Wendy Willming on how Season 3 of the series redefined Hydra's history and purpose.

Today, we shine a spotlight on Season 3 of “Marvel’s Agents of S.H.I.E.L.D.” as we draw closer to the landmark 100th episode.

The next piece, shown below, in the “Marvel’s Agents of S.H.I.E.L.D.: The Road to 100” art program comes from artist Nick Bradshaw, and helping us walk down memory lane is “Marvel’s Agents of S.H.I.E.L.D.” producer Wendy Willming. Don’t miss the Season 1 piece and Season 2 piece.

Marvel.com: Bradshaw highlights several key moments from Season 3. What were the significance of these scenes and how did it impact our agents?

Wendy Willming: These moments depict some of our more iconic scenes and Bradshaw weaving a sense of evil throughout the piece is telling of the many layers that are uncovered this season.

On the far left, Fitz holds Simmons after he pulls her out of the portal from Maveth – a sunless, desert-like planet where Simmons was stranded for “4,722 Hours,” which also happens to be the title of the 5th episode in this season.

Shown on the far right, Coulson dives into the portal after Ward and Fitz. Coulson ultimately kills Ward with his prosthetic hand, finally destroying the evil that has plagued our agents of S.H.I.E.L.D. for years. Unbeknownst to our team back on Earth, an ancient and parasitic Inhuman named Hive, finds Ward’s body and returns in his form until he reveals his true appearance – an octopod-like creature – that Bradshaw has depicted on the right.

In the bottom left hand corner, the art piece also features the Secret Warriors, finally together . It’s an iconic moment for our Inhuman agents – Daisy Johnson, Elena ‘Yo-Yo’ Rodriguez, Lincoln Campbell and Joey Gutierrez.

Bradshaw also gives us Bobbi Morse and Lance Hunter, our beloved bickering couple. Fans will remember the episode “Parting Shot.” Morse and Hunter choose to leave S.H.I.E.L.D. after their lives are spared with the caveat that they never work for the U.S. government again. The team takes a shot in their honor but their undeniable presence is sorely missed.

Marvel.com: Hydra breaks the S.H.I.E.L.D. logo and its tentacles looms over the entire piece. How had the Hydra revelations change the course of the season?

Wendy Willming: The revelations that unfold throughout the season give a whole new perspective and understanding of Hydra’s history in the Marvel Universe. It also ties in the thread of Inhumans. In our third season, we learn that Hive is the source of Hydra and what an ancient, parasitic Inhuman has built, lived on to become the most feared institution in history. For fans and anyone keeping track of the Marvel U thus far, it redefines Hydra’s history and purpose.

 

Marvel.com: As we near the 100th episode, is there anything you’d like to share with the cast, the teams behind the scenes and the fans?

Wendy Willming: I’ve had the incredible fortune of being apart of Season 3 and our current Season 5. It’s a privilege to be a part of such a wonderful group of storytellers and artists. Everyone on this team, and it takes a village and then some, has been a complete joy because they love what they do and they love the show they get to bring to life every single day. I truly believe that if you love your job, it shows on screen. And this group, shows it on screen every week. Here’s to 100 more!

Season Five will return Friday, March 2. Don’t miss the 100th episode of “Marvel’s Agents of S.H.I.E.L.D.” will air Friday, March 9 at 9|8c on ABC!

For more information on “Marvel’s Agents of S.H.I.E.L.D.,” visit ABC.com, follow @AgentsofSHIELD on Twitter, and like “Marvel’s Agents Of S.H.I.E.L.D.” on Facebook for all the latest news and updates!

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Geoffrey Colo relives the iconic moments from Season 2!

As we inch closer to the landmark 100th episode of “Marvel’s Agents of S.H.I.E.L.D.,” we continue to commemorate the series with the “Marvel’s Agents of S.H.I.E.L.D.: The Road to 100” art program.

We previously spotlighted Season 1 with an art piece by Dale Keown. Marvel.com had the opportunity to reflect on Season 2 and the Season 2 art piece below from artist Daniel Acuña with Geoffrey Colo, Transmedia Producer at Marvel TV.

‘Marvel’s Agents of S.H.I.E.L.D.: The Road to 100’ Season 2 art by Daniel Acuña

Marvel.com: Daniel Acuña highlights several noteworthy scenes of the second season in the art above. Can you share the significance of each scene depicted?

Geoffrey Colo: These four images represent key, life-changing moments for our S.H.I.E.L.D. characters in Season 2. Acuña did an amazing job at capturing them. I particularly love the badass Coulson profile.

We start at the top left with an image from the aptly-titled episode, “The Writing on the Wall.” Curse that damn memory machine for driving Coulson to the brink of madness, but he did finally unlock the meaning behind his bizarre alien writing. It’s a city. You know what that means. Road trip!

