Marvel Greatest Comics 100 Comics That Built A Universe

Senior Editor Cefn Ridout
Senior Art Editor Clive Savage

Production Editor Marc Staples
Senior Production Controller Louise Minihane
Managing Editor Sarah Harland
Managing Art Editor Vicky Short
Publisher Julie Ferris
Art Director Lisa Lanzarini
Publishing Director Mark Searle
First American Edition, 2020

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ACKNOWLEDGMENTS
DK would like to thank Melanie Scott and Stephen “Win” Wiacek for
their text and expertise; Joe Quesada for his Foreword; Sana Amanat, Tom Breevort,
Dan Buckley, C. B. Cebulski, Peter David, Al Ewing, Wil Moss, Ryan Penagos,
Bill Rosemann, Kelly Thompson, Mark Waid, Jordan D. White, and Chip Zdarsky for their
expert commentaries; Brian Overton, Caitlin O’Connell, Jeff Youngquist, and Joe Hochstein
at Marvel, and Mike Siglain and Nachie Marsham at Disney for vital help and advice;
Mark Penfound for the cover design; David Fentiman for editorial assistance;
Stefan Georgiou, Chris Gould, and Marc Staples for design assistance;
Jennette ElNaggar for proofreading; and Vanessa Bird for creating the index.
For the curious

www.dk.com
GR EATEST
COMICS
100 COMICS
THAT BUILT A UNIVERSE
Written by Melanie Scott and

Stephen “Win” Wiacek
Contents
8 Foreword 56 Tales of Suspense #52 90 Silver Surfer #3
(April 1964) (December 1968)
10 Introduction
58 Avengers #6 92 Captain America #111
12 Panelists (July 1964) (March 1969)
14 Marvel Comics #1 60 Tales of Suspense #57 96 X-Men #56

(October 1939) (September 1964) (May 1969)
16 Marvel Mystery Comics #9 62 Amazing Spider-Man Annual #1 98 Thor #169

(July 1940) (October 1964) (October 1969)
18 Captain America #1 64 Journey into Mystery #112 100 Amazing Spider-Man #86
(March 1941) (January 1965) (July 1970)
20 Tales to Astonish #13 66 X-Men #9 102 Amazing Spider-Man #96

(November 1960) (January 1965) (May 1971)
22 Fantastic Four #1 68 Daredevil #7 104 Avengers #93

(November 1961) (April 1965) (November 1971)
26 Incredible Hulk #1 70 Avengers #16 108 Marvel Premiere #1

(May 1962) (May 1965) (April 1972)
30 Amazing Fantasy #15 72 Strange Tales #135 110 Luke Cage, Hero for Hire #1
(August 1962) (August 1965) (June 1972)
34 Journey into Mystery #83 74 Fantastic Four #45 112 Marvel Spotlight #5
(August 1962) (December 1965) (August 1972)
38 Fantastic Four #6 76 Amazing Spider-Man #33 114 Amazing Spider-Man #121

(September 1962) (February 1966) (June 1973)
40 Fantastic Four Annual #1 78 Fantastic Four #48 116 Jungle Action #6

(July 1963) (March 1966) (September 1973)
42 Avengers #1 80 Fantastic Four #51 118 Amazing Spider-Man #129

(September 1963) (June 1966) (February 1974)
46 X-Men #1 82 Strange Tales #146 120 Captain Marvel #33

(September 1963) (July 1966) (July 1974)
50 Tales of Suspense #48 84 Fantastic Four #52 122 Incredible Hulk #181
(December 1963) (July 1966) (November 1974)
52 Avengers #4 86 Nick Fury Agent of S.H.I.E.L.D. #1 124 Giant-Size X-Men #1

(March 1964) (June 1968) (May 1975)
54 Fantastic Four #25 88 Avengers #57 128 Amazing Spider-Man #149

(April 1964) (October 1968) (October 1975)
130 Howard the Duck #1 170 Silver Surfer #1 210 Amazing Spider-Man #545
(January 1976) (December 1988) (January 2008)
132 The Eternals #1 172 Incredible Hulk #377 212 Guardians of the Galaxy #1
(July 1976) (January 1991) (July 2008)
134 What If? #3 174 Marvel Comics Presents #72 214 Secret Invasion #8
(June 1977) (March 1991) (January 2009)
136 Avengers Annual #7 178 Infinity Gauntlet #1 216 Ultimate Spider-Man #160
(August 1977) / (July 1991) (August 2011)
Marvel Two-in-One Annual #2
(December 1977) 180 Marvels #1 220 All-New X-Men #1
(January 1994) (January 2013)
140 Iron Man #128
(November 1979) 182 Dr. Strange: What Is It That 222 Infinity #3
Disturbs You, Stephen? (November 2013)
142 X-Men #137 (October 1997)
(September 1980) 224 Ms. Marvel #1
184 Daredevil #1 (April 2014)
144 Daredevil #168 (November 1998)
(January 1981) 226 Original Sin #8
186 New X-Men #115 (November 2014)
146 Uncanny X-Men #142 (August 2001)
(February 1981) 228 Death of Wolverine #4
188 Alias #1 (December 2014)
148 Avengers Annual #10 (November 2001)
(October 1981) 230 Unbeatable Squirrel Girl #4
190 Incredible Hulk #34 (June 2015)
150 Daredevil #181 (January 2002)
(April 1982) 232 Secret Wars #1
192 Avengers Finale #1 (July 2015)
154 Marvel Graphic Novel #1 (January 2005)
(April 1982) 236 Black Panther #1
194 New Avengers #1 (June 2016)
156 Doctor Strange #55 (January 2005)
(October 1982) 238 Vision #12
196 House of M #7 (December 2016)
158 Thor #337 (November 2005)
(November 1983) 240 Mighty Thor #706
198 Iron Man #6 (June 2018)
160 Uncanny X-Men #186 (April 2006)
(October 1984) 242 Avengers #6
200 Civil War #1 (October 2018)
162 Punisher #1 (July 2006)
(January 1986) 244 Directory
204 New Avengers Illuminati #1
164 Daredevil #231 (February 2007) 252 Index
(June 1986)
206 The Eternals #7
166 The ’Nam (March 2007)
(December 1986)
208 Captain America #25
168 Peter Parker, the Spectacular (April 2007)
Spider-Man #132
(November 1987)
Foreword
Joe Quesada
I work at Marvel. artwork of Kirby’s life—aided and abetted by the magic
of Lee’s words—tells an emotional story about the Thing.
Seriously, twenty plus years later and I still need to pinch And in the same issue, Reed Richards crosses dimensions
myself every time I say that. to discover the Negative Zone in a crazy Kirby collage.
I mean seriously, you can’t make this stuff up!
Over those years, I’ve had the great privilege of collaborating
with some of the most imaginative minds on the planet, A-ha! Gotcha, someone did, Stan and Jack!
creating characters and stories that now live within the
most unimaginable place on earth, The Marvel Universe. And as if that’s not enough, imagine this if you can: sharing
space on the comic racks at the same time was Lee and
This 100-issue marvelous, mystery tour, is going to take Steve Ditko’s work on Amazing Spider-Man. Has there ever
you careening from 1939’s Marvel Comics #1 all the way been a character, more human, more relatable, and more
to 2018’s Avengers #6. Are you buckled up? You better important than Peter Parker? And has there ever been a
be because you’re about to read stories that have not only sequence as perfect as Spidey’s desperate, heroic bid to free
become the foundation of today’s modern-day Marvel, but himself from the wreckage of Doc Ock’s lair in Amazing
more importantly, the road map to its future Spider-Man #33? You would be hard-pressed to find it.
As much as The Marvel Universe has always faced forward, These 1960s stories were just the beginning, the spark that
True Believer, it’s never been without a keen sense of legacy, ignited a gamma blast of future storytelling without rival.
and those who laid the earliest foundations. A foundation Tales of love, loss and heroism in the face of it as told in
that’s been fortified by successive generations of writers Daredevil #181 and X-Men #137. A gothic love affair for
and artists. Creators, whom themselves have become as the ages between Thanos and Death in Infinity Gauntlet #1.
legendary as our most hallowed hall of heroes. From Stan And perhaps Marvel’s most humanistic story of the modern
Lee to Roy Thomas, from Jack Kirby to John Buscema, era, Marvels #1, which through the painted lens of Alex
all the way to today’s modern Marvel masters, that lineage Ross, and the words of Kurt Busiek, perfectly captures the
is clear. So clear that when I began my career at Marvel, heart and soul of the man on the street, watching as Marvel
I could feel the weight of its rich history, but found comfort history unfolds around him.
knowing that I was standing on the shoulders of giants.
Yes, giants, giants larger than the largest Celestial, And yes, I’ll be honest, of course, this list won’t be perfect for
giants who eat Galactus for dinner. everyone… actually, I know it won’t be perfect for anyone.
Every tried and true Marvelite has their own list, and I’m sure
Don’t believe me? we missed one or two (or a dozen) of your favorites. But that’s
all part of the fun, isn’t it? So, let the debates begin!
Look at some of these stories. Stan Lee and Jack Kirby
dominate this book, as they should. When Lee and Kirby Maybe we’ll just have to publish a second, third and
got together, they created an explosion of creativity that fourth volume of these bad boys until we get it right.
has never been equaled. Just look at how many issues of
Fantastic Four alone are on this list. And then there are See ya in the funnybooks,
all those inspired firsts—the first appearances of the X-Men,
the Avengers, and Iron Man, for instance. Personally, I am Joe Quesada, Marvel Executive Vice President and
glad to see Fantastic Four #51 here. Some of the best Creative Director
8
9
Introduction
O ne of the world’s best known and
beloved brands, Marvel now ranks
alongside multimedia monoliths such as
and science fiction, all heavily influenced
by movies and television trends. However,
disruptive change was around the corner.
of Steve Ditko—a relative newcomer who
would become a unique driving force in
comics. Fronting an expanding bullpen
Disney, Apple, and Google. A modern Although its history harks back to of veteran creators and fresh young talent,
entertainment powerhouse, it dominates 1939, Marvel Comics really began in they ushered in a Marvel Age of Comics.
film, TV, comics, toys, and games. the Fall of 1961, when the diminished Now a confident House of Ideas, the
Yet this wasn’t always so. In 1957, after publisher tested a recently revived fad freedom that creators enjoyed translated
nearly 20 years as a comic publishing for Super Heroes with its own tentative into booming sales as Marvel transitioned
titan and innovator of early Super Hero entry. Thanks to sharp writing and from genre tales to predominantly Super
sagas, tough economic conditions and captivating art, Fantastic Four #1 was Hero stories. Under the guiding lights
the draconian Comics Code Authority— an instant hit, sparking follow-up titles of Lee, Kirby, and Ditko, collaboratively
introduced after US Senate Hearings into and characters sharing an increasingly devised, complex heroes and villains, and
the harmful effects of comics on young interconnected and recognizable universe. interwoven stories changed the comics-
minds—reduced Timely/Atlas, Marvel’s Thanks to editor-writer Stan Lee, reading experience, blazing a trail for the
previous incarnations, to a shoestring innovation remained high, especially after rest of the industry to follow.
operation. Constrained to a handful of securing one of the industry’s greatest In an era where Super Heroes bestride
titles, the company followed then popular artists and conceptualizers—Jack Kirby. visual media, it’s hard to believe that for
genres such as humour, war, western, Success was confirmed with the addition much of the 20th century comic books
10
were considered an inferior, disposable Clearly, these comics must be In this book you will find 100
medium. This was exacerbated by lingering engaging, well-crafted, and visually chronologically organised “must-read”
concerns about the possible harm comics striking, but for a company that has comics and a Directory of honorable
do to impressionable readers. Wiser, always prided itself on high standards mentions. These are the venerable
more tolerant, heads have prevailed since and innovative thinking that’s simply pioneers, radical upstarts, and future
then, mostly thanks to the quality of the not enough. To make their mark, these classics. The selection is based on
material once so earnestly denigrated. singular stories or pivotal moments commonly agreed standards as well as
However, if you still have to convince within extended storylines must also be personal taste, and is supported with
skeptics about comics’ merit, which stories significant, marking crucial events that expert, cogent commentary from a panel
could change their minds, especially with have changed Marvel history: key debuts, of Marvel insiders and eminent creators.
over eight decades of comic books to deaths, triumphs, and defeats. The stories Invariably, you may not agree with every
choose from? The obvious answer is the may also serve to place an appropriate inclusion or omission, and this selection
very best ones—Marvel’s greatest comics! spotlight on a particular creator’s or is not wholly definitive, since every week
creative team’s finest hour. Ultimately, sees new, potentially deserving comics
these stories must be truly memorable, join the canon. That said, future editions
An enduring age of Marvels
Marvel has been at the forefront of Super Hero
groundbreaking, and inspiring. The kind of Marvel Greatest Comics may well see
storytelling, from their heyday in the 1940s (left) you return to time and again, and are your favorites included as the Marvel
to dominating 21st-century entertainment (below). eager to show your friends. Universe unceasingly expands. ■
11
Panelists
Sana Amanat Al Ewing the 2018 relaunch of Captain Marvel, and
Marvel’s Vice President of Content and British comic book writer Al Ewing’s diverse the Eisner Award nominated Hawkeye, not
Character Development, Sana Amanat is the array of Marvel titles includes the critically to mention well-received runs on A-Force,
co-creator and editor of Marvel’s first comic lauded Immortal Hulk, as well as Guardians Jessica Jones, Captain Marvel and the
book series to star a Muslim female Super of the Galaxy, Rocket, Contest of Champions, Carol Corps, Mr. & Mrs. X, Uncanny X-Men,
Hero, the Hugo Award-winning Ms. Marvel. Loki: Agent of Asgard, Mighty Avengers, Deadpool, and Black Widow.
She has also edited other innovative titles New Avengers, Ultimates, Valkyrie: Jane
including All-New Hawkeye, Captain Marvel Foster, and You Are Deadpool. He also Mark Waid
and The Carol Corps and Elektra. masterminded and contributed to the A perennially popular comic book writer,
celebratory anthology Marvel #1000. Waid’s many Marvel comics include celebrated
Tom Brevoort runs on The Amazing Spider-Man, Fantastic
A veteran editor and currently Marvel’s Wil Moss Four, X-Men, Captain America, S.H.I.E.L.D.,
Senior Vice President of Publishing, Tom Senior Editor at Marvel Comics, Wil Moss’ Daredevil, Avengers, Champions, and
Brevoort has overseen hit titles such as recent work includes runs on Thor, Black Doctor Strange. In 2012, Waid won Eisner
New Avengers, Civil War, Fantastic Four, and Panther, Immortal Hulk, and Valkyrie: Jane and Harvey Awards for Best Writer for the
Marvel #1000/#1001, as well as inventive Foster. He has also worked on the praised relaunched Daredevil series. He also
miniseries like Deadline and The Daily Vision miniseries, as well as Howard the Duck, garnered enormous praise for his “in-world”
Bugle. In 1997, he won an Eisner Award for Astonishing Ant-Man and New Avengers. chronicling of Marvel’s 80-year history in the
Best Editor and edited the Eisner Award- History of the Marvel Universe miniseries.
winning Fantastic Four: Unstable Molecules. Ryan Penagos
Vice President and Creative Executive of Jordan D. White
Dan Buckley Marvel’s New Media Group, Ryan Penagos, Senior Editor Jordan D. White currently
President of Marvel Entertainment, Dan aka Agent M, hosts the long-standing weekly oversees Marvel Comics’ line of X-men titles.
Buckley is a longtime publisher of Marvel podcast/vodcast This Week in Marvel, and His previous work includes stints on Hulk
Comics, having previously headed up the co-hosts The Pull List, which previews and Hercules (2008–2011), and he has
print, animation, and digital divisions of Marvel Comic’s upcoming weekly releases. managed Marvel’s Star Wars comics since
Marvel Worldwide, and has also been their relaunch in 2015.
president of TV, publishing, and brand. Bill Rosemann
Vice President and Head of Creative at Stephen “Win” Wiacek
C. B. Cebulski Marvel Games, Bill Rosemann has spent Wiacek is a veteran British journalist, writer,
Marvel Comics’ Editor in Chief C. B. Cebulski more than two decades immersed in the and editor on several comic book related
is a seasoned comic book writer and editor, Marvel Universe as a comics writer and publications, such as The Marvel Book,
best known for his work on titles such as editor. He helped to revive The Guardians of Marvel Year By Year; Ultimate Marvel,
Marvel Fairy Tales, Mystic Arcana: Fire, the Galaxy in 2008, and has worked across Marvel Black Panther Ultimate Guide,
Legion of Monsters: Morbius, the Living countless top tier Marvel titles including and Marvel Fact Files. From 1997–2007,
Vampire, Runaways, and the miniseries Loners, Amazing Spider-Man and Avengers. he was chairman of the UK Comics
X-Infernus, and War of Kings: Darkhawk. Creators Guild, and manages the graphic
Melanie Scott novel review blog Now Read This.
Peter David British editor and writer of a wide range
A legendary writer of comic books, novels, of non-fiction publications on comic Chip Zdarsky
TV, films, and video games, Peter David’s books, Scott’s work includes Marvel Black A pen-name for Canadian comic book
most notable Marvel work includes an Widow: Secrets of a Super-spy, Ultimate writer-artist Steve Murray, whose expanding
award-winning 12-year stint on Incredible Marvel, Marvel Avengers Ultimate Guide, list of Marvel credits includes Howard the
Hulk, and acclaimed runs on She-Hulk, Marvel Movie Collection, and the Marvel Duck, Spider-Man: Life Story, Star-Lord,
X-Factor, and X-Force, for which he won Ultimate Fact Book. Peter Parker: The Spectacular Spider-Man,
a GLAAD Media Award. He wrote the video Marvel Two-in-One, Invaders, Daredevil,
game Spider-Man: The Edge of Time, and Kelly Thompson and X-Men/Fantastic Four. In 2016, he won
cowrote the New York Times bestseller Novelist and prolific comic book writer, a Harvey Award for Howard the Duck, and
Amazing Fantastic Incredible—Stan Lee’s Kelly Thompson has worked on numerous an Eisner Award and a Shuster Award for
graphic novel memoir. Marvel titles, the most prominent being Peter Parker: The Spectacular Spider-Man.
12
13
Marvel Comics #1
October 1939
“
This is the book that started it all.
The sophisticated anti-hero character that has
so defined Marvel to this day was introduced
in its very first issue with Namor.
Dan Buckley ”
Publisher
Cover artist
Martin Goodman
Frank R. Paul
A fter a shaky start, the fledgling comic
book publishing industry had become
a bona fide moneymaker, with many
weapon. When the crime lord’s scheme
backfires, the hapless and innocent Torch
becomes a fugitive: a misunderstood,
Writers Carl Burgos (The Human established and start-up companies flaming Frankenstein’s monster.
Torch), Bill Everett (The seeking to grab a piece of the action. Bill Everett’s Sub-Mariner details
Sub-Mariner), Paul By 1939, dozens of publishers were how Prince Namor comes from an
Gustavson (The Angel),
striving to create and own the “Next Big aquatic race living under the South Pole,
Al Anders (The Masked
Raider), Art Pinajian as Thing,” including pulp fiction publisher which had been decimated by American
Tomm Dixon (Jungle Martin Goodman, whose newly launched undersea exploration a generation ago.
Terror), Raymond Gill Timely Publications scored big with its Dispatched to spy upon them, Sub-
(Burning Rubber), initial offering, the anthology title Marvel Mariner’s mother, Fen, fell in love with
Bob Byrd and Ben
Comics. Released in October 1939, Marvel and had a son by one of the surface-
Thompson (Adventures
of Ka-Zar the Great) Comics #1’s initial 80,000 print run world interlopers. Now, 20 years later,
swiftly sold out, and Goodman rushed out Namor is hungry for revenge on the
Pencilers, Carl Burgos (The Human
inkers Torch), Bill Everett (The
a second printing. Unfamiliar with comics, air-breathers—which he exacts by
Sub-Mariner), Paul Goodman hired Lloyd Jacquet’s “comics attacking New York City.
Gustavson (The Angel), shop” Funnies Inc., freelance packagers Crafted by Paul Gustavson, the Angel
Al Anders (The Masked who produced comic book material for dressed in tights and cape, but in reality
Raider), Art Pinajian as
publishing companies. Goodman would was just an athletic, smart, tough guy,
Tomm Dixon (Jungle
Terror), Sam Gilman
begin hiring his own staff soon after the albeit able to cast huge angelic shadows!
(Burning Rubber), Ben runaway success of Marvel Comics. Not the greatest aid to battling monsters
Thompson (Adventures Goodman reportedly favored the and madmen, but Angel more than
of Ka-Zar the Great) heroes Ka-Zar and The Angel as breakout managed. In his debut adventure, as befits
features, however, neither appealed to his pulp hero influences, he ruthlessly
kids as much as the anarchic fire and cleans up New York’s crime syndicate
water antiheroes Human Torch and the Six Big Men. The Angel would go
Namor, the Sub-Mariner. The super- on to become a Golden Age stalwart and
powered misfits stole the show in this decades later was revived and revitalized
landmark issue, which may have been a in Ed Brubaker and Steve Epting’s 2009-
little rough around the edges and hastily 2010 miniseries The Marvels Project.
thrown together, but still exploded with More derivative, lesser lights patterned
raw action and engaging drama. on popular comic strips and fiction filled
The issue led with Carl Burgos’ out the rest of the issue. Framed cowboy
Human Torch, a humanoid who ignites Jim Gardley becomes The Masked Raider
into a blazing fireball when exposed to to dispense six-gun justice in Al Anders’
air. Entombed in concrete, he escapes competent western mystery, before
to unwittingly imperil humanity and is gentleman adventurers Ken Masters and
exploited by a gang boss as a terror- Tim Roberts make their only appearance
14 Marvel Comics #1
Variety show
Marvel Comics #1
boasted a cover by
acclaimed pulp illustrator
Frank R. Paul and a gag
page “Now I’ll Tell One!”
by Ed (Fred Schwab)
Wood, which preceded
a standard mix of genre
fare and Super Hero
experiments. Two of
those debut characters,
The Human Torch and
The Sub-Mariner, would
become cornerstones of
hin the
ere is the sub-mariner! --an ultra-
man of the deep lives on land and
...
...
sea flies in the air has the
...
the Marvel Universe.
strength of a thousand men. . . is a

youth of dynamic personality. . . quick
thought and fast action. . . from whence
does he come? and what is his mission?
in Tomm Dixon’s (aka Art Pinajian’s) replaced as super heroic alternatives

“Jungle Terror” as adventurers searching were dreamed up. Most rival comics
for cursed diamonds in the Amazon. publishers managed only one superstar,
Ray Gill’s prose piece—a staple of if any, at the outset. Within a year, the
early comics—recounted racing car fire and water wonders would historically
melodrama “Burning Rubber” preceding clash in the skies above Manhattan.
the jungle “Adventures of Ka-Zar the Despite its success, Goodman altered the
Great,” which began Ben Thompson’s title to Marvel Mystery Comics with the
comics adaptation of Bob Byrd’s pulp second issue, but the cosmetic change
novel King of Fang and Claw. John Rand (possibly to align the comic book with
and his wife crash in the Belgian Congo the company’s pulp titles) had no overall
and their son, David, grows up in jungle impact on the public, who avidly seized
splendor, as brother to Zar, King of Lions. upon its elemental heroes because they
Young David’s idyllic life is shattered when offered something novel and exciting.
an explorer murders his father, leaving The Human Torch and Sub-Mariner
young David yearning for vengeance. would become the foundations of Timely’s
The Human Torch and Sub-Mariner early success, and when Captain America
were instant favorites, but most of the debuted, he completed an irresistible
remaining characters were gradually triumvirate dubbed “the Big Three.” ■
Marvel Comics #1 15
Marvel Mystery
Comics #9
July 1940
“ It set the template for the eventual

Marvel Universe, a world in which all of
the assorted heroes and villains live
Editor in chief Joe Simon

together in the same shared space.
Tom Brevoort ”
T
Cover artists Bill Everett, he hybrid offspring of an Atlantean The eagerly awaited rematch in
Alex Schomburg
princess and an American explorer, Marvel Mystery Comics #9 was touted like
Writers Bill Everett, Namor, the Sub-Mariner is a being of a heavyweight title fight. The expanded
Carl Burgos,
immense strength and near invulnerability, 22-page clash was a team effort from
John Compton,
Ray Gill
who is able to fly above and thrive below the Bill Everett, Carl Burgos, John Compton,
waves. He was created by Bill Everett and and Raymond Gill. It picks up where the
Pencilers, Bill Everett,
inkers Carl Burgos
became one of the comic book superstars of previous issue left off, with the Torch
the Golden Age. His popularity was rivalled driving off Namor when he attempts to
Letterer Bill Everett
only by another extraordinary outsider, the destroy the George Washington Bridge.
Editor Joe Simon
Human Torch, an android who could burst Their battle rages across the city, from the
into flame, fly, and wield fire. Created by Statue of Liberty to beneath the Hudson
Carl Burgos, the Torch was a Super Hero, River, with no clear victor. The Torch even
when not working as a New York cop tries to incapacitate his foe with chlorine
if i ever get out of this yeah - that’s what i’m
i’ll burn every inch afraid of! what am i under the pseudonym Jim Hammond. gas but fails, and once more the fight ends
of your dirty hide! going to do with you,
you confounded fire-
bug?
Both Namor and the Torch debuted in in deadlock. Fans had to wait another
Marvel Comics #1 (October 1939), which month for the somewhat anticlimactic
became Marvel Mystery Comics from its single-page wrap-up in the subsequent
second issue. Yet their appeal was such issue. Manhattan policewoman Betty
that they soon gained solo titles and, in Dean—Jim Hammond’s colleague and
a deft marketing move, were positioned occasional romantic interest for Namor—
as instinctive, unflinching adversaries. remonstrates with them both, before
At the time, each Super Hero inhabited brokering a truce of sorts.
their own discrete world, but in Marvel Despite its inconclusive result, the
Mystery Comics #8 (June 1940), Bill battle electrified readers who could now
Everett had Namor attack New York City look forward to any of their favorite
only to be driven away by its fiery defender. characters appearing in adventures
But the real surprise came as their duel together. It also confirmed the publishers’
continued in the Human Torch section belief that what kids really wanted were
of the same issue, crafted by Carl Burgos. staggering battles between their leading
The chapter closed on a cliff-hanger and stars. This all occurred in the months
...what’s your solution? a teaser for “The Battle of the Comic before the US became involved in World
At the dawn of the comic book industry, with Century! Fire vs. Water—A Fight to the War II, and although Namor and the
narrative rules still being established, there
Finish!” in the next issue. Marvel Comics #9 Torch became grudging allies against the
was little thought for fiction’s “fourth wall.”
The final page of Marvel Mystery Comics #9
would become the memorable main act of Nazis, they still clashed in repeat bouts
appealed to readers to resolve the stalemate a classic three-issue clash that would set throughout the 1940s, as befitting their
between the elemental foes. the standard for Super Hero showdowns. inimical elemental nature. ■
16 Marvel Mystery Comics #9

Battle of the Century
The confrontation between
Sub-Mariner and the Human
Torch was nonstop, brutal,
and deviously imaginative.
As well as their own powers,
the combatants employed
chemical weapons, super-
scientific technology, and
military hardware. This clash
became the template for all
future Marvel star battles:
arrogance leading to
misunderstanding and
violence but with neither
side ever confirmed as
victor or defeated.
Marvel Mystery Comics #9 17

Captain America
Comics #1
March 1941
“Set squarely in the real world events of

World War II, here we witnessed the birth
of America’s most patriotic Super Hero, with
Cover artist
Writers
Jack Kirby
Joe Simon,
Jack Kirby,
a classic cover that no one could ignore.
C. B. Cebulski ”
Ed Herron
Pencilers Jack Kirby,

Joe Simon B y the end of 1940, the Golden Age
of comics was in full swing, with
rival publishers trying to outdo each other
exciting than ever before. Motion lines
imbued every punch and gunfight with
drama. Publisher Martin Goodman liked
Inkers Al Liederman,
Joe Simon, to produce the next iconic hero of the what he saw and gave the go-ahead for
Jack Kirby medium. Also in full swing was the war Captain America to debut in his own title
Letterer Howard Ferguson in Europe, which Americans looked upon rather than as part of an anthology, which
with increasing concern. Many favored was more customary at the time.
Editor Joe Simon
isolationism and were unwilling to send The first issue introduced Captain
their young people to fight and die in a America to the world, establishing parts
conflict on the other side of the ocean. of his origin that would remain canon
However, others saw involvement in the even after his Silver Age revival. He was
war as a moral imperative. Steve Rogers, a wannabe soldier deemed
Two young Jewish men, Joe Simon too puny for active service but selected to
and Jack Kirby, were at that time working be transformed into a Super-Soldier using
for Timely Comics (later Marvel). Simon a top-secret formula. The experiment’s
created a hero clad in the stars and stripes success was immediately followed by the
who could take the fight to the Nazis in killing of its key scientist by a foreign
the pages of a comic book and show agent and the destruction of the serum.
America that war was the right thing to do. This made Cap the only one of his kind,
This hero carried a shield, also emblazoned rather than the first of many. The comic
with quintessentially American colors and also depicted President Roosevelt, who
symbols, and was named Captain America. was himself trying to make the case for
In Captain America Comics #1, this involvement in the war, giving his blessing
shield was in the triangular “heater” style to the Super-Soldier project.
but, due to its similarity to a shield used Steve Rogers’ secret did not last long
by another hero called the Shield, was in the story, as his heroic identity was
changed to the now iconic round version discovered by curious young army mascot
for Cap’s second outing. James Buchanan “Bucky” Barnes. Not
In the early ’40s, patriotism was only did Cap decide to trust Bucky to
running high in America, and Simon and keep his secret, but he even took him on
Star-spangled symbol Kirby believed that a hero embodying that as a crime-fighting partner. Also debuting
At a time when the US was not yet committed
principle would sell comic books. Kirby in the issue was the villainous Red Skull,
to entering WWII, portraying Captain
America as the embodiment of the nation
brought Simon’s hero to life on the page although this Red Skull was not the
fighting Nazi villains was an overtly political in an unforgettable way, with dynamic art German Johan Shmidt but rather an
act on the part of the comic’s creators. that rendered action sequences more unscrupulous American industrialist.
18 Captain America Comics #1

observe this young man little does he realize
closely...today he volunteered that the serum
for army service, and was coursing through his
refused because of his blood is rapidly
unfit condition! his building his body
chance to serve and brain tissues,
his country until his stature
seemed gone!
and intelligence
increase to
an amazing
degree!
it is working!
there’s power
surging through
the people in the observation room those growing mus-
Gape in wonder at the scene before them! cles...millions of cells
forming at
wh-why, he...he’s incredible
look... changinG! speed!
Captain America Comics #1 hit the

stands in December 1940 and was it...
works...
simultaneously hugely popular and ...it...
somewhat controversial. The cover works!
famously featured Captain America
punching Adolf Hitler in the face, openly
behold! the crowning we shall call you
casting a real-life political leader as a achievement of all my years captain america Son!
comic book villain. The memorable cover of hard work! the first of because, like you - -
a corps of super-agents whose america shall gain
helped the issue sell around a million mental and physical ability the strength and the
will make will to safeguard our
copies, but its message was not welcomed them a shores!
by isolationists. There were protests terror to
spies and
outside Timely’s New York offices, and saboteurs!
Simon and Kirby were reportedly even
given police protection. The question of
isolationism would be settled a year later
when the Japanese attacked Pearl Harbor
and Germany declared war on the US.
i’m afraid this is
Now the US was in the fight for real, one experiment
and Captain America and Bucky could the hand that must never
of democracy’s reach its
do their bit to raise morale as their stories enemy reaches final test!
were read by military personnel overseas deep into the
ranks of
and their anxious families back home. america’s high
officials...one
Captain America took his place as one of the army
of Timely’s “Big Three” alongside the men
witnessing the
android Human Torch and Namor, the demonstration
Sub-Mariner. After Simon and Kirby’s is in the pay
of hitler’s
departure from Timely about a year gestapo!
after Cap’s debut, young editor Stan Lee
took over the reins of the star-spangled Super-Soldier
hero’s comic. Although the title dipped Steve Rogers was not born with super-
in popularity after the war ended, Captain powers—on the contrary, he was too weak
to enlist in the army. This humble starting
America’s 1960s resurrection and
point made him hugely relatable to ordinary
membership of the Avengers superteam readers, who were able to daydream that one
saw to it that he would become a fixture day they, too, might acquire super-strength
in the top echelons of Marvel’s heroes. ■ through some miracle of science.
Captain America Comics #1 19

Tales to
Astonish #13
November 1960
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
“ If you could have foreseen in 1961 that
an alien tree monster named Groot would
Steve Ditko
eventually become a household name, you
”
Writers Stan Lee,
Larry Lieber should be buying more lottery tickets.
Penciler Jack Kirby
Mark Waid
Inker Dick Ayers
Colorist
Letterer
Stan Goldberg
Ray Holloway A lthough rightly lauded with making

comic book Super Heroes more
realistic and accessible after the success
bimonthly anthology comics and by closely
following genre trends in humor, romance,
westerns, and science fiction, as enjoyed
Editor Stan Lee
of Fantastic Four in 1961, Marvel has in movie theaters and drive-in screens
also wisely maintained close ties with the and, ironically, television across America.
outlandish sagas of cosmic calamity and His greatest asset was Jack Kirby, a
alien invasion that immediately preceded visionary, immensely talented, and prolific
and often informed them. In recent years, artist, bursting with plenty of his own
that relationship has paid big dividends, ideas. At the time, the world around them
no- - you’ll how? you not only by enriching the Marvel was gripped in a Cold War-fueled, atomic
never take us think to stop
or our town! me with your Comics Universe, but also the Marvel B-movie monster craze, so Lee, Kirby, and
we’ll destroy puny weapons?! Cinematic Universe. the equally imaginative and gifted artist
you first! fire away! As the 1950s closed, publisher Martin Steve Ditko happily capitalized on the
you will see
how useless Goodman’s Atlas Comics line was reduced zeitgeist in titles such as Strange Worlds,
they are! to a shadow of its former self by a perfect Journey into Mystery, Strange Tales, Tales
storm of problems that contributed to of Suspense, and Tales to Astonish.
a dramatic downturn in comic sales. In a near ceaseless procession of short,
These included a widespread public inspirational comic stories, dauntless,
censorship crusade incited by the alarmist canny, or simply misfit human beings
claims of child psychologist Dr. Frederic confronted and outsmarted a succession of
Wertham (and the subsequent Senate bizarre aliens, mad scientists, the occasional
hearings), the unstoppable rise of “free” ghost or sorcerer (since it was the early
We can be heroes! entertainment through the medium of years of the Comics Code Authority, any
While some uncanny creatures returned— television, and a severe new distribution depiction of the supernatural was frowned
due to popular demand—the ordinary folk,
deal limiting Atlas’ comics output to upon), and, of course, a bestiary of
decent kids, or noble citizen scientists who
thwarted most pre-Marvel monsters seldom
eight titles a month. preposterous and monstrous beings.
made a career out of defeating the unknown Editor Stan Lee softened the blow by These fantastical tales were hugely
and vanished into obscurity. making the most of their small range of popular, immensely entertaining, and
20 Tales to Astonish #13

then, the mighty king of wood turned--
and summoned the forest!!
trees of the forest!!! i, groot- - master
of all wood- - command you to
come to me!!
they’re
starting
to move!
look- - it’s- -
the trees! it’s a
the y’re night-
coming out mare!
of the
ground!
Roots of evil
strikingly illustrated. When Super Heroes Human!,” and “I found the Hidden The paranoid Cold War era of
atomic stockpiles, space races, and
began their sweeping takeover of comic World!’)—“Groot” is rendered with
flying saucer scares was a fertile
books, many monsters became a valuable moody, thrilling art from the pen and environment for imaginative
resource for recycling names and plots. brush of Jack Kirby and Dick Ayers. dramatists like Lee and Kirby.
Weird wonders like the stone man Thorr, The story details how a studious biologist Readers were always apprehensive:
the radioactive mutant known as Magneto, in rural America saves humanity from primed for uncanny events and
imminent invasions, eager to
a (Molten) Man-Thing; and even a a rapacious walking tree. The arrogant,
be enthralled or scared by a parade
Hulk (later retrofitted as an actual floridly erudite alien can animate all forms of horrors, but ultimately thrilled
Incredible Hulk foe, Xemnu the Titan) of wood—living or dead—and is too hard by the inevitable triumph of honest,
had their monikers transplanted to new for human weapons to harm. Intent on smart men and women of honor.
characters. Some were even dropped stealing Earth cities and their inhabitants
wholesale into the Marvel Comics to act as slaves on his own distant world,
Universe as villains, such as the always- the imperious Groot is brought low by
in-demand dragon Fin Fang Foom, the a cunning application of lowly termites!
Abominable Snowman, shadowy warlord Under a later generation of fans-
Kra, and missing link Gorgilla. turned-creators, Groot finally entered
None, though, have had quite the mainstream continuity: battling the Hulk
success or evolutionary journey of (Incredible Hulk Annual #5, November
would-be alien conqueror Groot. 1976), joining Nick Fury’s monster squad
Predating the birth of the Marvel Age Howling Commandos, and ultimately
by exactly one year, and written by teaming up with a new Guardians of
Stan Lee and his brother Larry Lieber, the Galaxy during the “Annihilation
“I Challenged Groot! The Monster from Conquest” event. Now displaying a
Planet X” is the perfect example of a solid- decidedly monosyllabic vocabulary, the
gold formula. Leading off a quartet of former extraterrestrial villain has become
terrific yarns in Tales to Astonish #13— a true champion and top drawer in
the others being “I found the Abominable movies, TV animation, games, toys, and,
Snowman!,” “My Friend is Not Quite of course, wondrous comics stories. ■
Tales to Astonish #13 21

you’ve turned into now i know why
monsters ... both of i’ ve been feel ing i’m lighter
you!! it’s those so warm! look at than air!!
rays! those terrible me!! the y’ ve i can fly!!
cosmic rays! affected me , too! look ... i
when I ge t can fly!!
excited i can
feel my body
begin to bl a ze!
m inutes later, listen to me, all you don’t right,

johnny of you! that have to ben,
storm’s flame means you too, make a right!
subsided ben! together speech,
and he we’ve changed! we have more big shot!
l anded near all of us! power than any we under-
the other we’re more humans have stand!
three! than just ever possessed! we’ve got ta
silently human! use that
the y watched power to
the small help mankind,
fire he had right?
started
in the
under brush
burn itsELf
out!!
silently
the y were
each
occupied
with their
own
startling
thoughts!
i’m calling same goes i a i n ’ t b e n a n ym o r e - - a nd so was born

myself the for me... i ’ m w h at s u s a n c a l l e d “THE FANTASTIC FOUR!!”
human the me - - the thing!! AND FROM THAT MOMENT
torch-- and invisible ON, THE WORLD WOULD
i’m with girl! NEVER AGAIN BE THE
you all and i’ll call SAME!!
the way! myself. . .
mister
fantastic!!
there’s only
one still
missing...
ben!!
22 Fantastic Four #1
Fantastic Four #1
November 1961
“...marks the turning point between

the comic book industry that was and
the one that was to come.... It’s the first
step on a larger journey that led to a
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
Dick Ayers
wider and more colorful universe.
Tom Brevoort ”
A
Writer Stan Lee
s a general rule, “different” doesn’t of genres. Although operating on a
Penciler Jack Kirby necessarily mean “better,” but at the shoestring, Lee had two huge advantages
Inkers George Klein, time of its launch, the Fantastic Four was over his competitors: Jack Kirby and Steve
Christopher Rule like no other comic book on the market, Ditko. Both were fan-favorite artists and
Colorist Stan Goldberg and readers responded to it eagerly. phenomenal creative talents in their own
Letterer Artie Simek After seeing the success of a rival right, adept at many genres and always
company’s new Super Hero team title, seeking to push their artistic limits.
Editor Stan Lee
publisher Martin Goodman urged his From 1957, Kirby and Ditko had elevated
nephew, Stan Lee, to develop a group of science fiction, western, supernatural
new super-powered characters for Marvel. mystery, romance, and war titles with
The result took fans by storm. It wasn’t quality work, and both were ready for
the powers; they’d all been seen since the a change. So, in 1961, when Stan Lee
beginning of the medium. It wasn’t the restarted Super Heroes for Goodman’s
costumes; they didn’t have any until the new company, Marvel, the stars aligned.
third issue. It was writer-editor Stan Lee’s After tapping Kirby to draw the title,
instantly relatable characters and sharp Lee felt they needed something to
sense of drama, combined with artist distinguish it from the run-of-the-mill
Jack Kirby’s bold visuals and compelling costumed capers of the past. At first
storytelling that connected. Quickly glance, Fantastic Four #1 appeared a little
relocated from fictitious “Central City” familiar, containing a trio of distinct tales
to a recognizable real-world setting— featuring four fractious misfits battling
Manhattan—four imperfect, prickly weird beasts and a deranged madman—
g All four one individuals banded together out of tragedy, tried and tested scenarios used in the
Although seemingly derivative in
content, the style and tone of the disaster, and necessity to face the fantastic. company’s mainstay science fiction
Fantastic Four’s first appearance In June 1957, after a series of anthologies such as Strange Tales or
instantly differentiates the team from setbacks—including closing his own Journey into Mystery. However, starring
previous Super Heroes. The emotional
distribution arm to sell his titles through in the raw, thrilling, adventure romp for
intensity is harsh and uncompromising,
the men constantly squabble, even if
another company that went bust the whole issue were regular returning
Sue Storm’s attempt to play peacemaker overnight—Goodman’s vast comics characters—a unifying, sales-boosting
usually cools things down. And her enterprise, Atlas Comics, had been continuity was born.
brother, Johnny, the youngest team reduced to publishing a mere handful Concocted by Lee and Kirby, with
member, is no obedient boy scout, but
of titles. The comics division could afford inks by George Klein and Christopher
a hot-headed kid with perhaps the
greatest and certainly most flamboyant
to release only eight titles a month, which Rule, Fantastic Four #1 was passionate,
power, guaranteeing immediate reader editor Stan Lee finessed by producing vivid comic book excitement unlike
identification and gratification. 16 bimonthly titles in a wide variety anything young readers had seen before.
Fantastic Four #1 23
The all-too-human, constantly bickering - - and as
scaled brute. Shock and revulsion triggers
group—before and after the team’s for me- - i an ill-tempered brawl between the four,
incredible metamorphosis—and familiar am the but after coming to their senses, they vow
moleman!!
locations struck a chord with readers, to use their powers to benefit humankind.
changing comic books forever. Prepared to live their heroic lives in public,
From the outset, we are thrown Reed adopts the name Mr. Fantastic,
into the middle of the action. There’s Sue signs on as the Invisible Girl,
no preamble or slow buildup, but a Johnny calls himself the Human Torch,
dramatic, fast-paced introduction to and Ben becomes the Thing.
the main protagonists, responding The origin flashback concluded, the
to a strange flare exploding over the city. following tale returns to the main story.
Capturing their, and most onlookers’, In “The Fantastic Four meet the Mole
attention is maverick scientist Reed Man!,” we discover the cause of Reed
Richards, who has summoned his fiancée, Richards’ unease. He has deduced that
Susan Storm, their friend Ben Grimm, the colossal horrors dragging atomic
and Sue’s teenaged brother Johnny. factories beneath the earth come from
As they come together from different remote Monster Island. Here, the
city locales, we see that the Fantastic reluctant teammates uncover “The Mole
Four are highly unusual people boasting Hidden depths Man’s Secret!,” confronting a human
uncanny powers. When they finally Even Marvel’s first Super Villain, the Mole Man outcast ruling an astonishing underground
meet up, Richards gravely explains was complex. A twisted genius who conquered realm of strange beasts, and thwart his
that a fearful task awaits them. an incredible lost world, he was also a tragic plans for global conquest.
figure warped by loneliness and persecution.
However, before we learn the nature The bold storytelling shows Lee and
of that task, an interleaved flashback Kirby were unafraid to flout dated Super
reveals how these individuals gained their Hero conventions. Yet, before long, the
amazing abilities. Fearful that the Soviets the ship, radically transforming the rest of the comic industry would take its
might win the Space Race, Reed Richards quartet and sending their craft crashing cues from the innovations seen here.
convinces his friends to help commandeer back to Earth. Freeing themselves from The action is gripping, the pacing
a spaceship he’d designed, overruling the wreckage, Reed discovers that his relentless, and the characters wholly
Grimm’s concerns that it had inadequate body has become elastic, Sue fades from engaging. This landmark comic book
shielding against cosmic rays. The veteran sight, Johnny bursts into living flame, and achieves the aim of all great fiction:
test pilot is right, and radiation leaks into Ben has been devolved into a leathery- it leaves you wanting much more. ■
Where monsters dwell a

Throughout his career, Jack Kirby had
proved himself a master of action and
mood, inspired by the movies he
watched during his infrequent
downtime. The B-movie monster
craze of the 1950s allowed him to
transfer that inspiration to countless
comics pages. With Fantastic Four #1,
Kirby found the perfect opportunity
to marry monstrous creatures and
sensational Super Heroes with
unforgettable verve and power.
l ike a silent dreadnought, the
hulking thing that was once bruce
banner crouches in the shadows,
mustn’t let them
as the pursuing troops rush by. . .
find me...
Man or monster?
Stan Lee’s modern-day interpretation of the
Frankenstein story, a troubled monster made flesh,
was brought to life by artist Jack Kirby, although
the Hulk’s signature green hue would not appear
until the second issue. Kirby perfectly captured the
contrast between mild-mannered, humane Bruce
Banner and the mighty, brutish Hulk.
26 Incredible Hulk #1
Incredible Hulk #1
May 1962
“ Lee and Kirby create the Hulk, and like

Frankenstein, cannot control their creation.
He’ll last six chaotic issues—but the character
refuses to die... and will never be tamed.
Al Ewing ”
Editor in chief Stan Lee
Cover artists Jack Kirby,

George Roussos I n 1962, following the triumph of
Fantastic Four, the pressure was
on editor Stan Lee to come up with a
to Jack Kirby, the artist he felt was best
suited to create a singular look that would
make the Hulk a fan favorite within the
Writer Stan Lee
new character for Marvel Comics. Lee nascent Marvel pantheon.
Penciler Jack Kirby
had noticed from the fan mail rolling into By the early 1960s, Kirby had been in
Inker Paul Reinman Marvel HQ that the Thing was the most the comics business for decades, during
Letterer Artie Simek popular member of the Fantastic Four, which time he had demonstrated his talents
Editor Stan Lee and astutely surmised it was because fans across a wide range of genres. He had
identified with individuals who were less established himself as the go-to artist for
than perfect. He decided to create science fiction and fantasy at Marvel and
another character along similar lines, its predecessor, Atlas Comics: the artist
a super-strong being who could appear who could bring monsters to life. However,
menacing but also carry an air of tragedy. unlike his previous creations Groot and
Lee would ultimately draw not only Fin Fang Foom, Kirby’s Hulk could not
on his own creations for inspiration but be just a monster—he had to make the
also from classic literature. A longtime creature inherently sympathetic to readers,
fan of Frankenstein, Lee believed that with his humanity still clearly present.
the monster created by Mary Shelley’s The artist had shown in his trailblazing
eponymous scientist was not a villain but work on Fantastic Four that he was
an unfortunate victim simply trying to exceptional when it came to depicting
make his way in the world. The Marvel relatable characters with real human
editor also wanted his character to emotions. Incredible Hulk #1 exemplifies
change back and forth between his Kirby’s ability to combine boundless
monstrous and human identities, along imagination with a flair for creating
the lines of Robert Louis Stevenson’s intriguing characters in the unlikeliest
Dr. Jekyll and Mr. Hyde. Lee tried to scenarios. Hulk had an intimidating
come up with a name that would capture appearance and was enormously
the essence of a dangerous brute and powerful, yet it was obvious that he
settled on “the Hulk.” He took his idea was also at the mercy of his impulses.
Incredible Hulk #1 27
and now i’ll--- altho’ many miles from
there! bomb zero, dr. bruce
you’re banner is bathed in the
s a fe ! full force of the
mysterious gamma rays!
Adding to the challenge of making a save him before the bomb is detonated. change Hulk’s hue for the next issue.
hero out of a monster, Stan Lee added Banner arrives on the scene in time to He finally settled on green as an eye-
a teenage sidekick, a trope he had push Rick into a trench and stop the blast catching, easy-to-print color that was not
expressed some dislike for in the past, from harming him, but he is unable to commonly seen in other characters.
with the intention of proving that jump in himself before he is overwhelmed Although the initial series Incredible
it could be done well. Rick Jones, pivotal by gamma rays. That night, with Rick Hulk ended after six issues, the character
to the Hulk’s origin story, would stick as the solitary, horrified witness, Banner found new life as a founding member
around and provide an effective foil for transforms into a hulking, immensely of the Avengers. His solo stories also
the improbable hero without being strong form—the Hulk is born. continued in the Tales to Astonish anthology
“simpy.” Jones would also go on to Lee had wanted Hulk to have title. Now he has become one of the most
feature strongly in early Avengers a distinctive skin tone that would recognizable and popular Marvel heroes
comic books, and become a sidekick distinguish him from ordinary humans (or antiheroes), having reached a wider
to Captains America and Mar-Vell. and picked gray as a shade he hoped audience through a successful TV show
Incredible Hulk #1 was published in would bring drama to the character’s and several cinematic outings. From a
May 1962. The first order of business in appearance. However, as soon as he held storytelling perspective, the enduring
the issue was to reveal how the Hulk was the printed copy of Incredible Hulk #1 dramatic appeal of the Hulk, on the page
created. In the desert, nuclear physicist in his hands, Lee realized he had made and screen, is that while he can be heroic
Dr. Bruce Banner is preparing to test a mistake. The four-colour printing he often gets out of control causing more
a gamma bomb, the inner workings of process did not seem able to render gray problems than he solves. And not even one
which only he knew. As the test is about consistently—in some panels it was pale, of the smartest men on the planet, Bruce
to start, Banner sees teenager Rick Jones and in others almost black. Lee decided Banner, knows for sure what the Hulk
drive into the blast zone and rushes to that he needed to forget about gray, and will do when he’s in the driver’s seat. ■
the world seems to stand still ,
trembling on the brink of
infinit y, as his ear-spl it t ing
s cr e a m f i l l s t h e a i r . . . !
Atomic blast
The Hulk is born... Dr. Bruce Banner is struck
by gamma rays, later discovering that they will
trigger his continual, terrifying transformation
into the superhumanly strong but volatile being
known as the Hulk. Gamma radiation and
experimental atomic bomb testing played on
the real fears of an early 1960s readership, at a
time when the Cold War was in its hottest phase.
Over the years, gamma radiation would go on
to spawn a host of Marvel heroes and villains,
including the Abomination, the Leader, She-Hulk,
and Amadeus Cho as the Totally Awesome Hulk.
Amazing
Fantasy #15
August 1962
“ The famed “with great power, must also

come great responsibility” is said by the
narrator rather than a character. But it became
the lesson Spidey carried with him forever, not
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
to mention it gets 301 million hits on Google.
Peter David ”
Steve Ditko
Writer
Penciler, inker
Stan Lee
Steve Ditko
T he amazing Spider-Man was a long
shot from the start. Publisher Martin
Goodman wasn’t sold on the character
was an all-Ditko vehicle, featuring weird
understated yarns, in contrast to Jack
Kirby’s grand epics with their devious
Colorist Stan Goldberg but was happy enough to feature him in a aliens and rampaging monsters. Ditko’s
Letterer Artie Simek low-selling title such as Amazing Fantasy. stories, often devised and plotted by him,
Editor Stan Lee Editor and lead writer Stan Lee, however, increasingly featured sly, witty vignettes
had other, bigger ideas. He decided to try of magic, mystery and imagination.
something unique in comic books: an Although never less than entertaining,
unglamorous, underappreciated young Amazing Adult Fantasy had been slowly
Super Hero, whose powers came from losing traction in the world of comics
a creepy household pest. With Lee ever since the return of costumed heroes.
signing up to write the comic, he needed Lee and Kirby had responded to the
a sympathetic artist to create a distinctive sea change with the Fantastic Four and
visual style for his novel idea. His choice the Incredible Hulk, but there was no
of artist—Steve Ditko—was inspired, and indication of the renaissance to come
their collaboration brought to vivid life when the soon-to-be-cancelled Amazing
one of the most recognized and enduring Fantasy #15 debuted a new, menacing
comic book characters of all time. Super Hero. Moreover, while Spider-Man
Like the character he would help to grabbed the limelight—and the cover—
create, Steve Ditko was quiet and which was penciled by Kirby and inked by
unassuming, but his work was highly Ditko, and occupied the first half of the
imaginative, subtle, and singular. His plots comic book, it was business as usual for
were innovative, meticulously polished, the rest of the issue. The subsequent
ok ay, world --
be t ter hang and often shaded with warmth and gentle pages boasted three short suspense tales
onto your hat! humor. A feast of quirky and sometimes by Lee and Ditko: “The Bell-Ringer!,”
here comes the
spiderman! oddly disquieting detail, his stories and “Man in the Mummy Case!,” and
art explored the contrary qualities of “There Are Martians Among Us!”
human nature, where he found heroism The unheralded comics revolution came
Hyphenated hero and wickedness in equal measure. After in just 11 captivating pages as “Spider-
Lee and Ditko’s creation was designed to be years of crafting well-received mystery Man!” details the tragedy of brilliant
different, breaking every established rule of
tales with Stan Lee, Ditko was rewarded high-school nerd Peter Parker. An orphan
Super Hero storytelling. When the first issue
of his own comic debuted, his title had gained with his own title. Converted from the living with his aunt May and uncle Ben,
a hyphen to distinguish “Spider-Man” from generic monster magazine Amazing Peter is unpopular at school, but his home
other costumed champions at the time. Adventures, Amazing Adult Fantasy life is filled with love even if money is tight.
30 Amazing Fantasy #15

there’s no place on first, my web and then my
earth where you can will relieve fists will do
hide from me! you of your the rest!
gun!
I hate to do it,
it’s the fugitive but we’ll have
who r an past to rush him captain--
that-- that me! the one I
face! it’s-- now! can’t take look!!
didn’t stop a chance of him
oh no, it when I had
can’t be! sl ipping by in
the chance! the dark!
And, a short distance A nd a lean, silent figure

slowly fades into the
on a-- aw ay...
it’s spider’s gathering darkness, aware
him! web! my fault--all at last that in this world,
my fault! if with great power there
only i had must also come -- great
stopped him responsibilit y!
when i could
have! but i
didn’t-- and now
--uncle ben--
is dead...
And so a legend is born

and a new name is added
to t h e r o s t e r o f t h o s e
who make the world of
fantasy the most exciting
realm of all!
be sure to see the next issue of a m a z i n g fa n ta s y - - - for the further
amazing exploits of america’s most different new teen-age idol - - spiderman!
Action and reaction

Ditko’s bold lines and stark composition allows room
for dialogue, narration, and even editorializing without
feeling overly cramped. Amazing Fantasy #15’s final
page delivers cathartic vengeance, Peter’s realization
of his own guilt, his resolution to forever atone, and
promises more adventures—all in eight potent panels.
It also delivers one of the most famous lines in comics.
Amazing Fantasy #15 31

Accidentally bitten by a radioactive spider
at a science exhibit, Peter develops
astonishing arachnid abilities: enhanced
speed, strength, agility, and reflexes;
an ability to sense danger; and the
power to stick to walls.
Wearing a makeshift mask to conceal
his identity, he tests himself against a
professional wrestler. Easily defeating his
opponent, Peter realizes he can be rich Accidentally absorbing a fantas-
and famous. Devising a macabre costume tic amount of radioactivity, the
and augmenting his powers with an dying insect, in sudden shock,
adhesive system that mimics spiderwebs,
bites the nearest living thing,
he cashes in as a minor celebrity on
television. Soon, fame and overconfidence
at the split second before life
turn his head, and Peter’s vanity and ebbs from its radioactive body!
self-importance keep him from catching
a fleeing thief at the studio. But Peter’s
ow!
life changes forever when he returns
home after a gig to find his uncle Ben has
been shot dead by a burglar. Shocked and
seeking revenge, he stalks the killer only
to find it is the same felon he ignored
weeks previously. Wracked with guilt,
Peter decides that since his callous
neglect led to uncle Ben’s death, he
must atone by using his abilities to help
others: accepting that “with great power
there must also come great responsibility.”
The plot wasn’t new, but the settings
made it instantly accessible and familiar
to everyone reading it. This wasn’t the
world of moon rockets, flying cars,
giant monsters, or chisel-jawed heroes—
it seemed this could happen to any kid.
And the artwork was decidedly spooky
yet completely engaging.
Cover-dated September 1962, Amazing
Fantasy #15 came out the same month as
Journey into Mystery #83, which featured
the first appearance of The Mighty Thor
and confirmed Marvel’s commitment, as
a new company, to establishing a Super
Radioactive change
Hero pantheon. It was Ditko’s last issue
At a time of Cold War paranoia, nuclear
of Amazing Fantasy, but the heartfelt tale proliferation was a symbol of anxiety
of a teenager whose life is turned on its and a favored narrative device for
head struck a resounding chord with its triggering terrifying change. Lee and
young readership. By Christmas, a new Ditko utilized the great unknown—
but always transformative—force
superstar was ready to launch in his
of atomic mutation to imbue outcast
own title, with Lee and Ditko eager teenager Peter Parker with the power
to show what Spider-Man could do. to overcome his personal problems.
Keeping the “Amazing” title prefix to
ensure at least some reader continuity,
Amazing Spider-Man #1 hit the
newsstands in March 1963 with two
complete stories. The rest is history. ■
32 Amazing Fantasy #15

my head-- looks as
a - a sp i d e r ! i t bi t m e ! it feels though too bad!
but, why is it burning strange! our ex- he must
so? why is it glowing i-i need periment have a
that way?? some unnerved weak
air! young stomach!
parker!
Amazing Fantasy #15 33

Journey into
Mystery #83
August 1962
“ Originally intended as a one-off story...

even before it saw print, the decision was
made to turn Thor, God of Thunder, into
an ongoing concern [with] a greater
”
Cover artists Jack Kirby, emphasis on actual Norse mythology.

