they easily qualify as not only a civilian population but enough individuals to represent a population of a small city. The ever vigilant arm of justice would be quick to come down on Heathcliff. So what punishment is he likely to receive?
There is no clean cut definitions for what kind of punishment is given for Crimes Against Humanity, but in Heathcliff’s case he probably would have received a sentence of life in prison at least. The more guaranteed punishment, which is actually seen in the show is known as restitutions.
Restitutions is when a person/group/organization has to pay someone back for the damage done on their behalf. In Sword Art Online, in an effort to save face after one of their top employees committed the previously mentioned Crimes Against Humanity, Argus (the company behind it all) sprang into action and founded a school and assistive services for those who had lost time in the game.
Additional restitutions had to paid for the over 3,800 players who lost their lives in game. This is why Argus has no choice but to claim bankruptcy and sell all its rights and property to RECT Inc. An international multi-million dollar (or Yen in this case) company goes up in smoke because one of its creators wanted to have the ultimate gaming experience. Congratulations Heathcliff. If anything you are guilty of being the biggest troll on the internet and this truly is an accomplishment.
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What are you thoughts on this anime abstract? Leave a comment below and let us know.
Some of the best moments in life come from completely unexpected things. A part of that reason is that ignorance is (sometimes) bliss. In this case, ignorance comes in the form of not being familiar with comedian Rory Scovel. Now in his 13th year doing comedy, Scovel is a regular on shows like @Mindnight, made appearances in movies like The House, and now has his very own Netflix comedy special called Rory Scovel Tries Stand-Up for the First Time. Of course, the title itself is the first joke but I’d gamble to say that for some viewers, they believe it. And those viewers will be blown away by the deft of stand-up skill Scovel puts on stage. Some viewers may also come to think Scovel is a psychopath, but that’s a big plus in my book.
“My suicide note is going to be the Thong Song.” – Rory Scovel
Rory Scovel Tries Stand-Up for the First Time is mostly a standup special with the majority of it taking place on stage in front of an audience. However, Shovel mixes in some sketch-ish bits. The special begins like many other with the comedian making his way to the stage. Of course, Scovel makes it his own by including cocaine, alcohol, screaming, soulful funk that repeats his name “Rory!” and devil horns. The intro works its way to a WWE-style intro. Scovel screams a lot but then twists it all on itself before the opening title.
After the intro, the “host” of the stage show, filmed in Atlanta, announces the arrival the comedian as “Cory Scrayvin.” It’s not long after that Rory begins to repeat the word “anal” and tells the audience “this is the show” and it’s his “one joke.” That one joke turns into a string of jokes about anal sex, including the awkward sound of the phrase “butt fuck.” “It sounds weird to say without an accent,” Scovel explain, then says it without one with creepy eyes.
In a word, Shovel is an asshole. But it’s in the best way possible. His style is very “everyman” like a semi-drunk bar patron who wandered onto the stage and has a lot of funny things to say. This guy knows how to command a stage, how to pull audiences along for wild stories.
After about 10 minutes of anal jokes, Scovel turns to his outfit. He pokes fun at his jacket, then makes it look worse by pulling it up halfway. Scovel weaves in a joke about trends “In three years Kayne will invent this look, and everyone will be wearing it.”
“You guys ever watch ultimate frisbee? What does that say about you?” – Rory Scovel
An interesting portion of the show deals with politics. Most Netflix specials have mostly avoided talking about Trump, but Scovel recorded this show BEFORE the election. So, he has fun with who may or may not be President. He tries to look at the bright side if Trump wins “At least we’ll all die together.”
Mid-way through the show viewers will be treated to another skit that includes one of Scovel’s friends, Jack White. During a fake talk show, Jack White reminds us that Scovel has no idea what he’s doing, isn’t attractive, and likely isn’t that funny.
