Peek at the artist's concept art for Tony Stark: Iron Man!

On June 20, Tony Stark returns—but he’ll look a little different this time.

In TONY STARK: IRON MAN, writer Dan Slott teams up with artist Valerio Schiti to tell a different kind of super hero story. Forged by the future, the cutting-edge hero is always changing, always evolving. So, naturally, the most famous inventor in the Marvel Universe will have a lineup of armors to help him protect the innocent—and achieve his high-flying goals.

Check out this gallery of Schiti’s concept art for a taste of what to expect from the upcoming series…

On June 20, read TONY STARK: IRON MAN #1 by Dan Slott and Valerio Schiti! And stay up-to-date with all the exciting announcements coming from Marvel Comics, right here!

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Ant-Man and the Wasp #1 coming soon too!

On June 20, Tony Stark returns.

He’s back, at last, having been the subject of a long and troubled search throughout the pages of INVINCIBLE IRON MAN. And, as Nerdist announced today, writer Dan Slott and artist Valerio Schiti will join forces to tell a entirely different kind of story in TONY STARK: IRON MAN.

From the cusp of tomorrow’s dreams to the forefront of imagination, one man always soars on the cutting edge of adventure.

You know his name. Tony Stark is Iron Man. And Iron Man…is an idea. Always changing. Always evolving. An idea without limit!

Prepare to witness the ultimate Self-Made Hero’s journey to new heights of inventiveness! Tony Stark is Iron Man. And the future is now.

Tony Stark: Iron Man #1 Cover by Alexander Lozano

After getting a dose of the high-flying action alongside Tony Stark, shrink down to a different kind of hero story in ANT-MAN AND THE WASP! Written by Mark Waid with art by Marvel Young Gun Javier Garrón, this five-issue limited series sees Scott Lang unite with Nadia Pym!

Wasp was just trying to help Ant-Man get home to Earth to see his daughter…but a little problem got in the way. Very little. Subatomic, in fact, as Lang was lost in the vast spaces between atoms! Now, Nadia is his only hope of rescue…if only he would listen long enough for her to save them! Get ready for a big journey getting smaller all the time in ANT-MAN AND THE WASP!

Ant-Man and the Wasp #1 Cover by David Nakayama

On June 20, read TONY STARK: IRON MAN #1 by Dan Slott and Valerio Schiti! Then jump aboard Mark Waid and Javier Garrón’s ANT-MAN & THE WASP #1!

Read more, and stay up-to-date with all the exciting announcements coming from Marvel Comics, right here!

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After 10 years and 189 issues, Slott will move from the adventures of Peter Parker to Tony Stark.

The end of an era is here, as Don Slott will be ending his epic run on THE AMAZING SPIDER-MAN with issue #801 – as the writer prepares to begin guiding the next chapter of Tony Stark’s life in the pages of IRON MAN.

Slott spoke to about this big change, saying, of his decision to leave AMAZING SPIDER-MAN after a decade of writing the series (and 189 issues!), “I could always see the next furlong, I could always see what was ahead. Like, Get this far and I’ll make it to the next wave of ‘Brand New Day’ writers, then, ‘If I make it this far I get to one out of every five issues of AMAZING [ever published]. If I get it to this far, I get to [issue No.] 700.’ And so on. So I kept having these benchmarks to hit. And then I realized, once you hit ten years and then issue 800, the next benchmarks were way too far away. [Laughs.] So I always knew that was the zone.”

He goes on to explain that he’ll likely need to adjust to not telling Spider-Man stories, because having written the book for so long, “There are days where everything gets seen through the Spider-Man filter first. If I’m walking down the streets in New York and I notice something, I’d go, ‘Oh, how would Spider-Man deal with that?’ It’s a reflex muscle in the back of your head. Or you read a news story. Something happens and you go, ‘How would Spider-Man deal with that? What is that? What if that was Mysterio?’ When you do this for ten years, that’s just the way you’re wired.”

As for his new gig on IRON MAN, Slott tells Vulture, “I’m all excited. They’d asked me to do IRON MAN a while back, but by then I was at [SILVER] SURFER and I had Spidey and I was already overcommitted, so it kept gnawing at me. Like, ‘Oh, man. I really do want to do Iron Man. This would be fun.’ And when that came around again, it was like, ‘Okay, yeah. Yeah, yeah, yeah, yeah, yeah, yeah. I want IRON MAN. I want this. I want this really bad.'”