Bottom left, Skye breaks free from her Inhuman cocoon. It’s the birth of Quake and, for me, one of the most iconic moments of the series.

At the center, we have our team, accompanied by the alt S.H.I.E.L.D. logo. The “real” S.H.I.E.L.D., headed by Robert Gonzales, and backed by Bobbi and Mack was philosophically opposed to Coulson’s team who believed that Inhumans should be embraced, instead of feared. Can’t we all just get along?

In our final image, bottom right, May clutches the lifeless body of Katya, an Inhuman girl May was forced to kill in the line of duty. This heartbreaking flashback episode revealed the dark, hidden truth behind May’s infamous nickname, The Cavalry. Definitely one of my faves.

Marvel.com: You’ve been part of “Marvel’s Agents of S.H.I.E.L.D.” early on starting with Season 2. What has it been like brining the series to life, and seeing where we are today?

Geoffrey Colo: Watching the evolution from script to screen on a weekly basis is the most enjoyable part of my job. We have such a dedicated team of producers and writers, and a cast and crew who always go above and beyond. I’m just honored to be part of it all.

Marvel.com: That’s so incredible! We can’t talk about S.H.I.E.L.D. without mentioning the fans.

Geoffrey Colo: It’s always rewarding when the show you work on has such a rabid fan base. Truth be told, we’re all Marvel super fans ourselves. So, the same things our fans geek out over, we do as well. The fact that we’re also able to connect with them directly at Comic-Con and other events, makes it even more special.

Marvel.com: Reflecting on Season 2, are there other key moments you’d like to spotlight on how they impacted the S.H.I.E.L.D. team and series?

Geoffrey Colo: There are so many more moments to spotlight. Don’t touch the Obelisk. Hello Mockingbird. Goodbye Tripp. Hunter joins S.H.I.E.L.D. Welcome to Afterlife. You’re killing me Ward. Deathlok to the rescue. Daisy has a daddy. Coulson loses an arm. Simmons meets the monolith.

Season Five will return Friday, March 2. Don’t miss the 100th episode of “Marvel’s Agents of S.H.I.E.L.D.” will air Friday, March 9 at 9|8c on ABC!

For more information on “Marvel’s Agents of S.H.I.E.L.D.,” visit ABC.com, follow @AgentsofSHIELD on Twitter, and like “Marvel’s Agents Of S.H.I.E.L.D.” on Facebook for all the latest news and updates!

 

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See how the Inhumans have been a part 'Marvel's Agents of S.H.I.E.L.D.' from the beginning!

“Marvel’s Agents of S.H.I.E.L.D.” Throwback Thursday looks back at how the last five years of “Marvel’s Agents of S.H.I.E.L.D.” influenced this recent episodes. 

“Marvel’s Agents of S.H.I.E.L.D.” has always incorporated deep references to the Marvel Universe, and the Inhumans have been prevalent throughout the series. During the Kree-Skrull War, the Kree began experimenting on humans by splicing human DNA with their own, which resulted in a powerful race of mutants who came to be known as the Inhumans. After being exposed to Terrigen Mist, the Inhumans go through Terrigenesis which gives them strange and unimaginable powers.

Season 2 introduces the Inhumans to the S.H.I.E.L.D. agents. After an encounter with the Inhuman Lincoln, Skye learns more about her true ancestry and that her birth name is Daisy. After being exposed to the Terrigen Mist, her powers are revealed and she becomes Quake. Season 3 is when Daisy assembles a team of Inhumans, known as Secret Warriors—Lincoln Campbell who had the ability to manipulate the electrical charge in molecules, Joey Gutierrez who could manipulate metal, and Elena “Yo-Yo” Rodriguez—to fight against HYDRA.

Inhumans are a key part in Season 5, with the Kree playing a major role in the storyline. It revealed the return of Robin Hinton, an Inhuman we first meet as a young girl back in Season 3 finale “Accession.” It was then that Daisy handed Robin a wooden bird, carved by her father Charles Hinton—also an Inhuman—as she promised Charles she would protect his family.

Flash forward to this season (Episode 5 “Rewind”), Fitz is surprised to see the young girl once again, this time having recently undergone Terrigenesis. Now known as The Seer, Robin prophesied the Earth’s destruction. In Episode 8 “The Last Day,” Robin resurfaces once again, this time 74 years in the future as an elderly woman. Upon her deathbed, Robin reveals to May that Flint, the Inhuman, will be their savior.

Just what did Robin’s vision mean? After being exposed to Terrigen crystals in Episode 6 “Fun & Games,” Flint takes the advice of Mack, and in the end decides to use his powers to protect people. Which leads us to this week’s episode, “Past Life,” Flint is our agents last hope to return home. Can Flint’s Inhuman powers reconstruct the monolith? Tune in to “Marvel’s Agents of S.H.I.E.L.D.” on Fridays at 9:00 PM ET on ABC!

