Magneto Is Marvel Rival's Vanguard With The Mettle For Metal
The leader of the Brotherhood of Mutants has been in the fight for a long time, using his power over all things metal to turn humanity's tools against them. Whether fighting for mutant survival or against other heroes, one thing is certain; they will tremble in fear before him.
Magneto is one of the mainstays of the Vanguard class, with a focus on tanking, defending locations and allies, shielding himself, and dealing lots of damage, particularly when teamed up with his daughter Wanda. You'll need to have good aim and manage your metal ring resource well, while dealing with his limited mobility (compared to Dr. Strange, the other main tank in Rivals). If you can, you'll find a very rewarding character with lots of room to show off.
Iron Volley (Primary Attack - Left Click / Right Trigger) - Your primary attack. Solid damage which is influenced by how far it flies before it hits your enemy.
Meteor M (Ultimate - L3+R3) - Magneto flies up into the air, drawing in all projectiles to feed 'the sphere,' hit the button again to unleash it on your enemies and make them rue the day they crossed the Master of Magnetism. It will explode if you charge it too long, but it's not a big problem as you'll often be trying to use the ability quickly.
Metallic Curtain (LT) - Creates a large wall of magnetic force that blocks projectiles. Use it when your health is getting low to protect yourself and nearby allies. Your main damage-mitigating ability, use it often, particularly if you and your allies need breathing room.
Metal Bulwark (Right Click / RB) - A shield Magneto can give to his…less sturdy allies. Use it to save a key Dualist or Strategist from being knocked out, and claim any damage they take to feed the rings on your back, empowering Mag-Cannon.
Iron Bulwark (B / Circle) - Magneto creates a shield around himself, and converts any damage taken during its duration into metal for the rings on his back. A great way to prepare your Mag-Cannon and mitigate damage. Use it every time it's available during combat to make life easier for your healers (and yourself).
Mag-Cannon (LB) - After charging up the rings on his back, Mag-Cannon unleashes them in a targeted attack, dealing more damage the more rings there are. The fully-powered version knocks enemies back several yards as well. Great for picking off enemies with low health, particularly Strategist characters and Dualists.
Magnetic Descent (Passive) - Hold the jump button to float down instead of falling.
Metallic Fusion (Team-Up Ability: Y / Triangle) - Teaming up with his daughter, the Scarlet Witch, Magneto gains the ability to power his Iron Volley with a massive sword, dealing more damage.
Magneto is a solid, all-around tank who moves slowly and more deliberately, but who also has several special moves that help him protect himself and his allies, as well as prepare to deal small bursts of damage afterwards. He is a fantastic choice for a Vanguard character, rewarding those who put in the time to truly master his skills.
Three chevrons near the middle of the screen represent the rings on Magneto's back, so keep an eye on them. When they are completely filled and purple, he gains a relatively hard-hitting secondary attack in Mag-Cannon. Use it to pick off low-health healers and DPS to help your team establish dominance in the contested area.
Keep an eye on your healers and DPS teammates and use your shield to protect vulnerable healers first, particularly when enemies are attacking them in the back of your team. If they are in a good state, you can use the shield on yourself to give the healers more breathing room—particularly if they are Mantis or Loki, who benefit greatly from the extra time to set up damage buffs, deal damage, and create clones, respectively.
Use your ultimate when you want to scatter the enemy group, or as a counter to powerful ultimates like Cloak and Dagger, Invisible Woman, or Punisher. Since it absorbs projectiles, it is a great way to turn the tides, particularly if it also nullifies an enemy ultimate (and potentially the enemy who used it).With all these tips in hand, you are prepared to become a true master of magnetism. Good luck!
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Chicago Tribune
6 days ago
- Chicago Tribune
Spider-Man spins a complicated web. This new exhibit at Griffin MSI is just for fun.
