Beruflich Dokumente
Kultur Dokumente
1
2 1 HISTORY
cess of these three characters, some notable heroes the Friendly Ghost) and Homer Hooper ( la Archie An-
many of which continue to appear in modern-day retcon drews). Atlas unsuccessfully attempted to revive super-
appearances and ashbacksinclude the Whizzer, Miss heroes from late 1953 to mid-1954, with the Human
America, the Destroyer, the original Vision, and the Torch (art by Syd Shores and Dick Ayers, variously),
Angel. Timely also published one of humor cartoon- the Sub-Mariner (drawn and most stories written by Bill
ist Basil Wolverton's best-known features, "Powerhouse Everett), and Captain America (writer Stan Lee, artist
Pepper",[14][15] as well as a line of childrens funny-animal
John Romita Sr.). Atlas did not achieve any breakout
comics featuring popular characters like Super Rabbit hits and, according to Stan Lee, Atlas survived chiey be-
and the duo Ziggy Pig and Silly Seal. cause it produced work quickly, cheaply, and at a passable
[25]
Goodman hired his wifes cousin, [16]
Stanley Lieber, quality.
as a general oce assistant in 1939.[17] When edi-
tor Simon left the company in late 1941,[18] Goodman
made Lieberby then writing pseudonymously as "Stan
Lee"interim editor of the comics line, a position Lee
kept for decades except for three years during his mili-
tary service in World War II. Lee wrote extensively for
Timely, contributing to a number of dierent titles.
Goodmans business strategy involved having his various
magazines and comic books published by a number of
corporations all operating out of the same oce and with
the same sta.[13] One of these shell companies through
which Timely Comics was published was named Mar-
vel Comics by at least Marvel Mystery Comics #55 (May
1944). As well, some comics covers, such as All Surprise
Comics #12 (Winter 194647), were labeled A Marvel
Magazine many years before Goodman would formally
adopt the name in 1961.[19]
the comics were considered wholesome, entertaining, and nist agents attack Ant-Man in his laboratory,
educational.[26][27] red henchmen jump the Fantastic Four on the
moon, and Viet Cong guerrillas take potshots
at Iron Man.[34]
1.4 Marvel Comics
The rst modern comic books under the Marvel Comics All of these elements struck a chord with the older read-
brand were the science-ction anthology Journey into ers, such as college-aged adults, and they successfully
Mystery #69 and the teen-humor title Patsy Walker #95 gained in a way not seen before. In 1965, Spider-Man and
(both cover dated June 1961), which each displayed the Hulk were both featured in Esquire magazines list of
an MC box on its cover.[28] Then, in the wake of 28 college campus heroes, alongside John F. Kennedy and
DC Comics' success in reviving superheroes in the late Bob Dylan.[35] In 2009 writer Geo Boucher reected
1950s and early 1960s, particularly with the Flash, Green that, Superman and DC Comics instantly seemed like
Lantern, and other members of the team the Justice boring old Pat Boone; Marvel felt like The Beatles and the
League of America, Marvel followed suit.[n 1] British Invasion. It was Kirbys artwork with its tension
and psychedelia that made it perfect for the timesor was
In 1961, writer-editor Stan Lee revolutionized superhero it Lees bravado and melodrama, which was somehow in-
comics by introducing superheroes designed to appeal secure and brash at the same time?"[36]
to more older readers than the predominantly child au-
diences of the medium. Modern Marvels rst super- In addition to Spider-Man and the Fantastic Four, Mar-
hero team, the titular stars of The Fantastic Four #1 vel began publishing further superhero titles featuring
(Nov. 1961),[29] broke convention with other comic book such heroes and antiheroes as the Hulk, Thor, Ant-Man,
archetypes of the time by squabbling, holding grudges Iron Man, the X-Men, Daredevil, the Inhumans, Black
both deep and petty, and eschewing anonymity or secret Panther, Doctor Strange, Captain Marvel and the Silver
identities in favor of celebrity status. Subsequently, Mar- Surfer, and such memorable antagonists as Doctor Doom,
vel comics developed a reputation for focusing on charac- Magneto, Galactus, Loki, the Green Goblin, and Doctor
terization and adult issues to a greater extent than most su- Octopus, all existing in a shared reality known as the
perhero comics before them, a quality which the new gen- Marvel Universe, with locations that mirror real-life cities
eration of older readers appreciated.[30] This applied to such as New York, Los Angeles and Chicago.
