8 Marvel Movies That Never Left the Drawing Board

Friday’s release of Ant-Man is expected to be another success story for Marvel Studios, which broke ground with 2008’s Iron Man and subsequently released 10 hits in a row. Flush with confidence, they’ve been able to introduce Norse gods, talking raccoons, and a diminutive Paul Rudd fighting a microscopic war on crime.

But Marvel didn’t always get their way. Take a look at eight projects that never managed to come to fruition.

1. Quentin Tarantino’s Luke Cage

Despite being a longtime comic book fan, Quentin Tarantino rarely tackles graphic novel adaptations; the closest he has come to the superhero world is directing a segment of Sin City in 2005. But right after 1992’s Reservoir Dogs put him on the map, he was offered a chance to direct a film based on Luke Cage, a crime fighter with impervious skin created in response to the “blaxploitation” films of the 1970s. “After Reservoir Dogs, I had considered doing a Luke Cage, Hero for Hire movie,” he told MTV back in 2012. “I talked to [Laurence Fishburne] about being Luke Cage, and he really liked that idea.” Tarantino ended up making Pulp Fiction instead; Luke Cage is set to appear in his own Netflix series in 2016.  

2. Silver Surfer (With a Score by Paul McCartney)

Of the thousands of Marvel characters that could have been selected for cinematic adoption in the 1980s, the Silver Surfer was one of the least likely candidates. Chrome-skinned, he spends his days flying through galaxies and encountering alien races. Despite the promise of overtaxing a special effects crew and budget, producer Lee Kramer tried his best to get a movie going in 1980. He envisioned a sprawling space epic on par with 2001, set to a rock soundtrack. Kramer even sent Silver Surfer comics to Paul McCartney, whose manager replied that the singer was interested in providing some of the music. Unable to find backers for his $25 million pipe dream, Kramer never got beyond the concept art (above) stage. The character didn’t appear in live action until the 2007 Fantastic Four sequel, where he was voiced by Laurence Fishburne.    

3. X-Men Origins: Magneto

After three successful X-Men movies, Fox wanted to pursue some solo ventures. X-Men Origins: Wolverine made it to screens in 2009, but a similar project featuring adversary Magneto didn’t follow as planned. Intended to explore the villain’s formative years in World War II and his hunt for a Nazi physician, some of the plot points ended up being used in 2011’s X-Men: First Class. That became a bone of contention for Magneto screenwriter Sheldon Turner: According to The Hollywood Reporter, he turned to the Writers Guild of America in order to receive a story credit for the material.

4. Namor, the Sub-Mariner

One of the medium’s oldest heroes—he first appeared in the October 1939 issue of Marvel Comics #1—Namor was another character crippled by the overactive imaginations of his creators. Ruling the seas requires extensive shooting on or near water, which almost always proves to be disastrous for filmmakers. Still, Philip Kaufman wanted to give it a shot. The director behind The Right Stuff and Quills told Entertainment Weekly in 2000 that Namor was on his to-do list. “I like the idea of the ‘vengeance of the deep,'” he said, “how we [mistreat] the ocean and treat everything so badly and that down there is some little guy with wings on his feet who’s gonna come up and stomp some [butt].” As of 2014, legal complications with the character and his film rights have prevented Marvel from inserting him into their current releases.  

5. She-Hulk


Bruce Banner’s cousin never made an appearance on Bill Bixby’s live-action series, but that didn’t mean she wasn’t being courted. In the early 1990s, Marvel made an aggressive attempt to find funding for a She-Hulk film starring 6’1” Brigitte Nielsen, best known at the time as Ivan Drago’s wife in 1984’s Rocky IV. Larry Cohen, who directed the killer-baby horror film It’s Alive, was approached to write it. The company arranged for a promotional photo shoot, but it wasn’t enough to garner interest.

6. Dazzler

A disco-loving mutant who can convert music into colorful (or dangerous) prisms of light, Dazzler made her first comics appearance in 1979; Marvel hoped they might be able to work with a record company to produce tie-in music. That didn’t pan out, but in the course of trying to negotiate a deal, editor-in-chief Jim Shooter ended up writing a feature film treatment. Bo Derek expressed interest in the role, at which point the premise morphed into the character having the Wonder Woman-esque power of forcing people to tell the truth. Daryl Hannah later agreed to star in the film, but Dazzler’s expiration date was too closely tied to disco’s. (Her salvation may come in the form of 2016’s X-Men: Apocalypse, which takes place in the 1980s.)   