Just inside the first gallery devoted to 'Marvel's Spider-Man: Beyond Amazing — The Exhibit' at the Griffin Museum of Science and Industry, there is a life-size Spider-Man statue or mannequin. I don't know what you call this, but he looks real. He's not, because he's Spider-Man and Spider-Man is not real. But Spider-Man may as well be real. Most of us have never known a world without a web crawler patrolling Queens. Here, he's bursting out of a comic book as if blasted out of a Spider-Cannon, fingers on his left hand curled into the universal symbol of web-based travel. As I entered this room, I found myself unable to move on, as if hypnotized by the overlords of Marvel who have licensed it, or just the clever people who put together this somewhat thin but charming character celebration. Every patron in the exhibition is unable to move on. Most take a picture with Spider-Man, and everyone who does, , shapes their own fingers into that Ozzy devil-horn thing and, as Spider-Man would, pretend to blast out a tendril of spider fluid. 'Give mommy the Spidey thing, baby,' a mom says. Her daughter, so young she looks a step away from plopping backward, instinctively pulls her fingers into the iconic web-shooting pose and, being a Spider-Ham, adds a determined scowl. 'Do the finger thing,' says the next parent. 'Crouch down and give me a good web,' instructs the parent after that, and so on. During a brief lull in preschoolers, a couple, probably in their 20s, furtively, quickly, with Spidey-esque dexterity, shoot pictures of themselves with Spider-Man best described as R-rated. Oh, Mary Jane! Only then did they add a sordid web-slinging gesture and bolt out of the gallery, giggling. Spider-Man, see, means a lot of things to a lot of people. Some of it just happens to be disgusting. The exhibit — which doesn't feature what you'd assume it might (there are no clips from Spidey films, only a handful of props and no halfhearted arguments for 'the science of Spider-Man') — is smartly centered on the endless interpretations of Spider-Man the Character who, despite being 64 years old, yet still a teenage spider, has remained remarkably mutable, able to bring in new generations of admirers many, many decades after his sell-by expiration date. Spider-Man is joined here, through archival artworks, trinkets, interactive kiosks and even more statues, by Spider-Rex, Spider-Ham, Spider-Gwen, Spider-Ben, Spider-Byte, Spider-Woman, Spider-Girl, Miles Morales, Madame Web, Spider-Zero, Victorian Spider-Man, Venom, Silk, Spider-UK, Spider-Man Noir, Spider-Wolf, Peni Parker, etc. You see, Spider-Man, explained curator Patrick A. Reed — nicely articulating the endurance of any pop juggernaut — 'is a long-form communal work of art.' Or, in this case, 'a Spider-Mythos.' What is not included here in that mythos — strangely for a show committed wisely to the construction of a character and the artists who shepherded it — is the decades-old debate over who Spider-Man. Let me back up: It's there silently, between well-chosen comic-book panels and reams of wall text. This, I guess, is the problem with museum shows in need of corporate permissions to deliver even an outline of their story: You're never sure how the sausage gets made. Spider-Man the Exhibit, through test drawings and uncompleted comic pages and some breezy writing, smartly illustrates how Spidey became a watershed in pop culture, even something of a progressive: Peter Parker answered to a Black boss in 1967 (Robbie Robertson, editor-in-chief of the Daily Bugle, and not to be confused with Robbie Robertson, the late guitarist/songwriter of the Band). Peter Parker was a teen hero at a time when comic books portrayed teens as sidekicks. Peter Parker, bitten by a radioactive spider and made unimaginatively strong and nimble, still can't outrun money issues, problems with school, philosophical questions about what it means to be so blessed. Even among more respectable children's literature from its time, Peter was a thoughtful creation, his architects never hesitating to use his famous credo: 'Beyond Amazing' is centered on milestones and mythology, including that line: We see (again, using archival drawings and lots of description) how a cry of decency was never so clear to Peter. We see how, again and again and again, he gives up the Spider-Man costume. The irony being, real-world decency was even harder to come by behind the scenes. The exhibit is divided into two large rooms. The first is dedicated to building the character; the other to its ripening and expansion. But the best part comes early, in a series of original comics and art that illuminate the tentative steps to Spider-Man. There's an issue of 'Journey Into Mystery' No. 73, featuring a classic '50s radioactive invertebrate. (The cover screams: 'WHERE WILL YOU BE WHEN THE SPIDER STRIKES?') Alongside that, sample images of Aunt May and Uncle Ben in a different comic, months before Spider-Man's debut. We see Stan Lee asked artist Steve Ditko to work on a comic now awkwardly-titled 'Amazing Adult Fantasy,' sold