The Amazing Spider-Man title in particular, which turned Marvel even lampooned itself and other comics compa-
out to be Marvels most successful book. Its young hero nies in a parody comic, Not Brand Echh (a play on Mar-
suered from self-doubt and mundane problems like any vels dubbing of other companies as Brand Echh, la
other teenager, something readers could identify with. the then-common phrase Brand X).[37]
Lee and freelance artist and eventual co-plotter Jack
Kirby's Fantastic Four originated in a Cold War culture
that led their creators to revise the superhero conventions
1.5 Cadence Industries ownership
of previous eras to better reect the psychological spirit
In 1968, while selling 50 million comic books a year,
of their age.[31] Eschewing such comic-book tropes as se-
company founder Goodman revised the constraining dis-
cret identities and even costumes at rst, having a mon-
tribution arrangement with Independent News he had
ster as one of the heroes, and having its characters bicker
reached under duress during the Atlas years, allowing him
and complain in what was later called a superheroes in
now to release as many titles as demand warranted.[21]
the real world approach, the series represented a change
Late that year he sold Marvel Comics and his other pub-
that proved to be a great success.[32]
lishing businesses to the Perfect Film and Chemical Cor-
Marvel often presented awed superheroes, freaks, and poration, which continued to group them as the sub-
mistsunlike the perfect, handsome, athletic heroes sidiary Magazine Management Company, with Good-
found in previous traditional comic books. Some Marvel man remaining as publisher.[38] In 1969, Goodman nally
heroes looked like villains and monsters such as the Hulk ended his distribution deal with Independent by signing
and the Thing. This naturalistic approach even extended with Curtis Circulation Company.[21]
into topical politics.
In 1971, the United States Department of Health, Educa-
Comics historian Mike Benton also noted: tion, and Welfare approached Marvel Comics editor-in-
chief Stan Lee to do a comic book story about drug abuse.
In the world of [rival DC Comics'] Lee agreed and wrote a three-part Spider-Man story por-
Superman comic books, communism did traying drug use as dangerous and unglamorous. How-
not exist. Superman rarely crossed na- ever, the industrys self-censorship board, the Comics
tional borders or involved himself in political Code Authority, refused to approve the story because of
disputes.[33] From 1962 to 1965, there were the presence of narcotics, deeming the context of the
more communists [in Marvel Comics] than story irrelevant. Lee, with Goodmans approval, pub-
on the subscription list of Pravda. Commu- lished the story regardless in The Amazing Spider-Man
4 1 HISTORY
#9698 (MayJuly 1971), without the Comics Code seal. panding its comics line. Marvel pulled ahead of rival DC
The market reacted well to the storyline, and the CCA Comics in 1972, during a time when the price and format
subsequently revised the Code the same year.[39] of the standard newsstand comic were in ux.[42] Good-
Goodman retired as publisher in 1972 and installed man increased the price and size of Marvels November
1971 cover-dated comics from 15 cents for 36 pages to-
his son, Chip, as publisher,[40] Shortly thereafter, Lee
succeeded him as publisher and also became Marvels tal to 25 cents for 52 pages. DC followed suit, but Marvel
the following month dropped its comics to 20 cents for 36
president[40] for a brief time.[41] During his time as pres-
ident, he appointed as editor-in-chief Roy Thomas, who pages, oering a lower-priced product with a higher dis-
tributor discount.[43]
added Stan Lee Presents to the opening page of each
comic book.[40] Goodman, now disconnected from Marvel, set up a new
A series of new editors-in-chief oversaw the company company called Seaboard Periodicals in 1974, reviving
during another slow time for the industry. Once again, Marvels old Atlas name for a new Atlas [44]
Comics line, but
Marvel attempted to diversify, and with the updating this lasted only a year and a half. In the mid-1970s
of the Comics Code achieved moderate to strong suc- a decline of the newsstand distribution network aected
cess with titles themed to horror (The Tomb of Dracula), Marvel. Cult hits such as Howard the Duck fell victim to
martial arts, (Shang-Chi: Master of Kung Fu), sword- the distribution problems, with some titles reporting low
and-sorcery (Conan the Barbarian, Red Sonja), satire sales when in fact the rst specialty comic book stores
(Howard the Duck) and science ction (2001: A Space resold them at a later date. But by the end of the decade,
Odyssey, "Killraven" in Amazing Adventures, Battlestar Marvels fortunes were reviving, thanks to the rise of
Galactica, Star Trek, and, late in the decade, the long- direct market distributionselling through those same
running Star Wars series). Some of these were published comics-specialty stores instead of newsstands.