7. Morbius, the Living Vampire

Marvel characters tend to follow a formula: flawed human becomes powerful, juggles exterior threats with relatable interior problems. Little of that was on display in Marvel’s horror comics of the 1970s, which included a character called Morbius, a physician who contracted vampirism via a laboratory accident involving bats and electroshock therapy. (If you can relate, please write us.) When Marvel signed a deal with Artisan Entertainment in 2000, Morbius was expected to be one of the projects. But both the company and contracted screenwriter, Michael France, passed him up in favor of pursuing what would become 2004’s The Punisher.     

8. Tobe Hooper’s Spider-Man

While James Cameron is the name frequently associated with attempts to make a Spider-Man feature prior to Sam Raimi’s 2002 film, he wasn’t the only one: Tobe Hooper, who directed 1974’s The Texas Chainsaw Massacre, was once set to take on a modestly-budgeted adaptation for Cannon Films. According to Joseph Zito, who was working with Cannon at the time, executives wanted to approach the comic as a kind of monster movie, with an eight-limbed Peter Parker struggling with his monstrous transformation. After subsequent drafts displayed a better understanding of the character, Cannon hoped to enlist Tom Cruise for the lead. Unfortunately, the company was experiencing financial problems. They sold Spider-Man’s film rights in a fire sale in 1990.

Jesse Grant, Getty Images for AMC
5 Bizarre Comic-Con News Stories from Years Past
Jesse Grant, Getty Images for AMC
Jesse Grant, Getty Images for AMC

At its best, San Diego Comic-Con is a friendly place where like-minded people can celebrate their pop culture obsessions, and each other. And no one can make fun of you, no matter how lazy your cosplaying might be. You might think that at its worst, it’s just a series of long lines of costumed fans and small stores crammed into a convention center. But sometimes, throwing together 100,000-plus people from around the world in what feels like a carnival-type atmosphere where anything goes can have less than stellar results. Here are some highlights from past Comic-Con-tastrophes.


In 2010, two men waiting for a Comic-Con screening of the Seth Rogen alien comedy Paul got into a very adult argument about whether one of them was sitting too close to the other. Unable to come to a satisfactory conclusion with words, one man stabbed the other in the face with a pen. According to CNN, the attacker was led away wearing handcuffs and a Harry Potter T-shirt. In the aftermath, some Comic-Con attendees dealt with the attack in an oddly fitting way: They cosplayed as the victim, with pens protruding from bloody eye sockets.


Since its founding in 2006, New York Comic Con has attracted a few sticky-fingered attendees. In 2010, a man stole several rare comics from vendor Matt Nelson, co-founder of Texas’s Worldwide Comics. Just one of those, Whiz Comics No. 1, was worth $11,000, according to the New York Post. A few years later, in 2014, someone stole a $2000 “Dunny” action figure, which artist Jon-Paul Kaiser had painted during the event for Clutter magazine. And those are just the incidents that involved police; lower-scale cases of toys and comics disappearing from booths are an increasingly frustrating epidemic, according to some. “Comic Con theft is an issue we all sort of ignore,” collector Tracy Isenhour wrote on the blog of his company, Needless Essentials, in 2015. “I am here to tell you no more. It’s time for this garbage to stop."


John Sciulli/Getty Images for Xbox

Adrianne Curry, winner of the first cycle of America’s Next Top Model, has made a career of chasing viral fame. Ironically, it was at Comic-Con in 2014 that Curry did something truly worthy of attention—though there wasn’t a camera in sight. Dressed as Catwoman, she was posing with fans alongside her friend Alicia Marie, who was dressed as Tigra. According to a Facebook post Marie wrote at the time, a fan tried to shove his hands into her bikini bottoms. She screamed, the man ran off, and Curry jumped to action. She “literally took off after dude WITH her Catwoman whip and chased him down, beat his a**,” Marie wrote. “Punched him across the face with the butt of her whip—he had zombie blood on his face—got on her costume.”


The lines at Comic-Con are legendary, so one Utah man came up with a novel way to try and skip them altogether. In 2015, Jonathon M. Wall tried to get into Salt Lake Comic Con’s exclusive VIP enclave (normally a $10,000 ticket) by claiming he was an agent with the Air Force Office of Special Investigations, and needed to get into the VIP room “to catch a fugitive,” according to The San Diego Union Tribune. Not only does that story not even come close to making sense, it also adds up to impersonating a federal agent, a crime to which Wall pleaded guilty in April of 2016 and which carried a sentence of up to three years in prison and a $250,000 fine. Just a few months later, prosecutors announced that they were planning to reduce his crime from a felony to a misdemeanor.


