"The Marvel EIC Chair has a certain curse that goes along with it: it tends to drive people insane, and ultimately, out of the business altogether. It is the notorious last stop for many staffers, as once you've sat in The Big Chair, your pariah status is usually locked in." Christopher Priest
My understanding is that many writers already send their scripts in from wherever they live, which often isn't New York. So does it really matter if the offices are in New York?
Marvel hasn't had most of it's scripts/art produced in office in New York since the mid-70s (and hasn't had them exclusively produced in New York since before Kirby left in '69). Stan even left for the west coast in the late 70s. Editorial offices have been in New York, but the books have been created wherever the freelancers have lived for the past 40+ years. Editorial has been in New York, and talent looking to break in had to go to NY to get work initially, but that hasn't been the paradigm of how Marvel has worked in decades, so there hasn't been a need for the creators to be in New York to create New York based stories for a long time, and having the editorial offices be in New York is not a requirement either.
-M
Comic fans get the comics their buying habits deserve.
"Opinion is the lowest form of human knowledge. It requires no accountability, no understanding." -Plato
Feige: All the comics that matter are from the 2000s, plus random stuff I had time to read since then.
Cebulski: All the comics that matter are from the 1980s and '90s, except Runaways, because that was my baby.
The clashes will be something to see.
Seriously, though, the fact that Feige has pulled quite a bit of stuff from the Axel Alonso era (Black Order, Tom King's Vision, Captain Falcon) suggests he isn't too wedded to the idea that the comics must only be one way and to a certain extent expects the comics to tell him what the movies should be, instead of vice versa.
I hope it stays that way but I hope the lesson of the X-Men relaunch is used to put more resources and planning into the rest of the line, and that Disney will be willing to pay for that now that their guy is in charge.
Last edited by gurkle; 10-17-2019 at 06:45 PM.
"The Marvel EIC Chair has a certain curse that goes along with it: it tends to drive people insane, and ultimately, out of the business altogether. It is the notorious last stop for many staffers, as once you've sat in The Big Chair, your pariah status is usually locked in." Christopher Priest
The answer to this might rely entirely on how much Feige will want to be involved in Marvel Comics, because they report to him now, and he's based on California. If he wants to be more involved with the day to day activities of the Marvel Comics office, it might be more practical for them to be closer to the Marvel Studios office. It would also make sense from the perspective that Disney wants Marvel to be more unified as a company.
https://www.bleedingcool.com/2019/10...ges-tv-comics/
https://www.bleedingcool.com/2019/10...itor-in-chief/
I am told to expect Feige to attend the next Marvel Creative Summit, but after that to probably have a representative in the meetings, reporting back. Changes to the current comics publication schedules or content are not expected to be significant, or even noticeable, Feige’s likely attention to be concentrated elsewhere – but I have been instructed to look to the TV side for more immediate changes,If you trust BleedingCool, and I generally do, I don't think this decision was really about the comics, that was more of a side note. This is about TV.A well-placed source at Marvel tells me that Cebulski has long maintained a good relationship with Kevin Feige. Which should help if he is seen as Ike’s man by some.
And within Disney, it is judged that Marvel Comics has had an increased sales and creative renaissance over the last two years. And as a result, the two are expected to work together to bring greater creative synergy across Marvel’s divisions. I am [told] not to expect radical changes in direction.
Not to mention cheaper. Speaking of cheaper, you just know that a Disney money guy is saying "Wouldn't it just be cheaper to licence the comics out? We already own decades of material that we are never going to exhaust that we can pay Hollywood talent to freshen up if we need to make a movie. We do that with all our other comics"
"The Marvel EIC Chair has a certain curse that goes along with it: it tends to drive people insane, and ultimately, out of the business altogether. It is the notorious last stop for many staffers, as once you've sat in The Big Chair, your pariah status is usually locked in." Christopher Priest
Feige has borrowed enough from recent comics, though, that it might be cheaper in the long run to keep them in-house.
For example: Jonathan Hickman was ordered by editorial to come up with some henchmen for Thanos, who had mostly worked alone before. Then Feige used those henchmen in two of the biggest movies of all time. Now, his screenwriters could surely have also come up with new henchmen for Thanos, but I think I know who would get paid more for creating those characters, and it's not the comic book writer.
Loeb's a goner.
https://www.newsarama.com/47515-marv...ny-report.html
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