Untitled

Untitled

Retro Costumes from the Fabulous Fifties at BowlingShirt.com!

Untitled

Untitled

Remembering the legendary Bettie Page

Untitled

Entertainment Earth

Untitled

Untitled

Find Amazing Spider-Man comics and more at TFAW!

Untitled

SuperHeroStuff - New Marvel Stuff

Batman DC Comics Premium Format(TM) Figure

Untitled

"Nuff said."

- W.J. Flywheel, Webporium Curator

MARVEL COMICS

Marvel Worldwide, Inc., commonly referred to as Marvel Comics and formerly Marvel Publishing, Inc. and Marvel Comics Group, is an American company that publishes comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwide's parent company, for $4.24 billion.

Marvel started in 1939 as Timely Publications, and by the early 1950s had generally become known as Atlas Comics. Marvel's modern incarnation dates from 1961, with the company later that year launching Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and others.

Marvel counts among its characters such well-known properties as Spider-Man, the X-Men, Iron Man, the Hulk, the Fantastic Four, Thor and Captain America; antagonists such as Doctor Doom, the Green Goblin, Magneto, Galactus, and the Red Skull; and others. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locales set in real-life cities such as New York, Los Angeles and Chicago.

    Timely

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939, publishing comic books under the imprint Timely Comics. Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging, and by then already highly popular new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, New York, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first generally available appearance of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely by the following year had its own staff in place.

The company's first true editor, writer-artist Joe Simon, teamed with imminent industry-legend Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1. (March 1941) It, too, proved a major sales hit, with sales of nearly one million.

While no other Timely character would achieve the success of these "big three", some notable heroes, many of which continue to appear in modern-day retcon appearances and flashbacks include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Goodman hired his wife's cousin, Stanley Lieber, as a general office assistant in 1939. When editor Simon left the company in late 1941, Goodman made Lieber, by then writing pseudonymously as "Stan Lee" interim editor of the comics line, a position Lee kept for decades except for three years during his military service in World War II. Lee wrote extensively for Timely, contributing to a number of different titles.

As the late 1940s went on, Timely branched out into new genres, notably romance, Western and crime. Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946-47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.

    Atlas Comics

The post-war American comic market saw superheroes falling out of fashion. Goodman's comic book line dropped them for the most part and expanded into a wider variety of genres than even Timely had published, featuring horror, Westerns, humor, funny animal, men's adventure-drama, giant monster, crime, and war comics, and later adding jungle books, romance titles, espionage, and even medieval adventure, Bible stories and sports. Like other publishers, Goodman also courted female readers with mostly humorous comics about models and career women.

Goodman began using the globe logo of Atlas, a newsstand-distribution company he owned, on comics cover-dated November 1951. This united a line put out by the same publisher, staff, and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications, under the umbrella name Atlas Comics.

Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.).

Untitled

    Marvel

The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an "MC" box on its cover. Then, in the wake of DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, and other members of the team the Justice League of America, Marvel followed suit. The introduction of modern Marvel's first superhero team, in The Fantastic Four #1, (Nov. 1961), began establishing the company's reputation. The majority of its superhero stories were written by editor-in-chief Stan Lee. The company continued to publish a smattering of Western comics such as Rawhide Kid, humor comics such as Millie the Model, and romance comics such as Love Romances, and added the war comic Sgt. Fury and his Howling Commandos.

Editor-writer Lee and freelance artist Jack Kirby's Fantastic Four, reminiscent of the non-superpowered adventuring quartet the Challengers of the Unknown that Kirby had created for DC in 1957, originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success. Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Spider-Man, Thor, Ant-Man, Iron Man, the X-Men, and Daredevil, and such memorable antagonists as Doctor Doom, Magneto, Galactus, the Green Goblin, and Doctor Octopus. Lee and Steve Ditko generated the most successful new series in The Amazing Spider-Man. Marvel even lampooned itself and other comics companies in a parody comic, Not Brand Echh (a play on Marvel's dubbing of other companies as "Brand Echh", à la the then-common phrase "Brand X").

Marvel's comics had a reputation for focusing on characterization to a greater extent than most superhero comics before them. This applied to The Amazing Spider-Man in particular. Its young hero suffered from self-doubt and mundane problems like any other teenager. Marvel often presents flawed superheroes, freaks, and misfits—unlike the perfect, handsome, athletic heroes found in previous traditional comic books. Some Marvel heroes looked like villains and monsters. In time, this non-traditional approach would revolutionize comic books. Writer Geoff Boucher in 2009 reflected that, "Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times, or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?"


