Marvel Studios Artist Reveals Guardians-Inspired Time Travel Suits for Avengers: Endgame
Back before Avengers: Endgame was leaving some audiences in tears, there were the leaks. Images of [...]
Back before Avengers: Endgame was leaving some audiences in tears, there were the leaks. Images of those white Quantum Realm suits bewildered most Marvel fans upon first blush. Now, as the Endgame art book makes its way to the hands of fans, more artists are coming forward with their takes on the now instantly-recognizable suits. A couple of questions rang out through social media of all stripes: What could it mean? Time travel confirmed? Could this be the Quantum Realm that we've heard about in Ant-Man? That was the challenge faced by artists like Aleksi Briclot, who works for Marvel Studios, as they tried to inform audiences by just looks alone where this story may be heading. They posted their work on Instagram for the fans and it is fascinating. The most glaring change here is the blue tone to the suits, as the released ones were white. Also of note was the glowing Avengers logo located on the left side of each team member's chest. Admittedly, the design looks a little more intricate here on the page. Another big change comes in the form of the futuristic force-field around everyone's heads as they get ready to travel. That is a piece of Guardians of the Galaxy handiwork as Drax wore a similar protector when he was dangling out the back of the space ship shooting at some bad guys in their second movie.
The force field idea is one shared by other iterations of the suits all throughout the artbook. One similar design sees a totally deep blue look with the ghostly forcefield hovering just outside of the Avengers' heads. The result is massively futuristic, but they likely scrapped it to be friendlier to the Visual Effects team and to help audiences easily identify the heroes. One part of great design is that all of these costumed characters can be in a scene and the audience instantly recognizes them regardless of the situation that might be unfolding. So, it makes sense to go through a bunch of iterations to get things just right. Russell Earl headed up the Visual Effects team for the film and he talked about remaining flexible over the development of these costumes with Comicbook.com earlier this year.
"I don't fully know the decision behind it," Earl mentioned. "I do know that what ends up happening is the suits evolve and change. In this case, I don't think the design of the suit was fully there when they started shooting the scene and I think they were shooting multiple scenes at multiple locations. I read some articles about people saying that the suits are digital. We do it all the time and we don't necessarily call it out. Where you know, Cap's body will be CG, or Black Panther's body 99 percent of the time is all CG, Spidey, when Tom's just there wearing the suit, that's almost always CG. So I think the decision came once the suits had to grow go on and off. So you can either choose to have two suits that they would get in and out of. I think it just came down to wanting to have the flexibility to get the design just right and at the time of shooting wasn't quite there."
"I'm speculating on it," Earl added. "I don't really know the full story behind it, but it's something that I think all of the effects houses have gotten so good at is just doing digital costumes that the studio can rely more on it and not necessarily have to make those decisions up front. It just allows a little bit more flexibility and knowing that you're going to have to build the suit anyway because it has the sort of nanotech growing out of the time watches that and that's the thing. If you know you're going to have to build the suit anyway to get the transitions, then you know you're going to have to have a photo-real suit in which case that then also lends itself to, oh well if we're going to have it then we can put it in these other shots. Then sometimes a lot of the costumes are built. Ant-Man's obviously a suit that's built but we've done that in all CG, or like I said, Cap, I think all of them at one point or the other have gone all CG."
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