It has been suggested that American comic book be merged into this article or section. (Discuss) Proposed since April 2012.

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. (November 2007)

The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (August 2010)

Comic book

200px Action Comics #1
Comics
Comics studies
Education History Glossary
Technique
Cartooning Fumetti
Media
Comic book Comic strip Gag cartoon Graphic novel Webcomic
Community
Awards Collecting Publishing companies
Comics Portal
v t e

A comic book or comicbook,^[1] also called comic paper or comic magazine (often shortened to simply comic or comics) is a magazine made up of comics, narrative artwork in the form of separate panels that represent individual scenes, often accompanied by dialog (usually in word balloons, emblematic of the comic book art form) as well as including brief descriptive prose. The first comic book appeared in the United States in 1933, reprinting the earlier newspaper comic strips, which established many of the story-telling devices used in comics. The term "comic book" arose because the first comic books reprinted humor comic strips. Despite their name, comic books are not necessarily humorous in tone; modern comic books tell stories in a variety of genres.

American comic books[link]

Rulah, Jungle Goddess No. 24 (March 1949): An example of a non-superhero jungle-girl character. Cover artist(s) unknown.

Adventures into Darkness: Horror stories

Since the introduction of the comic book format in 1933 with the publication of Famous Funnies, the United States has produced the most titles, with only the British comic and Japanese manga as close competitors in terms of quantity of titles, though manga has many more followers and dwarfs American comics in readership.^{[citation needed]}

Cultural historians divide the career of the comic book in the U.S. into several ages or historical eras:

• Proto-comic books and the Platinum Age
• Golden Age
• Silver Age
• Bronze Age
• Modern Age

Comic book historians continue to debate the exact boundaries of these eras, but they have come to an agreement, the terms for which originated in the fan press. Comics as a print medium have existed in America since the printing of The Adventures of Obadiah Oldbuck in 1842 in hardcover—making it the first known American prototype comic book. The introduction of Jerry Siegel and Joe Shuster's Superman in 1938 turned comic books into a major industry,^[2] and is the start of the Golden Age of comics. Historians have proposed several names for the Age before Superman, most commonly dubbing it the Platinum Age.^[3]

While the Platinum Age saw the first use of the term "comic book" (The Yellow Kid in McFadden's Flats (1897)), the first known full-color comic (The Blackberries (1901)), and the first monthly comic book (Comics Monthly (1922)), it was not until the Golden Age that the archetype of the superhero would originate.

The Silver Age of comic books is generally considered to date from the first successful revival of the dormant superhero form—the debut of Robert Kanigher and Carmine Infantino's Flash in Showcase No. 4 (September/October 1956).^[4][5] The Silver Age lasted through the late 1960s or early 1970s, during which time Marvel Comics revolutionized the medium with such naturalistic superheroes as Stan Lee and Jack Kirby's Fantastic Four and Stan Lee and Steve Ditko's Spider-Man.

The precise beginnings of the Bronze and Copper Ages remain less well-defined. Suggested starting points for the Bronze Age of comics include Roy Thomas and Barry Windsor-Smith's Conan No. 1 (October 1970), Denny O'Neil and Neal Adams' Green Lantern/Green Arrow No. 76 (April 1970), or Stan Lee and Gil Kane's The Amazing Spider-Man No. 96 (May 1971; the non-Comics Code issue). The start of the Copper Age (apprx. 1984-2000) has even more potential starting points, but is generally agreed to be the publication of Frank Miller's Batman: The Dark Knight Returns and Alan Moore's Watchmen by DC Comics in 1986, as well as the publication of DC's Crisis on Infinite Earths, written by Marv Wolfman with pencils by George Pérez. Another possible starting point is Marvel Super-Heroes Secret Wars, published in 1984.^{[citation needed]}

The Modern Age is generally accepted^{[by whom?]} as being from 2000 to the Present.^{[citation needed]}

A notable event in the history of the American comic book came with the psychiatrist Fredric Wertham's criticisms of the medium in his book Seduction of the Innocent (1954), which prompted the American Senate Subcommittee on Juvenile Delinquency to investigate comic books. In response to attention from the government and from the media, the U.S. comic book industry set up the Comics Code Authority in 1954 and drafted the "Comics Code" in the same year.

Underground comic books[link]

In the late 1960s and early 1970s a surge of creativity emerged in what became known as underground comics. Published and distributed independently of the established comics industry, most of such comics reflected the youth counterculture and drug culture of the time. Many had an uninhibited, often irreverent style; their frank depictions of nudity, sex, profanity, and politics had no parallel outside their precursors, the pornographic and even more obscure "Tijuana bibles". Underground comics were almost never sold at news stands, but rather in such youth-oriented outlets as head shops and record stores, as well as by mail order.

Frank Stack's The Adventures of Jesus, published under the name Foolbert Sturgeon,^[6][7] has been credited as the first underground comic.^[6][7]

Alternative comics[link]

The rise of comic book specialty stores in the late 1970s created/paralleled a dedicated market for "independent" or "alternative comics" in the U.S. The first such comics included the anthology series Star Reach, published by comic book writer Mike Friedrich from 1974 to 1979, and Harvey Pekar's American Splendor, which continued sporadic publication into the 21st century and which Shari Springer Berman and Robert Pulcini adapted into a 2003 film. Some independent comics continued in the tradition of underground comics, though their content was generally less explicit, and others resembled the output of mainstream publishers in format and genre but were published by smaller artist-owned companies or by single artists. A few (notably RAW) were experimental attempts to bring comics closer to the status of fine art.

During the 1970s the "small press" culture grew and diversified. By the 1980s, several independent publishers, such as Pacific, Eclipse, First, Comico, and Fantagraphics had started releasing a wide range of styles and formats—from color superhero, detective, and science fiction comic books to black-and-white magazine-format stories of Latin American magical realism.

A number of small publishers in the 1990s changed the format and distribution of their comics to more closely resemble non-comics publishing. The "minicomics" form, an extremely informal version of self-publishing, arose in the 1980s and became increasingly popular among artists in the 1990s, despite reaching an even more limited audience than the small press.

As of 2009^[update] small publishers regularly releasing titles include Avatar Comics, Hyperwerks, Raytoons, and Terminal Press, buoyed by such advances in printing technology as digital print-on-demand.