Don’t forget to follow @AgentsofSHIELD on Twitter and like “Marvel’s Agents Of S.H.I.E.L.D.” on Facebook!

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Writer Al Ewing on bringing the ROYALS saga to a close in the upcoming one-shot.

The Progenitors grow closer to Earth and with them, the possibility of the end of all that is. And Al Ewing could not be prouder.

The writer brings his universe spanning ROYALS saga to a close in INHUMANS: JUDGMENT DAY January 24, 2018 with the Royals racing back to Earth and reuniting with Black Bolt in the vain hope they may derail the apocalyptic future glimpsed by Maximus. Ewing chatted with us to remind us of the fleeting nature of human life.

Marvel.com: This is where you have been driving to, essentially, since ROYALS launched. Now that you are here, did it go the way you expected? Any surprises along the way, any time you realized the plot or the characters demanded a different route to this moment?

Al Ewing: ROYALS was probably the most freewheeling book I’ve done. There was a lot going on behind the scenes, and JUDGMENT DAY probably wouldn’t have existed had things gone as originally planned. But the essential outline of things hasn’t changed so much; we’ve gone out into the furthest reaches of Marvel space, we’ve reinvigorated the Kree, looked in on the Universal Inhumans, added a whole new alien species to the Marvel cosmos, and we told our parallel story of a quest through a destroyed future world.

So the essentials are as they were originally conceived, but at the same time, JUDGMENT DAY, as well as being a one-off tale in its own right, is the ending for the series ROYALS became. It’s very much exploring the themes that crept in from the edges as we went along. You never quite know what a book’s about until you’ve finished writing it, after all.

INHUMANS: JUDGMENT DAY

Marvel.com: From a creative standpoint, what was the importance of taking the story a kind of full circle—into space and back to Earth? How did that structure aid your storytelling?

Al Ewing: Again, that was always the plan. From the start, I knew we were going to go out into the depths of space, and then bring the cast back to Earth, having changed, and bringing the knowledge they’d gained along the way with them. It’s the difference between a journey and an exile. I don’t know how happy Inhumans fans would have been if I’d shot them into the void between the galaxies and then left them there.

As well as that, part of the reason for doing JUDGMENT DAY was to leave everyone somewhere other writers could pick up from. There’s a rough status quo in place for this book that the next writer on the franchise can adopt, adapt and improve, if they want to. And, as is my wont, there’s at least one ball I throw in the air and leave for the next person to catch.

Marvel.com: One entirely new aspect of the story for you is you get to write the real Black Bolt after it turned out the King who went into space with the ROYALS was none other than Maximus. How was it to deal with the wordless former ruler? Did you talk to or coordinate with Saladin Ahmed at all to make sure to nail the Midnight King at this stage of his life?

Al Ewing: I coordinated over email, and since we had the opportunity at NYCC, I went for a coffee with him so we could get it all straight in person. It’s still my story, but I gave Saladin final approval at every stage and made sure it fitted in with what he was doing and his own thoughts on Black Bolt, because I felt it was very important not to step on his toes at all. BLACK BOLT is one of the greatest books to come out in 2017 and as a debut it’s a stunning achievement, so the last thing I wanted was to wade in and stomp all over it.

So we ended up with a kind of crossover between the two titles – I think BLACK BOLT #10 comes out after JUDGMENT DAY, and shows things from his point of view, and then BLACK BOLT carries on from there. And this process—not wanting to get in BLACK BOLT’s way, or present a situation where the remainder of BLACK BOLT is telling a story we’ve already seen the end of—ended up making JUDGMENT DAY something very special and very unlike anything else out there. It has explosions and action beats and suchlike, but all in service to emotion and the inner lives of the characters. I think Inhumans fans will dig it, especially if they’ve been enjoying the psychedelic scenes from the recent ROYALS arc.

Marvel.com: The Medusa we last see in ROYALS #12 is grief-stricken but no longer broken. She’s angry and ready to, to paraphrase her, cheat to win. When we pick up with her in JUDGMENT DAY is she in a similar place?

Al Ewing: The same place.

The Royals went between the galaxies and faced down the creators of the Kree in order to get Primagen, the primal substance that Terrigen is just a copy of. Medusa was, on some level, hoping it might cure her, but so far it hasn’t. At the start of JUDGMENT DAY, she’s still suffering—her hair is gray, short and dead, and her heart is dead in her chest. She’s in a bad place, and no poetical super-crystal can help. So what can?

Marvel.com: What of the rest of the ROYALS? Emotionally, where are they?

Al Ewing: They’re beaten, battered, and coming to terms with the changes in them. Some of them—like Maximus and Flint—have expanded powers and perceptions. Some are dealing with the aftermath of terrible injuries; Marvel Boy, in particular, is healed up on the outside to an extent, thanks to those super-survivor genes of his, but maybe not so much on the inside. He’s someone I’d be interested in doing more with at some point, if the time comes. And nobody’s really had any time to mourn or take stock, they’re on edge, waiting for the other shoe to drop and the Progenitors to come to Earth for the final battle. So it’s a tense time.

