Sin (real name Synthia Schmidt) is a supervillainess appearing in books published by Marvel Comics. She is the daughter of the Red Skull. She has also gone by the aliases Mother Superior, Sister Sin and the Red Skull.

Fictional character biography[link]

Seeking an heir, the Red Skull (Johann Schmidt) fathered a daughter with a washerwoman. After the woman died in childbirth, the Red Skull angrily almost killed the child as it was a girl. But his follower Susan Scarbo convinced him not to, telling him she would raise the girl herself as her nanny. The Skull agreed and left the girl now named "Synthia" with Scarbo to be raised by her and indoctrinated with the Skull's views as she grew up. The Skull returned when Synthia was a child and put her in a machine that had her acceleratedly aged into adulthood and gave her superhuman powers.^[1]

As "Mother Superior", Synthia became the leader of a group called the "Sisters of Sin", young orphan girls who were accelerated into adulthood and given psionic powers by the Skull after being indoctrinated by Synthia. The Sisters of Sin would have many run-ins with Captain America (the Red Skull's nemesis) before being de-aged when they entered a chamber designed to reverse the Skull's aging process and they were restored to children (she would later claim she was deaged to the wrong age - but whether this is true, and in which direction, is unclear).^{[volume & issue needed]}

Later, Mother Night (Susan Scarbo) reformed the Sisters of Sin and became their new leader, while the deaged Synthia herself took the name "Sister Sin".^{[volume & issue needed]}

Sometime later, she was captured by S.H.I.E.L.D. and taken to their reeducation facility where they reprogrammed her with false memories as a "normal" American girl named "Erica Holstein". After the Red Skull was seemingly assassinated by the Winter Soldier under Aleksander Lukin's orders, Crossbones (one of the Skull's henchmen) broke into the facility, kidnapped Erica and tortured her to break her reprogramming. After he succeeded, she simply calls herself "Sin" while she entered into a relationship with him and the two went on a killing spree. She later reunited with the Red Skull while her father was living inside the mind of General Lukin.^[2]

As the first part of the Skull's Master Plan, Sin disguised herself as a nurse after the Civil War while Crossbones sniped Captain America at the courthouse, even though it meant obeying her father and abandoning Crossbones to his fate. Sin then revealed to Sharon Carter that Carter was the one who had killed Cap. Now the leader of a new incarnation of the Serpent Squad, Sin breaks Crossbones out of jail. He is later apprehended again, and Sin wounded, in an attempt to break into the Capitol Building. Sin is later sent to assassinate the Democratic and Republican presidential candidates, but is stopped by the new Captain America.^[3] In the aftermath of Captain America: Reborn, after attempting to put her father in Steve Rogers' body, she is injured by the explosion of her father's mechanical body and her face is hideously scarred like her father's, making her the new "Red Skull".^[4]

She is later visited in prison by Baron Zemo for information about Bucky.^[5] Sometime later, Master Man sprung Sin from prison, prompting Sin to take her place as the new Red Skull.^[6] She delivers a video to the media recorded three months before the trial of Bucky where he declares that he wasn't brainwashed but was an accomplice and fully aware of his actions. She along with Master Man are later seen on Ellis Island where she pretends to blow up the Statue of Liberty with Falcon and Black Widow in it, unless Bucky is delivered to her.

"Fear Itself"[link]

During the Fear Itself storyline, Sin (with the help of Baron Zemo) unearths the Hammer of Skadi and becomes Skadi in order to free Serpent: God of Fear from his underwater prison. Sin vows to do what her father failed to do in taking over the world.^[7] She succeeds in her mission in freeing Serpent and then she prepares an army of Nazis to take over the D.C. Capital.^[8] During their battle in Washington, D.C., Skadi mortally wounds the James "Bucky" Barnes, the then-current Captain America.^[9] In the final battle, Skadi battles Steve Rogers, who returns to the mantle of Captain America. Thor gives Cap his hammer Mjolnir so that he can make up for the loss of his shield. Thor manages to kill the Serpent and Odin strips the Worthy of the hammers, causing Sin to lose the power of Skadi. This leaves Sin incapacitated.^[10]

Powers and abilities[link]

As Mother Superior, Sin possessed a range of superhuman powers including telepathy, telekinesis, teleportation and intangibility. After she was de-aged, she apparently lost these powers completely - unlike the other "Sisters of Sin", whose powers were diminished but not eliminated upon de-aging. The reason for this discrepancy has never been revealed.

Being trained by her father, she is an expert hand to hand combatant and martial artist. She is also highly proficient in firearms and explosives. As the Red Skull's child, Sin also has a high level of intellect.

In other media[link]

Film[link]

• In the 1990 low budget film Captain America, Sin is portrayed by actress Francesca Neri. She is both the Red Skull's daughter and second in command, but they are both Italian instead of German, with her name changed to Valentina de Santis to reflect this.

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2012)

A Sistine Chapel fresco depicts the expulsion of Adam and Eve from the garden of Eden for their sin of eating from the fruit of the Tree of the knowledge of good and evil.

In religious contexts, a sin is an act that violates God's will.^{[1][2][3][4][Need quotation to verify]}

Many, though not all, crimes are also regarded as sins. Some sins are regarded as greater than others, and in this nuanced concept of sin, sins fall in a spectrum from least corrupt and evil to the greatest evil.^{[citation needed]} In Catholicism, sins which are least corrupt are regarded as venial sins —such sins may be regarded as parts of human living, and carry little divine consequence. Conversely sins which are of great evil may be regarded as mortal sins —sins which are said to have the dire consequence of mortal penalty.

