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[man] All right. Here we go.
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Issue 1.
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2020 is almost here.
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Like, twelve weeks
until our first issue comes out.
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Arno Stark is Iron Man,
and the robots are rebelling.
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[sighs] Where do I start? I mean,
I don't even have to make this stuff up.
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We're living in science fiction.
We are in the future. Future. Future.
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Hmm, okay. Focus. Focus.
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The minute the ball drops, it's 2020.
Arno Stark is officially Iron Man!
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The future is now.
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And... [stammering] what next?
What-- What else?
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Um... [clicks tongue] Ah, come on, Dan.
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You've written comics for almost 30 years.
You can do this.
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-[Twitter alert whistles]
-Ooh! Tweet!
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[man] When Stan Lee
would talk about Marvel,
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he would call it
the world outside your window.
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Fantastic Four
and Peter Parker and The Avengers,
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they didn't live in some city with a
made-up name that you can't find on a map!
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They lived in New York City!
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I have written Silver Surfer,
She-Hulk and a lot of Avengers.
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But most people know me
for my ten years on Spider-Man.
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I aimed for this.
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I wanted this more than anything.
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Doing everything you've ever wanted
is awesome!
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[no audible dialogue]
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-Hey. Oh, man.
-[cashier] Hey, Dan.
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-[Slott] New books out yet?
-Yeah.
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[Slott] Ah, cool.
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Nowadays, my new assignment is
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Iron Man 2020,
the adventures of Arno Stark.
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I get to be the guy who's writing
about Iron Man 2020 in the year 2020,
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and they picked 2020
because it was a strange future year
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we would never ever reach.
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But here we are now,
and that is a little crazy to me.
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[elevator bell dings]
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Hey.
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[mutters]
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Hey!
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Wouldn't it be funny if it broke?
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-It's a beautiful day in the neighborhood.
-I love the new digs!
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So, ultimately this is a big,
crazy action-adventure story
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with a new Iron Man
and a crazy big threat.
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You know, all that goodness.
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-The Mighty Marvel Manner.
-Yes.
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I started reading comics when I was six,
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and now as an executive editor,
I've got my hands in half to a third
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of everything that we're putting out
to some degree.
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You-- We've been planning this for ages.
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We've been seeding this
for a very long time.
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So I know you've got a lot of ideas
and very little actually put together.
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[laughs]
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-And you need more time to get it done.
-I would-- I-- You--
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Because it's not good enough
and you need more time.
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I think I could make it better.
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[Brevoort] We use the term "work" loosely
when it comes to Dan.
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Dan's terrible with his deadlines.
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But no--
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You'll be the famous writer
of Iron Man 2022.
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-God!
-[laughs]
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No pressure at all or anything!
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-No problem!
-Oh, oh!
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[both laugh]
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[Brevoort] I've worked with Dan
for a quarter of a century.
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And fortunately, he's good enough at this
that those strengths help
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to counterbalance the fact
that he is his own worst enemy
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when it comes to being able
to produce things
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on the schedule that they need to be done.
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[laughs]
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[Brevoort]
Absolutely, I want [indistinct] Yeah.
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[Slott] You sound like my parents.
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[both laugh]
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In the 1980s, there was a famous
comic book story called Machine Man,
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which featured the Iron Man of the future.
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With iconic shoulder gears,
he was Iron Man 2020.
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Both Dan and I were aware
that 2020 was coming up.
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We thought about,
"What if from that story 40 years ago,
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we'll introduce a modern-day version
of that character?
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A modern-day version of Iron Man 2020."
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-[typing]
-[Slott] Issue 1: "The Future is Now."
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Starts like this:
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Arno Stark,
Tony's smarter and sociopathic brother,
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does not see himself as a...
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does not see himself as a futurist.
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For most of his life,
he has seen himself as the future,
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and that future is here.
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And that future was 2020, and it's here.
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Hmm.
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He is the one
who will unite man and machine
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against this extinction event / threat.
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The one who will unite--
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The one who will u--
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[grunts]
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The one who will unite...
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The Marvel style of writing has changed
and evolved over all the decades.
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Everyone gets to add to the tapestry,
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but very much at the foundation,
right at the start,
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you're looking at some of the greatest
comic book creators of all time.
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Stan Lee, Steve Ditko
and Jack "The King" Kirby.
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[man 2] At that time,
in the '50s and '60s,
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the big schism in the industry was between
the DC Method and the Marvel Method.
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Most comics were done full script.
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There was a panel description
and then the dialogue was written out.
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All the artist did was fill in the blanks.
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And that led to storytelling
that was codified
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into this, sort of, plot-heavy structure.
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And Marvel just completely revamped that.
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[Slott] For a long time, Stan was one
of the only writers working in Marvel.
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Everyone talks about how Stan
created the whole Marvel universe.
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The X-Men, the Fantastic Four,
Spider-Man, Hulk.
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One thing after another.
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But the only reason he could do that
is because he had such talented artists
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who could really do the heavy lifting.
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He would write up very brief descriptions
of what he wanted in the comic.
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And then the artist
would lay out the whole page
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and come up with the way
the whole story unfolds.
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And then Stan would get the art back
and add all the dialogue.
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And that all became the Marvel Style
of writing. The Marvel Method.
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Nowadays, Marvel Method
isn't really used at all.
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Everyone goes full scripts.
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[typing]
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I'm one of the dinosaurs.