Regarding his thoughts on Tony Stark, Slott explained, “Reed Richards explores the universe. He wants to know everything and go everywhere. Tony Stark builds the future. It’s not that he’s not out to discover the next big thing. But he’s gonna take his own two hands and he’s gonna build where he wants to go, or what he wants to do. He looks at a challenge and goes, ‘How do I machine my way out of this?’”

Slott promises, “There will be a very unique cast in this book of characters: Iron Man characters you love and Marvel characters that you haven’t seen folded into the Iron Man cast.”

For much more of Dan Slott’s observations on wrapping up his run on AMAZING SPIDER-MAN, his favorite stories he told with the character, and moving to IRON MAN, check out the full interview at!

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Learn more about what went into the biggest video game release of 2018!

Eric Monacelli, Senior Producer, Marvel Games:

Deciding to team with Insomniac Games and PlayStation to develop “Marvel’s Spider-Man” was a no-brainer. What came next, well, that took some mental gymnastics. When you have the power and responsibility to work with a beloved character whose history is so rich and so layered–a character that many feel is the world’s greatest hero, and maybe even the greatest character in fiction itself–we knew we had to thwip up something original yet familiar, and, of course, amazing and spectacular.

First, our creative teams instantly bonded when we realized we all shared a similar childhood memory of fighting pretend villains while slinging imaginary webs in Spider-Man underwear. Next, we recognized that collaborating with some of the tremendous talent working on Spider-Man comic books today would be essential. That’s when writers Dan Slott and Christos Gage swung into our Spidey Web of Trust. The teams at Insomniac Games, PlayStation, and Marvel Games have been hard at work on making the game great since then. Here’s a glimpse into our shared vision from some of our biggest Web Heads:

If you want to hear more from the Marvel writers contributing to the project, head over to the This Week in Marvel podcast to listen to Dan Slott and Christos Gage talk more in-depth about what’s it been like to write and collaborate on the game of our (and hopefully your) dreams.

“Marvel’s Spider-Man” launches in 2018. Mark your calendars and get ready for greatness!

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Does Green Goblin or Norman Osborn pose a bigger risk to the Universe?

In AMAZING SPIDER-MAN #32—due out on September 13 from writer Dan Slott and artist Greg Smallwood—Norman Osborn has returned. Spider-Man succeeded in taking down his nemesis at the end of issue #28, but without managing to capture him, it’s only a matter of time before the two clash again.

What we didn’t know then, however, was just how dangerous Osborn had truly become. Has Norman Osborn—the man—replaced his cackling former alter-ego as the most perilous of Spidey’s enemies? Or does the Green Goblin still reign supreme?

To find an answer, we put together a list of pros and cons about Osborn losing the Goblin within.

PRO: Norman Osborn’s activities are no longer hidden behind a mask

In the past, when Osborn would commit villainous deeds, the general public had no idea who really did the crime. His sins were covered by a horror mask. Even after the murder of Gwen Stacey and returning from his faked death, only the heroic efforts of the Daily Bugle staff finally exposed Osborn for being much more than just a cutthroat business man.

Now, there’s no benefit to Osborn’s deeds being shadowed. His machinations in Symarkia occurred in broad daylight—and neither intimidation, nor murder, nor a fleet of lawyers can obscure that now.

CON: A revealed Osborn has no need to pretend

Back when Osborn had to juggle his public life and his masked life, he had to scramble to keep them separate—to keep one from derailing the other. But, as noted above, those days are gone. And with that, so too is the need to be anything but 100% himself—an unscrupulous criminal obsessed with destroying the Wallcrawler.

PRO: He’s been cured of the mental illness that haunts all Green Goblins

The Goblin gas no longer works on Osborn. He no longer suffers from the illness that made him so erratic, that cost him his corporation, that lost him leadership of the Thunderbolts, and—most devastatingly—that robbed him of his place as the head of H.A.M.M.E.R.

CON: The gas’s lack of influence doesn’t mean Osborn has morals now

Just because Norman Osborn has gained control of his mental health does not mean he’s acquired a sense of goodwill. A healthy Osborn remains hungry for power and disinterested in anything except advancing his own sinister agenda.

PRO: He no longer has super powers

Ever since the gas lost its grasp on Osborn, the former Goblin no longer boasts super strength or an increased healing factor. This means that Spider-Man has a tremendous physical edge over his old enemy—the biggest one he’s had since they first tangled.

CON: Norman Osborn is getting craftier

In their latest encounter, he proved this fact—forcing the Webslinger through a series of obstacles that slowly stripped away Spider-Man’s physical advantages, and by the time Osborn finally stepped in himself, they stood on nearly-even ground.

Now imagine that kind of cunning put to use not just to evade the Web-Head—but to strike at him. Imagine when Spidey has no idea he’s been targeted. Imagine when Norman Osborn seizes control and Spider-Man has to react?