Sins of careless living are considered destructive and lead to greater sins according to the Seven Deadly Sins. Another concept of sin deals with those things which exist on Earth, but not in Heaven. Food, for example, while a necessary good for the (health of the temporal) body, is not of (eternal) transcendental living and therefore its excessive savoring is considered a sin.^[5]

Original sin is the concept that sin entered the human world through Adam and Eve's sin in the Garden of Eden, and that human beings have since lived with the consequences of this first sin.^[6]

Bahá'í faith[link]

In the Bahá'í Faith, humans are considered to be naturally good (perfect), fundamentally spiritual beings. Human beings were created because of God's immeasurable love. However, the Bahá'í teachings compare the human heart to a mirror, which, if turned away from the light of the sun (i.e. God), is incapable of receiving God's love.

Buddhism[link]

Buddhism does not recognize the idea behind sin, but believes in the principle of karma, whereby suffering is the inevitable consequence of greed, anger, and delusion (known as the Three poisons).^[7] While there is no Buddhist equivalent of the Abrahamic concept of sin, wrongdoing is recognized in Buddhism. The concept of Buddhist ethics is consequentialist in nature and is not based upon duty towards God.

Christianity[link]

In Western Christianity, sin is believed to alienate the sinner from God. It has damaged, and completely severed, the relationship of humanity to God. That relationship can only be restored through repentance and acceptance of Jesus Christ and his death on the cross as a substitutionary sacrifice for mankind's sin.

In Eastern Christianity, sin is viewed in terms of its effects on relationships, both among people and between people and God. Sin is seen as the refusal to follow God's plan, and the desire to be "like God" (Genesis 3:5) and thus in direct opposition to God's will (see the account of Adam and Eve in the Book of Genesis).

Original sin[link]

Original sin is the concept that sin entered the human world through Adam and Eve's sin in the Garden of Eden, and that human beings have since lived with the consequences of this first sin.^[8]

Gradations of sin[link]

In Catholicism, sins which are least corrupt are regarded as venial sins —such sins may be regarded as parts of human living, and carry little divine consequence. Conversely, sins which are of great evil may be regarded as mortal sins —sins which are said to have the dire consequence of mortal penalty.

Sins of careless living are considered destructive and lead to greater sins according to the Seven Deadly Sins. Another concept of sin deals with those things which exist on Earth, but not in Heaven. Food, for example, while a necessary good for the (health of the temporal) body, is not of (eternal) transcendental living and therefore its excessive savoring is considered a sin.^[9]

The Unforgivable sin (or eternal sin) is a sin which can never be forgiven.

Hinduism[link]

In Hinduism, the term sin (pāpa in Sanskrit) is often used to describe actions that create negative karma by violating moral and ethical codes, which automatically brings negative consequences. It is different from other religions like Judaism, Christianity and Islam in the sense that sin is not a crime against the will of God, but against (1) Dharma, or moral order, and (2) one's own self.

Islam[link]

Muslims see sin (dhanb, thanb ذنب) as anything that goes against the commands of God (Allah). Islam teaches that sin is an act and not a state of being. The Qur'an teaches that "the soul is certainly prone to evil, unless the Lord does bestow His Mercy" and that even the prophets do not absolve themselves of the blame.^{[Quran 12:53]} It is believed that Iblis (Satan) has a significant role in tempting humankind towards sin.

In Islam, there are several gradations of sin:

• sayyia, khatia: mistakes (Suras 7:168; 17:31; 40:45; 47:19 48:2)
• itada, junah, dhanb: immorality (Suras 2:190,229; 17:17 33:55)
• haraam: transgressions (Suras 5:4; 6:146)
• ithm, dhulam, fujur, su, fasad, fisk, kufr: wickedness and depravity (Suras 2:99, 205; 4:50, 112, 123, 136; 12:79; 38:62; 82:14)
• shirk: ascribing a partner to God (Sura 4:48)

One may sincerely repent to God for the wrongs committed and seek forgiveness, as stated in the Quran, "Our Lord! Forgive us our sins, remove from us our iniquities, and take to Yourself our souls in the company of the righteous." (Al-Imran.193/ 3.193).

Judaism[link]

Judaism regards the violation of any of the 613 commandments to be a sin. Judaism teaches that sin is an act, and not a state of being. Humankind was not created with an inclination to do evil, but has that inclination "from his youth".(Genesis 8:21)

Shinto[link]

Evil deeds fall into two categories in Shinto: amatsu tsumi, "the most pernicious crimes of all", and kunitsu tsumi, "more commonly called misdemeanors".^[10]

See also[link]

Wikiquote has a collection of quotations related to: Sin

• Asceticism
• Actual sin
• Fall of Man
• Hamartia
• Hedonism
• Internal sin
• Morality
• Religious law
• Sin-offering
• Taboo
• Total depravity

Notes and references[link]

Bibliography[link]

• Hein, David. "Regrets Only: A Theology of Remorse." The Anglican 33, no. 4 (October 2004): 5-6
• Schumacher, Meinolf. Sündenschmutz und Herzensreinheit: Studien zur Metaphorik der Sünde in lateinischer und deutscher Literatur des Mittelalters. Munich: Fink, 1996

External links[link]

Wikimedia Commons has media related to: Sins

Look up sin in Wiktionary, the free dictionary.

• Hamartiology (Philosophical Theology of Sin)

Marvel Comics

Type	Subsidiary of Marvel Entertainment
Industry	Publishing
Genre	Crime, horror, mystery, romance, science fiction, superhero, war, Western
Founded	1939 (as Timely Comics)
Founder(s)	Martin Goodman
Headquarters	417 Fifth Avenue, New York City
Area served	USA, UK
Key people	Axel Alonso, EIC Dan Buckley, publisher, COO Stan Lee, former EIC, publisher
Products	Comics/See List of Marvel Comics publications
Revenue	US$125.7 million (2007)
Operating income	US$53.5 million (2007)[1]
Owner(s)	Martin Goodman (1939-1968)
Parent	Magazine Management Co. (1968-1973) Cadence Industries (1973-1986) Marvel Entertainment Group (1986-1997) Marvel Entertainment (1997- )
Website	marvel.com

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,^[2] 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, the year that the company launched 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, Avengers, Fantastic Four, Thor and Captain America; antagonists such as Doctor Doom, the Green Goblin, Magneto, Galactus, Loki, and the Red Skull. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.^[3]

History[link]

Timely Publications[link]

Main article: Timely Comics

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939,^[4] publishing comic books under the imprint Timely Comics.^[5] 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.^[4]

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.^[6] 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 eminent industry legend Jack Kirby to create one of the first^{[citation needed]} 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.^[6]

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",^[7][8] 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,^[9] Stanley Lieber, as a general office assistant in 1939.^[10] When editor Simon left the company in late 1941,^[11] 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.