Joe Sinnott,
Stan Goldberg Tom Brevoort
Writers Stan Lee,
Penciler
Larry Lieber
Jack Kirby
T he early 1960s saw a creative
explosion in the comic book industry
as the popularity of Super Heroes
Concerned that ordinary readers
would not be able to relate to the God
of Thunder, Lee came up with the alter
Inker Joe Sinnott
snowballed. Following the successes of ego of Dr. Donald Blake. This frail,
Letterer Artie Simek the Fantastic Four and Incredible Hulk, all-too-human character provided the
Editor Stan Lee Marvel Comics wanted to keep the flow perfect contrast to the mighty Thor.
of new heroes coming. Editor Stan Lee The anthology title Journey into Mystery
was eager to push the boundaries even was chosen for the character’s debut.
further, but in the Hulk he had created The comic book had previously
the strongest being it was possible to find showcased horror and fantasy stories,
on Earth. If he was to come up with an but Lee had been phasing out horror in
even stronger character, they would have favor of science fiction. It is perhaps for
to be something otherworldly. this reason that the first enemies Thor
During an interview at the time, faces are aliens trying to invade Earth.
Lee had been struck by a comment that Although the extraterrestrials’ advanced
Marvel was creating a new mythology for technology far outmatches Earth’s regular
the 20th century. This idea chimed with military, Thor’s strength and the power of
something that had been playing on his his hammer easily defeats them, and they
mind for a while—how to use divine leave in a hurry, their plans in tatters.
beings in his stories without offending The obvious choice to draw Thor’s
any religious sensibilities, and so he first appearance was longtime Marvel
turned to ancient mythology. Considering artist Jack Kirby. Thor would take Marvel
the Greco-Roman tradition to be too in a new direction, to other dimensions
familiar, he lighted upon the Norse and realms populated by strange and
Stick shift pantheon and chose Thor, the Asgardian sometimes monstrous beings. Kirby’s
No sooner had Dr. Don Blake learned God of Thunder, as the ideal subject for incredible imagination would take this
that striking the stick he had found in the a new comic book hero. This would mean challenge in its stride. Journey into
cave could transform him into Thor than that the art team could play with Viking Mystery #83 is one of his masterpieces.
he was using his new power to save Earth
styles and weaponry to come up with a The emergence of Thor as one of the
from an alien invasion. Kirby was equally
adept at creating convincing ordinary
character design that would be visually most powerful beings in the Marvel
people as he was depicting godlike Super exciting and indelible—and set apart Universe is signaled with a plethora of
Heroes and monstrous extraterrestrials. from other contemporary characters. action-packed panels. Kirby’s signature
34 Journey into Mystery #83

Power surge the cave is bathed in blinding light!! and -- i ’ m changing too!!
The art by Jack “King” like a fiery bolt of lightning! and
Kirby is packed with drama the ancient cane--it-- it’s changing
as the frail human becomes shape! can this be really happening
-- or am i going mad?!!
the mighty Thor. Later
comics would reveal that
Donald Blake had always
unknowingly been Thor,
sent to Earth by his father,
Odin, to learn humility.
It was Odin who had guided
Blake to the remote cave on
the Norwegian coast where
he would meet his destiny.
No! it isn’t mad!! i can feel my the cane!! it has become a might y
body bursting with power-- hammer!! and i have been transformed
power such as i’ve never known!! into-- into --wait! there are words
inscribed on the hammer!!
th “wh thor!! the legendary god of thunder!!

is os the mightiest warrior of all mythology!!
h o
po wo amm eve this is his hammer!! and i -- i am
ss rh thor!!!
es t h er ,
r
s t y, if old
s h he s
th
he
po a l l be
or
we
ro
” f. .
Journey into Mystery #83 35

flashes and dynamic motion show Donald
Blake’s memorable metamorphosis into
a mighty god and how he subsequently
sets about testing the limits of his new
powers and the capabilities of his hammer.
Stan Lee realized that Marvel’s
continued success meant that his
workload had simply become too great
by this point for him to script the first
story of the new character. Luckily, he
had someone to turn to whom he trusted
implicitly—his younger brother, Larry
Lieber. It was Lieber who came up with
the idea that Thor’s hammer would be
made out of the fictional metal Uru,
lending it an even more mystical aura.
Later, Lieber moved on and Stan Lee
took over writing duties on Thor’s
stories, fashioning an antiquated,
“Shakespearean” style of dialogue
for the Asgardian, to underscore his
differences from ordinary mortals and
other Earthbound heroes. This dialogue
is absent from Journey into Mystery #83,
in which Thor speaks like Donald Blake,
seized by wonderment as he processes
his amazing transformation.
In the action-packed pages of the
comic, readers saw Thor discover that
his hammer would return to him if
thrown, was virtually indestructible, and
could be used to make him fly. It could
even change the weather. The Asgardian
quickly deployed these powers to find
and rout the invasion force of rocklike
aliens that was threatening Earth.
Thor proved to be another hit on
Marvel’s hands, and Journey into Mystery
quickly evolved into a vehicle for ever
more tales of Asgard, before being
renamed The Mighty Thor in 1966.
The stories of Thor and Asgard greatly
broadened the scope of Marvel’s
cosmology and added new layers to
the canon such as god-pantheons and
interconnecting realms. Thor’s great age Thor soars
and heritage also gave Marvel continuity Journey into Mystery #83 introduces
readers to Thor’s incredible powers,
a sudden injection of history, stretching
including the magical properties of
back over many centuries. his hammer, later named Mjölnir.
Like the Hulk, Thor was a founding Thor co-creator Jack Kirby drew
member of the Avengers superteam just inspiration for the hammer straight
two years after his debut. He went on to from the tales of Norse mythology
of which he and Stan Lee were
become one of the key characters in the
big fans. Kirby’s art conveys the
Marvel Cinematic Universe, appearing immense speed of Thor’s Mjölnir-
in all the Avengers movies as well as driven flight, reducing the Thunder
several individual big-screen outings. ■ God to a silhouette of motion lines.

37
Fantastic Four #6
September 1962
“Still early in the series, Stan and Jack

pitted the FF against not one, but two Super
Villains in this issue, proving to fans they were
firing on all cylinders right out of the gate.
C. B. Cebulski ”
B y the time of Fantastic Four #6,
Stan Lee was satisfied that Super
Heroes were back and a viable option
Super Villain until his second appearance
in Fantastic Four #22 (January 1964).
Rather than introduce another prime
Cover artists Jack Kirby, for Marvel Comics. With their distributor villain—and plenty of unique malcontents
Dick Ayers accepting a maximum of only eight titles such as the Puppet Master, Red Ghost,
Writer Stan Lee a month, writer-editor-publicist Lee had and the Mad Thinker would debut in the
Penciler Jack Kirby to carefully balance new ideas with proven months to come—Lee and Kirby again
sellers, and by the summer of 1962, he confounded expectations by pairing up
Inkers Dick Ayers
Joe Sinnott moved away from less popular genres two of their big hitters to take on the FF.
such as romance, humor, and war stories. And so a conflicted Atlantean ruler,
Colorist Stan Goldberg
The monthly stable of costumed stars Namor, bearing a justifiable grudge
Letterer Artie Simek
with their own titles consisted of the against humanity, joined forces with the
Editor Stan Lee Fantastic Four (FF), Thor, Ant-Man, and devious armored mastermind Doom in
the Human Torch Johnny Storm in solo Marvel’s first ever team-up. Ultimately,
action in Strange Tales. The Hulk was assorted heroes would meet, clash, and
released bimonthly and recent addition bicker before uniting to defeat a common
Spider-Man was set to return after a foe in what became a signature narrative
hugely successful tryout in Amazing device of the House of Ideas. However,
Fantasy #15 (August 1962). What Lee “Captives of the Deadly Duo!,” which
and Jack Kirby turned their attention established a fractious relationship
to next, aside from creating more Super between the menacing monarchs, depicted
Heroes, were archenemies capable of the overbearing villains coming together
giving them a riveting run for their money as wary allies only to devolve into sworn
and worthy of return appearances. enemies after their true natures manifest.
After reviving Golden Age antihero Smarting from his recent defeat,
Namor, the Sub-Mariner in Fantastic Doom scours the oceans in search of the
Four #4, a huge leap was made with the Sub-Mariner and, on finding him, slyly
debut of hyper-scientific sorcerer Doctor convinces the prince to renew his war
Doom the following issue. Doom was an of vengeance against the surface world
old college rival of Reed Richards who had, by attacking the FF. Obsessed with Susan
through sheer will, forged himself into the Storm, Namor agrees on condition that
most dangerous man alive and the first she is spared. He conceals a magnetic
new major league Super Villain of the device in the Baxter Building that will
Divided loyalties budding Marvel Universe. The FF had met propel the FF’s HQ into space. His
Susan Storm’s affections for the tragic Namor and defeated the monster-controlling Mole mission coincides with another family
dictated the shape of many early FF stories.
Man in their premiere appearance, but for spat after Sue’s brother, Johnny, destroys
Their mutual attraction continued even after
she married Reed Richards, offering potential all his dreams of global domination, he was a photo of Namor that she’s been hiding.
emotional conflict and adding a compelling a somewhat puny and tragic figure. Mole The Sub-Mariner intervenes and becomes
sophistication to the dramas. Man would not become a truly threatening trapped when his partner-in-villainy
relaxing amid the comfort
of submariner’s new home,
doctor doom reveals his
thoughts!
then they are
it would appear that fools! my wrath
you’ve taken a holiday can easily reawaken
from your campaign their fears!
against the surface
world! men no longer
speak your name in
fear!
ahhh! the invisible girl! take care! i’m making it my concern, “what has happened to
so she’s the reason for that female submariner! it must be your thirst for revenge?
your changed attitude! is no evident by this time that have you forgotten the
of course! if you wage concern to defeat the fantastic glistening towers of your
war against the fantastic of yours! four. . . it may take a once-great civilization?---the
four . . . you “diabolical duo”. . . culture and comfort enjoyed
must be you and i. . . striking by your happy subjects!”
her out for power and
enemy, revenge!
too!
strikes, dragging the skyscraper out that was understandable and even Love and pride
of the atmosphere and toward the sun. laudable. He knew right from wrong and Devious Doctor Doom uses Namor’s
Where the superteam’s efforts fail, would do the right thing when necessary, guilt and wounded pride to make
the former Prince of Atlantis his
Namor’s hybrid powers succeed, while brilliant, ruthless Doctor Doom
temporary ally and unwitting pawn.
defeating Doom and hurling him into worked only for his own benefit: lying By playing his attraction to Susan
space, seemingly forever. and callously killing to get what he wants. Storm against the shame of failing
As well as breaking new ground, this Fantastic Four #6 was a dry run for many to protect his people from destructive
exciting action adventure cemented the future alliances between the two, most human atomic testing, Doom inflames
Sub-Mariner’s passions to counter his
nature and motivations of the colorful notably the intriguing 1970s series
natural distrust of all surface-men.
antagonists in ways even the youngest Super-Villain Team-Up, which would
reader could understand. Namor was invariably end in duplicity, disappointment,
a noble antihero gripped by a grievance and usually much destruction. ■
Fantastic Four
Annual #1
July 1963
“ The first Golden Age hero to return to Marvel,

this issue reintroduced major aspects of Namor’s
life, such as Atlantis, [while also] giving us long-
time lover, the lady Dorma, and enemy Krang.
Editor in chief
Cover artists
Stan Lee
A major boost for the sea king’s legend.
Peter David ”
A
Jack Kirby,
Dick Ayers bona fide hit from the outset, the Doctor Doom, Kurrgo: Master of Planet X,
Fantastic Four proved the commercial Puppet Master, Impossible Man, Red
Writer Stan Lee
viability of Super Heroes. As the title grew Ghost (plus his “indescribable” super-apes),
Penciler Jack Kirby
in popularity, the summer of 1963 saw the and The Mad Thinker with his “awesome
Inker Dick Ayers quartet become Marvel’s first adventure android.” In the same vein, Q&As about
Colorist Stan Goldberg characters to star in an annual. These were the Fantastic Four and a diagrammatic trip
Letterers Artie Simek, higher-priced, square-bound, 80-page “Inside the Baxter Building” made kids
Ray Holloway holiday specials with a longer shelf life than instant experts on their favorite characters.
Editor Stan Lee standard issues, which had to be sold or Although Marvel was growing in both
returned within three months. The company status and readership, Stan Lee kept
had released only two annuals before: Millie looking for ways to cross-sell his stars.
the Model Annual #1 (January 1962), In a time before dedicated comic shops,
which featured evergreen humor-fashion back-issue stores, or even organized
star Millie Collins, and a compilation fandom, comics were a fleeting enjoyment.
don’t worry, oww! ya big ape- - of monster and science-fiction reprints If readers came in late, they had few ways to
rubber-face! who do ya think
this squirt’s
gonna be taught
you’re pushin’
around?
curated to fill the pages of Strange Tales catch up on what they missed. At the time,
some manners Annual #1 (September 1962). that didn’t matter for other comic publishers,
right now!
Fantastic Four Annual #1 was a but Marvel’s heroes shared a single universe
marked departure. It boasted a brand and were constantly changing and evolving.
new story that was a clever revision of a Fantastic Four Annual #1’s graphic extras
recent classic, fan-pleasing bonus material, were fun and collectible, and also provided
and even reprinted the team’s debut. Since useful background info, but Lee went
Fantastic Four #2 (January 1962), readers further. He included a revised and retouched
had enjoyed infographic pages explaining reprint of the first half of Fantastic Four #1,
how their powers worked and bombastic retelling their origin for new readers. This
pinups of heroes and villains. These extras policy became standard practice in similar
created a strong sense of shared experience, giant-sized titles such as Marvel Tales and
and with the increased space available in Marvel Collector’s Items Classics, giving
annual specials, Lee and Kirby went to new fans as well as late converts a handy,
Take two town with a wealth of stunning imagery economical means of quickly acclimating
Enthusiastic reader reception to the and technical revelations. themselves to the Marvel Universe.
first meeting of the Fantastic Four and In Amazing Spider-Man #1 (March
Their awe-inspiring “Gallery of the
Spider-Man confirmed one of Stan
Lee’s theories: fans enjoyed seeing their
Fantastic Four’s Most Famous Foes!” 1963), the wallcrawler attempted to join
favorite heroes fighting each other as feature depicted Mole Man, The Hulk, the team, only to change his mind when
much as they did battling villains. the Skrulls, Miracle Man, Prince Namor, he learned it was not a salaried position.
40 Fantastic Four Annual #1

Water world
Afflicted by amnesia, Namor countless fathoms beneath the sea... the most colorful coronation of all time
takes place! for prince namor , the might y sub-mariner , has finally
wandered the surface for decades, found his long-lost undersea kingdom! and here, amidst breathtaking
pomp and pageantry, he once again dons his royal crown, as he is
until accidentally restored to accl aimed namor the first, prince of atl antis, emperor of the deep,
full power by the Fantastic Four. lord of the seven seas, and supreme commander of the undersea legions!
Once he reunited his widely
scattered undersea subjects, he
rapidly reconstructed his seat of
empire and was crowned the
monarch of eternal Atlantis.
i vow to be
true to the name
of namor , which means
“avenging son”! i shall
never rest till the
insolent human race
has paid for its crimes
against our people!
Lee and Kirby revisited and expanded now rise, and pledge
that brief scene to six boisterous pages me your hearts, your
hands, your lives!
in “The Fabulous Fantastic Four Meet
Spider-Man!”: a dynamic duel between
fledgling Marvel’s most popular brands,
graced by Steve Ditko’s moody inking to
create an ingenious and compelling event. all hail mighty
All these supporting features affirmed namor! hail, prince
of sub-mariners!
the celebrated success of the Fantastic great neptune
Four and the innovative approach of its himself has sent
thee to lead us!
creators. But the backbone and real
highlight of the annual was a spectacular
37-page epic by Lee, Kirby, and Dick
Ayers, which reveals how—after months
wandering the oceans searching for his
scattered people—Prince Namor finally
reunites with his nomadic subjects. After
marshaling his forces, the aggrieved
monarch leads the Atlantean army in
an invasion of New York City in “The
Sub-Mariner versus the Human Race!”
A monumental tale even by today’s
standards, the story sees the Fantastic
Four triumphantly repel the overwhelming
undersea incursion through valiant
struggle, brilliant strategy, and Reed
Richard’s technological genius. As an
added treat, the saga also reveals the
secret history of the aquatic race Homo
mermanus and recaps Namor’s origins.
Even though the clash settles nothing
and merely returns all participants to a
bellicose status quo, the sheer drama and
excitement of this “longest uninterrupted
super-epic of its kind” are unforgettable. ■
Fantastic Four Annual #1 41

Avengers #1
September 1963
“ No one could have dreamed that a book

hastily assembled to fill a sudden hole in
Marvel’s schedule would, decades later,
become the centerpiece of the most
successful cinema franchise of all time.
Mark Waid ”
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
N o sooner had Stan Lee, Jack Kirby,
Steve Ditko, and their fellow Marvel
creators invented a handful of modern
Scripted by Lee and illustrated by Kirby
and Dick Ayers, Avengers #1 launched in
September 1963 with one of the cannier
Dick Ayers
heroes than most of them were brought origin tales in comics. Instead of starting
Writer Stan Lee together in an all-star superteam. Nearly fresh and assuming readers knew nothing
Penciler Jack Kirby 18 months after the publication of of the comic’s cast, the story demanded
Inker Dick Ayers Fantastic Four #1 (November 1961), some familiarity with Marvel’s other titles
Marvel boasted a stable of superstars who and wasted little time or energy on
could be assembled into a force for justice introductions or unnecessary exposition.
Letterer Sam Rosen
and soaring sales. While harnessing the As Lee hoped the cross-promotion
Editor Stan Lee
combined skills and abilities of established of Avengers would boost sales for its
heroes was far from unique, seldom had it members’ own titles, he took great efforts
been done with such style and exuberance choosing the right characters for the new
as in “The Coming of the Avengers!” team. Established heroes Ant-Man and
There had been superteams before. the Wasp, Thor, and newly launched Iron
In June 1941, just prior to the US’s entry Man were sureties: all sold well but could
into World War II, Marvel’s predecessor benefit from more exposure. The Hulk,
Timely published Young Allies, a series that whose own title had been canceled at the
blended the popular trend for kid gangs start of 1963, still had many fans who
(seen in movies like Angels with Dirty Faces would welcome his return. And after
and Our Gang) with Super Hero action. careful consideration, Lee decided not
In these adventures, Captain America’s to enlist teen sensation Spider-Man
partner, Bucky Barnes, and the Human and the recently debuted, commercially
Torch’s sidekick, Toro, led a diverse band untested Doctor Strange in the Avengers.
of all-American youngsters into battle Given these characters’ quirky, outsider
against crooks and spies. In 1946, the appeal, Lee may have felt they were more
All-Winners Squad united seven well- suited to solo adventures than being
known costumed crusaders: Captain team players. In time, both Spidey and
America and Bucky (or at least their Strange, and a host of other heroes,
replacements after Steve Rogers and James would often team up with and even
Barnes were lost at the end of the war), the become card-carrying Avengers.
Torch, Toro, Whizzer, Miss America, and The “book-length” epic Avengers #1
the Sub-Mariner. Although the All-Winners starts in the mythic realm of Asgard where
enjoyed only two epic adventures as the an imprisoned Loki craves vengeance on
public’s taste for Super Heroes waned Thor. The God of Mischief sets out to
after the war, the team is now considered bedevil his half brother, engineering a
a prototype for today’s Avengers. tense situation that appears to show the
42 Avengers #1
the coming of the
the first of a
star-studded series
of
book-length
super-epics
featuring
some of
earth’s greatest
super-heroes!
the place: asgard,

home of the norse gods!
the time: the present!
the man: loki, god
of evil ! a prisoner on
the dreaded isle of
silence . . . plotting
awesome revenge
against his might y
enemy, thor , the
thunder god !
written by: drawn by: inking by: lettering by:

stan lee jack kirby dick ayers s.rosen
Call to arms
Malevolent Loki broods, plotting to
destroy noble Thor. Yet his heartless use
of unpredictable, uncontrollable mortal
pawns is always his undoing. In this case,
it is also the reason a host of fiercely
independent Super Heroes grudgingly
unite into an irresistible team that will
forever defend the world and the universe.
Avengers #1 43
Incredible Hulk is on another terrifying
rampage. If Thor intervenes to stop the
mighty monster, he might, Loki hopes,
why so
perish in the attempt. Meanwhile, the surprised?
Hulk’s teen confidante Rick Jones contacts didn’t you send
the Fantastic Four for assistance, however,
Loki diverts the emergency transmission to for me?
Thor’s radio receiver and gleefully awaits
the inevitable result of his machinations.
Unfortunately for Loki, Iron Man and
Ant-Man also receive the redirected SOS,
and as they converge on the Southwest,
from where the distress call originated,
the heroes realize something isn’t right.
A frustrated Loki lures Thor away with
a mirage of the emerald man-monster
and into a confrontation in his hellish
otherworldly prison, leaving the remaining
champions to tackle the Hulk. They find
him disguised as a super-strong circus
robot and are soon in ferocious combat
with a brute far smarter and faster than
he looks. Eventually, the Hulk flees, but is
cornered in Detroit. As the battle escalates,
Thor and his defeated half brother appear,
but as explanations are given, Loki attacks
with deadly radiation. At his moment
of triumph, the evil one is brought
down by the smallest of his mortal foes.
The victors realize how much good they
can continue doing if they work together.
All that remains is for the Wasp to give
them a suitably imposing name....
With typical, albeit prophetic,
hyperbole, Stan Lee, as editor, ends the
story praising the birth of “one of the
greatest Super Hero teams of all time!
Powerful! Unpredictable!... a new
dimension is added to the Marvel Galaxy
of Stars!” He may as well as have said the
“Marvel Universe.” All these characters
and countless more, even war and
cowboy stars, would ultimately interact
in the same vast, shared continuity that
came to form the all-encompassing
Marvel Multiverse. Lee’s clever cross-
promotional gambit was successfully
transplanted four decades later to
Marvel’s movie franchise. Iron Man,
Hulk, Thor, and Captain America all
tested the cinematic waters before joining
forces in the Avengers, perhaps the world’s
most famous Super Hero team. ■
44 Avengers #1
wowee! look! flyin’ it would seem as
it’s above us! it’s though the gang’s
thor!! ant-man and all here, eh, lads?
the wasp!
Chance meeting
Rick Jones and his Teen Brigade pals are
overwhelmed by the surprise arrival of four
new Super Heroes to stop the rampaging
Hulk. These heroes initially join forces as a
fractious, unstable union, choosing to battle
the angry but innocent Hulk individually,
in what could be construed as a rehearsal
for the Avengers series. The first instance
of actual teamwork would not be seen
until the following issue.
Avengers #1 45
never, within the memory
of man, was there a “class”
such as this ! never was
there a “teacher” such as
professor x !
and never were there
“students” such as the. . .
the angel
reporting, sir!
cyclops
present
and accounted
for, sir!
iceman
right on
schedule,
sir! the
beast
is here,
sir!
written by:
stan lee
drawn by:
jack kirby
inked by:
paul reinman
lettered by:
s.rosen
and now, prepare yourself for one of the most exciting reading experiences of your
life ! for you are about to enter the fascinating, unpredictable world of. . . the x-men!
School for mutants

Summoned by mental command, the group
that Marvel presented in 1963 as the “strangest
Super Heroes of all” assembles. Kirby and
Lee’s original X-Men lineup would lay the
foundations for one of the company’s most
popular franchises. Key to the concept
was the idea of outsiders joining together
to find acceptance and a sense of family.
46 X-Men #1
X-Men #1
September 1963
“ This book is a testament to the power

of Stan Lee and Jack Kirby’s collaboration,
in that its relatively tepid launch still led
to the creation of the most powerful
Super Hero franchise ever.
Dan Buckley ”
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
I t was 1963. The Fantastic Four was
a breakaway success, comic book
Super Heroes were enjoying a surge
toward these misfits and outcasts had
obvious parallels at the time with the civil
rights struggle. Professor X’s appearance
Sol Brodsky of popularity, and everything Marvel may have been styled after actor Yul
Writer Stan Lee touched seemed to turn to gold. But Brynner, but Stan Lee saw the X-Men’s
Penciler Jack Kirby readers wanted more, and Stan Lee mentor—whose objective was to train
and Jack Kirby were the men charged mutants to protect humanity with their
Inker Paul Reinman
with coming up with new characters powers and foster greater understanding
Letterer Sam Rosen
to match the fame of the Fantastic Four, between the two communities—as a kind
Editor Stan Lee Spider-Man, Hulk, and Thor. of Martin Luther King Jr. figure.
Lee wanted to create another team, The “villain” that Kirby and Lee created
but he wasn’t convinced about presenting for the X-Men’s first comic book was also
a whole new slew of origin stories about fighting for a worthy cause—the end of the
by the power of how the characters acquired their powers. oppression of mutantkind—but the way in
thought, i am able
to move objects at The solution he came up with may have which he went about it was very different.
will! made his life as a writer easier, but it was Magneto, revealed years later to be a
also a stroke of genius. The new team Holocaust survivor, believed that humans
would be born with powers. This idea led and mutants could never really live together
naturally to a different narrative scenario in harmony. He saw the natural position of
than any that had gone before—how mutants as being above normal people,
would ordinary people react to humans ruling over them. Lee did not want Magneto
whose abilities were innate? How would to be a one-dimensional bad guy, and as
a person born with a super-power learn the character developed, he would display
to use it as they grew to adulthood? shades of gray that meant that readers
They would need a school, and a teacher, could empathize with him, even while
and so Lee and Kirby created Charles rooting for the X-Men to stop his extreme
Xavier, aka Professor X, a man with plans. Jack Kirby’s design for Magneto
extraordinary mental abilities. So that he in X-Men #1 was an instant classic,
would not seem too powerful, they decided and his distinctive helmet, in particular,
to confine Xavier to a wheelchair. was a mainstay of the character even into
When Marvel’s publisher Martin his 21st-century big-screen incarnations.
New girl Goodman rejected Stan Lee’s name for The original lineup of the X-Men,
The lineup is complete—for now— the new team—The Mutants—Lee as presented to eager readers in the
as Jean Grey joins the X-Men at opted for the X-Men, after Professor X. 1963 debut issue, was led by Cyclops,
Professor X’s school. At first, Jean’s
The X-Men’s status as mutants instantly aka Scott “Slim” Summers, handpicked
new teammates have trouble seeing
beyond her looks, but she quickly
set them apart as a group distinct from by Professor X as the mature leader of the
shows them that it is the power of normal humans. The mistrust and fear group. There was also Beast (Hank McCoy),
her mind that defines her. that the nonmutant population might feel whose size, strength, and agility belied
X-Men #1 47
ahhh! i can feel the
irresistable waves of pure
magnetic energy surging from
me! now, by exerting every iota
of power, I can direct
that energy upward...
upward...
a ferocious intellect, the winged Angel Although the X-Men went on to

(Warren Worthington III), and Iceman become one of Marvel’s most important
(Bobby Drake), who at 16 was the and popular properties, in its early days,
youngest member of the team. Drake’s the book’s sales did not hit the heights of
appearance in these early issues was its stablemates Spider-Man or the Fantastic
more snowman than Iceman, something Four. It would not be until their dramatic
that the creators even made an in-panel revamp in the following decade, when
joke of in X-Men #1. Lee admitted that a diverse cast of new characters was sent
Iceman was at first just devised as to train at Professor X’s school, that the
an opposite to the already successful X-Men really became a force to be
character of the Human Torch in the reckoned with in comics. However, the
Fantastic Four. The opening pages of iconic characters created in X-Men #1
this issue show the X-Men meeting their by Stan Lee and Jack Kirby provided
new teammate, Jean Grey, who is revealed future lineups with a solid foundation and
to have powerful telekinetic abilities. When would themselves be involved in some of
Beast’s attentions get a little annoying, the most groundbreaking story lines in
Jean uses the power of her mind to lift comic book history. They would also find
him up, spin him around, and deposit fame outside comics fandom through
him on the far side of the room. a hugely successful movie franchise. ■
48 X-Men #1
that “living fence” as and so i
you call it, is the symbol have now
of my great power! it is accomplished
a might y shield of my first
magnetic energy! objective!
gentlemen,
cape citadel
is mine!
Magnetic appeal
Magneto is established from the start as
a formidable opponent, with his powers
over magnetism enabling him to make
short work of the rocket-launching site
at Cape Citadel. It is in The X-Men #1
that Magneto first coins the term “Homo
superior” for mutants, to set them apart
as distinct from humanity. Jack Kirby’s
extreme close-up on Magneto in the panel
above is often cited as the inspiration
for Pop-Art maestro Roy Lichtenstein’s
famous 1963 print “Image Duplicator.”
X-Men #1 49
Tales of
Suspense #48
December 1963
“
Featuring the first appearance of the
forgettable Mr. Doll, this issue also debuted Iron
Man’s streamlined, aesthetically pleasing red-
and-gold-armor. Tony’s made many alterations

since, but this design remained consistent.
Peter David ”
T
he character of Tony Stark, the would prove a milestone moment in the
Sol Brodsky
fabulously wealthy inventor and history of Iron Man, as it debuted a new
Writer Stan Lee businessman, was created in 1963 by look designed by another legendary artist—
Penciler Steve Ditko writer Stan Lee and artists Jack Kirby Steve Ditko. The new armor, known as the
Inker Dick Ayers and Don Heck. In a counterintuitive Mark II, was far more form-fitting than its
Letterer Sam Rosen move, Lee wanted to create a hero that predecessor and was realized in an eye-
was all the things his readers usually catching red-and-gold color scheme. The
Editor Stan Lee
despised. Tony Stark would be a weapons design was so effective that its basic shape
manufacturer, a rich industrialist who and colors are still considered Iron Man’s
profited from war. Lee’s challenge to classic look more than half a century later.
himself was to make Marvel Comics fans Lee and Ditko clearly knew the
love Stark anyway, and he succeeded. significance this issue would come to hold,
Iron Man’s debut came in Tales of devoting three entire pages to a detailed
Suspense #39 (March 1963). It was the breakdown of how Stark assembles and
had to let him hah! if only the height of the Cold War, and Tony Stark dons his newly built armor. Ditko used
down! can’t fight unknowing public
him! can’t think of could see their mighty was in Vietnam demonstrating to the small close-up panels to build anticipation
idol now! your much-
any thing... any thing
except get ting away vaunted strength is army how his latest weapon could be and painstakingly showing how each piece
u s e l e s s against
from that doll!
the mystic powers used to fight the communists in the jungle. of the suit went on, saving the big reveal
of mr. doll!
However, his life changed forever when he of the full armor until last. In-story, the
triggered a booby trap and was captured, Mark II armor is built in response to
a lethal piece of shrapnel lodging near his Iron Man’s failure to beat the villain
heart and inching ever closer to ending Mr. Doll, who uses a voodoo-style figure
his life. Stark agreed to make weapons for to inflict terrible pain on his victims—
his captors, while secretly planning to use including the man inside the armor.
them to defeat the terrorists. He was aided A new suit and a smart upgrade to one
by fellow prisoner Professor Yinsen, a of his transistorized devices enables Iron
genius physicist. The result was the first Man to finally turn the tables on Mr. Doll.
Iron Man armor, which kept Stark alive As first-time readers saw Stark in his
and allowed him to escape, although now iconic armor, Tales of Suspense #48
Yinsen sacrificed his own life to help is where the Armored Avenger as we know
Upgrade needed save “the Iron Man.” him today was born. Although Steve Ditko
Iron Man realizes that his Mark I armor
This Mark I armor, designed by Jack is perhaps better known for his pioneering
leaves him painfully vulnerable to the
new villain Mr. Doll. This leads him to
Kirby, was bulky and gray, which had the work on Spider-Man and Doctor Strange,
design and build a new suit to counter effect of making Iron Man appear more he also made a lasting contribution to the
the madman’s schemes. robotic than human. Tales of Suspense #48 huge success that is Iron Man. ■
50 Tales of Suspense #48

finally, instead of the i simply at tach the neck this new mask serves two
bulk y, cumbersome head- unit first, then sliP the purposes...one, it prevents
gear i used to wear , face shield down over my true identit y from
i’ve completely redesigned my features. being discovered, and
my head-mask! it’s so two...
light, i’ll hardly know
i’m wearing it!
it enables my and now, though he’s liable to

expression to mr. doll won the find the new
show...which will first round in his iron man a far
psychologically aid in bat tle with the more difficult
instilling fear in old iron man... foe to beat!
the hearts of my
enemies!
a nd so, the new

iron man , champion
of champions, is born!
New look
Iron Man’s red-and-gold armor is fully displayed
for the first time. Steve Ditko’s tantalizing slow
reveal of the Mark II suit’s component parts
build toward a final large panel for maximum
impact to debut the new look Iron Man.
Tales of Suspense #48 51

Avengers #4
March 1964
“What makes Marvel so unique is that its

publishing history is one enormous tapestry
threaded with thousands of characters.
That continuity gave Lee and Kirby the
opportunity to reintroduce the most popular
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
Paul Reinman
Marvel hero of the 1940s to a new audience.
Mark Waid ”
A
Writer Stan Lee
s Super Heroes became increasingly The original Steve Rogers Captain
Penciler Jack Kirby fashionable in comic books in the America who reemerges in Avengers #4
Inker George Roussos early 1960s, Marvel continued to mix is a thoughtful, battle-scarred, guilt-ridden
Colorist Stan Goldberg new characters with revisions of its soldier who had been called forth when
old Timely Comics costumed stars the US once more became embroiled in a
(last seen in the mid-1950s during a foreign war. His rude reawakening in the
Editor Stan Lee
brief but unsuccessful revival attempt). 1960s as an emblematic force for justice
The original Human Torch had already during a time of immense change and
been reimagined in contemporary terms turmoil is both telling and timely.
as a hot-headed teen rebel in Fantastic “Captain America joins the Avengers!”
Four #1 (November 1961), and Namor in Avengers #4 follows a battle between
the Sub-Mariner resurfaced in Fantastic the Avengers, Sub-Mariner, and Hulk
Four #4 (May 1962) as an amnesiac on Gibraltar that ends inconclusively, with
enemy of humanity, blaming surface the combatants going their separate ways.
dwellers for the destruction of his As the heroes travel home, Namor travels
kingdom, Atlantis. When the final north, terrorizing a group of superstitious
member of the company’s Golden Age Inuit and hurling their idol into the sea.
“Big Three” returned to action in the The totem—a slab of ice enclosing a
modern era, he appeared little changed human body—hits fast-moving currents.
from his 1940s incarnation but was, Moving southward, the ice melts and the
in fact, the most radically reinvisioned. body drifts past the Avengers’ submarine.
Originally a fierce, flag-waving— They gaze upon a man clad in a familiar
and wearing—ultra-patriot during uniform, who the Wasp identifies as none
World War II and until the late 1940s, other than the famed World War II hero
Captain America vanished for years Captain America. Suddenly, the red, white,
Return to action before briefly resurfacing as a “commie- and blue sleeper wakes and explosively
Roused from accidental hibernation, the busting” militant for a short run of topples the world’s mightiest heroes.
world’s first Super-Soldier does not realize adventures starting with Young Men #24 Eventually, the thawed champion
decades have passed. Still lost in the terrible (December 1953). These tales were stops and reveals how he lost his partner,
moment he failed to save Bucky, Captain
sidestepped in the landmark 1963 revival Bucky, in the closing days of the war.
America easily overwhelms his rescuers.
This passionate determination will make
but ultimately incorporated into the The Avengers plan to announce his
him a worthy comrade and ultimately leader Marvel canon by writers Roy Thomas resurrection in New York, but before
of Earth’s greatest Super Hero team. and Steve Englehart in the 1970s. a press conference begins, they are
52 Avengers #4
Until, finally- - naught remains ctight
autiously opening the air- who can he be? look!
but a frozen, petrified figure escape hatch, the why is he frozen beneath his
in a state of suspended anima- huge hand of giant-man solid? tat tered
tion. . . a figure which drifts seizes the rigid figure, clothes--
past the undersea craft of- - and. . . some sort
the avengers! of colorful
costume!
stop the engines, looks like
iron man! there a human! but
is someone out how is it
there! possible??
i’ve
got
him!
wait! Don’t you the

recognize it?? it’s wasp
the famous red, white, is
and blue garb of-- right!
captain america!
Man of war
suddenly turned to stone. Cap, aided Created by Stan Lee, Jack Kirby, and Cap’s resurrection was powerful
by Bucky lookalike Rick Jones, tracks (then-uncredited) inker George Roussos, and deeply symbolic, but it was no
the Avengers’ assailant. They finally Avengers #4 was a milestone in Marvel’s surprise. Stan Lee and Jack Kirby
locate an alien who has been coerced rapid growth in the 1960s. The fast-paced had canvassed readers about it in
Strange Tales #114 (November 1963).
by the Sub-Mariner into destroying tale has everything that made the company’s
“The Human Torch meets… Captain
the superteam. Cap compels the alien early stories so fresh and vital: the majesty America!” saw Johnny Storm battle an
to restore the heroes, and when the of a legendary warrior returned; stark acrobat impersonating Cap. The last
Avengers salvage the extraterrestrial’s tragedy in the loss of his wartime boon panel stated “You guessed it! This story
spaceship, Namor and his Atlantean companion; aliens, gangsters, and Super was really a test! To see if you too would
like Captain America to Return! Your
Guard attack. In the ensuing battle, Villains; and even subtle social commentary
letters will give us the answer!”
Cap is pivotal to victory and subsequently wrapped up in kinetic, staggeringly well-
sworn in as the newest Avenger. crafted action courtesy of Jack Kirby. ■
Avengers #4 53
though smaller, the thing is more agile, faster-moving than the lumbering hulk, and so he lands
the first blow . . . a thunderous haymaker which sends his huge foE crashing through an
abandoned warehouse wall!
this’ll show ya,
you’re not playin’
with kids now!!
but the hulk merely shrugs off the impact my best bet is try to
and charges back into the battle, filled with a tire him out before
mad, insatiable rage! tangling with him
again!
ain’t you embarrassed

to go around with
that anti-social
attitude all the
time?
and now. . .
it’s my i’ll let ’im take
turn! one more step, then
duck out of the way!
a smart cookie
like me ouGhtta
be able to r at tle
him!
what are you it’s for your own try to make fun of the
running away protection, junior! hulk , will you??! you’ll
for? i’ll get i’m afraid i might soon regret that!!
you sooner clobber you
or later...you too hard and
can’t hide spoil those
from me handsome
behind an features!
empty
bus!
whew!
anemic he
ain’t!

Fantastic Four #25
April 1964
“This is the greatest sustained fight

scene in comics... and the fact that there’s
a clear winner and loser only adds to the
experience... turning it into high drama.
Tom Brevoort ”
F ans and historians have always rightly
celebrated how Marvel’s early years
reshaped the way Super Hero tales were
Hostilities begin after the Hulk—feeling
teen confidante Rick Jones has abandoned
him for recently revived Captain America—
told. Hugely innovative and imaginative, resolves to destroy the Avengers. Hulk
George Roussos Stan Lee, Jack Kirby, Steve Ditko, and the storms into Manhattan, but his targets are
small band of creatives in the “Marvel still hunting him in the deserts of New
Writer Stan Lee
Bullpen” started a revolution in storytelling Mexico, leaving only the FF to defend the
Penciler Jack Kirby
that delighted and inspired generations of city. The timing is awful: Reed Richards is
Inker George Roussos fans, as well as artists and writers. However, stricken with a virus, and, without his
(as “G. Bell”)
it’s important to remember that the stories tactical leadership, Invisible Girl and the
Letterer Sam Rosen they crafted were also exciting, funny, sad, Human Torch soon fall before the raging
Editor Stan Lee and action-packed, to satisfy the readers’ brute. With the city in peril, Grimm vows
need for entertainment. Sometimes that to stop the vastly stronger Hulk at all costs,
meant complex plots with conflicted leading to a staggering demonstration of
heroes and villains, at other times it meant raw power and guts. His defeat is inevitable,
pulse-pounding clashes where readers but even against impossible odds, the
could root for their favorite champion. Thing keeps getting up and fighting on.
In this matter, Marvel often addressed His valor is rewarded when “The Avengers
the question on many readers’ minds: “who Take Over!” in Fantastic Four #26 (May
would win if...?” It was a sales ploy the 1964), as the new group finally arrive on
company pioneered in the 1940s, through the scene. This initial meeting of Marvel’s
regular battles between the original Human top teams results in the Hulk being driven
Torch and Namor, the Sub-Mariner. In the off. With his own title canceled, Lee
1960s, Marvel revived the idea, frequently ensured the man-monster guest starred
using clashes between heroes to promote in many titles, pioneering a much used
a new series. The strategy reached its promotional gambit.
pinnacle in Fantastic Four #25, the As well as one of the most momentous
opening bout in a two-part yarn involving fight stories in comics history, this saga is
the Fantastic Four (FF), Hulk, and new also remembered for a classic error and
superteam the Avengers. Billed as the deft backwriting of Marvel Continuity.
“Battle of the Century,” “The Hulk vs. For whatever reason, Bruce Banner is
g None but the brave the Thing” was actually a rematch. The called “Bob” throughout, and nobody in the
In early issues of the Fantastic
Four, Ben Grimm was portrayed two had first clashed in Fantastic Four #12 Marvel office caught it. When challenged on
as tragic and embittered but (March 1963) when the Green Goliath the gaffe in countless communiqués from
gradually was fleshed out into was framed for sabotage, but in this raw, fans, Stan Lee boldly replied in the letters
a man of wit and rough charm.
gritty, grudge bout, the Hulk was depicted page of Fantastic Four #28 (July 1964)
Here, facing a foe far more
powerful and savage, the Thing
as wholly monstrous, out of control, and that the inventor of the Gamma Bomb’s
proves that he is also immensely determined to wreck New York City, with full name was Dr. Robert Bruce Banner—
brave and unable to quit. only Ben Grimm able to slow him down. and it’s been so ever since! ■

Tales of
Suspense #52
April 1964
“ In her first appearance, she seemed to

step right out of a “Rocky and Bullwinkle”
cartoon—she even had a partner named
Boris! But Black Widow would go on to
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
far greater—and more heroic—things.
Tom Brevoort ”
S
George Roussos
tarting out as a science-fiction convenient go-to villains in the form of
Writers Stan Lee, anthology title in the late 1950s, communist spies and saboteurs, and this
Don Rico
Tales of Suspense became the home of was exactly the role Black Widow fulfilled.
Penciler, Don Heck Iron Man’s adventures in 1963, featuring She had no super-powers or revealed
inker
the debuts of Tony Stark and a cast of particular skills in this issue, other than a
Letterer Sam Rosen supporting characters and villains. expert talent for duplicity and manipulation.
Editor Stan Lee However, some characters appearing in She did not wear a costume, but rather
the title would grow far beyond being a adopted the persona of a glamorous
bit-part player in an Iron Man story, and jet-setter, wearing the elegant clothes
one of the outstanding examples was and accessories to match that identity.
Natasha Romanoff, aka Black Widow. The artist who cocreated Black Widow,
Black Widow’s first appearance came Don Heck, was an ideal choice for her first
in Tales of Suspense #52. Having a hunch outing. Heck was particularly skilled at
the character would prove popular with drawing real people—he preferred drawing
readers, the creative team of Stan Lee, Tony Stark to drawing Iron Man, for
Don Heck, and Don Rico had already example—and so he was well suited for
planned for her to return in the very this initial iteration of Natasha Romanoff,
next issue. Natasha Romanoff was not before her costumed career took off.
the first character to bear the alias Black He was also one of Marvel’s best artists
Widow—that honor belonged to the when it came to drawing beautiful female
Timely Comics character Claire Voyant, characters, a talent that was vital in
debuting in 1940. Although the two were creating a convincing femme fatale.
unrelated, Claire Voyant was among the “Madame Natasha” proves irresistible
first female costumed heroes in comic to famous playboy Tony Stark in Tales of
books, while her better-known namesake Suspense #52. He invites the mysterious
would go on to be the first female Marvel Russian beauty to dinner, unwittingly
character to have her own comics series. giving her accomplice Boris the chance to
Black Widows have had a habit of break into the Stark factory where Soviet
pushing at the limits of what was possible defector Ivan Vanko, aka the Crimson
for female comic book characters. Dynamo, is using his expertise to help the
Natasha Romanoff’s opening story Americans. Boris kidnaps Vanko and puts
in Tales of Suspense #52 was, like her, on the Crimson Dynamo suit himself,
a product of its time. The Cold War fighting Iron Man when he returns to
provided comic book creators with investigate rumors of sabotage at the

Dramatic debut
Black Widow’s very first panel in a Marvel
comic book was drawn by Iron Man artist
Don Heck. The character did not have a
costume in her early appearances but was
the epitome of glamour. This sophisticated you
look would prove useful in ensnaring Tony
Stark in Black Widow’s early missions.
sent
for me,
comrade
leader ?
factory. Black Widow plays no role in

the fighting, only trying to distract Iron
Man with a call for help at a crucial
moment. When the American hero
triumphs, Madame Natasha flees the
scene, her cover blown.
Although she was ostensibly one of
the main villains in this issue, the final
panel of the comic nevertheless portrays
Black Widow in a sympathetic light.
The text on the panel describes her as
lonely and abandoned, with fear of her
constant companion. Eventually, Black
Widow would leave the life of a Soviet
spy behind her and, like Vanko, defect
to the West. But her past would haunt her
for the rest of her days, providing her
with the motivation to keep trying to
do the right thing to atone for her
previous misdeeds.
The introduction of Black Widow
was a key moment in Marvel history.
The character would go on to be an agent
of S.H.I.E.L.D., one of the key members
of the Avengers, and have several self-titled
comic book series. She would also become
a pivotal character in the Marvel Cinematic
Universe, with starring roles in the Iron
Man and Avengers franchises, capped by
her own solo movie. Natasha Romanoff
is a much-loved and long-standing
member of the Marvel Universe, yet in
many ways she remains just as mysterious
as she was on her debut in 1964. ■

Avengers #6
July 1964
“
Cover artists Jack Kirby, Chic Stone What purpose would there be for a team
of Earth’s mightiest heroes if there weren’t
Writer Stan Lee
Penciler Jack Kirby
Inker Chic Stone a team of bad guys to take them on? Featuring
the first major appearance of Baron Zemo,
”
Editor Stan Lee our intrepid heroes had their hands full.
Peter David
i was adept at every

form of hand-to-hand
combat known to man
while you were still
where is your
braggadocio,
now, master of
evil?!!
A fter his surprise return to active
duty in Avengers #4 (March 1964),
not everyone was pleased that Captain
Iron Man adversary the Melter, Thor’s
enemy Radioactive Man, and the Black
Knight, then a foe of Giant-Man. Each
safe in your laboratory,
serving your nazi America was alive and had joined Earth’s villain had a particular ability that gave
masters!
mightiest heroes. Published in the summer him an edge against one of the Avengers.
of 1964, Avengers #6 introduced Marvel Avengers #6 gave readers a chance
fans to an adversary of Cap’s from his to see the continuing evolution of the
wartime days—Baron Heinrich Zemo. Avengers as a fighting unit, one which
The story revealed that former Nazi had acquired a new skill set with Captain
scientist Zemo had caused the apparent America emerging as the team’s leader.
death of Bucky Barnes, and that he Cap had a natural aptitude for tactics and
believed he had killed Captain America, strategy, honed on the battlefields of
too. Zemo explained to a henchman that World War II, and it was he who suggests
it was Cap who caused his mask to be switching opponents so each Avenger
permanently stuck to his head with the could fight another’s enemy, neutralizing
powerful Adhesive X. He thought he had their supposed advantages. For his part,
got his revenge, but now it seemed he Cap takes on the group’s leader, Zemo, in
Fighting words
Jack Kirby’s flair for action
would have to kill the hero all over again. a classic fight sequence penciled by Jack
sequences is clearly evident in Since Captain America now fought Kirby. As the fight rages, Captain America
the fight between Captain alongside the Avengers, Zemo decided upbraids Zemo in a speech championing
America and Baron Zemo. In just it would be prudent to assemble a team democracy over tyranny, capturing the
a few panels, this early example
of his own. This would be the earliest essence of what the hero is about.
of a classic Captain America
speech sums up the character
incarnation of the Masters of Evil, the This issue was one of the very first
for readers who did not know first Marvel Super Villain team-up using to use the famous “Marvel Method.”
him before his 1960s revival. separately created characters. It comprised Writer Stan Lee would give artist Jack
58 Avengers #6
the first to spray the something is wrong! Knight error
contents of his cylinder
is the high-flying black
instead of gluing This beautifully drawn splash
everything to the
knight ...totally spot . . .the spray is panel shows the evil Black Knight
unaware that he is freeing those who
freeing the city were trapped before! riding high above New York City.
rather than but. . . how??
imprisoning it! Although the villain thinks he is
covering the people below with a
strong adhesive, he has actually
been tricked into freeing them
with a dissolving formula.
Kirby a rudimentary outline of the planned Paste-Pot Pete. Having been put in jail
story, which Kirby used to sketch pencil following a run-in with the Human Torch
roughs of all the pages. When these pages in a Strange Tales issue more than a year
returned to Lee for dialogue, they also previously, Pete helps the Avengers by
bore notes in the margin from Kirby, providing them with a “Super-Dissolver”
giving Lee pointers as to what he to counteract Zemo’s Adhesive X.
intended the art to show, as well as His appearance reinforces the notion
scripting suggestions. In July 1964, that all the Marvel stories of the time
Kirby had been relieved of some of his took place in the same continuity.
considerable workload after passing Avengers #6 is a classic of the Silver
penciling duties on Sgt. Fury and His Age, a story with a colorful cast of heroes
Howling Commandos to Dick Ayers. and villains and a plot that is irresistibly
Now Marvel’s principal artist could kooky. But in between the bad guys
devote more time to drawing Avengers #6. shooting glue guns and the heroes “water
The Marvel Method gave artists far more skiing” on a piece of a New York street,
creative freedom than they might have there is vital character development of
at other publishers, and, honed by Captain America. Readers saw his desire
Lee and Kirby, it would be adopted by to get justice for his lost friend Bucky,
writers and artists across Marvel’s titles. and the love of liberty and compassion
As well as being the debut of Zemo that is woven into his DNA. After
and the Masters of Evil, Avengers #6 resurrecting him for a new generation,
strengthened the foundations of the Marvel writers and artists were doing
Marvel Universe as a concept. Crucial to their utmost to modernize the character
the Avengers’ defeat of the bad guys is and make the readers of the 1960s love
another bad guy, the much-maligned Cap as much as their parents had. ■
Avengers #6 59
Tales of
Suspense #57
September 1964
“While this issue debuted Hawkeye, it is

equally noteable for introducing duality into the
Marvel Universe… where a villain could change
his or her stripes and become a hero.
C.B. Cebulski ”
Editor in chief
Cover artist
Stan Lee
Don Heck I t may not have been obvious at the

time, but Tales of Suspense #57,
published in 1964, laid the groundwork
Although Hawkeye may not have had
super-powers, his uncanny talent for
always hitting the target was further
Writer Stan Lee
for characters and story lines that would weaponized when his new ally, Natasha,
Penciler, inker Don Heck
become integral to the Avengers mythos uses her Soviet connections to supply
Letterer Sam Rosen both in the comics and on screen. him with an arsenal of trick arrows.
Editor Stan Lee The issue saw the debut of Hawkeye, Now he can take on far more powerful
a character who was completely unlike opponents, demonstrated in Tales of
most other major players populating the Suspense #57 when he uses a modified
Marvel landscape at the time. Most arrow to stop Iron Man by rusting his
notably, he had no super-powers, just armor. However, his new partner in crime
incredible skill with his bow and arrow. also turns out to be Hawkeye’s weakness—
Starting out in a carnival sideshow, Clint this issue shows him rushing to aid an
Barton couldn’t help but notice how his injured Black Widow and letting Iron
audience was much more interested in Man escape. This is the first of several
the amazing exploits of Iron Man than such encounters as Hawkeye and Black
his sharpshooting act. Deciding to siphon Widow try to defeat Iron Man.
off some of that public adulation for In time, Black Widow falls in love with
himself, Barton made a costume and Hawkeye, despite herself, and the bond
went looking for heroic acts to perform. between them would be crucial in turning
Happening upon a jewelry store her from enemy agent to hero. Hawkeye’s
robbery, Barton, now calling himself own conscience wouldn’t allow him to be
Hawkeye, intervenes—but the police a bad guy for long either. He would later
think he is the robber’s accomplice. be accepted into the ranks of the Avengers
Fleeing the scene, Hawkeye is rescued when some of the original lineup went
by a mysterious beauty. Instantly smitten, on various leaves of absence. Clint and
he has no idea that the woman is a Natasha’s relationship was not the only
communist spy known as the Black romantic subplot in this issue, which also
Widow (Natasha Romanoff). She has saw the continuing love triangle saga
Glancing blow a grudge against Iron Man, and Hawkeye between Tony Stark, Pepper Potts, and
Hawkeye’s fledgling career as a bad guy starts agrees to help her take down Tony Happy Hogan. Although at first Stark is
badly as his arrow deflects off Iron Man’s Stark’s “bodyguard,” as Iron Man was in denial about his feelings for Pepper,
armor and inadvertently wounds his partner,
considered at the time. In the space of over the course of the issue he begins to
Black Widow. However, even his love for
Natasha Romanoff could not stop Barton an afternoon, Hawkeye has gone from realize that he loves her as much as Happy
from following his conscience, and he would would-be costumed hero to fledgling does. Writer Stan Lee highlights Stark’s
later give up crime to fight with the Avengers. villain—and traitor to his country. tragedy—that he cannot enjoy a normal