in larger-format black and white magazines, under its Marvel held its own comic book convention, Marvelcon
Curtis Magazines imprint. Marvel was able to capitalize '75, in spring 1975, and promised a Marvelcon '76. At
on its successful superhero comics of the previous decade the 1975 event, Stan Lee used a Fantastic Four panel dis-
by acquiring a new newsstand distributor and greatly ex- cussion to announce that Jack Kirby, the artist co-creator
1.6 Marvel Entertainment Group ownership 5
of most of Marvels signature characters, was returning DC scored critical and sales victories[50] with titles and
to Marvel after having left in 1970 to work for rival DC limited series such as Watchmen, Batman: The Dark
Comics.[45] In October 1976, Marvel, which already li- Knight Returns, Crisis on Innite Earths, Byrnes revamp
censed reprints in dierent countries, including the UK, of Superman, and Alan Moore's Swamp Thing.
created a superhero specically for the British market.
Captain Britain debuted exclusively in the UK, and later
appeared in American comics.[46] 1.6 Marvel Entertainment Group owner-
ship
In 1986, Marvels parent, Marvel Entertainment Group
(MEG), was sold to New World Entertainment, which
within three years sold it to MacAndrews and Forbes,
owned by Revlon executive Ronald Perelman in 1989. In
1991 Perelman took MEG public. Following the rapid
rise of this stock, Perelman issued a series of junk bonds
that he used to acquire other entertainment companies,
secured by MEG stock.[51]
1990s saw the rise of variant covers, cover enhancements, relaunch some of its agship characters such as the
swimsuit issues, and company-wide crossovers that af- Avengers and the Fantastic Four, and outsource them to
fected the overall continuity of the ctional Marvel Uni- the studios of two of the former Marvel artists turned Im-
verse age Comics founders, Jim Lee and Rob Liefeld. The re-
Marvel suered a blow in early 1992, when seven launched titles, which saw the characters transported to
of its most prized artists Todd McFarlane (known a parallel universe with a history distinct from the main-
for his work on Spider-Man), Jim Lee (X-Men), stream Marvel Universe, were a solid success amidst a
Rob Liefeld (X-Force), Marc Silvestri (Wolverine), generally struggling industry,[67] but Marvel discontin-
ued the experiment after a one-year run and returned the
Erik Larsen (The Amazing Spider-Man), Jim Valentino
(Guardians of the Galaxy), and Whilce Portacio left characters to the Marvel Universe proper.
to form Image Comics[54] in a deal brokered by Malibu
Comics' owner Scott Mitchell Rosenberg.[55] Three years
later Rosenberg sold Malibu to Marvel on November 1.7 Marvel Enterprises
3, 1994,[55][56][57][58][58][59][60] who acquired the then-
leading standard for computer coloring of comic books In 1997, Toy Biz and MEG merged to end the
(developed by Rosenberg) in the process,[61] but also bankruptcy, forming a new corporation, Marvel Enter-
integrating the Genesis Universe (Earth-1136) and the prises.[51] With his business partner Avi Arad, publisher
Ultraverse (Earth-93060) into Marvels multiverse. Bill Jemas, and editor-in-chief Bob Harras, Toy Biz
co-owner Isaac Perlmutter helped stabilize the comics
line.[68]
In 1998, the company launched the imprint Marvel
Knights, taking place just outside Marvel continuity with
better production qualtity. The imprint was helmed by
soon-to-become editor-in-chief Joe Quesada; it featured
tough, gritty stories showcasing such characters as the
Daredevil,[69] Inhumans and Black Panther.
With the new millennium, Marvel Comics emerged from
bankruptcy and again began diversifying its oerings.
In 2001, Marvel withdrew from the Comics Code Au-
thority and established its own Marvel Rating System for
comics. The rst title from this era to not have the code
was X-Force #119 (October 2001). Marvel also created
new imprints, such as MAX (an explicit-content line)
and Marvel Adventures (developed for child audiences).