Positively terrifying.

AMAZING SPIDER-MAN #32, by writer Dan Slott and artist Greg Smallwood, is available on September 13!

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Dan Slott provides a post-game of reveals and revelations for Peter Parker!

At over 90 pages, AMAZING SPIDER-MAN #25 packs quite a wallop, launching a brand new storyline—“The Osborn Identity”—showcasing some new talents in two delightful backup stories, and teasing the return of a certain multi-armed superior foe.

It proved such a wallop, in fact, that we could not just talk to ourselves about it. Thankfully, AMAZING writer Dan Slott answered the phone when we gave him a call. AMAZING SPIDER-MAN #25 is a massive issue.

Dan Slott: You could kill a man with this! If you rolled it up—it is kill-a-man-able size! Did it feel like a really big burden coming right after Clone Conspiracy or did you feel like you needed an issue that size, with the number of stories in it, as a kind of palate cleanser or system reboot after that last storyline?

Dan Slott: Every time I do a [Spider-Man event], by the time it’s done, I’m screaming to the heavens, “I am never doing this again. Never!”

They are huge undertakings to make sure everything works out on time, to fit everyone’s schedules, and how it ties into others books. You are laying tracks for it months in advance and it all has to come together. Oh boy…I just…oh God.

For me, the fun of this was we knew were going to come out of [Clone Conspiracy] with momentum. I mean how could we not with gorgeous Jim Cheung art.

But there’s a flip side to that, which is you always get excited about the next thing. While we are talking right now, issue #26 is leaving house, issue #27 is all drawn, issue #28 is being drawn as we speak, and issue #29 is due for plot. So you’re really in the thick of it all.

Dan Slott: Yeah. And you always get excited by the shiny piece that’s coming. So it is weird to be promoting Clone Conspiracy while I’m like, “I’m off here in ‘Osborn Identity’ and it’s great! Let’s talk about that.” That’s always the danger of this. Actually that makes for a great transition. This is the start of “Osborn Identity.” Coming off something as big in scale as Clone Conspiracy, it can be hard to decide how to maintain the momentum. Given that when people think of Spider-Man, Green Goblin is one of the first villains that come to mind, was this something of a solution. Not necessarily bigger in scale, but, deeper perhaps?

Dan Slott: Oh it’s huge! We haven’t had Norman, really, in this book. He hasn’t been around since the end, basically, of SUPERIOR SPIDER-MAN and even then Peter only got to face him for an issue. Even when Peter had to deal with problems with the Goblin Army in [AMAZING SPIDER-MAN #4] Norman was far off the canvas.

It’s exciting. As a writer, the only times I’ve really had a big mano-to-mano showdown with Norman was in “New Ways to Die” and that was…Dear God…when was that? It’s longer than you think, right?

Dan Slott: That was 2008….2009? Oh God.

Dan Slott: I know. The grave draws ever closer.

Dan Slott: [Laughs] For most of the time I was coming up through “Brand New Day” we couldn’t touch Norman Osborn. He was off in THUNDERBOLTS; he was off in DARK AVENGERS. And then [writer] Brian [Michael Bendis] had stories he still wanted to tell about him in AVENGERS. We got him on loan for “New Ways to Die” and a few other stories. As a Spidey writer, I didn’t really have ownership of [Osborn] until the arc in SUPERIOR SPIDER-MAN and even then I was having him go up against Otto Octavius. So this has been a long time brewing for me.

As a kid who grew up—you know, little eight-year-old me, the two Megos I had were Spider-Man and Green Goblin. So this is like, “Finally, the toy is in the toy box. I get to play with him.” Everyone, when they handle a character, makes their own unique impression on them because they all have elements they think are essential to the character. For Norman Osborn, what are your essentials?

Dan Slott: Well, this is a version of Norman we have never seen in the history of Spider-Man. At the end of “Goblin Nation,” using nanite technology developed by Doc Ock and implemented by Spidey, there’s something in Norman’s system that won’t let the Goblin formula work. He’s cured.

Even back in the day when you met him as Harry’s father in the book, he was always a little—he had Goblin serum already in him, we just didn’t know it.