Marvel.com: Without giving away too much, do the King and Queen recognize they are both different when they reunite?

Al Ewing: The reunion between them is a big part of all this—it became, quite literally, the center of the book, and the hub it all revolves around. It’s where all the themes we’ve been building come to a head. Obviously it would be a major spoiler to say how it all resolves, but there are some beats in there that I’m very proud of and happy with. It’ll be interesting to see where other writers take things from here.

Marvel.com: Forgive me if I am wrong, but I believe this is your first collaboration with Michael Del Mundo. What does he bring to this story? What elements did he help you to realize, to emphasize?

Al Ewing: Mike gets the emotional beats absolutely spot on. As soon as I knew I’d be working with him, I knew the kind of thing I wanted to do with him—vast, beautiful, melancholy vistas and landscapes, essentially—but there are dozens of tiny, human moments in there as well that he just knocks out of the park. Also, there are a couple of double-page spreads that I think would have pride of place in any museum gallery you’d care to name.

I’d be remiss if I didn’t mention Kevin Libranda, as well—he’s been our superhero on this series, the backbone of the book, and he gets some great action and character beats here. The book works in such a way that the two artists, with their different styles, fit together absolutely naturally, as you’ll see when you read it. I wasn’t lying when I said it was something special, and packed with the kind of wonderful weirdness and ambition Inhumans readers have come to expect.

Marvel.com: With this, although a one-shot, your ROYALS run draws to a close. What will you miss about the characters, the story? What makes this a satisfying ending for you?

Al Ewing: I’d have liked a little longer, but at the same time, it’s nice to move on. I feel like the important things got said, and the important moments were shown. I think what makes this ending satisfying is that the Inhumans, not just in my book but in BLACK BOLT and SECRET WARRIORS as well, have grown and pushed forward a little.

We inherited a franchise that was in the process of transforming, we were entrusted with a couple of in-progress plots like the skyspears, and I feel like we did right by that spirit of transformation and forward motion. We didn’t do the expected thing. And now, in turn, we entrust our own plots and characters to others, in the hope that whatever is done with them, it’ll be interesting, exciting and different. Because if “interesting, exciting and different” doesn’t define the Inhumans, what does?

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Find out how the Kree have a played a part throughout 'Marvel's Agents of S.H.I.E.L.D.' history!

By: Jenn Fujikawa and Christine Dinh

Every Thursday, we look back at how the last five years of “Marvel’s Agents of S.H.I.E.L.D.” influenced this past week’s episode. 

The beginning of Season Five of Agents of S.H.I.E.L.D. took viewers to unfamiliar territory. Our agents escaped the Framework, battled Life Model Decoys, and crossed paths with Ghost Rider, only to find themselves, with the exception of Fitz, transported onboard a station—in space!

As they come into contact with the vessel’s inhabitants, it becomes abundantly clear that something has gone terribly awry. Not only do they have to fend off vrellnexians “roaches,” but they come to learn humanity is at the mercy of Kree soldiers and their military governor, Kasius.

This isn’t the first time we’ve seen the Kree in “Marvel’s Agents of S.H.I.E.L.D..” In Season 1, we learned Phil Coulson was resurrected after facing Loki at Battle of New York in Marvel Studios “The Avengers” after being treated with Project T.A.H.I.T.I. serum, GH.325, derived from a blue alien corpse, with abilities to promote advanced cellular regeneration. Eagle-eyed viewers will recall the flashback to Agent Peggy Carter retrieving that very blue alien corpse. In Ep. 14 “T.A.H.I.T.I.,” that very serum saves Skye’s life, without any consequence or side effects that Coulson endured, signaling she’s not quite a normal. In the following episode, Ep. 15 “Yes Men,” Lady Sif mentions the Kree as one of blue-colored species she has met on her travels.

Throughout “Marvel’s Agents of S.H.I.E.L.D.,” the Kree have been present—the Diviner, Hive summoning of Kree Reapers, the Monolith, and now culminating on the Lighthouse under the heel of the Kree ideology of a life earned, a life spent.

The Kree, a scientifically and technologically-advanced race of blue-skinned humanoids from the planet Hala, play a big part in Marvel history, not only in the comics, but in the Marvel Cinematic Universe. The Kree first appeared in FANTASTIC FOUR #65 by Stan Lee and Jack Kirby. Over on the big screen, who can forget Ronan the Accuser in Marvel Studios’ “Guardians of the Galaxy” and his mission to end the Xandarians and their Nova Corps?