Graphic novels[link]

In 1964, Richard Kyle coined the term "graphic novel" to distinguish newly translated European works from genre-driven subject matter common in American comics. Precursors of the form existed by the 1920s, which saw a revival of the medieval woodcut tradition by Belgian Frans Masereel,^[8] American Lynd Ward and others. In 1950, St. John Publications produced the digest-sized, adult-oriented "picture novel" It Rhymes with Lust, a 128-page digest by pseudonymous writer "Drake Waller" (Arnold Drake and Leslie Waller), penciler Matt Baker and inker Ray Osrin, touted as "an original full-length novel" on its cover. In 1971, writer-artist Gil Kane and collaborators devised the paperback "comics novel" Blackmark. Will Eisner popularized the term "graphic novel" when he used it on the cover of the paperback edition of his work A Contract with God, and Other Tenement Stories in 1978.

Digital graphic novels[link]

Comic book collecting[link]

This section requires expansion.

The rarest^{[citation needed]} comic books include copies of the unreleased Motion Picture Funnies Weekly No. 1 from 1939. Eight copies, plus one without a cover, emerged in the estate of the deceased publisher in 1974. The "Pay Copy" of this book sold for $43,125 in a 2005 Heritage auction.^[9]

The most valuable American comics have combined rarity and quality with the first appearances of popular and enduring characters. Four comic books to have sold for over $1 million USD as of December 2010, including two examples of Action Comics No. 1, the first appearance of Superman,^[10][11] both sold privately through online dealer ComicConnect.com in 2010, and Detective Comics No. 27, the first appearance of Batman, via public auction.

Misprints, promotional comic-dealer incentive printings, and similar issues with extremely low distribution also generally have scarcity value. The rarest modern comic books include the original press run of The League of Extraordinary Gentlemen No. 5, which DC executive Paul Levitz recalled and pulped due to the appearance of a vintage Victorian era advertisement for "Marvel Douche", which the publisher considered offensive;^[12] only 100 copies exist, most of which have been CGC graded. (See Recalled comics for more pulped, recalled, and erroneous comics.)

In 2000, a company named CGC began to "slab" comics, encasing them in a thick plastic and giving them a numeric grade.

European comics[link]

Franco-Belgian comics[link]

France and Belgium have a long tradition in comics and comic books, called BDs (an abbreviation of bande dessinées) in French and strips in Dutch. Belgian comic books originally written in Dutch show the influence of the Francophone "Franco-Belgian" comics, but have their own distinct style.

The name la bande dessinée derives from the original description of the art form as drawn strips (the phrase literally translates as "the drawn strip"), analogous to the sequence of images in a film strip. As in its English equivalent, the word "bande" can be applied to both film and comics. Significantly, the French-language term contains no indication of subject-matter, unlike the American terms "comics" and "funnies", which imply an art form not to be taken seriously. The distinction of comics as le neuvième art (literally, "the ninth art") is prevalent in French scholarship on the form, as is the concept of comics criticism and scholarship itself. Relative to the respective size of their populations, the innumerable authors in France and Belgium publish a high volume of comic books. In North America, the more serious Franco-Belgian comics are often seen as equivalent to graphic novels, but whether they are long or short, bound or in magazine format, in Europe there is no need for a more sophisticated term, as the art's name does not itself imply something frivolous.

In France, authors control the publication of most comics. The author works within a self-appointed time-frame, and it is common for readers to wait six months or as long as two years between installments. Most books first appear in print as a hardcover book, typically with 48, 56, or 64 pages.

British comics[link]

Originally the same size as a usual comic book in the U.S. (although lacking the glossy cover), the British comic has adopted a magazine size, with The Beano and The Dandy the last to adopt this size (in the 1980s). Although the British generally speak of "a comic" or of "a comic magazine", and they also historically spoke of "a comic paper". Some comics, such as Judge Dredd and other 2000 AD titles, have been published in a tabloid form.

Although Ally Sloper's Half Holiday (1884), the first comic published in Britain, was aimed at an adult market, publishers quickly targeted a younger market, which has led to most publications being for children and created an association in the public's mind of comics as somewhat juvenile.

Popular titles within the UK have included The Beano, The Dandy, The Eagle, 2000 AD, and Viz. Underground comics and "small press" titles have also been published within the UK, notably Oz and Escape Magazine.

The content of Action, another title aimed at children and launched in the mid-1970s, became the subject of discussion in the House of Commons. Although on a smaller scale than similar investigations in the U.S., such concerns led to a moderation of content published within British comics. Such moderation never became formalized to the extent of promulgating a code, nor did it last long.

The UK has also established a healthy market in the reprinting and repackaging of material, notably material originating in the U.S. The lack of reliable supplies of American comic books led to a variety of black-and-white reprints, including Marvel's monster comics of the 1950s, Fawcett's Captain Marvel, and other characters such as Sheena, Mandrake the Magician, and the Phantom. Several reprint companies were involved in repackaging American material for the British market, notably the importer and distributor Thorpe & Porter.

Marvel Comics established a UK office in 1972. DC Comics and Dark Horse Comics also opened offices in the 1990s. The repackaging of European material has occurred less frequently, although the Tintin and Asterix serials have been successfully translated and repackaged in softcover books.

At Christmas time, publishers repackage and commission material for comic annuals, printed and bound as hardcover A4-size books; Rupert supplies a famous example of the British comic annual. DC Thomson also repackages The Broons and Oor Wullie strips in softcover A4-size books for the holiday season.

On 19 March 2012, the British postal service, the Royal Mail, released a set of stamps depicting British comic-book characters and series.^[13] The collection featured The Beano, The Dandy, Eagle, The Topper, Roy of the Rovers, Bunty, Buster, Valiant, Twinkle and 2000 AD.

Italian comics[link]

In Italy, comics (known in Italian as fumetti) made their debut as humor strips at the end of the 19th century, and later evolved into adventure stories inspired by those coming from the U.S.^{[citation needed]} After World War II, however, artists like Hugo Pratt and Guido Crepax exposed Italian comics to an international audience. "Author" comics^{[clarification needed]} contain often strong erotic contents. Popular comic books such as Diabolik or the Bonelli line—namely Tex Willer or Dylan Dog—remain best-sellers.

Mainstream comics are usually published on a monthly basis, in a black-and-white digest size format, with approximately 100 to 132 pages. Collections of classic material for the most famous characters, usually with more than 200 pages, are also common. Author comics are published in the French BD format, with an example being Pratt's Corto Maltese.

Italian cartoonists show the influence of comics from other countries, including France, Belgium, Spain, and Argentina. Italy is also famous for being one of the foremost producers of Walt Disney comic stories outside the U.S. Donald Duck's superhero alter ego, Paperinik, known in English as Superduck, was created in Italy.