This is the first time Spider-Man is going up against a cold and calculating Norman Osborn without even a hint of the madness. This is a different kind of enemy. Spider-Man may have given himself his greatest threat of all. Be careful what you wish for—you thought “The Goblin serum can never work on Osborn again, yes!” But it turns out that might have been holding him back. Now this is a Norman of undivided focus. That’s not good. Being careful what you wish for seems to be increasingly a theme of AMAZING SPIDER-MAN. For a while, he was very successful. He was building up his company. Now we are starting to see the return of Ben Reilly as a villain, having to reject Uncle Ben being brought back to life, having to tank his company’s reputation to stop the possibility of the degenerative virus spreading, and now a Norman Osborn free of the Green Goblin and more dangerous than ever. So one might get the feeling that your long-term plan might be to have built him up just to take it all from him.

Dan Slott: What kind of evil, evil person would do that?! Who would do that to poor Peter Parker? Without getting that far ahead of ourselves, is that an essential feature of how you view Peter? That so-called “Parker Luck” blown up to bigger proportions because he’s been playing on a bigger scale lately? This idea that, no matter what, Parker cannot win in all aspects of his life, that he has to have a tradeoff?

Dan Slott: It’s more the tradeoff. There’s so many things you could do if you had these powers, if you had these opportunities. But then, you wouldn’t be Spider-Man.

You’re Peter Parker and you kind of wake up to find Doc Ock has rearranged your life and given you this company. And then the company becomes a worldwide hit. It’s almost as instantaneous as being bitten by that spider, like a different kind of power.

And as Peter, he still buys suits off the rack, he takes a massive paycut so he’s not making much more than his middle execs, he spends so much of the resources either helping him build tools to fight crime as Spider-Man or to ensure the Uncle Ben Foundation helps people around the world. It’s like he’s going to try and use this stuff responsibly.

But it is his own special kind of goof. He’s running this company and probably not running it the best way because he’s Peter. If he has to go to a meeting and he’s swinging his way there and he sees a woman getting her purse snatched, he’s going to stop and do that.  Because he’s Peter. We see some of that this issue with him trying to balance company business with his search for Norman. It is clear that Norman gets under his skin like no other and it gives us, in the issue, a balance of the silent, meaner, darker Spider-Man and the more jokey, typical presentation. How do you find and keep the balance without the book getting too dark or undercutting the seriousness of the Osborn threat?

Dan Slott: I’ve read comics where he and Norman, like, sit down and have a laugh. To me, that personally doesn’t work for their relationship. From the moment he kills Gwen, there’s no laugh and this is a Spider-Man who just saw Gwen again and is hurting. Then Kingpin has stepped in to offer Norman on a platter. And Spider-Man is willing to chuck it all to take that opportunity.

You can’t…you can’t just stick Spidey in a box and say he is a dark urban vigilante who swings through the night to fight crime. Or he’s a jokey super hero. There’s all these different things that make up Spider-Man and all these different ways you can tell a Spider-Man story. You see Mike Deodato draw Spider-Man and that’s a specific kind of Spider-Man and [then] Humberto Ramos draws him and that’s a different kind of Spider-Man. There’s something fun about that.

Amazing Spider-Man #25 cover by Alex Ross

It’s the same way when someone talks about you Tim or me Dan, the different people that know us might describe us completely differently. Your mom is going to give a completely different description of you than your wife than your girlfriend than your English teacher than your music teacher that thought you didn’t apply yourself. That’s a little too insightful about me there Dan.

Dan Slott: Yeah [Laughs] and Spider-Man is just the same way. You have me chasing down White Rabbit with Frog-Man and him crawling out of the grave in “Kraven’s Last Hunt.” There is a wide spectrum of Spider-Man stories you can tell. I put him in outer space. [Laughs]

For me, having been on this character for this long part of the fun of it is taking a look at those different aspects for a while and seeing where that takes me. A lot of the lighter aspects of Spidey in this issue comes from his interactions with Mockingbird. As a writer, what made her a good fit for that role?

Dan Slott: I had kind of different plans for Mockingbird long-term and then seeing Stuart Immonen’s art and the light and spark he was giving her and the way [she and Spider-Man] had chemistry on the page together made me go “I’m rethinking this.” And that’s the beauty of comics.

It’s not golf. It’s not you alone. It’s a team sport and you are going to get energy from each other. You are going to bounce ideas off each other. The way I write a script and the way Stuart draws it makes it a completely different animal then it would be with another artist.

Seeing all the gifts that Stuart gave me with them in those scenes I was like, “Oh my God, I love these guys together.” I really love the Stuart Immonen Spider-Man and the Stuart Immonen Mockingbird together. They’re fantastic. I’m shipping them. One of the things you referenced earlier was how long ago it had been since we’ve seen Norman Osborn in the book and the last time we saw another character here was very long ago and that was Silver Sable in the “Ends of the Earth” storyline which, at the time, seemed to end with her dying. As we know in #25, she is back. How long did you know you were planning to bring her back and why was the time now?