I'm one of the people,
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one of the last people,
doing Marvel Style.
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I want the creators to have fun.
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I want the creators to jump in
and give you these gifts on the page.
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You're gonna have an idea for a story,
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but it's always gonna play out
a little differently as your co-creator,
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your artist, starts to play with the idea.
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Normally in a comic book, you have
multiple people working on the art.
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You have a penciller,
who lays out the whole book.
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And then you have an inker,
who comes in and embellishes it.
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And then the colorist comes in
and adds all the color.
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But our artist for Iron Man 2020
is Pete Woods.
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And what makes Pete Woods different
is Pete Woods does everything!
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Pete Woods is the penciller and the inker
and the colorist, all in one!
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In his van driving around the country.
[laughs]
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[Brevoort] These days, our writers
and artists live all across the globe.
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People in every time zone
and every place around the world
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are working on Marvel comics
and Marvel stories.
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All the time, I hope.
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That's what they tell me they're doing.
I choose to believe them.
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In the days of Stan in the '60s,
even if you weren't working
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in the mythical Marvel Bullpen
of the office,
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you had to be local to Manhattan
in order to bring your work in,
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but the Bullpen these days is the world.
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Moving into Iron Man 2020,
we had to bring a new artist in.
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So, we tapped Pete Woods.
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[Woods] If there's a character out there
in the comic book universe,
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I've probably drawn him at least once.
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With the technology we have available,
I can draw wherever I need to draw.
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The opportunity presented itself,
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so I decided to just buy an RV
and move around the country.
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I communicate in pencil and ink
and colors.
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It's my favorite part of the process.
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It's great finally seeing
a fully realized page
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that has the emotion and the impact
that I've imagined it would.
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Some artists prefer not to have
the weight of telling the story.
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But I like to have some stake
in the storytelling.
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For the first cover,
I wanted to do something that pops.
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Tom had an idea that he wanted
to do a more character-focused cover.
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So, I'll noodle around
with some character ideas
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while I wait
for a panel-by-panel breakdown from Dan.
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[Slott] One of the things I have to do
is I have to make sure
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that when all these comics
stitch together,
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it tells one big epic story.
Bah, bah, bah.
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[typing]
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Every individual chapter needs
to be great.
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It needs to be edge of your seat.
"What's gonna happen next? Whoo!"
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But when you get to the whole big picture,
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what's the bigger story we're telling?
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And I've got some crazy ideas.
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I need to know
all these different characters
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and what they're doing in their worlds.
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Riri Williams, Iron Heart,
is gonna get her own adventure.
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Machine Man, who is a key character,
he's crucial to the main story.
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Ooh. Dr. Shapiro is too.
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Where does it all start?
Where do we start?
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So, Arno's been around for a while.
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What's he been doing?
Why does he wanna be Iron Man?
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But the real brains
behind the outfit is Mark.
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Wouldn't say Machine Man
is running this whole operation.
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There's also Machinesmith.
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If it blows up and now,
"Oh, no. I can't help Iron Man."
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Not that that's going to happen.
But it could.
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I think we could pull this off.
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[typing]
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But every idea that I've put in the plot
is going to be painstaking labor
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from Pete Woods
as he has to make it all reality.
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Page 1, panel 1:
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We open on Arno Stark's recurring dream.
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He's a small naked figure floating
in space above the Earth,
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the only thing standing in the way
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between our planet
and an unstoppable colossal creature,
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something larger than the Earth itself...
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[Woods] There's this huge
terrifying creature
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that's half organic and half machine.
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This creature is huge.
It's gigantic and it's imposing.
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So I wanna have it
break the borders of the page
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and really give an impression of size.
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I like the Marvel Method
because it's liberating. It's exciting.
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As the writer and the artist,
we work together more in tandem...
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and that gives me a chance
to choreograph things
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and have a little more input
into a story...
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and maybe give my own little twist on it.
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People have expectations
for character creation.
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And I wanted to meet those expectations,
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but I also didn't wanna make it look
like something we'd seen before.
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But sometimes, when I'm behind schedule,
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a nice tight script
lets me get things done quickly.
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The Marvel Method definitely can be
more work for the artist
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as they're helping write the story.
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[Brevoort] All right.
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The reason Stan started doing
the Marvel Method, quite frankly,
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is he didn't really have time
to write those full scripts.
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This is what I was looking for.
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And so, he was leaning very heavily
on his artists
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to do a lot of the heavy lifting
of figuring out all of the incident.
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They were as much the writer as Stan was.
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There's a classic story in the 1960s.
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Stan and Jack Kirby met to talk
about their next Fantastic Four story.
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And when Jack sends the first issue in,
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Stan goes through it,
and suddenly there's this page
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where there's this guy on a surfboard
flying through space.
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He calls Kirby up and says,
"What's the deal with this guy, Jack?"
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And Kirby tells him,
"Well, a demigod like Galactus
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would have a herald to go before him
to scout out planets for him to consume.
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I put him on a surfboard.
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Kids are into surfing these days.
It's a contemporary thing."
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And the character took off from there
and became the Silver Surfer.
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It was not something that was
in the original conversation,
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but it was something
that grew out of Kirby's imagination
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and the Marvel Method process.
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But this is, kind of,
where the larger historical question
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of who's responsible for what comes in,
and those lines are all very blurred.