Japanese comics[link]

This article may not properly summarize the main article. Specific concerns can be found on the Talk page. Please improve this article if you can.

The first comic books in Japan appeared during the 18th century in the form of woodblock-printed booklets containing short stories drawn from folk tales, legends, and historical accounts, told in a simple visual-verbal idiom. Known as "red books" (赤本, akahon^?), "black books" (黒本, kurobon^?), and "blue books" (青本, aohon^?), these were written primarily for less literate readers. However, with the publication in 1775 of Koikawa Harumachi's comic book Master Flashgold's Splendiferous Dream (金々先生栄花の夢, Kinkin sensei eiga no yume^?), an adult form of comic book originated, which required greater literacy and cultural sophistication. This was known as the kibyōshi (黄表紙^?, lit. yellow cover). Published in thousands (possibly^{[original research?]} tens of thousands) of copies, the kibyōshi may have been the earliest fully realized comic book for adults in world literary history. Approximately 2,000 titles remain extant.

Modern comic books in Japan developed from a mixture of these earlier comic books and of woodblock prints ukiyo-e (浮世絵^?) with Western styles of drawing. They took their current^[update] form shortly after World War II. They are usually published in black-and-white, except for the covers, which are usually printed in four colors, although occasionally, the first few pages may also be printed in full color. The term manga means "random (or whimsical) pictures", and first came into common usage in the late 18th century with the publication of such works as Santō Kyōden's picturebook Shiji no yukikai (四時交加^?) (1798) and Aikawa Minwa's Comic Sketches of a Hundred Women (1798).

Development of this form occurred as a result of Japan's attempts to modernize itself^{[citation needed]}, a desire awakened by trade with the U.S.^{[citation needed]} Western artists were brought over to teach their students such concepts as line, form, and color; things which had not been regarded as conceptually important in ukiyo-e, as the idea behind the picture was of paramount importance. Manga at this time was referred to as Ponchi-e (Punch-picture) and, like its British counterpart Punch magazine, mainly depicted humor and political satire in short one- or four-picture format.

Dr. Osamu Tezuka (1928–1989), widely acknowledged^{[by whom?]} as the father of narrative manga, further developed this form. Seeing an animated war propaganda film titled Momotaro's Divine Sea Warriors (桃太郎 海の神兵, Momotarō Umi no Shinpei^?) inspired Tezuka to become a comic artist. He introduced episodic storytelling and character development in comic format, in which each story is part of larger story arc. The only text in Tezuka's comics was the characters' dialogue and this further lent his comics a cinematic quality. Inspired by the work of Walt Disney, Tezuka also adopted a style of drawing facial features in which a character's eyes, nose, and mouth are drawn in an extremely exaggerated manner. This style created immediately recognizable expressions using very few lines, and the simplicity of this style allowed Tezuka to be prolific. Tezuka's work generated new interest in the ukiyo-e tradition, in which the image is a representation of an idea, rather than a depiction of reality.

Though a close equivalent to the American comic book, manga has historically held a more important place in Japanese culture than comics have in American culture. Japanese society shows a wide respect for manga, both as an art form and as a form of popular literature. Many manga become television shows or short films. As with its American counterpart, some manga has been criticized for its sexuality and violence, although in the absence of official or even industry restrictions on content, artists have freely created manga for every age group and for every topic.

Manga magazines—also known as "anthologies", or colloquially, "phone books"^{[citation needed]}—often run several series concurrently, with approximately 20 to 40 pages allocated to each series per issue. These magazines are usually printed^{[by whom?]} on low-quality newsprint and range from 200 to more than 850 pages each. Manga magazines also contain one-shot comics and a variety of four-panel yonkoma (equivalent to comic strips). Manga series may continue for many years if they are successful, with stories often collected and reprinted in book-sized volumes called tankōbon (単行本^?, lit. stand-alone book), the equivalent of the American trade paperbacks. These volumes use higher-quality paper and are useful to readers who want to be brought up to date with a series, or to readers who find the cost of the weekly or monthly publications to be prohibitive. Deluxe versions are printed as commemorative or collectible editions. Conversely, old manga titles are also reprinted using lower-quality paper and sold for 120 ¥ (approximately $1 USD) each.

Doujinshi[link]

Doujinshi (同人誌^?, lit. fan magazine), fan-made Japanese comics operate in a far larger market in Japan than the American "underground comics" market; the largest doujinshi fair, Comic Market, attracts 500,000 visitors twice a year.

See also[link]

Comics portal

• Cartoon
• Comics Studies
• Comics vocabulary
• Webcomic
• Digital comics

References[link]

Further reading[link]

• Kern, Adam L. (18 December 2006). Manga from the Floating World: Comic book Culture and the Kibyôshi of Edo Japan. Cambridge, Massachusetts: Harvard University Asia Center. ISBN 978-0-674-02266-9. 
• Inge, M. Thomas (1979). "Comics as Culture". Journal of Popular Culture 12 (631). 
• Martin, Tim (2 April 2009). "How Comic Books Became Part of the Literary Establishment". Telegraph. http://www.telegraph.co.uk/culture/books/bookreviews/5094231/How-Comic-Books-became-part-of-the-literary-establishment.html. 

External links[link]

• Grand Comics Database
• The Comic Book Database
• Comic book Reference Bibliographic Datafile
• Sequart Research & Literacy Organization
• Comic Book Resources
• The Comics Ninja
• Comic Art Collection at the University of Missouri
• The Comics Journal
• The Comics Reporter

v t e Comics: Genres & Themes Formats Comic book minicomic Comic strip Comic strip formats Daily strip Sunday comics Sunday strip Topper Digital comics Graphic novel Mobile comic Motion comics Trade paperback Webcomic Hypercomics Infinite canvas Sprite comic Creators Category:Comics artists Category:Comics writers Female comics creators list By country American Australian Canadian Cuban Japanese Ages Golden Age Silver Age Bronze Age Modern Age Events Genres Adult comics Alternative comics Autobiographical comics Bad girl art Crime comics Fantasy comics Funny animal Good girl art Horror comics Romance comics Science fiction comics Superhero comics Teen humor comics Underground comix War comics Western comics Tropes Superhero Supervillain Portal

Stan Lee
Stan Lee in 2007
Born	(1922-12-28) December 28, 1922 (age 89) New York City, New York, US
Nationality	American
Area(s)	Writer, editor, publisher, producer, actor, reality show host
Notable works	Fantastic Four Hulk Spider-Man Thor Iron Man X-Men
Awards	Jack Kirby Hall of Fame
Spouse	Joan Lee (m. 1947–present)
Signature
150px

Stan Lee (born December 28, 1922) is an American comic book writer, editor, actor, producer, publisher, television personality, and the former president and chairman of Marvel Comics.