In Season 2, Ep. 12 “Who You Really Are,” Vin-Tak, a Kree sent to Earth to track down who activated the Diviner, revealed to Lady Sif and our Agents the true origin of the Inhumans—genetic experiments performed by Kree Reapers in hopes of creating bio-weapons. The Kree left Earth thinking these “genetic abominations” would die off on their own.

The Kree’s large mistrust and disgust of the Inhumans stemmed from Hive, an Inhuman who was supposed to lead the race for the Kree but who ultimately gained too much power and rebelled against them instead. You can thank the Kree for the Monolith and the earliest iteration of HYDRA, but that look back is for another time.

Catch more Kree action in new episodes of “Marvel’s Agents of S.H.I.E.L.D.” Fridays at 9:00 PM ET on ABC. Not only that, keep an eye out for the Kree’s prominent role in the upcoming Marvel Studios’ “Captain Marvel.”

For a look at more references in S.H.I.E.L.D. history, check Marvel.com every Thursday for “Marvel’s Agents of S.H.I.E.L.D.” Throwback Thursday. Don’t forget to follow @AgentsofSHIELD on Twitter and like “Marvel’s Agents Of S.H.I.E.L.D.” on Facebook!

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Christopher Priest preps the Royals for the fight of their lives!

The time has come for the teenage royals to return home to Attilan.

In an attempt to clear their names of treason and retake their rightful places as Inhuman leaders, the team has made some unlikely alliances and built up their forces to prepare for a battle with the King himself!

On December 6, writer Christopher Priest and artist Phil Noto conclude INHUMANS: ONCE AND FUTURE KINGS with the climactic issue #5!

We caught up with Priest to get some hints about this electrifying finale!

Marvel.com: Can you give a brief summary of the series ahead of the last issue?

Christopher Priest: This will be part five of five parts, so a lot has gone on. I recommend everyone pick up the entire series (obviously) and enjoy the ride! Long story short: due to a series of misunderstandings, the teenage royals Black Bolt, Maximus the Not-So-Mad, and Medusa become convinced the Inhumans King (who now goes by the name Unspoken) wants to kill them.

Led by a mysterious new character, an enlightened Alpha Primitive who calls himself “Elisha,” the teenhumans flee the ancient city of Attilan and take refuge in New York City where they come under the tutelage of Benjamin Wittman, the brilliant inventor who later becomes known as the malevolent Wizard. At the start of this, our finale, the royals—now reunited with their cousins Triton and Karnak—have come to question much of the information they’ve been given, and have determined to return to Attilan and engage the King…who has the power to destroy them all.

Marvel.com: How have the team dynamics shifted over the course of the story?

Christopher Priest: Well, they’re not much of a team, actually. They’re family, to be sure, but they are kids; teenagers on a first big adventure away from home, guided by grown-ups with questionable motives.

All of this leads, of course, toward Black Bolt’s inevitable ascension to the throne—but is that the path the young monarch-in-waiting really wants to take? There’s an interesting dynamic between the impulsive and self-absorbed Maximus, who craves the throne, and Black Bolt, who’s had major responsibility thrust upon him since birth.

Marvel.com: How do each of the Royals feel about the prospect of returning to Attilan?

Christopher Priest: Well, they have conflicting emotions about returning home, considering no one knows for certain whether they will be welcomed home as family or fired upon as traitors and enemies. Stay tuned!

Marvel.com: Tell us a little more about Elisha.

Christopher Priest: Elisha the Alpha Primitive could be described as your typical liberal post-grad student—the kind that waits on line in the rain for the newest iPhone. He is mostly a product of his experience—the oppression suffered by the Alpha Primitives, a servant caste of the Inhumans. An Inhuman taught Elisha to read and got imprisoned for it. Now enlightened, and with postgrad degrees from M.I.T., Elisha remains a second or even third-class citizen due to his genetic disposition—which casts a pall upon the more “enlightened” Inhuman society.

His character theme is, therefore, about discrimination—especially among liberal free thinkers such as the Inhumans.

Marvel.com: How does Black Bolt differ at this stage of his life from the present day?

Christopher Priest: This Black Bolt has only been out of his isolation chamber for a few months, if that long. He is, literally, the boy in the plastic bubble who is only within these pages learning how to relate to and socialize with others. Thus, Black Bolt feels very sensitive to the plight of the Alpha Primitives and, in fact, challenges the King on that subject in our first issue. He tends to break a lot of social rules because he doesn’t really know about them.

Marvel.com: What proved to be the most challenging part of writing this series?

Christopher Priest: Reimagining characters I’ve grown up reading and finding something new to say about them. We all know these characters, but these are new voices and very different themes.

Marvel.com: Who became your favorite character to write?

Christopher Priest: Crystal, whom I just went my own way with and gave her a fairly precocious voice. She, above all of the Inhumans, has had a historically generic voice. But my editor, Will Moss, has allowed me to bend convention a little and give her an irascible personality…we presume she’ll grow out of it.