But the best of the special comes from Scovel’s work on the stage. The comedian layers in such a way that connects people. For instance, Scovel talks about mayors and how we all thought we knew what mayors do. “They run the city.” But then reminds people of Marion Barry and Rob Ford, two mayors caught smoking crack-cocaine. Maybe that’s what mayors do. “You know, like not everyone in the room has a DUI but everyone has been eligible for one?” Rory Scovel Tries Stand-Up for the First Time, and it’s a whole lot of fun.
Syfy, in its continuing crusade to rebrand itself, has ordered a pilot based on George R. R. Martin’s “Nightflyers.” This news follows recent announcements regarding the channel adapting the graphic novel “Happy!”, which will star Christopher Meloni and Bobby Moynihan, as well as a full series pick-up for Superman prequel “Krypton.”
“Nightflyers” is the titular novella in a 1980 short story collection by the A Game of Thrones author. The story follows the tight-knit crew of the Nightflyer embarking on an expedition to the edge of our solar system as the destruction becomes increasingly imminent. Their hope is to make contact with alien life, but between the telepath on board, the mysterious captain, and the unexpected violence that begins to take place, the crew members begin to become suspicious of each other. The journey suddenly becomes more difficult than anticipated, and the story holds true to Martin’s Faulkner-esque philosophy that “the only thing worth writing about is the heart in conflict with itself.”
Jeff Buhler, who wrote the screenplay for Jacob’s Ladder, has written the novella’s adaptation for television. Bill McGoldrick, NBCUniversal Cable Entertainment’s executive Vice President of script development, said of the series: “We are looking forward to diving deeper into George R.R. Martin’s chilling world of Nightflyers… The script that Jeff delivered encapsulates this classic sci-fi horror story and adapts it to a platform where we can truly explore the depths of madness.”
Martin will not be working on Nightflyers himself. He is under an exclusive contract with HBO at the moment, though the majority of his focus appears to be on the completion of The Winds of Winter, the sixth novel in his A Song of Ice and Fire series. That being said, he does appear to be developing another of his literary properties, the Wild Cards series, and is assisting in the development of several Game of Thrones spinoffs.
Hopefully the series will prove more successful than the 1987 film adaptation, which has faded almost entirely from popular consciousness.
In recent years, LGBT themes have been shown on the big and small screens. We’ve seen And The Band Played On, Philadelphia, Angels In America, Milk, and Moonlight.
When We Rise looks to tell the full story from beginning to present day. Unlike Milk, the miniseries covers a larger spectrum of history and encompasses several arcs. Rather than being about the life of one person, it is a story of humanity.
You might recognize familiar names on the crew. American Beauty producer Bruce Cohen serves as executive producer. Milk writer Dustin Lance Black conceived the miniseries, wrote the scripts and directs two episodes. Fittingly, Milk director Gus Van Saint helms the first two instalments of the miniseries.
When We Rise covers a span of nearly 50 years from the late 1960s to 2015. The story begins with the Stonewall Riots in 1969. From there, we move into the 1970s and progress through the 1980s. The second half of the miniseries covers the 1990s to the present day.
In 1972, young Cleve Jones (Austin P. McKenzie) leaves Arizona and heads for San Francisco. Later, he volunteers for local businessman Harvey Milk, who runs for a spot on the Board of City Supervisors. By 1977, Milk becomes the first openly-gay official elected to public office.
Ken Jones (Jonathan Majors) is an a community organizer and Navy veteran. Upon arriving in San Francisco, he struggles and comes to terms with his homosexuality. However, he has to deal with the lack of support from the black community. In one scene, a few former friends tell him that there is no such thing as gay black men. The moment is painful to behold, because it shows how other minorities did not understand LGBT people.
Meanwhile, feminist Roma Guy (Emily Skeggs) moves from Boston to San Francisco. She takes issue with the National Organization for Women’s stance on ousting lesbians from their ranks. From 1978 to 1979, Roma lobbies to help create the non-profit Women’s Building. Later, she and her girlfriend Diane (Fiona Dourif) start a family by raising a daughter, Annie.