Trick shot - - - as the muffled
Artist Don Heck, inking his own padding of iron man’s
heav y feet fades away...
pencils in this issue, illustrated an
early example of Hawkeye’s signature he’s
gone!!
trick arrows using a cutaway.
The archer hopes to impress the
glamorous Black Widow by defeating
Iron Man, but his shot strikes Natasha
by accident, and, in the confusion,
the Golden Avenger escapes.
relationship because he fears that the now is my

chance to finish
reactor in his chest could fail and cause him off for now, when
good!
him to die at any moment. he least
expects it!
While Tales of Suspense #57’s dialogue
came from the prodigious pen of Stan
Lee, the pencils were by artist Don Heck,
I’ll use
a stalwart of the Marvel bullpen. Heck’s my most
. . .the demolition
blast warhead
naturalistic style grounded his characters potent which the bl ack
arrow widow helped
in real life. He had worked on Iron Man of all...!! me to
assemble!!
since the start, being instrumental in
creating the look of most of the main
“human” protagonists, such as Pepper
Potts, Happy Hogan, and, of course,
Tony Stark. As such, he was the perfect
choice to draw the relatively low-tech,
down-to-earth Hawkeye. Heck also
brought a convincing ordinariness to
Pepper and Happy in deliberate contrast
to the suave Tony Stark, the ruggedly
handsome Hawkeye, or the glamorous
Black Widow, to create a rounded,
and now. . .
believable cast of characters. And, unlike farewell,
many other Marvel Bullpen artists, he iron man!!
nothing
frequently did the inking duties for his can save you
own pencils to maintain his sketchy look. now!
Hawkeye, and Black Widow, are

excellent examples of how Marvel loved to
champion complex heroes. Readers could
see how easy it was for someone to make
a bad choice and fall into crime without
being an evil megalomaniac. Watching
characters like Hawkeye wrestle with
moral dilemmas, and navigate a world in
which many of his opponents significantly
outpower him, made a telling distinction
from Marvel’s other mighty Avengers. ■

Amazing
Spider-Man
Annual #1
October 1964
“ Everything that made Marvel stand apart

from its competition, rolled into one oversized
comic—an underdog hero, formidable and
Editor in chief Stan Lee terrifying villains, and a relatable emotional
crisis for the hero’s alter ego.
”
Cover artist Steve Ditko
Writers Stan Lee,

Steve Ditko Mark Waid
Penciler, Steve Ditko
F
inker ollowing the runaway success of Since his first outing in Amazing
Letterer Sam Rosen Spider-Man after his debut in 1962, Spider-Man #3 (July 1963), Doc Ock,
Editor Stan Lee Marvel Comics published the first of many aka Otto Octavius, had proved a popular
annuals for the web-slinger in 1964. As well villain, featuring in two Spider-Man
as being the first Spider-Man annual, the stories before forming the Sinister Six.
book was significant for featuring the Octavius had even unmasked Spider-Man
earliest appearance of the Super Villain in Amazing Spider-Man #12 (May 1964),
team-up the Sinister Six. The ad hoc, but neither he nor anyone else could
but he’s I don’t care now that you’ve all criminal group would reoccur in later bring themselves to believe that “puny”
beaten how we do had your say, i’ll tell
all of it! i’m just you my plan! i believe comics, with a number of variations to the Peter Parker was the real web-slinger.
you in the itchin’ to it will satisfy
past! why tackle each of you! roster, but the 1964 originals were Doctor Vulture is another recurring villain,
take him!
needless Octopus, Electro, Sandman, Kraven the who had made a strong impression in
chances??
Hunter, the Vulture, and Mysterio. early Spidey stories, and is an obvious
Even though Spidey’s enemies were choice for the motley band of evildoers.
working as a team, the Amazing Spider- The other Sinister Six recruits had made
Man Annual #1 story line allowed the only a single appearance in Spider-Man’s
creators to give each villain his time in the regular title, but they would go on to
spotlight, as the wall-crawler was forced to become classic members of his rogues’
fight each one at a time. Thanks to the extra gallery. Mysterio is an out-of-work
space an annual afforded over a regular special effects artist who uses his skills
comic book, each time Spider-Man fought to commit crimes and frame Spider-Man
one of the Sinister Six, Steve Ditko was able for them. Electro has even been wrongly
to show the one-on-one battle in a special accused of being Spider-Man by irascible
splash page. Each member of the Sinister The Daily Bugle editor J. Jonah Jameson.
Six had faced Spider-Man before, and Sandman remains infuriated about being
Take six each time they had failed, albeit sometimes vacuumed up by Spider-Man and
Stan Lee and Steve Ditko used the first narrowly. Doctor Octopus, the organizer humiliatingly handed over to the police
Spider-Man annual to celebrate the
and leader of the group, reasoned that, in a bag. And, for his part, Kraven the
“greatest hits” of the hero’s first years
of existence. This led to the gathering of although they had been individually Hunter’s pride is still smarting after he
the Sinister Six, a rogues’ gallery of defeated, Spider-Man wouldn’t be able to failed to live up to his reputation and
Spidey’s most significant foes to date. beat them when they combined their efforts. capture the annoying arachnid.
62 Amazing Spider-Man Annual #1

Fight in flight
Among the many highlights
of the Amazing Spider-Man
Annual #1 were Steve Ditko’s and now, you wing-
flappin’ weasel, i’m
full-page “pinup” splashes gonna clip your pin
showing Spider-Man fighting feathers for you!! ...unless you tell
each of the Sinister Six in turn. me where to find
Here, Spidey confronts the Vulture bett y brant...and
i mean right now ,
high above New York City. hear??
All the villains agree on their common

enemy, but that is about all they agree on.
The Sinister Six is not a team that has ever
worked together, which is why Doc Ock’s
plan to fight and weaken Spider-Man one
after the other appeals to the miscreants.
Their plans are further aided in Amazing
Spider-Man Annual #1 after the hero
apparently loses his powers as a result of
being overwhelmed by guilt over the death
of his uncle Ben. The annual would prove
to be a great primer for readers both new
and old, as it adroitly wove in all the key
parts of Spider-Man’s mythos that had
emerged in the two years since his debut.
Additional features at the end profile all the
key villains Spidey has faced to date, how he
gained his powers and what they are, plus a
light-hearted but fascinating look at Stan
Lee and Steve Ditko’s creative process.
Amazing Spider-Man Annual #1 also
reinforced the interconnectedness of the
fledgling Marvel Universe. The main story
featured all the other Marvel big hitters of
the time: the Fantastic Four, Thor, Doctor sure, i’ll tell you!
you’ll never be able to
Strange, Giant-Man, Wasp, Captain leave the place alive,
America, Iron Man, and the X-Men. anyway! and if you do...
we’ll meet again, spider-
They were not integral to the plot but just man...i’ll see to that!
going about their business in New York,
showing the sheer range of heroes the city
could now call on in times of trouble. ■
Amazing Spider-Man Annual #1 63

Journey into
Mystery #112
January 1965
“ Rather than telling a new story settling the

question of whether the Hulk is stronger than
Thor, Lee and Kirby recount an earlier unrevealed
encounter in Avengers #3. It was this continuity
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
that built the Marvel Universe brick by brick.
Tom Brevoort ”
Writer
Chic Stone
Stan Lee I n the space of two years, Stan Lee

and Jack Kirby revolutionized the way
Super Hero comics were told, and the
expand upon a key moment in early
Marvel history, when Iron Man, Thor,
Giant-Man, and the Wasp hunted their
Penciler Jack Kirby
rapidly growing Marvel Comics fan base defecting teammate the Hulk. That
Inker Chic Stone
rewarded them with high sales, fanatical desperate search led to a furious fight
devotion, and constant demands for more with their former comrade in deadly
Letterer Sam Rosen adventurous story lines. A large part of coalition with Prince Namor, the Sub-
Editor Stan Lee that success came from establishing and Mariner in Avengers #3 (January 1964).
maintaining close links between their Now as rival fan factions vigorously
ever-expanding pantheon of heroes and debate which hero is mightiest, Thor tries
villains—a relatively easy task with a small to settle the dispute by telling them of a
creative staff and a limited number of secret moment in that earlier encounter
characters to keep track of. It also helped when he and the Hulk truly tested each
gosh, thor, most but, what happened nex t??
that Lee and Kirby were largely doing the other’s mettle. However, his furtive
of that was in the
papers . . . but it’s
according to the papers,
sub-mariner and the hulk
kind of stories they wanted to, with scant flashback was not simply an enjoyable
more exciting to
hear it from
just kinda ran off! i’ll
bet there was more to the
regard for what had gone before or what battle romp. After years as a guest star
you! fight than
that!
rival companies were doing. in other comics after his solo title was
Part of that process was regularly canceled, the Hulk had recently been
testing, tweaking, and generally having fun awarded his own series, in Tales to
with the fourth wall between fiction and Astonish #60 (October 1964), and
fantasy. In 1963, Fantastic Four #11 had Lee was determined to keep the jade
established that there was an “in-universe” giant in the public eye. “The Mighty
comic book starring the Super Hero Thor Battles the Incredible Hulk!” in
quartet and even depicted them directly Journey into Mystery #112 was released
answering questions from real-world to coincide with the man-monster’s
fans—in a comics story! This official fourth appearance in Tales to Astonish,
acknowledgment of their readership made and he was also featured on the cover
them an integral part of their favorite and inside three of Marvel’s nine Super
Fan fiction comics: an inclusivity that broke down Hero releases that month.
Marvel incorporated fans into stories, making barriers and fostered lifelong loyalty. Even the storytelling MacGuffin in this
them official Marvel Universe characters.
With that as a starting point, Lee and issue was smart and inventive. In Avengers
Fans were often used to prompt answers to
frequently asked questions, such as here where
Kirby went even further with Journey into #3, the climactic clash between the two
Thor and Hulk loyalists argue over what every Mystery #112, using bickering fans as a Marvel powerhouses took up seven pages
reader wanted to know: who’s strongest? story catalyst and a way to revisit and of somewhat cramped combat. However,

Fight without pity “Seeing me lunge forward at him made the hulk though it has no power now . . . it
The Incredible Hulk never forget about snapping the hammer as he swung has been at my side through too
it at me instead!” many battles for me to allow it
looked more bestial and to be destroyed!
pitiless than in this brutal give me
that
battle tale. Although fans still hammer!!
lacked a conclusive answer to
who was strongest, after the
dust settled, they were left
in no doubt as to who was
the most terrifying and
unpredictable character
of them all!
when expanding here on what really

happened for the benefit of fans, Lee hold it,
there it is!
allowed Kirby 13 pages for bigger, bolder i’ve got to thunder god!
you’re not
get it out of
panels that would amply demonstrate the the hulk’s goin’ any-
reach! where. . . !
sheer power of both combatants.
Arguably, Kirby and ideal inker Chic
Stone’s finest artistic moment, the action
occurs after Thor begs All-Father Odin to
temporarily suspend his magic hammer
Mjölnir’s enchantments. At this time, the
Thunder God could manifest on Earth
for only a minute unless he maintained
physical contact with Mjölnir. Letting go
of the hammer for any longer would
return him to being frail Dr. Donald “but, i had not counted
on the hulk’s almost-
Blake. Now, with the Asgardian magic miraculous ability
to bounce back
suspended by Odin, Thor relinquishes his from a fall . . . !”
wonder weapon to strive as the muscular
equal of the gamma-powered goliath. I send
. . . unless
The private duel ultimately settled you there!
nothing, leaving fans of both contestants

hungry for further rematches. Nor did it
provide readers with a definitive answer
to the perpetual question: “who is
stronger?” What it did do was open up
the story to Jack Kirby’s visual artistry
and gripping storytelling, and show what
the “King” could produce when given
full control of the pages he worked on.
Gone would be Marvel’s early reliance
on dialogue-heavy adventures. From here
on, stunning graphic virtuosity and
spectacular action would play a greater
part in the magic of Marvel Comics. ■
Journey into Mystery #112 65

save your flowery now, go swallow relax, you a most opportune gesture, but i
phrases for someone another dictionary word-slinging suggest you divert your
who’ll be more somewhere while wonder! i’ll attention to the wasp
impressed, son! i attend to more stop you from who seems to have you
i hold a few college urgent matters! falling! in her
degrees myself! sights!
if i can
just reach
that titian-
here’s a quick haired
freezing icy tigress in
sweatshirt time- - !
for you,
stretch!
this’ll cramp
your st yle put me down,
real good! avenger! i
warn you- - !
i hate to
attack that
young
iceman- -
but i may
have to!
young fella,
i have a
collection
perhaps so! of “warnings”
but i’m keep- that would
ing you too make your
busy to eyes pop!
attack any
other
x-men!
stay your hand, winged

one! your mortal blows
are but feather touches
to thor!
my that’s the idea , sweetie!

e yes! you can’t affect what
i -- you can’t see!
can’t
see!
my com-
pliments,
beast!
you’re
quite
nimble
- - for some-
one
iron man! without
about to swoop down transis-
on my frost y little tors!
friend! if i can
i should be able twist my body enough but, being unable
to handle her-- if in the air-- ahhh! to fly , you
no one gives her a i did it! can’t stop me
fly swatter! again!
66 X-Men #9
X-Men #9
January 1965
“
The X-Men go head-to-head with the
Avengers for the first time, while we learn more
about Lucifer, the man responsible for putting
Professor X in a wheelchair. Years later the
Beast will wind up joining the Avengers.
Peter David ”
Editor in chief
Cover artists
Stan Lee
Jack Kirby,
Chic Stone
S eptember 1963 was a milestone
month in the history of Super Hero
teams, as both Avengers and X-Men titles
have been the one responsible for earlier
paralyzing Professor X. The full story
would be seen the following year in
Writer Stan Lee debuted. It was not long before the teams X-Men #20 (May 1966).
collided in X-Men #9, a comic book X-Men #9 was produced by the
Penciler Jack Kirby
that marked the start of a rather testy exemplary creative team of Stan Lee and
Inker Chic Stone
relationship between the two super-groups. Jack Kirby, with Chic Stone and Sam
Letterer Sam Rosen The X-Men have traveled to Europe Rosen on inking and lettering duties,
Editor Stan Lee to help Professor X, who is being held respectively. The fracas that Lee and Kirby
there by a mysterious villain named brought alive on the pages of X-Men #9
Lucifer. However, the Avengers also arrive was the start of a long history of clashes
to investigate. Professor X knows that between the teams. Although both the
Lucifer must not be harmed, because his Avengers and the X-Men were fighting for
heartbeat is linked to a bomb that would good, their methods frequently differed,
detonate if it stopped. He mentally orders and conflict between them was often stirred
his young X-Men to hold off the Avengers up by third parties. Most commonly, that
while he deals with Lucifer. The X-Men at third party was Magneto, who brought
the time are all inexperienced teenagers, a new dimension to the tensions when
albeit ones who have been trained Scarlet Witch and Quicksilver left the
rigorously by their telepathic mentor. Brotherhood of Evil Mutants—X-Men
Stopping the Avengers would be no antagonists—to join the Avengers.
small feat, but the young heroes manage Confusion over Quicksilver and Scarlet
to hold their own, possibly because Witch’s true allegiance, and Magneto’s
the Avengers are holding back a little. mind-control powers, would lead to the
Cyclops uses his optic beams to knock next battle in Avengers #53 (June 1968).
Thor’s hammer from his hand, while Later, in “X-Men vs. Avengers” (1987),
g Team rivalry Beast catches Captain America’s shield Magneto was again at the center of the
Jack Kirby’s riotous clash in his outsized feet. Finally, Professor X dispute when the two teams disagreed
between the superteams makes mental contact with Thor and tells over how he should be brought to justice.
perfectly captures the chaos
him why the Avengers cannot attack In 1993, the “Bloodties” crossover
of the moment in X-Men #9,
which kickstarts the long
Lucifer. They duly leave the mission to celebrated the teams’ 30th anniversary
history of the sometimes the X-Men, and the teams part amicably. by embroiling them in a mutant-human
thorny relationship between The villain Lucifer had a surprising civil war on the island of Genosha. In the
the Avengers and the X-Men. contribution to make to the history of “Heroic Age,” the major crossover event
Although there would be
the X-Men. Not a demonic entity as his “Avengers vs. X-Men” (2012) brought the
many more clashes over the
years, several X-Men would
name suggested but rather an alien from two teams into epic battle over the fate of
also join the Avengers in a race known as the Quists, Lucifer was powerful mutant Hope Summers. But
a spirit of cooperation. revealed on his debut in X-Men #9 to X-Men #9 was where it all began. ■
X-Men #9 67
Daredevil #7
April 1965
“ The fact that Daredevil was so implacable

and so dedicated, even though he doesn’t
stand a chance of [defeating Namor]...
Editor in chief
Cover artist
Stan Lee
Wally Wood
only makes him seem more heroic.
Tom Brevoort ”
A
Writer Stan Lee s Marvel rapidly expanded in the stepped in. His solid figure composition,
Penciler, Wally Wood mid-1960s, it began to suffer from fluid storytelling, and sleek finishing
inker its success, struggling to find enough had already made him a comics legend
Letterer Artie Simek experienced artists to handle its growing and one of America’s most sought after
Editor Stan Lee Super Hero pantheon. Steve Ditko and commercial illustrators. And now he
Jack Kirby were both fast and prolific, brought power, grace, and beauty to the
but even they couldn’t handle the pages of Daredevil. Thanks to Wood’s
ever-increasing workload, and regular deft handling of the Man Without Fear’s
freelancers like Don Heck, Dick Ayers, exploits, the stories he illustrated became
Larry Lieber, and Joe Sinnott were some of Marvel’s most memorable.
already pushed to the limits of their Wood’s costumed crime fighter seemed to
capacities. Stan Lee’s inspired solution spring and dance across New York City’s
was to recall veteran comic artists such as rooftops, and from panel to panel. Lee
Bill Everett, Carl Burgos, and Bob Powell, considered Wood’s contribution such a
who had worked for the company in its coup for Marvel that the renowned artist
Atlas heyday, using Kirby and Ditko to got a glowing cover plug on his very first
smooth out any rough edges while they issue, Daredevil #5 (December 1964).
adapted to the modern Marvel style. After wowing audiences with battles
When Daredevil debuted in early against the Matador and the Fellowship
1964, he was illustrated by Bill Everett of Fear (Mr. Fear, the Eel, and the Ox),
(with Ditko’s input), before Joe Orlando Daredevil ascended to the “heights of
took over for the subsequent three issues. glory” predicted in Daredevil #5 only two
They were seasoned, talented professionals, issues later in Daredevil #7. Traditionally,
but not to the young kids who were their Super Heroes were pitted against Super
audience. Most importantly, they never Villains of equivalent power and ranking.
quite gelled with the contemporary Nobody really expected Spider-Man to
stylings Lee and Kirby were establishing. battle gods or the Fantastic Four to go
Everything changed when Wally Wood after muggers, but “In Mortal Combat
68 Daredevil #7
A split-second later, both he’s already obviously i’m at a construc-
figures hurtle earthward--- landed-- tion site--and this battering-
and then, at the last instant, waiting for ram iron ball is just what
sensing an object below, dare- me! the doctor ordered!
devil’s billy club cane lashes
out, as the blind crusader re-
leases his grip on namor’s ankles...
Ahhh!
now i
can
soar i must
again! not fall
but, blindly
you--! into his
grasp!
with… Sub-Mariner!” depicted a truly abandoned when he learns that Krang has
don’t momentous mismatch pitting one of seized the throne in his absence. Unable to
worry Marvel’s mightiest beings against a languish in a cell when his kingdom is
about
me, mere mortal, and a blind one at that. threatened, Namor breaks out, fighting his
namor! Since his revival as a righteous foe way to freedom and the sea. In his way are
i’m a
big boy,
of humanity in Fantastic Four #4 (May the army, countless residents of Manhattan,
now! 1962), the Sub-Mariner’s status had and a sightless hero resolved to stop him.
softened from villain to antihero in his In this tale, Matt Murdock is first seen
various clashes with assorted heroes. as a brilliant lawyer and passionate orator,
Namor had gained a small supporting cast while his one-sided second battle with one
that included his frustrated consort Lady of the strongest creatures on Earth proves
Dorma and the evil, ambitious warlord the courage and tenacity of his alter ego,
Krang, while readers saw him rebuild his even as it reinforces the aloof nobility of
scattered kingdom and mellow in his the Sub-Mariner. The clash was the final
attitudes to the surface world. In Daredevil part in a sly buildup to awarding Namor
#7, the Prince of Atlantis travels to New his own series. The Sub-Mariner feature
York to have his day in UN courts and debuted four months later in Tales to
formalize his kingdom’s relationship with Astonish #70 (August 1965). Most
mankind. After engaging attorneys notably, but with no fanfare at all, Wood
Nelson and Murdock, he goes on a replaced the original yellow-and-black
destructive rampage and easily defeats costume with the iconic signature all-red
Punching up Daredevil in combat before cunningly outfit we know today, confirming the
Few comic artists could match Wally
Wood for stark realism, graceful action, surrendering to the authorities. However, solitary swashbuckler’s elevation to the
and technical illustration, especially in his plan to force a legal hearing is top tier of Marvel’s Super Heroes. ■
combat scenes. His careful staging of
a brutal, unwinnable fight reinforces the
sense of Daredevil’s indomitable spirit
and tireless ingenuity as the participants
traverse New York devastating the streets
and buildings around them.
Daredevil #7 69
Avengers #16
May 1965
“ Nothing like this had been done before...

the new Avengers don’t truly get along with
Editor in chief Stan Lee one another, all [except Captain America]
Cover artists Jack Kirby, Sol Brodsky have something to prove to the world, and it
”
Writer
casts the team as the eternal underdogs.
Stan Lee
Penciler Jack Kirby (layouts)
Inker Dick Ayers (artwork) Tom Brevoort

Letterer
Editor
Art Simek
Stan Lee
W hen the Marvel Universe officially
began, much of its success came
from the inimitable ideas and artistic
for promoting other Marvel comic titles,
building on the combined sales potential
of popular characters who also had their
prowess of Jack Kirby. An artist both own solo adventures. But as the lives of
prolific and fast, his designs and covers those individual heroes became more
avengers calling prince
were a crucial component of Marvel’s complex in a rapidly expanding shared
namor! avengers calling early expansion, but even the “King” universe, coordinating joint Avengers
prince namor! do you
hear us, sub-mariner?? couldn’t draw everything. To compensate missions became concomitantly harder.
for this, a pattern developed in which Thor was away in Asgard, Iron Man had
Kirby would illustrate most debut stories problems with the US government, and
and follow-up issues before entrusting the Giant-Man was soon to be replaced in
title to another artist. This would most Tales to Astonish by the Sub-Mariner.
often be either inker Dick Ayers, who The situation was tackled head on
assumed art chores on Sgt. Fury and His in Avengers #16, a continuation of the
Howling Commandos, Human Torch, thrilling developments in the previous
and Giant-Man, or Don Heck, who also issue. In that issue, Captain America and
drew Iron Man, briefly took over Thor, Rick Jones confront and finally defeat
and confirmed his star status with an Baron Zemo—Bucky’s ruthless killer—
epic run on the Avengers. in the Amazon rain forests, while the
After handing over the reins, Kirby other Avengers tackle Zemo’s Masters
Recruitment drive would return to draw only whenever of Evil in New York City. The issue
The search for new Avengers would a significant change occurred in a title, kicks off with a big battle and closes with
become a semi-regular event. Many who but often used to lay out and pace stories a big announcement. “The Old Order
made the grade would be former foes, Changeth!,” visually broken down by
for other artists to finish. This occurred
such as Namor, Sub-Mariner—despite
his initial refusal in Avengers #16—
on the Avengers when writer-editor Stan Kirby and finished by Ayers, proclaimed
Wonder Man, Swordsman, Vision, Lee resolved to tackle a growing problem. a dramatic conceptual change for the
Moondragon, Jocasta, and Firestar. The Avengers had originated as a series series. After the World’s Mightiest Heroes
70 Avengers #16
and so, as the say it, all right! this is right now the crowds
new avengers cap! for you- - ! are with us! but,
accept the let’s avengers assemble!! without thor , giant-
cheers of the hear it, man, and iron man,
crowd, a new just do we have enough
era begins! once strength to
more! justify their
confidence??
i wonder?
the end
Media frenzy
bring a swift end to their confrontation The very concept of changing the The press had always played a large
with the Masters of Evil, thanks to the roster of an entire superteam was and important role in Marvel stories,
teleportation powers of Thor’s enchanted groundbreaking enough, but to replace usually as gadflies. Here, Lee uses
the Fourth Estate to express opinions
hammer, they languish in concern for true heroes with wanted criminals was
and concerns he wants the reader to
their missing comrades. As Cap and a huge gamble, even for a company consider. It built suspense and shaped
Rick Jones fight their way back to the who had always favored intriguing expectations for future issues of the
US over weeks, Thor returns to Asgard, outsiders, antiheroes, and sympathetic Avengers that could no longer rely
and the weary Avengers contemplate villains. Their unorthodox decision also solely on fan favoritism.
the unthinkable—disbanding the team. began a long-standing tradition of
However, they soon modify their thinking rehabilitating villains who had proved
after former villain Hawkeye breaks into to be popular with the readership.
their mansion and asks to join them. Later members and future stars with
A display of his extraordinary archery cleaned-up records and reputations
talents convinces them of his valuable would include Black Widow, USAgent
skills and sincerity. Fired up by the notion (formerly the Super-Patriot), second
of replacing themselves, the heroes begin Ant-Man Scott Lang, and the Red Hulk.
a very public search for new Avengers. At a time when rulebreaking and
After being firmly but graciously innovation were becoming commonplace—
refused by Namor, the Sub-Mariner, and tremendously successful—this radical
the Avengers accept heartfelt applications reboot of the Avengers would prove to
from reformed mutant villains Quicksilver be the most significant of all. It freed the
and his sister, the Scarlet Witch. Just as title from the accidental tyranny of shared
Captain America and Rick Jones conclude continuity and allowed the team to grow
their epic voyage home, the founders take into a vital, unique, and ever-changing
leaves of absence, and the Star-Spangled force with its own narrative vision. It also
Avenger agrees to carry on in their name, consolidated the Avengers as Marvel’s
training a new generation of heroes. preeminent superteam. ■
Avengers #16 71
Strange Tales #135
August 1965
“Spurred by the James Bond spy-craze

of the era and its acronymed agencies like
U.N.C.L.E., SPECTRE, and CONTROL, Lee
and Kirby created S.H.I.E.L.D., a name today

recognized by millions of pop culture fans.
Mark Waid ”
S
Cover artist Jack Kirby trange Tales #135 is a true landmark In Strange Tales #135, Fury is
Writer Stan Lee in the history of Marvel Comics. In the introduced to a covert yet powerful
Penciler Jack Kirby space of a mere 12 pages, Stan Lee and organization called S.H.I.E.L.D., then
Jack Kirby introduced readers to a wealth an acronym for Supreme Headquarters
Inker Dick Ayers
of concepts that would become pillars of International Espionage Law-Enforcement
the Marvel Universe for decades to come. Division. From the start, it is portrayed
Editor Stan Lee The issue saw the first appearances of not as an international body, headquartered
only S.H.I.E.L.D. but also Hydra, LMDs on a vast flying aircraft carrier. The look
(Life Model Decoys), the flying car, and of the helicarrier was created by Kirby,
the awe-inspiring helicarrier. who used S.H.I.E.L.D. as the perfect
Capitalizing on the popularity of spies opportunity to put his prodigious
in the mid-1960s in the wake of hits imagination to work inventing cool
such as James Bond and The Man from gadgets and vehicles for the agents to use.
U.N.C.L.E., Stan Lee decided to repurpose His son Neal helped him design another
the lead character in Sgt. Fury and His classic S.H.I.E.L.D. vehicle, the flying
Howling Commandos. Nick Fury was car, which was based on a Porsche 904
a gruff army man who, in his Sgt. Fury with added missiles. Another example of
iteration, was still fighting in World War II a Kirby-created innovation appears in the
in his own title. For a new segment in the very first panel of the issue, in which Fury
anthology title Strange Tales, Stan Lee is being measured for his “master mold,”
brought Fury into the 1960s, promoted which can then be used to create hyper-
him to the rank of colonel, and added real android clones of him called LMDs.
a CIA career to his valorous postwar The usefulness of the LMDs is shown
backstory. Fury, though, was no suave soon afterward, when various assassins
and sophisticated Bond but still a rough- mistakenly target the androids, leaving
around-the-edges three-striper at heart. the real Fury safe to fight another day.
His no-nonsense demeanor and appearance In this inaugural issue, Tony Stark,
was later said to closely resemble Jack Kirby, moonlighting as head of S.H.I.E.L.D.’s
the artist who co-created him, with special weaponry section, informs Fury
Kirby’s son Neal commenting that Nick that he has been chosen to lead the entire
Fury was his father with an eyepatch. organization. At first, Fury is reluctant,
72 Strange Tales #135

Command and control
Strange Tales #135 displays to
excited readers the kind of
firepower that S.H.I.E.L.D. A nd then, nick fury sees
where he is--thousands of
had at its disposal, with feet above earth, riding aloft
Jack Kirby’s full-page splash in a gigantic heli-carrier
which serves as the mobile
showing the first appearance command headquarters for
of the organization’s iconic, shield’s supreme inter-
national council--as ever-
legendary helicarrier. vigilant military jets
maintain a 24-hour
patrol around the
incredible
sky craft...!
but inadvertently proves his credentials

when his instinct tells him that the
helicarrier has been rigged with a bomb.
His natural leadership abilities kick in as
he saves the day and roots out the Hydra
mole who planted the explosives. Seeing
the risk posed by Hydra to the free world,
Fury accepts the role of S.H.I.E.L.D.
Director—and history is made.
Hydra was created as a natural nemesis
for S.H.I.E.L.D., the comic book equivalent
of SPECTRE, the global crime association
in James Bond. It was named after the
mythical beast fought by Heracles, giving
rise to the Hydra motto “Cut off a limb
and two more will take its place.” This
chilling credo also debuts in this issue,
when a Hydra agent is killed and swiftly
replaced by another for the unforgivable
crime of failing the leader.
Strange Tales #135 is packed with
classic Jack Kirby art, and the cover is no
exception. It uses simple, bold imagery
and split-screen framing to convey the
looming threat of Hydra, the action hero
status of Nick Fury, the up-to-the-minute
spy-surveillance gadgetry, and suspenseful
drama that readers could expect to find
inside. The design was later strikingly
homaged by artist Marko Djurdjevic for
Mighty Avengers #18 (November 2008). ■
Strange Tales #135 73

Fantastic Four #45
December 1965
“ Inspired in part by the 1960s TV show The

Munsters, the Inhumans became one of the most
eclectic groups in comics. Lee talked about
giving them their own series for months, but the
opportunity didn’t arise [until a decade later].
Tom Brevoort ”
S tan Lee and Jack Kirby’s collaboration
on the Fantastic Four generated a host
of characters and concepts comprising the
attack from Dragon Man. In the aftermath,
young Johnny wanders the city and meets a
bewitching girl named Crystal. She’s scared
Cover artists Jack Kirby, basis of the Marvel Universe: astounding but trusts him because of his flaming
Joe Sinnott
heroes and villains, alien civilizations, powers. She also has incredible abilities
Writer Stan Lee otherworldly dimensions and universes, and and a loyal giant teleporting dog dubbed
Penciler Jack Kirby even cultures hidden on Earth. Among the Lockjaw. When Crystal innocently
Inker Joe Sinnott latter, perhaps the most crucial was the introduces the suspicious but smitten
Inhumans, a race who had shunned contact Johnny to her unusual family—Triton,
with mankind since primordial prehistory. Karnak, Gorgon, and Medusa—a fight
The first hints of their existence come in breaks out. By the time the rest of the FF
Editor Stan Lee Fantastic Four #44 (November 1965) when arrive, the battle is going badly and only gets
a trio of Fantastic Four (FF) villains form the worse when Black Bolt explosively steps in.
Frightful Four by recruiting a fierce female The House of Agon or Royal Family
warrior with flowing, super-strong, and of Attilan are hereditary aristocracy,
psychically controlled hair. Madame Medusa comprising King Black Bolt; his wife
quits the gang when Gorgon, a mysterious Medusa; her sister, Crystal; and their
powerhouse with metal hooves shows up. cousins aquatic Triton, bellicose Gorgon,
In desperation, she turns to Human Torch and problem-solving martial arts master
Johnny Storm for help against Gorgon, Karnak. They rule over and represent
whose New York rampage embroils the FF, a nation of weirdly wonderful beings.
just as the monstrous android Dragon Man Successive issues would see the FF unite
also attacks. It was all merely prelude: in the with the Royals as Black Bolt regains
next issue readers encounter enigmatic his throne from Maximus the Mad. The
super-beings who have secretly shared the usurper’s plan to eradicate humanity is
Earth with humans for millennia. foiled, but the Inhumans become helplessly
“Among us hide... the Inhumans,” in imprisoned inside their own city, separating
Fantastic Four #45 reveals Medusa as a young lovers Crystal and Johnny for months.
member of the Royal Family of Attilan but Black Bolt and his family would quickly
now a fugitive after the true king, Black become mainstays of the Marvel Universe
Sound of silence Bolt, was deposed in a coup organized by and star in many short-run series, but the
Black Bolt is one of the most powerful his brother, Maximus. She had joined the young Crystal and Lockjaw were the real
beings on Earth, and another intriguingly Frightful Four as a cover but was now being stars in these debut issues. She would join
mighty yet impaired hero from Lee and arrested by her own cousin Gorgon, the FF and the Avengers, while Lockjaw
Kirby. Afflicted with an uncontrollable would go on to become a beloved icon of
reluctantly working for the triumphant
vocal condition, his softest whisper can
create a planet-shattering sonic explosion.
usurper. The revelation comes after Gorgon the Pet Avengers. Later stories revealed the
But while he must stay silent, his actions drops a building on the FF and escapes Inhumans were genetically altered by Kree
always speak volumes. while they are distracted by a renewed Empire scientists in Earth’s distant past

johnny! how do you no time to so! you’re flee, torch! do not remain
know my sister? i explain part of a here if you value your
do not understand...? now, whole super- life!
crystal! powered
race,
medusa!
crystal
was
deceived!!
he is not
one of--
us!
then, before the torrid unhhh--!

teen-ager can burst into
no matter! flame, the surging impact
he cannot of gorgon’s kick hurls
escape him off his feet!!
while
gorgon
stands!!
Meet the family

Johnny Storm’s instant attraction
and subsequently evolved into a generally super-powered beings.
to Princess Crystal was passionately
technologically advanced civilization The Inhumans are necessarily obsessed reciprocated, and despite initial
far ahead of emergent Homo sapiens. with genetic structure and heritage, difficulties, they become a celebrated
They isolated themselves from barbarous worshipping the ruling Royal Family as power couple of early Marvel
dawn-age humans, first on an island the rationalist equivalent of mortal gods. Comics. The Human Torch’s first
dramatic encounter with the rest of
and latterly in a hidden valley in the In the 21st century, as the Inhumans
Crystal’s Inhuman family—Gorgon,
Himalayas, and resided in a wondrous gained their own TV series in the real Medusa, Triton, and Karnak—
Shangri-La-like city called Attilan. world, a global escape of Terrigen in the saw him literally swept off his feet.
The mark of citizenship is immersion in comic book universe would create another
the mutative Terrigen Mists, which enhance subspecies of super-beings and almost
and transform individuals into unique and eradicate Earth’s mutant population. ■

Amazing
Spider-Man #33
February 1966
“ Spidey gets to prove his mettle here as

never before (and never equaled since)...
as he struggles to save Aunt May. A true
Editor in chief
Cover artist
Stan Lee
Steve Ditko
classic in every sense of the word.
Tom Brevoort ”
Writer
Penciler,
inker
Stan Lee
Steve Ditko W hen nerdy high-school kid Peter

Parker gains astonishing abilities
after being bitten by a radioactive spider,
complemented the one developed by fellow
conceptualizer, Jack Kirby, as a visual
template for other artists to follow. For
Letterer Artie Simek his greed, arrogance, and complacency Spider-Man, Ditko eschewed his signature
Editor Stan Lee
prevent him from saving the life of his line-feathering and moody backgrounds,
beloved uncle Ben. Traumatized, the boy for a slicker, more streamlined approach,
becomes determined to always use his and deployed a dazzling array of camera
powers to help those in need. For years angles to engage the reader’s interest.
the brilliant young hero suffers privation All these factors coalesced into an
and anxiety at home, even as his alter ego unmissable epic in the extended “Master
Spider-Man endures public condemnation Planner” story arc that also allowed
and distrust whenever he tries to do good. Ditko to display his talent for intriguing
His only consolation is the abiding love plots, while Lee handled the scripting.
of his last surviving relative, Aunt May. Starting with Amazing Spider-Man #30
That tenuous scenario takes a drastic, (December 1965), each successive issue
life-altering turn when she falls desperately piled on unbearable suspense that
ill and is diagnosed with radiation culminated in a cathartic finale in
poisoning. With horror, Peter Parker Amazing Spider-Man #33. The climax
realizes it must have been a result of the crackles with tension while also creating
blood transfusion he had once given her. an inescapable sense of doom and
Since 1962, Stan Lee and Steve Ditko overwhelming pressure as Peter battles
had collaborated on some of the most impossible odds to save his dying aunt.
compelling and remarkable Super Hero Spidey’s dilemma stems from a series
sagas ever created, but now with the artist of high-tech robberies orchestrated by
planning to move on, their efforts went an enigmatic new crime lord. The hunt
into overdrive, generating a string of for the diabolically shrewd Master Planner
evocative and gripping tales, and setting leads the web-slinger into frustrating,
new standards for years to come. Ditko’s time-consuming combat as the mysterious
offbeat plots, quirky yet dynamic art, and villain is eventually exposed as his old enemy
gift for devising unconventional villains Doctor Octopus. The thefts become all the
and story lines had been honed to a fine more personal when the Master Planner’s
edge on Amazing Spider-Man, and the best gang steal an experimental serum that was
was yet to come. He had perfected a Aunt May’s only hope of surviving her
clean, polished Super Hero style that radiation poisoning. With time running out,
76 Amazing Spider-Man #33

No surrender
After tantalizing readers with and then--as the agonizing ache in his limbs
seems unendurable--as his superbly
suspenseful storytelling shown from a muscled body suffers the torment of a
fixed viewpoint Steve Ditko abruptly virtually indescribable ordeal--from out
switches angle: capturing Spider-Man’s of the pain--from out of the agony--comes
triumph!
indomitable spirit as he triumphantly
frees himself. The entire sequence
underscores the artist’s own ideology:
decency can conquer every obstacle,
and willpower provides the strength
to overcome the impossible.
i did it!
i’m free!
Spider-Man—pushed to the edge of

desperation—rips the town apart to find
the thieves. After tracking the serum
to a base beneath the Hudson River,
Spidey’s dramatic battle with Doc Ock
leaves the exhausted hero trapped beneath
tons of fallen machinery. The serum is
agonizingly just out of reach and river
water is flooding the room....
The nail-biting conclusion of
“The Final Chapter!” is Ditko’s (and
perhaps Spidey’s) finest moment.
Trapped, injured, and seemingly helpless,
Spider-Man faces his greatest and most
intolerable failure as the clock inexorably
ticks down the seconds to Aunt May’s
death. After initially giving in to
hopelessness, the hero at last responds
and digs deep to find the strength he needs
to burst free—the relief is palpable.
The most iconic sequence in Spider-
Man’s long and storied history indulges
in five excruciatingly tense moment-by-
moment pages that revel in the sheer
power of will over circumstance. Freeing
himself from the fallen debris, Spider-
Man gives his absolute all—which also
sees him dispatch the entire Master
Planner gang as they foolishly try to
obstruct the hero’s exit—to deliver the
vital medicine his aunt needs. For all his
extraordinary efforts, Peter Parker is,
for once, rewarded with a rare and truly
deserving happy ending. ■
Amazing Spider-Man #33 77

Fantastic Four #48
March 1966
“ One of the greatest comics in comic book

history, introducing Galactus and his herald, the
Silver Surfer, (and) beautifully blending Kirby
cosmic craziness with touching moments.
C.B. Cebulski ”
A t a time when America was ever more
divided by generational unrest and
social upheaval, ideas just seemed to
In successive issues, we learn that the
emotionless herald exists only to search
out planets with abundant life energies
Editor in chief Stan Lee explode from Jack Kirby. With scripter for his voracious master and creator to
and editor Stan Lee, he began mixing and consume. It is a mission he has carried
Joe Sinnott layering all his innovations in the pages out without qualm for countless years.
Writer Stan Lee
of Fantastic Four. Despite being partway Yet on this primitive world, the simple
through one story line, Fantastic Four #48 compassion of the Thing’s companion
Penciler Jack Kirby
proclaimed “The Coming of Galactus!” and Alicia Masters and the inherent nobility
Inker Joe Sinnott daringly put on hold the ongoing and swiftly of humanity reawakens his own long-
Letterer Artie Simek developing Inhumans epic as the Fantastic suppressed morality. Wracked with
Editor Stan Lee Four (FF) head home, fearing an even shame, the shining scout rebels against
greater, more immediate threat. This novel Galactus and helps save Earth, only to
approach to storytelling approximated TV be imprisoned here, making him the
dramas and soap operas, where life doesn’t ultimate outsider on a planet remarkably
always come with a beginning, middle, and ungrateful for his sacrifice.
end. Lee and Kirby frequently foreshadowed Breathtaking in scope and execution,
upcoming perils as a way to keep readers the story line feels deliberately apocalyptic
glued to the series, and it paid off. and reminiscent of a biblical blockbuster
After leaving the land of the Inhumans, movie. Although a last-minute addition,
with their foe Maximus the Mad seemingly Kirby’s scintillating Silver Surfer became
triumphant, the FF fly back to the US, another overnight sensation. The Surfer
unaware of a cosmic entity nearing Earth, became a byword for depth and subtext in
preceded by a gleaming herald on a board the Marvel Universe and was a character
of pure energy. On arriving in New York, whose stories Stan Lee would exclusively
the FF encounter bizarre phenomena in write for the next decade. Complex and
the sky—blazing flames and floating captivating, and occurring in the middle
rocks covering the planet—for which of other crises, Fantastic Four #48 and the
panicked New Yorkers blame them. In an ensuing “Galactus Trilogy” is a watershed
atmosphere of mounting global terror, moment in Marvel history. It introduced
Reed Richards struggles to find answers, not only one of Marvel’s most significant
which come after immortal, and supposedly cosmic beings but also his best-known
Light in the sky neutral, observer Uatu the Watcher appears. herald, a deeply philosophical and innocent
The Silver Surfer seems a coldly dispassionate He admits to creating the sky effects to stranger in a strange land. The Silver
force dreaded by many alien civilizations, but hide Earth from an approaching cosmic Surfer became a commentator on whatever
Kirby adds emotional depth by depicting
predator. However, the shining stranger topic Lee felt readers might respond to.
him exultant in the joy of cosmic flight.
His subsequent defection from Galactus,
easily penetrates the screens and sends a His guest appearances and eventual solo
will be a watershed moment in Earth’s history message to his master. Before long, colossal stories further advanced the notion that
and the evolution of Marvel Comics. cosmic devourer Galactus walks the Earth. comic books were not “just for kids.” ■

See! the
great sphere
is opening! his
testing devices
are sampling
earth’s elemental
composition! he
has found
what he seeks!
the planet
is doomed!
New visions
Every month Fantastic Four readers encountered
dazzling new concepts and characters from artist
Jack Kirby. Constantly challenging himself in
an age before computer-assisted design, Kirby
explored new ways of depicting unusual events,
such as this surreal photo collage of Galactus’
alien ship arriving over Manhattan.

Fantastic Four #51
June 1966
“What’s not to love about this comic?

It features my favorite character! The title “This
Man....This Monster!” sucks you in, and Kirby’s
classic cover is arguably one of his best.
Dan Buckley ”
D uring the 1960s, Fantastic Four—
as crafted by Stan Lee, Jack Kirby,
and Joe Sinnott—was the most inventive,
being of innate tragedy, always struggling
against the urge to run away or hide.
This contrast allowed Lee and Kirby to
action-packed title on the newsstands. lace their audacious tales with an emotional
In a monthly stream of interlinked, resonance and maturity rare in comics.
extended exploits, the “World’s Greatest Even when Grimm finally finds romance,
Joe Sinnott
Comics Magazine” constantly lived up it is with a blind woman, which fed his
Writer Stan Lee
to its own hype with an astonishing surge conviction that what Alicia Masters felt for
Penciler Jack Kirby of new characters who would enrich the him was pity, not love. “This Man… This
Inker Joe Sinnott Marvel Universe for decades to come. Monster!” begins in the wake of the team’s
Letterer Artie Simek Curiously, though, one of their most recent victory over Galactus. Alien ally Silver
memorable creations was a man with no Surfer has been exiled on Earth, and Grimm
Editor Stan Lee
name who, aside from a tantalizing cameo misinterprets Alicia’s compassion for the
in Fantastic Four #48 (March 1966), stranger as affection. Despairing of Reed
featured only once in a brief interlude Richards’ constant yet futile attempts to
in a procession of cosmic sagas. restore his humanity, Grimm roams the
as for me , i’m not gonna feel Under Lee and Kirby’s inspired streets weary and heartsick, until he is
sorry for myself! not many
men get a second chance--to direction, the Fantastic Four became a given shelter by a sullen stranger who then
make up for the rotten things must-read mix of astounding adventure, uses technology to usurp Grimm’s form.
they’ve done in their lifetime!
mind-boggling concepts, romantic His benefactor is an anonymous, petty-
melodrama, and frequently raucous minded scientist with a grudge against Reed
humor, especially whenever rock-star Richards, who has stolen the Thing’s shape
everyman Benjamin J. Grimm was in the and power to infiltrate the Baxter Building
spotlight. Down-to-earth, valiant, and and attack Mister Fantastic. However, he
kind, Grimm’s nature and origins reflected changes his mind after observing the
Kirby’s own life and temperament. He was true measure of his unsuspecting rival.
a child reared in New York’s tenements, When a subspace experiment threatens
who endured Depression-era poverty, Richards’ life, the stranger sacrifices
a harsh home life, and combat overseas himself to save the embattled super-genius.
before transcending his tough upbringing Known for its exciting, imaginative
through sheer talent and dogged gumption. adventures, the Fantastic Four always
An irascible, funny, and big-hearted man, explored human relationships in
who always came through for his loved extraordinary circumstances, and this
ones and people in need. poignant stand-alone parable is a landmark
Judgment call Those characteristics were a crucial story. Ben Grimm’s revulsion of his
In the 1960s, editorial restrictions tightly counterpoint to the underlying appeal physical condition is sharply brought into
controlled the portrayal of death. In the
of the Thing: a noble hero trapped inside perspective by the self-destructive behavior
story’s moving finale, the stranger’s
imminent demise is subtly hinted at, a monster’s powerful body. In a world and redemptive response of a brilliant
leaving his final moments to the where even his fellow cosmic ray victims individual who had cut himself off from
imagination of the reader. could pass for normal, the Thing was a humanity and paid the price for it. ■

the fabulous f.f. must solve THe terrible riddle of. . .
q uite possibly,
this may be one of
the greatest illustrated
epics yet produced
by...
stan lee
writer
jack kirby
penciller
joe sinnott
inker
artie simek
letterer
Solitary hero
Kirby’s drawing skill and affinity
for the Thing allowed him
to imbue the rock “monster”
with a highly distinctive range of
expressions and body language.
Whether playing pranks on
his partners, bursting into
action, or, as in this evocative
splash page, being paralyzed
with loneliness and sadness,
readers always knew what
Ben Grimm was feeling.

it is as i have
feared! the cataclysmic
impact of their cl ash
threatens to destroy
them both!
82
Strange Tales #146
July 1966
“ Long before the term “graphic novel” became

commonplace, Ditko and Lee’s 17-chapter epic
pitted Doctor Strange against his greatest foes
in a race to find the embodiment of all reality.
Mark Waid ”
S trange Tales #146 begins with Nick
Fury leading a mission against the evil
A.I.M. organization, but it’s the book’s
Although Ditko could also make the
mundane seem magical, bringing to life
the New York streets that were home to
Editor in chief Stan Lee second story that makes it a true classic. Stephen Strange, Strange Tales #146
It marks the culmination of a Doctor is almost entirely set within otherworldly
Cover artist Steve Ditko
Strange story arc that began 16 issues dimensions. It concludes the battle between
Writer Dennis O’Neil
previously, and, more importantly, it was Strange and the dread Dormammu, which
Penciler, Steve Ditko the last time the legendary Steve Ditko ends badly for the villain when he also
inker drew a character he helped define. tries to conquer the all-powerful being
Letterer Artie Simek Ditko had also been working hard on known as Eternity. Eternity was another
Editor Stan Lee Spider-Man for several years by 1966, but typically Ditkoesque creation, an entity
the surprise popularity of Doctor Strange beyond the comprehension of the human
meant that he had to fit two books into his mind, realized in the comic as a huge
schedule. Strange Tales, in particular, gave figure containing the vast reaches of
Ditko’s uncanny imagination and creativity space. Dialogue was provided by up-and-
free rein. Doctor Strange, Master of the coming writer Dennis O’Neil in one of
Mystic Arts, was a creation unlike anything his very first jobs at Marvel Comics.
else in the Marvel stable. The stories had Entitled “The End—at Last!,” the book
taken readers on a wild journey through ties up many loose plot threads in a single
alternate dimensions and realities, issue. Dormammu is apparently vaporized,
challenging the norms of traditional comic the evil Baron Mordo is taken into the
book material. And nearly everything that custody of the Ancient One, and Doctor
made the character and his milieu so unique Strange returns to Greenwich Village after
came from the mind of Ditko. His art, freeing everyone in Dormammu’s thrall,
reminiscent of Salvador Dali’s, was lavished including a bewitching woman named
with psychedelic detail, while his characters Clea. She would later become romantically
inhabited stunningly surreal worlds where involved with Strange and a powerful
the normal rules of physics didn’t apply. sorcerer in her own right. The defeat of
Doctor Strange’s stories anticipated Dormammu cemented Doctor Strange’s
the rise in popularity of Eastern mysticism position as Master of the Mystic Arts.
g Here to Eternity and were perfectly attuned to the era’s The title and the conclusive nature of
Doctor Strange can only look
growing counterculture trends. The books the comic seemed to put a full stop on
on helplessly as Dormammu,
lost in his own hubris, attacks
found a receptive audience among college Steve Ditko’s time with Marvel. Although
the powerful being Eternity. students, many believing the storytellers Doctor Strange was not among the bigger
The character of Eternity is a must have been taking hallucinogenic stars of the Marvel firmament, Ditko’s
classic example of Steve Ditko’s drugs to conjure such outlandish tales extraordinary, peerless run on the character,
trailblazing work in the 1960s,
and artwork. However, none of the creators which finished with a flourish in Strange
when he saw comic books not
as a lesser medium but rather
took any drugs—the imaginations of Steve Tales #146, earned him a legion of devoted
the perfect place to explore Ditko, Dennis O’Neil, and Stan Lee were and discerning fans and inspired future
themes of reality and existence. mind-expanding enough. generations of comic creators. ■

Fantastic Four #52
July 1966
“ It took courage to introduce Black Panther in

1966—and the road wasn’t smooth. Jack Kirby’s
“Coal Tiger” [had his] name changed and his
costume redesigned to turn him into the Black
Panther—and his cowl became a full face mask...
”
Cover artists Jack Kirby, to avoid alienating retailers in the South.