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These are Pete's initial sketches
for the first five pages of Iron Man 2020.
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This was my first time seeing Pete's take
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00:17:01,459 --> 00:17:05,463
on what the extinction event creature
was gonna look like.
237
00:17:06,380 --> 00:17:10,009
And, oh, my God, it's gorgeous.
Pete Woods nailed it.
238
00:17:10,092 --> 00:17:12,511
That's what's gonna destroy us all,
and I totally buy it.
239
00:17:14,180 --> 00:17:18,309
Half of the fun in comics is,
you're the writer, write.
240
00:17:18,392 --> 00:17:19,852
Let the artist draw.
241
00:17:19,935 --> 00:17:22,146
Let their imagination go to crazy places.
242
00:17:23,606 --> 00:17:28,027
But then, I saw his initial sketches
for the suit designs of Iron Man 2020.
243
00:17:29,570 --> 00:17:32,990
He said, "Here's my first thought
about Arno and his suit.
244
00:17:33,074 --> 00:17:34,658
I hate the gears."
245
00:17:34,742 --> 00:17:36,202
[laughs]
246
00:17:37,828 --> 00:17:41,457
Every visual of Iron Man 2020
in any comic book,
247
00:17:41,540 --> 00:17:43,959
it's his most defining thing.
248
00:17:45,002 --> 00:17:48,756
But Pete's like, "I don't like the gears."
[laughs] Well, it's--
249
00:17:50,841 --> 00:17:52,426
So, I wrote back to him,
250
00:17:52,927 --> 00:17:56,389
"There's no sidestepping the gears.
There's no downplaying the gears.
251
00:17:56,472 --> 00:17:58,265
They're his one signature look.
252
00:17:58,933 --> 00:18:01,685
Doing Iron Man 2020 without the gears
253
00:18:01,769 --> 00:18:04,980
would be like doing a Thor book
without the hammer!"
254
00:18:05,064 --> 00:18:06,816
Or just a tiny hammer.
255
00:18:07,608 --> 00:18:12,738
"We only get one chance
at doing Iron Man 2020 in 2020.
256
00:18:12,822 --> 00:18:14,407
We've already hinted at the foundation..."
257
00:18:14,490 --> 00:18:16,450
[Woods] I was talking to Dan about it,
and he said,
258
00:18:16,534 --> 00:18:19,120
"You gotta have the gears.
The gears are iconic."
259
00:18:20,663 --> 00:18:24,083
Originally, I wanted to do something
a little different, but I said,
260
00:18:24,166 --> 00:18:26,252
"You know what? I'm just gonna go for it."
261
00:18:27,628 --> 00:18:28,796
I made them even bigger.
262
00:18:28,879 --> 00:18:31,382
I have these big,
massive gears on his shoulders.
263
00:18:32,133 --> 00:18:34,385
It's him. It's Iron Man 2020.
264
00:18:34,468 --> 00:18:39,807
He's big, he's bad,
and he's got these massive gears,
265
00:18:39,890 --> 00:18:41,934
and you better not laugh at him. [laughs]
266
00:18:54,238 --> 00:18:57,658
[Brevoort] Every once in a while,
my e-mail box will ping,
267
00:18:57,742 --> 00:19:00,995
and some new piece of art
or some new script will show up.
268
00:19:02,288 --> 00:19:04,874
There's a constant push
and a constant pressure
269
00:19:04,957 --> 00:19:08,127
to produce material
and get it out the door.
270
00:19:08,836 --> 00:19:12,048
And so, I'm not necessarily editing
all of our books.
271
00:19:12,840 --> 00:19:15,801
So I'm overseeing the work
of other junior editors
272
00:19:15,885 --> 00:19:18,179
on all of the various titles
that they work on.
273
00:19:21,307 --> 00:19:24,602
As an editor,
I help with the productions of the books
274
00:19:24,685 --> 00:19:27,813
from their inception to when
we get them out the door to the printer.
275
00:19:29,315 --> 00:19:31,442
When we get a script turned in,
276
00:19:31,525 --> 00:19:34,153
that's never the first time
we're hearing about this story.
277
00:19:34,236 --> 00:19:35,780
It often starts as a conversation.
278
00:19:37,073 --> 00:19:40,159
Someone out there goes,
"Hey, what if we did a story about this?"
279
00:19:40,242 --> 00:19:43,954
And then everyone just starts spitballing,
and the snowball gets bigger and bigger.
280
00:19:45,998 --> 00:19:48,876
I love being an editor
because I love taking a story and saying,
281
00:19:48,959 --> 00:19:50,711
"How can we take it to the next level?"
282
00:19:55,132 --> 00:19:58,094
This is an outline for Iron Man 2020.
283
00:20:00,471 --> 00:20:03,474
It's really crucial to give notes
in the layout stage
284
00:20:03,557 --> 00:20:07,103
because once we move past that
and the pages get a little more finalized,
285
00:20:07,186 --> 00:20:09,438
it's harder to go back and make tweaks.
286
00:20:11,148 --> 00:20:15,361
And so the story is just this dramatic
thing that evolves in each process.
287
00:20:26,163 --> 00:20:29,750
[Slott] Page 5, panel 1:
In the foreground...
288
00:20:32,461 --> 00:20:33,713
In the foreground...
289
00:20:51,147 --> 00:20:53,315
[chuckling] This will never get finished.