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.^[5] 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.^[12]

Atlas Comics[link]

The post-war American comic market saw superheroes falling out of fashion.^[13] 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.

Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned,^[14] on comics cover-dated November 1951 even though another company, Kable News, continued to distribute his comics through the August 1952 issues.^[15] This globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications.^[16]

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line.^[17] 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.).

1960s[link]

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.^[18] 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.^[19] The introduction of modern Marvel's first superhero team, in The Fantastic Four #1, (Nov. 1961),^[20] 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.^[21] 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.^[22] 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").^[23]

Marvel's comics had a reputation for focusing on characterization to a greater extent than most superhero comics before them.^[24] 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. This naturalistic approach even extended into topical politics. Wrote comics historian Mike Benton,

In the world of [rival DC Comics'] Superman comic books, communism did not exist. Superman rarely crossed national borders or involved himself in political disputes.^[25] ... From 1962 to 1965, there were more communists [in Marvel Comics] than on the subscription list of Pravda. Communist agents attack Ant-Man in his laboratory, red henchmen jump the Fantastic Four on the moon, and Viet Cong guerrillas take potshots at Iron Man.^[26]

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?"^[27]

Lee, with his charming personality and relentless salesmanship of the company, became one of the best-known names in comics.^{[citation needed]} 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".

Lesser-known staffers during the company's growth in the 1960s (some of whom worked primarily for Marvel publisher Martin Goodman's umbrella magazine corporation) included circulation manager Johnny Hayes, subscriptions person Nancy Murphy, bookkeeper Doris Siegler, merchandising-person Charles "Chip" Goodman (son of publisher Martin), and Arthur Jeffrey, described in the December 1966 "Bullpen Bulletin" as "keeper of our MMMS [Merry Marvel Marching Society] files, guardian of our club coupons and defender of the faith".

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.^[14] 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.^[28] In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.^[14]

1970s[link]

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.^[29]

Goodman retired as publisher in 1972 and installed his son, Chip, as publisher,^[30] Shortly thereafter, Lee succeeded him as publisher and also became Marvel's president^[30] for a brief time.^[31] 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.^[30]

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, 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.^[32] Goodman increased the price and size of Marvel's November 1971 cover-dated comics from 15 cents for 36 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.^[33]

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.^[34] 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.^{[citation needed]} 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.^[35] 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.^[36]

1980s[link]

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.^{[citation needed]} Shooter brought Marvel into the rapidly evolving direct market,^[38] 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 childrens-oriented line differing from the regular Marvel titles, was briefly successful during this period.

Despite Marvel's successes in the early 1980s, it lost ground to rival DC in the latter half of the decade as many former Marvel stars defected to the competitor. DC scored critical and sales victories^[39] 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's parent, Marvel Entertainment Group, was sold to New World Entertainment, which within three years sold it to MacAndrews and Forbes, owned by Revlon executive Ronald Perelman.

1990s[link]

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.^[40][41] 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. The 1990s saw the rise of variant covers, cover enhancements, and swimsuit issues.

Another common practice of this period was company-wide crossovers that affected the overall continuity of the fictional Marvel Universe. In 1996, Marvel had almost all its titles participate in the "Onslaught Saga", a crossover that allowed Marvel to relaunch some of its flagship, albeit flagging, characters such as the Avengers and the Fantastic Four, and outsource them to the studios of former Marvel artists turned Image Comics founders, Jim Lee and Rob Liefeld. After an initial sales bump, sales quickly declined below expected levels,^{[citation needed]} 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.

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.^[42]

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor.^[43] 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.^[44][45] In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel^[46]—giving the company its own section of its comics catalog Previews.^[47]

In 1991 Ronald Perelman, whose company, Andrews Group, had purchased Marvel Comic's Parent corporation, Marvel Entertainment Group (MEG) in 1989, took the company 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. Then, by the middle of the decade, the industry had slumped, and in December 1996 Marvel filed for Chapter 11 bankruptcy protection.^[48] In 1997, Toy Biz and MEG merged to end the bankruptcy, forming a new corporation, Marvel Enterprises.^[48] With his business partner Avi Arad, publisher Bill Jemas, and editor-in-chief Bob Harras, Toy Biz co-owner Isaac Perlmutter helped stabilize the comics line.^[49]

2000s[link]

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 (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 characters to introduce to a new generation.

Some of its characters have been turned into successful film franchises, such as the X-Men movie series, starting in 2000, and the highest grossing series Spider-Man, beginning in 2002.^[50]

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.^[51] 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.^[52] Also that year, Marvel created a wiki on its Web site.^[53]

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.^[54]

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.^[55] 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.^[56][57]

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.^[58]

2010s[link]

Prominent writers of Marvel titles in the 2010s include (seated left to right) Ed Brubaker, Christos Gage, Matt Fraction and Brian Michael Bendis.