In collaboration with several artists, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Hulk, the X-Men, the Fantastic Four, Iron Man, Thor, and many other fictional characters, introducing complex, naturalistic characters and a thoroughly shared universe into superhero comic books. In addition, he headed the first major successful challenge to the industry's censorship organization, the Comics Code Authority, and forced it to reform its policies. Lee subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.

He was inducted into the comic book industry's Will Eisner Comic Book Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995.

Early life[link]

Stan Lee was born Stanley Martin Lieber in New York City on December 28, 1922, in the apartment of his Romanian-born Jewish immigrant parents, Celia (née Solomon) and Jack Lieber, at the corner of West 98th Street and West End Avenue in Manhattan.^[1][2][3] His father, trained as a dress cutter, worked only sporadically after the Great Depression,^[1] and the family moved further uptown to Fort Washington Avenue,^[4] in Washington Heights, Manhattan. When Lee was nearly 9, his only sibling, brother Larry Lieber, was born.^[5] He said in 2006 that as a child he was influenced by books and movies, particularly those with Errol Flynn playing heroic roles.^[6] By the time Lee was in his teens, the family was living in a one-bedroom apartment at 1720 University Avenue in The Bronx. Lee described it as "a third-floor apartment facing out back", with him and his brother sharing a bedroom and his parents using a foldout couch.^[5]

Lee attended DeWitt Clinton High School in The Bronx.^[7] In his youth, Lee enjoyed writing, and entertained dreams of one day writing The Great American Novel,^[8] He has said that in his youth he worked such part-time jobs as writing obituaries for a news service and press releases for the National Tuberculosis Center; delivering sandwiches for the Jack May pharmacy to offices in Rockefeller Center; working as an office boy for a trouser manufacturer; ushering at the Rivoli Theater on Broadway;^{[citation needed]} and selling subscriptions to the New York Herald Tribune newspaper. He graduated high school early, at age 16½ in 1939, and joined the WPA Federal Theatre Project.^[9]

Career[link]

Early career[link]

With the help of his uncle Robbie Solomon,^[10][11] Lee became an assistant in 1939 at the new Timely Comics division of pulp magazine and comic-book publisher Martin Goodman's company.^[11] Timely, by the 1960s, would evolve into Marvel Comics. Lee, whose cousin Jean^[12] was Goodman's wife, was formally hired by Timely editor Joe Simon.^[11]

His duties were prosaic at first. "In those days [the artists] dipped the pen in ink, [so] I had to make sure the inkwells were filled", Lee recalled in 2009. "I went down and got them their lunch, I did proofreading, I erased the pencils from the finished pages for them".^[13] Marshaling his childhood ambition to be a writer, young Stanley Lieber made his comic-book debut with the text filler "Captain America Foils the Traitor's Revenge" in Captain America Comics #3 (May 1941), using the pseudonym "Stan Lee", which years later he would adopt as his legal name. Lee later explained in his autobiography and numerous other sources that he had intended to save his given name for more literary work. This initial story also introduced Captain America's trademark ricocheting shield-toss, which immediately became one of the character's signatures.^[14]

He graduated from writing filler to actual comics with a backup feature, "'Headline' Hunter, Foreign Correspondent", two issues later. Lee's first superhero co-creation was the Destroyer, in Mystic Comics #6 (Aug 1941). Other characters he created during this period fans and historians call the Golden Age of comics include Jack Frost, debuting in USA Comics #1 (Aug. 1941), and Father Time, debuting in Captain America Comics #6 (Aug. 1941).^[15]

When Simon and his creative partner Jack Kirby left late in 1941, following a dispute with Goodman, the 30-year-old publisher installed Lee, just under 19 years old, as interim editor.^[16] The youngster showed a knack for the business that led him to remain as the comic-book division's editor-in-chief, as well as art director for much of that time, until 1972, when he would succeed Goodman as publisher.^[17][18]

Lee entered the United States Army in early 1942 and served stateside in the Signal Corps, writing manuals, training films, and slogans, and occasionally cartooning. His military classification, he says, was "playwright"; he adds that only nine men in the U.S. Army were given that title.^[19] Vincent Fago, editor of Timely's "animation comics" section, which put out humor and funny animal comics, filled in until Lee returned from his World War II military service in 1945. Lee now lived in the rented top floor of a brownstone in the East 90s in Manhattan.^[20]

He married Joan Clayton Boocock on December 5, 1947,^[21] and in 1949, the couple bought a two-story, three-bedroom home at 1084 West Broadway in Woodmere, New York, on Long Island, living there through 1952.^[22] By this time, the couple had daughter Joan Celia "J.C." Lee, born in 1950; another child, Jan Lee, died three days after delivery in 1953.^[23] Lee by this time had bought a home at 226 Richards Lane in the Long Island town of Hewlett Harbor, New York, where he and his family lived from 1952 to 1980,^[24] including the 1960s period when Lee and his artist collaborators would revolutionize comic books.

In the mid-1950s, by which time the company was now generally known as Atlas Comics, Lee wrote stories in a variety of genres including romance, Westerns, humor, science fiction, medieval adventure, horror and suspense. By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.^[25][26]

Marvel revolution[link]

In the late 1950s, DC Comics editor Julius Schwartz revived the superhero archetype and experienced a significant success with its updated version of the Flash, and later with super-team the Justice League of America. In response, publisher Martin Goodman assigned Lee to create a new superhero team. Lee's wife urged him to experiment with stories he preferred, since he was planning on changing careers and had nothing to lose.^[25][26]

Lee acted on that advice, giving his superheroes a flawed humanity, a change from the ideal archetypes that were typically written for preteens. Before this, most superheroes were idealistically perfect people with no serious, lasting problems.^[27] Lee introduced complex, naturalistic characters^[28] who could have bad tempers, fits of melancholy, vanity; they bickered amongst themselves, worried about paying their bills and impressing girlfriends, got bored or even were sometimes physically ill.