Dan Slott: From the moment we killed her—with irony quotes around the “killed”—I knew how she got out. I knew what her escape was. The hardest part was keeping Rhino also off the table that long because the moment you show Rhino, you know, “Hey if Rhino’s alive, wait a second…”

I knew we were bringing the Rhino back for Clone Conspiracy. The moment he was back it was just a ticking clock. I couldn’t wait to bring back Silver Sable. Beyond the ticking clock aspect, what made this a good time to bring her back? How is a she a puzzle piece that fits well into the larger story of the “Osborn Identity?”

Dan Slott: Umm, I don’t want to answer that question. Fair enough.

Dan Slott: [Laughs] Yes, that is a question I’d like to avoid until people read #26. So, for those interested, #26 is the issue to look for?

Dan Slott: Yes. I think we are putting off telling you how she lived until #27, but you’ll find out [how she fits] in #26. After the main story, there are some shorter stories including one that runs at the end of the book like a post-credits teaser. In that one we meet the reborn and revamped Doctor Octopus.

Dan Slott: Yes! Obviously, you’ve written him a bunch. You’re written him as Otto Octavius, as Peter Parker, and now a very different Otto, physically—

Dan Slott: I’ve written him inside a very clunky robot! Yes, that’s true too. So you clearly have some affection for him. What persuades you to return to writing him time and again?

Dan Slott: Honestly—I’m sure people who write who are reading this know that sometimes the story just starts happening and you’re along for the ride and that’s when writing is the most fun. There’s that kind of fun with Doc Ock. I just don’t know what he’s going to do sometimes. Or how he’s going to react.

The amount of time I spent in Doc Ock’s head while doing SUPERIOR—it was fun! It was just fun. Part of you goes, “I don’t want the ride to end. How am I going to save him? How am I going to bring him back?”

But this is what we’ve been building to. This is how you get a Superior Spider-Man-like character for him. One thing I noticed is that he clearly is a villain for Spider-Man and knowing who Parker is has certainly made him develop a grudge. Beyond that though, I like that we are not sure how this Otto is going to break. Is he going to be a pure villain or will he be more like his Superior Spider-Man incarnation that was arrogant and mean but still looking to do good.

Dan Slott: So when this new character Tomas picks [Otto] up and drops him off at the Auto Empire… That’s a nice touch.

Dan Slott: Thanks. Yeah, it’s where old “auto bodies” are… [Laughs] I just love that. It’s so stupid, so wonderfully comic book-y stupid. That’s just bliss.

Anyway, [editor] Nick [Lowe] was like, “Are we going to see Tomas again?”

Because when Tomas drives him Otto is like, “On the day when my plans come to fruition, you will be one of the saved, Tomas!” There’s a weird kind of honor to Otto.

But now it’s got me thinking we might see Tomas again. [Otto saying], “I have converted your pickup truck to…hover mode! You’re welcome.” That would be a nice thing to do.

Dan Slott: Oh now watch me do that. I’ll look for it.

Dan Slott: [Otto’s] fun! We’re spit balling here and he’s already going to these fun places. His new look, both in and out of costume, who created that look, that appearance?

Dan Slott: That was a team effort. There was a moment in putting together Clone Conspiracy where we thought we might have put this and because of that there was a good chance that Jim Cheung was going to be drawing it and so Cheung took stabs at the designs. So the current design is mostly Jim Cheung.

There were certain things that I wanted in, like the lenses to be Doc Ock goggle shaped and for the arms not to be like spider arms but like Doc Ock arms. It is very much a suit that is a hybrid of Doc Ock suits and Superior Spider-Man suits. With the coloring, it’s a much darker green then we are used to seeing Doctor Octopus in which I mention because when he takes back his base, HYDRA is occupying it.

Dan Slott: Huh. So was that because of what was around making that shade of green available to him or are there other reasons.

Dan Slott: Huh, it is very HYDRA-ish, isn’t it? Indeed.

Dan Slott: And it is almost like HYDRA’s logo is like an octopus. That is true. It is almost like that.

Dan Slott: How odd. I feel like this is another thing we’re going to have wait on for an answer…

Dan Slott: Sorry. I will say one of the things I really liked about that 10-pager is we just came off of evil Ben Reilly and the return of Gwen Stacey to straight on into going after Norman Osborn and next up is—bam—Doc Ock. The hits keep coming. And [there will] be something coming after that! We are not going to take our foot after the accelerator in AMAZING.

If you haven’t read AMAZING SPIDER-MAN #25 yet…what are you waiting for?! It’s available now!

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