Joe Sinnott
Tom Brevoort
Writer Stan Lee
B
Penciler Jack Kirby y 1966, Stan Lee and Jack Kirby’s Reed Richards simply cannot ignore.
Inker Joe Sinnott Fantastic Four was firmly established Inviting Johnny Storm’s college
Colorist Stan Goldberg as Marvel’s signature title. The ongoing roommate Wyatt Wingfoot along,
Letterer Sam Rosen
dramas had also been a forge for daring the heroes travel in a magnetically
new concepts and characters. However, powered sky-craft to participate in a
Editor Stan Lee
Fantastic Four #52 definitively broke ceremonial hunt. However, it’s only at
the mold—and most comic book the end of the phenomenally fast flight
conventions. In a period when civil that Mister Fantastic suspects something
rights for African Americans were a isn’t right. After clearing the expected
contentious and frequently dangerous abundant verdant foliage, the visitors
issue, Marvel had been slowly and are deposited in a vast electronic jungle
cautiously introducing black characters of huge cables and colossal computer
into their books—despite the potential banks, where they are ambushed by
loss of sales in some US states. The first a man in black cat costume.
was Gabe Jones in 1963’s Sgt. Fury and Instantly, they counterattack but are
His Howling Commandos #1, but when quickly defeated by the ingenious traps
Kirby devised an imposing black Super and astounding combat abilities of their
Hero called Coal Tiger, Lee agreed it mysterious opponent, who later identifies
was time for a bold move. himself as the Black Panther. Taking them
Trailblazing and unforgettable, out one by one, the Panther is ultimately
Fantastic Four #52’s“The Black Panther!” frustrated by the surprisingly capable
story heralded a powerful, highly Wingfoot, who overcomes a unit of
educated, and wealthy black champion: Wakandan soldiers and frees the captive
an enigmatic African chieftain who lures quartet. In a stunning turnabout, the
the Fantastic Four to his previously feline foe then reveals his intentions are
unknown nation Wakanda. Boasting noble. He attacked the Fantastic Four
advanced, highly crafted technical only to test himself before pursuing his
devices, it’s an offer arch-technologist true enemy in search of revenge.

'twas i who invited you for the hunt! but, i neglected to tell
you one thing...
it is you
who shall be
hunted!
Ritual combat
After such a bombastic, intense, A revolutionary breakthrough and Jack Kirby and his embellisher Joe
and action-packed introduction, which welcome addition to Marvel’s ranks of Sinnott were masters of dynamic action.
Their fight scenes never fail to take the
still found space to keep fans apprised unique characters, the Black Panther was
breath away, and here, despite the readers
of developing subplots involving the used only sparingly at first, as real-world believing the Black Panther to be a villain,
uncanny Inhumans, the subsequent politics collided with comic book exploits. his body language reveals the poise and
issue would reveal that Wakanda was a Although unrelated, the coincidentally attitude of an embattled hero outnumbered
secretive kingdom concealing enormous named activist group The Black Panther but never outmatched.
wealth but under constant threat. As the Party (formerly the Lowndes County
only known source of the vibration- Freedom Organization) became an
absorbing wonder metal Vibranium, its increasingly militant presence in the
mineral riches had enabled King T’Challa, headlines, prompting caution in the
aka the Black Panther, to turn his country publisher. At least African American
into a technological wonderland. Now, readers now had a hero they could claim
after years of preparation, he had enticed as their own. However, it would be eight
the famous American Super Heroes into years before T’Challa graduated from
his futuristic homeland as the last stage guest starring in Captain America and the
of an extended plan to visit vengeance Fantastic Four, and membership in the
on a man named Klaw. Avengers, to gaining his own series
Long ago, Ulysses Klaw, a ruthless in Jungle Action #6 (September 1973).
researcher, had murdered T’Challa’s Since then, the Black Panther has
father, T’Chaka, and enslaved the become a vibrant and permanent fixture
Wakandans to secure supplies of in the Marvel firmament, on the page
Vibranium as a power source for his and the big screen. His hugely successful
sound-based weaponry. A young T’Challa cinematic debut in 2018 echoed his
wrecked his plans, and now that he had groundbreaking comic book origins,
proved himself against the world’s greatest shattering box-office records and earning
Super Heroes, the Panther was bent on unprecedented critical acclaim for its
finishing the job he had begun as a child. primarily black cast and crew. ■

Nick Fury, Agent
of S.H.I.E.L.D. #1
June 1968
“ Nick Fury... was reinvented for the modern

day as the eye-patched head of S.H.I.E.L.D.
Steranko’s trippy art gave the series a unique,
psychedelic look that was pure 1960s and
Editor in chief
Cover artist
Stan Lee
Jim Steranko
fit right in with the Bondian spy genre.
Peter David ”
Writer,
penciler
Jim Steranko
T he success of Nick Fury, Agent of
S.H.I.E.L.D., and Doctor Strange as
the two features in the Strange Tales title led
films like the James Bond series and The
Man from U.N.C.L.E. Steranko’s work
perfectly encapsulated the world of rugged
Inker Joe Sinnott
to it being canceled and each character being spies, glamorous women, and eccentric
Letterer Sam Rosen
given his own title in 1968. The growing villains, enlivened with flourishes of Pop
Editor Stan Lee
popularity of Fury’s stories owed much to Art and psychedelia. The cover of Nick
creative control having been handed to the Fury, Agent of S.H.I.E.L.D. #1 exemplifies
multitalented Jim Steranko the previous year. this with its stylish imagery reminiscent of
At age 28, Steranko came to comics after a movie poster. The filmic motifs continued
having more careers than many people fit within the comic. The first three pages of
into a lifetime. He had worked in advertising, the issue were entirely “silent,” with no
and been a magician and escape artist. captions or speech, as Nick Fury attempted
When Steranko showed Stan Lee samples to infiltrate a hostile installation.
of his art, Lee was so impressed that he gave Within the pages of this issue, readers
him a job at Marvel on the spot. He started didn’t learn the answer to the question in
out following the style of Jack “King” Kirby its title: “Who is Scorpio?” The villain’s
but was soon creating his own pages and getaway vehicle crashes in flames after
was even given writing and coloring duties, being hit by a random bullet, and it is
something that was very rare in the industry. assumed that he has not survived the blaze.
In an era of huge cultural change, However, the head of the shadowy Zodiac
Steranko’s art took comics to a whole new cartel would return in future issues to plague
level. His work was not aimed at children, Fury, and it is later revealed that Scorpio
but at young people and adults who is in fact an LMD (Life Model Decoy)
appreciated realistic action and mature of Jacob Fury, Nick’s younger brother.
plotlines. Steranko’s approach to graphic The effort put in by Steranko on the art,
storytelling was revolutionary and cinematic. script, and storytelling made it hard for
He frequently employed double-page him to meet the title’s punishing monthly
spreads for maximum impact and even schedule, and the fifth issue of Nick
pioneered the four-page spread in Strange Fury, Agent of S.H.I.E.L.D. was his last.
Tales #167 (April 1968). Readers had to He continued to work at Marvel as a cover
buy two copies so that they could put them artist and drew a memorable three-issue
together to see the art as it was intended! run of Captain America. However, the
By this time, Fury had evolved from a brief time he spent on Nick Fury saw him
military man to a super-spy, to capitalize produce some of the most celebrated
on the fashion for espionage in books and examples of the comic book medium ever. ■
86 Nick Fury, Agent of S.H.I.E.L.D. #1

Cinematic storytelling
The opening three pages of Nick Fury, Agent of
S.H.I.E.L.D. #1 exemplify its cinematic aesthetic.
The story is told entirely in images, in narrow,
wordless panels to add tension and convey the
stealth of the super-spy. Steranko later revealed
that this section was a homage to the classic
French film noir Rififi (1955), the middle act
of which depicts a heist in complete silence.
Nick Fury, Agent of S.H.I.E.L.D. #1 87

Avengers #57
October 1968
“The Vision is considered a quintessential

Avenger... and his heroic conviction, all-too-
human self-doubt, emotional complexity, and
deep ties to the team—is here in his debut.
Behold… an A+ character introduction!
Wil Moss ”
A vengers #57 saw the debut of one of
the team’s most enduringly popular
members—the Vision. Editor Stan Lee and
human consciousness, later revealed as
that of Wonder Man (Simon Williams).
The villain of the story was Ultron-5,
Cover artists John Buscema, writer Roy Thomas both felt that the title an evil robot also created by Thomas and
George Klein
needed new blood, since the “A-listers” Buscema, first introduced in Avengers #54
Writer Roy Thomas Iron Man, Captain America, Thor, and (July 1968). Ultron was conceived from the
Penciler John Buscema Hulk were no longer active. Rather than idea of a robot enacting its own will rather
Inker George Klein create a new character, Thomas was eager than being a mere automaton commanded
to repurpose a Golden Age hero named by a human master. It represented the polar
Letterer Sam Rosen
Aarkus, aka Vision—an otherdimensional opposite of Vision for the potential of
Editor Stan Lee
being who wore a green suit with a flowing technology. Thomas wanted Ultron’s face
cape and upturned collar. However, Lee to wear a permanent wicked smile, an idea
wanted the new Avenger to be an android, inspired by a character called Makino from
and so Thomas compromised, creating a the 1951 comic book Captain Video.
robotic character whose appearance was Ultron had programmed Vision to
based on Vision and shared his name. attack the Avengers and lure the heroes to
John Buscema, the co-creator of the his hideout so that he could destroy them
new Vision, designed his look accordingly. himself. But Ultron hadn’t anticipated
He changed the face from green to red Vision breaking from his control and
but kept the style of the costume. He also helping the heroes. Ultron compounded his
added a gem on the Vision’s forehead, failure by giving the synthezoid the power
which would become a significant part of to adjust his density so that he is intangible
the Avengers’ mythos, both on the comic or super-solid. Vision provokes Ultron into
book page and in screen adaptations. attacking him when he is intangible, and
The concept of Vision as a sympathetic the robot plummets into an energy vat and
robot, with human emotions, came to is destroyed. The end of the issue sees
Roy Thomas through his friendship with Ultron’s disembodied head abandoned on
the science fiction author Otto Binder. a piece of wasteland, where it is played with
In the “Adam Link” series of short stories by a passing child. The mighty had fallen.
(1939-1942) by Eando Binder (Earl and It wasn’t until the next issue that readers
Otto Binder), the robot Adam becomes learned the truth about Ultron and Vision.
self-aware but faces prejudice from fearful Ultron had been the creation of Avenger
Look on my works... and despair! humans. Adam understands more about Hank Pym, aka Goliath, whom the robot
The final, poetic page of Avengers #57 itself and the human race after reading Mary regarded as its father. From the start, Ultron
elevates it from an average comic book
Shelley’s Frankenstein. For his creation, had been unstable, attacking its creator and
to a true classic. Percy Bysshe Shelley’s
famous sonnet “Ozymandias” captions
Roy Thomas used the word “synthezoid” then wiping his memory before escaping
the panels, emphasizing Ultron’s hubris rather than robot or android. Vision’s to make its own plans. It was Ultron who
and the scale of his downfall. synthetic body also contained an implanted created Vision to do its bidding. ■
88 Avengers #57
then, silently, effortlessly
...like some great, vengeful
bird of pre y . . . he swoops
into the moonless, cloud-
draped sky . . . towards a
towering structure nearby. . .
n int,o
p editio s
rie e x re l m
a
an eeexplorede d b y :
un d uc t
co n or!
lee, ed
it
r!
stan omas, write tist!
h
roy t uscem a , a
r
n b
joh ei n, inker!
ge klsen, letterer!
georm o
sa r
A Vision splendid
John Buscema and George Klein’s
moody, elegant art for Avengers #57
perfectly captures Vision’s inherent
melancholy as he struggles to
understand and accept his identity
and the nature of his being. Buscema’s
striking duo-chromatic cover for this
issue is one of Marvel’s most iconic
and homaged images.
Avengers #57 89
Silver Surfer #3
December 1968
“ If Stan Lee’s Surfer was a fallen angel,

lamenting man’s inhumanity to man, then it
was only natural to have him up against the
literal devil in the form of Mephisto.
Tom Brevoort ”
T he Silver Surfer swept into public
consciousness directly from the
mind of Jack Kirby, who added him to
In Silver Surfer #3, the Surfer is once
again fired upon by Earthlings as he tries
to help a young woman wounded in the
Editor in chief Stan Lee the Fantastic Four story in which Galactus Badoon attack. This sent him into a
first appeared. Kirby reasoned that a vengeful anger, and he decided to
Cover artists John Buscema,
Joe Sinnott
mighty world-devourer such as Galactus demonstrate the power that he could
would need a herald who could scout unleash upon the world if he saw fit.
Writer Stan Lee
for planets he could consume. Although However, he soon regretted giving way to
Penciler John Buscema
Stan Lee was initially surprised to see this rage. Stan Lee used the Surfer to comment
Inker Joe Sinnott bald spacefarer and his interstellar board on the absurdity of human behavior, as
Letterer Artie Simek when Kirby sent him the pencils for the beings who seemingly have it all but still
Editor Stan Lee issue, he quickly grew to love this iconic find reasons to fight each other over often
character, and so did the readers. spurious causes. Lee was a humanist by
After guest spots in the pages of nature, believing, in essence, that people
Fantastic Four following his first outing in should get along with one another.
1966, the Silver Surfer was given his own The Surfer soon had something far
title in August 1968. Stan Lee would be the worse to worry about as he was attacked
writer, and John Buscema took on the art again—this time by the demon Mephisto.
duties. At 72 pages, the first seven issues Silver Surfer #3 was the first appearance
were twice the length of regular comics of Mephisto, a demonic character created
and, at 25 cents, were more than double by Stan Lee and John Buscema. He provided
the usual price. As compensation, the Silver a counterpoint to the noble purity of the
Surfer lead feature was backed up by a Silver Surfer, as he reveled in the crime
Watcher story—a truly cosmic double bill. and conflict that ravaged humanity—it
Lee used the Silver Surfer to expound meant more souls sent to his dread domain
much of his own philosophy. The Surfer for eternity. Buscema did some of his best
had been stranded on Earth after defying work in Silver Surfer, and in this issue he
Galactus in Fantastic Four, which gave amply displayed his talents by creating the
him time to observe the planet and the fiery hellscape in which Mephisto resided,
beings who inhabited it. The first two as well as a multitude of Earthly landscapes
issues of Silver Surfer were devoted to his and outer-space vistas.
mysterious origins and his defense of Earth Although Silver Surfer would run for
against an invasion by the evil aliens known only 18 issues in this, its first volume, the
as the Badoon. However, even as the Silver series remains one of the all-time classics
Hellfire and brimstone Surfer fought to protect Earth, the humans of Marvel’s Silver Age. The iconic status
The demonic Mephisto delighted in he encountered feared and mistrusted of the character, coupled with the mature
everything about Earth that made the Silver
him, and he was attacked several times. themes of morality and philosophy the title
Surfer despair—the greed, belligerence,
and prejudice. John Buscema’s brooding
Although his power made him virtually explores, make it a comic book that is as
splash page reveals the character at his invulnerable to Earth weaponry, the Surfer absorbing and thought-provoking now as
malevolent, manipulative worst. was emotionally bruised by the rejection. it was when it was created in the 1960s. ■
90 Silver Surfer #3
no longer can
their blindness
furnish them
excuse!
even a child,
in savage
innocence,
must pay for
his misdeeds!
if ever the y
are to come of
age--
the y must
be taught
to reason!
and the
time is
now- -
while my
anguished
heart is
the y must be abl aze with
shown that force burning
can never be the fury!!
answer!
Righteous rage
Provoked to fury by the constant
displays of suspicion and
outright violence toward him
by humans on Earth, the Silver
Surfer contemplated showing
the planet a fraction of what
his Power Cosmic could do.
However, his innate goodness
made him stop, regretting that
he had sunk to such a level.
Silver Surfer #3 91
Captain
America #111
March 1969
“ Steranko was a revolutionary writer-artist

who opened Marvel up to psychedelia and
op-art influences, combining comics and
film media to create storytelling techniques
Editor in chief
Cover artist
Stan Lee
Jim Steranko
still imitated but never surpassed.
Mark Waid ”
A
Writer Stan Lee fter reviving from frozen hibernation, Since Cap’s revival, perennial Super
Penciler Jim Steranko Captain America swiftly evolved into Hero aspirant and former Incredible
Inker Joe Sinnott one of Marvel’s hottest, most recognizable Hulk sidekick Rick Jones had lobbied
properties, both as leader of the mighty to become the Sentinel of Liberty’s
Letterer Sam Rosen
Avengers and also in spectacular solo costumed partner, replacing fallen
Editor Stan Lee
action. Cap initially shared Tales of World War II warrior Bucky Barnes,
Suspense with Iron Man before taking who Jones coincidentally and disturbingly
over and converting the title to Captain resembled. The turning point for guilt-
America with the 100th issue in 1968. plagued Steve Rogers comes following
For a year or so, Captain America a brief but terrifying clash with the Hulk.
was illustrated by major artists, primarily After the Green Goliath rampages
Jack Kirby, but also by such luminaries through Manhattan, Captain America
as John Romita Snr. and Gil Kane, among at last accedes to Rick’s requests. Jones
others. None, however, arrived on the suits up in patriotic red and blue just
comics scene with the cachet or graphic in time to clash with a splinter group
sophistication of media sensation of Hydra and its psychotic femme fatale
Jim Steranko, who united with scripter leader Madame Hydra, and passes his
Stan Lee for a three-part epic in Captain combat graduation with distinction.
America #110–113. The saga was actually In “Tomorrow You Live, Tonight
paused at its most dramatic juncture for I Die!” a clandestine meeting with
a Kirby-delineated Captain America #112 S.H.I.E.L.D. director Nick Fury at a
(April 1969), which commemorated the Penny Arcade turns into a Hydra ambush
g Show and tell career of the Star-Spangled Avenger, that Cap barely survives, and he admits
A signature Steranko technique for supposedly slain at the end of the previous at last that he has made a grave mistake
impart information and setting mood issue in a shocking cliff-hanger. in going public with his secret identity.
is a montage of small, tight images
The pivotal moment of Lee and As Steve Rogers is systematically hunted
emulating cinematic cuts and close-ups.
“For Tomorrow You Live, Tonight I Die!”
Steranko’s sadly short run occurred by assassins, Rick Jones intercepts a
the artist ratchets up tension at an in Captain America #111. The issue drugged letter intended for his partner.
amusement park arcade through rapid judiciously pulled together a number His mind reeling with horrific images,
transitions that simultaneously establish of loose plot threads while delivering Jones is dragged away by Hydra
location, deliver credits, and create an
a bravura action romp laced with operatives after they break into Avengers
air of menace. The sequence presages
the approaching threat as much as the
contemporary Pop Art and surrealist Headquarters. Captain America chases
ominous fortune-telling card that psychedelia, as well as introducing the abductors, but despite his utmost
delivers the issue’s title. Marvel’s most seductive villain to date. efforts, the Hydra goons get away with
Captain America #111 93

their prize. With no other options, Cut to the chase
Captain America retraces his steps, As a near comatose
Rick Jones is hauled out
searching the city, and ends up back at
of Avengers Mansion and
the amusement arcade where the ambush bundled into a waiting car,
occurred. Entering what he knows is a Captain America hits the
lethal trap, Cap has no idea Rick has kidnappers like a guided
already escaped and is racing back to missile, in a perfect
example of the sinuous
warn him. The distraught teen arrives just
illustrative style
in time to see his mentor’s bullet-riddled and hyper-dynamic
body drop into the East River. Mystery composition at which
then compounds tragedy as the police Steranko excelled.
trawl the waters and recover a shredded
costume and plastic face mask. The
conclusion is inescapable: Steve Rogers
must have been a fake persona and the
world can now only mourn a fallen hero
whose real identity may never be known.
Scripted by Stan Lee, who had been
the hero’s primary writer since his revival,
these episodes mark a high point in
Steranko’s artistic quest to unify the
sequential narrative of the comics
medium with the visual techniques of
filmmaking. However, no one involved
in crafting this epic ever forgets that
this is a comic series built on breakneck
action and heart-stopping derring-do.
With his illustrative style of the period
amplifying Jack Kirby’s dynamism, inked
to a sleek sheen by the crisp brushwork
of Joe Sinnott, Steranko’s artwork is
intoxicating. The backgrounds are
carefully detailed, while the idealized
heroes are the epitome of All-American
decency, just as the sinister villain
is coldly alluring and her thuggish
henchmen are satisfyingly grotesque.
Most importantly, Steranko acutely
understands the impact of a cathartic
moment. Often utilizing seven or more
panels to a page to marry mood and tone
while driving the plot forward, the artist
always ensures he delivers well-placed,
evocative full-body shots or a sizzling,
poster-worthy, double-page spread.
Steranko’s figures are always in motion:
tumbling and falling in training sequences
when not evading hot pursuit or
dispensing harsh justice to colorful
villains. It’s not often that the middle act
of a comic book series hits all the sweet
spots at once, but Captain America #111
triumphantly succeeds in standing on
its own as a gloriously drawn and told
Super Hero extravaganza—one that’s
impossible to ignore or forget. ■

X-Men #56
May 1969
“ Although an action-filled tale [that premiered]

the Living Monolith, this issue was particularly
memorable for the X-debut of Neal Adams, who
went on to become an acclaimed penciler.
Peter David ”
I n 1969, Neal Adams was one of the
top comic book artists, receiving the
Alley Award for Best Penciler that year.
other work in advertising and newspaper
strips, enabling him to visualize pages in a
more aesthetic way than had been traditional
He had been working at National Comics in comic books. X-Men #56 reveals the
(later DC Comics) but was also freelancing artist’s love of diagonal lines and irregularly
Cover artist Neal Adams
for Marvel. X-Men #56 was his first shaped panels that place the reader at the
Writer Roy Thomas Marvel comic, for which he teamed center of the action as the X-Men take on
Penciler Neal Adams up with stalwart scribe Roy Thomas. the maniacal Living Monolith. This issue
Inker Tom Palmer The title’s sales lagged behind Marvel saw the creation of this flamboyant villain,
bestsellers such as Fantastic Four and who absorbs his power from Alex Summers,
Letterer Herb Cooper
Amazing Spider-Man, and so Adams the younger brother of Scott Summers
Editor Stan Lee
and Thomas had a simple mission— (Cyclops). Alex was a recently introduced
save the X-Men. The two, along with character at this time, but would go on to
inker Tom Palmer, would prove to be an be a regular in the X-Men’s stories as the
inspired creative team, producing work mutant Havok. At the end of the tale, Alex
that is now considered among the finest harnesses his powers to break free of the
examples of Silver Age comics. Living Monolith’s prison and cause the
X-Men #56 showcases the best of what villain’s own powers to fade. However, the
Neal Adams would bring to the medium, young hero can’t control the energy coursing
starting with the high-impact cover through him and is forced to deter the
showing the towering Living Monolith, X-Men’s involvement for their own safety.
the book’s villain, holding the comic’s title As well as adopting a radical approach
in his hands. More than a decade later, to structuring his pages and panels, Adams
Adams’ cover was homaged by artist John modernized comic book coloring. Before
Byrne in X-Men #135 (July 1980), part X-Men #56, artists had to choose from
of the Dark Phoenix saga—both comics a more restrictive color palette for inside
now considered classics. In fact, Adams pages than for covers, largely for cost
had to redraw the cover after the first savings and convenience. However, Adams
version was rejected because X-Men team insisted on a greater range of colors for his
members obscured the title. Mastheads interior art, and X-Men #56 became a
were very important at this time, as they testament to his maverick vision. Readers
were often the only part of a comic book were now rewarded with the same level of
visible on crowded newsstand racks. quality throughout the story as they found
Neal Adams was prepared to push the on the cover. Although Adams and Thomas
envelope and look at comic book art were unable to keep X-Men going for long
in a completely new way. This is evident as a new title, their trailblazing work over the
throughout the issue, which contains a next year saved the book from cancellation.
variety of perspectives and panel shapes After X-Men #66 (March 1970), new stories
rarely seen in comics of the time. Adams were replaced with reprints until the title’s
brought across stylistic approaches from his landmark revival in the 1970s. ■
96 X-Men #56
...as if you
archaeological
couldn't
diggings below, tell!
crew...
an excavation,
to be more
precise!
good!
maybe there’ll
be someone there
to whom we can
turn over our
stony-faced
capt ive!
five-star stan roy tom herb and introducing the

feature lee thomas palmer cooper penciling wizardry
by: editor scripter inker let terer of: neal adams
Flying colors
From the very first page of X-Men #56,
fans knew that a new era had begun.
Neal Adams’ photorealistic style was
used to full effect on this meticulous
recreation of the famous temple at Abu
Simbel, Egypt, while the X-Men sweep
into the scene. The perspective used by
the artist makes readers feel like they are
flying in right behind the team.
X-Men #56 97
Thor #169
October 1969
“The world gets what it demanded...

the origin of Galactus as told by Stan and
Jack. One of the things I love about this is
that they told this story in Thor and not in the
more obvious choice of Fantastic Four.
Dan Buckley ”
O
ne of the most enticing aspects of Galactus, Ego, the Living Planet, and
Cover artists Jack Kirby, the ever-unfolding Marvel Comics Thor, the Thunder God’s father, Odin,
George Klein
Universe was its brilliant combination of decreed that his son should search for the
Writer Stan Lee distinctly human characters with mind- world-devourer to see whether he posed a
Penciler Jack Kirby boggling concepts and spectacular visuals. threat to Asgard. That quest reached its end
Inker George Klein No creative team better conveyed this than in a two-part tale concluding in Thor #169.
Stan Lee and Jack Kirby. In Fantastic Four, Fans undoubtedly expected another
they embedded then cutting-edge science stupendous fight, and while they may have
Editor Stan Lee
fiction such as parallel dimensions, human been frustrated on that score, they were
cloning, and subatomic universes into a rewarded with a remarkable, stunningly
familial Super Hero soap opera. In Thor, rendered insight into the almighty
they could really expand their horizons, extraterrestrial. After a minor skirmish,
exploring the outer reaches of the cosmos, Galactus unexpectedly presented a
wedding godlike power to human foibles, startlingly human aspect to his character,
and blending action, adventure, and sharing his origins in the last chapter
mythology into a dazzling unified whole. “The Awesome Answer!”
The improbably powerful Galactus Expanding and cementing Marvel’s
was introduced in Fantastic Four #48 cosmology by incorporating another
(March 1966): an unstoppable threat to established alien race into an ever-growing
humankind dependent on vast amounts tapestry, Lee and Kirby reveal how, eons
but soon of life energy to survive and intent on ago, the highly advanced civilization of
its hunger
will be so consuming planet Earth. Jack Kirby Taa was eradicated by a devastating plague.
great - -
naught but envisioned him as an inverted allegory With no hope of a cure, the last dying
a world
can of the biblical Christian god: a destroyer beings flung themselves into the universe’s
appease
it! rather than a life giver, seeking worlds largest sun as a final glorious act of
to absorb with the help of his herald, the defiance, only to have the explorer Galan
Silver Surfer. In a timely epiphany, the survive, mutating into a wholly unique
Surfer rebels against his creator to save being. Weak but rapidly evolving, Galan and
Fateful decision humanity as a modern-day fallen angel. his crashed ship are found by a Watcher.
Immeasurably powerful, all-knowing, Galactus was intended as a one-time Introduced in Fantastic Four #13
and wise, Ecce the Watcher struggles with threat, but vociferous reader reaction (April 1963), Watchers are immortal super-
his conscience. He realizes the unique brought him back, initially as a brooding beings stemming from the earliest days of
creature evolving before his eyes would
omnipotent menace and eventually as a creation. Deeply philosophical, curious,
shake the universe, causing inconceivable
death and destruction unless he destroys
fully realized character interacting with and almost godlike, the Watchers opt to
it now. Ultimately, Ecce resolves to let others, which often meant other “gods.” share their advancements with other, lesser
destiny unfold as it will. Following a three-way war between races. Traveling in small groups across the
98 Thor #169
Strange worlds memories of a
Kirby’s fertile visual imagination time - - a life --
built and furnished incredible yet a world--that
believable civilizations evoking awe are gone --
and wonder. His monumental
forevermore!
imagery perfectly captured power
and grandeur, captivating readers
who would nevertheless come
to expect that no matter how
magnificent, these edifices would the
soon be spectacularly destroyed.
now-dead
paradise
called--
taa!
universe, their well-intentioned teachings

are perverted on planet Prosilicus, resulting
in atomic war. On discovering what their
actions have spawned, they vow that, from
this time forward, they would simply
observe all that occurs, but never again
would a Watcher interfere with any other
species or culture. Here, the Watcher later
dubbed Ecce foresees the catastrophe the
new entity will cause but resolutely honors
his pledge and Galactus is born.
The origin of Galactus was a milestone
in Marvel history, and greatly revised as
decades passed. In Super-Villain Classics:
Galactus the Origin #1 (May 1983), writer
Mark Gruenwald revealed that Galan
was actually a survivor of the death of a
previous reality. As the Big Bang created
the current Marvel Universe, Galan merged
with the dying sentient essence of that
previous reality. Creators John Byrne, Jim
Starlin, and Louise Simonson would later
elaborate on the premise, making Galactus
a fundamental force among the higher
powers of the modern Marvel Multiverse.
Thor and the Fantastic Four would clash
with Galactus many times in the years to
come, but this epic was the first to put a
tragic, human face to the impassive,
relentless cosmic horror first envisioned
by Lee and Kirby. It laid the groundwork
for a mind-boggling expansion of Marvel’s
continuity into a hierarchy of spiritual
and metaphysical realms that would affect
all later stories and become the basis of
many cosmic crossover events. ■
Thor #169 99
Amazing
Spider-Man #86
July 1970
“ John Romita Sr. did more for Black Widow

than Russia and Scarlet Johannsen
combined, by replacing her drab fishnets-
and-domino-mask outfit with a sleek, sexy

look that became instantly iconic.
Mark Waid ”
T
Cover artist John Romita Sr. he Black Widow (Natasha Romanoff) to use one of Marvel’s more successful
Writer Stan Lee debuted in 1964, and for the rest of properties to highlight a less well-known
Penciler John Romita Sr. the decade made appearances in Tales of character and create a buzz to drive
Suspense and Avengers, first as a villain and readers to their title. Since this issue
Inker Jim Mooney
then defecting from her Soviet masters to came out a month before the first Amazing
Letterer Sam Rosen
become a hero. Her story contained a Adventures, Amazing Spider-Man #86
Editor Stan Lee great deal of tragedy, not least when her tantalized readers with a first look at Black
husband Alexi Shostakov (Red Guardian) Widow’s soon-to-be iconic new costume.
had apparently been killed. Natasha tried Although Black Widow’s new catsuit
to adopt the safer life of an international seemed to be influenced by the popularity
jet-setter, but in Amazing Spider-Man #86, of spies in franchises like James Bond,
she returned to the world of Super Heroes it was in fact inspired by something much
with a bang. She could not find happiness older. John Romita Sr. had been a big fan
as one of the idle rich; only by being Black of a syndicated newspaper strip called
Widow could she truly be herself. Miss Fury, published in the 1940s. Miss
Black Widow was a popular character, Fury held the honor of being the first
due partly to her exotic glamour and partly female Super Hero created by a woman,
to her questionable past and the shades June “Tarpé” Mills, herself one of the first
of gray in her ethics. Even while fighting female comics creators. Also known as
beside the Avengers, she had broken their Marla Drake, Miss Fury wore a skintight
code by threatening to kill a foe. Believing black catsuit and a mask. Romita shelved
that there was a lot of storytelling potential plans to draw a Miss Fury comic after
in such an intriguingly nuanced character, a lukewarm editorial response to the
editor in chief Stan Lee commissioned idea, turning his attention to revamping
a new title—Amazing Adventures—to Black Widow’s costume—purposefully
showcase Black Widow’s stories alongside conceived in-story by Natasha herself.
another regular segment that featured In Amazing Spider-Man #86, in the first
the Inhumans. He also turned to one meeting of the two characters, the new-look
of Marvel’s most talented artists, John Black Widow tries to capture Spider-Man
Romita Sr., to completely refashion so that she can learn more about—and
Natasha’s look for the new decade. possibly steal—his powers, reasoning that
In order to boost interest in Black they were both arachnid-styled adventurers.
Widow ahead of her new solo series, Although at first she seems to get the better
the character was included in Amazing of the wall-crawler, he manages to evade
Spider-Man #86. It was quite common her by gumming up her new wrist gauntlet

this chain belt i’ve there! with
added will be more my modified
than decorative! wrist-
shooters
it’ll hold my spare in position,
web-line ... and i’m ready for
store the powerlets anything!
for my widow’s bite!
Way of the Widow

weapons with his web. Black Widow Such was the impact of Romita’s Now outside the Soviet system,
decides to abandon her plan and accept modish Black Widow costume that it Black Widow could no longer access
the advanced technology of her
that she would have to create her own became the classic look for the character, former paymasters. This meant
identity as a hero. In her subsequent solo and would make its movie debut in the that all of her equipment had to
adventures, Natasha Romanoff would Marvel Cinematic Universe many decades be devised and built by her faithful
battle to earn the trust of her adopted later. Her 1970 relaunch ensured that right-hand man, Ivan Petrovitch.
country by helping the vulnerable, usually Black Widow was an integral part of
accompanied by her gruff partner-in- Marvel Comics moving into the Bronze
crime-fighting, Ivan Petrovitch, and later Age and beyond, and she is now one of
successfully teamed up with Daredevil. Marvel’s most recognizable heroes. ■

Amazing
Spider-Man #96
May 1971
“
At a time when comics’ content was
suffocating under the Comics Code Authority,
Stan decided to forego their approval on this
stridently anti-drug story. Marvel had his back
and it was the beginning of the end of the
”
Cover artists Gil Kane, CCA’s censorship authority. Good riddance.

John Romita Sr.
Peter David
Writer Stan Lee
I
Penciler Gil Kane n the early 1970s, the comic book material was suitably wholesome—
Inker John Romita Sr. industry increasingly began using and from the outset, every Silver Age
Letterer Artie Simek stories to address the major social Marvel comic had displayed the logo.
concerns of the day, including civil rights, However, in 1971, Stan Lee received
Editor Stan Lee
poverty, the environment, and political a letter from the US Department of
corruption. However, one issue affecting Health, Education, and Welfare that
young people was absent from comic would put it at odds with the CCA.
books—growing drug use. This was Recognizing the unique reach that
because any mention of drugs, even Marvel had when it came to young
if it was decrying the harm they could people, especially college students,
cause, was banned from comics produced the Nixon administration asked Lee
by any publisher that had signed up to the to include an antidrug story in one
Comics Magazine Association of America of Marvel’s titles. The obvious choice
i can and its rigid Comics Code Authority was Amazing Spider-Man, a book that
float--
fly like (CCA). This had been formed in 1954 was a major success story, reached an
a bird-- in response to a campaign by various appropriate readership for the subject
moral arbiters that accused comics of matter, and already had a history of
corrupting young minds with excessive tackling other significant social issues.
violence and horror themes. The result was the story arc “Green
The onus was on major publishers Goblin Returns!,” running through
to sign up to the CCA, because without Amazing Spider-Man #96–98 (May–July
its approval they ran the risk of losing 1971). Gil Kane’s cover art puts drug use
advertising revenue and being blacklisted front and center, showing the aftermath
On the edge by the wholesalers who put their comic of a young man having a bad trip and
Stan Lee and Gil Kane’s anti-narcotics story books on newsstands across the US. thinking he can fly off a building, although
depicts a young man in the grip of a drug-
Comics sanctioned by the CCA bore its readers might not have realized drugs
fueled hallucination jumping off a building.
Luckily for him, Spider-Man was swinging logo on their covers so that parents could were involved until they ventured inside
through the streets at just the right moment. be reassured that their children’s reading the comic. In the story, Spider-Man

they gotta
see-- see
how i walk
on the air--
Saved by the web

As Spider-Man arrives on the
scene, he is able to save the
delusional young man from
certain death. Spidey admits
to himself that, although he
may not understand why people
take drugs, he gets his own
kicks from being Spider-Man.
happens upon the unfortunate youth Despite the government directing

as he plummets from a great height Marvel to use the story, and despite
to what would have been certain all references to drugs being wholly
death if the web-slinger hadn’t been negative, the CCA refused approval for
on hand to catch him. The issue is Amazing Spider-Man #96. Lee, fully
peppered with antidrug messages, supported by publisher Martin Goodman,
including Spider-Man reflecting that decided that the story was too important
being addicted to drugs was far worse and published without approval for the
than fighting Super Villains. Stan Lee first time in Marvel’s history. The comic
knew that being too preachy would turn hit the stands without the CCA logo,
off his readers, so he astutely integrates as did the next two issues of Amazing
his gripping tale into an ongoing Spider-Man. Reception to the story
Green Goblin story line. The story’s was overwhelmingly positive and
have to impact is helped in no small measure prompted the CCA to revisit its rules
time it by Gil Kane and John Romita Sr.’s later that year and include a specific
just expressive, realistic artwork. section about the depiction of drugs.
right. Another character who voices strong Amazing Spider-Man #96 had changed
opposition to drugs is Randy Robertson, the future of comic books.
son of The Daily Bugle city editor Joe As the story arc developed, readers
“Robbie” Robertson. Randy confronts were further shocked when the drugs
Norman Osborn about the drugs crisis, problem hit Peter Parker much closer
demanding that the rich and influential to home. His best friend Harry Osborn,
there should be doing more to help. He also feeling depressed after his girlfriend
won’t persuasively argues that people see drugs Mary Jane seems to lose interest in him,
be a as a problem that comes from the black becomes addicted to pills. Peter has to
second community, when, in fact, it is young deal with the fallout of this at the same
chance. African Americans who are most time as battling his old adversary and
vulnerable to the pushers. Harry’s father, the Green Goblin. ■

“and i did understand---doubtless
more fully than pietro himself---
that suspicion is a deadly fungus,
festering and growing in fertile
soil---
“---that shrill voices

and pointed fingers
had made avenger
skeptical of avenger
---and mutant mis-
trustful of android . . .
"for, such is the “yet, even as i

beginning of hate-- drifted, thus
of prejudice--and lost in sombre
of the end of wisdom! thought---
“--i suddenly
passed thru
the gates
of hell--!
When worlds collide

In the 1960s, Neal Adams was considered
by many fans to be a comics iconoclast.
His daring design sense, thrilling page
composition, and realistic illustrations brought
a compelling authenticity to even the most
outlandish scenarios. Applied to a story that
draws together several hanging plotlines and
involving beloved heroes, political machinations,
sly satire, warring alien empires, and even
shape-shifting killer cows, the cumulative
effect was utterly mind-blowing.
104 Avengers #93

Avengers #93
November 1971
“ No one who’s ever read this comic has ever

forgotten it. Ant-Man’s fantastic and visually
stunning voyage inside the Vision was a thing
of wonder. Neal Adams’ body of Marvel work
is small, but this is its pinnacle.
Mark Waid ”
Editor in chief Stan Lee A s the 1970s began, Marvel overtook
the competition to become market
leader. Tastes had changed significantly
On Earth, Ronan’s actions triggered
a hidden robotic Kree Sentry, which
attacked Mar-Vell and the Avengers
Cover artists Neal Adams,
Tom Palmer since the launch of the Fantastic Four, while attempting to devolve humanity
and their diverse line now consisted of to the level of cavemen. The assault was
Writer Roy Thomas
western, humor, supernatural mystery, ultimately thwarted, but bystanders later
Penciler Neal Adams
fantasy, romance, and war titles. Many revealed the panic-inducing news that
Inker Tom Palmer were reprint anthologies of classic stories, extraterrestrials hid among us. Media
Letterer Sam Rosen which bolstered a Super Hero division outrage fueled public opinion, which
Editor Stan Lee of fewer than a dozen regular titles. Then turned against the heroes for concealing
Avengers writer Roy Thomas conceived an the threat of repeated alien incursions.
epic adventure that would revolutionize Incorporating a powerful allegory of
mainstream comics. There had been the anti-Communist witch hunts of the
extended story lines before, but never of 1950s, Thomas’ script brought riots to
the scope, sophistication, and ambition of American streets and created a political
the “Kree-Skrull War.” Avengers #93 was demagogue who captialized on the
the turning point in a lengthy saga that mayhem. Subpoenaed by the authorities,
began when exiled Kree warrior Mar-Vell castigated by friends and the public,
finally escaped the Negative Zone. the current Avengers—Vision, Scarlet
Mar-Vell originally came to Earth as a Witch, Quicksilver, and Goliath (aka
spy for the militaristic, intergalactic Kree Clint Barton, the former Hawkeye)—
Empire, but rebelled and became a valiant were helpless to prevent their mansion
protector of humanity. After a mission to from being wrecked by panicked protesters.
save his former homeworld, “Captain The heroes were eventually ordered to
Marvel,” as he was called at the time, was disband by founding fathers Thor, Iron
returning to his adopted home when he was Man, and Captain America. Or were they?
pulled into the antimatter universe known The crisis unfolds in this magnificent
as the Negative Zone. He found temporary double-length tale as Neal Adams and
release through dormant Kree Nega-Bands Tom Palmer assume art duties with “This
hidden on Earth. Atomically bonded with Beachhead Earth.” The Vision, ambushed
Rick Jones, Mar-Vell traded places with and reduced to a comatose state, is
the teenager whenever danger loomed recovered by Thor, Iron Man, Captain
but was drawn back to the Zone after America, and Hank Pym, the original
three hours. Following distressing months Ant-Man, who plans to reboot Vision’s
sharing one life, Jones and Mar-Vell finally artificial life processes via a breathtaking
separated, just as the Kree Empire’s ruling excursion through the synthezoid’s body.
Supreme Intelligence was overthrown by The Vision is successfully revived, and he
his own enforcer Ronan the Accuser. explains to his rescuers—who claim they
Avengers #93 105

straight from hank-- tell me you don’t
the--? mean what i think you---
tell
anything from
out here, old
buddy.
never benched the current team—that However, at the last minute, Mar-Vell
his team of Avengers were checking deduces that “Carol” is also an imposter
on Mar-Vell in a safehouse provided by and destroys the device, realizing it’s
intelligence officer Carol Danvers when a weapon that the Skrulls have coveted
they were attacked by the Fantastic Four! for millennia. Exposed as Super-Skrull,
Meanwhile, Mar-Vell and Danvers the powerful alien overwhelms Mar-Vell
awaken in shackles aboard a Skrull and cuts his losses, abandoning his
starship. Scarlet Witch and Quicksilver own warriors and blasting into space.
are also captives of the alien shape-shifters, Goliath comes close to stopping the
but Rick Jones and Goliath are still free. ship but loses his powers when the
As the latter are joined by the founding Pym growth serum wears off, allowing
Avengers, the Fantastic Four—soon Super-Skrull to escape with his captives.
revealed as Skrulls—attack again. Inside Defeated and despondent, the Avengers
the ship, Mar-Vell breaks loose and sets must now deal with two hostile alien
about constructing an Omni-Wave forces infiltrating Earth when they
Projector to contact his fellow Kree. are at their lowest point.
106 Avengers #93

but don’t
sweat it. i’ll
take along crosby,
stills, and nash
here.
if anything goes
wrong in there,
they’ll send back
for a posse---
i hope.
Fantastic voyage
Neal Adams’ revolutionary page
This complex and audacious blend Succeeding issues would take the
layouts and inspired imagination
of political intrigue, cosmic conflict, heroes to the hidden kingdom of Attilan, ran riot as he revealed for the
and sharp characterization confirmed the depths of interstellar space, and the first time the interior landscape
scripter Roy Thomas as a major creative Kree and Skrull homeworlds as Thomas, of the Vision, one of Marvel’s
force in comics. It also demonstrated Adams, and John Buscema redefined most popular and enigmatic heroes.
Thomas’ story-within-a-story also
the still-untapped potential of a largely the nature of humanity in the Marvel
completely reinvigorated the status
dismissed medium. Depicting Super Universe. The Kree-Skrull War even and appeal of Ant-Man—one of the
Heroes in such a mature manner and reinvigorated the faded careers of Rick company’s oldest characters, but
shading the action-packed story with Jones and Captain Marvel. At the time, one who had languished in the
literary devices showed what was this bold experiment was considered the background for many years.
possible. Each chapter references classic most significant story in Marvel’s history,
science fiction movies such as This Island setting the template and standard for
Earth and War of the Worlds, while the all multipart crossovers and publishing
political undertones of paranoia and events to come. Decades later, it remains
persecution mirrored the social unrest one of the most thrilling and dazzlingly
America was experiencing at the time. drawn sagas of its type ever conceived. ■
Avengers #93 107

Marvel Premiere #1
April 1972
“ Continuing Marvel’s tradition of reimagining

characters for the modern era, Thomas and
Kane transform the golden humanoid Him into
the messianic Adam Warlock in a revolutionary
tale of truth, hate, forgiveness, sacrifice,
metamorphosis, rebirth and destiny.
Bill Rosemann ”
Cover artists Gil Kane,

Dan Adkins
S uper Heroes were an invention of
comics’ Golden Age but plummeted
in popularity as the 1940s ended.
Surfer and Marvel’s championing of
issues such as civil rights and drugs
awareness, comic books had developed
Writer Roy Thomas
They returned in force in the mid-1950s, into a vibrant forum for debate and free
Penciler Gil Kane
and after Stan Lee and Jack Kirby expression, engaging youngsters in
Inker Dan Adkins revitalized the concept in the early 1960s, real-world issues relevant to them.
Letterer Sam Rosen costumed characters became a mainstay Roy Thomas took the next logical step—
Editor Stan Lee of the industry. However, as the 1960s drew and a big creative gamble—for Marvel
to a close, history seemed to repeat itself Premiere #1 when he transmuted an
and super-powered characters went into old Fantastic Four enemy into a potent
another steep decline. Popular appetites political and religious metaphor.
shifted significantly, but Marvel had always Debuting in Fantastic Four #66
offered variety and easily switched back (September 1967), “Him” was a
to traditional genres such as westerns, genetically modified, lab-grown man
supernatural mystery, and romance, which designed to conquer the world for his
had worked well for the company—as Atlas diabolical creators. He fled Earth for outer
but not man as he
man as he ought to Comics—in the immediate postwar era. space, initiated a naive clash with Thor
was. be- - -
Employing the tactic again in the 1970s for possession of his girlfriend, Sif, and
rather,
man as he didn’t signal that Marvel was abandoning ultimately returned to his all-encompassing
could have
been- - - Super Heroes, just that it was looking at cosmic cocoon to heal and further evolve.
more interesting and sophisticated ways For Marvel Premiere #1, Thomas,
to use them. At this time, Stan Lee was penciler Gil Kane, and inker Dan Adkins
transitioning from writer-editor in chief spectacularly reimagined the star-bound
to publisher, and Roy Thomas was being nomad as a fantastical interpretation of
groomed to take his place overseeing the the Christ myth, placing him on a troubled
day-to-day comics publishing. With Super world far more like that of the readers
Heroes now a riskier proposition, they than the Earth of the Marvel Universe.
devised three new titles—Marvel Spotlight, “And Men Shall Call Him... Warlock!”
Marvel Feature, and Marvel Premiere— begins with Him’s cocoon being salvaged
to test new concepts and revamp old ones, by self-made god the High Evolutionary.
Unnatural selection with a minimum of expense and resources. While undertaking a bold new experiment,
Obsessed geneticist Herbert Edgar Wyndham These tryout titles would allow Marvel to the ascended biologist interrupts his
mastered the processes of evolution and mission to investigate the strange stellar
cautiously gauge reader response before
created armies of ascended beings from simple
animals. He only reluctantly advanced himself
committing to full series launches. debris, allowing the creative team to retell
to virtual godhood when his mortal body was Thanks to more thought-provoking the artificial man’s origins and battles.
fatally wounded by his rebellious test subjects. titles like Lee and John Buscema’s Silver After retrieving the cocoon, the High
108 Marvel Premiere #1

Men like gods
Roy Thomas’ encyclopedic ,
ore
knowledge of the Marvel Comics nc em gleaming his bronzed
,o g
Universe allowed him to deftly mix Antdhe benin- - is flesh, born in nighted
previously unconnected characters i
h caverns- - -
w i tr e e ! !
and events into a seamless whole. f
And the sheer grace and force of ---resplendent
Gil Kane’s art and Dan Adkins’ crisp his armor and ornaments,
new-woven about him as
inking imparted enormous dynamism naturally as had been
and depth to anything the scripts the cocoon itself.
required. Whether encapsulating an
origin or delivering a memorable
splash page, the creative team
delivered maximum thrills.
Evolutionary resumes his project:

constructing a duplicate Earth on the now- - he
far side of the Sun. This paradisiacal speaks:
planet would harbor a human race that
has never experienced violence or evil.
Him observes everything from within his you!
stellar womb and sees how, at the final wolf that
walks like
stage, the science-god’s greatest past mockery of
mistake, Man-Beast, intervenes, forcing a man!
this idealized version of mankind to repeat
every mistake and atrocity of the original.
Bursting from the cocoon, the
outraged Him drives off Man-Beast
stand
and his minions, and when the High away
Evolutionary attempts to erase his from the
one who
sabotaged world-building experiment, gave you
life!
Him begs to be allowed to save humanity
on this “Counter-Earth” from the
wickedness in their midst and in their
nature. Grudgingly, the High Evolutionary
agrees and gives the would-be redeemer
a gleaming stone to aid him. This Soul
Gem will eventually prove the ruination
of the messianic Adam Warlock, as Him
would become known, and a crucial
element in many future cosmic sagas.
Warlock’s trials on Counter-Earth
closely reflected the situations and
conflicts readers were experiencing in real
life, and the metaphor of super-science but, even that thunderous voice is scarcely
heard amid the missing and snarling of those
as modern divinity added a challenging flailing animal forms---as savage talons
edge of philosophical inquiry to the tale. rip and slash at the high evolutionary---
The sombre mood and off-Earth locations
make Marvel Premiere #1 the first truly
cosmic adventure and one that set the
scope and tone for all successive sagas. ■
Marvel Premiere #1 109

Luke Cage,
Hero for Hire #1
June 1972
“ Remember how Spider-Man learned in his

first appearance that there was more to heroing
than money? Luke Cage was 180° away from
that. He saw it as a way to earn a living which,
Editor in chief
Cover artist
Stan Lee
John Romita Sr.

when you think about it, makes perfect sense.
Peter David ”
Writer
Penciler
Archie Goodwin
George Tuska
I n 1972, Marvel did something that
no other comics publisher had done
before—it gave a black Super Hero
further enhanced when Marvel hired
African American Billy Graham to work
on the title. Graham started out on
Inker Billy Graham his own comic book title. Luke Cage, inking duties, with the additional brief of
Letterer Skip Kohloff Hero for Hire #1 broke new ground, adjusting Tuska’s pencils where needed
Editor Stan Lee but Marvel was not just doing the right to accurately portray black characters.
thing. The House of Ideas also considered As the series continued, Graham’s
the book a sensible business decision. involvement grew, until he was
In the early 1970s, there was a new contributing pencils and significant
“sure, we was rivals over reva . . . movement in cinema—the so-called chunks of the plotting for each issue.
“blaxploitation” genre, which in turn Luke Cage was not exactly a boy
had been born from the previous decade’s scout. Growing up on the streets of
Black Power movement. On their release Harlem, New York City, he had survived
in 1971, movies such as Sweet Sweetback’s any way he could, falling into a life of
Baadasssss Song and Shaft captured the crime with his best friend Willis Stryker.
public imagination. Shaft, in particular, While Stryker was known for his skill
was a breakout hit among all audiences, with knives, Carl Lucas, as Cage was
not just African Americans. Marvel, then called, was unbeatable with his
always quick to recognize the way the fists alone. Eventually, Lucas grew tired
cultural winds were blowing, decided to of his life, always running, always
create its own hero to tap into the same fighting, and decided to go straight.
market. And, highly unusual for a Marvel This drove a wedge between him and
Super Hero, Luke Cage actually sought Stryker that was only worsened when
payment for his good deeds. they both fell for the same girl, Reva.
... but still friends. The creators assigned to the job were At first, Reva chose Stryker, but when he
an’ what kinda man writer Archie Goodwin and penciler was badly beaten by gangsters, she turned
won’t lay it on the
line for a friend? George Tuska, with considerable input to Lucas for help. Stryker blamed his
from Roy Thomas and John Romita Sr., former friend for poisoning Reva’s mind
Friend in need the latter designing Luke Cage’s costume: against him and set Lucas up in a drug
Luke Cage was not the kind of man to a shirt open to the waist, with various bust. While Lucas languished in prison,
abandon a friend, and he rushed to save metallic accessories, including a chain Stryker wormed his way back into
Willis Stryker from violent gangsters.
around his midriff. The chain, like his Reva’s life, causing her death when
The art by George Tuska and inks by
Billy Graham capture the mean streets
new name, was intended to remind Cage she was caught in the crossfire of a
of Harlem and Cage’s frantic, instinctive of his time behind bars for a crime he gangland shoot-out. From his prison
rush to fight for those to whom he is loyal. didn’t commit. The creative team was cell, Carl Lucas vowed revenge.
110 Luke Cage, Hero for Hire #1

Breakout
Bold colors add impact to George then, searing skin, crawling flesh, can
Tuska and Billy Graham’s dynamic endure no more . . . !
art for Luke Cage, capturing the
moment when the hero discovers
his powers. The vivid color clash
conveys the chemical accident that fists frantically
gives Cage his super-strength and hammer metal . . .
invulnerability. Shortly after this
iconic scene, Cage uses his new
abilities to escape from prison.
Luke Cage’s origin story bears many

similarities to Captain America’s all those
years before. Thinking it might lead to
early release, Lucas volunteers to be a
guinea pig for a prison experiment. He is
injected with some form of virus and then
shut into a chemical bath through which
electricity is passed. However, as the ...as
experiment progresses, a racist guard who electronic
harbors a grudge against Lucas interferes, power hits
causing the chemical reaction to increase. the
Lucas bursts out of the steel container, overload
discovering that not only does his body point...
seem impervious to damage but that he
is also super-strong. Knocking out the
guard, he breaks out of jail and flees.
On the run and struggling to find work
without proper ID, Cage realizes that his
newly acquired strength could in fact help
him become a “Hero for Hire.” Adopting
a new name and costume, Luke Cage even
has business cards made. At the cliff-hanger
conclusion of Luke Cage, Hero for Hire #1,
his cards fall into the hands of ruthless
gang boss Diamondback, who turns out
to be his childhood “buddy” Stryker.
At first, Luke Cage, Hero for Hire
performed well, but as the blaxploitation and there is
craze faded, so did sales. Sales later sudden, explosive - -
revived after Cage’s title was united with
Iron Fist, which had been created to
capitalize on the popularity of kung fu. -- release!
The partnership between the two heroes
would blossom and see them feature
in the Marvel Universe regularly. ■
Luke Cage, Hero for Hire #1 111