290
00:21:00,031 --> 00:21:03,826
[softly] I don't know
what I'm doing. Help me.
291
00:21:07,663 --> 00:21:09,040
When you have writer's block,
292
00:21:09,123 --> 00:21:11,667
a lot of times it's more about
your inner critic going,
293
00:21:11,751 --> 00:21:13,669
"Ooh. I don't think this is good enough."
294
00:21:15,004 --> 00:21:20,342
One of the things that we have now today,
which kinda hurts, is social media.
295
00:21:22,094 --> 00:21:25,848
Back in December of 2012...
296
00:21:26,348 --> 00:21:27,850
I killed Peter Parker.
297
00:21:28,517 --> 00:21:30,519
I was the guy who killed Spider-Man.
298
00:21:34,440 --> 00:21:36,776
When that story came out...
299
00:21:37,568 --> 00:21:39,987
fans lost their minds.
300
00:21:41,655 --> 00:21:44,116
It got scary fast.
301
00:21:46,744 --> 00:21:49,955
Social media went insane.
302
00:21:50,956 --> 00:21:52,666
That's what social media is now.
303
00:21:52,750 --> 00:21:57,755
It's an instantaneous way for you
to be mad about anything.
304
00:22:00,132 --> 00:22:03,344
More often than not,
you're telling the story
305
00:22:03,427 --> 00:22:06,597
that will create some kind
of visceral reaction
306
00:22:06,680 --> 00:22:08,724
because someone is that invested.
307
00:22:08,808 --> 00:22:12,019
And you wanna blow their minds.
You wanna freak them out.
308
00:22:15,106 --> 00:22:19,110
It's easy to say that in theory,
but we're talking about Iron Man here.
309
00:22:20,403 --> 00:22:22,113
Fans could say,
310
00:22:22,196 --> 00:22:27,159
"This is terrible.
Oh, my God. What are you doing?"
311
00:22:29,161 --> 00:22:32,123
I want everything to come out
and be perfect
312
00:22:32,206 --> 00:22:34,792
as it leaves my fingers onto the page.
313
00:22:45,136 --> 00:22:49,724
[Brevoort] Dan is behind where I need him
to be on his various assignments.
314
00:22:50,349 --> 00:22:54,687
I can't really start on issue 2
until issue 1 is solid enough.
315
00:22:55,646 --> 00:22:59,483
I'd needed another writer
to do the dialoguing on the book.
316
00:23:00,151 --> 00:23:03,404
So we made the choice
to bring Christos Gage in.
317
00:23:06,949 --> 00:23:10,453
Chris Gage is half of my brain. [laughs]
318
00:23:12,121 --> 00:23:16,959
I love plotting stories,
but Chris likes scripting.
319
00:23:17,501 --> 00:23:18,627
[Gage] Hello, sir.
320
00:23:18,711 --> 00:23:20,838
-Hey, Chris. How are you, man?
-[Gage] I'm doing all right.
321
00:23:20,921 --> 00:23:24,133
[Slott] If deadlines are crunching,
Chris is gonna get me across.
322
00:23:26,385 --> 00:23:29,513
[Gage] Tom Brevoort approached me
and asked if I could come onboard
323
00:23:29,597 --> 00:23:31,015
and co-write with Dan.
324
00:23:32,725 --> 00:23:34,477
We complement each other well.
325
00:23:36,312 --> 00:23:38,397
The only reason to have co-writers
326
00:23:38,481 --> 00:23:42,151
is when the whole is greater
than the sum of its parts.
327
00:23:43,778 --> 00:23:48,699
But, really, you know,
I'm Dan's deadline helper.
328
00:23:48,783 --> 00:23:50,117
[laughs]
329
00:23:55,873 --> 00:23:57,625
[Slott] Chris, great you're onboard.
330
00:23:57,708 --> 00:24:03,297
Let me send you the overview
for Iron Man 2020.
331
00:24:03,381 --> 00:24:04,382
[typing]
332
00:24:04,465 --> 00:24:09,220
Starts like this.
Issue 1: "The Future is Now."
333
00:24:09,303 --> 00:24:12,640
Arno Stark,
Tony's smarter and sociopathic brother,
334
00:24:12,723 --> 00:24:15,184
does not see himself as a "futurist."
335
00:24:15,267 --> 00:24:18,521
[Gage] "For most of his life
he has seen himself as the future.
336
00:24:18,604 --> 00:24:21,607
And that future was 2020. And it's here."
337
00:24:23,984 --> 00:24:26,487
My job is to come up with dialogue
338
00:24:26,570 --> 00:24:29,573
based on the art that I have here
from Pete Woods.
339
00:24:31,242 --> 00:24:34,453
Pete's great with facial expressions,
body language.
340
00:24:35,788 --> 00:24:37,206
He's a great storyteller.
341
00:24:37,289 --> 00:24:39,166
[printer whirring]
342
00:24:39,250 --> 00:24:41,419
The approach to dialogue really varies.
343
00:24:41,877 --> 00:24:44,004
I always like to immerse myself into
344
00:24:44,088 --> 00:24:46,757
what the characters sound like,
what they've done before.
345
00:24:48,426 --> 00:24:53,681
But with new characters,
like Dr. Shapiro, the genius talking cat,
346
00:24:53,764 --> 00:24:56,559
we agree that he should sound
like a genius talking cat,
347
00:24:56,642 --> 00:24:58,644
but what exactly does that mean?