In addition, the company created an alternate universe
imprint, Ultimate Marvel, that allowed the company to
reboot its major titles by revising and updating its char-
acters to introduce to a new generation.
Some of its characters have been turned into successful
lm franchises, such as the Men in Black movie series,
Marvels logo, circa 1990s starting in 1997, Blade movie series, starting in 1998, X-
Men movie series, starting in 2000, and the highest gross-
In late 1994, Marvel acquired the comic book distribu- ing series Spider-Man, beginning in 2002.[70]
tor Heroes World Distribution to use as its own exclu-
sive distributor.[62] As the industrys other major pub- In a cross-promotion, the November 1, 2006, episode of
lishers made exclusive distribution deals with other com- the CBS soap opera The Guiding Light, titled Shes a
panies, the ripple eect resulted in the survival of only Marvel, featured the character Harley Davidson Cooper
one other major distributor in North America, Diamond (played by Beth [71]
Ehlers) as a superheroine named the
Comic Distributors Inc. [63][64]
Then, by the middle of the Guiding Light. The characters story continued in an
decade, the industry had slumped, and in December 1996 eight-page backup feature, A New Light, that appeared
MEG led for Chapter 11 bankruptcy protection. [51]
In in several Marvel titles published November 1 and 8.[72]
[73]
early 1997, when Marvels Heroes World endeavor failed, Also that year, Marvel created a wiki on its Web site.
Diamond also forged an exclusive deal with Marvel[65] In late 2007 the company launched Marvel Digital
giving the company its own section of its comics catalog Comics Unlimited, a digital archive of over 2,500 back
Previews.[66] issues available for viewing, for a monthly or annual sub-
[74]
In 1996, Marvel had some of its titles participate in scription fee.
"Heroes Reborn", a crossover that allowed Marvel to In 2009 Marvel Comics closed its Open Submissions Pol-
7
icy, in which the company had accepted unsolicited sam- In April 2013, Marvel and other Disney conglomer-
ples from aspiring comic book artists, saying the time- ate components began announcing joint projects. With
consuming review process had produced no suitably pro- ABC, a Once Upon a Time graphic novel was announced
fessional work.[75] The same year, the company com- for publication in September.[90] With Disney, Mar-
memorated its 70th anniversary, dating to its inception vel announced in October 2013 that in January 2014
as Timely Comics, by issuing the one-shot Marvel Mys- it would release its rst title under their joint Disney
tery Comics 70th Anniversary Special #1 and a variety of Kingdoms imprint Seekers of the Weird, a ve-issue
other special issues.[76][77] miniseries.[79] On January 3, 2014, fellow Disney sub-
sidiary Lucaslm Limited, LLC announced that as of
2015, Star Wars comics would once again be published
1.8 Disney conglomerate unit (2009 by Marvel.[91]
present) Following the events of the company-wide crossover
Secret Wars in 2015, a relaunched Marvel universe be-
gan in September 2015, called the All-New, All-Dierent
Marvel.[92]
2 Ocers
Michael Z. Hobson, Executive Vice President,
Publishing[93] Group vice-president, publishing
(1986)[94]
Parent corporation
In the early '90s, Marvel had so many titles
that there were three Executive Editors, each
overseeing approximately 1/3 of the line. Bob Magazine Management Co. (19681973)
Budiansky was the third Executive Editor [fol-
lowing the previously appointed Mark Gruen- Cadence Industries (19731986)
wald and Potts]. We all answered to Editor-in-
Chief Tom DeFalco and Publisher Mike Hob- Marvel Entertainment Group (19861998)
son. All three Executive Editors decided not to
add our names to the already crowded credits Marvel Enterprises
on the Marvel titles. Therefore it wasn't easy
for readers to tell which titles were produced Marvel Enterprises, Inc. (19982005)
by which Executive Editor In late '94, Mar- Marvel Entertainment, Inc (20052009)
vel reorganized into a number of dierent pub-
lishing divisions, each with its own Editor-in- Marvel Entertainment, LLC (2009present, a
Chief.[96] wholly owned subsidiary of The Walt Disney
Company)
Marvel reinstated the overall editor-in-chief position in
1995 with Bob Harras.