Marvel relaunched the CrossGen imprint, owned by Disney Publishing Worldwide, in March 2011.^[59] Marvel and Disney Publishing began jointly publishing Disney/Pixar Presents magazine in May 2011.^[60]

Officers[link]

• Michael Z. Hobson Executive Vice President, Publishing ^[61] Group vice-president, publishing (1986)^[62]
• Stan Lee, executive vice-president & publisher (1986)^[62]
• Joseph Calamari, executive vice-president (1986)^[62]
• Barry Kaplan, senior vice-president, fiance and administration (1986)^[62]
• Jim Shooter, vice-president and Editor-in-Chief (1986)^[62]
• Gene J. Durante, vice-president, manufacturing and operations (1986)^[62]
• Harry Flynn, vice-president, Marvel Books (1986)^[62]
• Thomas R. Costello, vice-president , circulation (1986)^[62]
• Steven R. Herman, vice-president, licensing and merchandising (1986)^[62]
• David Fox, vice-president, legal affairs (1986)^[62]
• Katherine Beekman, vice-president, subscription (1986)^[62]
• Milton Schiffman, vice-president, production (1986)^[62]

Publishers[link]

• Abraham Goodman 1939^[4] – ?
• Martin Goodman ? – 1972^[30]
• Charles "Chip" Goodman 1972^[30]
• Stan Lee 1972 – October 1996^[30][31][61]
• Shirrell Roades October 1996 – October 1998^[61]
• Winston Fowlkes February 1998 – November 1999^[61]
• Bill Jemas February 2000 – 2003^[61]
• Dan Buckley 2003 – present^[63]

Editors-in-chief[link]

Marvel's chief editor originally held the title of "editor". This head editor's title later became "editor-in-chief". Joe Simon was the company's first true chief editor, with publisher Martin Goodman, who had initially outsourced editorial content, having been the titular editor previously.

In 1994, Marvel briefly abolished the position, replacing Tom DeFalco with five group editors-in-chief. As Carl Potts described the 1990s editorial arrangement, "In the early '90s, Marvel had so many titles that there were three Executive Editors, each overseeing approximately 1/3 of the line. Bob Budiansky was the third Executive Editor [following the previously appointed Mark Gruenwald and Potts]. We all answered to Editor-in-Chief Tom DeFalco and Publisher Mike Hobson. All three Executive Editors decided not to add our names to the already crowded credits on the Marvel titles. Therefore it wasn't easy for readers to tell which titles were produced by which Executive Editor ... In late '94, Marvel reorganized into a number of different publishing divisions, each with its own Editor-in-Chief."^[64] Marvel reinstated the overall editor-in-chief position in 1995 with Bob Harras.

Editor

• Martin Goodman (1939–1940)^[4]
• Joe Simon (1940–1941)
• Stan Lee (1941–1942)
• Vincent Fago (acting editor during Lee's military service) (1942–1945)
• Stan Lee (1945–1972)
• Roy Thomas (1972–1974)
• Len Wein (1974–1975)
• Marv Wolfman (black-and-white magazines 1974-1975, entire line 1975-1976)
• Gerry Conway (1976)
• Archie Goodwin (1976–1978)

Editor-in-chief

• Jim Shooter (1978–1987)
• Tom DeFalco (1987–1994)
• No overall; separate group editors-in-chief (1994–1995)
  • Mark Gruenwald, Universe (Avengers & Cosmic)
  • Bob Harras, Mutant
  • Bob Budiansky, Spider-Man
  • Bobbie Chase, Marvel Edge
  • Carl Potts, Epic Comics & general entertainment^[64]
• Bob Harras (1995–2000)
• Joe Quesada (2000–2011)
• Axel Alonso (2011–present)

<timeline> ImageSize = width:800 height:125 PlotArea = left:0 bottom:20 top:20 right:00 TimeAxis = orientation:horizontal format:yyyy DateFormat = yyyy # European date format Period = from:1935 till:2014 ScaleMajor = unit:year increment:5 start:1935 ScaleMinor = unit:year increment:1 start:1935 AlignBars = justify

PlotData = align:middle textcolor:black fontsize:10 mark:(line,white) width:50 shift:(0,0)

bar: editor
      from:1939 till:1940 color:coral text:"Martin~Goodman" shift:(-20,25)
      from:1940 till:1941 color:skyblue text:"Joe~Simon" shift:(-15,0)
      from:1941 till:1942 color:coral text:"Stan~Lee" shift:(-10,-25)
      from:1942 till:1945 color:skyblue text:"Vincent~Fago" shift:(-15,0)
      from:1945 till:1972 color:coral text:"Stan~Lee" shift:(-15,0)
      from:1972 till:1974 color:skyblue text:"Roy~Thomas" shift:(-20,25)
      from:1974 till:1975 color:coral text:"Len~Wein" shift:(-10,0)
      from:1975 till:1976 color:skyblue text:"Marv~Wolfman" shift:(-15,-25)
      from:1976 till:1978 color:coral text:"Archie~Goodwin" shift:(-15,0)
      from:1978 till:1987 color:skyblue text:"Jim~Shooter" shift:(-15,0)
      from:1987 till:1994 color:coral text:"Tom~DeFalco" shift:(-15,0)
      from:1994 till:1995 color:skyblue text:"No overall" shift:(-15,-15)
      from:1995 till:2000 color:coral text:"Bob~Harras" shift:(-15,0)
      from:2000 till:2011 color:skyblue text:"Joe~Quesada" shift:(-10,0)
      from:2011 till:end color:coral text:"Axel~Alonso" shift:(-15,0)
      at:1976 mark:(line,white) text:"Gerry~Conway" shift:(-15,25)

</timeline>

Offices[link]

Located in New York City, Marvel has been successively headquartered in the McGraw-Hill Building,^[4][65] where it originated as Timely Comics in 1939; in suite 1401 of the Empire State Building;^[65] at 635 Madison Avenue (the actual location, though the comic books' indicia listed the parent publishing-company's address of 625 Madison Ave.);^[65] 575 Madison Avenue;^[65] 387 Park Avenue South;^[65] 10 East 40th Street;^[65] 417 Fifth Avenue;^[65] and a 60,000-square-foot (5,600 m²) space at 135 W. 50th Street.^[66][67]

Marvel characters in other media[link]

Marvel characters and stories have been adapted to many other media. Some of these adaptations were produced by Marvel Comics and its sister company, Marvel Studios, while others were produced by companies licensing Marvel material.