In the early 1980s, the AIDs epidemic hits the gay community. With no information on the epidemic, fears run rampant about how one could get the virus. Cleve discovers he is HIV positive, while several others in San Francisco succumb to the disease. Meanwhile, Ken also suffers heartbreak as his partner Richard discovers he has AIDs.
Years later, Ken (Michael K Williams) is deeply struggling after Richard’s death in 1992. During this time, an older Cleve (Guy Pearce) starts the NAMES Project AIDs Memorial Quilt and campaigns for HIV/AIDs research. He also mends fences with his father, who comes to terms with his son’s homosexuality. When Richard passes away, Ken falls into despair and turns to drug addiction.
At this time, a middle-aged Roma (Mary Louise Parker) and Diane (Rachel Griffiths) try to cope with raising Annie, who is becoming aware of her family dynamic and wishes to meet her biological dad. The father in question is local politician and LGBT activist Tom Ammiano, and he develops a bond with Annie. Both moms are also nervous about her attending a Catholic school, as well as how teenagers can be mercilessly cruel.
In the mid-late 1990s, Cleve tries to live a quiet life and manage his health. Now in his 40s, he has more or less chosen to step away from the LBGT movement. He rescues a baby girl from a neglectful father and grows to love her. When he tries to adopt the child, social services takes her away upon learning he has HIV. The scene is hard to watch, and Cleve’s heartbreak is strongly felt. At the time, LGBT individuals were not seen as ideal choices for foster kids.
By the 2000s, Cleve has become part of the movement again. He feels the Obama Administration has done a slow job in providing aid to LGBT rights. Meanwhile, Ken manages to pull himself together, accepts help from the VA, and even finds religion. When Proposition 8 revokes California’s marriage equality, Cleve takes steps to organize the National Equality March on Washington. Roma and Diane resolve to marry if same-sex marriage becomes legal. Now, the goal is to take Prop 8 through the federal court system to the Supreme Court.
Austin McKenzie and Guy Pearce do a great job as the young and older Cleve Jones. McKenzie does really well in showing Cleve’s growth from teen runaway to LGBT activist. As a character actor, Pearce has done several roles in various genres, but it is here in which he reveals his range. He displays a quiet, nuanced strength in his fight to live, as well as a gentle side in becoming a foster parent.
Mary Louise Parker and Rachel Griffiths are believable as Roma and Diane. Their struggles in raising a child are believable and relatable, especially when facing prejudice and uncertainty. In one poignant moment, Griffiths projects Diane’s fear that their status as a lesbian couple has affected their daughter.
https://www.youtube.com/watch?v=79aGrFJ6DUs
Jonathan Majors and Michael K. Williams are heartbreaking as Ken Jones. Majors’ frustration with the black community’s treatment of LGBTs is tough material and difficult to watch. As the older Ken, Williams takes the character journey of loss, addiction and redemption are moving.
When We Rise succeeds in telling a human story, and it really shows in the final product. Kudos to the cast and crew for a job well done.
Marvel Entertainment released five more animated covers, Friday afternoon that ties into Marvel Legacy in an attempt to pay homage to classic covers, these were via SYFY Wire.
“A new initiative that will take things back to our iconic history, with a firm eye on the future, MARVEL LEGACY will present stories that remind everyone — newcomers and longtime fans alike — why Marvel stands as the premier name in fiction,” said Editor in Chief Axel Alonso. “Our titles will unearth gems from Marvel’s rich history, remind readers of connections between characters, and usher in the return of some major characters who’ve been missed. Above all else, we want to inject our comics with a massive dose of fun!”
Cover artists:
US Avengers (cover artist: Christian Ward)
Hawkeye (cover artist: Greg Smallwood)
Jessica Jones (cover artist: Daniel Mora)
Champions (cover artist: Daniel Mora)
Spider-Man (cover artist: Giuseppe Camuncoli)
Guardians (cover artist: Ron Lim)
MARVEL LEGACY #1 hits you local comic book store in September, with an over-sized 50-page one-shot.