as 'The magazine that respects your intelligence.' We notice Lee and Ditko listed as co-creators throughout, but nothing on the lingering animosity that credit caused: Lee, a master showman and promoter of Stan Lee, would accept decades of praise for Spider-Man (and other Marvel heroes). Meanwhile, artists such as Ditko (who created the costume and look of Spidey and much of the basic mythology) were mostly known to die-hards. We hear nothing about the years of lawsuits. We do get a single hilariously revealing page of notes from Lee to an artist that says more about the early Marvel assembly lines than nearly anything else in 'Beyond Amazing.' Lee was an editor, writer, ringleader and often the initial spark for a new character: What about a blind lawyer who fights crime using his other hypersensitive senses and was kind of a ? What about a family of transformed into crime fighters? Lee would write a synopsis of an issue and send it to an artist, who would then interpret it into a comic. The page on display at the MSI, from 1969, shows how Lee evaluated an issue then, after picking over images, he filled in dialogue. He also offered directions such as: A museum staffer told me the exhibit fits well in the museum because it's a show partly about the publishing and industry is in the very name of the building itself. And that's not wrong. But what this sole page of notes suggests, and what is missing from much of 'Beyond Amazing,' is a sense of the heat and friction generated when imagination gets shaped by a committee. Indeed, for so long, the Marvel company (like its main competitor, DC Comics) showed so little reverence for its own output, there's astonishingly little material from the process itself, beyond interviews with artists. A lot of the salvaged original art and mock-up covers that survived the first decades of superheroes are not held by Marvel or DC but a few prescient art collectors. The archival objects in this exhibit, Reed said, came courtesy of about eight collectors. Film props, of course, are another story. There's one of Doc Ock's eight hands. Willem Dafoe's Kabuki-like Green Goblin mask. Tom Holland's Spidey suit. The camera Tobey Mcguire carried when he played Peter Parker. By the time the superhero movie bonanza began, no one in this business held their noses around a gold mine any longer. (So much so that one reason there are no film clips in 'Beyond Amazing' is because of the harrowing cost and complication around nailing down likeness rights for movie stars.) For the record, I like a good pop-culture museum show. This isn't a bad one. MSI returns to the well often: Walt Disney archives. Jim Henson archives. Charles Schulz archives. James Bond. The Spider-Man show is its second Marvel show in five years. The Field Museum has a Pokémon show next year; the Museum of Contemporary Art, which had a blockbuster with David Bowie, has Yoko Ono coming in October. All of those brand names are enduring examples of a creative vision. And yet, not one emerged from a vacuum. Now that hand-wringing over whether pop culture belongs in esteemed institutions has subsided, or just been steamrolled by the persistence of museum administrators, it's fair to expect these institutions to bring more blood, sweat and tears to stories of how intellectual properties are assembled. 'Beyond Amazing' makes an admirable point overlooked in other shows like this: A character as ubiquitous as Spider-Man, whose balloon has floated across Manhattan every Thanksgiving Day for nearly 40 years now, transcends ownership — . A cynic would say that's what licensing is for. And sure, one of the best parts of the exhibit is a display of merchandising and international translations and night lights and action figures and Ben Cooper costumes and even the very first Marvel-approved Spidey artifact — strangely enough, a 1965 jazz album by Freddie McCoy. But then every doodad is a riff on a conversation started in 1961 by Steve Ditko and Stan Lee. So are the drawings abandoned by visitors at the end of the exhibit. Look for them. Four drawing tables, baskets of pencils and paper, Marvel artists on video illustrating how to draw your own Wall Crawler. The day I was there, some people left behind artworks good enough for Marvel, and some left behind the sketchiest of sketches. Spidey in a White Sox uniform. Darth Spidey. Those tables were , everyone quietly interpreting Spider-Man. That so many drawings would be left behind suggests not everyone was satisfied with their performance. Most weren't. They had a vision, they executed it. The plan didn't pan out. To make anything that lasts, never mind endures after seven decades, is improbable. To explain just how improbable demands great power and responsibility. Otherwise, it's marketing.
Yahoo
02-06-2025
- Yahoo
NEW RELEASE: Biggest developments in updated Rivals250
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Rivals Season 2: Release date speculation, cast and plot details – Everything we know so far
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