Christopher Priest and artist Phil Noto’s INHUMANS: ONCE AND FUTURE KINGS #5 concludes the story on December 6!

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Jack Kirby and Stan Lee reunite on a seminal Silver Surfer story!

1917 to 2017: 100 years of Kirby.

Join us to celebrate Jack “King” Kirby’s 100th birthday by learning about the characters and stories he created that changed comics forever. To commemorate Jack’s centennial, we’ve sat down with the modern-day creators he influenced—and the decades of work he gifted us all.

Stan Lee and Jack Kirby worked together to create one of the finest collections of characters ever assembled. Sometimes these creations came from bouncing ideas off of each other before actually working on the comic while others sprouted from different places of origin. Take The Silver Surfer for example. Everyone knows he first appeared ahead of his master Galactus in the pages of the classic FANTASTIC FOUR #48, but the genesis of the character proves an even more interesting story. In his intro to MARVEL MASTERWORKS VOLUME FOUR, Lee remembered how they nailed down the concept of Galactus and then recounted seeing Silver Surfer for the first time.

“After the story had been hammered out, when Jack Kirby delivered the artwork, I noticed some panels featuring a strange-looking guy on a flying surfboard,” Lee wrote. “’Who’s he?’ I asked, not recalling any mention of such a character in our previous discussions. Jack simply said that he felt that anyone as powerful as Galactus should have his own personal herald who searched the skies looking for planets for his master to devour. Well, needless to say, the idea grabbed me. But even more than that, I loved the way the Surfer had been drawn. Something about him looked so pure, so guileless, so noble that I felt I couldn’t let him speak like any other typical comic book character. His personality had to be as special as his demeanor. And so, I decided to let the Silver Surfer become the voice of Marvel’s conscience. He mouthed all the philosophical thoughts and observations that I myself had always harbored and dwelled upon. Within a short time he, more than any other of our creations, came to symbolize all that was good and true about life and the human condition.”

Silver Surfer (1968) #18

Silver Surfer (1968) #18

  • Published: September 01, 1970
  • Added to Marvel Unlimited: January 01, 2000
What is Marvel Unlimited?

The Surfer kicked around FANTASTIC FOUR for a while after his debut, but earned his own series in 1968 by Lee and artist John Buscema, who would draw every issue of the title except the finale, #18, which saw Kirby return to the character he helped create. The story kicked off with our hero zipping around a series of powered individuals  looking to attack him. Aireo, Stallior, Timberius, and Leonus did so at the behest of their Inhuman leader Maximus the Magnificent—alternately known as the Mad.

Upon returning to their master, the Inhumans heard Maximus’ plan to get the Surfer mad at all of their kind instead of his group specifically. The ploy worked, as Norrid Radd flew to Attilan wondering why its denizens had attacked him. Quickly Black Bolt went to meet the visitor, but Medusa and Karnak set upon him as an intruder and knocked him unconscious! Waking up, Surfer lashed out against his captors. At that same time, Maximus attacked his brother’s people, sending Attilan into a panic. After wrestling his board away from Lockjaw, Silver Surfer flew off only to be attacked by more Inhumans.

Sick of the battle in every way, The Silver Surfer zoomed out of there to get some quiet and think. Instead of cooling off, though, he found himself overtaken by his anger. All this time of playing conscience to a world that didn’t seem to want him had taken its toll and he swore to be “the deadliest one of all!” However, with the cancellation of the book after this issue, readers never quite got to see that version of the character. Still, it would have been wild to see a Jack Kirby-drawn series with the man formerly known as Norrin Radd going crazy on the Earth!

Stay tuned to Marvel.com for more throughout Kirby Month and beyond! And join the conversation on all of our social channels with the hashtag #Kirby100.

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New episode airs TONIGHT at 9|8c on ABC!

This week’s new episode of “Marvel’s Inhumans” is called “Something Inhuman This Way Comes.” On the run from Auran’s forces, Black Bolt and Medusa reluctantly work with Louise to help locate the rest of their family. Back on Attilan, Maximus’ actions change the game completely.

Check out a sneak peek from the episode above, as Karnak (Ken Leung) puts those martial arts skills to good use!

The next episode of “Marvel’s Inhumans” airs Friday, October 20th at 9|8c on ABC.

Stay tuned to Marvel.com and follow @TheInhumans on Twitter and Inhumans on Facebook for the latest!

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Christopher Priest discusses the Inhumans' trip to NYC!

Whenever the Inhumans find themselves in The City That Never Sleeps, they just can’t seem to keep themselves out of trouble.

And on November 1, writer Christopher Priest and artist Phil Noto unleash the gang on NYC once again in INHUMANS: ONCE AND FUTURE KINGS #4!

The Royals hit the streets—and battle Spider-Man—in a wild tale that weaves in The Wizard, The Seeker, and all the local dangers of the city. With the wrath of Attilan on their tail, how will the Inhumans respond?