The first superhero group Lee and artist Jack Kirby created was the Fantastic Four. The team's immediate popularity led Lee and Marvel's illustrators to produce a cavalcade of new titles. With Kirby primarily, Lee created the Hulk, Iron Man, Thor and the X-Men; with Bill Everett, Daredevil; and with Steve Ditko, Doctor Strange and Marvel's most successful character, Spider-Man, all of whom lived in a thoroughly shared universe.^[29]

Comics historian Peter Sanderson wrote that in the 1960s:

DC was the equivalent of the big Hollywood studios: After the brilliance of DC's reinvention of the superhero ... in the late 1950s and early 1960s, it had run into a creative drought by the decade's end. There was a new audience for comics now, and it wasn't just the little kids that traditionally had read the books. The Marvel of the 1960s was in its own way the counterpart of the French New Wave.... Marvel was pioneering new methods of comics storytelling and characterization, addressing more serious themes, and in the process keeping and attracting readers in their teens and beyond. Moreover, among this new generation of readers were people who wanted to write or draw comics themselves, within the new style that Marvel had pioneered, and push the creative envelope still further.^[30]

Stan Lee's Marvel revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators.^[31] Lee introduced the practice of including a credit panel on the splash page of each story, naming not just the writer and penciller but also the inker and letterer. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style.

Throughout the 1960s, Lee scripted, art-directed, and edited most of Marvel's series, moderated the letters pages, wrote a monthly column called "Stan's Soapbox," and wrote endless promotional copy, often signing off with his trademark phrase "Excelsior!" (which is also the New York state motto). To maintain his taxing workload, yet still meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee's success with it, became known as the "Marvel Method" or "Marvel style" of comic-book creation. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon.

Because of this system, the exact division of creative credits on Lee's comics has been disputed, especially in cases of comics drawn by Kirby and Ditko. Lee shares co-creator credit with Kirby and Ditko on, respectively, the Fantastic Four and Spider-Man feature film series.

In 1971, Lee indirectly helped reform the Comics Code.^[32] The US Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker's best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. With Goodman's cooperation and confident that the original government request would give him credibility, Lee had the story published without the seal. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.^[33]

Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. "Stan's Soapbox", besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice.^[34][35]

Later career[link]

Signed photo of Lee at the 1975 San Diego Comic Con.

In later years, Lee became a figurehead and public face for Marvel Comics. He made appearances at comic book conventions around America, lecturing at colleges and participating in panel discussions. By this time he owned a vacation home on Cutler Lane in Remsenburg, New York^[36] and, from 1975 to 1980, a two-bedroom condominium on the 14th floor of 220 East 63rd Street in Manhattan.^[37] He moved to California in 1981 to develop Marvel's TV and movie properties. He has been an executive producer for, and has made cameo appearances in, Marvel film adaptations and other movies. He and his wife bought a home in West Hollywood, California previously owned by comedian Jack Benny's radio announcer, Don Wilson.^[38] Lee was briefly president of the entire company, but soon stepped down to become publisher instead, finding that being president was too much about numbers and finance and not enough about the creative process he enjoyed.^[39]

Peter Paul and Lee began to start a new Internet-based superhero creation, production and marketing studio, Stan Lee Media, in 1998. It grew to 165 people and went public, but near the end of 2000, investigators discovered illegal stock manipulation by Paul and corporate officer Stephan Gordon.^[40] Stan Lee Media filed for Chapter 11 bankruptcy protection in February 2001.^[41] Paul was extradited to the U.S. from Brazil, and pleaded guilty to violating SEC Rule 10b-5 in connection with trading of his stock in Stan Lee Media.^[42][43] Lee was never implicated in the scheme.

In the 2000s, Lee did his first work for DC Comics, launching the Just Imagine... series, in which Lee reimagined the DC superheroes Superman, Batman, Wonder Woman, Green Lantern and the Flash.^[44]

In 2001, Lee, Gill Champion and Arthur Lieberman formed POW! (Purveyors of Wonder) Entertainment to develop film, television and video game properties. Lee created the risqué animated superhero series Stripperella for Spike TV. In 2004 he announced a superhero program that would feature Ringo Starr, the former Beatle, as the lead character.^[45] Additionally, in August of that year, Lee announced the launch of Stan Lee's Sunday Comics,^[46] hosted by Komikwerks.com, where monthly subscribers could read a new, updated comic and "Stan's Soapbox" every Sunday. The column has not been updated since February 15, 2005.

In 2006, Marvel commemorated Lee's 65 years with the company by publishing a series of one-shot comics starring Lee himself meeting and interacting with many of his co-creations, including Spider-Man, Doctor Strange, the Thing, Silver Surfer and Doctor Doom. These comics also featured short pieces by such comics creators as Joss Whedon and Fred Hembeck, as well as reprints of classic Lee-written adventures.^{[citation needed]}

On March 15, 2007, Stan Lee Media's new president, Jim Nesfield, filed a lawsuit against Marvel Entertainment for $5 billion, claiming that the company is co-owner of the characters that Lee created for Marvel.^[47] On June 9, 2007, Stan Lee Media sued Lee; his newer company, POW! Entertainment; POW! subsidiary QED Entertainment; and other former Stan Lee Media staff at POW!^[48]

In 2008, Lee wrote humorous captions for the political fumetti book Stan Lee Presents Election Daze: What Are They Really Saying?.^[49] In April of that year, at the New York Comic Con, Viz Media announced that Lee and Hiroyuki Takei were collaborating on the manga Karakuridôji Ultimo, from parent company Shueisha.^[50] That same month, Brighton Partners and Rainmaker Animation announced a partnership POW! to produce a CGI film series, Legion of 5.^[51] That same month, Virgin Comics announced Lee would create a line of superhero comics for that company.^[52] He is also working on a TV adaptation of the novel Hero.^[53] He wrote the foreword to the 2010 non-fiction e-book memoir Skyscraperman by skyscraper fire-safety advocate Dan Goodwin, who had climbed skyscrapers dressed as Spider-Man.^[54]

Lee promoting Stan Lee's Kids Universe at the 2011 New York Comic Con.