How do you feel about British humor? That’s the question anyone scrolling through Netflix should ask themselves when they stop on Mindhorn. The people from England have a peculiar brand of humor that not everyone vibes with. It’s often dark, dry, and subtle. It goes over the heads of some and makes others roll their eyes. However, for a select group (myself included) British humor is, in a word, awesome. Mindhorn is decidedly British, and that’s either a good thing or a bad thing depending on where you stand on the question posed at the start of this paragraph.
Mindhorn is the story of Richard Thorncroft (Julian Barratt), an actor who once starred in a popular 80s action show called Mindhorn. Thorncroft’s Mindhorn was a tough detective with a bionic eye that let him “see the truth.” Twenty-five years later and Thorncroft’s career has gone as far as starring in embarrassing commercials. Thorncroft returns to the Isle of Man, where Mindhorn filmed when a police investigation gives him a chance to reignite his career.
“The Benedict Cumberbatch backlash has begun!” – Mindhorn
The premise of Mindhorn forms a rock-solid foundation for a comedy. Like Hot Fuzz, The film is unabashedly having fun with the great action of the 80s. In this case, it’s with TV shows like The Six Million Dollar Man, Starsky & Hutch, and Knight Rider. There’s no doubt that David Hasselhoff is a big influence on the movie. In fact, the movie seems to built around the idea of “What if David Hasselhoff’s career went deep down south after Knight Rider?”
The thrust of the film centers around a police investigation into a murder. The only suspect, Melly (Russell Tovey), will only speak to Detective Mindhorn. It’s here that Thorncroft sees an opportunity to prove how awesome he is. Melly turns out to be such a huge fan of the show that his home is like a comic book store dedicated to the one show.
The funniest bits are gut-busting, but they come few and far between.
At its best, Mindhorn produces some seriously hilarious moments. The best stuff coming from the footage of the TV show which looks cheese-tactically 80s. Viewers are even treated to the classic action show intro that explains the entire premise of the show. The filmmaker’s don’t forget the soundtrack, offering up one of the funniest things in the movie “You Can’t Handcuff The Wind” a song recorded by Thorncroft after the show ended. It’s another wink and nod to the career of The Hoff.
Along for the film’s ride is The Babadook’s Essie Davis who plays Thorncroft’s former co-star and lover, Patricia Deville. Patricia has moved on, becoming a successful journalist, and is now living with Clive, a former stuntman, played by Simon Farnaby. Cue the love triangle, though this one is not your typical and makes way for a moment in which Farnaby explains how often he “drives Mindhorn’s car” from the show. In case it’s not clear, Clive lets Thorncroft know he’s talking about driving Patricia.
Co-Producer Steve Coogan(with Ridley Scott of all people) also makes a cameo as Peter Eastman, a former co-star on Mindhorn. Eastman’s “Windjammer” character spun off into its own show that’s now in its 16th season. Windjammer is so popular that it produces a line of weather resistant clothing, a subtle joke that defines British comedy. Eastman holds no love for his former co-star, and neither does Kenneth Branagh who appears as himself.
Mindhorn is ultimately a mixed bag. The funniest bits are gut-busting, but they come few and far between. There’s an unevenness to the film, and it feels underwritten. At the same time, it’s a fun ride watching Barrett’s Mindhorn learn just what an asshole he is.
Amazing direction, stellar cinematography, fantastic casting, mind-blowing stunts, excellent writing, and rock solid performances make Baby Driver one of the best films of the year.
Summary
The film centers around a getaway driver named Baby (Ansel Elgort). He works for an Atlanta Crime Boss named Doc (played by Kevin Spacey) who he’s known since his mother and father passed away some time ago. The crooks in Doc’s crew find him to be slightly awkward. Griff (Jon Bernthal) asks if he’s mental? It’s a fair question because what driver can do what he does on the road at the speeds he goes at while keeping earbuds in his ear so he can listen to his favorite mixes.