Marvel Spotlight #5
August 1972
“ Ghost Rider scraped the zeitgeist of the early

’70s, combining motorcycles and the occult to
create a character who became more than the
sum of his parts. [His] flaming skull made him
one of Marvel’s most recognizable icons.
Tom Brevoort ”
F ollowing a 1971 revision of the Comics
Code Authority (CCA) rules, comic
books were allowed to include stories
and the supernatural. Johnny Blaze would
very much be tapping into the zeitgeist.
Books like Marvel Spotlight clearly
Cover artist Mike Ploog
about classic horror characters, such showed Marvel starting to transition from
Writer Gary Friedrich as vampires, werewolves, and ghouls, the Silver to the Bronze Age of comics
Penciler, inker, Mike Ploog although zombies were still not permitted in tone and style. Ghost Rider exemplified
colorist because they were not considered part the company’s newfound confidence with
Letterer Jon Costa of the literary monster genre. Marvel horror themes, particularly satanism,
Editor Stan Lee
Comics immediately began exploring the which would not have been possible even
possibilities this change opened up. 18 months previously. Satanism was
At the time, Stan Lee was transitioning beginning to carve out a presence in public
from writer-editor to publisher. One of awareness, both in wider society and
the ways in which he wanted to make his popular culture, with the Church of Satan
mark was by starting new titles, including being founded in California in the late
Marvel Spotlight. Lee conceived this as a 1960s, not long before Rosemary’s Baby
place to test new characters before deciding (1968) became a critical and box-office
whether they merited titles of their own. success. And, for the moment, the
The second issue saw the debut of one heightened moral concern known as the
of the company’s new monster characters, satanic panic was still a decade away.
Werewolf by Night. A few months later, Marvel Spotlight #5 opens with a
...he has you have called... Marvel Spotlight #5 featured the debut moody, dramatic introduction to Ghost
arrived!! and satan has
answered! from of a dark supernatural being, who would Rider. The genius of the character is his
the depths of go on to become a major character in the unforgettable appearance, a cool biker with
hell... i come to
aid him who will Marvel Universe—Ghost Rider. a flaming skull, which Marvel later cleverly
serve me! Created by writer Gary Friedrich and linked to the legend of the headless
editor Roy Thomas, who were childhood horseman. The suit was inspired by the
friends, and artist Mike Ploog, Johnny black leather outfit donned by Elvis Presley
Blaze was a stunt motorcycle rider who for his 1968 “Comeback Special.” Artist
found himself on the wrong side of Mike Ploog wanted to keep Ghost Rider’s
everyone. The character capitalized on the suit as dark as possible but included
popularity of the real-life Evel Knievel and highlights so that the character’s movement
his daredevil motorcycle jumps, as well as would still be clear. Gary Friedrich also
the biker movies that traded on the public’s cited Marlon Brando’s iconic appearance
Prince of darkness fascination with rebel bikers like the Hells in the biker movie The Wild One, as well
Marvel Spotlight #5 was Satan’s first
Angels. In fact, by the late 1960s and early as actor James Dean, as inspiration for
named appearance in the Marvel
Universe. He later reveals himself
1970s, a subgenre of these films, such as Johnny Blaze when he is in human form.
as the demon lord Mephisto in one Satan’s Sadists (1969), had emerged, that After this first glimpse of the character,
of his many hellish guises. mixed motorcycles with horror, satanism, the issue details his backstory. After Blaze’s
112 Marvel Spotlight #5

The Devil rides in
Mike Ploog’s polished,
expressive artwork perfectly
caught the moody, supernatural
menace of the Ghost Rider.
A relative newcomer to Marvel
at the time, Ploog quickly
established a name for himself
on a number of horror titles,
including Werewolf by Night,
The Monster of Frankenstein,
and Man-Thing.
father, also a stunt rider, dies in a motorcycle

accident, young Johnny is raised by his
employers, Crash Simpson and his wife.
Growing up, Johnny falls in love with their
the
...
ghost
daredevil daughter, Roxanne. When Crash
is later found to be dying of cancer, Johnny
summons Satan, pledging his soul to save
Crash from the disease. Soon afterward,
Crash dies, not from cancer, but while
rider!
attempting a record-breaking jump, and
the devil comes to collect. Satan curses
Johnny to become his grim emissary during
the hours of darkness—the Ghost Rider.
Ghost Rider was initially considered as
a potential villain for the hero Daredevil,
but on reflection, Marvel’s decision-makers
felt that the character warranted more
than just a bit part. The name had been
used for a character in western comics
back in the 1940s, and when its trademark
elapsed in 1967, Marvel picked it up for a
revival of the western hero, also created by
Friedrich and Roy Thomas. Following the
success of the motorcycle-riding Ghost
Rider, his cowboy predecessor was
renamed the Phantom Rider.
Marvel Spotlight #5, starring Johnny
Blaze as the tortured motorcyclist who had
sold his soul to the devil, was a hit with
readers, and Marvel moved swiftly to
commission a new Ghost Rider title, the
first issue of which was published in June
1973. While the company was still known
mainly for its straightforward Super Hero
titles, Ghost Rider showed that Marvel
could widen the scope of its offerings to
reach new readers who wanted stories
about darker protagonists. ■
Marvel Spotlight #5 113

Amazing
Spider-Man #121
June 1973
“ [A] story that went where no previous

Super Hero adventure had ever dared
Editor in chief Roy Thomas to go, and in the days before internet
Cover artist John Romita Sr.
spoilers it was as shocking to the
”
Writer Gerry Conway
Penciler Gil Kane
readership as anything ever done.
Inkers John Romita Sr., Tom Brevoort
Tony Mortellaro
A
Colorist Dave Hunt mazing Spider-Man #121 is one was less popular with fans than Mary
Letterer Artie Simek of the most famous issues in comic Jane Watson, being seen as too perfect.
Editor Roy Thomas
book history. It is so significant that many Her dramatic departure would set up
fans believe it marks the end of the Silver more interesting narrative possibilities
Age of comics and the start of the more as Peter Parker would suffer from guilt
modern, grittier Bronze Age. Titled and loss, and a desire for revenge.
“The Night Gwen Stacy Died,” the The villain who puts Gwen Stacy in
startling plot was conceived to boost harm’s way is Spider-Man’s old nemesis
sales, which it did alongside much the Green Goblin (Norman Osborn),
controversy. It also followed Stan Lee who had recently recalled Spider-Man’s
moving up to the role of publisher and true identity after a bout of amnesia.
handing over writing duties of the two He kidnaps Gwen to draw out Spider-
titles closest to his heart—Fantastic Four Man, taking her to the top of a bridge
and Amazing Spider-Man. The year was (depicted as Brooklyn Bridge but
1972, and the man who would take on the described as George Washington Bridge
unenviable task of following both Stan Lee in the text) and waits for the hero to
and Roy Thomas as Spider-Man writer arrive. Sure enough, Spider-Man tracks
was Gerry Conway, then aged just 19. down the Goblin but cannot stop him
His first issue would be Amazing Spider- using his glider to knock an unconscious
Man #111 in August of that year, but Gwen from the bridge. Spidey shoots
Conway really made his mark the a web-line after her and grabs her leg,
following year, when he helped devise halting her fall, but the sudden stop
a death that shocked readers to the core. breaks Gwen’s neck and kills her.
To reinvigorate the title, it was decided Following Gwen Stacy’s death, there
that one of the web-slinger’s regular was an outcry from fans. It was truly
Tragic twist supporting characters should be killed momentous for such a major character
Artist Gil Kane’s shocking splash page is
off, and although others like Aunt May or to be killed off in this manner, with the
one of the most iconic images in comics.
It is only here, on the last page, that the
Harry Osborn were suggested, Conway hero of the comic also failing to save her.
issue title was revealed, so that the surprise and artist John Romita Sr. felt that it Stan Lee, who was frequently the face of
twist was not revealed too early. should be Gwen Stacy. At the time, Gwen Marvel Comics at outside events, had to

Fateful decision
The controversy around Gwen
Stacy’s death was increased by
writer Gerry Conway’s decision
to insert the “Snap!” sound
effect next to her neck in the
panel where Spider-Man’s web did
stops her fall, leaving little
doubt that it is the web that
it!
kills her. His failure to save
her could be attributed to his
abilities being dulled by a heavy
cold, which is clearly affecting
his skills earlier in the issue.
spider-
powers,
i
love
you!
not only
am i the
most
dashing
face the lion’s share of criticism over the hero on
story, and so he asked the creative team to
two
legs--
bring her back. Conway refused to simply
resurrect the real Gwen in some contrived
way, as he felt it would undermine the
authenticity of the story, but he eventually
agreed to write in a clone of Gwen.
This would eventually lead to the Clone
Saga story line of the mid-1990s
The issue was an instant must-read
and became one of the most important
parts of Spider-Man lore. The follow-up
issue, Amazing Spider-Man #122 (July
1973), proved nearly as shocking as its
predecessor. It saw the grieving hero
almost beat Green Goblin to death in
a vengeful rage, before the villain was
accidentally impaled by his own glider
as he tried to use it to kill Spider-Man.
The manner of Gwen’s death has been
homaged many times in subsequent
Spider-Man comic books and films,
with other characters taking her place
and Spidey, having learned from terrible
experience, using multiple web strands
to save them. The death is also notable
for being final—although clones of Gwen
Stacy have appeared since, her death
as it tragically happened in Amazing
Spider-Man #121 still stands. ■

Jungle Action #6
September 1973
“ If you enjoyed the Black Panther movie, this

is a must-read comic: the first appearance of
Killmonger that climaxes with him throwing
the Panther off a waterfall. Sound familiar?
Peter David ”
S even years after debuting in Fantastic
Four #52 (July 1966) and following
sterling service as an Avenger, the
and he returns to his beleaguered
homeland. A shrewd and ruthless foe,
Killmonger possesses superior technology
Editor in chief Roy Thomas
Black Panther won his own solo series and employs well-armed, and even
Cover artists Rich Buckler,
Frank Giacoia
at a time when issues of race and equality super-powered, minions. He also trades
were boiling over in America’s news on and stokes growing anxieties among
Writer Don McGregor
media and in the country’s riot-riven Wakandans that the world is changing too
Penciler Rich Buckler
streets. Previously, King T’Challa’s quickly and that T’Challa, their secular
Inker Klaus Janson appearances in the Avengers, Daredevil, and spiritual leader, has abandoned them.
Colorist Glynis Wein and other titles had provided star writer The opening chapter “Panther’s Rage”
Letterer Tom Orzechowski Roy Thomas many opportunities to sees T’Challa stumble upon Killmonger’s
examine prejudice, black identity, and soldiers torturing an elderly villager.
Editor Roy Thomas
gang culture, but always in an American Despite his best efforts to stop them, he is
setting, with Wakanda regarded as a too late. The devout, devoted subject dies
distant, fantasy paradise. in his arms, swearing he never lost faith in
For Jungle Action #6, writer Don his chieftain. In the palace, the king is
McGregor and penciler Rich Buckler plagued by guilt and harangued by his
took their cues from international events, own inner circle. They may have helped
concentrating on everyday life in that him modernize Wakanda, but all still cling
scientifically advanced African country. to tribal ways and traditions. Ideological
They portray the isolated, secretive wrangling and criticism of his actions is
kingdom of Wakanda as an emergent further exacerbated by T’Challa’s choice
nation and part of a continent in transition. of companion. American singer and social
Their radical vision establishes the Black activist Monica Lynne might be the king’s
Panther as more than a Super Hero. chosen consort, but as an outsider, she
He is also a leader with the burdens and is resented by many in his inner circle.
obligations that entails, guiding millions However, there’s no time for strained
of people. Set in a land that has never feelings as Killmonger’s forces strike
known white men, this also affords the again, destroying a village sympathetic
creators’ opportunity to work with a to the ruling Panther Cult. When word
cast of almost exclusively non-white arrives that his wily, elusive enemy waits
characters—a first in modern comics. at the sacred Warrior Falls, T’Challa
Conscience of the king Since coming to America, T’Challa rushes into battle but is shockingly and
Although brimming with violent action and had been torn between his duties as an swiftly defeated, hurled over the precipice
spectacular combat, many of the most Avenger and his regal responsibilities. to his doom by his hulking, ferocious foe
memorable moments in Jungle Action #6
That all changes when a charismatic and his attack-leopard Preyy.
are fleeting, intimate scenes exploring a
character’s humanity. Most moving of all is
demagogue named Erik Killmonger One of Marvel’s earliest multipart
T’Challa’s failure to save a tortured subject: foments rebellion in Wakanda, making epics, “Panther’s Rage” also remains one
a faithful stranger he cannot name. the Black Panther’s decision far clearer, of the most powerful. Spectacular battles
116 Jungle Action #6

African nightmare
McGregor and Buckler worked
closely on “Panther’s Rage,”
tbelieved
he panther had only half
w’kabi’s dire
premonitions, for
discussing scenes long into the whispered threats hint
night as McGregor posed for of melodrama. . .
many of the cast. Both fervent
anti-racists, they were greatly
concerned about utilizing a . . . but he does
not doubt those
savage villain who seemed to words any longer!
confirm many unwelcome
racial stereotypes. The iconic
result was a complex enemy
who epitomized everything
the rationalistic, spiritual
T’Challa opposed.
are deftly counterbalanced by intimate my diversion

insights into family life, destabilizing did not keep you
occupied as i’d
culture shocks, and a desperate search hoped!
for identity in an all-too-rapidly changing but, if you

desire my
world. Crucially, all these themes are presence ,
then look
introduced in this opening installment well--for
it’ll be
and carefully built upon over the next your last
kingly act!
two years by McGregor and Buckler, killmonger
and the latter’s artistic successors Gil is--here!!
Kane and Billy Graham. The fierce war
of wills for Wakanda’s body and soul
concludes where it started, at Warrior
Falls, in Jungle Action #17 (September
1975), with a chilling and moving epilogue
detailing the price of defeat and the cost
of victory in the subsequent issue.
Killmonger is a terrifying villain with
lucid, credible motives underpinning
his remorseless, Machiavellian actions.
His subordinates are complex, capable
individuals and a match for Wakanda’s
king and his equally well-characterized
loyalists. The protagonists and antagonists’
internal conflicts are also maturely
handled with McGregor’s introspective
approach allowing readers access to the
private thoughts of all involved.
“Panther’s Rage”—the comic story
and the novel it became—offered
sophistication seldom seen before in
comics. Here were engaging characters
defined by more than a change of color
palette: heroes with flaws, villains with
redeeming qualities, and friends and
lovers acting like real people in times
of extreme crisis. All this is depicted in
a comic story that maintains the demands
of Super Hero storytelling by being hugely
exciting and unforgettably exceptional. ■
Jungle Action #6 117

Amazing
Spider-Man #129
February 1974
“ This issue introduces the Punisher—one of

Marvel’s most recognizable characters—and
the Jackal—a villain who’d haunt Spidey for
decades. But it also looks at how tragedy, grief,
Editor in chief Len Wein

and rage can affect even our greatest heroes.
Ryan Penagos ”
Writer
Penciler
Gerry Conway
Ross Andru A fter Stan Lee gave up his regular

scripting assignments to become
Marvel’s publisher in 1972, and following
the Marvel Universe itself. Both would also
remain enigmas for months to come. In this
fast-paced tale, the Punisher is a mysterious
Inkers Frank Giacoia,
Dave Hunt a short stint on Amazing Spider-Man justice-obsessed judge and executioner in a
Colorist Dave Hunt
#101–104 (October 1971–January 1972) pact with costumed mastermind the Jackal.
by writer Roy Thomas, teenaged science- Their mission is to kill Spider-Man—
Letterer John Costanza
fiction novelist and relatively untried ostensibly for murdering Norman Osborn.
Editor Roy Thomas comics scripter Gerry Conway took over After an inconclusive clash between
helming two of Marvel’s biggest draws: Spidey and the Punisher—who, in this first
Thor and Spider-Man. Conway’s tenure foray, uses fancy gadgets rather than simply
on the latter resulted in some of the most bullets—Jackal murders the gunman’s
significant story lines in the hero’s long private armorer and frames the web-slinger
and storied history. One issue in particular for the deed, in the hope of motivating his
. . . and the L ikehis namesake, the wiry man stands out as a watershed moment. conflicted accomplice. Following another
in the dark green costume waits
time is not
yet r i p e till his foe’s back is turned, and Amazing Spider-Man #129—illustrated brutal battle, Spidey shows the Punisher that
Then--
for the
world to by Ross Andru, Frank Giacoia, and Dave the Jackal had set them both up and they call
learn
about the Hunt—sees the web-slinger in a downward an uneasy truce. Spider-Man returns to his
jack a l .
spiral as Peter Parker mourns the loss of his troubled life, pitying the unstable vigilante,
murdered girlfriend, Gwen Stacy. He is who stoically returns to the shadows,
also being harassed by his boss, J. Jonah adding Jackal to his list of prospective kills.
Jameson, who is behind a media campaign Later issues would reveal the Jackal as
to paint Parker’s wall-crawling alter ego Parker’s mentor and college tutor Professor
as Norman Osborn’s killer. Peter thinks Miles Warren. He had developed a fixation
he is the only one who knows the truth: with Gwen and, blaming Spider-Man for
Osborn, as the Green Goblin, died due her death, set upon a path of bloody
to his own murderous actions. Spider-Man retribution. Warren also discovered the
doesn’t know that his best friend Harry hero’s identity after classroom genetics
Osborn witnessed the final fight and is experiments, and cloned both Gwen Stacy
slowly descending into a madness as deep, and Peter Parker, precipitating decades
Ambush predator deadly, and goblin-tainted as his father’s. of confusion by creating a horde of killer
As befits his cunning nature, the Jackal’s In this charged atmosphere, “The clones, including aberrant arachnid heroes
fist meeting with Spider-Man is a
Punisher Strikes Twice!” abruptly debuted Ben Reilly and Kaine Parker.
punishing and near-fatal sneak attack.
In fact, the embattled wall-crawler
two new characters—both motivated by The Punisher made even greater waves.
never once lays eyes on the manic hatred and revenge—who would make the Conceived by Conway and first realized by
mastermind in the entire issue! wall-crawler’s life a living hell and reshape Marvel art director John Romita Sr. and

now
what?
oh, no- - it’s
you again!
won’t you
ever quit?
not while
you’re still
alive, punk!
ee e eyo w!
not while
i’m called- -
the
punisher!
Acts of vengeance
artist Ross Andru, he was originally dubbed more used to show how a good man can “The Punisher Strikes Twice!” is a
“The Assassin,” a comic book response to a turn bad. In years to come, the Punisher’s study in pain, with the leads consumed
popular trend in action novels in the early relentless, ruthless spirit would see him take by retaliation and retribution. At this
1970s. These all featured returning Vietnam on and best most of the Marvel Universe. stage, readers are unaware why the
Punisher and Jackal are so obsessed
veterans using their training to battle Later Spider-Man stories revealed
with vengeance, but its grip on them
crime as urban vigilantes. After more than that Norman Osborn had not died, and has made them fanatics. In contrast,
a decade as an increasingly popular guest he soon returned as the Green Goblin to although Spider-Man has exacted
star in many Super Hero titles, in 1986, once again plague Spider-Man. Similarly, revenge for Gwen’s death, it has
The Punisher won his own comic, and Miles Warren would also rise from the brought him no peace, only anguish
and emptiness.
changed the definition of what a hero meant grave several times in his ever-escalating
in the Marvel Universe. The soul-searching, war against Peter Parker and his loved
self-critical, driven, former marine had no ones, employing a hidden empire of
backstory as yet, and when it arrived later in clones, monsters, and even multiple
the decade, horrific family tragedy was once copies of Gwen Stacy. ■

Captain Marvel #33
July 1974
“ In just 18 mind-bending pages, Starlin and

Englehart [assembled] all these classic characters...
for a cosmic trip of desperate heroes and mad
gods that still inspires storytellers today.
Bill Rosemann ”
C aptain Marvel is a name that carries
comic book prestige but was one
that Marvel did not utilize until its 1968
Moondragon. Ultimately, reality’s fate
hung on an uneven final battle between
Mar-Vell and Thanos. As the “Thanos
expansion. Since applying for the War” progressed, Mar-Vell was
Editor in chief Len Wein
transformed from a warrior hero into
trademark in October 1967, the House
Cover artist Jim Starlin of Ideas has always had a character a cosmically aware, divinely appointed
Writers Jim Starlin, attached to the name—ranging from Protector of the Universe, destined to
Steve Englehart alien warriors to earthborn Super Heroes. be a champion of life in its darkest hour.
Penciler, Jim Starlin In an era of growing social unrest and The Mad Titan was a fanatical lover of
colorist anti-war sentiment, Stan Lee, Roy Thomas, Mistress Death and hungered to give
Inker Klaus Janson and artist Gene Colan created a dutiful but her Earth as a betrothal gift. Using
Letterer Tom Orzechowski disaffected alien soldier named Mar-Vell. a reality-warping Cosmic Cube, he turns
Sent by the intergalactic Kree Empire himself into a supreme being controlling
Editor Roy Thomas
to spy on Earth, he gradually rebelled all reality and removing all opposition
against his militaristic training to become a to his reign. However, Thanos’ gloating
life-affirming Super Hero. For much of his overconfidence allows the cosmically
time on Earth, Mar-Vell was physically and enhanced Mar-Vell to outmaneuver and
psychically bonded to teenager Rick Jones eventually defeat his near-omnipotent foe.
while his body languished helpless in the As well as a master class in plotting
Negative Zone. He could only escape for and nonstop action, Captain Marvel #33,
brief periods thanks to the atom-switching the saga’s concluding chapter, sharply
properties of ancient Kree Nega-Bands. expressed Starlin’s philosophical and
Although the series was fresh and spiritual beliefs, which struck a chord with
engaging, it never really caught on with young readers at a time when they were
fans, and was canceled and relaunched increasingly questioning the status quo.
several times, establishing some permanence Starlin’s run on the title also proved to be a
only when writer-illustrator Jim Starlin creative peak for the character. Although
took over. He fashioned a cosmic saga of a string of subsequent creators dispatched
conquest, death, obsession, and love that the hero across the universe with varying
introduced one of comics’ most enduring, success, the cosmic spark was never fully
complex villains: Thanos of Titan. rekindled. Eventually, editorial decisions
Starlin’s epic affected every corner of the led to the creation of a new Captain
Marvel Universe, spanning Captain Marvel Marvel and the demise of Mar-Vell. Starlin
#25–33 (March 1973–July 1974) and was asked if he would do the honors: the
included key episodes involving Iron Man, result was The Death of Captain Marvel
Cosmic combat the Thing, Daredevil, and the Avengers. (April 1982), the first Marvel Graphic
Although mind-blowing concepts and bizarre
The saga also introduced new characters Novel. Its publication would further signify
situations bombard readers at every turn in
the epic finale, Starlin adheres to the prime
Drax the Destroyer, Eros (aka Starfox) and the transition of comics from cheap
directive of Super Hero storytelling. A big finish Mentor of Titan, and reshaped former villain disposable entertainment to a valid literary
demands dramatic and dynamic illustration. Madame MacEvil as heroic demi-goddess medium with a mature readership. ■
120 Captain Marvel #33

Love and Death
Although comics are a marriage of image
and text, often the most effective moments
come when dialogue is absent. Here, in a
multi-panel cinematic sequence zooming
out and back in to an extreme close-up,
Starlin sums up Thanos’ warped obsession
as forever doomed and ultimately pointless.
Mistress Death, the personification of
eternal rest, always has the last laugh.
Captain Marvel #33 121

Incredible Hulk #181
November 1974
“
No one knew at the time that we were
seeing the introduction of one of Marvel’s most
popular characters... Wolverine became the
most renowned X-Man in the Marvel stable.
Peter David ”
I ncredible Hulk #181 is now one of the
most valuable comic books in existence.
It attained this status for one important
Wendigo or the mighty Hulk, who has
traveled to Canada. Hulk is puzzled by
the “little man” but decides that if he is
Editor in chief Roy Thomas
reason—it is the first full appearance of attacking the Wendigo, then they can
Cover artists Herb Trimpe,
John Romita Sr. the character Wolverine. The creators did be friends. So he is all the angrier when
not know it at the time, but the Canadian Wolverine turns on him after the Wendigo’s
Writer Len Wein
mutant would go on to become one of defeat. Hulk eventually gets the better
Penciler Herb Trimpe
Marvel’s most popular characters ever. of Wolverine on this occasion.
Inker Jack Abel Wolverine was created by writer Len Wein The creators were not sure at the time
Colorist Glynis Wein and Marvel art director John Romita Sr., of publication whether Wolverine would
Letterer Artie Simek while the art duties on this issue fell to go on to have a life of his own in comic
regular Hulk penciler Herb Trimpe. At the books, or whether he was doomed to be
Editor Roy Thomas
time Incredible Hulk #181 was published, a minor character in the Hulk’s adventures.
mutants had fallen from favor in Marvel’s But just in case, they included an important
books, with the X-Men title printing only part of his backstory in this first appearance.
reprints of older stories. But Hulk writer The main narrative cuts away to a Canadian
Len Wein decided to take a chance on military installation to reveal that Wolverine
introducing a new mutant character— is also known as “Weapon X” and has
an uncannily astute call as it turned out. been honed, on government orders, into
Editor Roy Thomas asked Wein to a formidable fighter. The people who sent
create a new character, named Wolverine, Wolverine after the Hulk reveal that they
who would be short of stature and temper, are still worried about his mental state,
like the Canadian animal from which he hinting not only at the character’s
took his name. John Romita Sr. designed unpredictability but also the suffering
Wolverine’s costume, giving him a black he may have experienced in life.
nose and whiskers on the mask, to resemble Wein felt that volatility was at the heart
the markings of a real wolverine, as well as of Wolverine’s nature. He later said that
his trademark Adamantium claws. While Wolverine always professed not to care
his claws were fully extended throughout about anything, but his actions made it clear
this issue, Romita later confirmed that he that he cared deeply for those around him.
intended them to be retractable, worrying Wein had suffered from poor health from
about how Wolverine would perform the time he was a young child and first fell
simple tasks without injuring himself. in love with comic books when reading
Wolverine’s first appearance was in the them while he was in hospital. Wolverine’s
Face off last panel of the previous issue, but it was popularity with fans was cemented when
An intense close-up enables Herb
not until Incredible Hulk #181 that fans Wein used him as part of the hugely
Trimpe to capture the anger on Hulk’s
face before zooming out to take in the
really got to see what he could do. Despite successful X-Men reboot in 1975. Since
fight between the two formidable but his size, Wolverine unhesitatingly attacks then, the character’s position among
short-tempered antiheroes. either the monstrous, almost invulnerable Marvel’s greats has been undisputed. ■

w e n- d i- g o !
--and hulk
does not
want hulk’s
new friend
to be hurt -- incredible!
the hulk threw
--not the wendigo
even by with force enough
accident! to uproot a stand
of trees--
--but the
woodsbeast
is still
conscious!
the hulk did his best, but

it just wasn’t good enough-- with the savage ferocit y of
the creature for which he is
--so it’s up to me named, the wolverine hurls
to finish this himself upon the furry
little donnybrook-- n ig h tm a r e .
and fast!
there is a shrill hissing

as his adamantium talons
flash thru the air--a sick-
ening thwuck as they
strike--
Tag team
Hulk and Wolverine impressed each other on
their first meeting with their mutual strength
against the formidable Wendigo. These panels,
drawn by Herb Trimpe, almost shake with the
effects of the titanic battle, while Len Wein’s
captions reveal that Adamantium was part
of Wolverine’s story from the very start.

m ere words could never begin to
describe the sheer unbridled
savagery of the battle that
follows--
--so we won’t
even at tempt
it here!
Mutants united
Past and present unite to make the X-Men bigger
and better than ever, thrillingly depicted in this
splash panel by Dave Cockrum, with inks from
Cockrum and Peter Iro, and colors from Glynis
Wein. The fight against the mutant island Krakoa
is the first time the all-new, all-different X-Men
have came together in battle, and, having freed the
original X-Men, all the mutant heroes put their
differences aside to defeat the living island.
124 Giant-Size X-Men #1

Giant-Size X-Men #1
May 1975
“ The first appearance of the modern-day

X-Men. Storm, Nightcrawler, Colossus… never
have so many popular heroes been introduced
in one issue. It led to the relaunch of the
monthly comic and there was no stopping
Editor in chief Marv Wolfman

the mutants from that point on.
Peter David ”
Cover artists
Writer
Gil Kane,
Dave Cockrum
Len Wein
T here are few comic books more
pivotal to the history of Marvel
than Giant-Size X-Men #1. In 1975, the
The new team debuted in Giant-Size
X-Men #1, which, as the name suggests,
was larger than standard comics and
Penciler, Dave Cockrum X-Men were in the doldrums, their title contained 68 pages, some of which
inker having been used only for reprints for carried reprints. The opening story
Colorist Glynis Wein five years. But the team’s status as one introduces readers to the new lineup,
of the less popular Marvel properties as Professor X travels around the world
was about to change in a major way. making contact with some extraordinary
Editor Len Wein
Marvel president Al Landau was at the mutants and recruiting them to the team.
time maximizing the company’s potential The second chapter sees the new X-Men
in international markets, and he believed back at Professor X’s Westchester
that there would be money to be made mansion, meeting Cyclops, the only
with new characters hailing from some member of the original team still there.
of the countries where Marvel comics The absence of the others is used as
were sold. He met with editor in chief a plot device to bring the new characters
Roy Thomas, who suggested the X-Men into the fray, as Professor X and Cyclops
as the perfect vehicle for such a diverse need them to help rescue the other original
group of new heroes. Writer Len Wein, X-Men from the island of Krakoa.
who had already created the Canadian At the mansion, the team is outfitted in
mutant Wolverine for just such an new costumes, the creation of which was
occasion, was brought on board to come one of artist Dave Cockrum’s special
up with more global mutants, as was skills. Cockrum would come up with
in-demand young artist Dave Cockrum. multiple different options for each new
Wein and Cockrum devised four outfit, tweaking small details over and
entirely new characters for the X-Men: over until he got it just right. However,
the Russian Colossus, the German one aspect of the heroes’ attire that was
Nightcrawler, the Kenyan Storm, and not Cockrum’s idea was the elongated
the Native American Thunderbird. points on Wolverine’s new cowl. This was
They also brought in three characters a mistake by Gil Kane, the artist who
who had already been created for use in drew part of the cover for the issue, but
other titles—Banshee, an Irish mutant; Cockrum liked the effect so much that he
the Japanese Sunfire; and, of course, reworked all the panels he’d drawn for
Wolverine. The new team was dubbed “All the inside pages, altering Wolverine to
New, All Different,” a phrase that became match Kane’s “error.” On the cover,
an integral part of the Marvel lexicon. Cockrum drew the old X-Men almost
Giant-Size X-Men #1 125

in shadow, while their new counterparts,
drawn by Kane, appeared to burst iam the bigwig, wolverine.
through the page. It is a classic cover professor charles xavier
composition that has been much at your service.
homaged in later X-Men books.
The early interactions of this exciting am I
new team were characterized mainly by supposed
bickering, as the individual members to be im-
quickly got to know each other and
pressed?
found out who they hit it off with and
who rubbed them the wrong way.
Writer Len Wein included an early hint
of the tension that would always exist
between Wolverine and Scott Summers—
even before Jean Grey is on the scene.
Grey and the other original X-Men are
trapped inside the island, which the
others soon realize is a mutant itself.
Krakoa is feeding off their energy and
deliberately let Cyclops escape so that he
would bring more mutants for it to feed
on. The two teams join forces to defeat
Krakoa before returning to Westchester,
their destinies now forever linked as
teammates and X-Men.
Wein’s original intention was to
continue the adventures of these new
X-Men in the quarterly, giant-size format.
However, Giant-Size X-Men #1 was such
a massive hit that plans were quickly
changed, and Marvel brought the X-Men
title back as a bimonthly standard comic.
Writing Incredible Hulk and performing
his editing duties left Len Wein little
time to be writing another new title,
however, and he passed the X-Men on
to writer Chris Claremont. The latter had
contributed to the editing of Giant-Size apparently the
X-Men #1, and so was more than ready top brass is impressed,
to step in and take the team forward. wolverine. all i know
Claremont would remain with the title, is that the professor is
taking it to even greater heights, for
here to make you some
an extraordinary 16 years.
The impact of Giant-Size X-Men #1
sort of offer!
was such that it caused a wave of mutant
Offer of a lifetime
mania among comic book fans. Indeed, Artist Dave Cockrum’s simple, bold panels
some commentators see the release of capture a historic mutant moment, when
this issue as the true start of the Bronze Wolverine meets Charles Xavier for the
Age of comics—an era-defining moment. first time. Although Wolverine does not
exactly welcome Professor X’s approach
It built the foundations that would catapult
with open arms, he is eager to escape the
the X-Men to the top rank of Marvel clutches of the Canadian military.
heroes, ensuring the misunderstood
mutants a bright future for decades
to come on both page and screen. ■
126 Giant-Size X-Men #1

an offer, eh? okay. i’ll you, my friend, are a
prof--you’ve piqued come mutant -- and i have
my curiosit y. what’s straight need of mutants--
the deal? to the
point
then.
i know of
your recent
battle with
the hulk*--
and, moreover,
i know of
your powers.
--desperate
* in hulk # 181.--len. need!
Giant-Size X-Men #1 127

Amazing
Spider-Man #149
October 1975
“ Amazing Spider-Man #149 concludes what

is sometimes known as “The Original Clone
Editor in chief Marv Wolfman Saga.” Gerry Conway [tied] up his story arc
Frank Giacoia with a strong finish. His introduction of the
Writer Gerry Conway Spider-Man clone, and the backstory of the
Gwen Stacy clone, would have long-lasting
Penciler Ross Andru
”
Inker Mike Esposito
Colorist Janice Cohen effects on Spider-Man’s future.

Letterer Annette Kawecki
Melanie Scott
Editor Marv Wolfman
W riter Gerry Conway had already

made an indelible mark on Spider-
Man history after scripting the death of
Conway’s ingenious solution was to
create a clone of Gwen Stacy, identical
in nearly every respect to the original.
Gwen Stacy in Amazing Spider-Man #121 The clone was introduced in Amazing
(June 1973). By summer 1975, Conway Spider-Man #144 (May 1975), although
was coming to the end of a long stint on Spider-Man himself didn’t learn that she
Spider-Man, and Amazing Spider-Man was a clone until three issues later.
#149 would be his last issue before he The villain in Amazing Spider-Man
moved on to other titles. It turned out #149 was the Jackal, another Conway
to be another hugely significant part of creation. Although he had first appeared
the wall-crawler’s mythos. a year earlier, his secret identity was not
Reaction to the death of Gwen Stacy revealed until the end of Amazing
had been mixed. While it was a milestone Spider-Man #148 (September 1975).
moment in comic book history, with Miles Warren was Peter Parker and
far-reaching ramifications, many readers Gwen Stacy’s brilliant college biology
had been disappointed to see the demise professor, who had debuted in Amazing
of Gwen. One of those “readers” was Spider-Man back in 1965. After his
Marvel publisher Stan Lee. He urged unmasking as the Jackal in the previous
Conway to bring Gwen back somehow, issue, Warren explained to Spider-Man
Separate paths but the writer was loath to simply resurrect how he had secretly always loved Gwen
Gwen Stacy’s clone realizes that she is not the character exactly as she had been. Stacy and, grief-stricken by her shocking
the true Gwen Stacy, and so neither she nor He felt that it would weaken the original death, set about creating her clone.
Peter Parker are the two young people who
story and that fans might also feel cheated His plan was to assume his Jackal identity
had been in love years before. Artist Ross
Andru captures the poignancy as Peter bids
by an easy “do-over,” and editor in chief and defeat Spider-Man to punish the hero
“Gwen” goodbye for a second time, as she Roy Thomas and Amazing Spider-Man for causing the real Gwen’s death—while
leaves to make a fresh start. #121 artist John Romita Sr. agreed. the “new” Gwen watched.

... i don’t know
what the gag is,
but i’m not
laughing! neither
am i ,
handsome.
either you
tell me where the
jackal is hiding,
and what he’s done
with gwen and ned
leeds, or i’ll--
Double take
Miles Warren’s transformation into
the insane Jackal happens at the
same time as he is using his
biological genius to create clones
However, Amazing Spider-Man #149 important thread of Peter Parker’s of Gwen Stacy and Peter Parker.
was most significant for revealing that story—his relationship with Mary Jane The ensuing Spidey encounter
Gwen Stacy was not the only person Watson. Still in its infancy at the time with himself is one of the most
whom the unstable Miles Warren cloned. the Gwen Stacy clone reappeared, the important in the history of
Spider-Man comics.
After Spider-Man was drugged by the couple’s future togther seemed to have
Jackal, he woke to find himself looking been placed in serious jeopardy. The last
at... himself. This was the first appearance panels see Peter return to his life with
of the Spider-Man clone who, although MJ after bidding farewell to “Gwen” and
not named in this issue, would go on putting his love for her into the past.
to reappear decades later as the Scarlet Yet one crucial thread left unresolved
Spider (Ben Reilly). Although both the was the true fate of Spider-Man’s clone.
clone and the Jackal seemingly died at As Spider-Man and the clone faced off
the end of the issue, Warren’s elaborate at Shea Stadium, the Jackal caused an
machinations behind the scenes ensured explosion in which he and one of the
that they would both feature again in Spider-Men were apparently killed.
Spider-Man’s adventures. It was assumed that it was the clone who
Amazing Spider-Man #149 concludes had died and the original Peter Parker
what is sometimes known as “The who had lived. However, when Gwen
Original Clone Saga.” Gerry Conway Stacy’s clone asked the survivor how
wanted to tie up his story arc—and his he could be so sure that he was the
run on the title—with a strong finish. true Spider-Man and not the clone,
His introduction of the Spider-Man he couldn’t answer. After all, they had
clone, and the backstory of the Gwen both believed themselves to be Spider-
Stacy clone, would have long-lasting Man. This ambiguity created a loophole
effects on Spider-Man’s future. But the that would be famously exploited in the
very end of the issue belongs to another Clone Saga of the 1990s. ■

Howard the Duck #1
January 1976
“ A wildly subversive book tapping into the

underground comics ethos of the time, Howard
brought satire to the Marvel Universe through
the eyes of its most grounded character...
who just, you know, happened to be a duck.
Chip Zdarsky ”
Editor in chief
Cover artists
Gerry Conway
Frank Brunner,
H oward the Duck is perhaps the most
notable example of how Marvel
Comics in the 1970s vastly expanded its
at all, and was not exceptionally brave,
intelligent, or heroic. So whenever he
confronted and even defeated a villain,
Glynis Wein remit to encompass the most weird and it was usually by accident or luck. He also
Writer Steve Gerber wonderful characters. Howard was a didn’t live in New York City like most
Penciler, Frank Brunner very bad-tempered alien from a planet other Marvel heroes but was stranded in
colorist called Duckworld, populated by talking Cleveland, Ohio, from where he subverted
Inker Steve Leialoha ducklike beings with arms instead of comic book traditions and tropes.
wings. He first appeared in Adventure into The story in his debut issue was a
Fear #19 (December 1973), alongside smart spoof of another, highly successful,
Editor Marv Wolfman
the Man-Thing, and intended to be just Marvel character at the time—Conan the
a joke about absurdity. But the character Barbarian. Based on a character created
struck an immediate chord with readers by pulp writer Robert E. Howard in the
and was used again in both Man-Thing 1930s, Conan was a consistently top-
and Giant-Size Man-Thing. Howard’s selling title produced by some of Marvel’s
...an’ i’m i t . or something
like th-- apparent death prompted outrage among elite talents. In Howard the Duck #1,
hey, this’s fans and so he was brought back for the cantankerous mallard is swept up
weird. the
wall’s made
his very own title in January 1976. in a sword-and-sorcery adventure with
outta
pl astic--
Writer Steve Gerber, who created a difference. He dons armor and a horned
old credit Howard with artist Val Mayerik, was one helmet to take on the evil wizard Pro-Rata,
cards!
of the comic book world’s wild cards. who is trying to become the most powerful
what is His work was a mixture of tragicomedy, accountant in the universe.
this place?!
why--? social and political satire, and absurdity. The cover for the issue was drawn by
Howard the Duck proved to be an ideal Frank Brunner with colors from Glynis
conduit for Gerber’s vision, an outsider Wein and depicts the main female character,
who could look at Earth and its inhabitants Beverly Switzler, in an outfit closely
with a mix of detached cynicism and resembling that of iconic Conan character
incredulity. Howard’s predicament was Red Sonja. Joining Beverly and Howard on
summed up by the tagline most frequently the cover is Spider-Man, woven into the
used on the covers of his adventures: story to encourage a wider reading audience
“Trapped in a world he never made.” for this new title. Fan favorite artist Brunner
Where credit’s due Howard was a revolutionary character and inker Steve Leialoha adopt a lushly
Steve Gerber took satirical pot shots at
consumer excess and even his Marvel
in the Marvel Universe. Although he was rendered cartoon-like style for the interior
bosses as Howard discovers the tower extra-ordinary by virtue of being from pages, the subject matter of which is clearly
is built on credit card debt. another planet, he had no super-powers aimed at an adult audience. The opening
130 Howard the Duck #1

Settling accounts spider-man!! - - or He means it!
Using an established, popular
character like Spider-Man was a
i’ve no notion
what you’re die!! he’s gonna kill
the guy! unless--!
doing here--
tried and tested way of instantly
attracting readers to a new title.
--but i shan’t
Whether the web-slinger’s presence waste amenities
helped sales or not, Howard the on the likes of
you! give me
Duck #1 was a smash hit. that key--
scenes show Howard driven to such despair

that he plans to kill himself by jumping
from a tall tower. When he begins climbing
the tower (unlike Earth ducks, Howard
cannot fly), he discovers that it is actually
made from thousands of credit cards—
a monument to capitalism and debt.
Clambering through a window, sp oi le d
his aimja
by the rring
Howard discovers a young woman being impact of the
held prisoner by a madman. The woman sc ab ba rd --
is Beverly Switzler, who, as the series
progresses, becomes Howard’s companion
and possible love interest. The two are
sent by Pro-Rata to another dimension
to retrieve a key for the financial wizard’s
cosmic calculator. They obtain the key,
and Pro-Rata brings them back but also --pro-rata’s
lets in a monstrous Bahndbird by mistake. mystical bolt
sails over
As Pro-Rata and Howard argue over the the web- i’ll worry
slinger’s later
key, Spider-Man stumbles upon the scene. head-- over
whether
It turns out that his alter ego Peter Parker i believe
has been sent to Cleveland by The Daily this.
Bugle to photograph a rumored talking
mutant duck. Howard rescues Spider-
Man from Pro-Rata’s magic and is --into the murkish
about to sacrifice himself to kill the cuyahoga,
igniting the
wizard when Spidey returns the favor volatile for now, i’ll
pollutants just make sure
and saves the duck’s life. therein! none of us
The genuinely trailblazing Howard the becomes
dinner for
Duck #1 was an instant hit, notching up polly parrot
here!
exceptional sales figures. Howard now
occupied a beloved niche in the Marvel then maybe i
pantheon, becoming a cult classic who can help out
the little guy
has even made cameo appearances in who saved
my life!
the Marvel Cinematic Universe. ■
Howard the Duck #1 131

The Eternals #1
July 1976
“
Kirby unleashed! This premiere issue
marked the return of “The King” to Marvel,
and he blew fans’ minds with over-the-top art
and colossal concepts as he introduced
Editor in chief
Writer,
Marv Wolfman
Jack Kirby
us to the world of the immortal Eternals.
C. B. Cebulski ”
I
penciler n 1968, the publication of Erich Von aforementioned licensed adaptations, new
Inker John Verpoorten Däniken’s bestselling book Chariots of runs on established characters he had
Colorist Glynis Wein the Gods sparked a wave of global interest co-created—Captain America and Black
Letterer Gaspar Saladino
in the hypothesis that humanity had been Panther—reuniting with Stan Lee for an
visited in ancient times by extraterrestrials, out-of-continuity reimagining of the Silver
Editor Marv Wolfman
who bestowed their advanced technology Surfer, and devising three new series: Devil
on the civilizations of the time. A few Dinosaur, Machine Man, and The Eternals.
months later, Stanley Kubrick explored The Eternals #1, “The Day of the
similar concepts in his seminal science Gods,” finds aging anthropologist
fiction film 2001: A Space Odyssey. Daniel Damian and his daughter, Margo,
The idea was eagerly leapt upon by exploring a lost city in the Peruvian Andes.
contemporary psuedoscience and made Here, they make a remarkable discovery,
global headlines in populist media. thanks to their enigmatic guide, Ike Harris,
Marvel was unusually late to jump on who walks them through vast chambers
the trend with their take on the subject in filled with derelict statues, time-worn
“Man Gods from Beyond the Stars” in friezes, and immense machinery, all
their first mature-reader Marvel Preview confirming Damian’s theories that
magazine in July 1975. But the following aliens visited Earth in ages past. Harris’
year, Jack Kirby, Marvel’s foremost artist knowledge of the find is explained as he
and conceptualist ran with the idea. He relates how extraterrestrial visitors known
wrote and drew not only a treasury-sized as Celestials evolved proto-hominids into
adaptation of Kubrick’s cinematic classic three distinct species: human beings;
and a new series extending the movie’s monstrous, inventive Deviants; and
story but also his own mythic saga godlike super-beings, the Eternals.
The Eternals. Melding current theories The guide’s real name is Ikaris, and he
about early alien visitations with his own is an Eternal. He joined the researchers
ideas about the origins of life and heroic to activate an ancient beacon and confirm
legends, Kirby crafted a dramatic that Celestials are returning imminently
Evolutionary leaps First-Contact adventure that pulsed to check up on their experiments.
The forced elevation of primordial apes to a with a sense of wonder and rewrote the Throughout prehistory, Eternals faced
higher biological status is a potent, recurring
history of the Marvel Universe. opposition from Deviants. These genetically
theme in Marvel comics. Variations of this
process created The Inhumans, transformed
When Kirby returned to Marvel at the unstable, infinitely variable horrors ruled the
Greer Nelson into Tigra, and underpinned end of 1975, he was granted editorial free planet in the antediluvian past, their dire
the experiments of the High Evolutionary. rein on his projects. These included the actions and appearance imprinting
132 The Eternals #1

beneath the high plains of the
aNDes, this secret place, like
its builders, has been lost
to history... but now it lies
exposed once more--
dwarFing its discoverers
with cyclopean grandeur...
my every
Instinct led
me to the
right
passages,
doctor damian!
the legendary
i’ll record chamber of the
it on film gods!! i-its dimensions
for you, are overwhelming!
right now!
it’s all here as

you predicted,
father --the
galaxy plaque
of the incas --
their space god
and his craft --
carved in stone...
Eye of the beholder

themselves upon humans as the basis of the Hulk in later issues. However, Jack Kirby’s Eternals succeeds
of monsters and devils. After several successive creators incorporated Celestials, through a thrilling combination of
millennia in the shadows, the Deviants, Deviants, and Eternals into the fabric scope and scale, both in concept
and imagery. The sheer power of the
too, are active once more, tracing Ikaris’ and structure of their own stories, which
uncovered artifacts and the potential
location in a desperate attempt to prevent would ultimately come to underpin the for disaster as the Space Gods arrive
the Celestials’ return. They are too late. entire cosmology of the Marvel Universe. are visually majestic. The shock
In many ways, The Eternals #1 is The Eternals perfectly encapsulated and awe only increase in later issues
reminiscent of the first issue of Fantastic and examined Jack Kirby’s manifold when the Celestials are revealed to
be more than 2,000 feet tall!
Four. The heroes wear no costumes, the fascinations—deities, the cosmos,
story simply introduces the players and the origins of myth, and the forces of
sets the stage, leaving readers in huge Supernature—all viewed through the
anticipation of the returning Space Gods, lens of flawed, deeply human observers.
who begin their landing approach only on The breathtaking scope of Kirby’s
the final page. Moreover, the diabolical, storytelling, refined by his successors,
monstrous Deviants completely steal the have been rewarded with popular acclaim
show. Kirby saw his tale as occurring in recent years. In 2020, The Eternals
outside Marvel continuity, and only will become the 25th Marvel Cinematic
sparingly incorporated familiar elements Universe release, bringing Kirby’s
such as S.H.I.E.L.D. and a robot replica expansive vision to a wider audience. ■
The Eternals #1 133

What If? #3
June 1977
“One of the best-written, best-looking

Marvel comics of the decade. Jim Shooter’s
raw-edged story gave the early Avengers
a new depth of character, and the art of
Gil Kane and Klaus Janson was electrifying.
Mark Waid ”
Editor in chief Archie Goodwin F rom its earliest days, Marvel Comics
embraced many fascinating and
fanciful science-fiction concepts that
Jones cannot balance the enormous
power disparity. Even augmented with
Stark technology, the makeshift squad are
Joe Sinnott have since gained scientific credence unable to control their armored suits and
Writer Jim Shooter and popular acceptance. The most again decide to go their separate ways.
Penciler Gil Kane story-rich has always been the idea of With no other choice, Iron Man rashly
alternate worlds and parallel dimensions. overcharges his own armor and tackles
Inker Klaus Janson
In comic book terms, the notion of the outlaws alone. Despite the last-minute
Colorist George Roussos
various versions of favorite Super Heroes arrival of his former comrades wearing
Letterer Denise Wohl clashing with “themselves,” or the most the armor he made for them, and the
Editors Archie Goodwin memorable villains acting as noble unstable Hulk turning on Namor, the
champions is irresistible. After years outcome is death for Tony Stark and the
of stories about convergent planes and escape of both savage foes. In their wake,
did it!
divergent futures with alternate Ben they leave behind heartbroken allies who
come on, hank!
it’s all on the
Grimms, Squadron Supremes, or Doctor will carry on in Iron Man’s name but
line, now--! all
up to you!
Dooms, the concept was formalized never be the founders of Earth’s Mightiest
by editor in chief Archie Goodwin at Heroes. Packed with blistering action,
the end of 1976. The result was a series powerfully told, and vividly illustrated,
of extra-long (usually) stand-alone stories “What If the Avengers Had Never Been?”
under the umbrella title What If? is a resonant, thought-provoking drama
Written by future Marvel editor in perfectly recapturing the fractious
chief Jim Shooter and illustrated by Gil temperament and unpredictably abrasive
Kane and Klaus Janson, What If? #3 natures of the characters at the time.
remains one of the most moving and What If? was hosted by cosmic
memorable of the series. “What If the chronicler Uatu the Watcher, representative
Avengers Had Never Been?” returns to of an immortal race of godlike beings who
the pivotal moment the Hulk petulantly began recording all universal events soon
quits the team during its second after the birth of creation. The Watchers
adventure. The divergence manifests debuted in Fantastic Four #13 (April
when, instead of hunting for him as they 1963) as the first of many hyper-
did in Avengers #3, Thor, Iron Man, advanced extraterrestrials in the Marvel
Death of a hero Giant-Man, and Wasp argue about what Universe. With his observatory located
After overcharging his armor to battle Hulk to do next. When Hulk teams up with on Earth’s moon, Uatu, like the rest
and the Sub-Mariner, Tony Stark sacrifices
Namor the Sub-Mariner to smash his of his race, adopts a strict code of non-
his last ergs of energy to reenergize and save
dying comrade Giant-Man. The crucial power
former allies, the Thunder God is absent. interference—though he invariably breaks
transfer fatally drains his own life-sustaining A last-minute reconciliation between the that oath as often as not to protect the
chest plate and Iron Man perishes. human heroes and the addition of Rick humans he has been assigned to observe.
134 What If? #3

Marvel masterwork
Gil Kane was a master of dynamic
anatomy, peerless in depicting the
sheer power embodied in Super
Heroes. Refined and augmented by
Klaus Janson’s dramatic inking, the
fleeting moment of triumph when
Tony Stark’s technology and
courage beat the unstoppable
Hulk has huge visual impact.
Uatu’s brief also included watching all

of Earth’s adjacent dimensions and possible
futures. This allowed readers to witness key
moments in Marvel history that diverged
from recorded continuity. The concept
is potent and evergreen. Many one-off
What If? stories have been retrofitted into
the greater whole, such as Jane Foster
becoming the female Thunder God Thordis,
the Avengers beginning in the 1950s, or
the ongoing career of second-generation
Spider-Girl Mayday Parker. All of these
were eventually spun off into their own
mainstream series. With the huge success of
the Marvel Cinematic Universe, What If?
has also been co-opted for the small screen,
with major movie moments being revisited
and taken in strikingly different directions.
The ever-extendable concept has also
allowed occasional moments of brilliantly
surreal absurdity in stories such as Jack
Kirby’s “What If the Fantastic Four were the
Original Marvel Bullpen?,” Frank Miller’s
“What If Daredevil was Deaf instead of
Blind?,” and cartoonist Fred Hembeck’s
grab bag of spoof yarns in What If? #34
(August 1982), which included “What If
Black Bolt got the Hiccups?”and “What
If the Watchers in all the Realities got
Together and Watched Watchers Watching
Watchers...?” Since its debut in February
1977, the multitude of characters created
over 13 volumes of What If? have been h
“ opelessly grounded in the stagnant,
designated as inhabitants of alternate Earths brine-filled pool, the hulk writhed
in an infinite Marvel Multiverse, one in in utter agony as iron man sent a
high-voltage electric charge crackling
which Earth-616 is where mainstream from his transistorized gauntlets!”
Marvel continuity takes place. ■
What If? #3 135

Avengers Annual #7
August 1977
Marvel Two-in-One
Annual #2
December 1977
“ These annuals represent the climax to the

first and best series of story lines featuring
Thanos. The Mad Titan was killed here with
finality, and would stay dead for ten years,
until his creator Jim Starlin was convinced
to bring him back for another go-round.
Tom Brevoort ”
F or most of its existence, the comic
book industry has operated on the
principle of never-ending story lines.
In an issue of his own series, Warlock
had even participated in the moment of his
future self’s death, and although his title
In an ideal world, the absorbing dramas was canceled soon after, readers wouldn’t
and spectacular battles would run forever have to wait long to experience that
from issue to issue. However, that seldom prediction coming to pass in a grand
happens as reading tastes or other crossover crisis. Marvel had long-ago
economic factors usually afford most pioneered guest shots where established
creations a fixed longevity and shelf life. stars met to collaborate or clash, and
Editor in chief Archie Goodwin When Marvel began, the traditional game this had quickly led to story lines that
Cover artist Jim Starlin plan for comics publishers was to develop began in one title and carried over into
Writer, Jim Starlin the best characters and craft interesting another. Ultimately, these far-reaching,
penciler adventures around them for as long as sales-boosting crossovers, which also
Inker Josef Rubinstein possible. However, as an interlinked reinforced the impression of a shared
continuity grew, a new idea formed: heroes universe, would evolve into epic events
Colorist Petra Goldberg
with a finite life span and whose demise such as “The Infinity Crusade” and
Letterers Tom Orzechowski
would be a crucial aspect of their appeal. “The War of the Realms.” These events
(Avengers Annual),
Annette Kawecki Although never declared as such, the would impact on and unfold in nearly
(Marvel Two-in-One) hyper-evolved artificial human Adam every Marvel title simultaneously.
Editor Archie Goodwin Warlock was always shrouded in the The Warlock crossover by Starlin and
brooding solemnity of a tragic hero. inker Joe Rubinstein began in Avengers
When Jim Starlin assumed creative control Annual #7 with “The Final Threat.”
of his tangled life story, the saga of the The story saw Kree Protector of the
troubled interstellar nomad attained mythic Universe, Captain Marvel, and psychic
proportions as it was steered toward a goddess of Titan, Moondragon, drawn
darkly nihilistic and definite ending. back to Earth with a vague presentiment
136 Avengers Annual #7 / Marvel Two in One Annual #2