Michael Buckner/Getty Images for Disney

In 2015, Kevin Doyle walked 645 miles along the California coast to honor his late wife, Eileen. Doyle had met Eileen relatively late in life, when he was in his 50s, and they bonded over their shared love of Star Wars (he even proposed to her while dressed as Darth Vader). However, she died of cancer barely a year after they were married. Adrift and lonely, Doyle decided to honor her memory and their love of Star Wars by walking to Comic-Con—from San Francisco. “I feel like I’m so much better in the healing process than if I’d stayed home,” he told The San Diego Union Tribune.

Marvel Entertainment
10 Facts About Robert E. Howard’s Conan the Barbarian
Marvel Entertainment
Marvel Entertainment

Nearly every sword-wielding fantasy hero from the 20th century owes a tip of their horned helmet to Robert E. Howard’s Conan the Barbarian. Set in the fictional Hyborian Age, after the destruction of Atlantis but before our general recorded history, Conan's stories have depicted him as everything from a cunning thief to a noble king and all types of scoundrel in between. But beneath that blood-soaked sword and shield is a character that struck a nerve with generations of fantasy fans, spawning adaptations in comics, video games, movies, TV shows, and cartoons in the eight decades since he first appeared in the December 1932 issue of Weird Tales. So thank Crom, because here are 10 facts about Conan the Barbarian.


Conan wasn’t the only barbarian on Robert E. Howard’s resume. In 1929, the writer created Kull the Conqueror, a more “introspective” brand of savage that gained enough interest to eventually find his way onto the big screen in 1997. The two characters share more than just a common creator and a general disdain for shirts, though: the first Conan story to get published, “The Phoenix on the Sword,” was actually a rewrite of an earlier rejected Kull tale titled “By This Axe I Rule!” For this new take on the plot, Howard introduced supernatural elements and more action. The end result was more suited to what Weird Tales wanted, and it became the foundation for future Conan tales.


A few months before Conan made his debut in Weird Tales, Howard wrote a story called "People of the Dark" for Strange Tales of Mystery and Terror about a man named John O’Brien who seemed to relive his past life as a brutish, black-haired warrior named … Conan of the reavers. Reave is a word from Old English meaning to raid or plunder, which is obviously in the same ballpark as barbarian. And in the story, there is also a reference to Crom, the fictional god of the Hyborian age that later became a staple of the Conan mythology. This isn't the barbarian as we know him, and it's certainly not an official Conan tale, but the early ideas were there.


Howard was meticulous in his world-building for Conan, which was highlighted by his 8600-word history on the Hyborian Age the character lived in. But the one area the creator had no interest in was linearity. Conan’s first story depicted him already as a king; subsequent stories, though, would shift back and forth, chronicling his early days as both a thief and a youthful adventurer.

There’s good reason for that, as Howard himself once explained: “In writing these yarns I've always felt less as creating them than as if I were simply chronicling his adventures as he told them to me. That's why they skip about so much, without following a regular order. The average adventurer, telling tales of a wild life at random, seldom follows any ordered plan, but narrates episodes widely separated by space and years, as they occur to him.”


For fans of the pulp magazines of the early 20th century, one of the only names bigger than Robert E. Howard was H.P. Lovecraft. The two weren’t competitors, though—rather, they were close friends and correspondents. They’d often mail each other drafts of their stories, discuss the themes of their work, and generally talk shop. And as Lovecraft’s own mythology was growing, it seems like their work began to bleed together.

In “The Phoenix on the Sword,” Howard made reference to “vast shadowy outlines of the Nameless Old Ones,” which could be seen as a reference to the ancient, godlike “Old Ones” from the Lovecraft mythos. In the book The Coming of Conan the Cimmerian, editor Patrice Louinet even wrote that Howard’s earlier draft for the story name-dropped Lovecraft’s actual Old Ones, most notably Cthulhu.

In Lovecraft’s “The Shadow of Time,” he describes a character named Crom-Ya as a “Cimmerian chieftain,” which is a reference to Conan's homeland and god. These examples just scratch the surface of names, places, and concepts that the duo’s work share. Whether you want to read it all as a fun homage or an early attempt at a shared universe is up to you.


Howard was only 30 when he died, so there aren’t as many completed Conan stories out in the world as you’d imagine—and there are even less that were finished and officially printed. Despite that, the character’s popularity has only grown since the 1930s, and publishers looked for a way to print more of Howard’s Conan decades after his death. Over the years, writers and editors have gone back into Howard’s manuscripts for unfinished tales to doctor up and rewrite for publication, like "The Snout in the Dark," which was a fragment that was reworked by writers Lin Carter and L. Sprague de Camp. There were also times when Howard’s non-Conan drafts were repurposed as Conan stories by publishers, including all of the stories in 1955's Tales of Conan collection from Gnome Press.


