Marvel Television's Ironheart | Official Trailer | Disney+

The suit very much feels like a classic Iron Man suit, right down to the sound effects. I'd have preferred her to be making something inspired by Tony's tech, but that feels distinctly original and hers.
 

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But seriously, I believe it was a deliberate choice back in the day. Set it in the real(ish) world, give it more emotional impact., make it more relatable.
Yeah, Marvel is based in midtown Manhattan and often featured a bunch of New Yorkers as their talent. It was a lot easier writing about the places and people nearby than about pretty much anywhere else. And for a long time that was a real contrast with their DC rivals whose famous cities were usually genericized versions of other cities. Gotham and Metropolis may both be NYC with the serial numbers filed off, but they don't feel as relatable as Daredevil knocking around Hell's Kitchen or the Fantastic Four crash landing a spaceship in Central Park.
 


Gotta love a good crossover!

Unfortunately crossovers nowadays seem to involve everyone and totally derail anything happening in an individual book.
Yeah, these days crossovers and events are dominating the comics space (at least for Marvel) to much too high a degree. I love having small crossovers, like Spider-Man running into something obviously magical and swinging by Doctor Strange's place for help (and probably getting told by Wong that the Doctor is off doing Sorcerer Supreme stuff so Spidey has to figure this one out himself), or Carol Danvers shacking up with the X-Men for a while while professor X is trying to help her regain her memories after having them drained by Rogue. That sort of thing creates a feel that the world is bigger than just this one book, without derailing this book's plots.

But these days, a crossover is going to be like a 12-issue extravaganza spread over three different comics, or a separate book entirely, and with pretty much every other comic having tie-ins because the fate of the world is at stake and everyone has to work together and so on. I mostly blame Chris Claremont, Louise Simonson, and Bob Harras – Claremont and Simonson for the Mutant Massacre semi-crossover* event between all three X-books at the time (Uncanny X-Men, X-Factor, and New Mutants), and Bob Harras for making them repeat it every year thereafter because it was such a success. But I think the modern format can be traced to House of M, with a central event book plus tie-ins that basically take over the whole product line for half the year, every year. And of course, we can't ignore the Distinguished Competition and their Crisis on Infinite Earths which should get a lot of the blame as well.

* It wasn't really a crossover as such as you didn't really have characters from one book showing up in another, but you did have them see the results of what the other did.
 

But these days, a crossover is going to be like a 12-issue extravaganza spread over three different comics, or a separate book entirely, and with pretty much every other comic having tie-ins because the fate of the world is at stake and everyone has to work together and so on.
One of my favorite series of all times is Marvel Team-Up from 1972 to 1985 which typically featured Spider-Man teaming up with some other hero or team. But since it was its own series, the a team up never interfered in what was happening in X-Men, Power Man & Iron Fist, or even Spider-Man's own title.

I got out of comics in the early 2000s precisely because publishers were pushing me to purchase a bunch of titles I wouldn't normally purchase just so I could follow the story. I was reading a lot of Nightwing and at the time he was going to the police academy when the series was interrupted by Batman sending him on some mission that I would have had to follow in Birds of Prey if I wanted to. I just stopped buying comics.
 

Yeah, these days crossovers and events are dominating the comics space (at least for Marvel) to much too high a degree. I love having small crossovers, like Spider-Man running into something obviously magical and swinging by Doctor Strange's place for help (and probably getting told by Wong that the Doctor is off doing Sorcerer Supreme stuff so Spidey has to figure this one out himself), or Carol Danvers shacking up with the X-Men for a while while professor X is trying to help her regain her memories after having them drained by Rogue. That sort of thing creates a feel that the world is bigger than just this one book, without derailing this book's plots.

But these days, a crossover is going to be like a 12-issue extravaganza spread over three different comics, or a separate book entirely, and with pretty much every other comic having tie-ins because the fate of the world is at stake and everyone has to work together and so on. I mostly blame Chris Claremont, Louise Simonson, and Bob Harras – Claremont and Simonson for the Mutant Massacre semi-crossover* event between all three X-books at the time (Uncanny X-Men, X-Factor, and New Mutants), and Bob Harras for making them repeat it every year thereafter because it was such a success. But I think the modern format can be traced to House of M, with a central event book plus tie-ins that basically take over the whole product line for half the year, every year. And of course, we can't ignore the Distinguished Competition and their Crisis on Infinite Earths which should get a lot of the blame as well.

* It wasn't really a crossover as such as you didn't really have characters from one book showing up in another, but you did have them see the results of what the other did.

Blame DC for starting all that with their massive original Crisis on Infinite Earths in 1985 and 1986. And then Marvel ran with the concept in 1986 with the first Secret Wars.
 



Gotham and Metropolis are both East Coast cities. DC loved to make fictional analogues for real-world cities, though Gotham is in NJ, rather in the NY proper.
and Metropolis is in Delaware

Worlds_Greatest_Super_Heroes_Map.jpg
 


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