When heroes rise
Although Jim Starlin’s most
popular works address issues
of death and other metaphysical
quandaries, he never neglects to
deliver pulse-pounding Super
Hero action. However, even
though the greatest heroes of
Earth and their allies can take
down space thugs, they are
helpless against an all-powerful
Thanos. Stopping the Mad Titan
will need the intervention of a
champion from beyond death.
Avengers Annual #7 / Marvel Two in One Annual #2 137

the explosive
flash blinds
everyone
momentar-
ily, but
even when
their vision
clears, none
are quite sure
they should
believe what
their eyes see.
of impending cosmic catastrophe. long enough to free the Avengers, which

Meeting at the Avengers Mansion, their allows the Great Powers of Creation time
ominous premonitions are confirmed to resurrect Warlock. Destined to become
when Adam Warlock arrives bearing news the Universe’s Champion of Life, he
that death-obsessed Thanos has amassed seemingly ends the Titan’s threat forever
an alien armada from the criminal dregs before returning to the peace of the grave.
of many worlds and built a Soul Gem At the time, this powerful story
powered weapon to snuff out the stars. appeared to complete a mythic cycle of
Tracking down the invasion fleet and heroism, and even deliver a just end for
boarding Thanos’ ship, the united heroes one of Marvel’s most experimental and
battle mightily to thwart the plan and long-suffering characters. Warlock was
prevent the Mad Titan from destroying a tormented hero who battled corruption,
Earth’s Sun—but they win only at the intolerance, universal evil, and even his
cost of Warlock’s life. As he had foreseen, own dark nature. Under Jim Starlin’s
the final moment was a welcome ending guidance, he had grown into a truly
and allowed the weary warrior to find his intriguing, soulful character for whom
deserved rest beside all his dead friends fans came to care deeply. His fittingly
within his own predatory Soul Gem. dramatic and poetic death was carefully
It appeared the threat was over, but orchestrated and beautifully rendered
Marvel Two-in-One Annual #2 proved by Starlin and inker Josef Rubenstein.
otherwise as “Death Watch!” finds Peter Editor in chief Archie Goodwin ensured
Parker bedeviled by prophetic nightmares. its revered status by allowing the extended,
These reveal how Thanos has snatched stand-alone story to span two annuals.
victory from defeat and now holds the Warlock’s welcome embrace of death
Avengers captive while again preparing to presaged Starlin handling of Mar-Vell’s
extinguish Sol as an offering to his beloved passing years later. Yet, ultimately, sales
Mistress Death. Anguished, disbelieving dictate whether even the most fallen heroes
Spider-Man borrows a spacecraft from are recalled to life if a fresh approach can
the Fantastic Four and heads into space, be found and readers demand it. Both
accompanied by the Thing who also has Warlock and Thanos were resurrected—
a history with Thanos. Although completely more than once—with Starlin returning
outmatched, the duo upset Thanos’ plans to the cosmic fold to spin their epic tales. ■
138 Avengers Annual #7 / Marvel Two in One Annual #2

before them
had stood
thanos, proud,
powerful,
ruthless, and
mere heart-
beats from
victory. now
in that exact spot,
moments later,
stands the massive
titan transformed
into solid granite.
Fitting finale
Filled with portents of foreboding and
the threat of galactic Armageddon, the
story of Adam Warlock’s second death
culminates with his ascension into a fiery
avatar of life and Thanos’ transformation
into cold unfeeling stone.
Avengers Annual #7 / Marvel Two in One Annual #2 139

Iron Man #128
November 1979
“ This is the issue that first [saw] Tony hitting

the bottle a bit too heavily, which would later
be greatly expanded on. His armor could
protect him from everything… but himself.
Peter David ”
I ron Man #128, aka “Demon in a Bottle,”
is quite simply one of the most famous
comic book story lines of all time. It had
Iron Man #128 sees Stark reach a new
low when he dons his armor while drunk
and attempts to help the police with a
such a major impact on the portrayal of derailed train carrying dangerous chemicals.
Editor in chief Jim Shooter Tony Stark that it is impossible to imagine Iron Man fails to properly judge the weight
him now, in comics or on screen, without of the tanker he’s lifting, and it crashes to the
Cover artist Bob Layton
this being part of his past, his psychological ground, leaking poisonous gas. The Avenger
Writers David Michelinie,
makeup. In the late 1970s, writer-artist Bob flees the scene in disgrace. At home,
Bob Layton
Layton and his good friend, writer David drowning his sorrows in a bottle again, Stark
Penciler John Romita Jr.
Michelinie, were relative newcomers at is confronted by his bodyguard Bethany
Inker Bob Layton Marvel, but they were nonetheless given Cabe, angrily telling him to let his friends
Colorist Bob Sharen free rein on Iron Man. Layton later said help before he kills himself. Although his
Letterer John Costanza that they made a great creative team on instinct is to push her away, Tony breaks
Editor Roger Stern
Iron Man as he was a longtime fan of the down, begging her for help. She stays with
character while Michelinie was not, so him while he goes cold turkey and finally
they combined in-depth knowledge with gets a handle on his alcoholism. Later, he
a fresh perspective. And they decided that apologizes to and reinstates Jarvis, and
they wanted to examine the man inside resolves to deal with his problems without
the armor a little more closely. the “courage” he derives from hard liquor.
Tony Stark was a man who seemed to The issue was unprecedented in its
have everything, so what happens when depiction of how far its titular hero had
things go wrong? Iron Man #128 was the fallen. Although addiction had been dealt
culmination of a nine-issue story arc that with a few times in comic books in the
had seen all aspects of Stark’s life spiral into 1970s, it had never been the main character
crisis. His company was facing a hostile who was the addict. Bob Layton’s striking
takeover, his Iron Man armor kept cover for Iron Man #128 was truly
malfunctioning, and he was personally shocking, showing Tony Stark, partially clad
under threat of assassination. Layton and in his Iron Man armor, staring in horror at
Michelinie had noted that Stark was well his own disheveled reflection, an open
known for his billionaire playboy lifestyle bottle beside him. When Layton and
and the social drinking that might entail, Michelinie had gone to Marvel editor in
so they felt alcohol would be an obvious way chief Jim Shooter to run their controversial
for him to try to relieve his stress. As Tony story line past him, he had given them the
drank more, it began to have serious green light, albeit with one condition—do
ramifications, including firing his loyal it well. The critical reaction to “Demon in
and long-serving butler, Jarvis, at the end a Bottle,” which included an Eagle Award
of Iron Man #127 (October 1979). for Favorite Single Comic Book Story, and
Alcoholism, not some exotic Super Villain, its important legacy for not only Iron Man
was his worst enemy, and it was one that but for comic book history as a whole
his genius could not easily conquer. confirms that they did indeed do it well. ■
140 Iron Man #128

Demon drink i n modern times, addiction withdrawal has come to
John Romita Jr. was leaving be thought of in animal terms: “monke y on my back”,
the Iron Man title after this “cold turke y,” etc. and bethany cabe soon learns why, as
she listens to a mature, sophisticated pl ayboy’s doglike
issue, and he certainly went whimpers, his pleas for “just one drink”-- and then
out with a bang. One of the suffers his feral anger and abuse when she refuses.
unusual artistic highlights
was this full-page montage
showing Tony Stark
experiencing alcohol
withdrawal with Bethany
Cabe on hand to help.
The busy page captures
Stark’s manic energy and
his struggle against
the enemy within.
F or days,
the stalemate
rages--
-- until at long,
long last, emotional
blocks begin to crack,
then crumble --
--and tony stark

spills his pent-up
pain like milk from
a split pail . he
sighs, he shudders... The purging helps. with
and he shares. encouragement, he returns
to his life’s work. And though
the lines occasionally squirm
and curve even when etched
carefully with a t-square--
a nd some days later, at avengers

mansion...
thanks for coming,
beth- - and thanks
for everything. i
hope you don’t
mind waiting in
the lounge- -
-- it is, in
the end, a
beginning.
Iron Man #128 141

X-Men #137
September 1980
“What Amazing Spider-Man #121 had

Editor in chief Jim Shooter
Cover artists John Byrne, Terry Austin
Writers Chris Claremont, been to a prior generation, X-Men #137 was

to the successive one, as the long-running
John Byrne
Penciler John Byrne
Inker Terry Austin saga of the Dark Phoenix culminates

Colorist Glynis Wein
in the self-sacrifice of Jean Grey...
”
Letterer Tom Orzechowski
Editors Jim Salicrup, an unforgettable classic.

Louise Jones
Tom Brevoort
“O nce upon a time, there was a

woman named Jean Grey, a man
named Scott Summers. They were young.
However, the terrible crimes she
has committed need to be answered for.
In the opening scene of X-Men #137,
They were in love. They were heroes.” all the X-Men are forcibly brought
X-Men #137 is arguably writer Chris aboard the warship of the Shi’ar empress
Claremont’s finest work on the title he Lilandra so that Jean Grey, the vessel
spent more than 16 years on, and the tragic of the Dark Phoenix, can face justice.
culmination of the Dark Phoenix Saga that Professor X requests a duel of honor—
had begun in X-Men #129 (January 1980). a fight between the X-Men and the Shi’ar
The story line commences with Jean Imperial Guard—to decide the issue.
Grey, one of the original X-Men, being Empress Lilandra agrees, and the X-Men
possessed by the incredible cosmic power spend the night agonizing over whether
known as the Phoenix. However, the fighting for someone who has killed
Phoenix proves too much for any human billions is acceptable, even if she is their
to contain, and Jean is overwhelmed teammate. Eventually, they all decide to
and transformed into the Dark Phoenix. stand beside her, seeing the Jean Grey
Ranging through the universe, the Dark they know and love as separate from the
Phoenix consumes a star to satisfy its Phoenix force and therefore not guilty of
hunger, destroys an inhabited planet crimes committed while under its control.
Fitting death in the process, and then, shortly afterward, On the following day, the two sets of
Jim Shooter’s 11th-hour request to suitably
a Shi’ar warship. Returning to Earth, combatants face each other in the Blue
punish Dark Phoenix’s heinous actions
pushed Chris Claremont and John Byrne to
Professor X manages to use his psionic Area of the Moon. The Shi’ar Imperial
excel themselves, resulting in an issue packed powers to subdue the Phoenix and allow Guard are formidable fighters, and
with emotional strength and narrative purity. Jean Grey to reassert control. eventually only Jean Grey and Cyclops
142 X-Men #137

Close encounter
John Byrne’s arresting double-page
spread, enhanced by Terry Austin’s
are left standing for the X-Men. When daring move for a major character, and intricate inks and vivid colors from
Glynis Wein, starts X-Men #137
Cyclops is hit, Jean’s fear and anger cause Shooter surprisingly agreed. Although
as it means to go on, with feelings
the Phoenix to rise again, and Professor X it was too late to change X-Men #135, running high and the stakes set
realizes that he has to command any X-Men X-Men #137 was still in production, at life or death for Jean Grey.
who is able to attack their teammate. and so the creative team was able to
What happened next was the result rework the final few pages, changing
of much discussion in the Marvel bullpen. the draft that had originally shown
Editor in chief Jim Shooter had agreed Jean returning to the X-Men.
to the story line of the Dark Phoenix saga As the published issue played out,
in principle, as he had been interested Jean Grey chose to end her own life
in exploring the idea of a hero going bad, rather than risk Dark Phoenix claiming
rather than a villain turning good as had any more innocent lives. Claremont
already happened in other Marvel comics. and artist John Byrne created a truly
However, when he saw the issue proofs heartbreaking but morally understandable
for X-Men #135 (July 1980), which conclusion to the dilemma that faced Jean
showed Dark Phoenix destroying a planet, and the rest of the X-Men. X-Men #137
he told Chris Claremont that she had to was a double-sized issue, a clear sign
be appropriately punished—she could that Marvel felt it would be a milestone.
not just go back to “normal.” Although Indeed, the story was a hit, an instant
imprisonment was suggested, Claremont classic that is still numbered among the
believed that the X-Men would just keep greatest comic books of all time. It is even
trying to rescue her, and the problem sometimes credited for being the catalyst
would be prolonged. The writer then that revitalized the comic book industry
suggested killing Jean Grey, an extremely at a time when it was in decline. ■
X-Men #137 143

Daredevil #168
January 1981
“ It’s hard to overstate just how seismic

Frank Miller’s run on Daredevil was.
Wil Moss ”
S ince his debut in 1964, Daredevil has
operated on the fringes of the Super
Hero world, confronting crime and
As Daredevil hunts a criminal fugitive
fleeing a mysterious bounty hunter,
a vicious clash reveals his opponent to
protecting his neighborhood of Hell’s be someone he knows intimately. While
Kitchen, New York City. Raised by being knocked unconscious, the hero
his father, aging boxer and reluctant recognizes a voice and recalls the girl
Editor in chief Jim Shooter gangland enforcer “Battlin’ Jack” he loved and lost years ago. Back at
Cover artists Frank Miller, Murdock, Matt Murdock was a natural Columbia University, he fell for a
Klaus Janson athlete with an inclination for fighting. beguiling ambassador’s daughter, Elektra
Writer, penciler Frank Miller Bullied by other kids, who dubbed him Natchios, and the two became inseparable
“Daredevil” for his scholarly pursuits, for a year. Matt even shared with her the
Inker Klaus Janson
Matt secretly honed his body and skills. secret of his hyper-senses, but everything
Colorist D. R. Martin
These abilities helped him save an old fell apart when she and her father were
Letterer Sam Rosen man from a runaway truck, but at the kidnapped by terrorists. Desperate to help,
Editors Denny O’Neil, cost of his sight after the vehicle’s Matt donned a mask for the first time and
Mark Gruenwald contents—radioactive waste—hit him attacked, but the situation soon escalated
in the face. The contamination hyper- out of control, and Demetrios Natchios
amplified his other senses and created was killed by a panicked police SWAT
--a rose?
a “radar” pulse that could map his team. In the aftermath, Elektra vanished,
surroundings. Matt’s intellect took but now here she was, a hired assassin,
him to Columbia University to study embodying everything Matt despises.
law, but he never escaped the crime- Despite the shame he feels over his tragic
ridden streets. After Battlin’ Jack was failure and her loss, Daredevil swears to
murdered, Matt created a costumed bring Elektra to justice at all cost.
identity to punish the killers who thought This radical overhaul of Daredevil’s
themselves beyond the reach of justice. motivations—with a masked Murdock’s
Largely operating outside Marvel’s unique, super-sensory gifts reinforced
mainstream continuity over the by martial arts skills while he was still
years, Daredevil was a steady, if not a student—becomes more believable
exceptional, seller, whose sales began when we learn he was already taking
growing after writers Jim Shooter and the law into his own hands years ago.
Roger McKenzie began introducing Creating a guilty secret and a lover with a
darker, grittier stories. In 1979, when troubled past added emotional depth to
a young Frank Miller came aboard as a hero, who, until then, was generally
artist on Daredevil #158, those sales considered somewhat dull. Miller’s
spiked and climbed steadily, his moody thoroughgoing conversion of Daredevil
A finite romance artwork intensifying the foreboding tone to a crime-noir tinged, flawed hero made
Matt’s carefree college days end forever of the title’s edgier story lines. With the Man Without Fear far more credible.
after romancing intriguing Greek émigré
Daredevil #168, Miller also took over Future innovations would dial back Super
Elektra. Still concealing his abilities from
friends like Foggy Nelson, Matt has no scripting the title, his “Elektra” story Villains in favor of organized crime, ninja
desire to become an action hero—until arc tweaking the hero’s origin and mysticism, and a blind sensei shaping
death and criminality blight Elektra’s life. changing his character forever. Daredevil’s development. ■
144 Daredevil #168

he reels, dimly
aware of a
woman’s form--
--a moment
before she
strikes him
a blow that
rocks his
brain and he falls. he struggles to
stretches remain conscious, some-
the cords in how, he hears fleeing
his neck. footsteps...
...hears his attacker ...hears the

whirl, and throw weapon strike
her weapon... a wall...
...hears the splintering of bone as it

smashes an unprotected jaw.
then, --a bounty i intend

he to collect,
hears
her you are going to help
speak... me capture him, or i
am going to kill you.
there is
a bounty
out in europe
for alarich
wallenquist,
bilge--
that
voice- -
elektra?!
it is as
simple
as that.
Love hurts
Seeking to clear a framed man, Daredevil hunts a witness and becomes
embroiled in an assassination plot involving a European bounty hunter and
his old foe Eric Slaughter. Daredevil’s resolve is shaken to the core upon
realizing his first love, Elektra, is back and that his precipitous actions
during their college days have caused her to become a killer for hire.
Daredevil #168 145

Uncanny X-Men #142
February 1981
“ Hot on the heels of the unforgettable Death

of Phoenix story line, Claremont and Byrne took
matters to an almost absurd level, in which the
X-Men of the future were wiped out by the
Sentinels... and only the time-displaced mind
of Kate Pryde could save the day.
Tom Brevoort ”
Editor in chief
Cover artists
Jim Shooter
Terry Austin,
B y the early 1980s, the X-Men were
hot property at Marvel, having fully
hit their stride after a mid-1970s reboot.
mutant legislation and the creation of
the Sentinels becomes inevitable.
In Uncanny X-Men #142, the X-Men
Danny Crespi have rushed to Washington, DC, to prevent
The creative team of writer Chris
Writers Chris Claremont, Claremont and writer-artist John Byrne the senator’s murder. The issue opens
John Byrne were delivering story lines that would with them confronting the Brotherhood
Penciler John Byrne become all-time classics, and one of the of Evil Mutants, in this iteration led by
Inker Terry Austin very best of these was “Days of Future the shape-shifting Mystique. Even the
Past.” This game-changing tale played future Kitty Pryde does not know who
out over just two issues, with Uncanny will be responsible for the killing, only
Letterer Tom Orzechowski
X-Men #142 providing the conclusion. that it is said to have been a mutant.
Editors Louise Jones
Incredibly, it came just a few issues after As the opposing sides brutally clash,
another celebrated arc, the “Dark Phoenix the onlooking military seem unconcerned
Saga.” Marvel Comics at that time, led about whether the mutants they are trying
by editor in chief Jim Shooter, preferred to take down are on their side or not.
to keep its story lines relatively short to It is a hint of the anti-mutant sentiment
make an impact in one or two issues that already exists and would morph
and leave the readers wanting more. into something even more terrible over
The future of the X-Men was apparently the ensuing decades.
bleak, as revealed to readers in Uncanny While the present-day battle scenes
X-Men #141 (January 1981). In the year were thrillingly drawn and told by artist
2013, mutants have been ostracized from John Byrne, it is the evocative glimpses
society and are in constant peril of being of the future that really make this issue
killed by the giant, mutant-hunting robot stand out. It is a true dystopia, populated
Sentinels that patrol North America. by misery and with virtually no hope of
The mutants’ powers have been neutralized anything better. The previous issue had
by inhibitor collars, rendering them unable emphatically underlined what had been
to fight back against their oppressors. lost when Kate Pryde returned to her
Worse still, the Sentinels are about to internment camp and walked through
trigger a global nuclear war. The surviving a graveyard containing headstones for
X-Men hatch a plan to send Kate Pryde’s almost all the heroes of the Marvel
consciousness back in time to inhabit her Universe. The cover of Uncanny X-Men
younger self, Kitty, to try to change #142 made no secret of the fact that
history so that their terrible future would things were very bleak, proclaiming
never come to pass. They identify the “This Issue: Everybody Dies!” The
assassination of Senator Robert Kelly dramatic image accompanying this grim
in 1980 as the key moment when anti- promise was, for many X-Men fans, the
146 Uncanny X-Men #142

washington, 1980. . . the x-men are losing! i want to help, but i dare not. the news
reports of kelly’s assassination made no mention of precisely
who killed him. it might have been any one of the brotherhood.
like it or
not, my duty
lies with the
senator - -
my place, by
his side.
Fight for the future

Kitty Pryde plays a key role as
book’s most shocking moment—when mentioned that the experience of being
she tries to avert a tragic event
a Sentinel succeeds in killing Wolverine, around people who had lived through the that will cause a horrific future,
beyond any hope of his incredible healing most extreme prejudice and oppression in this all-time classic X-Men
powers bringing him back to life. stayed with him, and informed some of story by legendary creators
Wolverine’s death is not the only the thrust and details in “Days of Future Chris Claremont and John Byrne.
The searing saga would also
important X-Men moment in this story. Past.” The story was also partly inspired
inspire a hit X-Men movie of
Uncanny X-Men #141 had seen the debut by an episode of the classic British science the same name.
of Rachel Summers, a Claremont and fiction TV series Doctor Who, and he
Byrne creation who is the daughter chose the name as a play on the Moody
of Scott Summers and Jean Grey in Blues album Days of Future Passed.
that terrible alternate future. Eventually, “Days of Future Past” was the first
Rachel Summers would return to the past time-travel story in the X-Men’s world.
to become a popular character in the Its success paved the way for several
main X-Men team. Another significant other major story arcs of this type and
character beat, although not revealed in new characters spinning out of them
detail in Uncanny X-Men #142, is the such as Cable, Bishop, and Stryfe.
revelation that the mutant Nightcrawler The dystopian future it portrayed was
is related to Mystique. Claremont was intended by the creators to show what
always careful to place as much emphasis was at stake for mutants, both to readers
on the relationships between characters as and the X-Men in story. It played into
he did to the big set-piece battle scenes. the essence of the X-Men: “Feared and
Claremont had spent time working hated by the world they are sworn to
on a kibbutz in Israel, where he met protect,” and still ranks as one of the
many survivors of the Holocaust. He has greatest X-Men stories ever told. ■
Uncanny X-Men #142 147

Avengers Annual #10
October 1981
“ ...this landmark issue shows the beginning of

Carol Danvers’ lifelong friendship with Spider-
Woman and the debut of Rogue, who all but
wipes the floor with the Avengers... [signaling]
how important she would become one day.
Kelly Thompson ”
W
riter Chris Claremont was best behavior toward her. They are shocked at
Cover artists Al Milgrom, known for his long stint on The first, but after listening to what she had to
Irv Watanabe
X-Men, but in the late 1970s, he also say, they realize that they had been blind to
Writer Chris Claremont wrote Ms. Marvel and Spider-Woman. the trauma she had suffered. Danvers would
Penciler Michael Golden Ms. Marvel was canceled just before remain with the X-Men—and therefore
Inker Armando Gil Claremont planned to introduce a new continue to be written by Claremont—
Letterer Joe Rosen
character—Rogue—and have her use while she tried to regain her powers and
her mutant ability to steal Ms. Marvel’s find a new place in the world. After a long
Editors Chris Claremont,
David Kraft
powers. So when he was slated to write and difficult road, she would eventually
Avengers Annual #10, he seized the become Captain Marvel, one of the Marvel
chance to revive this defunct story line. Universe’s main heroes and the first female
Avengers Annual #10 also became a Marvel hero to star in her own movie.
very public rejection of the events of an Another character from Avengers Annual
earlier comic, Avengers #200 (October #10 who would go on to great things was
1980), the last issue in which Ms. Marvel Rogue. Created by Claremont and artist
had appeared. Claremont had a reputation Michael Golden, Rogue started out as
for creating strong female characters such a villain and protégée of Mystique in the
as Rogue and Mystique, which also Brotherhood of Evil Mutants. Rogue had
extended to writing stories for existing permanently taken Ms. Marvel’s powers,
characters like Spider-Woman (Jessica “off-panel,” just before the story started in
Drew) and Ms. Marvel (Carol Danvers). Avengers Annual #10, and would go on to
The way Ms. Marvel, a character he was steal Captain America and Thor’s powers
especially attached to, had been let down too. It made her the most powerful character
by her teammates in Avengers #200 had in the story until Iron Man managed to
not sat well with Claremont. The issue had take her down. Later, joining the X-Men,
also been criticized by some readers for Rogue would become one of the team’s
a story line in which Ms. Marvel became most popular members among readers.
pregnant by a mysterious being, Marcus, Avengers Annual #10’s classic status
who admitted using mind-control devices was cemented by gorgeous art from the
Saving Ms. Marvel
Avengers Annual #10 reintroduced Carol on her. When Marcus took Ms. Marvel great Michael Golden, whose detailed
Danvers to the Marvel Universe in shocking with him at the end of the issue, the pencils and luminous colors were enhanced
fashion, with Spider-Woman saving her life as Avengers did not think to question whether by Armando Gil’s bold inking. Later, writer
she falls from the Golden Gate Bridge. Writer or not she was going of her own free will. Brian Michael Bendis cited this comic book
Chris Claremont used the book to confront
Claremont ended Avengers Annual #10 as one he treasured and its smart portrayal
a traumatic episode from Ms. Marvel’s past
and pivot her character toward a resolutely with Carol Danvers confronting her former of Spider-Woman as key to making Jessica
independent and self-reliant future. teammates and calling them out on their Drew one of his favorite characters. ■
148 Avengers Annual #10

Hex power
This full-page splash was as the main exploded, pyro seized
one of the key action control of the burning gas, mold-
ing the flames into a giAnt creature
sequences in Avengers of living fire. his intentions were
Annual #10. Artist Michael brutally simple: to turn his
monster loose against the
Golden uses perspective avengers and incinerate them.
to emphasize the task
facing Scarlet Witch as she
takes on the villain Pyro’s
giant fire beast. But despite
her diminutive size, the
Scarlet Witch’s hexes prove
too much for the monster.
seeing the danger, the scarlet witch under her desperate on-
cast a second hex, and a third, and slaught, reality twisted,
a fourth--pouring her heart and shattered, reformed. be-
soul into each one without being fore pyro’s disbelieving
completely certain of what will eyes, the very substance
happen as a result. of his construct changed
from living flame to
unliving stone.
Avengers Annual #10 149

no! you'll
kill
no one--
--ever
again!
you won’t
save me--
not like
before!
kill
you! i’ll
kill- -
150
Daredevil #181
April 1982
“One wins. One dies.” was not hyperbole.

A shocking story where Frank Miller brought
so many of his grim, gritty plotlines to a head
[changing] these characters’ lives forever.
C. B. Cebulski ”
D aredevil #181 is one of the most
shocking comics books of the
1980s—and, indeed, Marvel history.
After drawing scripts by Roger McKenzie,
Miller took over writing and illustrating
duties on the series with Daredevil #168
In “Last Hand,” Frank Miller’s revelatory (January 1981). Blending a darker, film
Cover artist Frank Miller reinvention and redefinition of sightless noir sensibility with more mature themes
Writer, Frank Miller Super Hero Daredevil pivots on the and characterizations of Marvel heroes and
penciler moment that the increasingly hard- villains proved an immediate hit. In an echo
Inker Klaus Janson pressed, distressed, and demoralized of Raymond Chandler’s famous line, Miller
Letterer Joe Rosen vigilante faces an ethical meltdown. sent his hero down Manhattan’s mean
Editor
The dramatic outcome changed the man streets,“(as) a man who is not himself
Denny O’Neil
behind the mask forever and reshaped mean... tarnished or afraid,” plunging him
how Super Hero comic stories would into territory familiar to fans of director
be viewed from that point forward. Martin Scorsese’s own Mean Streets (1973).
Daredevil’s transformative crisis of Set against a vibrant yet chilling backdrop
conscience follows months of increasingly of dark alleys and gleaming towers, the
uncompromising encounters, with the hero Man without Fear’s life became ever more
confronting hard-hitting social issues— grim and tormented as he took on the
suicide, child criminals, the blurry fault worst of humanity: drug dealers, petty
lines between justice and vengeance—as thugs, vigilante killers, assassin cults, and
well as dealing with the shock return of his his bête noire, the lord of organized crime,
tempestuous first love, Elektra Natchios. Wilson Fisk, aka the Kingpin.
Such relentless physical and emotional Daredevil #181 sees Elektra, now
provocation pushes the hero to the limits of employed by Fisk, ordered to kill Murdock’s
endurance. So when Elektra unexpectedly best friend Foggy Nelson. At the same
arrives in New York, Matt Murdock’s time, Kingpin’s former assassin Bullseye
world is turned upside down. Shaped by breaks out of prison while recovering from
years of heartbreak and the murder of brain surgery. Determined to take revenge
her father—a tragedy in which young on Daredevil and kill Elektra, the woman
Murdock was cruelly involved—Elektra who usurped his rightful position, he
g Equal and opposite reenters Daredevil’s life as a ruthless viciously adds to his sky-high body count
Frank Miller spent a lot of
hired killer with unclear connections to prove his intentions. As he studies his
time and effort building
Bullseye into Daredevil’s
to a mystic ninja cult called The Hand. prospective targets, the maniacal Bullseye
moral antithesis and stressing Frank Miller’s most formative creative realizes that Matt Murdock is Daredevil,
the sheer overwhelming threat influences were manga (Japanese comics) but is unable to convince anyone of his
he posed. A hero is defined and American crime fiction, with his art conclusions. Stalking Elektra, he observes
by his enemies, so when
style initially borrowing from former the moment she redeems herself by allowing
Daredevil ultimately defeats
the most dangerous man alive,
Daredevil illustrators Gene Colan and Gil Murdock’s law partner Foggy Nelson to
we see the bereaved, enraged Kane—particularly the latter’s expressive, live, before engaging her in a furious dance
hero at his deadliest. balletic poses and dynamic figure work. of death that leaves her bleeding out and
Daredevil #181 151

painfully crawling back to her former lover Brutal ballet
to die in his arms. In the aftermath, a As a writer, Miller wanted
pictures to tell the stories.
gloating Bullseye falls for a simple trap
He minimized characters’
set by Murdock, leading to a staggering, dialogue to brief outbursts,
silent battle across the city that ends banished authorial captions,
with Daredevil forced to decide whether and dropped thought balloons
the villain lives or dies. And then the hero in favor of internal monologues.
The battle sequences are
does what no comics reader ever expected
particularly innovative: brutal,
a Marvel Super Hero to do... he lets the graceful, largely devoid of
raving Bullseye fall to his apparent death. banter, and deadly serious.
As he both wrote and drew the saga,
Miller became more of a director and
stage designer, employing sharp filmic
cuts, abrupt location changes, and
unconventional “camera angles” to
accentuate action and pace, tone, and
mood. Panels became page-wide or deep
like manga, which, combined with terse
dialogue, sped up the rate at which the
stories were read. Miller also experimented
with layout to enhance emotional impact.
The final three pages of “Last Hand” are
compositionally identical, giving readers
intimate and foreboding insight into the
individual reactions of the story’s three
survivors: Fisk, Murdock, and the
crippled, unrepentant Bullseye.
Groundbreaking, utterly compelling,
and simply unforgettable, this unflinching
character study of the impulses that drive
heroes and villains showed them at their
very best and worst—and underscored
the thin line that often separates them.
The introduction of Elektra and her tragic
demise shifted Daredevil from costumed
crime-busting and science-fiction
adventures to a world of organized crime,
dark magic, and religious symbolism.
Characterized by a savagely intense, if
stylized, depiction of violence, “Last Hand”
heralded a new, adult-oriented sensibility
that soon provoked controversy in some
quarters. However, what commentators and
readers could agree on was that American
comics weren’t just for kids anymore.
As the series progressed, Miller began
concentrating more on scripting and scene
setting, providing fewer and less detailed
pencils as inker Klaus Janson stepped up
to contribute an even faster-paced, looser
energy to the stories. Frank Miller’s last
contribution to his first run was Daredevil
#191 (February 1983). He would return
in Daredevil #219 (June 1985), to
commence another celebrated, game-
changing sequence of stories. ■
152 Daredevil #181

Daredevil #181 153
Marvel Graphic
Novel #1
April 1982
“
It’s a bit overlooked today, but this is
perhaps Jim Starlin’s masterpiece... affecting
and emotional... it’s a great piece of work
Editor in chief
Cover artist
Jim Shooter
Jim Starlin
from end-to-end, focused and polished.
Tom Brevoort ”
I
Writer, penciler, Jim Starlin n the early 1980s, the comics industry From 1973 to 1974, writer-artist Jim
inker battled adverse economic conditions Starlin revitalized the character during a
Colorist Steve Oliff and a persistent perception that comics two-year tenure that spanned Captain
Letterer James Novak had little artistic merit and were of Marvel #25 to #34. On Starlin’s watch,
Editor Al Milgrom fleeting value. Industry creatives and the Kree spy-turned-hero, Mar-Vell,
professionals had struggled for years to underwent cosmic metamorphosis, became
foster the attitudes of Europe and Japan, Protector of the Universe, and defeated the
where sequential narrative was accepted Mad Titan Thanos in a battle preordained
as a valid art form, but despite some early since life began. When Starlin moved
independent graphic novels, progress on, despite the efforts of many creators,
was very slow. That attitude began to Mar-Vell again slipped from favor and
shift after Jim Starlin returned to Marvel a decision was made to grant the name
to craft an enduring, classic conclusion to another hero, Monica Rambeau.
to the story and life of a character with In time, Rambeau graduated from
whom he was inextricably associated. Captain Marvel to Photon and then
Jim Shooter had become Marvel’s Pulsar, before becoming Spectrum.
editor in chief in 1978 and, as well as In 1982, Starlin reentered the scene.
expanding its output and pushing the The creator had long explored themes of
company toward more licensed titles, death and metaphysics in his work, and he
he wanted to reproduce the style and was invited to kill off Mar-Vell, with
success of French comics with a line of Marvel agreeing that the hero would not be
prestige albums offering more mature resurrected. As Starlin worked on the book,
fare to readers. Much emulated by many however, real-world tragedy intruded—his
competitors since its inception, the own father died of a lingering terminal
game-changing Marvel Graphic Novel illness. The author’s reactions shaded his
line began in 1982 and ran until 1993. creativity, even as it gave him an avenue for
It published European album-format, dealing with his own feelings. The result is
stand-alone trade paperbacks that featured an eloquent and profoundly moving
Last rites both licensed and creator-owned properties recapitulation of Mar-Vell’s eventful life,
Despite the greatest efforts of the wisest as well as debuting new Marvel Universe leading to his untimely death.
minds, even the mightiest of heroes must characters who would then continue in In the last issue of his earlier run on
perish in the end. Although Mar-Vell always
their own monthly titles. The first book, Captain Marvel, Starlin introduced the
thought he would die alone in one last battle,
his truth is more glorious: he is loved and
however, dealt with the last adventure of Super Villain Nitro. The villain was
admired, and his passing is mourned by the a beloved fan favorite, starkly entitled defeated, but Mar-Vell was exposed to the
most powerful champions in the universe. “The Death of Captain Marvel.” experimental nerve gas Compound 13.
154 Marvel Graphic Novel #1

no! there is nothing
in the universe
that cannot be
overcome !
would you
challenge the
abstract? would
you deny the
infinite?
i
refuse
to
accept
that!
as long as
there is life
there is hope!
yes!
Warrior spirit
In his last moments, delirium grips
Years later, in Marvel Graphic Novel #1, Starlin’s story is a clear-eyed, heartfelt Mar-Vell as he rages against the dying
just as he finds love and contentment, the examination of the process of dying as of the light and makes one last stand
against Thanos, his most relentless
Kree discovers that the contamination has experienced by a born warrior, who never
enemy and lover of the one person he
caused cancer, which has metastasized thought he would die in bed. It argues has to face with resolute acceptance—
and mutated into something completely forcefully that even in a universe where Death. As the Mad Titan taunts him
incurable. Experiencing the Kree version of miracles are commonplace, sometimes during pitch battle: “Death should
the Kubler-Ross Cycle—grief, denial, anger, death may be welcome. never be easy. It must be earned.”
Mar-Vell’s final metaphysical fight
bargaining, depression, and acceptance— Although told within the framework of
scene is lucidly illustrated and
Mar-Vell can only watch as all his many traditional Super Hero comics, in a genre superbly choreographed, and
friends and comrades try desperately to built upon dramatic action and often ends on an uplifting grace note.
find a cure before death comes for him. bombastic storytelling, this is a quiet,
Yet even they are finally forced to accept intimate, and introspective tale—and all
the grim reality of Mar-Vell’s condition— the more powerful for that. “The Death of
and, indeed, their own mortality. As he Captain Marvel” demonstrated how Super
hovers on the edge of death, sworn foes Hero fare could achieve the same quality
like the Skrull pay their respects, and he is and maturity as the finest European comics
even visited by his greatest enemy, Thanos, and has been rightly hailed as one of the
who accompanies him to... “the beginning.” best Marvel stories of all time. ■
Marvel Graphic Novel #1 155

Doctor
Strange #55
October 1982
“
Quite possibly one of the trippiest
issues ever, it starts out as a riff on It’s a
Wonderful Life but then tips over into a
twisted, demented, “Wait, what?” story line
that keeps you guessing about what’s
Editor in chief
Cover artist
Writer
Jim Shooter
Michael Golden
Roger Stern
really happening until the very end.
Peter David ”
Penciler
Inker
Michael Golden
Terry Austin
W riter Roger Stern had a hard act
to follow when he took over Doctor
Strange in the late 1970s. His esteemed
he was interested in Stephen Strange as a
person as much as he was in the Sorcerer
Supreme’s mystical prowess. He felt it
predecessor, Steve Englehart, enjoyed a was important to bring to the forefront
Letterer Jim Novak
legendary run with the character, working those elements of Strange’s life that
Editor Allen Milgrom with great artists closely associated with occurred when he was among ordinary
the character such as Steve Ditko and humans, as well as his otherdimensional
Gene Colan. Stern himself was originally battles with demons and spirits.
and soon... slated to start Doctor Strange with Frank In Doctor Strange #55, readers see
this book Miller on art duties, but this potentially the Sorcerer Supreme at his lowest ebb
recounts my
first battle epic pairing sadly never happened. following the departure of his beloved
with dorma- Nonetheless, Stern’s own lengthy run on Clea, who had voluntarily left him after
mmu... in
detail! the title saw some of the most acclaimed Morgana had entered his life. Refusing to
yes, that’s Doctor Strange stories of all time and see anyone, Strange is visited by a spirit,
the first showcased the work of some of the finest who shows him what his world might
novel...
still the comic book artists of the era. have been like if he had never chosen
best, i
think! Doctor Strange #55 was a stellar to study magic. What follows is both a
example of both storytelling and art, with homage to classics like A Christmas Carol
the renowned artist Michael Golden or It’s a Wonderful Life and a remorseless
signing on for penciling duties on the dismantling of everything Doctor Strange
one-off comic. Stern saw the issue as an has ever believed in—his entire reality.
appropriate epilogue of a story arc that Pushed to the brink of madness by
ended the involvement of the character the visions the spirit shares with him,
Clea in Doctor Strange’s world. Clea Doctor Strange is at rock bottom and
was both a lover and pupil of Strange, almost ready to give in when he discovers
a long-term, uneven liaison Stern wanted that he wants to live and rejects everything
to shake up. Having decided to write the spirit has shown him. He strikes back
out Clea—a controversial move among with a powerful spell and finds that he
Identity crisis some readers—Stern introduced a new had been tricked—the spirit is in fact
Already in mental anguish, Stephen
character, Morgana Blessing, as a more the demon D’Spayre, who has seized
Strange is pushed to the brink when a
disguised demon tells him that “Doctor
equal romantic interest for Strange. on his vulnerable state to try and destroy
Strange” is a fictional character and his This examination of Doctor Strange’s him. A high-stakes magical battle ensues,
whole reality is just a delusion. relationships was classic Stern. As a writer, in which Strange manages to triumph
156 Doctor Strange #55

Demonic struggle eh? what the very floor be-
Michael Golden’s lavish pencils and now?! neath my feet is
being ripped asunder!
cinematic storytelling, intricately
delineated by illustrious inker
Terry Austin, contribute heavily to
Doctor Strange #55’s classic
status. This dramatically realised
triptych of panels emphasises
Strange’s extreme disorientation
as he battles the demon
D’Spayre for his very sanity.
no! this
foul creature
invaded my
sanctum once
before... and i
banished it
from this plane
of reality!
by using one of his oldest weapons, the this is but

another of
Crimson Bands of Cyttorak, to trap your illusions,
d’spayre! like
the demon. By the issue’s end, Strange yourself, i can
no longer be
is at peace with himself. Having been on so easily
deceived!
an emotional journey that had also led
him into great danger, he found the
mental strength he needed to resume
his wondrous ordinary life.
Roger Stern was forging his own path
with Stephen Strange, but he and Michael
Golden included an affectionate hat tip
to his creators in Doctor Strange #55.
While D’Spayre is trying to convince
him that his reality is false and he is,
in reality, just a fictional comic book by the
...
character, Strange is introduced to the your end
has come,
n’garai!
writer and illustrator who allegedly dr. strange!
but d’spayre
created him—“Les Tane” and “Ted shall not
claim your
Tevoski”—aka Stan Lee and Steve Ditko. pitiful your
life! soul has
Doctor Strange #55 is still regarded already
been
as a true classic, in large part thanks to claimed...
Michael Golden and inker Terry Austin’s
breathtakingly beautiful art. Despite never
working on a regular Super Hero title,
Golden is considered by many to be one
of the greats of the comic book medium.
He was only ever a guest penciler on
Doctor Strange, but the art he produced
for the title was of a quality that stands
up to scrutiny beside the likes of Ditko
and Colan. That Doctor Strange #55 is you have seriously
erred, evil one--and
one of only two issues of the title drawn your error has given
me hope...
by Golden makes it all the more special. ■
Doctor Strange #55 157

Thor #337
November 1983
“...the idea of anyone else wielding Thor’s

hammer Mjölnir was unthinkable. And yet
Walt Simonson thought of it—[shattering]
Thor’s familiar world, opening it to new and
bizarre friends, enemies, perils, and drama.
Mark Waid ”
S ince his 1962 debut, Mighty Thor has
been one of Marvel’s bestselling stars,
blending riveting Earth-based Super Hero
in combat by its occupant: a bionically
augmented warrior named Beta Ray Bill.
As they fight, Thor drops his hammer and,
Writer, Walter Simonson action with mystical fantasy. However, any losing contact with it for more than a
penciler long-lived series can experience occasional minute, reverts to his human form. As the
Inker Tom Palmer doldrums, which generally end when a new ship crashes to Earth, the alien co-opts
Colorist George Roussos
creator arrives with a fresh vision and a Mjölnir’s magic and is transformed into
hunger to shake things up. That has never a bizarre duplicate of Thor. While
Letterer John Workman Jr
been better demonstrated than when Walter S.H.I.E.L.D. attacks the downed vessel,
Editor Jim Shooter
Simonson took control of the Thunder All-Father Odin, mistaking Beta Ray
God in Thor #337. Bill for his actual son, summons the
Simonson had briefly illustrated Thor, new hammer-wielder to Asgard to defend
written by Len Wein, in the late 1970s, but the Realm Eternal. Trapped on Earth as
he was now scripting as well. And his aim powerless Don Blake, the true Thor can
was to rekindle Jack Kirby’s compelling, only scream his frustrations to the heavens.
majestic synthesis of mythology, science This story revolves around a rereading
fiction, and humanist philosophy. Sharing of the spell inscribed on Thor’s magic
power enough to Kirby’s love of legends and high fantasy, hammer: “Whosoever holds this hammer,
shake this planet to
its foundations! Simonson, brought his own unique style if he be worthy, shall possess the power
and sensibility to the series, resulting in of Thor.” Introducing a very different
a groundbreaking body of work (Thor champion with equal right to the power
#337–382; November 1983–August 1987), was merely the start. Ultimately, Thor
which redefined the canon and inspired would regain his divine birthright and
the 21st-century film franchise. Simonson unite with Bill—who was built to protect
envisaged a major story arc and extinction- the survivors of his Korbinite race from
level threat culminating in Thor #350 a demonic horde—to save Earth from
(December 1984), with a radical change to the monsters. Along the way, Thor would
all Nine Realms. The sweeping epic began update that transformation spell, retire his
with a shattering shake-up of the status quo. Donald Blake persona, and even modify
“Doom!” starts with a shadowy cosmic his Shakespearian speech patterns.
demon forging a universe-rending sword. Simonson’s complex tale involving the
Meanwhile, in Chicago, complacent Doctor fire demon Surtur triggering Ragnarok and
Breaking the boundaries Donald Blake is approached by S.H.I.E.L.D. the Asgardian sacrifices needed to save
Beta Ray Bill’s introduction is a brilliant piece Director Nick Fury to investigate an Earth- Earth was only the start of a campaign to
of lateral thinking, acknowledging that other
bound starship that refuels by absorbing make Thor relevant and fun again. And he
heroes can be as worthy as Thor. The notion
eventually culminates in Captain America
suns! Ignoring the disturbing fact that the achieves this while also fully integrating
wielding the power in Secret Empire and super-spy knows his secret identity, Thor the character and his mystical realms into
Jane Foster becoming Mighty Thor. intercepts the warship, only to be defeated a greater, more unified Marvel Universe. ■
158 Thor #337

the sound of thunder
reverberates through-
out a billion billion
worlds.
Grand design
Simonson’s bold storytelling and illustrative style are epic
in scope, but arguably his strongest asset is incorporating
calligraphy and lettering into his page designs. The variety
of letterforms and sound effects by John Workman Jr. greatly
enhances the mood and drama of the mystical proceedings.
Thor #337 159

ororo...
...it’s
forge.
160 Uncanny X-Men #186

Uncanny X-Men #186
October 1984
“ Barry Windsor-Smith’s Incredible artwork

combines with Chris Claremont’s rich
character-work to produce one of the most
remembered issues of the writer’s run.
Jordan D. White ”
U ncanny X-Men #186, subtitled
“Lifedeath,” was a standout issue of
writer Chris Claremont’s run even during
as Forge, feeling terrible guilt, tries to care
for her and encourage her to have hope.
Having lived with her powers for so long,
Cover artist Barry Windsor-Smith

a period that also included the “Dark they were bound up with Storm’s sense of
Phoenix Saga” and “Days of Future Past.” herself. Forge reveals to her, and readers,
Writers Chris Claremont,
It was a very different kind of comic book, that he, too, knows what it was like to
Barry Windsor-Smith
one that examined themes of loss and lose something of yourself. He had been
Penciler Barry Windsor-Smith
identity, and mixed sublime visuals with badly wounded in Vietnam and had put
Inker Terry Austin quiet introspection. Those dazzling visuals his inventive genius to good use building
Colorists Glynis Wein, came from the pencil of acclaimed artist a prosthetic leg and hand for himself.
Christie Scheele Barry Windsor-Smith, lending the issue an His talents are also evident in the
Letterer Tom Orzechowski almost painted look that set it apart from design and functionality of his high-tech
Editors Ann Nocenti, other Super Hero comics of its time. penthouse suite, which uses holograms
Peter Sanderson Claremont stated that he had always to “remove” the floors and walls, creating
wanted to work with Windsor-Smith and a dizzying sense of space. These effects
praised his notes during the creative enabled Windsor-Smith to add dramatic
process, which described characterization elements to the sequences of Storm and
and relationships in detail. Although Forge talking, which were otherwise very
Windsor-Smith often did his own inking, understated, with facial expressions and
those duties in Uncanny X-Men #186 were body language conveying the intimacy
performed by the estimable Terry Austin. and depth of the story.
Although the story falls within regular Forge was a new character, having
X-Men continuity, the double-sized issue been introduced by Claremont and artist
feels like a pause button has been pressed. John Romita Jr. in Uncanny X-Men #184
Storm, one of Claremont’s key characters (August 1984), so this issue was used to
throughout his long run on the title, had reveal elements of his backstory, like his
lost her powers in the previous issue. Native American heritage. Although Forge
Uncanny X-Men #186 shows her trying to would later become a valued member of
come to terms with this loss with the help the team, Uncanny X-Men #186 does not
of mutant genius Forge. The two become paint him in a wholly positive light, with
closer as the tale progresses—in fact, its his deception of Storm and his apparent
g Storm passed cover billed it as a “love story”—but at the willingness to sell out mutantkind by
Barry Windsor-Smith’s art
sensitively conveys the delicate end, Storm is horrified to discover that making weapons for those who hunt them.
emotional state of the once- the weapon that had robbed her of her “Lifedeath” would have a sequel in
mighty Storm. Shorn of her powers had been designed by Forge. Uncanny X-Men #198 (October 1985).
powers, she cannot even
The issue opens with Windsor-Smith Also by Claremont and Windsor-Smith,
summon the energy to get
out of bed as she wonders sensitively depicting the devastating it finds a still powerless Storm return to
who she is if she is no effect Storm’s depowering had on the Africa, where she rediscovers her heroic
longer a Super Hero. hero. She is shown lying listlessly in bed, instincts and will to live. ■
Uncanny X-Men #186 161

Punisher #1
January 1986
“ Punisher #1 changed Marvel forever,

splintering the Marvel Universe into a
world of bright Super Hero adventure
that also has a dark underside:
hard, single-minded, and deadly.
Win Wiacek ”
A n early movie headliner and one of
Marvel Comics’ biggest stars from
the late 1980s onward, the Punisher was
Later revealed as former Marine
Frank Castle—who lost his entire family
to mob violence—his brutal, self-righteous
Writer Steven Grant
an unlikely and uncomfortable hero for mission to eradicate criminals repeatedly
Penciler Mike Zeck comic books. A compulsively vengeful brought him into conflict with everyone’s
Inker John Beatty antihero, the Punisher’s methods were favorite neighborhood web-slinger
Colorist Mike Zeck uncompromising, and his excessively following his debut. However, Marvel
violent solutions were usually permanent. was, at the time, reluctant to spin him off
Letterer Ken Bruzenak
Unlike most heroes debuting as villains into his own series in its comic book line.
Editor Carl Potts
or antagonists, such as Black Widow Despite his tragic motivations, the
or Wolverine, the Punisher became more Punisher’s ruthless actions made him a
immoral, antisocial, and murderous, villain, not a hero. Other than two solo
not less. And he seemed to always be stories in Marvel’s black-and-white, mature
in tune with his fiercely loyal readership. reader magazine line, Castle was never
The hard-hitting Punisher never toned intended for stardom. However, his many
down or cleaned up his act. fans loved him and he worked as a sharp
HII--
Originally dubbed “The Assassin,” counterpoint to Super Heroes such as
the Punisher was created in 1974 by Captain America, Daredevil, and Spider-
writer Gerry Conway, and artists John Man, in whose titles he guest starred.
Romita Sr. and Ross Andru as a Spider- As tastes shifted and older readers
Man antagonist. His first outing was a grew in numbers, editor in chief Jim
muted, Comics Code compliant response Shooter relented to countless requests,
to the then popular, taking-the-law-into- commissioning a Punisher miniseries.
their-own-hands school of antiheroes However, writer Steven Grant and
--YAA!
such as Don Pendleton’s Mack Bolan: penciler Mike Zeck had an uphill struggle
The Executioner, Clint Eastwood’s convincing editors to let them portray the
Dirty Harry, and Charles Bronson’s psychologically disturbed vigilante in all
avenging vigilante in the Death Wish his unrestrained glory. and series editor
franchise. The Executioner, in particular, Carl Potts was even informed that he
was part of a rising fictional wave of would bear full responsibility for any
returning Vietnam vets turning their negative repercussions.
Switch hit training and talents to cleaning up the The initial miniseries ran from January
Unfolding like a crime movie, “Circle streets and wiping out organized crime to May 1986 and turned the industry on
of Blood” brilliantly switches between in 1970s America. Publisher Stan Lee its head. There was plenty of controversy,
hard-hitting action and conspiracy
came up with the designation “Punisher” especially as the tale featured a protagonist
thriller mode. Mike Zeck’s slick, smart
storytelling seamlessly adapts to the
(recycled from a robot used by Galactus), who was sexually promiscuous and
shifting game play: brutal violence one and another complicated, complex executed his enemies in cold blood.
minute, moody intrigue the next. character was born. Another big headache for the censorious
162 Punisher #1
Kiss kiss, bang bang
all
Crucial to the Punisher’s success was the art of right.
Mike Zeck, a newly acclaimed superstar after
his stint illustrating all-ages mega hit Marvel
Super Hero Secret Wars. As the Punisher
switched between the gritty world of crime
thrillers and costumed capers, Zeck and inker
John Beatty’s clean, sleek, semi-cartoonish
portrayal sustained a connection to
Marvel’s Super Hero house style.
was the suicide of a major character and

the murder of innocent children. Marvel
mitigated potential fallout with a fairly
low-key promotional campaign, but that
didn’t stop the Punisher series from
becoming a barnstorming success.
With a subplot revealing that many of his
previous appalling actions were caused by
him being poisoned by psychotropic drugs,
“Circle of Blood” sees a now clean and
clear-headed Frank Castle locked in Ryker’s
Island prison with every inmate out to kill
him. Before long, he has turned the tables,
terrifying his fellow inmates and challenging
the status of old foe Jigsaw, who had
drugged him. Vengeance is deferred, though,
as mob godfather Don Cervello has special
plans for Castle, and the Punisher needs to
be free to continue his war on crime.
When a mass jailbreak frees all convicts,
Castle seizes his moment, foiling the escape,
and dealing with Jigsaw and the Don.
Expecting to be recaptured, he is instead
allowed to escape by the Warden, who
offers him membership in an organization
of right-minded, law-abiding citizens who
approve of his actions and want to back his
crusade against crime. Castle accepts but
knows “The Trust” cannot be trusted.
Punisher #1 changed Marvel forever,
splintering the Marvel Universe into a
world of bright Super Hero adventure that
also has a dark underside: hard, single-
minded, and deadly. In time, Frank Castle
would show just how dangerous he was by
taking on and eliminating every Super
back to
Hero and Super Villain in the Marvel the war.
Universe, including himself. ■
Punisher #1 163
Daredevil #231
June 1986
“
Never before had a hero’s life been so
thoroughly torn apart by an enemy, and never
before had a hero’s return from the brink been
so exhilarating... every note is pitch-perfect.
Tom Brevoort ”
F rank Miller’s first tenure on Daredevil,
from 1979 to 1983, was undoubtedly
transformative for the writer-artist and the
accusations of bribing witnesses, and
committing perjury. His friends are
attacked and his legal career wrecked.
Editor in chief Jim Shooter character. Commercially successful and Daredevil goes on a rampage, beating
Cover artist David Mazzucchelli critically acclaimed, Miller moved on to underworld small-timers in search of
other projects, his work on the title the mastermind behind Murdock’s woes.
Writer Frank Miller
applauded for the many relationships It falls into place when his house is blown
Penciler, inker David Mazzucchelli
he had rewoven and revitalized for the up—at last the besieged lawyer knows
Colorist Max Scheele sightless swashbuckler. Resurrected first who is behind his impossible ill fortune.
Letterer Joe Rosen love Elektra, arch nemesis and intellectual In the heart of a bitter New York
Editor Ralph Macchio equal Wilson Fisk, and evil mirror-image winter, Murdock vanishes. Penniless,
Bullseye all became more intricate and homeless, and pushed beyond rational
even sympathetic characters, as did limits, his mind shuts down. On the
supporting cast members Foggy Nelson, edge of a nervous breakdown, Murdock
Karen Page, Melvin (the Gladiator) Potter, confronts Kingpin in his palatial penthouse
and The Daily Bugle reporter Ben Urich. apartment and is almost beaten to death.
Three years after leaving the title, Miller However, no corpse is found and Fisk
returned for another momentous, self- begins to worry. Broken and beyond
contained story arc, which graced the pages hope, Murdock roams back alleys,
of Daredevil #226–233 (January–August unaware that Ben Urich has been quietly
1986). Working closely with celebrated digging away to find the truth. Lost on
artist David Mazzucchelli, Miller crafted the streets as Christmas arrives, Murdock
what is considered by many to be the endures another brutal beating from
definitive Daredevil tale. “Born Again” petty thugs and crawls off to die. In a
redefined the parameters of heroism. church hospital ward, he emerges from
Implacable, seemingly invincible villainy near death, tended by a nun who might
was confronted and defeated, but the be his long-missing mother.
depths plumbed by embattled protagonist, Elsewhere, although Kingpin’s constant
Matt Murdock, as he fought his way back machinations keep Urich silent and Matt
from dark despair and madness, changed Murdock’s friends occupied, the big man
how Super Hero comics were perceived. is not content. His victory is incomplete,
Matt Murdock’s ultimate crisis begins but hopefully his vanquished foe will
Reunion and redemption after his true love, Karen Page, resurfaces return. Fisk then makes an ill-judged
In “Born Again,” Miller and Mazzucchelli as a fading adult film star and junkie in decision and starts calling in carefully
underscore the religious allegory of Matt Mexico, selling Daredevil’s secret identity hoarded favours from the city’s high and
Murdock’s fall and rebirth by incorporating
for one more fix. The revelation makes its mighty establishment who he believes he
Christian imagery into the art. After Karen
Page risks her life to warn the man she
way to Fisk, and he plans epic vengeance. owns. Recuperating in the church, Matt
betrayed, she is embraced by Murdock Murdock suffers a string of bad luck: an has no idea Karen is about to reenter his
with love and forgiveness for her sins. IRS audit, missed mortgage payments, life, nor that Urich, fed up with being
164 Daredevil #231

mr. switzer -- this is a check
for the current market value
of your shares in the con-
glomerate. take it, or
your family dies.
you are all

dismissed.
mr. switzer
has a week-
end in colorado compound
planned. fracture.
he both
skis. legs.
Dark reflections
terrorized, is speaking both to the police to systematically destroy Murdock’s life. “Born Again” is a personal
and on record in The Daily Bugle. The result is chaos and a clash with not turf war between Matt
“Saved,” the final chapter of “Born just a reborn Daredevil but also Captain Murdock and Wilson Fisk,
Again,” begins with a clear-headed America and the Avengers. From that not Daredevil against
the Kingpin. Miller and
Murdock battling back to fighting fitness point on, Kingpin’s fate is sealed.
Mazzucchelli portrayed the
in time to save Urich from an assassin. Gritty, realistic, and packing a potent struggle by mirroring the
He reaches out to costumer Melvin emotional punch, David Mazzucchelli’s simultaneous activities of
Potter, and a resurrected Man Without evocative artwork and storytelling each protagonist as they
Fear makes his first move against Fisk, matches Miller’s hard-boiled prose beat maneuvered toward
their final showdown.
foiling a plot to blacken Daredevil’s for beat. Chilling, intricate, and deeply
reputation through the use of a violently satisfying, this tale of defeat, despair,
insane imposter in a Daredevil suit. and redemption proved comics could
It’s the beginning of the end for Fisk be as smart, sophisticated, and resonant
who will burn all his bridges with the as any novel or movie, and set a more
government and bring war to the streets mature tone for Daredevil—and Super
of Hell’s Kitchen in his obsessive attempts Heroes in general—for years to come. ■
Daredevil #231 165