4 Oces
2.3 Executive Editor Located in New York City, Marvel has had successive
headquarters:
Originally called associate editor when Marvels chief ed-
itor just carried the title of editor, the title of the next
highest editorial position became executive editor under in the McGraw-Hill Building,[8][100] where it origi-
the chief editor title of editor-in-chief. The title of as- nated as Timely Comics in 1939
sociate editor later was revived under the editor-in-chief
as an editorial position in charge of few titles under the in suite 1401 of the Empire State Building[100]
direction of an editor and without an assistant editor.
at 635 Madison Avenue (the actual location, though
the comic books indicia listed the parent publishing-
Associate Editor companys address of 625 Madison Ave.)[100]
Jim Shooter January 5, 1976 January 2, 1978[97] 387 Park Avenue South[100]
Bobbie Chase 19952001 In August 2016, Marvel held a 30.78% share of the
comics market, compared to its competitor DC Comics'
Tom Brevoort 2007present[98] 39.27% share.[103] By comparison, the companies re-
spectively held 33.50% and 30.33% shares in 2013, and
Axel Alonso 2010 January 2011[99] 40.81% and 29.94% shares in 2008.[104]
6.2 Films 9
6 Marvel characters in other media Video games based on Marvel characters go back to 1984
and the Atari game, Spider-Man. Since then several
Marvel characters and stories have been adapted to many dozen video games have been released and all have been
other media. Some of these adaptations were produced produced by outside licensees. In 2014, Disney Innity
by Marvel Comics and its sister company, Marvel Stu- 2.0: Marvel Super Heroes was released that brought Mar-
dios, while others were produced by companies licensing vel characters to the existing Disney sandbox video game.
Marvel material.
6.2 Films
6.1 Games
Main article: List of lms based on Marvel Comics
In June 1993, Marvel issued its collectable caps for milk
caps game under the Hero Caps brand.[105] In 2014, As of the start of September 2015, lms based on Mar-
the Marvel Disk Wars: The Avengers Japanese TV se- vels properties represent the highest-grossing U.S. fran-
ries was launched together with a collectible game called chise, having grossed over $7.7 billion [109] as part of a
Bachicombat, a game similar to the milk caps game, by worldwide gross of over $18 billion.
Bandai.[106]
Main article: List of video games based on Marvel Many television series, both live-action and animated,
Comics have based their productions on Marvel Comics charac-
ters. These include multiple series for popular characters
10 9 NOTES
such as Spider-Man, Iron Man and the X-Men. Addition- Marvel Age/Adventures
ally, a handful of television movies, usually also pilots,
based on Marvel Comics characters have been made. Marvel Books
Marvel Edge
6.6 Theme parks Marvel Knights
Star Comics
7 Imprints Tsunami
Ultimate Comics
Disney Kingdoms[79]
Marvel Comics
Marvel Press, joint imprint with Disney Books
8 See also
Group
List of magazines released by Marvel Comics in the
Icon Comics (creator owned) 1970s
Innite Comics Panini Comics
Soleil Productions
7.1 Defunct
Amalgam Comics 9 Notes
CrossGen
[1] Apocryphal legend has it that in 1961, either Jack
Curtis Magazines/Marvel Magazine Group Liebowitz or Irwin Donenfeld of DC Comics (then known
as National Periodical Publications) bragged about DCs
Marvel Monsters Group success with the Justice League (which had debuted in
The Brave and the Bold #28 [February 1960] before going
Epic Comics (creator owned) (19822004) on to its own title) to publisher Martin Goodman (whose
Malibu Comics (19941997) holdings included the nascent Marvel Comics) during a
game of golf.
Marvel 2099 (19921998) However, lm producer and comics historian Michael Us-
lan partly debunked the story in a letter published in Alter
Marvel Absurd Ego #43 (December 2004), pp. 4344
11
Irwin said he never played golf with [8] Per statement of ownership, dated October 2, 1939, pub-
Goodman, so the story is untrue. I heard lished in Marvel Mystery Comics #4 (Feb. 1940), p. 40;
this story more than a couple of times while reprinted in Marvel Masterworks: Golden Age Marvel
sitting in the lunchroom at DCs 909 Third Comics Volume 1 (Marvel Comics, 2004, ISBN 0-7851-
Avenue and 75 Rockefeller Plaza oce as 1609-5), p. 239
Sol Harrison and [production chief] Jack
Adler were schmoozing with some of us [9] Writer-artist Bill Everett's Sub-Mariner had actually
who worked for DC during our college been created for an undistributed movie-theater giveaway
summers.... [T]he way I heard the story comic, Motion Picture Funnies Weekly earlier that year,
from Sol was that Goodman was playing with with the previously unseen, eight-page original story ex-
one of the heads of Independent News, not panded by four pages for Marvel Comics #1.