Films[link]

To date, films based on Marvel's properties represent is the highest-grossing franchise of all time, its films having grossed a total of $4.1 billion.^[68]

Prose novels[link]

Marvel first licensed two prose novels to Bantam Books, who printed The Avengers Battle the Earth Wrecker by Otto Binder (1967) and Captain America: The Great Gold Steal by Ted White (1968). Various publishers took up the licenses from 1978 to 2002. Also, with the various licensed films being released beginning in 1997, various publishers put out movie novelizations.^[69] In 2003, following publication of the prose young adult novel Mary Jane, starring Mary Jane Watson from the Spider-Man mythos, Marvel announced the formation of the publishing imprint Marvel Press.^[70] However, Marvel moved back to licensing with Pocket Books from 2005 to 2008.^[69] With few books issued under the imprint, Marvel and Disney Books Group relaunched Marvel Press in 2011 with the Marvel Origin Storybooks line.^[71]

Television programs[link]

Many television series, both live-action and animated, have based their productions on Marvel Comics characters. These include multiple series for popular characters such as Spider-Man and the X-Men. Additionally, a handful of television movies based on Marvel Comics characters have been made.

Role-playing games[link]

TSR published the pen-and-paper role-playing game Marvel Super Heroes in 1984. TSR then released the Marvel Super Heroes Adventure Game in 1998. In 2003 Marvel Publishing published its own role-playing game, the Marvel Universe Roleplaying Game.^[72]

In August 2011 Margaret Weis Productions announced it was developing a tabletop role-playing game based on the Marvel universe, set for release in February 2012.^[73][74]

Theme parks[link]

Marvel has licensed its characters for theme-parks and attractions, including at the Universal Orlando Resort's Islands of Adventure, in Orlando, Florida, which includes rides based on their iconic characters and costumed performers.^[75] Universal theme parks in California and Japan also have Marvel rides.^[76] In early 2007 Marvel and developer the Al Ahli Group announced plans to build Marvel's first full theme park, in Dubai, United Arab Emirates, by 2011.^[76]

Video games[link]

Marvel also made a series of digital comics that serve as prequels to Disney Epic Mickey.^{[citation needed]} Marvel also released two games under the title Marvel Ultimate Alliance between 2000 and 2010. The same game has been remodeled as an arcade game as well.^{[citation needed]}

In June 2012, Club Penguin, an affiliate of Marvel through Disney, will being adding Marvel characters to the online game.^[77]