348
00:24:59,395 --> 00:25:01,313
Is he talking in complete sentences?
349
00:25:01,814 --> 00:25:03,941
Well, he's a genius,
so yeah, probably he is.
350
00:25:05,443 --> 00:25:07,570
But would he be into cat things?
351
00:25:09,613 --> 00:25:12,450
But sometimes I've gone
a little too catlike.
352
00:25:15,453 --> 00:25:19,540
[Slott] Chris loves cats.
Chris and his wife have tons of cats,
353
00:25:19,623 --> 00:25:25,254
and he lives for cats, and he was writing
all these funny cat puns,
354
00:25:25,337 --> 00:25:27,715
and that's not the way
I've been writing Dr. Shapiro.
355
00:25:29,008 --> 00:25:32,678
I had to explain to Chris
how talking cats work in my mind.
356
00:25:34,764 --> 00:25:38,100
They're not making silly puns
or jokes about their fur.
357
00:25:38,976 --> 00:25:42,396
It's selfish. It's self-centered.
It thinks the way a cat thinks.
358
00:25:44,190 --> 00:25:46,942
It's one of the times
that I end up rewriting Chris,
359
00:25:47,026 --> 00:25:50,696
and then Chris looks at what I rewrote
and maybe he'll rewrite it again.
360
00:25:50,780 --> 00:25:53,032
And I'll go,
"Okay, now we're on the right path."
361
00:25:53,657 --> 00:25:59,330
Now we're both thinking like a cat,
instead of thinking about cat things.
362
00:26:00,956 --> 00:26:04,085
[Gage] You're basically creating the voice
for this character,
363
00:26:04,168 --> 00:26:05,920
and you're making it up as you go along.
364
00:26:06,754 --> 00:26:09,924
It's a tightrope to walk, but it's also
the fun part of the challenge.
365
00:26:15,471 --> 00:26:18,974
[Woods] It's great to have Chris
on the creative team.
366
00:26:20,351 --> 00:26:23,938
Chris is sharp.
He communicates a lot with a few words,
367
00:26:24,021 --> 00:26:27,817
and it's always gotta nice little
wry twist to it, that I really enjoy.
368
00:26:29,235 --> 00:26:32,071
So after the inking stage,
we're ready to move on to color.
369
00:26:33,531 --> 00:26:36,200
The coloring process
has evolved over the years.
370
00:26:36,283 --> 00:26:39,036
I like to think of this
as a more final step.
371
00:26:41,539 --> 00:26:45,167
When I'm coloring,
I like things to look realistic.
372
00:26:46,919 --> 00:26:48,421
I want there to be a familiarity.
373
00:26:48,879 --> 00:26:50,548
And with modern tools,
374
00:26:50,631 --> 00:26:54,385
we can create depth and create effects
that we could never have created before.
375
00:26:55,261 --> 00:26:58,055
So we're trying to up our game
whenever we can
376
00:26:58,139 --> 00:27:01,308
and make things look
as realistic or as fun as possible.
377
00:27:06,772 --> 00:27:11,193
As time's gone by, comics have become
less by the seat of your pants.
378
00:27:11,902 --> 00:27:16,657
There's a lot more editorial direction
to stories and character creation.
379
00:27:18,826 --> 00:27:21,829
There's a plan
that covers the whole Marvel Universe.
380
00:27:25,207 --> 00:27:26,834
[Hama] I started out drawing...
381
00:27:28,461 --> 00:27:33,466
and because of the Marvel methodology,
I could barely do a page a day.
382
00:27:34,759 --> 00:27:37,928
It's really difficult
to format the storytelling,
383
00:27:38,012 --> 00:27:40,931
draw out the action, and make it work.
384
00:27:41,515 --> 00:27:44,935
And I said, "What's wrong
with this picture?" [chuckles]
385
00:27:47,104 --> 00:27:50,358
I think the days
of Jack Kirby creating Silver Surfer
386
00:27:50,441 --> 00:27:54,028
out of whole cloth are probably over.
387
00:27:56,614 --> 00:27:58,324
It was done out of necessity,
388
00:27:58,407 --> 00:28:02,661
and that did, to some degree,
create some resentment from the artists.
389
00:28:03,913 --> 00:28:06,791
Today, an editor wouldn't accept
that loose a plot.
390
00:28:06,874 --> 00:28:09,126
They'd say,
"This isn't fair to the artist.
391
00:28:09,210 --> 00:28:13,297
You're asking them to come up
with half the story or more."
392
00:28:16,675 --> 00:28:19,637
Dan is one of the few who still does
393
00:28:19,720 --> 00:28:21,847
what we think of today
as traditional Marvel Method...
394
00:28:23,099 --> 00:28:28,604
because he learned to write comics here
in the early '90s
395
00:28:28,688 --> 00:28:31,941
when that was still
the prevailing process.
396
00:28:33,484 --> 00:28:37,071
As Marvel has become
a multifaceted media company,
397
00:28:37,154 --> 00:28:40,658
everybody in every other area
works full script.
398
00:28:42,284 --> 00:28:46,205
There's a common language that is now
spoken throughout all of these divisions.
399
00:28:48,666 --> 00:28:51,001
But as long as there's still strengths
400
00:28:51,085 --> 00:28:53,504
that are associated
with the Marvel Method,
401
00:28:54,255 --> 00:28:57,007
people will still be interested
in what it can bring
402
00:28:57,091 --> 00:29:00,177
to the creative medium of making comics.