In 2009, he and the Japanese company Bones produced its first manga feature, Heroman, serialized in Square Enix's Monthly Shōnen Gangan; the feature was adapted to anime in April 2010.^[55][56]

In October 2010, Lee's SLG Entertainment partnered with Guardian Media Entertainment on The Guardian Project to create superhero mascots for the National Hockey League.^[57]

In August 2011, Lee announced his support for the Eagle Initiative, a program to find new talent in the comic book field.^[58]

In 2011, Lee was writing a live-action musical, The Yin and Yang Battle of Tao.^[59] In October, Lee announced he would partner with 1821 Comics on a multimedia imprint for children, Stan Lee’s Kids Universe, a move he said addressed the lack of comic books targeted for children; and that he was collaborating with the company on its futuristic graphic novel Romeo & Juliet: The War, by writer Max Work and artist Skan Srisuwan.^[60][61]

Action figure[link]

At the 2007 Comic-Con International, Marvel Legends introduced a Stan Lee action figure. The body beneath the figure's removable cloth wardrobe is a re-used mold of a previously released Spider-Man action figure, with only minor changes.^[62]

Charity work[link]

The Stan Lee Foundation was founded in 2010 to focus on literacy, education and the arts. Its stated goals include supporting programs and ideas that improve access to literacy resources, as well as promoting diversity, national literacy, culture and the arts.^[63]

Stan Lee has donated portions of his personal effects to the University of Wyoming at various times, between 1981 and 2001.^[64]

Awards and honors[link]

• Lee has received several awards for his work, including being inducted into the comic book industry's Will Eisner Comic Book Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995.
• On November 17, 2008, Stan Lee was awarded the National Medal of Arts.^[34][65]
• The County of Los Angeles declared October 2, 2009 Stan Lee Day.^[66]
• The City of Long Beach declared October 2, 2009 Stan Lee Day.^[66]
• Lee won the Comic-Con Icon Award 2009 at Scream Awards.^[67]
• Lee received the 2,428th star on the Hollywood Walk of Fame on January 4, 2011.
• On January 21, 2012, Lee received the Vanguard Award from the Producers Guild of America.^[68]

Fictional portrayals[link]

Stan Lee and his collaborator Jack Kirby appear as themselves in The Fantastic Four No.10 (January 1963), the first of several appearances within the fictional Marvel Universe.^[69] The two are depicted as similar to their real-world counterparts, creating comic books based on the "real" adventures of the Fantastic Four.

Kirby later portrayed himself, Lee, production executive Sol Brodsky, and Lee's secretary Flo Steinberg as superheroes in What If #11, "What If the Marvel Bullpen Had Become the Fantastic Four?", in which Lee played the part of Mister Fantastic. Lee has also made numerous cameo appearances in many Marvel titles, appearing in audiences and crowds at many characters' ceremonies and parties, and hosting an old-soldiers reunion in Sgt. Fury and his Howling Commandos No.100 (July 1972). Lee appeared, unnamed, as the priest at Luke Cage and Jessica Jones' wedding in New Avengers Annual #1. He pays his respects to Karen Page at her funeral in the Daredevil "Guardian Devil" story arc,^{[volume & issue needed]} and appears in The Amazing Spider-Man (June 1977).

In Marvel's July 1997 "Flashback" event, a top-hatted caricature of Lee as a ringmaster introduced stories which detailed events in Marvel characters' lives before they became superheroes, in special "-1" editions of many Marvel titles. The "ringmaster" depiction of Lee was originally from Generation X #17 (July 1996), where the character narrated a story set primarily in an abandoned circus. Though the story itself was written by Scott Lobdell, the narration by "Ringmaster Stan" was written by Lee, and the character was drawn in that issue by Chris Bachalo.

Under his given name of Stanley Lieber, Stan Lee appears briefly in Paul Malmont's 2006 novel The Chinatown Death Cloud Peril.^{[citation needed]}

Lee and other comics creators are mentioned on page 479 of Michael Chabon's 2000 novel about the comics industry The Amazing Adventures of Kavalier and Clay. Chabon also acknowledges a debt to Lee and other creators on the book's Author's Note page.

On one of the last pages of Truth: Red, White, and Black, Lee appears in a real photograph among other celebrities on a wall of the Bradley home.^{[citation needed]}

In Stan Lee Meets Superheroes, which Lee wrote, he comes in to contact with some of his favorite creations.

Stan Lee and Jack Kirby appear as professors in Marvel Adventures Spider-Man #19.

Film and television appearances[link]

Marvel television[link]

• One of Lee's earliest contributions to animation based on Marvel properties was narrating the 1980s Incredible Hulk animated series, always beginning his narration with a self-introduction and ending with "This is Stan Lee saying, Excelsior!" Lee had previously narrated the "Seven Little Superheroes" episode of Spider-Man and His Amazing Friends, which the Hulk series was paired with for broadcast.
• Lee did the narration for the original 1989 X-Men animated series pilot titled X-Men: Pryde of the X-Men.
• Lee was an executive producer of the 1990s animated TV series Spider-Man. He appeared as himself in animated form in the series finale episode titled "Farewell, Spider-Man". Spider-Man is transported by Madame Web into the "real" world where he is a fictional character. He meets Lee and the two swing around until Spider-Man drops him off on top of a building; Madame Web appears and brings Spider-Man back to his homeworld. Realizing he is stuck on a roof, Lee muses, hoping the Fantastic Four will show up and lend a hand.
• He also voices the character "Frank Elson" in an episode of Spider-Man: The New Animated Series series broadcast by MTV in 2003, and titled "Mind Games" (Parts 1 & 2, originally aired on August 15 & 22, 2003).
• He voiced a loading dock worker named Stan on The Spectacular Spider-Man in the episode "Blueprints".
• In the pilot episode of The Superhero Squad Show, Lee voices the mayor of the city, preparing to give away the city's key when disaster strikes.
• Lee has appeared in episodes of the Disney XD TV series Ultimate Spider-Man as a high school janitor named Stan, in which he makes references to Lee's real-life career. In the pilot, "Great Power", he mentions Irving Forbush, a character Lee co-created in 1955 as a literary device.^[70] He appears in Episode 6, "Why I Hate Gym".^[71]

Marvel films[link]

Lee has had cameo appearances in many films based on Marvel characters that he created or co-created:

• In the TV-movie The Trial of the Incredible Hulk (1989), Lee's first appearance in a Marvel movie or TV project is as a jury foreman in the trial of Dr. David Banner.
• In X-Men (2000), Lee appears as a hotdog stand vendor on the beach when Senator Kelly emerges naked onshore after escaping from Magneto.
• In Spider-Man (2002), he appeared during Spider-Man's first battle with the Green Goblin, pulling a little girl away from falling debris. In the DVD's deleted scenes, Lee has an expanded cameo in which he plays a street vendor who tries to sell Peter Parker a pair of sunglasses "just like the X-Men wear."
• In Daredevil (2003), as a child, Matt Murdock stops Lee from crossing the street and getting hit by a bus.
• In Hulk (2003), he appears walking alongside former TV-series Hulk Lou Ferrigno in an early scene, both as security guards at Bruce Banner's lab. It was his first speaking role in a film based on one of his characters.
• In Spider-Man 2 (2004), Lee pulls an innocent person away from danger during Spider-Man's first battle with Doctor Octopus. In a deleted scene that appears as an extra on the film's DVD release, Lee has another cameo, saying, "Look, Spider-Man stole that child's sneakers."
• In Fantastic Four (2005), Lee appears for the first time as a character from the comics, in a role credited as Willie Lumpkin, the mail carrier who greets the Fantastic Four as they enter the Baxter Building.
• In X-Men: The Last Stand (2006), Lee and Chris Claremont appear as two of Jean Grey's neighbors in the opening scenes set 20 years ago. Lee, credited as "Waterhose man," is watering the lawn when Jean telekinetically redirects the water from the hose into the air.
• In Spider-Man 3 (2007), Lee appears in a credited role as "Man in Times Square". He stands next to Peter Parker, both of them reading a news bulletin about Spider-Man, and commenting to Peter that, "You know, I guess one person can make a difference". He then says his catch phrase, "'Nuff said."
• In Fantastic Four: Rise of the Silver Surfer (2007), Lee appears as himself at Reed Richards' and Susan Storm's first wedding, being turned away by a security guard for not being on the guest list. In Fantastic Four Annual No.3 (1965), in which the couple married, Lee and Jack Kirby are similarly turned away.
• In Iron Man (2008), Lee (credited as "Himself") appears at a gala cavorting with three blonds, where Tony Stark mistakes him for Hugh Hefner.^[72] In the theatrical release of the film, Stark simply greets Lee as "Hef" and moves on without seeing Lee's face; another version of the scene was filmed where Stark realizes his mistake, but Lee graciously responds, "That's okay, I get this all the time."^[73]
• In The Incredible Hulk (2008), Lee appears as a hapless citizen who accidentally ingests a soft drink mixed with Bruce Banner's blood, leading to the discovery of Dr. Banner's location in a bottling plant in Brazil.
• In Iron Man 2 (2010), during the Stark Expo, Lee, wearing suspenders and a red shirt and black and purple tie, is greeted by Tony Stark as "Larry King".
• In Thor (2011), Lee appears among many people at the site where Thor's hammer Mjolnir lands on earth. He tears the back off his pickup truck in an attempt to pull Mjolnir out of the ground with a chain and causes everyone to laugh by asking, "Did it work?".
• In Captain America: The First Avenger (2011), Lee is again used as comic relief, this time portraying a general in World War II. When Captain America/Steve Rogers is queued to a stage to receive an award, a man goes on stage to tell the presenter that Rogers will not be attending. The general mistakes the man for Rogers, commenting, "I thought he'd be taller." Lee said in April 2011, "Marvel Studios has upgraded my cameo for the Captain America movie! They’ve given me one more word of dialogue than originally planned!"^[74]
• In The Avengers (2012), Lee makes a cameo appearance as a man interviewed by the media about his opinion concerning the Avengers thwarting the Chitauri's attack on Manhattan Island. Lee's character responds with, "Superheroes in New York? Give me a break", and then returns to a game of chess with a fellow senior citizen. ^[75]
• In The Amazing Spider-Man (2012), Lee is scheduled to have a cameo in an action scene where he plays a librarian oblivious to the fight between Spider-Man and the Lizard happening behind him.^[76]

Warner/DC properties[link]

In the original February 7, 1998, broadcast airing of the Superman: The Animated Series episode "Apokolips... Now! Part 2" on the Kids' WB programming block, an animated Stan Lee was visible mourning the death of Daniel "Terrible" Turpin, a character based on his longtime Marvel Comics collaborator Jack Kirby. This shot was later modified to remove the likeness of Lee and other of background Marvel characters when the episode was released on DVD.^[77]

Other film, TV, and video[link]

• In the 1990s, Lee hosted the documentary series The Comic Book Greats and interviewed notable comic book creators such as Chris Claremont, Jim Lee, Todd McFarlane, Rob Liefeld and Whilce Portacio.
• Lee has an extensive cameo in the 1995 Kevin Smith film Mallrats. He plays himself, this time visiting the mall to sign books at a comic store. Later, he takes on the role of a sage-like character, giving Jason Lee's character, Brodie Bruce (a longtime fan of Stan's), advice on his love life. He also recorded interviews with Smith for the non-fiction video Stan Lee's Mutants, Monsters, and Marvels (2002).
• Lee is the host of the 2010 History Channel documentary series Stan Lee's Superhumans.
• Lee makes a cameo appearance as the "Three Stooges Wedding Guest" in the 2004 Disney film The Princess Diaries 2: Royal Engagement.
• Lee hosted and judged contestants in the SyFy series Who Wants to Be a Superhero?
• Lee appears with director Kevin Smith and 2000s Marvel editor-in-chief Joe Quesada in the DVD program Marvel Then & Now: An Evening with Stan Lee and Joe Quesada, hosted by Kevin Smith.
• Lee was interviewed on the History Channel show Superhuman by Daniel Browning Smith, who held several Guinness Records for extreme flexibility^[78] due to having Ehlers-Danlos Syndrome, a genetic condition affecting collagen formation. Smith had created his own comic book to display his own struggles as an outcast for his flexibility, and legitimately surprised Lee with a quick demonstration of his talent.
• In the animated series Jim Henson's Muppet Babies, Lee plays himself in a live-action scene of the "Comic Capers" episode.
• Lee appeared as himself in an extended self-parodying sketch on the episode "Tapping a Hero" of Robot Chicken.
• Lee appears as himself in writer-director Larry Cohen's The Ambulance (1990), in which Eric Roberts plays an aspiring comics artist.
• In "I Am Furious Yellow", the April 28, 2002, episode of The Simpsons, Lee voices the animated Stan Lee, who is a prolonged visitor to Comic Book Guy's store. He asks if Comic Book Guy is the stalker of Lynda Carter – the star of the 1970s show Wonder Woman – and shows signs of dementia, such as breaking a customer's toy Batmobile by trying to cram a Thing action figure into it (claiming that he "made it better"), hiding DC comics behind Marvel comics, and believing that he is the Hulk (and fails trying to become the Hulk, while Comic Book Guy comments he couldn't even change into Bill Bixby). Lee also appeared on the commentary track along with other Simpsons writers and directors on the episode for The Simpsons Season 13 box set released in 2010. In a later Simpsons episode, "Worst Episode Ever", Lee's picture is seen next to several others on the wall behind the register, under the heading "Banned for life".
• Lee appears as himself in the Mark Hamill-directed Comic Book: The Movie (2004), a direct-to-video mockumentary primarily filmed at the 2002 San Diego Comic-Con.
• Lee made an appearance on December 21, 2006, on the NBC game show Identity.
• Lee appeared as himself in "The Excelsior Acquisition", a third season episode of The Big Bang Theory, in March 2010.^[79] He appears at the front door of his house wearing Fantastic Four pajamas, ultimately calling into the rest of the house, "Joanie, call the police!" to get rid of Sheldon.
• Lee voices the Mayor of Superhero City in the Super Hero Squad Show.
• He plays a bus driver in the 16th episode of the first season of Heroes.^[80]
• Lee made a guest appearance as himself in "Bottom's Up", a season seven episode of the TV series Entourage. He guest-starred in "Glimpse", a season five episode of Eureka that aired in July 2011.^[81]
• Lee appears in "The Guardian", the October 7, 2010, episode of Nikita, as Hank Excelsior, a witness to a bank robbery who is interviewed by a TV reporter.
• Lee was interviewed in the 2011 documentary Superheroes.
• Lee is scheduled to appear on X Japan's music video "Born to be Free".^[82]
• Lee portrayed himself at a CIA holiday party in the fifth season of Chuck, in which it is revealed in that universe he secretly works for the government and has a romantic interest in General Beckman.
• Stan Lee appeared in the eleventh episode of season five of The Guild, in which he was captured at a convention by the character Zaboo's Master Chief cosplaying henchmen.^{[episode needed]}
• Stan Lee portrayed a future version of Tony Stark in "Episode 205 – The Future!" of the comedy web series Avengers Assemble!. In this episode, he delivered from the future a cryptic message to the rest of his fellow Avengers, but constantly frustrated his companions due to his ineptness with the technology of his future era.^[83]