We caught up with Priest to find out.

Marvel.com: Tell us a little bit about the events leading up to this story…

Christopher Priest: This storyline has been based on a series of misunderstandings and misinterpretations of observed actions. The young Royals believe the King (whose name is now Unspoken) intends to kill them. He does not. Medusa believes the King wants to force her into marrying him. He does not. Some of these misunderstandings relate to their biases—for example, an Alpha Primitive develops his inaccurate assumptions as a result of the Inhumans’ caste system and how his people have been oppressed for generations.

But with all of that going on, it comes as no surprise when, at the climax of issue #3, a young Black Bolt mistakes a Friendly Neighborhood Spider-Man for one of the King’s agents and presumes the Alpha Primitive’s incorrect assumption—that the King wants to kill them—to be correct.

Inhumans: Once and Future Kings (2017) #1

Inhumans: Once and Future Kings (2017) #1

What is Marvel Unlimited?

Marvel.com: How did it feel to write Spider-Man again? You two have a bit of history!

Christopher Priest: I began my career way back in the 1900s as the Spider-Man Editor at Marvel—and later went on to write the character in a couple of series. My bigger struggle here became keeping him from sounding too much like Deadpool, whom I have also written! (Of course, Deadpool’s speech pattern is largely derivative of Spider-Man’s, so it could be a little tough.)

Marvel.com: Did it prove difficult to imagine these characters so far back in their own personal histories? How do the Royals differ here from how we see them as adults?

Christopher Priest: Well, I want to be careful because I have so much admiration and respect for the writers handling the current series. I personally have always thought the Inhumans have been handled with just a bit too much reverence—a bit stiff, taken too seriously—and that the characters became too far removed from what Stan Lee called “The World Outside My Window.” I’ve had similar problems with Asgard and Wakanda! These can be great places to explore, but in terms of my personal interest, I prefer my super heroes grounded in as much reality as we can muster—so that the fantastic elements “pop” from the world we actually know.

I thought, and Marvel agreed, that their adolescent selves might be a lot more flexible and knowable, with universal conflicts and coming-of-age stories present. That’s the big difference between Teenhumans and the current-day version: we allow ourselves to treat the characters a little less like glass and drop much of the formality. They’re kids. They look like kids, they act like kids, they make mistakes the way kids do. We have copious amounts of humor and warmth, which can be much harder to do with the, at times, way-too-serious adult versions of these characters.

Inhumans: Once and Future Kings (2017) #2

Inhumans: Once and Future Kings (2017) #2

Marvel.com: How does this origin story stand as unique from others that have been told?

Christopher Priest: We’re just kind of filling in the blanks and, at times, walking in-between known events of the early Marvel Universe. Some outright changes needed to be made only because of the inevitable knots in Marvel continuity over the years. I also believe that a lot of the origin stuff—specifically as presented in back-up stories or one-off features—emerged without a lot of consideration for “canon,” or the big picture.

In those days, Stan, Roy Thomas, and others just winged it. Now we have to be accountable to decisions made on the fly 40 years ago and somehow make it all fit! We tried hard to respect that work, but, inevitably, some choices had to be made.

Marvel.com: Tell us about Bentley Wittman, A.K.A. The Wizard. What has his presence done to the dynamic of the group?

Christopher Priest: Well, as most every fan knows, Medusa ultimately joins Wittman’s Frightful Four villains group—which could be the subject of a sequel if this series finds an audience… I thought engaging The Wizard without ever actually calling him that felt consistent with Marvel’s cinematic and Netflix universe approaches—and I think it works really well here; playing off of things the audience already knows about that character and history. The fact that one of the first humans the young Royals encounter turns out to be a menace adds to the Inhumans versus humans paranoia we see later on.

Inhumans: Once and Future Kings (2017) #3

Inhumans: Once and Future Kings (2017) #3

Marvel.com: Phil Noto—what a wonderful artist. How does his distinct style add to the tone of the story you set out to tell? By the way, aren’t you an artist yourself?

Christopher Priest: Nah, I’m a pretty good visual storyteller but way too lazy to draw my own thumbnail layouts the way Keith Giffen does. Inker Josef Rubinstein advised me kindly to stick to writing—I believe “you suck” were the words.

Phil Noto, on the other hand, is a revolutionary artist; a kinder, gentler Moebius. His work here presents a clear break from the typical Marvel house style, which may require some small adjustment from readers expecting Jim Lee-style dynamics. Noto’s stuff looks more like fine art—which it absolutely is; it feels very grounded in reality. Every page has been unexpected but wonderful—he delivers exactly what I asked for but not what I expected. His storytelling lands on-point and he breathes an amazing humanity into his characters’ expressions, drilling right into their eyes. I could not be more thrilled by this choice of artist and eagerly look forward to another project we can tackle together.