403
00:29:04,557 --> 00:29:07,643
[Gage] Working with Dan in the
Marvel Method has made me a better writer
404
00:29:07,727 --> 00:29:09,562
'cause I'm more apt to say,
"You know what?
405
00:29:09,645 --> 00:29:13,024
Here's an interesting approach
that the artist has taken with this
406
00:29:13,107 --> 00:29:16,110
that maybe I can riff off of
and do something differently."
407
00:29:17,111 --> 00:29:20,197
On the very first page,
where this cosmic being is coming
408
00:29:20,281 --> 00:29:23,492
and Arno Stark is waking up
from this nightmare of it,
409
00:29:24,243 --> 00:29:26,912
for dialogue,
Dan didn't specify what to do.
410
00:29:26,996 --> 00:29:29,040
So I was thinking,
"How should I approach this?"
411
00:29:31,876 --> 00:29:35,838
Initially, I was gonna be a little bit
classic Stan Lee cosmic story line,
412
00:29:35,921 --> 00:29:37,923
with narrative captions.
413
00:29:39,717 --> 00:29:41,218
Dan was like, "That's kinda cool,
414
00:29:41,302 --> 00:29:45,222
but I also want to give a voice to the
monster 'cause it's so cool looking."
415
00:29:46,640 --> 00:29:48,601
And he had a great suggestion, which was,
416
00:29:48,684 --> 00:29:51,812
"What if the monster is speaking,
and its dialogue,
417
00:29:51,896 --> 00:29:56,067
instead of being in a balloon,
is just giant letters across the page."
418
00:29:57,151 --> 00:29:59,779
He didn't tell me what to write,
so I wrote my own thing.
419
00:30:01,197 --> 00:30:05,534
"I come. It is time.
You cannot kill the ultimate life.
420
00:30:06,243 --> 00:30:07,953
Your destiny means nothing.
421
00:30:08,037 --> 00:30:10,247
You and your world
are forfeit, Arno Stark.
422
00:30:10,331 --> 00:30:12,375
Accept your fate."
423
00:30:14,668 --> 00:30:18,672
You think of it as this booming voice
that you feel as much as you hear.
424
00:30:19,048 --> 00:30:23,302
It's supposed to convey the overwhelming
power and omnipotence of this being
425
00:30:23,386 --> 00:30:26,389
and this overwhelming obstacle
that Arno Stark has to face.
426
00:30:28,891 --> 00:30:33,896
With the Marvel Method,
it becomes more of a collaboration.
427
00:30:45,449 --> 00:30:49,620
[Slott] The great unsung hero
of comics is the letterer.
428
00:30:51,080 --> 00:30:55,626
The last person who's gonna have to make
the last changes to the very last second
429
00:30:55,710 --> 00:30:58,879
before the book has to leave house,
is Joe Caramagna.
430
00:30:59,630 --> 00:31:00,965
It rhymes with lasagna.
431
00:31:01,048 --> 00:31:02,591
[chuckles]
432
00:31:02,675 --> 00:31:04,593
You're like, "Oh, no."
433
00:31:05,803 --> 00:31:07,847
The way they lay out
the lettering balloons
434
00:31:07,930 --> 00:31:12,351
forces the eye to flow through the page
the right way.
435
00:31:12,852 --> 00:31:15,771
It should feel very intuitive
whenever you pick up a comic,
436
00:31:15,855 --> 00:31:18,816
if they know what they're doing,
and Joe knows what he's doing.
437
00:31:18,899 --> 00:31:20,276
Joe is fantastic.
438
00:31:22,153 --> 00:31:24,864
[Caramagna] Because Dan works
in the Marvel Method,
439
00:31:24,947 --> 00:31:29,035
I'm usually waiting longer
than I am from everyone else.
440
00:31:29,118 --> 00:31:33,330
If I have no script, I'm just looking
at art and there's nothing I can do.
441
00:31:34,623 --> 00:31:37,752
Oh, yeah. Joe is the person
I feel most guilty about.
442
00:31:37,835 --> 00:31:40,629
By the time I get the script from Dan,
443
00:31:40,713 --> 00:31:44,884
it's usually about two days
before the book has to go to press.
444
00:31:48,304 --> 00:31:52,516
I'm always sending a text or e-mailing,
begging and pleading,
445
00:31:52,600 --> 00:31:54,769
"Someone please send me some script."
[chuckles]
446
00:32:02,943 --> 00:32:05,821
[Slott] Pages 18 and 19, panel 1:
447
00:32:06,572 --> 00:32:10,409
Big panel stretching
across the entire top half of both pages.
448
00:32:11,285 --> 00:32:15,956
This is an establishing shot, a big reveal
in our introduction to the 13th floor.
449
00:32:16,457 --> 00:32:19,293
It's a futuristic landscape,
meeting place,
450
00:32:19,377 --> 00:32:21,962
hangout, and safe harbor for all robots.
451
00:32:23,381 --> 00:32:26,467
[Woods] Humans exist in an organic world.
452
00:32:26,550 --> 00:32:32,723
What if these non-organic beings
built in a way that was more nature-like?
453
00:32:33,391 --> 00:32:36,769
[Gage narrating]
454
00:32:46,821 --> 00:32:48,989
[Slott] Panel 4: Mark One turns around,
455
00:32:49,073 --> 00:32:52,618
and we can see that it's our newest
version of the Mark One Iron Man suit.