The ’Nam #1
December 1986
“ Written by Doug Murray and edited by Larry

Hama, both of whom served in Vietnam,
The ’Nam was nominated for a Jack Kirby
Award for best new title when it debuted.
For seven years, it continued telling stories
both fictional and set against real events.
Peter David ”
R
evered today for its revolutionary when the conflict was brought to a
Cover artist Michael Golden reinvention of Super Heroes in the dramatic end with the fall of Saigon
Writer Doug Murray 1960s, Marvel, in its first incarnation as and the withdrawal of US forces from
Penciler, Michael Golden Timely Comics, was a comics powerhouse the country. In 1986, Marvel editor
colorist from the 1940s onward. During World Larry Hama—who, like many other
Inker Armando Gil War II, Timely pitted its heroes—masked Marvel staff and freelancers, had fought
Letterer Phil Felix
mystery men and adventurers like Headline in Vietnam—was tapped by editor in
Hunter or G-Man Don Gorman—against chief Jim Shooter to create a comic
Editors Larry Hama,
Pat Redding
Axis agents and armies, but by the end of series about the war. He wanted to
the decade had dialed back Super Heroes publish a title that honored those who
and switched to a broader canvas. In the had served: an honest portrayal of
1950s, the company, now reconstituted as the war—as much as possible under
Atlas Comics, focused on human heroes restrictions imposed by the Comics
and anthologized stories in genres such as Code—and a prestigious project not
horror, humor, western, and war stories. dictated by economics or buying trends.
When the Korean War started in Marvel expected controversy but was
June 1950, publisher Martin Goodman unprepared for extraordinary popular
rushed into production comics dealing acclaim. Told in real time but removed
with the conflict. The result was War by 20 years, The ’Nam shared the
Comics #1 (December 1950), the perspective of a succession of soldiers,
vanguard of several similar titles. each serving out their tours of duty.
Between mid-1952 and mid-1953, Stories paralleled analogous events
Atlas released 153 war comics over of the war on a month-by-month basis.
19 titles with names like Battle Action From December 1986 to September
and Men in Action. When Atlas finally 1993, 84 issues covered 1966 to 1973,
became Marvel Comics in 1961, public the years of America’s largest involvement
tastes had re-embraced Super Heroes. and greatest losses, as witnessed by
Some of these heroes interacted with “grunts” and “boots on the ground.”
the ongoing Vietnam war, with the only The title also didn’t shy away from the
war titles—Sgt. Fury and His Howling treatment of returning soldiers. Later
Hero in spite of himself Commandos and Captain Savage and His issues even incorporated elements of the
PFC Marks’ journey from timid newcomer Leatherneck/Battlefield Raiders—still Marvel Universe as Marine Frank Castle’s
to combat veteran is a classic transformation
fighting in the historically distant WWII. pre-Punisher experiences were detailed.
parable. The bemused everyman perfectly
embodies the hero-in-waiting: honest, likable,
In practical terms, the Vietnam conflict The ’Nam drew in readers who never
willing, and capable of great deeds, despite lasted for almost two decades, from read comics and was welcomed by many
his own lack of belief in himself. November 1, 1955, to April 30, 1975, veterans who used it to show their
166 The ‘Nam #1

Shock and awe
families what they could never share through paddy fields and survives his first Channeling imagery from iconic
war movies, such as The Deer Hunter,
about the war or how the conflict shaped firefight with the loss of his dignity but
Apocalypse Now, and Platoon, and
their generation. Hama had overseen thankfully nothing else. During his trial a generation of television news
similar material in Marvel’s mature- by combat, he is somehow transformed: documentaries, Michael Golden and
reader magazine Savage Tales, where no longer a gullible innocent but a jaded, Armando Gil’s stylized illustration
writer Doug Murray and artist Michael fully adapted survivor, even able to watch simplified the complexities of life
during wartime. This was especially
Golden created “The 5th of the 1st,” a movie while being relentlessly shelled
true when depicting the staggering
which inspired the color series, jokingly by the ever-present enemy. capabilities of the American military
dubbed the world’s longest miniseries. The series also owed its much praised and the chaotic urgency of missions in
Transferred to the mainstream, status, in no small part, to Michael the service of rescuing its own troops.
Murray and Golden introduce readers Golden and Armando Gil’s cartoonish,
to naïve Private First Class Ed Marks semi-realistic artwork. The exaggerated
in The ’Nam #1. “’Nam: First Patrol” body language of the participants
follows Marks through his basic training undercuts the gritty seriousness of the
and an eventful flight to Saigon, where subject matter, softening the impact of
he is stationed with the 23rd Mechanized war for younger readers, while allowing
Infantry. Marks, based on Murray’s own for exacting precision in depicting the
first days “in-country,” fails to realize machinery, material, and locations.
when he’s being asked for a bribe in Its success spawned a black-and-white
return for a soft assignment and is sent sister title The ’Nam Magazine, which from
to a frontline unit. Adopted by veteran 1988 to 1989 reprinted the first 20 issues
Mike Albergo, Marks is soon trudging of Murray and Golden’s exemplary run. ■
The ‘Nam #1 167

Peter Parker,
the Spectacular
Spider-Man #132
November 1987
“ The gripping, frantic, distraught, bloody, and

ultimately somber finale to “Kraven’s Last Hunt,”
one of the most revered Spider-Man stories of
Editor in chief
Cover artists
Tom DeFalco
Mike Zeck,
all time. And yeah, it lives up to the hype.
Ryan Penagos ”
B
Bob McLeod y the mid-1980s, Spider-Man’s suicide since he was busy chasing down
Writer J. M. DeMatteis huge popularity had led to three Vermin. His ratlike quarry had been released
Penciler Mike Zeck separate titles: Amazing Spider-Man, by Kraven to go on a murderous rampage
Web of Spider-Man, and Peter Parker, the and lure Spidey away. The issue opens with
Inker Bob McLeod
Spectacular Spider-Man. Usually each title’s Spider-Man pursuing Vermin through New
Colorist Janet Jackson
stories would be unrelated, but in 1987 one York City’s sewer system. There is no light
Letterer Rick Parker arc was deemed so important that it would to brighten the subterranean gloom, no
Editor Jim Salicrup cross over between all three Spidey books. color even from the web-slinger’s black suit,
This was “Kraven’s Last Hunt.” which replaced his traditional costume when
Conceived by writer J. M. DeMatteis, the latter was destroyed. After being buried
“Kraven’s Last Hunt” would use the title alive, Spidey has to battle his own fear in
villain to explore how others perceived the tunnels’ confined space while also
Spider-Man. Kraven saw his failure to fighting Vermin—before eventually fleeing
defeat Spidey in their previous encounters the sewers. As Vermin follows him into the
as the defining moment in his quest to be bright, bustling city streets above, the
the world’s greatest hunter. He would crepuscular villain becomes so disoriented
rectify this by only not hunting and killing that Spidey is finally able to capture him
the web-slinger but also by becoming and turn him over to the authorities.
you’re
home! Spider-Man himself. Having apparently By using Kraven as a substitute Spider-
achieved this in Amazing Spider-Man #294 Man—one far more violent than the
(November 1987), Kraven took his own life original—DeMatteis highlighted the unique,
as there was nothing more he could attain. inimitable qualities that made Peter Parker
Earlier issues of the saga featured Spidey’s a hero. Although he was super-strong and
i’m home. seeming death, burial, and subsequent unfailingly courageous, it was Peter’s
clawing his way out of his own grave. Artist humanity and innate kindness that made
Mike Zeck used this striking image for the him a hero and struck a chord with his
Brave heart cover of Amazing Spider-Man #294 first, legions of fans since his 1960s debut.
Peter Parker, the Spectacular Spider-Man #132 then drew the other covers for the six-part As Peter Parker, the Spectacular Spider-Man
ends on a happy note as an exhausted Spider- story line before working on any interiors. #132 draws to a close, with Kraven being
Man is finally able to do what he has been Peter Parker, the Spectacular Spider-Man buried on his family estate, DeMatteis
longing for throughout the intense story
#132 concluded “Kraven’s Last Hunt.” pointedly paraphrases William Blake:
arc—reunite with his new wife, Mary Jane.
Her relief at having him home safe illustrates the
Subtitled “Ascending,” Spider-Man had “Spyder, Spyder, burning bright, in the
difficulties of being the spouse of a Super Hero escaped his “grave” to confront Kraven, forests of the night... What immortal hand
who has to put his life on the line every day. but he had not witnessed the hunter’s or eye could frame thy fearful symmetry?” ■
168 Peter Parker, The Spectacular Spider-Man #132

Buried alive the worst of it kraven’s demented
The opening six pages of is over. game: drugging me--
Peter Parker, the Spectacular
Spider-Man #132 solely focus on ( i’m not
dead! )
a lone Spider-Man, struggling to
overcome his fear as he searches
the claustrophobic sewers for the
murderous Vermin. Artist Mike
Zeck’s measured storytelling
underscores the wall-crawler’s
panic and mental confusion as
his mind flits between his present
predicament and his earlier
traumatic battle to escape the
grave—intercut with unsettling
panels of a gravedigger in action.
( i’m not
-- burying me dead!! ) oh, but down here... it
alive . feels so much like it
did when i was--
Peter Parker, The Spectacular Spider-Man #132 169

Silver Surfer #1
December 1988
“ Worlds collided as Stan Lee teamed up

with European legend Moebius to create this
beautifully illustrated tale of two titans—the
Silver Surfer and Galactus—but takes time
to reflect on what it means to be human.
C. B. Cebulski ”
I n 1966, Jack Kirby created the Silver
Surfer for a story line about a voracious
planet-devouring space god in Fantastic
In 1982, a one-shot Silver Surfer
comic by Stan Lee, John Byrne, and Tom
Palmer was an early hit for the Direct
Editor in chief Tom DeFalco
Cover artist Moebius Four #48 (March 1966). The alien Sales market, proving the character
sky-rider’s naïveté and strident virtue still had many fans, and it led to a new
Writer Stan Lee
made him the perfect commentator on mainstream series in 1987. By now,
Penciler, inker, Moebius
humanity, especially during the socially Marvel was a truly international presence,
colorist, letterer
turbulent 1960s, and a potent symbol employing a global workforce, with many
Colorist John Wellington
of the peaceful ideals and fellow-feeling stories crafted explicitly for overseas
Editors Archie Goodwin, to which humankind might aspire—the readerships in Britain, Europe, and Japan.
Margaret Clark, When publisher Lee met legendary
better angel of our nature. Used sparingly,
Tom DeFalco,
and primarily scripted by Stan Lee, the French comics auteur Jean “Moebius”
Jean-Marc Lofficier
Surfer retained an aura of quality and Giraud that year, they agreed to work
exclusivity for decades thereafter. together on a prestige project. The result
The early comics industry survived on was a remarkable two-issue Epic limited
high sales and low costs. Thanks to rapid series starring the Silver Surfer.
response to market trends and constant This was not new territory. The Surfer
experimentation, in 1972, Marvel became was already an outreach character, star
the leading comic book publisher in of an all-new saga by Lee and Kirby
America. By the 1980s, its position was in 1978. The Marvel Fireside Books
unassailable. A downturn in newsstand edition—rereleased as The Silver Surfer:
sales at the time was countered by the The Ultimate Cosmic Experience—
rise of specialty comic shops and was one of the earliest graphic novels.
distributors: a direct market for serious Sidestepping Marvel continuity, the
fans and collectors. Marvel quickly one-off book allowed the creators to
embraced the new marketplace, devising focus on his uniquely philosophical nature
prestigious series and formats, launching and his ravenous master, Galactus,
its Original Graphic Novel line, and without the distraction of Super Heroes
making some titles “direct sales only.” to dilute its message. These qualities
In 1982, editor in chief Jim Shooter intrigued Moebius, a deeply spiritual
founded the Epic Comics imprint man and a paragon of European comics,
specifically for the Direct Sales sector. whose visionary science fiction/fantasy
The coming of Galactus Overseen by veteran writer-editor Archie comics leaned toward the mysterious
Wreathed in primal storm fury and uncanny Goodwin and prolific artist-writer-editor and the metaphysical. When the two-
technology, the towering alien introduces
Al Milgrom, Epic generated more adult- issue, Silver Surfer tale was released
himself to humanity. Most readers
anticipated that the space god would try to
oriented material—much of it creator- in December 1988 and January 1989,
consume Earth, but here the abiding threat owned—and became a byword for it was like no Surfer story any American
is to free will and self-determination. innovation and excellence. reader had ever seen.
170 Silver Surfer #1

Loving the alien
Although set in the future, “Parable” i ride my board.
explores how contemporary humanity
i have known the heady
responds to contact with alien forces. it matters not, exaltation of victory.
Whether Galactus is god or devil, how far, it matters i have known the
humankind will react ignobly and not how fast. gnawing pain of defeat.
selfishly, praying for a savior
to fight its battles only to turn
on the redeemer in the end. i have no destination.
i go where the winds but i shall never
of chance may cease searching for
carry me. an oasis of sanity
in this desert of
madness that men
call earth.
Set in the near future on an Earth with no

Super Heroes in sight, the first issue reveals
how astronomers detect a massive space ship
approaching. Panic ensues with terrified
humankind descending into riot and
mayhem. Residing unnoticed in the grimy
streets, a shabby derelict recalls a lost love on
a distant world. As cops target the vagrant,
the starship arrives and colossal Galactus
addresses the planet. The alien has come
to save the world from terror, poverty,
conscience, and free will. Religions spring
up worshipping him, and an ambitious
televangelist declares himself prophet and
voice of Earth’s newest god. As civilization
for the worst fate
crumbles, the derelict is revealed as the of all, amidst count-
Silver Surfer, who valiantly defies his less worlds and
endless stars - -
creator, Galactus, on behalf of a species
that has become too cowardly to fight
and too venal and lazy to think for itself.
Moebius’ beliefs resonated with the - - is to
be for-
messianic purity of the gleaming fallen ever
angel, resulting in a unique story dynamic alone.
balancing theocratic debate with shattering
action. The concluding chapter sees
Galactus rampage through cities like a
B-movie monster, demanding his former
herald’s return to servitude. Tragically, the
turning point comes after the pointless
death of a true innocent: a woman who
begs the Surfer to intercede on behalf of
humankind. The series was repackaged as
“Parable,” a stunning 80-page hardcover
volume, with creators’ notes and added
extras. The compliment of bonus features is
now standard in graphic novel collections,
and this pioneering collaboration stands
the end.
as a triumph in the evolution of comics. ■
Silver Surfer #1 171

Incredible
Hulk #377
January 1991
“ David and Keown complete a character

evolution that, unlike many in Super Hero
comics, won’t be reversed—bringing the
dichotomy of Banner and the Hulk to a
Editor in chief
Cover artists
Tom DeFalco
Dale Keown,
logical (and psychological) conclusion.
Al Ewing ”
B
Bob McLeod
y the early 1990s, a few years into green in later issues. Another aspect of
Writer Peter David a run that would last more than a Joe Fixit that was inherited from the very
Penciler Dale Keown decade, Peter David had already ensured first incarnation of the Hulk was that his
Inker Bob McLeod his reputation as one of the Hulk’s transformation happened only at night.
Colorist Glynis Oliver
definitive writers. Incredible Hulk #377 So Bruce Banner’s psyche was now
was one of the very best issues of his long getting quite crowded. As well as Banner,
Letterer Joe Rosen
stint on the title, an exploration of Bruce the reserved, introspective, “puny” genius,
Editor Bobbie Chase
Banner’s psyche that got right to the there was Hulk, the giant, green smashing
heart of the character. The comic’s classic machine, and Fixit, the gray party animal.
status was helped in no small measure Incredible Hulk #377 separates these
by its superstar artist, Dale Keown, three personas, making them confront
who enjoyed a critically lauded creative each other in Banner’s mindscape, the result
partnership with David on Incredible of a hypnotism session by the reforming
Hulk that lasted for 27 issues. villain Ringmaster. The session is
Peter David’s take on the Hulk was organized by longtime Hulk and fellow
notable for its focus on Bruce Banner the gamma-ray-mutated character, Doc
man and how his transformation into Samson, in an attempt to “cure” Banner.
the Hulk was both a cause and effect of Inside his psyche, Banner and the
his psychological and emotional issues. two Hulks witness harrowing scenes from
The writer went beyond “the angrier the scientist’s childhood, where he is
I get, the stronger I get” scenarios to menaced by a terrifying monster. Both the
delve deeper into Banner’s relationships, Hulks fear it, yet they try to attack it and
going right back to his childhood. are both destroyed. As his mother tries
Earlier in his run, David had to leave the house with Bruce to save him
introduced the gray Hulk, who took the from the creature, it kills her. The monster
nickname Joe Fixit. This version of the is Bruce’s father, and its horrifying
Hulk was smarter than the green iteration, appearance is a manifestation of the
more cunning, but also not as strong. effect he has on his young son. It is in this
He was outgoing, funny, and always in tormented atmosphere that Bruce learns
pursuit of pleasure, unlike the quiet and to bottle up his emotions, pushing his
studious Banner. The choice of skin color rage and terror deep within himself.
harked back to the character’s debut in As the hypnotic dream continues, it
1962, in which he had gray skin before becomes clear that only Banner himself
printing problems forced the change to can face this dreaded avatar of an abusive

Brawn and brain
Betty Ross—and the Hulk’s
legions of fans—got a first
look at the new “merged
Hulk.” This was writer Peter
David’s way of addressing
the increasingly crowded and
fragmented nature of Bruce
Banner’s traumatized psyche.
Artist Dale Keown expressively
and masterfully combined
the best attributes of all
the Hulks into one.
childhood, as even the super-strong

Hulks are no match for it. At his mother’s
graveside, Bruce admits that his lack
of emotion was part of a desire not to
turn out like his brutal, insane father.
The monster shrinks to appear just like
an ordinary man and is then replaced by
a vision of Bruce’s mother, who urges all
her “sons”—Banner, Hulk, and Fixit—
to come together for their mutual benefit.
As Bruce wakes from his hypnotic state
in the real world, he emerges as a new
kind of Hulk, the so-called “merged
Hulk,” within which all his personalities
and attributes are combined.
Artist Dale Keown rose brilliantly to the
challenge of bringing real emotions to not
one but two Hulks, as the green and gray
iterations experienced the horror of their
monstrous father and their sorrow and
guilt at losing their mother. His panels
depicting the psychic monster unsettlingly
illustrates how childhood traumas can
loom over a person throughout their life.
The cover of Incredible Hulk #377
featured a special fluorescent green ink
that cleverly resonated with the bright
acidic colors that featured prominently
on the clothes and accessories of the
time. Later print runs would feature two
alternative covers with different but still
eye-catching color treatments—another
reason why this issue was one of the most
collectible of all Hulk comics. ■ i’m
home.

just... nowhere. . . ’cept the
edge...
of the dark!
and th’ dreams...
of death...
in the shadowed rooms...

of the prophecy.
uhh! it’s the same...!

every night!
pain an’ bones

an’ spikes...
dagger hands.
bloodshot with...
with... vile. . .
stench. . .
and. . .
174 Marvel Comics Presents #72

Marvel Comics
Presents #72
March 1991
“ Although Wolverine’s true intended origin is

disputed, this issue launched the now accepted
revelation that Logan was originally Weapon X,
part of a Canadian program to create living

weapons out of helpless subjects.
Peter David ”
J
Cover artist Barry Windsor-Smith oining the new X-Men in 1975, the Comics Presents #72–84 (March–July
Writer, penciler, Barry Windsor-Smith taciturn mutant berserker Wolverine’s 1991), Windsor-Smith brought a fine-art
inker, colorist, popularity grew steadily as reading tastes sensibility combined with a thriller director’s
letterer
turned darker and edgier throughout the discipline to the tale. The story delved
Editors Terry Kavanagh, 1980s. Much of his appeal came from an deeply into Wolverine’s hitherto unexplored
Kelly Corvese
aura of mystery, when surprising details genesis and motivations but shrewdly left
of his past suddenly emerged, such as his readers guessing at the full truth and even
unexplained knowledge of Japanese hungrier for further revelations.
culture. For three decades, his origins At 120 pages, the story should be read
remained undisclosed, with readers in one sitting (collected in Wolverine:
gleaning only hints and even contradictory Weapon X, March 2009). It details how
insights, because Logan’s history was a burned-out secret agent is abducted
obscured even from himself. Sporting by ruthless scientists working for an
fearsome claws and a killer attitude, he undisclosed backer. Their intent is to build
rode, and helped, the meteoric rise of the perfect Super-Soldier assassins, but previous
outcast X-Men before gaining his own attempts have met with agonizing failure.
series. Starting with the first issue, he Their project takes an unexpected turn when
assumed lead position in the fortnightly their latest unwilling acquisition is found
anthology Marvel Comics Presents. Soon to be superhuman: a mutant with enhanced
after, a solo monthly title confirmed his senses. However, what really interests the
independent status and set him on a path scientists is Logan’s rapid-healing powers
to comics and cinematic stardom. and the shocking fact that—unknown even
In 1991, superstar creator Barry to himself—he can extend razor-sharp
Windsor-Smith began filling in some bone claws from his knuckles. Both abilities
g Psycho drama of the missing pieces. Already affiliated suggest that his body should be able to
Logan’s biologically generated with the X-Men for illustrating feted tolerate infusions of unyielding super-metal
claws are a recurring visual motif
stories such as the Chris Claremont Adamantium. And if the excruciating
throughout Barry Windsor-Smith’s
meticulously crafted tale. They
scripted “Lifedeath” in X-Men #186 process destroys his mind, that just assists
indicate mood and reading direction, (October 1984), Windsor-Smith’s their eventual aim of brainwashing him into
become prison bars reinforcing serialized part-work “Weapon X” at last a compliant slave. Of course, with a spirit
Logan’s captivity and helplessness, disclosed how the bestial mutant gained as fierce and unbreakable as Logan’s,
and are a terrifying reminder of
his Adamantium-laced skeleton and claws. things do not go according to plan.
his feral power when unleashed.
The claustrophobic jigsaw design
Writing, drawing, inking, coloring, and During the procedure, Logan is reduced
of the page acutely reflects Logan’s in places even lettering the 13 eight-page to snarling bestiality and let loose on a
fractured frame of mind. chapters, which appeared in Marvel variety of animal test subjects. Yet some
Marvel Comics Presents #72 175

deeply buried vestige of the man within
struggles to emerge. Ultimately, however,
it’s not his humanity that saves Logan,
but his savagery, which overcomes all
can’t go on--
attempts at programming. He eventually
frees himself to exact vengeance and claw
his way to freedom and self-awareness.
Sadly, his triumph is short-lived, and
by the time he carves his way through
an army of soldiers, his memories are
drastically damaged.
The Weapon X saga’s prologue in
Marvel Comics Presents #72 sets the
pervasive tone of bleak anxiety. Flashbacks
to Logan’s capture and flash-forwards to
his technologically maltreated, forcibly
augmented body floating in liquids are
unsettlingly juxtaposed. Images of a
troubled, weary operative, quitting his
dirty job and dreaming of a clean, simple
life in the Yukon are intercut with Logan’s don’t give up!
present torment. As he fights and drinks
and dreams, shadowy men with an
appalling agenda close in on him and
change his life forever.
With complete control of his page,
Windsor-Smith uses every opportunity to
create tension and drama in this masterpiece
of terror. Small, interconnected panels relay
detailed yet elliptical information. Captions
deliver ambient dialogue, not authorial gristle shot--
comment, and sound effects are tightly
tied to words and actions, leading the reader
to the next moment—even against the
traditional flow of comics narratives.
The overall effect is one of disorientation
and dread. This is no ordinary Super Hero
story. In fact, there are no costumed
characters in sight. This is an espionage/
horror story unfolding in relentless
installments as one of the most indomitable
heroes in Marvel history endures and
eventually overcomes his lowest ebb.
Key aspects of Windsor-Smith’s
saga were transplanted to the big screen
in X-Men Origins: Wolverine (2009), in
which Logan’s nemesis, the mad scientist
Abraham Cornelius, appears as a main
player in his transformation. In 2014,
Cornelius reprises his role in the comic
book miniseries The Death of Wolverine,
as he attempts to revive the process for
making Adamantium-enhanced killer
cyborgs. The villain suffers a just end, but
his malicious actions remove Logan from
the Marvel Universe for years. ■
176 Marvel Comics Presents #72

knees givin in--
The horror within

Initially perceived as a
creature of savage excess
and high-tech augmentation,
Logan is broken down and
rebuilt as a man who
overcomes the horror of
his own mutation and the
merciless exploitation of
don’t give up! true monsters. Tragically,
his formidable resolve is
constantly undercut by his
revulsion for the claws
lurking within his body.

Infinity Gauntlet #1
July 1991
“ Most people today recall this story for the

snap of fingers with which Thanos extinguishes
half the living beings in the universe. But for
readers at the time, the most exciting thing
about Infinity Gauntlet #1 was the return of artist
George Perez to Marvel after a decade away.
Tom Brevoort ”
S
ince his debut in Iron Man #55 conjunction—granted control of every
Cover artist George Pérez (February 1973), Jim Starlin’s aspect of existence to the being who held
Writer Jim Starlin fearsome cosmic villain Thanos had them. With all life endangered, the higher
Penciler George Pérez grown immensely in popularity and powers of reality began marshaling their
Inkers Josef Rubinstein, reputation. A breakthrough character forces to counter Thanos and Death.
Tom Christopher creation and critical success after his The Infinity Gauntlet was a six-issue
Colorists Max Scheele,
universe-shaking battles with Captain miniseries drawing together all those
Ian Laughlin Marvel, the Avengers, the Thing, and disparate story strands, while putting
Letterer Jack Morelli
Spider-Man, his deserved destruction at in place credible heroic opposition to
the hands of sometime ally and long-term Death’s plans. As the saga opens in
Editor Craig Anderson
pawn Adam Warlock was a thrilling peak The Infinity Gauntlet #1, an omnipotent
in Super Hero storytelling. With such Thanos has made himself the supreme
great triumph comes great pressure from being—in his terms, “God”—but is
fans, and even creators, for more. And so uncharacteristically uncertain how to
Thanos’ inevitable resurrection came in proceed now that nothing is beyond his
February 1990, in Silver Surfer #34, as power and awareness. His ruminations
Mistress Death—perceiving a universal manifest as idle acts of spectacular
in other
words, imbalance in the current number of living creation and destruction, peppered by
thanos
now has the beings compared to all those who have ingratiating suggestions by infernal
unbridled
power of ever died—returns the Mad Titan to life tempter Mephisto, who has attached
a god!
to balance the books for her. himself like a parasite to the almighty one.
Thanos’ attempts to satisfy her Meanwhile on Earth, a traumatized
demands brings the villain into conflict Silver Surfer crashes into Doctor Strange’s
not only with the Surfer but also most of Greenwich Village Sanctum Sanctorum
the heroes in the Marvel Universe. The to warn Earth’s heroes of imminent
extended story line ran until Silver Surfer disaster. At the same time, in upstate
#59 (November 1991), encompassing New York, three criminals perish.
intertwined crossover events, such as Their lives are over, but reality needs
Infinity Gauntlet, Infinity War, and their bodies as vessels for agents—to
Infinity Crusade, a spin-off Warlock and be released from a sanctuary within an
Call to arms the Infinity Watch, and the crucial prequel infinity stone—chosen to battle Thanos.
Hidden forces subtly work against Thanos miniseries Thanos Quest. Here, the driven Despite wielding ultimate power,
throughout the story. As the resurrected
death-worshipper was diverted from his Thanos learns even God can’t find
Titan dons the Infinity Gauntlet, Life’s
Champion Adam Warlock and his greatest
purpose while acquiring the six rare contentment or satisfaction. Mistress
allies are ejected from Paradise within the Infinity Stones that underpinned the Death continues to spurn his affections,
Soul Gem to thwart his terrible plans. totality of creation and—when used in and nothing he offers or manifests can
178 Infinity Gauntlet #1

Fist of God
Although action-packed, The Infinity
Gauntlet is also a romantic tragedy
about hubris. Following years of
struggle, Thanos finally wins the
power to do whatever he wishes,
but he still cannot win the favor of his
one true love, Death. His ascension to
“godhood” is witnessed by the Silver
Surfer who warns Doctor Strange
of the Mad Titan’s nihilistic designs.
no longer do
the laws of
nature bind
him.
sway her. With Mephisto still seductively his will can

bend the very
whispering in his ear, Thanos resolves fabric of
realit y.
to finally fulfill the mission she gave him,
and with a snap of his fingers, half of
all life in the universe vanishes.
As friends and foes dematerialize,
Earth’s remaining heroes realize some
terrible cosmic crisis has occurred.
Simultaneously, Pip the Troll and Gamora,
the deadliest woman in the galaxy, have
fully resurrected in the bodies of three
recently deceased criminals. Suddenly,
Gamora vanishes, and as Pip checks on
a reborn Adam Warlock, he realizes with
horror that the one being destined to stop he is all
and all there
Thanos has inexplicably retreated into is is now his
to command.
a cocoon to further transform.
Portrayed as a modern iteration of
Macbeth, Starlin’s Mad Titan is one
thanos is now
of the few instances in comics of a villain mightier than
death herself.
succeeding as a protagonist. Only Doctor
Doom and Magneto have the gravitas
and emotional complexity to carry a more powerful
readership with them without actually than any force in
the universe.
reforming their characters. Meticulously
rendered by superstar illustrator
such a
George Pérez and sympathetically force in it could
the hands
burnished by inkers Josef Rubinstein of a mean the
end of
madman. all that
and Tom Christopher, Infinity Gauntlet’s is.
a nihilist.
trenchant examination of greed, need,
and obsession forever escalated the
stakes and scale of Super Hero epics.
The saga’s key moments were thrillingly
adapted in the critically acclaimed and
box-office shattering Avengers movies
Infinity War and Endgame. ■
Infinity Gauntlet #1 179

Marvels #1
January 1994
“Marvels is the ultimate introduction to the

Marvel Universe. Kurt Busiek’s presentation of
Phil Sheldon’s POV grounds the story for any
reader, and Alex Ross’s art was quite simply
groundbreaking and awe inspiring.
Dan Buckley ”
T he four-issue miniseries Marvels was
a radical departure for Marvel that
triggered a wave of nostalgia for heroes
Unlike regular comics, the fights
were often hidden behind buildings as
onlookers strained to get a glimpse of the
Cover artist Alex Ross of the past. Older readers were entranced mighty beings. Longtime Marvel readers
Writer Kurt Busiek to see beloved characters brought back to would already have been familiar with the
Art Alex Ross stunning life by Alex Ross. The artist was events being depicted, but Marvels gave
Letterers Richard Starkings,
only just starting out in comics at the time them a fresh perspective, putting them
John Gaushell and was trying to kick-start a project that in the position of a regular person on a
would enable him to draw classic Marvel New York sidewalk. While the lead, Phil
Editors Marcus McLaurin,
Spencer Lamm characters such as the android Human Sheldon, was newly created, some familiar
Torch, Namor the Sub-Mariner, and characters made up the supporting cast,
Captain America, as well as later legends such as young reporter J. Jonah Jameson;
of the Silver Age. Working with writer Betty Dean, a recurring character from the
Kurt Busiek, they came up with the idea Sub-Mariner’s 1940s adventures; and even
when this is over,
i'd said. when would of presenting the stories of early Marvel a young, wide-eyed Nick Fury eager to get
that be?
heroes through the eyes of an “everyman.” involved in the impending war.
Taking this idea to Marvel’s then Ross’s fully painted artwork set a new
editor in chief, Tom DeFalco, resulted in benchmark for depicting Super Heroes and
the creation of photojournalist Phil Sheldon, the world in which they existed. The Golden
who would observe critical events that were Age of comics and the lost world of prewar
part of Marvel lore. In Marvels #1, this New York City is brought back to glorious
meant the “birth” of the Human Torch, life with near-photorealistic flair. Ross was
the emergence of Namor into public influenced not only by legendary comic book
consciousness, and the coming of Captain artist George Pérez but also by the famous
America, as World War II gripped the US. painter-illustrator Norman Rockwell, whose
Marvels #1 conveyed the natural reaction snapshots of ordinary life seemed to recreate
from ordinary people when confronted with the essence of 20th-century America.
the reality of super-powered beings— Marvels was marked for classic status
it would blow over.
the world wouldn’t nicknamed “Marvels”—suddenly appearing from the start, being published in a prestige
stay like this. it
couldn’t. in their lives. At first, they were disbelieving, format, with high-quality paper interiors
could it?
and then fearful. They thought they were and acetate covers. It was a hit with readers
the pinnacle of creation but now realized as well as critics, being nominated for five
A new normal that they were almost helpless compared Eisner Awards in 1994 and winning three:
Marvels showed the dawn of the age of to these Marvels. They were forced to Best Finite Series, Best Painter (for Ross),
Super Heroes from the perspective of
reassess their place in the world. Down at and Best Publication Design (for Comicraft,
ordinary people, such as photojournalist
Phil Sheldon, who had to come to terms with
street level, the carnage caused by the the lettering services provider). The series
a new reality in which they were vulnerable clashes between the Human Torch and firmly established the industry reputations
to the actions of far mightier beings. Namor caused terrible injuries and damage. of both Ross and Busiek. ■
180 Marvels #1
Golden heroes
The closing image of Marvels #1 gave artist
Alex Ross the chance to assemble an array of
Golden Age heroes. The lineup brings to mind the
World War II team, the Invaders, created at the
end of the 1960s by Roy Thomas and Sal Buscema.
With the outbreak of World War II, Super Heroes
had rallied to the cause of the Allies, making them
far more welcome among ordinary citizens.
Marvels #1 181
Dr. Strange: What
Is It That Disturbs
You, Stephen?
October 1997
“ Gorgeously rendered and breathlessly paced,

this is a twisting, sprawling, genre and panel-
bending love-letter to the weird and wonderful
corners of the Marvel Universe that Strange
”
Editor in chief Bob Harras
Cover artist P. Craig Russell floats, stumbles, and casts his way through.
Writer Marc Andreyko Ryan Penagos
Penciler, P. Craig Russell
inker
Colorist Lovern Kindzierski D octor Stephen Strange is rare among
Marvel Super Heroes. He may be the
Sorcerer Supreme, but he is also human
Fast forward 20 years, Russell—now
a celebrated comics creator—was invited
to return to the story. He decisively fulilled
Letterer Galen Showman
and afflicted with all the foibles of a mere the brief, and then some. Russell expanded,
Editor Bob Harras
mortal. A self-made man who destroyed redrew, and, working with scripter Marc
his life through hubris and excess, and Andreyko, even rewrote sections of the
rebuilt it through humility and hard work, Dr. Strange annual. Vibrant new colors by
he stands as humanity’s watchman against Lovern Kindzierski and fresh calligraphic
all manner of otherworldly malfeasance. effects and lettering from Galen Showman
As such, Strange is constantly on guard added subtle emotional shading that helped
against threats to others but suffers from transform the original tale into a foreboding
a kind of myopia when the target of yet beautiful fable, perfectly in tune with
mystical mischief is himself. Russell’s operatic sensibilities. The result
Such was the case in the twice-told tale was an artistic high watermark of the
“What Is It That Disturbs You, Stephen?” maturing comics artform, released as a
a beguiling collaboration between up-and- one-shot prestige format graphic novel.
coming artist P. Craig Russell and writer- The story—winner of a prestigious
editor Marv Wolfman, initially published Eisner Award—was also a fitting tribute
in Dr. Strange Annual #1 (December to the work and influence of Dr. Strange
1976). In “… And There Will Be Worlds and Spider-Man cocreator Steve Ditko.
Anew!,” Strange is lured to the mystical Alternatively entitled “Mourning Becomes
dimension of Phaseworld and into a three- Electra,” the story reveals how a profusion
way battle between evil queen Lectra, her of coincidences contrive to repeatedly ask
sister, Phaydra, and the angel Tempus. Strange a baffling question: “What Is It
The tale of love, abduction, and obsession That Disturbs You, Stephen?”
was based on and an early example As Sorcerer Supreme of Earth, duty
Mystical misdirection of Russell’s abiding fascination with and responsibility to others are his enduring
Doctor Strange’s constant exposure to translating classical fantasy opera themes burdens, with personal concerns duly
uncanny coincidences and arcane signals
into comics form. Although the story disregarded. Despite a warning from his
betray him as Electra lures him to her
world with a whispered question. Galen
became a cult favorite, the creators were mentor the Ancient One, Strange starts
Showman’s ornate, ethereal lettering unhappy with the final result, and the searching for his devoted associate Wong,
enhances the mystic master’s disorientation. characters involved were never used again. who has mysteriously vanished from the
182 Dr. Strange: What is it that Disturbs You Stephen?

Altered states
Doctor Strange was Steve
Ditko’s pictorial masterpiece,
with the artist’s hallucinatory
imagery widely embraced by
America’s 1960s counterculture
who sought alternate truths and
realities. P. Craig Russell’s revised
tale explicitly references his
predecessor’s unbridled visual
imagination, naming Elektra’s
mystic citadel Ditkopolis,
while incorporating his own
signature operatic staging.
Sanctum Sanctorum. The trail leads to

a band of slaughtered monks, a demonic
ambush that is easily dealt with, and,
ultimately, to an unknown, but perilously
unstable and endangered magical dimension.
On arrival in this realm, Strange battles
the powerful sorceress Electra. His equal
in magic, this ruler of a doomed city holds
Wong hostage, and demands Strange’s
surrender. Electra wants his power and
ultimately his love as her consort, all to save
her city. However, Strange suspects she is
misleading him. Compliant while gathering
information, the mystic master learns that
Electra originally coruled this realm with
her sister, Celeste. When angelic magician
Galtus chose Celeste over her, Electra
ensorcelled them both and seized control.
Now, through subterfuge and treachery,
she plans to consolidate her own power by
stealing that of the Sorcerer Supreme, but
she is brought low when Strange succeeds
in freeing the bewitched lovers. Confronted
with her past sins, Electra goes mad and
brings about the suicidal destruction of
everything she professed to love.
Originally drawn in a consciously art
nouveau-style, the revised story’s simplified
line work, evocative use of flat colors,
and dramatic storytelling demonstrates
Russell’s greater confidence in orchestrating
all facets of the medium. He conjures a tale
of deceit and passion imbued with all the
baroque force of a magical opera, while
also displaying the breadth, scope, and
maturity to which Super Hero comics
can aspire—and achieve. ■
Dr. Strange: What is it that Disturbs You Stephen? 183

Daredevil #1
November 1998
“
[Building on] themes of sin, salvation,
repentance, and confession, Smith and
Quesada... offered one of the most penetrating
glimpses of the man behind the mask.
Win Wiacek ”
F or most of his comic book career,
sightless swashbuckler Daredevil has
remained on the fringes of the Marvel
relationship between driven legal crusader
Matt Murdock and his vigilante alter
ego, and how both are informed by the
Editor in chief Bob Harras
Universe. An innate loner due to the character’s Roman Catholic faith. This
Cover artist Joe Quesada nature of his unique powers and super- incisive and consequential insight into
Writer Kevin Smith senses, he was not the kind of costumed The Man without Fear’s often conflicted
Penciler Joe Quesada champion to regularly work in teams, frame of mind would be expanded on in
Inker Jimmy Palmiotti except in special circumstances or subsequent stories by creators David
the most critical of crises. Mack and Brian Michael Bendis.
Colorist Dan Kemp
In the late 1990s, during a period Unlike Frank Miller’s legendary,
Letterer Liz Agraphiotis
of economic turbulence in the comics mold-breaking tenures, Kevin Smith
Editor Nanci Dakesian industry, Marvel moved Daredevil as well wasn’t concerned with tearing down and
as a number of other outlier heroes, such rebuilding the hero. Instead, he focused
as Black Panther, the Punisher, and the on shining a contemporary light into
Inhumans, into a separate imprint that neglected corners of Daredevil’s past,
worked adjacent to but slightly removed reminding jaded fans why the character
from the regular shared continuity. Aimed had lasted so long, while also presenting
at older readers, the Marvel Knights line him afresh to new readers.
would feature experimental stories and The opening story arc “And a Child
mature themes, many by creators not Shall Lead Them All” begins as Murdock
usually associated with Marvel. The line reels from the news that longtime lover
would by overseen by Jimmy Palmiotti Karen Page has left him for a broadcasting
and future Marvel editor in chief and job on the West Coast. Six months later,
chief creative officer Joe Quesada. Marvel he is still coming to terms with being
Knights not only revitalized Daredevil and abandoned, and even a confession to his
other “outsider” heroes, it also restored priest offers no solace. The first inklings
Marvel’s financial fortunes, repositioning of something strange afoot occur after
the company for a 21st-century readership Daredevil saves a teen with a baby from
and ultimately paving the way for the thugs who have already ceremonially
Marvel Cinematic Universe. murdered her parents. As he dispatches
Daredevil’s first series was canceled them, the girl disappears, only to appear
with Daredevil #380 (October 1988), in Murdock’s office later. Her name is
and the new Marvel Knights reboot Gwyneth, and she claims her child is the
launched a month later, illustrated by result of immaculate conception. She has
Quesada and Palmiotti, and scripted sought Murdock out to protect the baby
by fan-favorite screenwriter, director, until the time comes for her to begin
and comics aficionado Kevin Smith. her work redeeming the world.
The initial eight-part story arc “Guardian Murdock’s heightened senses make
Devil” explores the finely balanced him a human lie detector, so he knows
184 Daredevil #1
“... is a leap
of faith.”
Signs of faith
Religious metaphors in Kevin Smith’s
Gwyneth thinks she’s telling the truth. Ultimately, Murdock tragically loses his
script are carefully augmented by
The fact that she’s being relentlessly one true love, but eventually his rationalistic Quesada and Palmiotti’s complex
pursued by fanatics also makes her mind finally realizes he has fallen prey to page designs. The artists use found
credible. What’s harder to accept is that a vicious scam by a long forgotten foe, a Christian iconography, reference
she says she knows he is Daredevil because scam to which he is particularly susceptible illuminated manuscripts, and overlap
small panels to resemble stained
an angel told her so. Later issues reveal because of his strong religious convictions.
glass windows to great effect.
how a religious zealot believes the child Powerfully building on Miller’s use of
is not the Messiah but the Antichrist, resonant Roman Catholic themes of sin,
and if Daredevil doesn’t kill her, the salvation, repentance, and confession,
world is doomed. Passing weeks drag Smith and Quesada’s affecting tale
the tortured hero through much emotional offered one of the most penetrating
turmoil and test his faith as he strives to glimpses of the man behind the mask.
do the right thing. His personal life and It also enhanced Daredevil’s outsider
that of his friends become living hells, status, effectively proving why he will
and even old enemies resurface. always be the ultimate lone avenger. ■
Daredevil #1 185
New X-Men #115
August 2001
“ One issue after Morrison and Quitely made

mutants cool again, they bring their world
crumbling down with an act of horrific
genocide, setting the stage for the title
straight through to the present day.
Chip Zdarsky ”
Editor in chief Joe Quesada N ew X-Men #115 was the second
in the “E for Extinction” story arc,
and also the second issue of Grant
the traditional spandex, to be replaced by
modern leather-like outfits that had much
in common with the appearance of the
Cover artists Frank Quitely,
Tim Townsend
Morrison’s radical shake-up of the team in the X-Men movie. Another visual
X-Men. The multiple titles featuring the change was the mutation of Beast (Hank
Writer Grant Morrison
mutant characters were crowding the McCoy), whom Morrison and artist Frank
Penciler Frank Quitely
market by the turn of the millennium— Quitely reimagined as being more lion like
Inkers Tim Townsend, diluting their impact. However, with fan than simian. This was explained in the story
Mark Morales as “secondary mutations,” which allowed
interest in the X-Men riding high after the
Colorists Brian Haberlin, blockbuster X-Men movie had hit cinemas established characters to develop new
Hi-Fi Design in 2000, Marvel decided that a revamp powers. In New X-Men #116 (September
Letterers Richard Starkings, was needed to capture the mutant cool 2001), it was revealed that Emma Frost
Saida Temofonte seen on the big screen. So editor in chief had gained the ability to turn her skin
Editors Pete Franco, Joe Quesada persuaded acclaimed writer diamond-hard, a power that was almost
Mark Powers Grant Morrison—a creator well known a direct replacement for Colossus, who
for his bold, idiosyncratic approach to was deceased in the current continuity.
classic comic book characters—that he New X-Men would feature familiar
was the right person for the job. aspects of the X-Men’s world, like the
Morrison accepted and became the Sentinels, Shi’ar, and Magneto, but
definitive “man with a plan.” He wrote Morrison would place an emphasis on
a manifesto outlining his views on the creativity above continuity, searching
X-Men comics and what should be done for new angles on venerable concepts.
to reinvigorate them. Key to his masterplan This was evident in “E for Extinction,”
was the idea that the characters needed to when readers were introduced to the
keep changing in order to stay relevant. concept of the wild Sentinels—a spin
He suggested retitling the flagship comic on the mutant-hunting robots—which
from X-Men to New X-Men so that assembled themselves out of whatever
readers were left in no doubt that a fresh technology and parts were available.
era was dawning. To lead the X-Men into This opened up far more possibilities
this brave new era, Morrison chose a core for the appearance and capabilities of
group of X-Men for his team: Professor X, Sentinels, and more storytelling potential.
Beyond evil Beast, Cyclops, Jean Grey, Wolverine, These wild Sentinels were used to
Created by Grant Morrison and Frank and, most surprisingly, the reformed devastating effect in New X-Men #115
Quitely, the remorseless Cassandra Nova psychic villain Emma Frost. by a new Morrison-created character,
is determined to wreak destruction on all The most obvious change was evident Cassandra Nova. The parasitic “twin”
mutants. She is a “mummudrai,” a parasitic
life form from the astral plane, who becomes
on the cover of Morrison’s first issue, New of Charles Xavier, Cassandra wants
telepathically entangled with the future Charles X-Men #114 (July 2001): the team had nothing less than to eradicate mutants
Xavier, granting her psionic powers. been given updated uniforms. Gone was to prevent them from rendering Homo
186 New X-Men #115

Extermination event
sapiens extinct. She uses Sentinels away, and the X-Men were forced to The destruction of Genosha is
activated unwittingly by a distant relative confront (and adapt) to a new reality. captured in a powerful full-page
splash with pencils by Frank Quitely
of Bolivar Trask, the robots’ original Quitely, a frequent collaborator of
and inks by Tim Townsend and
creator, to launch a devastating attack on Morrison’s and arguably the artist whose Mark Morales. This event becomes
the mutant-inhabited island of Genosha. style and vision best matches the writer’s a seminal moment in the comic book
Sixteen million mutants were killed in ambitious storytelling, brought a clean, history of the X-Men, relaunching
what amounted to an act of genocide. modern aesthetic to the mutants’ world. the team for the new millennium
and making New X-Men #115
The shocking events of New X-Men His stylized, unconventional pencils
a certifiably modern classic.
#115 exemplified and kick-started captured a new way of looking at the
Morrison and Quitely’s now-iconic run X-Men, in which they were part of a
on the title. The old order was swept cool, contemporary counterculture. ■
New X-Men #115 187

Alias #1
November 2001
“ Alias #1 was a smart but much darker look

at the underbelly of Super Heroes. Jessica
Jones’ detective noir mixed with capes
changed everything. And the way I thought
Editor in chief Joe Quesada
about Super Hero comics after that was
”
Cover artist David Mack
Writer Brian Michael Bendis

never the same—in the best of ways.
Penciler, Michael Gaydos Kelly Thompson
inker
Colorist
Letterer
Matt Hollingsworth
Richard Starkings I n 2001, Marvel Comics stopped

submitting its titles to the Comics Code
Authority, instead implementing its own
made it seem as though she had always
been in the Marvel Universe, maybe just
out of shot, not quite visible in previous
Editors Stuart Moore,
Kelly Lamy, ratings system so that readers could make comics. He would later refer to her as
Nanci Quesada their own decisions about the content “Queen of the Marvel ‘B’ characters.”
they wanted to buy and read. At the same Bendis was a rising star at Marvel
time, Marvel debuted the new MAX comic after his successes with the Ultimate
book imprint for mature readers, which line of comics, which provided creators
featured uncensored cursing, nudity, with more freedom on non-continuity
sexual content, drug use, gritty violence— stories. He also had considerable
and pretty much anything else. experience writing crime titles, which
Alias was the first title to be launched gave him a solid grounding for creating
under the MAX imprint. It was a slightly the milieu for Jessica Jones’ new career
risky choice, since its lead character was as a sleuth-for-hire. For Alias, the writer
one new to the Marvel Universe, not wanted to examine what would happen if
an established name like Nick Fury someone just wasn’t very good at being
or War Machine, who would gain their an Avenger. What would happen next?
own MAX titles soon afterward. Alias #1 In Jessica Jones’ case, it was to use
introduced readers to Jessica Jones, and her powers in a less ostentatious way,
although her backstory would be revealed investigating minor mysteries at the
only gradually, the debut issue left readers fringes of the Super Hero world.
in no doubt that Jessica was a character The other major theme of Alias was
unlike any other in the Marvel Universe. Jessica’s very obvious struggle with her
Created by Brian Michael Bendis and own personal issues and her difficult
Michael Gaydos, Jessica was a former progress toward some sort of recovery.
Super Hero turned private eye. She had Alias #1 showed her in a bad place,
been in the Avengers, although was no dealing with lowlifes and drinking heavily
longer with the team for reasons that to try to blot out some as yet unnamed
were not divulged in this first issue. Bendis trauma. As the series progressed, each of
astutely told Jessica’s story in a way that Jessica’s cases would lead both she and
188 Alias #1
Marvel noir
Artist Michael Gaydos clearly
signaled that Alias operated
at a different level to many of
Marvel’s other Super Hero titles.
Narrow panels focused on the
ordinary streets in which Jessica
Jones worked, evoking a
noir sensibility that befits her
status as a private detective.
the reader to learn a little more about her

past life and the root of her turmoil.
What made Jessica such a hit with
readers was her convincing “realness”—
she was a rounded and flawed character.
Just as in her short-lived Super Hero
career as Jewel, so too in her private and
professional life, she did not always make
the right calls. Artist Michael Gaydos,
who had been at college with Bendis,
captured a modern noir sensibility, while
also having the feel of an independent
comic rather than a title published by one
of the comic industry’s big hitters.
Alias became one of the most critically
acclaimed comic books of the early
21st century, picking up multiple industry
awards. Jessica Jones has become an
established Marvel character, crossing
over into mainstream Marvel titles, and
has also starred in her own TV series.
The way her character, and that of her
partner Luke Cage, is portrayed still owes
much to Alias. The title was revolutionary
in making its lead a troubled woman
who wore regular clothes, not a skimpy
costume, and was in reality a bit of a mess
in all aspects of her life. Alias was a world
away from the normal Super Hero comic
book, and its fans loved it. ■
Alias #1 189
Incredible Hulk #34
January 2002
“ Jones and Romita Jr. strip it all away—even

the Hulk—leaving nothing but Bruce Banner,
the mysteries that surround him, and the
suspense that comes with a ticking human
bomb. It’s issue 34, but it remains one of
the best No. 1 issues in modern comics.
Al Ewing”
I
n the early years of the new millennium, Jones and Romita Jr.’s first issue left
Cover artist Kaare Andrews Incredible Hulk was still trying to find readers in no doubt that they were taking
Writer Bruce Jones its feet after the departure of longtime the man-monster into new territory. There
Penciler John Romita Jr. writer Peter David in the late 1990s. is less smash, more suspense—Banner is
Inker Tom Palmer
Incredible Hulk #34 was the first issue in hiding from the law after Hulk is blamed
for a new writer, and it proved to be for the death of a young boy. In fact, Hulk
Colorist Studio F
the start of a new era for the character. doesn’t appear at all in the issue, save for
Letterers Richard Starkings,
Bruce Jones had worked in comics at brief glimpses on a TV news report and
Comicraft’s Wes Abbott
the start of his career before moving into in Banner’s thoughts. The Jade Giant
Editor Axel Alonso advertising, novel writing, and television does feature “off panel,” making short
work. He was known for horror and science work of local drug dealers in the St. Louis
fiction, and had been one of the driving neighborhood where Banner is laying low.
forces behind the independent Twisted This kind of small-scale vigilantism
Tales anthology title. After years away is something Jones and Romita Jr. would
from the industry, Jones was contacted return to repeatedly. It raised the question
by Marvel editor in chief Axel Alonso to of whether Banner should “allow” the Hulk
take over and revitalize Incredible Hulk. out in certain situations, even if there is a
Jones’ fresh perspective was intended to risk of a rampage. Readers were also shown
bring new life to the then 40-year-old how Banner tries to keep his emotions—
character. Incredible Hulk #34 would also and therefore the Hulk—in check with
gain a formidable storytelling talent in yoga and meditation. When he attempts
John Romita Jr. A Marvel mainstay by this to help a promising young man whose life
point, the artist had established his legend is being ruined by a drug gang, Banner
over more than two decades with key makes every effort to use his own powers
contributions to Iron Man, Daredevil, of persuasion rather than resorting to
and Amazing Spider-Man. Romita Jr. and the Hulk’s brute strength.
Jones would work together on Incredible Jones and Romita Jr. wanted to examine
Hulk for the entirety of the writer’s debut the duality of Banner and the Hulk, two
six-issue arc, “Return of the Monster.” identities that were separate yet part of
In many respects, the issue was the same being. Incredible Hulk #34 was
Mind control groundbreaking, but its cover, by Kaare almost entirely focused on Bruce Banner,
While on the run after a devastating Hulk Andrews, was a striking homage to Jim and readers, like Banner, felt as if they
rampage, Bruce Banner uses meditation,
Steranko’s classic cover for Incredible were just passing through. The result
regulated by a metronome, to keep his
anger—and his alter ego—under control.
Hulk Special (October 1968). Andrews signaled a new phase for the Green Goliath
Jones and Romita Jr. put Banner front and would go on to create many great covers that played out more like a crime drama
center as they began their trailblazing run. for the entire “Return of the Monster” run. than a Super Hero adventure. ■

Mean streets
Artist John Romita Jr.’s you
yo. gots to
gritty depiction of the
be kiddin’
neighborhood in which me...
Bruce Banner is hiding out
emphasizes the character’s
sense of isolation. It also
provided him and writer
Bruce Jones the opportunity
to present Banner with the
moral choice of when
he feels it is right to
unleash the Hulk.
again! what
the hell’re four
you starin’ punks who
at? are about to
make a career
change.
one better
ass-whippin’ make it
comin’ right quick.
up.