Lee, with his charming personality and relentless salesmanship of the company, became one of the best-known names in comics. His sense of humor and generally lighthearted manner became the "voice" that permeated the stories, the letters and news-pages, and the hyperbolic house ads of that era's Marvel Comics. He fostered a clubby fan-following with Lee's exaggerated depiction of the Bullpen (Lee's name for the staff) as one big, happy family. This included printed kudos to the artists, who eventually co-plotted the stories based on the busy Lee's rough synopses or even simple spoken concepts, in what became known as the Marvel Method, and contributed greatly to Marvel's product and success. Kirby in particular is generally credited for many of the cosmic ideas and characters of Fantastic Four and The Mighty Thor, such as the Watcher, the Silver Surfer and Ego the Living Planet, while Steve Ditko is recognized as the driving artistic force behind the moody atmosphere and street-level naturalism of The Amazing Spider-Man and the surreal atmosphere of the Strange Tales mystical feature "Doctor Strange". Lee, however, continues to receive credit for his well-honed skills at dialogue and sense of storytelling, for his keen hand at choosing and motivating artists and assembling creative teams, and for his uncanny ability to connect with the readers—not least through the nickname endearments he bestowed in the credits and the monthly "Bullpen Bulletins" and letters pages, giving readers humanizing hype about the likes of "Jolly Jack Kirby," "Jaunty Jim Steranko", "Rascally Roy Thomas", "Jazzy Johnny Romita", and others, right down to letterers "Swingin' Sammy Rosen" and "Adorable Artie Simek".

In 1968, while selling 50 million comic books a year, company founder Goodman revised the constraining distribution arrangement with Independent News he had reached under duress during the Atlas years, allowing him now to release as many titles as demand warranted. In the fall of that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which grouped them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

In 1971, the United States Department of Health, Education, and Welfare approached Marvel Comics editor-in-chief Stan Lee to do a comic book story about drug abuse. Lee agreed and wrote a three-part Spider-Man story portraying drug use as dangerous and unglamorous. However, the industry's self-censorship board, the Comics Code Authority, refused to approve the story because of the presence of narcotics, deeming the context of the story irrelevant. Lee, with Goodman's approval, published the story regardless in The Amazing Spider-Man #96-98 (May–July 1971), without the Comics Code seal. The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.

Goodman retired as publisher in 1972 and installed his son, Chip, as publisher. Shortly thereafter, Lee succeeded him as publisher and also became Marvel's president for a brief time. During his time as president, he appointed as editor-in-chief Roy Thomas, who added "Stan Lee Presents" to the opening page of each comic book.

A series of new editors-in-chief oversaw the company during another slow time for the industry. Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, Red Sonja), satire (Howard the Duck) and science fiction (2001: A Space Odyssey, "Killraven" in Amazing Adventures, Star Trek, and, late in the decade, the long-running Star Wars series). Some of these were published in larger-format black and white magazines, that targeted mature readers, under its Curtis Magazines imprint. Marvel was able to capitalize on its successful superhero comics of the previous decade by acquiring a new newsstand distributor and greatly expanding its comics line. Marvel pulled ahead of rival DC Comics in 1972, during a time when the price and format of the standard newsstand comic were in flux. Goodman increased the price and size of Marvel's November 1971 cover-dated comics from 15 cents for 39 pages total to 25 cents for 52 pages. DC followed suit, but Marvel the following month dropped its comics to 20 cents for 36 pages, offering a lower-priced product with a higher distributor discount.

Goodman, now disconnected from Marvel, set up a new company called Seaboard Periodicals in 1974, reviving Marvel's old Atlas name for a new Atlas Comics line, but this lasted only a year-and-a-half. In the mid-1970s a decline of the newsstand distribution network affected Marvel. Cult hits such as Howard the Duck fell victim to the distribution problems, with some titles reporting low sales when in fact the first specialty comic book stores resold them at a later date. But by the end of the decade, Marvel's fortunes were reviving, thanks to the rise of direct market distribution, selling through those same comics-specialty stores instead of newsstands.

Marvel held its own comic book convention, Marvelcon '75, in spring 1975, and promised a Marvelcon '76. At the 1975 event, Stan Lee used a Fantastic Four panel discussion to announce that Jack Kirby, the artist co-creator of most of Marvel's signature characters, was returning to Marvel after having left in 1970 to work for rival DC Comics. In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. Captain Britain debuted exclusively in the UK, and later appeared in American comics.

In 1978, Jim Shooter became Marvel's editor-in-chief. Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including repeatedly missed deadlines. During Shooter's nine-year tenure as editor-in-chief, Chris Claremont and John Byrne's run on the Uncanny X-Men and Frank Miller's run on Daredevil became critical and commercial successes. Shooter brought Marvel into the rapidly evolving direct market, institutionalized creator royalties, starting with the Epic Comics imprint for creator-owned material in 1982; introduced company-wide crossover story arcs with Contest of Champions and Secret Wars; and in 1986 launched the ultimately unsuccessful New Universe line to commemorate the 25th anniversary of the Marvel Comics imprint. Star Comics, a younger-oriented line than the regular Marvel titles, was briefly successful during this period.

Despite Marvel's successes in the early 1980s, however, it lost ground to rival DC in the latter half of the decade, as many former Marvel stars defected to competitor. DC scored critical and sales victories with titles and limited series such as Watchmen, Batman: The Dark Knight Returns, Crisis on Infinite Earths, Byrne's revamp of Superman, and Alan Moore's Swamp Thing. In 1986, Marvel was sold to New World Entertainment, which within three years sold it to MacAndrews and Forbes, owned by Revlon executive Ronald Perelman.