DC Comics (though DC owned Independent
[10] Per researcher Keif Fromm, Alter Ego #49, p. 4 (caption),
News). As the distributor of DC Comics,
Marvel Comics #1, cover-dated October 1939, quickly
this man certainly knew all the sales gures
sold out 80,000 copies, prompting Goodman to produce a
and was in the best position to tell this tid-
second printing, cover-dated November 1939. The latter
bit to Goodman. Of course, Goodman
appears identical except for a black bar over the October
would want to be playing golf with this fel-
date in the inside front-cover indicia, and the November
low and be in his good graces. Sol worked
date added at the end. That sold approximately 800,000
closely with Independent News top manage-
copiesa large gure in the market of that time. Also
ment over the decades and would have gotten
per Fromm, the rst issue of Captain America Comics sold
this story straight from the horses mouth.
nearly one million copies.
Goodman, a publishing trend-follower aware of the JLAs [11] Goulart, Ron (2000). Comic book culture: an illustrated
strong sales, conrmably directed his comics editor, Stan history. Collectors Press, Inc. p. 173. ISBN 978-1-
Lee, to create a comic-book series about a team of su- 888054-38-5.. Preceding Captain America were MLJ
perheroes. According to Lee in Origins of Marvel Comics Comics' the Shield and Fawcett Comics' Minute-Man.
(Simon and Schuster/Fireside Books, 1974), p. 16: Mar-
tin mentioned that he had noticed one of the titles pub- [12] Marvel : Timely Publications (Indicia Publisher)" at the
lished by National Comics seemed to be selling better than Grand Comics Database. This is the original business
most. It was a book called The [sic] Justice League of name under which Martin Goodman began publishing
America and it was composed of a team of superheroes. comics in 1939. It was used on all issues up to and includ-
' If the Justice League is selling ', spoke he, 'why don't ing those cover-dated March 1941 or Winter 19401941,
we put out a comic book that features a team of super- spanning the period from Marvel Comics #1 to Captain
heroes?'" America Comics #1. It was replaced by Timely Comics,
Inc. starting with all issues cover-dated April 1941 or
Spring 1941.
10 References [13] Daniels, Les (1991). Marvel: Five Fabulous Decades of
the Worlds Greatest Comics. New York City: Harry N.
[1] Sanderson, Peter (November 20, 2007). The Marvel Abrams. pp. 27, 3233. ISBN 0-8109-3821-9. Timely
Comics Guide to New York City. Gallery Books. Publications became the name under which Goodman rst
published a comic book line. He eventually created a
[2] 8 Real & Fictional Addresses of Superheroes in New number of companies to publish comics but Timely
York City. Dorkly. April 27, 2011. was the name by which Goodmans Golden Age comics
were known. . . . Marvel wasn't always Marvel; in the
[3] Claremont, Chris (w), Byrne, John (a), Austin, Terry early 1940s the company was known as Timely Comics....
(i). Elegy. The Uncanny X-Men #138 (October 1980).
Marvel Comics. [14] GCD :: Story Search Results. comics.org.
[4] Johnston, Rich (September 28, 2011). Teen Titans #1 [15] A Smithsonian Book of Comic-Book Comics. Smithsonian
Burnt Down The X-Men Mansion. Bleeding Cool. Institution/Harry N. Abrams. 1981.
[20] Wright, Bradford W. (2001). Comic Book Nation: The [35] Howe, Sean (2012). Marvel Comics: The Untold Story.
Transformation of Youth Culture in America. The Johns New York, NY: HarperCollins. p. 4. ISBN 978-0-06-
Hopkins University Press. p. 57. ISBN 978-0-8018- 199210-0.
6514-5.
[36] Boucher, Geo (September 25, 2009). Jack Kirby, the
[21] Marvel Entertainment Group, Inc.. International Direc- abandoned hero of Marvels grand Hollywood adventure,
tory of Company Histories, Vol. 10. Farmington Hills, and his familys quest. Los Angeles Times. Archived from
Michigan: Gale / St. James Press, via FundingUni- the original on July 25, 2011. Retrieved September 28,
verse.com. 1995. Archived from the original on July 11, 2011.