456
00:32:52,702 --> 00:32:55,496
He says that he goes by the name
Mark One now.
457
00:32:55,579 --> 00:32:58,332
Mark One's voice sounds like Tony Stark.
458
00:32:58,416 --> 00:32:59,667
Wait. [babbles] Okay, wait.
459
00:32:59,750 --> 00:33:02,962
The problem-- The problem is,
this isn't meant to be read aloud.
460
00:33:03,045 --> 00:33:05,131
It's like IKEA instructions.
461
00:33:05,715 --> 00:33:08,217
It tells you how
to build your Fjordenbach.
462
00:33:13,723 --> 00:33:15,182
Close up on Mark One. We see Stark...
463
00:33:15,266 --> 00:33:17,435
[Gage] Humans might have created us,
but they can't restrain us.
464
00:33:17,518 --> 00:33:19,353
[Woods] It's a source of drama
to me and excitement.
465
00:33:19,437 --> 00:33:22,231
Anything like that
just makes the page more fun to do.
466
00:33:47,506 --> 00:33:49,925
-[lights buzzing]
-[machine rattling]
467
00:33:56,015 --> 00:33:58,893
[man 3] There aren't many print shops
in the United States
468
00:33:58,976 --> 00:34:01,437
that can handle the quantity of work
469
00:34:01,520 --> 00:34:04,732
and the quality of work
that Marvel requires.
470
00:34:06,275 --> 00:34:10,112
Cyan, magenta, black and yellow.
471
00:34:10,196 --> 00:34:13,574
They're all printed on top of each other
to get this imagery.
472
00:34:14,784 --> 00:34:18,829
It's not until Marvel prepares the files
and then sends them to my team,
473
00:34:18,913 --> 00:34:21,415
that we're ready to print the Marvel work.
474
00:34:26,837 --> 00:34:29,006
[Ballesteros] We're in the final stage
of the process.
475
00:34:30,257 --> 00:34:32,510
We go through and we check it
against the script,
476
00:34:32,593 --> 00:34:34,303
making sure that the story makes sense,
477
00:34:34,387 --> 00:34:37,181
and if there's anything
that's lacking clarity, adding it in.
478
00:34:38,724 --> 00:34:40,935
So it's really important
in the lettering stage
479
00:34:41,018 --> 00:34:43,896
to catch these kind of mistakes
for clarity.
480
00:34:46,440 --> 00:34:48,818
Well, I just got the notes back.
481
00:34:48,901 --> 00:34:51,904
So, let's see what needs to be done next.
482
00:34:51,987 --> 00:34:56,033
If my deadline is 6:30 p.m.
to deliver a book to the printer,
483
00:34:56,117 --> 00:35:00,830
I could still be getting notes at 6:15.
Like, that's how close we cut it.
484
00:35:02,748 --> 00:35:06,836
After that's all done, I export a PDF
and send them to the printer.
485
00:35:21,976 --> 00:35:22,977
[Slott] Hey!
486
00:35:41,996 --> 00:35:45,666
-[Slott] Hey, hey, hey, hey.
-[fans cheering]
487
00:35:45,750 --> 00:35:46,917
-How's it going?
-[fan 1] Hello.
488
00:35:47,001 --> 00:35:48,085
[Slott] Hello.
489
00:36:02,266 --> 00:36:04,852
Come on in. Right down that aisle.
490
00:36:06,437 --> 00:36:08,064
That works too.
491
00:36:42,264 --> 00:36:44,517
[fans chattering]
492
00:36:51,399 --> 00:36:52,900
[chuckles]
493
00:36:52,983 --> 00:36:54,985
-[Slott] Thank you very much.
-Thank you so much.
494
00:36:55,069 --> 00:36:56,320
-Thank you.
-[Slott] Thanks. Bye.
495
00:36:56,404 --> 00:36:58,698
-Hi.
-[fan 2] Nice to see you again, Mr. Slott.
496
00:36:58,781 --> 00:37:03,285
The big event today is a signing
of Iron Man 2020 with Dan Slott,
497
00:37:03,369 --> 00:37:06,414
a comic writer that I have long admired
498
00:37:06,497 --> 00:37:10,501
and never had a chance
to actually meet in person until today.
499
00:37:11,168 --> 00:37:13,754
-[fan 1] Can I get a picture with you?
-Yeah, sure.
500
00:37:13,838 --> 00:37:15,715
Yeah, ready? Whoa!
501
00:37:15,798 --> 00:37:18,259
[fan 1] I started reading comics
with Dan Slott.
502
00:37:18,342 --> 00:37:20,302
-[Slott] You got it? All right.
-[fan 1] Awesome.
503
00:37:20,386 --> 00:37:22,388
I'm just gonna be honest.
The comic book community
504
00:37:22,471 --> 00:37:25,099
is one of the most welcoming communities
I've ever been in.
505
00:37:25,182 --> 00:37:27,351
[Slott] ...with other characters
and see if any of them...
506
00:37:27,435 --> 00:37:30,688
[fan 1] These superheroes
are so inspiring to me.
507
00:37:31,313 --> 00:37:33,899
They show us that we can be the very--
508
00:37:33,983 --> 00:37:36,318
Like, the human race can be
the very best we can be.