Baby leads a simple life (beyond that whole getaway driver thing). He loves taking care of his foster dad who is deaf but knows full well what he has been up to. His world is turned on its ear when he meets Debora (Lily James), a waitress who loves music but appears to love him more. It’s the first time that he sees the light at the end of this dark tunnel of crime. Reality begins to crash in as Doc tracks him down and threatens his loved ones if he doesn’t agree to this next job. He quickly finds himself back in a room with Buddy (Jon Hamm), Darling (Eiza González), and a psychopath named Bats (Jamie Foxx). Plans are devised for the heist that will change their lives.
What Worked
The film’s chase sequences are exquisitely choreographed to Edgar Wright’s carefully selected soundtrack. The audience quickly forgets they’re watching a car chase and begins to marvel at the artistic quality of the synchronicity in this full throttle high-octane fest through downtown Atlanta. It’s a symphony of sound, a sight to behold, and a feast for the senses. ‘Baby Driver’ is Wright’s love letter to the great heist movies of the past.
Bill Pope, who is best known for his work on The Matrix, has a gift for framing action sequences allowing for the most impact. Who could forget the scene where Keanu Reeves bends back in slow motion as Agent Smith fires multiple shots at him that miss completely? Every time there’s a chase sequence in Baby Driver, Pope makes sure to keep the getaway car entirely in the frame. This allows us to see every tire squeal, every impossible turn, and indeed the deft ability of Baby’s driving.
The casting decisions in the film were outstanding. Ansel Elgort was a perfect choice for the lead being that he can project the right amount of innocence mixed with a certain degree of edge. The character of Doc needed to be someone who could command the room and who better to do that than Kevin Spacey? Jon Hamm and Jamie Foxx both stepped away from their usual leading man status to take on more supporting role and boy did they both kill it. Foxx walked that fine line between humor and being psychotic in the role of Bats. The biggest surprise to me was how well Hamm did in the film. This role is the furthest that I’ve ever seen him venture from his infamous role of Don Draper. His performance was nuanced and refreshing to see. One can only hope he’ll continue taking on this types of characters. Jon Bernthal did what he’s done for years, and that looks menacing. Eiza González added the right mix of sex appeal and psychotic behavior to the narrative.
Loved the relationship dynamic between Buddy and Darling. There are conversations those two have that add another comedic layer to the narrative. Seeing them talk about the outlandish ideas they had for their cut of the money was a nice break from the edginess of the film.
Loved the themes the narrative introduced. In the beginning, Baby didn’t think about these heists as they were a means to an end. Debora enters his life, and he’s enamored by not only by her beauty but also by what a great person she is. It’s at this point that he seriously ponders the morality of what he’s doing. Is it right to be getting out of debt with someone even if it means shattering hundreds of lives in the process?
Overall
Baby Driver is an intoxicating orgy of violence, speed, passion, and music that’s choreographed with such precision that the final product comes as something more than just a heist movie. This is Edgar Wright’s pièce de résistance, a cinematic equivalent to Beethoven’s 5th symphony. In an era in which Transformers: The Last Knight exists, it gives me hope that directors like Wright are breathing originality into a world filled with sequels, reboots, and superhero films. Baby Driver not only is one of the best releases of the summer movie season, but it is also one of the best of films of the year period. Do yourself a favor and see just how wonderful this picture truly is.
Marvel Entertainment released five more animated covers, Friday morning that ties into Marvel Legacy in an attempt to pay homage to classic covers, these were via Comic Vine.
“A new initiative that will take things back to our iconic history, with a firm eye on the future, MARVEL LEGACY will present stories that remind everyone — newcomers and longtime fans alike — why Marvel stands as the premier name in fiction,” said Editor in Chief Axel Alonso. “Our titles will unearth gems from Marvel’s rich history, remind readers of connections between characters, and usher in the return of some major characters who’ve been missed. Above all else, we want to inject our comics with a massive dose of fun!”
Cover artists:
Michael Ryan
Alan Davis
Dave Johnson
Cameron Stewart
Dave Johnson
MARVEL LEGACY #1 hits you local comic book store in September, with an over-sized 50-page one-shot.