2011. Retrieved September 28, 2011.
[37] The Real Brand X. Time. October 31, 1960. Archived
[22] Marvel : Atlas [wireframe globe] (Brand) at the Grand from the original on June 29, 2011. Retrieved April 27,
Comics Database 2010.
[23] Marvel Indicia Publishers at the Grand Comics Database [38] Daniels, Les (September 1991). Marvel: Five Fabulous
Decades of the Worlds Greatest Comics, Harry N Abrams.
[24] Per Les Daniels in Marvel: Five Fabulous Decades of the p. 139.
Worlds Greatest Comics, pp. 6768: The success of EC
had a denite inuence on Marvel. As Stan Lee recalls, [39] Nyberg, Amy Kiste. Seal of Approval: History of the
'Martin Goodman would say, Stan, lets do a dierent Comics Code. University Press of Mississippi, Jackson,
kind of book, and it was usually based on how the compe- Miss., 1998
tition was doing. When we found that ECs horror books
were doing well, for instance, we published a lot of horror [40] Ro, Ronin (2004). Tales to Astonish: Jack Kirby, Stan Lee
books". and the American Comic Book Revolution. Bloomsbury
Publishing. p. 179.
[25] Boatz, Darrel L. (December 1988). Stan Lee. Comics
Interview (64). Fictioneer Books. pp. 1516. [41] Lee, Mair, p. 5.
[26] ABCTvOnDemand. Marvel: 75 Years, From Pulp to [42] Levitz, Paul (2010). 75 Years of DC Comics The Art of
Pop!". YouTube. Modern Mythmaking. Taschen America. p. 451. ISBN
978-3-8365-1981-6. Marvel took advantage of this mo-
[27] Wright, Bradford. Comic Book Nation: The Transforma- ment to surpass DC in title production for the rst time
tion of Youth Culture in America. Johns Hopkins Univer- since 1957, and in sales for the rst time ever.
sity Press. ISBN 9780801874505.
[43] Daniels, Marvel, pp.154155
[28] Marvel : MC (Brand) at the Grand Comics Database.
[44] Cooke, Jon B. (December 2011). Vengeance, Incorpo-
[29] Fantastic Four. Grand Comics Database. rated: A history of the short-lived comics publisher At-
las/Seaboard. Comic Book Artist (16). Archived from
[30] Roberts, Randy; Olson, James S. (1998). American Ex- the original on December 1, 2010. Retrieved September
periences: Readings in American History: Since 1865 (4 28, 2011.
ed.). AddisonWesley. p. 317. ISBN 978-0-321-01031-
5. Marvel Comics employed a realism in both characteri- [45] Bullpen Bulletins: The King is Back! 'Nu Said!",
zation and setting in its superhero titles that was unequaled in Marvel Comics cover dated October 1975, including
in the comic book industry. Fantastic Four #163
[31] Genter, Robert (2007). With Great Power Comes Great [46] Specic series- and issue-dates in article are collectively
Responsibility': Cold War Culture and the Birth of Marvel per GCD and other databases given under References
Comics. The Journal of Popular Culture. 40 (6).
[47] Both pencils and inks per UHBMCC; GCD remains un-
[32] Comics historian Greg Theakston has suggested that the certain on inker.
decision to include monsters and initially to distance the
[48] Howe, Sean (20 August 2014). After His Public Down-
new breed of superheroes from costumes was a conscious
fall, Sin Citys Frank Miller Is Back (And Not Sorry)".
one, and born of necessity. Since DC distributed Marvels
Wired. Cond Nast. Retrieved 21 January 2015.
output at the time, Theakston theorizes that, Goodman
and Lee decided to keep their superhero line looking as [49] Marvel Focuses On Direct Sales. The Comics Journal
much like their horror line as they possibly could, down- (59): 1112. October 1980.
playing the fact that [Marvel] was now creating heroes
with the eect that they ventured into deeper waters, [50] DC Overcomes Marvel In Sales. The Comics Journal
where DC had never considered going. See Ro, pp. 87 (118): 24. December 1987.
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11 Further reading
Lupo, Dick; Thompson, Don (1997). All in Color
for a Dime. Krause Publications. ISBN 0-87341-
498-5.
12 External links
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