509
00:37:36,402 --> 00:37:39,071
Mr. Slott, that's all I needed to hear.
Thank you so much.
510
00:37:39,155 --> 00:37:41,032
-Have a wonderful day, my man.
-You too.
511
00:37:41,115 --> 00:37:42,825
-[fan 3] Hi, Mr. Slott.
-Hi, how's it going?
512
00:37:42,908 --> 00:37:48,039
I promised my son to meet him
because he's the author of the Spider-Man,
513
00:37:48,122 --> 00:37:51,083
when he was growing up, that made him
fall in love with Spider-Man.
514
00:37:51,959 --> 00:37:54,712
I just wanted him to have that experience.
515
00:37:56,672 --> 00:37:59,133
[laughs, chattering]
516
00:37:59,216 --> 00:38:01,552
-[fan 3] Thank you for coming, man.
-Aw, thanks.
517
00:38:01,635 --> 00:38:03,345
I hope you like Iron Man 2020.
518
00:38:17,360 --> 00:38:20,988
Part of the fun of working in comics,
is we're all telling our own stories,
519
00:38:21,072 --> 00:38:23,741
and we're all getting to play
with these great toys.
520
00:38:24,784 --> 00:38:27,370
This is like the greatest medium
in the world.
521
00:38:28,662 --> 00:38:32,083
It's pictures and words together
to tell a story.
522
00:38:33,793 --> 00:38:38,381
You get to imagine.
You get to dream for a living every day.
523
00:38:39,548 --> 00:38:43,219
We escaped into this world
and these characters were our friends.
524
00:38:44,428 --> 00:38:46,639
[Ballesteros] When I was introduced
to the world of it,
525
00:38:46,722 --> 00:38:48,849
I just fell in love so quickly.
526
00:38:50,476 --> 00:38:53,813
And it's been amazing seeing people
engaging with what we put out there
527
00:38:53,896 --> 00:38:55,439
'cause that's what it's all about.
528
00:38:56,565 --> 00:38:59,944
[Woods] We just, kind of, gelled.
We, kind of, came together on it.
529
00:39:00,027 --> 00:39:03,614
We ended up with something,
hopefully unique, that readers will like.
530
00:39:04,490 --> 00:39:06,325
[Brevoort] We had the best
of what everybody's doing,
531
00:39:06,409 --> 00:39:09,495
all at once,
onto the page, and into this comic.
532
00:39:10,329 --> 00:39:14,834
A lot of that is an outgrowth of the way
in which this book was done.
533
00:39:16,293 --> 00:39:18,754
[Slott] What came out of it was an energy.
534
00:39:18,838 --> 00:39:22,800
Very few comics are done
using the tried and true Marvel Method.
535
00:39:25,052 --> 00:39:28,139
[Lee] I love working
with these talented artists.
536
00:39:28,931 --> 00:39:32,268
It was a collaboration
that was so exciting,
537
00:39:32,351 --> 00:39:37,148
to discuss a story and, a few days later,
to see it all drawn on boards,
538
00:39:37,231 --> 00:39:39,567
then a month later to see it in a book
539
00:39:39,650 --> 00:39:42,903
and to know that kids are reading these
and enjoying them.
540
00:39:44,363 --> 00:39:47,992
[Hama] Marvel always felt
like a small town and a family...
541
00:39:48,075 --> 00:39:49,994
[cameraman]
This is Jim Boyle on the phone.
542
00:39:50,995 --> 00:39:52,621
-He's off the phone.
-Hi.
543
00:39:52,705 --> 00:39:55,875
[cameraman] As you can see,
this is all the artwork.
544
00:39:55,958 --> 00:40:00,046
[Hama] ...that overlaid
on basic story elements
545
00:40:00,129 --> 00:40:03,132
within the Marvel Universe
and made it all click, you know.
546
00:40:04,133 --> 00:40:06,385
You can't manufacture that,
547
00:40:07,053 --> 00:40:09,096
and it shows in the work.
548
00:40:18,230 --> 00:40:20,191
[Slott] So the first issue's done.
549
00:40:20,274 --> 00:40:22,860
So now we just need to do it
five more times.
550
00:40:22,943 --> 00:40:24,195
[chuckles]
551
00:40:24,278 --> 00:40:26,822
And all of our lead time is done, is gone.
552
00:40:26,906 --> 00:40:29,742
-But that's part of the magic of comics.
-It is.
553
00:40:29,825 --> 00:40:31,827
That, you know,
it takes pressure to make diamonds.
554
00:40:31,911 --> 00:40:32,745
[chuckles]
555
00:40:37,625 --> 00:40:38,876
Come with me.
556
00:40:39,794 --> 00:40:41,629
This is cool. You're gonna like this.
557
00:40:43,130 --> 00:40:45,132
It's a new comic day. [gasps]
558
00:40:47,343 --> 00:40:50,805
Ooh. Peter David Hulk.
Want that. [chuckles]
559
00:40:51,889 --> 00:40:55,267
[gasps] Tini Howard is doing
amazing stuff on Excalibur.
560
00:40:55,351 --> 00:40:56,894
[groans] What else we got?
561
00:41:01,232 --> 00:41:04,443
Aw, look at the cute little
Fantastic Four book. I want that.
562
00:41:04,902 --> 00:41:10,199
Ah! There's something here for everybody,
as long as it's Marvel. [chuckles]