Chances are, the image of Conan you have in your head right now owes a lot to artist Frank Frazetta: His version of the famous barbarian—complete with rippling muscles, pulsating veins, and copious amounts of sword swinging—would come to define the character for generations. But the look that people most associate with Conan didn’t come about until the character’s stories were reprinted decades after Robert E. Howard’s death.

“In 1966, Lancer Books published new paperbacks of Robert E. Howard's Conan series and hired my grandfather to do the cover art,” Sara Frazetta, Frazetta's granddaughter owner and operator of Frazetta Girls, tells Mental Floss. You could argue that Frazetta’s powerful covers were what drew most people to Conan during the '60s and '70s, and in recent years the collector’s market seems to validate that opinion. In 2012, the original painting for his Lancer version of Conan the Conqueror sold at auction for $1,000,000. Later, his Conan the Destroyer went for $1.5 million.

Still, despite all of Frazetta’s accomplishments, his granddaughter said there was one thing he always wanted: “His only regret was that he wished Robert E. Howard was alive so he could have seen what he did with his character.”


The cover to Marvel's Conan the Barbarian #21
Marvel Entertainment

Conan’s origins as a pulp magazine hero made him a natural fit for the medium’s logical evolution: the comic book. And in 1970, the character got his first high-profile comic launch when Marvel’s Conan The Barbarian hit shelves, courtesy of writer Roy Thomas and artist Barry Windsor-Smith.

Though now it’s hailed as one of the company’s highlights from the ‘70s, the book was nearly canceled after a mere seven issues. The problem is that while the debut issue sold well, each of the next six dropped in sales, leading Marvel’s then editor-in-chief, Stan Lee, to pull the book from production after the seventh issue hit stands.

Thomas pled his case, and Lee agreed to give Conan one last shot. But this time instead of the book coming out every month, it would be every two months. The plan worked, and soon sales were again on the rise and the book would stay in publication until 1993, again as a monthly. This success gave way to the Savage Sword of Conan, an oversized black-and-white spinoff magazine from Marvel that was aimed at adult audiences. It, too, was met with immense success, lasting from 1974 to 1995.


John Milius’s 1982 Conan movie is a classic of the sword and sorcery genre, but its original script from Oliver Stone didn’t resemble the final product at all. In fact, it barely resembled anything related to Conan. Stone’s Conan would have been set on a post-apocalyptic Earth, where the barbarian would do battle against a host of mutant pigs, insects, and hyenas. Not only that, but it would have also been just one part of a 12-film saga that would be modeled on the release schedule of the James Bond series.

The original producers were set to move ahead with Stone’s script with Stone co-directing alongside an up-and-coming special effects expert named Ridley Scott, but they were turned down by all of their prospects. With no co-director and a movie that would likely be too ambitious to ever actually get finished, they sold the rights to producer Dino De Laurentiis, who helped bring in Milius.


When President Barack Obama sent out a mass email in 2015 to the members of Organizing for Action, he was looking to get people to offer up stories about how they got involved within their community—their origin stories, if you will. In this mass email, the former Commander-in-Chief detailed his own origin, with a shout out to a certain barbarian:

“I grew up loving comic books. Back in the day, I was pretty into Conan the Barbarian and Spiderman.

Anyone who reads comics can tell you, every main character has an origin story—the fateful and usually unexpected sequence of events that made them who they are.”

This bit of trivia was first made public in 2008 in a Daily Telegraph article on 50 facts about the president. That led to Devil’s Due Publishing immortalizing the POTUS in the 2009 comic series Barack the Barbarian, which had him decked out in his signature loincloth doing battle against everyone from Sarah Palin to Dick Cheney.


The father of 20th century fantasy may always be J.R.R. Tolkien, but Howard is a close second in many fans' eyes. Though Tolkien’s work has found its way into more scholarly literary circles, Howard’s can sometimes get categorized as low-brow. Quality recognizes quality, however, and during a conversation with Tolkien, writer L. Sprague de Camp—who himself edited and touched-up numerous Conan stories—said The Lord of the Rings author admitted that he “rather liked” Howard’s Conan stories during a conversation with him. He didn’t expand upon it, nor was de Camp sure which Conan tale he actually read (though it was likely “Shadows in the Moonlight”), but the seal of approval from Tolkien himself goes a long way toward validation.


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