Video games and applications[link]

• Lee narrates the 2000 video game Spider-Man,^[84] the 2001 sequel Spider-Man 2: Enter Electro^[85] and 2010's Spider-Man: Shattered Dimensions.^[86][87]
• Lee made his first-ever onscreen video game appearance as a senator named after himself in Marvel Ultimate Alliance 2.^[88]
• Lee narrates the The Avengers Origins: Hulk and Avengers Origins: Assemble! apps for the iPad, iPhone, and iPod Touch, which were released by Disney Publishing Worldwide in February 2012.^[89]
• Lee is a playable character in Activision's The Amazing Spider-Man video game, which is scheduled to be released in June 2012, as a tie-in to the film of the same name.^[90]

Personal life[link]

Lee's favorite authors include Stephen King, H. G. Wells, Mark Twain, Arthur Conan Doyle, William Shakespeare, Charles Dickens, and Harlan Ellison.^[91] He is also a fan of the films of Bruce Lee.^[92]

Bibliography[link]

Lee's comics work includes:^[93]

DC[link]

• DC Comics Presents: Superman #1 (2004)
• Just Imagine Stan Lee creating:
  • Aquaman (with Scott McDaniel) (2002)
  • Batman (with Joe Kubert) (2001)
  • Catwoman (with Chris Bachalo) (2002)
  • Crisis (with John Cassaday) (2002)
  • Flash (with Kevin Maguire) (2002)
  • Green Lantern (with Dave Gibbons) (2001)
  • JLA (with Jerry Ordway) (2002)
  • Robin (with John Byrne) (2001)
  • Sandman (with Walt Simonson) (2002)
  • Secret Files and Origins (2002)
  • Shazam! (with Gary Frank) (2001)
  • Superman (with John Buscema) (2001)
  • Wonder Woman (with Jim Lee) (2001)

Marvel[link]

• Amazing Spider-Man #1–100, 105–110, 116–118, 200 (1962–80); (backup stories): #634–655 (2010–11)^[94]
• Avengers #1–35 (1963–66)
• Captain America #100–141 (1968–71) (continues from Tales of Suspense #99)
• Daredevil, #1–9, 11–50, 53 (1964–69)
• Daredevil, vol. 2, #20 (backup story) (2001)
• Epic Illustrated #1 (Silver Surfer) (1980)
• Fantastic Four #1–114, 120–125 (1961–72); #296 (1986)
• The Incredible Hulk #1–6 (continues to Tales to Astonish #59)
• Journey into Mystery (Thor) plotter #83–96 (1962–63), writer #97–125 (1963–66) (continues to Thor #126)
• Ravage 2099 #1–7 (1992–93)
• Savage She-Hulk #1 (1980)
• Sgt. Fury #1–28 (1963–66)
• Silver Surfer #1–18 (1968–70)
• Silver Surfer vol. 2, #1 (1982)
• Silver Surfer: Parable #1–2 (1988)
• Solarman #1–2 (1989–90)
• Strange Tales (diverse stories): #9, 11, 74, 89, 90–100 (1951–62); (Human Torch): #101–109, 112–133; (Doctor Strange): #110–111, 115–142, 151–158 (1962–67); (Nick Fury, Agent of S.H.I.E.L.D.: #135–147, 150–152 (1965–67)
• Tales to Astonish (diverse stories): #1, 6, 12–13, 15–17, 24–33 (1956–62); Ant-Man/Giant Man: #35–69 (1962–65) (Incredible Hulk: #59–101 (1964–1968); Sub-Mariner: #70–101 (1965–68)
• Tales of Suspense (diverse stories): #7, 9, 16, 22, 27, 29–30 (1959–62); (Iron Man): plotter #39–46 (1963), writer #47–98 (1963–68) (Captain America): #58–99 (1964–86)
• Thor #126–192, 200 (1966–72), 385 (1987)
• What If (Fantastic Four) #200 (2011)
• The X-Men #1–19 (1963–66)

Other[link]

• Ultimo (Manga original concept)
• How to Draw Comics the Marvel Way

See also[link]

	Biography portal
	Comics portal
	Film portal
	Greater Los Angeles portal
	New York City portal
	Speculative fiction portal
	Superhero fiction portal
	United States portal

• Characters created by Stan Lee
• List of American comics creators
• List of American Jews
• List of Eisner Award winners
• List of Harvey Award winners
• List of Jewish American authors
• List of Marvel Comics people
• List of science fiction authors
• List of pseudonyms

References[link]