Imprints[link] CrossGen Icon Comics Marvel Age/Adventures Marvel Illustrated Marvel Press, joint imprint with Disney Books Group MAX Soleil Ultimate Marvel/Ultimate Comics Defunct[link] Amalgam Comics Curtis Magazines/Marvel Magazine Group Marvel Monsters Group Epic Comics Malibu Comics Marvel 2099 Marvel Absurd Marvel Books Marvel Edge Marvel Knights Marvel Mangaverse Marvel Music Marvel Next Marvel Noir Marvel UK MC2 New Universe Paramount Comics (co-owned with Viacom's Paramount Pictures) Razorline Star Comics Tsunami See also[link] New York City portal Companies portal Comics portal Disney portal United States portal Book: Marvel Comics Wikipedia books are collections of articles that can be downloaded or ordered in print. Panini Comics Soleil Productions References[link] ^ "Annual Report 2007" (PDF). Marvel.com SEC Filings. http://www.marvel.com/company/pdfs/10-k_as_filed_3-25_00054158.PDF. Retrieved May 8, 2008.  ^ SECInfo.com: "Marvel Entertainment/Inc. 10-K for 12/31/07", filed February 28, 2008 ^ Ultimate Marvel Universe. Retrieved October 18, 2008. ^ a b c d e Per statement of ownership, dated October 2, 1939, published in Marvel Mystery Comics #4 (Feb. 1940), p. 40; reprinted in Marvel Masterworks: Golden Age Marvel Comics Volume 1 (Marvel Comics, 2004, ISBN 0-7851-1609-5), p. 239 ^ a b Daniels, Les (1991). Marvel: Five Fabulous Decades of the World's Greatest Comics. New York City: Harry N. Abrams. pp. 27, 32–33.. ISBN 0-8109-3821-9. "Timely Publications became the name under which Goodman first published a comic book line. He eventually created a number of companies to publish comics ... but Timely was the name by which Goodman's Golden Age comics were known. . . . Marvel wasn't always Marvel; in the early 1940s the company was known as Timely Comics...."  ^ a b Per researcher Keif Fromm, Alter Ego #49, p. 4 (caption), Marvel Comics #1, cover-dated October 1939, quickly sold out 80,000 copies, prompting Goodman to produce a second printing, cover-dated November 1939. The latter appears identical except for a black bar over the October date in the inside front-cover indicia, and the November date added at the end. That sold approximately 800,000 copies—a large figure in the market of that time. Also per Fromm, the first issue of Captain America Comics sold nearly one million copies. ^ Powerhouse Pepper at the Grand Comics Database ^ A Smithsonian Book of Comic-Book Comics. Smithsonian Institution/Harry N. Abrams. 1981.  ^ Lee, Stan; Mair, George (200). Excelsior!: The Amazing Life of Stan Lee. Fireside Books. p. 22. ISBN 0-684-87305-2.  ^ Simon, Joe; with Simon, Jim (1990). The Comic Book Makers. Crestwood/II Publications. p. 208. ISBN 1-887591-35-4.  ^ Simon, Joe (2011). Joe Simon: My Life in Comics. London, UK: Titan Books. pp. 113–114. ISBN 978-1-84576-930-7.  ^ Cover, All Surprise Comics #12 at the Grand Comics Database ^ Wright, Bradford W. (2001). Comic Book Nation: The Transformation of Youth Culture in America. The Johns Hopkins University Press. p. 57. ISBN 978-0-8018-6514-5.  ^ a b c "Marvel Entertainment Group, Inc.". International Directory of Company Histories, Vol. 10. Farmington Hills, Michigan: Gale / St. James Press, via FundingUniverse.com. 1995. Archived from the original on July 11, 2011. http://www.fundinguniverse.com/company-histories/Marvel-Entertainment-Group-Inc-Company-History.html. Retrieved September 28, 2011.  ^ Marvel : Atlas [wireframe globe] (Brand) at the Grand Comics Database ^ Marvel Indicia Publishers at the Grand Comics Database ^ Per Les Daniels in Marvel: Five Fabulous Decades of the World's Greatest Comics, pp. 67-68: "The success of EC had a definite influence on Marvel. As Stan Lee recalls, 'Martin Goodman would say, "Stan, let's do a different kind of book," and it was usually based on how the competition was doing. When we found that EC's horror books were doing well, for instance, we published a lot of horror books'". ^ Marvel : MC (Brand) at the Grand Comics Database. ^ Apocryphal legend has it that in 1961, during a game of golf, either Jack Liebowitz or Irwin Donenfeld of rival DC Comics (then known as National Periodical Publications) bragged to to Timely and Atlas publisher Martin Goodman about DC's success with the Justice League, which had debuted in The Brave and the Bold #28 (Feb. 1960) before going on to its own title. However, film producer and comics historian Michael Uslan partly debunked the story in a letter published in Alter Ego #43 (December 2004), pp. 43-44: Irwin said he never played golf with Goodman, so the story is untrue. I heard this story more than a couple of times while sitting in the lunchroom at DC's 909 Third Avenue and 75 Rockefeller Plaza office as Sol Harrison and [production chief] Jack Adler were schmoozing with some of us ... who worked for DC during our college summers. ... [T]he way I heard the story from Sol was that Goodman was playing with one of the heads of Independent News, not DC Comics (though DC owned Independent News). ... As the distributor of DC Comics, this man certainly knew all the sales figures and was in the best position to tell this tidbit to Goodman. ... Of course, Goodman would want to be playing golf with this fellow and be in his good graces. ... Sol worked closely with Independent News' top management over the decades and would have gotten this story straight from the horse's mouth. Goodman, a publishing trend-follower aware of the JLA's strong sales, did direct his comics editor, Stan Lee, to create a comic book series about a team of superheroes. According to Lee in Origins of Marvel Comics. Simon and Schuster/Fireside Books. 1974. p. 16. ISBN 0-7851-0579-4.  Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. ... ' If the Justice League is selling ', spoke he, 'why don't we put out a comic book that features a team of superheroes?' ^ Fantastic Four at the Grand Comics Database ^ Genter, Robert. "'With Great Power Comes Great Responsibility': Cold War Culture and the Birth of Marvel Comics", The Journal of Popular Culture 40:6, 2007 ^ Comics historian Greg Theakston has suggested that the decision to include monsters and initially to distance the new breed of superheroes from costumes was a conscious one, and born of necessity. Since DC distributed Marvel's output at the time, Theakston theorizes that "Goodman and Lee decided to keep their superhero line looking as much like their horror line as they possibly could," downplaying "the fact that [Marvel] was now creating heroes" with the knock-on effect that they ventured "into deeper waters, where DC had never considered going". See Ro, pp. 87-88 ^ Monday, Oct. 31, 1960 (1960-10-31). "''Time'' (October 31, 1960): "The Real Brand X"". Time.com. Archived from the original on June 29, 2011. http://www.time.com/time/magazine/article/0,9171,938716,00.html. Retrieved 2010-04-27.  ^ Roberts, Randy, and James S. Olson. American Experiences: Readings in American History: Since 1865, 4th edition (American Experiences / Addison–Wesley, 1998), p. 317. ISBN 978-0-321-01031-5: "Marvel Comics employed a realism in both characterization and setting in its superhero titles that was unequaled in the comic book industry." ^ Benton, Mike (1991). Superhero Comics of the Silver Age: The Illustrated History. Dallas, Texas: Taylor Publishing Company. p. 35. ISBN 978-0-87833-746-0.  ^ Benton, p. 38. ^ Boucher, Geoff (September 25, 2009 (online); longer version of September 27, 2009 (print version)). "Jack Kirby, the abandoned hero of Marvel's grand Hollywood adventure, and his family's quest". Los Angeles Times. Archived from the original on June 25, 2011. http://latimesblogs.latimes.com/herocomplex/2009/09/jack-kirby-the-forgotten-hero-in-marvels-grand-hollywood-adventure.html. Retrieved September 28, 2011.  ^ Daniels, Marvel: Five Fabulous Decades of the World's Greatest Comics, p. 139. ^ Nyberg, Amy Kiste. Seal of Approval: History of the Comics Code. University Press of Mississippi, Jackson, Miss., 1998 ^ a b c d e f Ro, Ronin (2004). Tales to Astonish: Jack Kirby, Stan Lee and the American Comic Book Revolution. Bloomsbury Publishing. p. 179.  ^ a b Lee, Mair, p. 5. ^ Levitz, Paul (2010). 75 Years of DC Comics The Art of Modern Mythmaking. Taschen America. p. 451. ISBN 978-3-8365-1981-6. "Marvel took advantage of this moment to surpass DC in title production for the first time since 1957, and in sales for the first time ever."  ^ Daniels, Marvel, pp.154-155 ^ Cooke, Jon B. (December 2011). "Vengeance, Incorporated: A history of the short-lived comics publisher Atlas/Seaboard". Comic Book Artist (16). Archived from the original on December 1, 2010. http://twomorrows.com/comicbookartist/articles/16goodman.html. Retrieved September 28, 2011.  ^ Bullpen Bulletins: "The King is Back! 'Nuff Said!", in Marvel Comics cover dated October 1975, including Fantastic Four #163 ^ Specific series- and issue-dates in article are collectively per GCD and other databases given under References ^ Both pencils and inks per UHBMCC; GCD remains uncertain on inker. ^ "Marvel Focuses On Direct Sales". The Comics Journal (59): 11-12. October 1980.  ^ "DC Overcomes Marvel In Sales". The Comics Journal (118): 24. December 1987.  ^ Clive Barker official site: Comics ^ Independent Heroes from the USA: Clive Barker's Razorline ^ "Bye Bye Marvel; Here Comes Image: Portacio, Claremont, Liefeld, Jim Lee Join McFarlane's New Imprint at Malibu". The Comics Journal (48): 11–12. February 1992.  ^ Duin, Steve and Richardson, Mike (ed.s) "Capital City" in Comics Between the Panels (Dark Horse Publishing, 1998) ISBN 1-56971-344-8, p. 69 ^ Rozanski, Chuck (Undated). "Diamond Ended Up With 50% of the Comics Market". MileHighComics.com. Archived from the original on July 16, 2011. http://www.milehighcomics.com/tales/cbg131.html. Retrieved April 27, 2010.  ^ "Diamond Comic Distributors acquires Capital City Distribution; Comic distribution industry stabilized by purchase". bNet: Business Wire via Findarticles.com. July 26, 1996. http://findarticles.com/p/articles/mi_m0EIN/is_1996_July_26/ai_18526328. Retrieved 2010-04-27.  ^ "Hello Again: Marvel Goes with Diamond," The Comics Journal #193 (February 1997), pp. 9-10. ^ Duin, Steve and Richardson, Mike (ed.s) "Diamond Comic Distributors" in Comics Between the Panels (Dark Horse Publishing, 1998) ISBN 1-56971-344-8, p. 125-126 ^ a b "Marvel Reaches Agreement to Emerge from Bankruptcy". The New York Times: p. D3. July 11, 1997. Archived from the original on June 7, 2011. http://www.nytimes.com/1997/07/11/business/marvel-reaches-agreement-to-emerge-from-bankruptcy.html.  ^ Raviv, Dan (2001). Comic War: Marvel's Battle for Survival. Heroes Books. ISBN 978-0-7851-1606-6.  page number? ^ "Franchises: Marvel Comics". Box Office Mojo. http://www.boxofficemojo.com/franchises/chart/?id=marvelcomics.htm. Retrieved 2010-04-27.  ^ "Guiding Light Comes to Comics! | Marvel.com News". Marvel.com. http://marvel.com/news/comicstories.682.guiding_light. Retrieved 2010-04-27.  ^ Gustines, George (October 31, 2006). "Pulpy TV and Soapy Comics Find a Lot to Agree On". The New York Times. http://www.nytimes.com/2006/10/31/arts/television/31guid.html?_r=1&ref=arts.  ^ "Marvel Universe wiki". Marvel.com. 2007-06-11. http://www.marvel.com/universe/Main_Page. Retrieved 2010-04-27.  ^ Colton, David. "Marvel Comics Shows Its Marvelous Colors in Online Archive", USA Today, November 12, 2007 ^ Doran, Michael (April 3, 2009). "C.B. Cebulski on Marvel's Closed Open Submissions Policy". Newsarama. http://www.newsarama.com/comics/090403-cebeulski-marvel-submissions.html. Retrieved April 5, 2009.  ^ Frisk, Andy. Marvel Mystery Comics 70th Anniversary Special #1 (review), ComicBookBin.com, June 6, 2009. ^ "Celebrate Marvel's 70th Anniversary with Your Local Comic Shop". Marvel Comics press release via ComicBookResources.com. July 31, 2009. Archived from the original on October 19, 2010. http://www.comicbookresources.com/?page=article&id=22344.  ^ Wilkerson, David B. (August 31, 2009). "Disney to Acquire Marvel Entertainment for $4B". MarketWatch.com. Archived from the original on June 8, 2011. http://www.marketwatch.com/story/disney-to-acquire-marvel-entertainment-for-4b-2009-08-31. Retrieved October 4, 2011.  ^ Reid, Calvin (Dec 21, 2010). "Marvel Revives CrossGen with New Creators, New Stories". Publishers Weekly. http://www.publishersweekly.com/pw/by-topic/book-news/comics/article/45594-marvel-revives-crossgen-with-new-creators-new-stories.html. Retrieved 12 October 2011.  ^ "'Cars' Creative Team On Marvel's Pixar Move". comicbookresources.com. February 17, 2011. http://www.comicbookresources.com/?page=article&id=30902. Retrieved 28 October 2011.  ^ a b c d e Rhoades, Shirrel (2008). A complete history of American comic books. New York, NY: Peter Lang Publishing. pp. X–XI. ISBN 978-1-4331-0107-6. http://books.google.com/books?id=O16BXbITZwEC&lpg=PP1&dq=A%20complete%20history%20of%20American%20comic%20books&pg=PP1#v=onepage&q&f=false. Retrieved 2011-03-18.  ^ a b c d e f g h i j k l Gilroy, Dan (1986-09-17). "Marvel Now a $100 Million Hulk: Marvel Divisions and Top Execs" (jpeg). Variety: p. 81. Archived from the original on October 13, 2011. http://1.bp.blogspot.com/-Ehenm6Qnx2g/TpcQJrcCJII/AAAAAAAAAgA/77b39kyZftM/s1600/variety25-2.jpg. Retrieved 18 October 2011.  ^ Weiland, Jonah (October 15, 2003). "Marvel confirms Buckley as new Publisher". Comic Book Resources. http://www.comicbookresources.com/?page=article&id=2746. Retrieved 31 August 2011.  ^ a b "Interview: Carl Potts". PopImage.com. May 2000. Archived from the original on February 5, 2010. http://www.popimage.com/may00/interviews/pottsinter.html.  ^ a b c d e f g Sanderson, Peter. The Marvel Comics Guide to New York City, (Pocket Books, 2007) p. 59. ISBN 978-1-4165-3141-8 ^ "Marvel to move to new, 60,000-square-foot offices in October", Comic Book Resources, September 21, 2010. ^ Turner, Zake. "Where We Work", The New York Observer, December 21, 2010 ^ "Franchise Index". Box Office Mojo. Retrieved February 10, 2012. ^ a b DeCandido, Keith R.A.. "Marvel Comics in Prose: An Unofficial Guide". SFF.net. Archived from the original on October 4, 2011. http://www.sff.net/people/krad/marvel.htm. Retrieved October 4, 2011.  ^ Weiland, Jonah (May 26, 2004). "Marvel Announces Creation of New Prose Imprint, Marvel Press". Comic Book Resources. Archived from the original on August 24, 2011. http://www.webcitation.org/61BQDXKZC. Retrieved 24 August 2011.  ^ Alverson, Brigid (July 15, 2011). "SDCC '11 | Disney to unveil Marvel Press imprint at San Diego". Comic Book Resources. Archived from the original on Sep 25, 2011. http://webcache.googleusercontent.com/search?q=cache:2c6GX67UY34J:robot6.comicbookresources.com/2011/07/sdcc-11-disney-to-unveil-marvel-press-imprint-at-san-diego/+Marvel+Press&hl=en&gl=us&strip=1. Retrieved 28 September 2011.  ^ Kim, John H.. "RPG Encyclopedia: M". RPG Encyclopedia. darkshire.net. http://www.darkshire.net/~jhkim/rpg/encyclopedia/alphabetical/M.html#marveluniverse. Retrieved 8 December 2011.  ^ "Margaret Weis Productions Teams Up with Marvel Entertainment to Unleash Marvel Heroes Roleplaying Games". Margaret Weis Productions press release. August 10, 2011. http://www.margaretweis.com/news/116-marvel-mwp-2012. Retrieved September 28, 2011.  ^ Holochwost, George (August 5, 2011). "Gen Con: New Marvel Comics RPG Games Announced by Margaret Weis Productions". MTV.com. Archived from the original on September 28, 2011. http://geek-news.mtv.com/2011/08/05/gen-con-new-marvel-comics-rpg-games-announced-by-margaret-weis-productions/. Retrieved September 28, 2011.  ^ Universal's Islands of Adventures: Marvel Super Hero Island official site ^ a b "Marvel Theme Park to Open in Dubai by 2011". Reuters. March 22, 2007. Archived from the original on September 28, 2011. http://www.reuters.com/article/worldNews/idUSL2171124120070322. Retrieved September 28, 2011.  ^ "Marvel comes to Club Penguin!". May 18, 2012. http://www.comicbookmovie.com/animated_features/news/?a=59997. Retrieved May 21, 2012.  External links[link] Look up Appendix:Marvel Comics in Wiktionary, the free dictionary. Official website Marvel Directory The Appendix to the Handbook of the Marvel Universe The Jack Kirby Museum & Research Center Vassallo, Michael J. "A Timely Talk with Allen Bellman", Comicartville Library, 2005, p. 2. WebCitation archive, main page. WebCitation archive, p. 2. Atlas Tales Jack Kirby Collector #25: "More Than Your Average Joe" Further reading[link] All in Color for a Dime by Dick Lupoff & Don Thompson ISBN 0-87341-498-5 Jack Kirby: The TCJ Interviews, Milo George, ed. (Fantagraphics Books, Inc., 2001). ISBN 1-56097-434-6 Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book by Gerard Jones (Basic Books, 2004) trade paperback ISBN 0-465-03657-0 The Steranko History of Comics, Vol. 1 by James Steranko ISBN 0-517-50188-0 v t e Marvel Comics Publishing lines and imprints historical Timely Comics Atlas Comics current Imprints CrossGen (Disney property) Icon Marvel Adventures Marvel Comics Marvel Press (Disney joint) MAX Ultimate Comics current lines Masterworks Essential Digital Unlimited Defunct Imprints Marvel MC2 2099 Age Books Knights Music UK Absurd Other Amalgam Curtis Magazines Epic Malibu New Universe Paramount Razorline Star Tsunami Defunct lines Next CyberComics Edge Noir The End Editors in Chief Joe Simon Stan Lee Vincent Fago Roy Thomas Len Wein Marv Wolfman Gerry Conway Archie Goodwin Jim Shooter Tom DeFalco Bob Harras Joe Quesada Axel Alonso Related articles Marvel Universe Marvel Multiverse Characters Films TV series People Publications Category  · Book  · Comics portal v t e Marvel Entertainment Executives Isaac Perlmutter, CEO Alan Fine, EVP John Turitzin, EVP Joe Quesada, CCO Publishing Marvel Comics Marvel Music Marvel Press (joint w/Disney Books) Cover Concepts Films Marvel Studios Marvel Animation Marvel TV MVL Film Finance MVL Productions Licensing Marvel Characters MVL Rights Marvel Toys Spider-Man Merchandising, L.P. (J.V. w/Sony) Annual Revenue 139.8 Million USD Employees 255 Parent The Walt Disney Company Web site www.marvel.com v t e Comic book publishers in North America Active Aardvark-Vanaheim AC AiT/Planet Lar Alias Another Rainbow Antarctic Press Arcade Archaia Archie (MLJ) Aspen MLT Avatar Azteca Bluewater Bongo BOOM! Conundrum Dark Horse DC (National Allied Publications) Devil's Due Dynamite Drawn and Quarterly Fantagraphics (Eros) First Second IDW Image Kodansha Comics USA Last Gasp Marvel Timely Atlas Milestone Mirage NBM Oni Platinum Radical Radio Comix Rip Off Press Seven Seas ShadowLine Sirius Slave Labor Top Cow Top Shelf Valiant Viper Viz WaRP Graphics Historical Aircel All-American Alternative American Atlas Atlas/Seaboard Awesome Blackthorne Caliber Catalan Centaur Chaos! 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