By Drew Taylor | The Playlist November 5, 2012 at 11:00AM
One of the most fascinating chunks of the book chronicles the creation of a character that would eventually be called Dazzler, but at the onset was known as Disco Queen. The project was initially developed following a lucrative licensing deal with rock band Kiss. This time, though, Marvel wanted to own the character outright and not owe any licensing deals. Conceived as, Howe says, "an ambitious cross-pollination experiment," it would have involved the creation of a new album and a singer would take on that persona and tour the album, all the while promoting the comic book. Initially, disco legend Donna Summer was approached, with a concert that would have her performing half of the show as herself and the second half as the Disco Queen character. Good or bad, this would have been the stuff of legend, but a lawsuit between Summer and Casablanca Records, who would be responsible for the musical side of this multiplatform behemoth and whose film division would produce the eventual movie, ended those plans. As the process dragged on, the initial character concept, described by artist John Romita Jr. was modeled on Grace Jones, "very statuesque, international-looking model with short hair" begun to change. The character -- who was created via a committee that included Stan Lee and eventual Marvel kingpin Jim Shooter, went from being called Disco Queen to Disco Dazzler and then just Dazzler -- lost all of its initial identifiers when it's development period outlast disco itself (with Casablanca eventually pulling out altogether). Howe notes that even though disco's death knell had sounded in 1979, Marvel "scrambled to find new corporate partners to make a 'Dazzler' film." Those partners were never found, yet the character remains a part of the Marvel Universe to this day.
Throughout "Marvel Comics," Howe presents tenuously forged deals that could have resulted in a very different on-screen Marvel Universe. These play like those "What If…?" Marvel issues that presented strange alternate versions of favorite characters (things like "What If Spider-Man Joined the Fantastic Four?" or "What If Sgt. Fury Had Fought World War II in Outer Space?") and every time Howe presents one of these scenarios, it's hard not to imagine them coming to fruition. At one point famed producer Dino De Laurentiis, had gotten a hold of the rights of Ghost Rider and Man-Wolf; neither was produced and "Man-Wolf" remains one of the few Marvel mainstays who has not been allowed a cinematic counterpart. Similarly, disaster movie icon Irwin Allen wanted to do a Human Torch movie (it is unclear whether or not his movie would have focused on the original, robotic Human Torch or the more human version of the character who later appeared in the Fantastic Four) and there was, at one point, a "Captain America" screenplay co-written by "Death Wish" mastermind Michael Winner that was deemed "un-filmable." In a flurry of activity following the dissolution of his creative relationship with Robert Zemeckis (this also included a "John Carter of Mars" script for Disney), Bob Gale wrote a "Doctor Strange" script that was potentially to star Tom Selleck (yes, seriously). In similarly amazing feats of would-be casting, Carl Weathers, according to Howe, was "eyeing" a Power Man movie, while "Shaft" himself Richard Roundtree was loosely attached to play Blade in a "Tomb of Dracula" movie. And, maybe most tantalizingly, longtime Marvel writers Gerry Conway and Roy Thomas had written an "X-Men" script for Marvel and Fox.
Of all the properties in development currently at Marvel Studios, the one that seems to have the geeks the most excited is a potential "Ant-Man" movie, written by Edgar Wright and Joe Cornish and directed by Wright. While the film was recently given a 2015 release date, this wasn't the first time an Ant-Man feature was in development. At some point in the late eighties, Marvel got wind that Disney was working on a feature called "Teenie Weenies," which involved characters being shrunk to microscopic size (Ant-Man's defining characteristic), written by "Re-Animator" confederates Ed Naha, Stuart Gordon and Brian Yuzna. This spooked Marvel and they started rushing an Ant-Man movie through the pipeline. The particulars of who was involved creatively and why the movie failed to materialize have never been disclosed, but the Marvel project eventually collapsed. "Teenie Weenies" was heavily re-written (the original draft was considerably darker and more obviously a riff on atomic age B-movies) and released as "Honey, I Shrunk the Kids." It was a huge hit (pun very much intended).
Sean Howe's "Marvel Comics: The Untold Story" is in stores now.