Marvel earned a great deal of money and recognition during the comic-book boom of the early 1990s, launching the successful 2099 line of comics set in the future (Spider-Man 2099, etc.) and the creatively daring though commercially unsuccessful Razorline imprint of superhero comics created by novelist and filmmaker Clive Barker. Yet by the middle of the decade, the industry had slumped, and in December 1996 Marvel filed for Chapter 11 bankruptcy protection. Marvel suffered a major blow in early 1992, when seven of its most prized artists, Todd McFarlane (known for his work on Spider-Man), Jim Lee (X-Men), Rob Liefeld (X-Force), Marc Silvestri (Wolverine), Erik Larsen (The Amazing Spider-Man), Jim Valentino (Guardians of the Galaxy), and Whilce Portacio left to form the successful company Image Comics.

Marvel acquired the comic-book distributor Heroes World Distribution to use as its own exclusive distributor. As the industry's other major publishers made exclusive distribution deals with other companies, the ripple effect resulted in the survival of only one other major distributor in North America, Diamond Comic Distributors Inc. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel giving the company its own section of its comics catalog Previews.

Creatively and commercially, the '90s were dominated by the use of gimmickry to boost sales, such as variant covers, cover enhancements, swimsuit issues. In 1991 Marvel began selling Marvel Universe Cards with trading card maker SkyBox International. These were collectible trading cards that featured the characters and events of the Marvel Universe.

Another common Marvel practice of this period was regular company-wide crossovers that threw the universe's continuity into disarray. In 1996, Marvel had almost all its titles participate in the "Onslaught Saga", a crossover that allowed Marvel to relaunch some of its flagship characters, such as the Avengers and the Fantastic Four, in the Heroes Reborn universe, in which Marvel defectors (and now Image Comics stars) Jim Lee and Rob Liefeld were given permission to revamp the properties from scratch. After an initial sales bump, sales quickly declined below expected levels, and Marvel discontinued the experiment after a one-year run; the characters soon returned to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

In 1991 Ronald Perelman, whose company, Andrews Group, had purchased Marvel Comic's Parent corporation, Marvel Entertainment Group (MEG) in 1986, took the company public in a New York Stock Exchange stock-offering underwritten by Merrill Lynch and First Boston Corporation. Following the rapid rise of this popular stock, Perleman issued a series of junk bonds that he used to acquire other children's entertainment companies secured by MEG stock. In 1997, Toy Biz and MEG merged to end the bankruptcy forming a new corporation, Marvel Enterprises. With his business partner Avi Arad, publisher Bill Jemas, and editor-in-chief Bob Harras, Perlmutter helped revitalize the comics line.

With the new millennium, Marvel Comics escaped from bankruptcy and again began diversifying its offerings. In 2001, Marvel withdrew from the Comics Code Authority and established its own Marvel Rating System for comics. The first title from this era to not have the code was X-Force #119 (October 2001). Marvel also created new imprints, such as MAX (a line intended for mature readers) and Marvel Age (developed for younger 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 characters to introduce to a new generation.

The new century saw many Marvel characters reborn as successful film franchises, including the X-Men movie series, starting in 2000, and the Spider-Man series, beginning in 2002 followed by The Hulk, Daredevil, Elektra, The Punisher, Iron Man, Captain America, Thor and The Avengers in 2011. Many of the Marvel superhero movies feature a cameo by Stan Lee.

In a cross-promotion, the November 1, 2006, episode of the CBS soap opera The Guiding Light, titled "She's a Marvel", featured the character Harley Davidson Cooper (played by Beth Ehlers) as a superheroine named the Guiding Light. The character's story continued in an eight-page backup feature, "A New Light", that appeared in several Marvel titles published November 1 and 8. Also that year, Marvel created a wiki on its Web site.

In late 2007 the company launched Marvel Digital Comics Unlimited, a digital archive of over 2,500 back issues available for viewing, for a monthly or annual subscription fee.

In 2009 Marvel Comics closed its Open Submissions Policy, in which the company had accepted unsolicited samples from aspiring comic book artists, saying the time-consuming review process had produced no suitably professional work. The same year, the company commemorated its 70th anniversary, dating to its inception as Timely Comics, by issuing the one-shot Marvel Mystery Comics 70th Anniversary Special #1 and a variety of other special issues.

On August 31, 2009, The Walt Disney Company announced a deal to acquire Marvel Comics' parent corporation, Marvel Entertainment, for $4 billion, with Marvel shareholders to receive $30 and 0.745 Disney shares for each share of Marvel they own.


Untitled

    Shop for Neat Marvel Stuff

General-Marvel Collectibles

Save 30% on all orders of posters, art, photography and more at AllPosters.com! Code: SCHOOL30 (Vali

Marvel's Fear Itself at TFAW.com

Untitled
Share

HOME - SEARCH - ABOUT US - TERMS - SITE MAP - NEWS - LINKS - CONTESTS - HALL OF FAME - AV CLUB - TRIVIAOGRAPHY - THE BIG STORE
Original material © Copyright 2017myneatstuff.ca - All other material © Copyright their respective owners.

When wasting time on the interweb why not visit our Kasey and Company Cartoon site?