Marvel.com: How do you manage the stakes of a prequel story? Considering readers might already know the characters’ future.

Christopher Priest: Well, there’s more to personal conflict than life and death, and even knowing the end of the story doesn’t prevent the piece from being suspenseful. In the case of ONCE AND FUTURE KINGS, it has always been all about the journey—a fresh look at these characters and their history, while unearthing new conflicts and new possibilities along the way.

It’s been great fun—way more than I ever could have expected! And I believe there remains a lot more to say with these characters set in this exciting time of their lives.

INHUMANS: ONCE AND FUTURE KINGS #4, by Christopher Priest and artist Phil Noto, heads to the Big Apple on November 1!

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Al Ewing tasks the Inhumans with a fight for survival!

Meeting your creator can’t be easy. And meeting your creator in space with no ship, no weapons, and no back up may be an impossible task.

Unfortunately, the Royals find themselves in that exact position. Fortunately, they thrive on long odds.

On November 8, writer Al Ewing and artist Javier Rodriguez present ROYALS #10! The team, stuck inside the endless city-mind guiding the World Farm, meet a Progenitor—one of the members of the Inhumans’ parent race.

We spoke with Ewing about the Inhumans meeting their maker, losing hope, and why things can always get worse.

Marvel.com: Where exactly do we find the Royals at the start of issue #10?

Al Ewing: Well, they no longer have a ship. At the end of issue #9, the Astarion blew up. I won’t spoil how, or if, they get out of that one—except to say that ROYALS #10 won’t be 20 pages of seven frozen corpses floating in the intergalactic void—but it does leave them marooned in a dangerous and alien environment, with impossibly powerful beings who want them dead.

And that doesn’t even touch on Flint’s condition—he contracted something from an alien Skyspear and his flesh has slowly been becoming crystalline—or the unfolding events 5,000 years in the future, where a very aged Maximus and Marvel Boy deal with the fallout of the First Progenitor War…which suggests things don’t end well in the present.

Marvel.com: This mission takes them face-to-face with a Progenitortheir creator race. Do the Progenitors have an awareness of the Inhumans’ existence? What do they think of the Royals?

Al Ewing: The Progenitors also created the Kree, so they’re aware of that. And they’ve been monitoring the Inhumans—and their equivalents on other worlds—through the Skyspears, so they’re obviously keeping an eye on how their experiment has branched out.

As for positive or negative feelings…we’ll find out a little more about the Progenitors and how they work, but one thing that’s obvious from the start will be that these are deeply alien beings…so positive and negative feelings might not apply.

When they try to wipe the Royals out at a molecular level, it’s probably not personal. Probably.

Marvel.com: Given the scale of their mission and their lack of resources, the Royals seem really up against a wall in this book. But does this team become more dangerous the more they stare down their potential destruction?

Al Ewing: The Inhumans exist outside of the human world. Sometimes that makes them morally dubious—to put it mildly—and sometimes that makes them highly adaptable. If their backs get pushed against a wall and the gods of their gods are getting ready to slaughter them like roaches, the Royals will fight back in ways even they can’t predict…yet.

Marvel.com: Medusa, in particular, serves as a source of hope and guidance for the rest of the team. What makes her the potential key to the Royals’ survival?

Al Ewing: Even without her powers—her trademark hair—Medusa’s established her command of the mission. She’s gone from being Queen to being Commander; when she gives the orders, the crew jumps. That’s going to end up forcing her into some dark decisions as the ongoing struggle against the Progenitors wraps up, but the Inhumans have never been all sweetness and light.

Marvel.com: The World Farm seems like a massive, mind-blowing kind of place. How would you attempt to describe it?

Al Ewing: I’d describe it as a machine made of worlds—each with its own separate but interlinked task. We caught a glimpse of the garden-world, where Primagen gets grown, but now we’re going to see the “brain” of the operation—the city-mind. We’ll also take a journey to the power source: the sun-engine it all revolves around.

Marvel.com: How does Javier Rodriguez bring this otherworldly place to life?

Al Ewing: Javier—along with Alvaro Lopez on inks and Jordie Bellaire on colors—has been a wonder. I can provide him with a few short sentences of description, some bare ideas, and he’ll parlay that into a gorgeous vista that’s exactly what I wanted and then some. It all flows out of his amazing designs for the Progenitors—again, a short sentence or two extrapolated into something visually dazzling—which inspired me to go bigger and further with the concept.

Marvel.com: Considering all the factors in play, what would you estimate the Royal’s prognosis of coming out of #10 in anything near good shape is?

Al Ewing: Not great. We’re going to get injuries, mysterious maladies, ongoing health problems, Maximus acting up even more than usual, and of course, by the end of issue #11, our crew of seven will be down to six. It’s a dark time to be a Royal.

Witness the impossible task ahead in ROYALS #10, by Al Ewing and artist Javier Rodriguez, on November 8!

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