Avengers Finale #1
January 2005
“ This elegiac, deeply moving conclusion

divided fans... but it remains a powerful
episode in Avenger’s history: a visual feast
celebrating everything that made the heroic
alliance so memorable and enjoyable.
Win Wiacek ”
Editor in chief
Cover artists
Joe Quesada
Neal Adams, Laura Martin

I f the Fantastic Four’s debut signaled
the start of the Marvel Age, the coming
of the Avengers confirmed the revolution
veteran Avenger Wanda Maximoff—
the Scarlet Witch—systematically and
secretly reorders reality to bring about
Writer Brian Michael Bendis was a success, establishing a bold new the worst day in the team’s history.
Pencilers George Pérez, Alex Maleev, way to tell epic tales. One of the company’s These subtle, catastrophic manipulations
Steve Epting, Lee Weeks, most consistently popular titles, the destabilize the lives of her closest friends
Michael Gaydos, Eric quintessential team book always combined and culminate in a synchronized wave
Powell, Darick Robertson,
intense human dramas and emotional of attacks by Kree warriors and a horde
Mike Mayhew, David
Mack, Gary Frank, Michael
conflicts with spectacular battles on Earth, of Ultron robots. The end result is the
Avon Oeming, Jim across the universe, and throughout many death of Wanda’s mystic mentor Agatha
Cheung, Steve McNiven realities. Beloved stars shone in action Harkness, Hawkeye, new Ant-Man
Inkers Mike Perkins, Alex Maleev, beside novel new characters, and, for Scott Lang, Jack of Hearts, and her
Steve Epting, Lee Weeks, years, Avengers Mansion was a refuge former husband, the Vision.
Michael Gaydos, Eric for heroes—and villains—some of whose Manipulated into being Wanda’s
Powell, Darick Robertson,
own titles and careers had faltered weapon against the Avengers, She-Hulk
Mike Mayhew, David Mack,
Gary Frank, Michael Avon
or momentarily paused. loses control and her sanity, and in the
Oeming, Mark Morales Since their formation in 1963, “Earth’s aftermath of her rampage, the Mansion
Colorists Brian Reber, Frank
Mightiest Heroes” have set the standard that has been the team’s cherished home
D’Armata, Morry for glorious valor and a tradition of service and sanctuary is reduced to smoking
Hollowell, Eric Powell, through an ever-changing core team rubble. With every surviving Avenger
Andy Troy, Pete Pantazis, and the many expansion squads such as assembled to tackle the overwhelming—
Justin Ponsor, David Mack
Avengers West Coast, Avengers Academy, but still unknown—hidden mastermind,
Letterers Richard Starkings Force Works, and the Secret Avengers. the end comes relatively quietly as
Albert Deschesne Sorcerer Supreme Doctor Stephen
With such a glittering reputation, and
Editors Tom Brevoort, Molly a strong presence in games and on Strange materializes to reveal their enemy
Lazer, Andy Schmidt, television, no one believed that Marvel is the Scarlet Witch, before subsequently
Nicole Wiley
would shatter the team and cancel the shutting down her mind. Her comatose
series, but that is exactly what happened form is then claimed by Magneto,
in 2004. The beginning of the end presumed to be her father at the time,
developed through a series of interlinked and spirited away to be cured by
story lines (also seen in Thor, Iron Man, Professor Charles Xavier.
Spectacular Spider-Man, Fantastic Four, The end of the era was commemorated
and Captain America), which was in the one-shot comic Avengers: Finale
designated as “Avengers Disassembled.” by Brian Michael Bendis and an army
Driven insane by the loss of her of artists united to celebrate the team’s
children and her escalating though achievements and in anticipation of a
uncontrollable “Chaos Magic” powers, radical fresh start in New Avengers and
192 Avengers Finale #1

Final vigil
Young Avengers. Thor went on a year- episode in Avenger’s history: a visual In any conflict, the hardest burden
falls to those who remain behind.
long publishing hiatus, and ancillary titles feast celebrating everything that made
The bereaved survivors unite in a
such as Thunderbolts, Captain America, the heroic alliance so memorable and last tribute for the fallen, only to
and Iron Man were all rebooted. enjoyable. All the deaths were reversed find those sacrifices and losses are
In the mansion’s ruins, veteran over succeeding years, which most acknowledged and shared by the
comrades and founding Avengers gather readers expected. However, the shock people they fought and died for.
for a wake: one last supper together to of so many deaths galvanized interest in
recall past triumphs and tragedies, and the new titles and set the tone for a wave
honor the fallen. Almost bankrupt, Tony of similar reality-warping, apocalyptic
Stark reveals that he can no longer fund themed events such as the “Children’s
the team, but discovers that most of Crusade,” “House of M,” “Secret
his friends have no appetite to be in one. Invasion,” and “Dark Reign.” Rebirth
Officially disbanding, the heartbroken through destruction became standard
heroes leave and find thousands of people policy for Super Hero comics, but this
gathered beyond the gates, also honoring evocative tribute to iconic Avengers
the lost in a candlelit vigil. moments, captured by some of the
This elegiac, deeply moving conclusion most talented artists in the business,
divided fans and provoked a degree of demonstrated Marvel’s grateful thanks
controversy, but it remains a powerful to generations of faithful readers. ■
Avengers Finale #1 193

New Avengers #1
January 2005
“ It was a transgressive idea for Spider-Man

and Wolverine to join the Avengers. But Bendis
and Finch made it work... New Avengers
became the most popular Marvel series of
the era. And Spidey and Wolvie weren’t hurt
Editor in chief
Cover artists
Joe Quesada
David Finch, Danny

one bit by their association with the team.
Tom Brevoort ”
W
Miki, Frank D’Armata riter Brian Michael Bendis had However, Marvel editor in chief Joe
Writer Brian Michael Bendis started his long run on the Quesada and executive vice president
Penciler David Finch Avengers titles with a bang—literally. Bill Jemas saw that the controversial
His “Avengers Disassembled” story in idea was precisely what could make
Inker Danny Miki
2004 had blown Avengers Mansion to the series great, and they greenlighted
Colorist Frank D’Armata
smithereens and seen the deaths of three Bendis as the new Avengers writer.
Letterers Richard Starkings, team members and the traumatizing or New Avengers #1 was the first step
Albert Deschesne
severe wounding of several others. In the for this new, reimagined, and revitalized
Editors Tom Brevoort, Nicole aftermath of this event, caused by the Avengers lineup. Although Wolverine was
Wiley, Molly Lazer,
Scarlet Witch’s mental breakdown, the not yet on the scene, the opening issue
Andy Schmidt
Avengers essentially ceased to exist as a sees Spider-Man swinging into action at
team. However, Bendis was a longstanding the Raft “maximum-maximum security”
Avengers fan, and he had immediate plans jail to try to stop a mass breakout led by
to bring the team back, refreshed and his old adversary Electro. Already on the
different from what had gone before. scene at the island prison are Luke Cage,
At a Marvel retreat, an event where Jessica Drew (Spider-Woman, although
creatives would discuss the current state later revealed as the Skrull Queen
of Marvel titles and map out potential Veranke), Matt Murdock (Daredevil),
story lines, Bendis and fellow writer Sentry, and Captain America.
Mark Millar had been exploring why the Although the lineup would change
Avengers team was, at the time, lagging frequently over the course of the New
behind the X-Men in terms of popularity Avengers run, Bendis kept Luke Cage
with fans. Bendis suggested that it would in the team for the entire series. Bendis
make sense to take Marvel’s biggest heroes had already written the character during
and put them on the team, giving readers his landmark Alias series and saw him
the most bang for their buck. That meant as one of the key members of the newly
Spider-Man and Wolverine. configured group. The writer also insisted
The idea caused some consternation on using Spider-Woman, as she was one
Solitary Sentry among the assembled Marvel creatives. of his favorite Marvel heroes, and also
Writer Brian Michael Bendis was eager to use Spider-Man and Wolverine had never included relatively new characters that he
the Sentry in New Avengers. The troubled
been on the Avengers roster—Spidey considered had been underused since their
hero allowed Bendis to explore what would
happen when enormous strength is combined was famously a loner and Wolverine was debuts, such as Sentry, Echo, and Hood.
with a fragile psyche, and the character would arguably much the same, his longtime These fresh characters gave the creative
feature strongly in later issues of the title. membership of the X-Men notwithstanding. teams new dynamics to explore and play
194 New Avengers #1

Welcome aboard
This panel from New Avengers #1
with, resulting in the book having a very Miki, and Frank D’Armata did not depicts the historic moment in
different feel from previous Avengers titles. proclaim the team with a fanfare of bright which Spider-Man enters a new
It was more convincing and realistic, with colors but rather showed them almost era as an Avenger. The dramatic,
the characters bickering and bonding just entirely in shadow, illuminated by red muscular art by David Finch,
Danny Miki, and Frank D’Armata
as they might do in a family. lightning. New Avengers would be a
captures Avengers stalwart Captain
While Bendis dealt with the Avengers’ darker, grittier take on Earth’s Mightiest America in all his power and
present, bringing the new team together to Heroes. The interior art followed the charisma, lit only by lightning and
deal with a problem that only they could, same theme, with most of the action the fires of a burning helicopter.
he was also establishing the groundwork taking place on a dark and stormy night,
for the future. He was playing a long game or deep underground in the super-max
and planning another significant story arc prison. The art team cleverly used lead
about the Skrulls that would be called villain Electro’s own bolts to augment
“Secret Invasion.” When New Avengers #1 the bursts of natural lightning and
was published, “Secret Invasion” was still dramatically break through the gloom.
more than three years away, but Bendis was New Avengers #1 marked the start
laying a trail of bread crumbs that would of a new era for the famous superteam,
reward long-term readers with an “a-ha!” one in which its popularity would soar
moment or two further down the line. to unprecedented levels. Bendis’ sharp
The cover of this issue showed exactly storytelling made the Avengers’ comic
the direction that this new lineup would book adventures more real, more
be taking. Art team David Finch, Danny emotionally resonant, and unmissable. ■
New Avengers #1 195

House of M #7
November 2005
“ Three words that changed the course

of the Marvel Universe… “No More Mutants,”
uttered by the Scarlet Witch as she grappled
with her sanity in this modern classic,
brought to life by Brian Bendis and

lavishly illustrated by Olivier Coipel.
C. B. Cebulski ”
“H
Cover artist Esad Ribic ouse of M” was an event that Another pioneering aspect of “House
Writer Brian Michael Bendis changed the comic book industry, of M” was its publishing model, using
Penciler Olivier Coipel sparking a new wave of crossovers that a main title book augmented by spin-off
Inkers John Dell,
became the must-buy titles of every one-shots or miniseries. These were
Scott Hanna, summer. Its genesis came when New intended to add depth to the story for those
Tim Townsend Avengers writer Brian Michael Bendis was who wanted to dive deeper into the event
Colorists Frank D’Armata, asked to take over the Astonishing X-Men but were not necessary to understand the
Paul Mounts title while Joss Whedon was working ongoing plot. This is now the standard
Letterer Chris Eliopoulos on another project. Bendis felt that the model for major comic book events.
Editor Tom Brevoort
Scarlet Witch would be the perfect The Scarlet Witch, with her uncanny
vehicle to tell a story that involved both reality-altering powers and suffering from
superteams, since she was a mutant and mental instability, presented a terrible
an Avenger. She was also the linchpin in dilemma for both the X-Men and the
his seismic story of the previous year, Avengers. “House of M” illustrated that
“Avengers Disassembled,” when her dilemma for readers: the tension and
sanity had broken and caused her to potential conflict between two very
destroy the Avengers. In the aftermath high-powered factions, and the very
of that epic story, fellow writer Jeph Loeb persuasive arguments on both sides.
asked Bendis what Magneto did when his While the X-Men and Avengers debated,
daughter went crazy, and Bendis realized Scarlet Witch’s twin Quicksilver took
that “what Magneto did next” would be action, rushing to her side and urging
a promising narrative avenue to explore. her to use her powers to alter the world
The result was the first crossover for the better. The result was the House
comics event since 1995’s “Age of of Magnus—a mutant-dominated world
Apocalypse” that would affect the ruled by Magneto and his family.
continuity of the entire Marvel Universe. By the time the series reached House
In an innovative marketing strategy, of M #7, some of Earth’s heroes have
Bendis promoted the event in the chat realized that their world is not the true
rooms and online forums that were the reality but a fiction created by the mind
forerunners of social media, creating of Wanda Maximoff. They travel to
unprecedented hype for “House of M” Genosha to confront Magneto, whom
before a single issue had been published. they believe to be responsible for the
Later, the internet would also provide deception, arriving in time to disrupt
a space for fans to debate the central a glamorous gala full of dignitaries
themes of the series. gathering to honor the House of Magnus.
196 House of M #7
No more mutants
During his time on Avengers,
writer Brian Michael Bendis
explored the magnitude of
the Scarlet Witch’s incredible
power to remake reality, and the
devastation she could cause if she
no more
ever went rogue. On this historic mutants.
spread, artist Olivier Coipel closes
right in as Wanda Maximoff utters
the fateful words, before pulling
out to show the nearby X-Men,
reminding the reader exactly what
“No more mutants” could mean.
Doctor Strange visits Scarlet Witch using

the astral plane and discovers that it is not
Magneto who is the architect of the House
of Magnus, but Quicksilver, desperate to
save his sister from being killed by either
the Avengers or the X-Men for the greater
good. Hawkeye, who had been killed by the
Scarlet Witch in “Avengers Disassembled,”
but resurrected by her in House of M,
tries to kill Wanda in his fury, but she
erases him from existence. In response,
Magneto angrily confronts Quicksilver
and mortally wounds him. With her family
fragmenting around her, a distraught
Wanda remakes reality once more, uttering
three words: “No more mutants.”
This simple line of dialogue from Brian
Michael Bendis would go down as one of
the most famous in the history of comic
books. With it, Scarlet Witch removed
the powers of all but 198 of the world’s
mutants, changing the Marvel Universe
dramatically. Bendis’ script for “House of
M” was beautifully complemented by the
dreamy art of relative newcomer Olivier
Coipel throughout the series, and House
of M #7 remains a visual tour de force.
It combined riveting, eye-popping action
with emotionally resonant drama as Scarlet
Witch struggled to hold a fractured mental
landscape—and her own fragile psyche—
together. The series is still considered
one of the best comic book events of all
time, while this issue, in particular, is a
true milestone in Marvel history. ■
House of M #7 197
Iron Man #6
April 2006
“ Extremis was a compelling examination of the

delicate symbiosis between Tony Stark and Iron
Man... [and] its astute treatment of issues like
the cost of progress and the role of machines in
human achievement made it an instant classic...
”
Cover artist Adi Granov
Writer Warren Ellis

one of the finest Iron Man stories ever told.
Penciler, inker, Adi Granov Melanie Scott
colorist
Letterer
Editors
Randy Gentile
Andy Schmidt,
A t the outset of the 21st century,
Marvel editor in chief Joe Quesada
was eager to reimagine the character of
creators the chance to revisit Iron Man’s
origin story in the form of hallucinatory
flashbacks. They reimagined his building
Molly Lazer,
Aubrey Sitterson, Iron Man to give him a new lease of life of the Iron Man armor as having happened
Tom Brevoort in the modern era. He enlisted the talents during the conflict in Afghanistan, not
of feted British writer Warren Ellis, who Vietnam. However, Professor Ho Yinsen,
was known for his enthusiastic embrace and his tragic death during Stark’s escape
of dark futurism, and rising art superstar from captivity, remained part of the story.
Adi Granov. Granov’s passion for science Before writing “Extremis,” Ellis had read
fiction and his ultrarealistic style would only the earliest Iron Man comic books,
prove the perfect foil for Ellis’ sharp, wanting to boil the character down to
stripped-down narrative exploring Tony its essence rather than being laden with
Stark’s relationship with Iron Man. decades of continuity.
The result was the acclaimed “Extremis” The upgrade that resulted from
miniseries, of which Iron Man #6 was Extremis was effectively Tony Stark
the concluding part. Extremis was a becoming one with his Iron Man armor.
nanovirus, created in an attempt to He could activate it on mental command
remake the Super-Soldier serum that and could sync up to a whole variety of
had created Captain America. When its devices, like phones, computers, and
inventor Aldrich Killian caused it to be satellites. Iron Man #6 sees Stark arriving
injected into a man named Mallen, the in Washington, DC, to confront Mallen
recipient became both very powerful and as he attempts to assassinate the president.
highly unstable. Iron Man set out to stop Equipped with Extremis, Iron Man
him but was defeated and his armor is now more than a match for Mallen.
immobilized. Stark decided that the only Although he tries hard not to use lethal
way to beat Extremis was to use Extremis force, his deranged opponent leaves him
himself. He told his friend Maya Hansen, no choice. With Mallen out of the picture,
who had worked with Killian on the Stark has one more difficult task—to
project, to inject him with the virus. tell Hansen that he knows she has been
As Extremis took over his body, Stark complicit in the Extremis virus being
went into a coma-like state. This gave the let out into the public domain.
198 Iron Man #6

Inspiration in Extremis
Adi Granov’s sensational
artwork on “Extremis” not only
found grace and beauty in a oh
relentless down-and-dirty brawl goddd...
between Iron Man and an
Extremis-infected host but
also served as inspiration
for the Iron Man movies.
The legacy of the “Extremis” miniseries

was felt not only in the comic book world
but also in the Marvel Cinematic Universe
that appeared just two years later. The
book would be a key source for bringing
Iron Man and Tony Stark to the big
screen. Artist Adi Granov’s work on
“Extremis” was so definitive that he was
brought onto the creative team for the
Iron Man movie by director Jon Favreau.
Granov’s stunningly true-to-life, painted
style made it easier for the filmmakers
to envision his designs in a live-action
milieu. The “Extremis” story’s reworked
origin also became the basis for Iron
Man’s on-screen beginnings. The studio
executives returned to the miniseries for
Iron Man 3, where the story line and the
key characters of Aldrich Killian and
Maya Hansen, created by Ellis and
Granov, were critical to the plot.
At its heart, “Extremis” was a
compelling examination of the delicate
symbiosis between Tony Stark and Iron
Man and how Stark could learn to live
with himself after his early start in arms
dealing. Its astute, provocative treatment
of issues like the cost of progress and the
role of machines in human achievement
made it an instant classic, and one of the
finest Iron Man stories ever told. ■
Iron Man #6 199

200
Civil War #1
July 2006
“ The movie version was different, but the

groundwork for it was laid here—Iron Man
vs. Captain America with different heroes
lining up behind each of them and having a
series of absolutely [ferocious] slugfests.
Peter David ”
C ivil War #1 was the opening salvo
of a summer event that would have
far-reaching impact on Marvel Comics.
raging about legislation that some saw
as restricting individual liberty to heighten
public safety. This moral dilemma was the
Cover artists Steve McNiven,
It was hugely successful but also divisive perfect vehicle to split the Avengers and
Morry Hollowell
by design, with its famous tagline asking the rest of the Marvel pantheon in two—
Writer Mark Millar readers “Whose side are you on?” were individual freedoms more important
Penciler Steve McNiven The encompassing “Civil War” event than national security?
Inker Dexter Vines was the result of a Marvel creative retreat. The Marvel Universe needed an event
Colorist Morry Hollowell The company wanted to build on the that would bring this debate into sharp
success of “House of M” in 2005 by focus, and this would form the opening
Letterer Chris Eliopoulos
launching another memorable crossover. sequence of Civil War #1. Using another
Editors Molly Lazer,
Like “House of M,” the new event would contemporary phenomenon, reality TV,
Aubrey Sitterson,
Andy Schmidt,
have multiple spin-offs tying it in to almost Millar envisioned a disastrous attempt
Tom Brevoort the entire Marvel Comics output. Ideas by inexperienced young Super Heroes
were pitched, but none seemed big enough to become more famous by catching a gang
to justify the billing until Mark Millar, with of villains live on air. The situation rapidly
input from Brian Michael Bendis and Jeph gets out of control, and one of the villains
Loeb, suggested repurposing an idea he’d causes an explosion that kills hundreds
been thinking about for a while. Up until of innocent civilians, including children at
that point, most of Millar’s work for Marvel an elementary school. In the aftermath of
had been for the House of Ideas’ Ultimates this tragedy, the devastated families of the
offshoot. He had been planning to write dead call for Super Heroes to be registered
a book about the X-Men where the team and trained, to be made official like any
would be split over the future of mutants, other branch of the emergency services.
but instead this idea was tweaked so that Many heroes, horrified by the loss of life,
the Avengers would be the central focus. agree to abide by the strict terms of this
Millar remembered the Marvel comics Superhuman Registration Act. However,
he’d read as a child, where Hulk had others believe it to be wholly unjust and
battled another hero like Thor or Spider- offensive to criminalize those heroes who
g Hitching a ride Man, a manifestation of the playground choose to remain anonymous while risking
One of the most dramatic
sequences in Civil War #1 comes
debates over “who would win in a fight their lives every day to help people.
when Captain America is forced between...” that had existed as long as For the government and S.H.I.E.L.D.,
to break out of a helicarrier in comic book heroes themselves. In order at the time led by Maria Hill, who is less
flight. Steve McNiven’s pencils to get his heroes to the point where they well-disposed toward Super Heroes than
rise to the challenge with a series
would be willing to fight each other for her predecessor Nick Fury, this situation
of eye-popping panels as Cap
fights his way past S.H.I.E.L.D.
a cause, Millar took inspiration from the is untenable. All heroes had to sign up to
and commandeers a jet plane— existing political landscape. At the time, the Act, or face imprisonment; there was
from the outside. in the post-9/11 world, debates were no room for discussion. So the first duty
Civil War #1 201

for registered superhumans is to hunt and
catch those among their colleagues who
would not sign. The stage was set for
a bitter, factional conflict that would
change the Marvel Universe forever.
Leading the two opposing sides were
Iron Man and Captain America. Both
seemed to epitomize different aspects
of the US, with Stark representing the
forward-looking future and Rogers
standing up for the values on which the
nation’s democracy had been founded.
Writer Millar ensured that both sides had
a convincing position—it was supposed
to be a tough choice not only for the
characters but the readers as well.
Civil War #1’s classic status comes
not only from the significance of its story
line, but the superlative art on display.
Penciller Steve McNiven was on virtuoso
form as he depicted the devastating
disaster that triggered civil war and the
fallout that follows. Sumptuous detail
adorns big action sequences and intense
emotional beats alike. In the previous
year, McNiven had been named one of
Marvel’s “Young Guns,” a group of
artists that the company believed were on
the road to becoming superstars.The main
Civil War series was McNiven’s chance
to prove himself to a wide mainstream
audience, and he did not disappoint.
Mark Millar described Civil War as
a “once-in-a-generation book,” and its
performance certainly bore that out.
Sales figures soared, especially once
the completed series was released as a
collection, and fans were left shocked by
the consequences of the schism between
longtime comrades Iron Man and Captain
America. A decade after it was published,
Civil War spawned not only a comic book
“sequel” but also an enormously successful
big-screen adaptation. The event was
credited with attracting a new generation
of comic book fans as well as bringing
older fans back to the fold. ■
202 Civil War #1

Fallout
After a team of impetuous young heroes
causes a terrible humanitarian disaster,
their more senior colleagues must deal with
the cleanup. Steve McNiven’s powerful
double-page spread illustrates the dramatic
schism that follows, as former allies Iron
Man and Captain America find themselves
on opposing sides of the argument over
how to regulate Super Hero activity.
Civil War #1 203

New Avengers
Illuminati #1
February 2007
“ A controversial read? Absolutely.

A captivating read? Totally. In the face
of certain doom, how far will desperate
people go to ensure the survival of

those they feel responsible for?
Bill Rosemann ”
O
Cover artists Jim Cheung, ver the decades, the distinction wake of the Kree-Skrull War in Avengers
Justin Ponsor
between Marvel heroes and villains #89–97 (June 1971–March 1972).
Writers Brian Michael Bendis, has grown ever more blurred. Following the The intergalactic rivals nearly destroy
Brian Reed
breakup of the Avengers and the formation humanity as Earth is caught in the crossfire,
Penciler Jim Cheung of a more hard-line New Avengers, writer before the Avengers bring the war to a halt.
Inker Mark Morales Brian Bendis revealed a terrible truth Unbeknownst to any, in the aftermath,
Colorist Justin Ponsor about the best and brightest Super Heroes X-Men’s Charles Xavier; Black Bolt of the
Letterer Cory Petit
in a five-issue miniseries—New Avengers Inhumans; Atlantean monarch Namor, the
Illuminati—that redefined the notion of a Sub-Mariner; Avenger Iron Man; mystic
Editor Tom Brevoort
“good guy.” The story exposed a clandestine master Doctor Strange; and the Fantastic
cabal secretly guiding the future of the Four’s Reed Richards brashly invade the
world. However, these overlords were not Skrull throne world to threaten the recently
Super Villains, but intellectual powerhouses defeated emperor, warning him off further
regarded as Super Hero paragons, each attacks on Earth. Emperor Dorrek VII
representing a different faction of Earth’s reacts with typical intransigence, and, in
various empowered communities. response, Black Bolt destroys his flagship.
The Illuminati were first encountered A savage confrontation ensues, before the
in New Avengers #7 (July 2005) as Iron Earth heroes are captured and intensively
Man hunted for escaped superhuman examined. Although they eventually escape,
Sentry. This led to a confrontational the damage has been done; the Skrulls will
one-shot in May 2006 as the covert never rest until Earth is theirs. Moreover,
think tank was warned by Black Panther now the aggrieved aliens have absolute
T’Challa that their arrogant actions knowledge of all types of Terran
would end in disaster after they resolved superhumanity and can confidently duplicate
to exile the Hulk into space. T’Challa was the powers of Earth’s various defenders.
right: their arbitrary actions resulted in As well as laying the groundwork for the
horrific destruction after the Jade Giant mega-event Secret Invasion, this grim and
returned in World War Hulk. The group’s controversial tale confirmed that Earth’s
origins were finally explored in New heroes had crossed a moral rubicon. It now
Imperial imperative Avengers Illuminati #1, which detailed its seemed possible for Marvel’s mightiest
When enraged and humiliated Emperor genesis and explored what might compel champions to make brutally tough decisions,
Dorrek orders the Skrulls’ Secret
such independent, strong-willed geniuses— kill when required, and even lie to each
Invasion, he has no idea that he will
not lead it. Earth’s fate will rest in the
and sometime enemies—to work together. other in the service of their duties. It also
hands of his eventual successor— and Writers Bendis and Brian Reed offered a acknowledged that Marvel’s mainstream
religious extremist—Princess Veranke. far-reaching untold story that began in the readership had grown up. ■
204 New Avengers Illuminati #1

...my name
is doctor reed
richards of the
earth’s fantastic
four.
and i am
iron man of the
avengers.
i am
prince namor,
ruler of
atlantis.
i am
doctor stephen
strange, master
of the mystic
arts.
and i am
professor
charles
xavier.
i am one
of the “genetic
atrocities” you
were just
referring to...
beside me
is black bolt,
ruler of the
inhumans.
Brains trust
As Earth’s wisest defenders
make a bold entrance on
the Skrull Throne world,
it is clear these elite heroes
and leaders feel they have
the right—and the duty—
to take charge and do
whatever it takes to protect
humanity from outside
threats. Regrettably, for
all concerned, the net
result was always making
a bad situation even worse.
New Avengers Illuminati #1 205

The Eternals #7
March 2007
“ Gaiman and Romita Jr.’s smart, stylish saga

cemented the Eternals into mainstream Marvel
continuity, laying the groundwork for a new
series... It also rewrote Earth’s evolution.
Win Wiacek ”
W hen Jack Kirby’s The Eternals
debuted in 1976, it told how a
human anthropologist and his daughter had
raw, replete with unpredictable potential,
and unleashed by the Celestials. Their
anticipated excesses would be forever
Editor in chief Joe Quesada discovered that Celestial Space Gods had monitored and counteracted by an
Cover artist Rick Berry visited Earth in ages past, transforming unchanging control group of Eternals—
Writer Neil Gaiman proto-hominids into three species: humans, the stabilizing stewards of the planet.
Penciler John Romita Jr.
monstrous Deviants, and super-beings That experiment takes a wild turn after
called Eternals. Interacting with each other one of those faithful stewards turns on his
Inker Danny Miki
for millennia, the Deviants and Eternals own kind for selfish reasons, triggering
Colorist Matt Hollingsworth, informed human culture, populating its global chaos, renewed Deviant hostilities,
Paul Mounts
mythology as gods and demons, before and the waking of a “Dreaming Celestial”
Letterer Todd Klein fading into racial memory. These revelations buried under California. Long ago, the
Editor Nick Lowe would arise again as the Space Gods Space Gods punished one of their own
returned to check up on their experiment. for an unknowable sin by burying the
Largely unfolding outside mainstream Celestial deep in the Earth. Now the
Marvel comics during Kirby’s tenure, the sleeper wakes, threatening life on Earth
Eternals became a core concept explaining and only a unique sacrifice from newly
craven
many mysteries of Earth’s unnatural history restored Eternal Makkari will stop it.
eternals! we have
gathered from the
under subsequent creators. They wove the The cost of free will is demonstrated in
corners and the dark
places of the earth ancient war between the Deviants and the last issue, The Eternals #7, as “Journey’s
to face you in
combat... Eternals into continuity. One major story End” reveals the Celestial to humankind.
come! arc in Thor revealed Earth’s actual god This provokes Tony Stark into recruiting
taste the fury of
pantheons had united in prehistory to resist former Avenger and restored Eternal,
kr a the Celestials. Another revealed that the Sersi, to deal with the emergency. Makkari
and hi s Titans who spawned Thanos and the and Ikaris counter the Deviant surge with
army! Uranians who sponsored Marvel Boy were help from ruthless comrades Ajak and
both rebel factions of Eternals that fled Druig, while mighty Zuras takes control,
Earth after civil war among the immortals. calming the situation and dealing with
In 2006, superstar creators Neil Gaiman the traitor Sprite. With stability restored,
and John Romita Jr. finally exposed the Zuras commands Ikaris and Makkari
true nature and purpose of the Eternals in to locate the remaining lost Eternals.
a miniseries that found them all amnesiac, Gaiman and Romita Jr.’s smart, stylish
depowered, and scattered across the Earth. saga cemented the Eternals into mainstream
Over seven spectacular issues, defiant lone Marvel continuity, laying the groundwork
Here be monsters survivor Ike Harris, aka Ikaris, hunts down for a new series further examining their role.
Gaiman and Romita Jr. take care to reveal that
and restores a handful of his brethren and It also rewrote Earth’s evolution in themes
wicked acts are not dictated by a monstrous
appearance. The beautiful Eternals are just as
divines the intended function of their that coalesced more than a decade later in
savage and remorseless as the Deviants who subspecies. A million years ago, Deviants the Avengers of 1,000,000 bce and explored
inspired humanity’s primeval fear of devils. were designed as ever-changing beings: in their own blockbuster movie. ■
206 The Eternals #7

Visionary legacy
The power, grandeur, and
versatility of John Romita Jr.’s
art perfectly complements the
epic scope and quiet intimacy
of Gaiman’s script. Whether
conveying tense, blistering
action or a panorama of
galactic proportions,
Romita Jr. convincingly
captures the essence
and drama of Jack Kirby’s
original premise and vision.
too late,
makkari.
druig
just kicked
a hornet’s
nest...
their weapons
are too hot to
hold...
...that
should slow them
down.
The Eternals #7 207

Captain America #25
April 2007
“ There have been so many Super Hero deaths

(and resurrections), it’s very hard to make such
a story feel impactful anymore. But Brubaker
and Epting [delivered] a gut-punch of a story
where yet another civil war ends with the
assassination of a beloved American leader.
Wil Moss ”
S
ince his revival in 1964, Captain the living legend led a band of fellow
Cover artist Steve Epting America had been deployed by a dissidents in a brutal and costly civil
Writer Ed Brubaker succession of writers and artists to hold war against the government-backed
Penciler, Steve Epting up a mirror to the hopes, aspirations, heroes. The conflict ended in a savage
inker and beliefs of the American people. clash between both camps on the streets
Colorist Frank D’Armata Through turbulent, constantly changing of Manhattan. At the height of the battle,
times, the Star-Spangled man “out of Rogers realized the damage the conflict
Letterer Joe Caramagna
time” has been portrayed as a vibrant was causing to the nation he loved and
Editors Tom Brevoort,
the people he had sworn to protect.
and passionate symbol and advocate of
Molly Lazer,
Aubrey Sitterson
American values: from the divisive era He abruptly surrendered, allowing
of the Vietnam War and political mistrust himself to be arrested and vilified in the
engendered by Watergate, to the terrorism- media: a symbolic sacrifice. The Super
fueled anxieties of a post-9-11 world. Hero civil war was over but one final
In the discordant, partisan first decade of tragedy remained to shake the nation.
the 21st century, a major publishing event Crafted by writer Ed Brubaker and
saw Super Heroes on opposing sides of artist Steve Epting, the stellar creative
a political issue that ruptured Marvel. team that had steered Cap’s increasingly
The first “Civil War” event split the intense and elaborate story lines for the
Super Hero community like few other previous two years, Captain America #25
conflicts. Some heroes—led by Tony was an official epilogue to the “Civil War”
Stark/Iron Man and the Fantastic Four’s event, signifying the beginning of even
Reed Richards—believed that the darker days to come.“The Death
Superhuman Registration Act and the of the Dream: Part 1” revisits the long,
measures it enforced were acceptable valorous career of America’s first
and, indeed, necessary. Others—with Super-Soldier, from World War II to his
the Sentinel of Liberty himself, Captain resumed crusade against evil in modern
America, as their spokesman—feared times, with new allies, such as S.H.I.E.L.D.
mere bureaucracy could not protect their agent Sharon Carter, at his side. These
loved ones from villainous retaliation. flashbacks occur as—unmasked and
The resisters, as they became known, shackled—Rogers is transported to his
were also concerned that registered arraignment. Cap has no notion his
superhumans could be drafted into the friends are planning to free him but
military under future administrations. senses that something is not right. As the
Steve Rogers refused to comply, and crowds harangue their once-adored
when disagreement turned into defiance champion, he spots a sniper zeroing in
of the new law and outright rebellion, and pushes a guard out of harm’s away

Death of a symbol
Ed Brubaker’s measured pacing,
Steve Epting’s brooding artwork,
and Frank D’Armata’s sombre
color palette set a suitably
ominous tone for the shocking
demise of a national hero.
rather than save himself. As shots ring

out and panic ensues, Steve Rogers
falls to the courthouse steps. A second
shot at close range finishes the job and
Captain America dies.
With Agent Carter cradling Cap’s
body, the scene dramatically shifts
to James Buchanan Barnes. Recently
rescued from years as the brainwashed
Soviet super-assassin Winter Soldier,
“Bucky” is barely adjusting to life
as a free agent. Spotting the shooter,
Bucky gives chase, aided by Cap’s
former brother-in-arms the Falcon.
Together they capture the Red Skull’s
assassin Crossbones but are unaware
of a greater time-bending scheme in
play that would eventually lead to the
subjugation of America. In the mortuary,
a heartbroken Sharon Carter hears a
posthypnotic trigger word and suddenly
remembers that she fired the kill shot.
Framing Captain America’s shocking
murder in such a stark, unsentimental
fashion recalled the assassination of
American presidents and civil rights
activists. It was a bold and controversial
move, but it catapulted the comic book
to the top of the sales charts and into
many newspaper and TV media outlets.
It also kicked off a new era for the hero.
Bucky became a harder, darker Cap as
befitted a more dangerous, conflicted
nation, only to pass the shield back
to a revitalized Steve Rogers after his
triumphant and inevitable resurrection. ■

Amazing
Spider-Man #545
January 2008
“ It is perhaps the most controversial story of

the modern era. But then-editor in chief Joe
Quesada utterly believed that a married Spider-
Man did the character a disservice... and he
illustrated and helped co-plot a story that would
Editor in chief
Cover artists
Joe Quesada
Joe Quesada,
Danny Miki,
Richard Isanove
break up the web-slinger’s marriage forever.
Tom Brevoort ”
Writers J. Michael Straczynski,
Joe Quesada
A mazing Spider-Man #545 was the
conclusion to the four-part “One
More Day” story line, which saw a seismic
Friendly Neighborhood Spider-Man and
Sensational Spider-Man. Following the
event’s shattering finale, those titles
Penciler Joe Quesada
shake-up of Spider-Man’s comic books would be stopped and only Amazing
Inkers Danny Miki at Marvel. Following its release, it became Spider-Man would continue, streamlining
Joe Quesada
one of the most talked-about arcs of the the character’s narrative arc for a new
Colorists Richard Isanove, character’s long history. Editor in chief generation of readers.
Dean White
at the time was Joe Quesada, who felt The terrible dilemma that was set up
Letterer Chris Eliopoulos that Spider-Man needed to be reset to in the first issues of the event was Peter’s
Editors Daniel Ketchum, ensure the character’s future for another struggle to find a way to save Aunt May,
Axel Alonso few decades. A longtime Spidey fan, mortally wounded by a sniper’s bullet
Quesada wanted to bring Peter Parker intended for him. This in turn was
back to basics, and this involved some something that had occurred as a result
major changes to the continuity of the of the “Civil War” event in 2006, in which
time. Chief among these was Peter’s Spider-Man’s secret identity had been
marriage to Mary Jane. Quesada did not revealed to the world, putting all Peter
like the idea of the characters getting a Parker’s loved ones in jeopardy from
divorce, as he felt that their on-page love crazed villains. Having seemingly
was too strong for this to ever happen. exhausted all other avenues to save his
So another way needed to be found. aunt’s life, by Amazing Spider-Man #545,
The plot structure of “One More Day” Peter is left with one diabolical option.
was years in the making and coalesced True to form, the demonic Mephisto has
over several Marvel creative summits, seized the chance to pounce on Spider-
with contributions by all the top writers Man’s vulnerability and offer him an
at the company. However, the person appalling deal—to keep Aunt May alive
who would actually write the comics in exchange for having Peter’s marriage
was acclaimed filmmaker and comics to Mary Jane expunged from reality.
writer J. Michael Straczynski, for whom The issue was almost wholly focused
“One More Day” would be the last on Peter and MJ as they wrestled with the
Deal with the demon story line in a memorable six-year run terrible decision, knowing what it meant
The demon Mephisto was the narrative
catalyst to dissolve the marriage of Peter
on Amazing Spider-Man. “One More for their love. The guilt over causing his
Parker and Mary Jane Watson, resetting Day” was a crossover event that included uncle Ben’s death years before was
the hero for a new era. the other Spider-Man titles of the time, something that had haunted Peter ever

Dark times
Joe Quesada was the mastermind
behind “One More Day,” not
only being editor in chief, but
also contributing story and art.
Here, Quesada’s full-page splash
panel captures the heartbreak
behind the decision faced by Peter
Parker and his wife, Mary Jane, as
they must choose between their
marriage and Aunt May’s life.
since, and the thought of the same thing

happening with Aunt May was unbearable.
For her part, MJ didn’t want to feel
responsible for Aunt May’s death by holding
onto the marriage. Eventually, the couple
agreed to the deal, but MJ added something
to the bargain—Mephisto also had to erase
the public knowledge of Spider-Man’s
identity, making sure that his family and
friends were safe. This way, she reasoned,
at least Peter had a shot at happiness again,
even if the cost was their marriage.
“One More Day” was a huge editorial
gamble, so Joe Quesada felt he had to
put his money where his mouth was.
Not only did he take a story credit alongside
J. Michael Straczynski, but he also penciled
the covers and interiors for the entire event.
His dramatic, moving artwork for Amazing
Spider-Man #545 uses extensive shadow
to emphasize the darkness of the situation
that Peter and MJ found themselves in.
However, the ending gave a glimpse of what
lay ahead for Spider-Man, the pages being
bright and colorful as befitted a relaunch
entitled “Brand New Day.” Readers soon
discovered that not only was Aunt May
hale and hearty again, but also that
Harry Osborn was not dead as had been
previously believed, but rather back from
a long stint in rehab. “Brand New Day”
would kick-start a new era for Spider-
Man as a more youth-oriented hero. ■

Guardians of
the Galaxy #1
July 2008
“ Abnett, Lanning, and Pelletier successfully

import the 2000AD sensibility to Marvel—
a coherent science-fiction universe, weird
characters who take themselves seriously,
Editor in chief
Cover artist
Writer
Joe Quesada
Clint Langley
Dan Abnett,
and most of all, a pace that never lets up.
Al Ewing ”
I
Andy Lanning n 2006, Marvel Comics had published characters that he wanted to see added
Penciler Paul Pelletier the “Annihilation” event, comprising to the roster. These included Rocket
Inker Rick Magyar a central miniseries and several spin-off Raccoon, created by Bill Mantlo and
Colorist Nathan Fairbairn
titles. It brought together in one story Keith Giffen and best known for a
line many of Marvel’s top-tier cosmic miniseries written by Mantlo and drawn
Letterer VC’s Joe Caramagna
characters, including Thanos, Ronan by Mike Mignola, and Groot, a villain
Editor Bill Rosemann the Accuser, the Skrulls, and the Silver from the 1960s added on the suggestion
Surfer. The Annihilation Wave was a of fellow editor Tom Brevoort. Marvel
devastating invasion force breaking into history would also contribute the name
the universe from the Negative Zone. for the new team: Guardians of the
An eclectic band of heroes emerged from Galaxy. The originals were created in
the survivors of the destruction to face the 1960s, although their adventures
the Annihilation Wave, led by Nova were set in the distant future, and they
(Richard Rider) and including Star-Lord were later retrofitted as Guardians 3000
(Peter Quill), Gamora, Drax, Phyla-Vell, and situated in an alternate universe.
and Ronan. After Nova killed the villain The Guardians of the Galaxy were
Annihilus, an uneasy peace was agreed. envisioned as an eclectic, disparate team
The following year saw a sequel, of underdogs, coming together almost
“Annihilation: Conquest,” written by Dan by accident but held together by a spiky
Abnett and Andy Lanning and edited by chemistry and an almost familial bond.
Bill Rosemann. This story featured a fresh Abnett and Lanning would write the new
threat to the universe from the Phalanx, title at the same time as Nova. Although
invading during the chaos following the this was a lot of work, it enabled Marvel’s
Annihilation Wave. At the end, Star-Lord cosmic creatives to keep their stories tight
decided to form a team to proactively and working well together. Rosemann
meet these kind of threats. Rosemann had liked the way the two writers approached
been given editorial responsibilities for all science fiction, keeping it realistic and
Marvel’s cosmic properties. He had liked grounded within its own boundaries.
Sacred and profane what Abnett and Lanning had done on Guardians of the Galaxy #1 was
The first enemy faced by the newly formed
the Nova title and thought that it would a visual triumph from artist Paul Pelletier,
Guardians of the Galaxy was the mysterious
Universal Church of Truth. Artist Paul Pelletier
be neatly complemented by the creation who dazzled with several full- and
went to town on the ecclesiastical theme, using of a cosmic team. Looking through his double-page splashes. The seasoned
it to create majestic, cathedral-like architecture. Marvel handbook, he picked out a few penciler’s imagination knew no bounds
212 Guardians of the Galaxy #1

Eclectic mix
as he created atmospheric spaceship As the story progressed, it became The team goes into battle for the
interiors and stunning starscapes, clear how and why the team, now first time. On the face of it, the
sprinkling the pages with humor and comprising Star-Lord, Adam Warlock, Guardians were an unusual
combination, but the chemistry of
action in equal measure. The creative Phyla-Vell, Gamora, Drax, and Rocket,
the motley crew proved a hit with
team also made excellent use of a jumbled came together and why they work so fans. Guardians of the Galaxy
chronology to bring readers into the heart effectively with each other in a battle. embraced the weird and wonderful
of the drama, rather than beginning with The issue established a new team while still maintaining a warm heart
a slow “assembling-the-team” setup. for the modern era of cosmic comics, and a dry sense of humor.
Clever use of the characters as talking with a unique blend of characters and
heads in debrief videos provide the a special tone that hit just the right notes
backstory and introduce readers to the of drama and comedy. Such was the
team and their first mission, against success of the book that it led directly
the sinister Universal Church of Truth. to the acclaimed big-screen outing of
The secondary character Mantis, who was the team with almost the same roster as
telepathic and could see the future, was in the comics. It is perhaps appropriate
also a useful storytelling device to tease that the final panel of Guardians of the
readers with what was coming next. Galaxy #1 promises: “Next: Legacy.” ■
Guardians of the Galaxy #1 213

Secret Invasion #8
January 2009
“ The conclusion to the controversial Skrull

invasion of Earth features the (temporary)
death of the Wasp, the disbanding of
S.H.I.E.L.D., the breakup of the Avengers, and
a cameo of Elvis revealing he was captured by
”
Cover artists Gabriele Dell’otto,

the Skrulls—which actually explains a lot.
Leinil Francis Yu
Peter David
Penciler
Inker
Leinil Francis Yu
Mark Morales
T he “Secret Invasion” was Marvel
Comics’ blockbusting summer event
for 2008. Written by Brian Michael
disguise had even deceived Wolverine,
with his usually unerring sense of smell.
Although the Skrull policy of “divide
Colorist Laura Martin
Bendis with pencils by Leinil Francis Yu, and rule” had early success in the pages
the idea had percolated for more than of Secret Invasion, the event title that
Editor Tom Brevoort three years. Bendis’ concept for the plot debuted in April 2008, by the time later
had been further honed at Marvel’s issues were published, Marvel’s heroes—
famous creative retreats, and Bendis had and some of its villains—had united
been dropping clues into the pages of the against the common foe. Secret Invasion
titles he was writing over a long period. #8 opens in the end stages of a huge
When he began his tenure on New battle in New York City, as the heroes
Avengers in 2005, Bendis already knew discover that the Skrulls had turned
that the character of Spider-Woman in that founding Avenger Wasp (Janet van Dyne)
title was not all she appeared to be. into a deadly human biological weapon.
The premise behind “Secret Invasion” Wasp would be the shocking casualty
was that alien shape-shifting Skrulls had of this issue, as her old comrade Thor
been infiltrating Earth’s population after is forced to turn Wasp’s energy back
the devastation caused to their home by onto her, killing the hero.
Annihilus in the Annihilation crossover While Wasp was a surprise departure,
story line in 2006. Some of Marvel’s there were also some equally unexpected
highest profile characters had been returns. When Iron Man located and
replaced by Skrulls, unbeknownst to other brought back to Earth the captive humans
characters, or readers. The bombshell who had been replaced by Skrulls,
was finally dropped in the pages of New Mockingbird (Bobbi Morse) was among
Avengers #31 (August 2007), also by their number. She had died in the pages
Bendis and Yu, when it was revealed on of Avengers West Coast #100 (November
her death that the assassin Elektra had 1993), so her appearance was a big shock,
Spider-Skrull actually been a Skrull. The seeds of especially for her husband, Hawkeye.
Writer Brian Michael Bendis had been
paranoia and uncertainty were sown. Touching moments like this were
building up to “Secret Invasion” for many
years in the pages of his other titles. Shocks
The Avengers and their allies had no captured by Yu with understated sharpness.
like Spider-Woman being revealed as the Skrull idea who might be an alien imposter, The diverse plot threads meant that the
Queen had long been part of Bendis’ plans. especially as “Elektra’s” convincing artist had to be at the top of his craft to
214 Secret Invasion #8

Biological weapon
create a variety of moods. Super-sized As the moment was broadcast worldwide One of the most vile deeds of
panels perfectly capture the tragedy of on live TV, Osborn became the unlikely the invading Skrulls was to turn
longtime Avenger Wasp (Janet
Wasp’s demise and the routing of the hero of the battle against the Skrulls.
van Dyne) into a living weapon.
Skrull invasion fleet in space, while S.H.I.E.L.D. was disbanded at the end Penciler Leinil Francis Yu uses
wordless sequences evince telling character of the issue and all its assets, including a double-page spread to capture
moments, such as Thor turning away from the Avengers Initiative, handed over to the terrifying moment when the
his former friend Iron Man, or dramatic Osborn. This setup offered numerous Wasp loses control and risks
taking down everyone around her.
ones like the ever-scheming Norman intriguing storytelling opportunities
Osborn taking over Avengers Tower. across multiple Marvel Comics titles.
Osborn was the linchpin around “Secret Invasion” was one of Marvel’s
which “Secret Invasion” would move most celebrated summer events, with
into Marvel’s next big story line—“Dark the uncertainty over the identities of
Reign.” In Secret Invasion #8 Osborn even the most long-established characters
shot and killed the Skrull Queen Veranke, encapsulated in the series’ famous tagline:
who had been disguised as Spider-Woman. “Who do you trust?” ■
Secret Invasion #8 215

nooo!!
oH god!
not him
too!!
please!!
not him too!!
oh god!!
Please!!
Please
no!!
216 Ultimate Spider-Man #160

Ultimate
Spider-Man #160
August 2011
“Masterfully echoing the web-slinger’s

heroic ‘I did it! I’m free!’ sacrifice in Amazing
Spider-Man #33, Bendis and Bagley deliver
final redemption for Peter Parker. To quote
Editor in chief Axel Alonso

Bendis via Uncle Ben: ‘You did good, kid.’
Bill Rosemann ”
T
Cover artists Mark Bagley,
he Ultimate imprint of Marvel Comics heroes on Earth, his Ultimate counterpart
Justin Ponsor
began in 2000. It was a way of starting was different. Although his backstory was
afresh on Marvel’s key characters in an the familiar tale of powers gained through
Penciler Mark Bagley alternate universe that would not affect a spider bite and the tragic death of Uncle
Inkers Andy Lanning, mainstream continuity. It offered new Ben, Peter Parker was still at high school
Andrew Hennessy readers a chance to get in at the start with throughout his Ultimate Spider-Man run.
Colorist Justin Ponsor modern takes on their best-loved Super Writer Bendis felt that there was plenty
Letterer Cory Petit Heroes, without the need to go back and of narrative potential in Spider-Man as
rework decades of backstory. One of the a teenage hero, as he had been on his
Editors Mark Paniccia,
Sana Amanat flagship titles of this Ultimate Universe, 1962 debut. A young hero still learning
and a smash hit beyond expectations, how to manage his powers, and at the
was Ultimate Spider-Man. same time juggling the problems that
The first 111 issues of the comic were anyone still at school would be facing,
produced by writer Brian Michael Bendis was a character with whom readers
and artist Mark Bagley, in a Marvel record would readily be able to empathize.
for a creative pairing’s time together on a The first four issues of “Death of
title, exceeding even Stan Lee and Jack Spider-Man” had featured the hero
Kirby’s extraordinary run on Fantastic fighting the Ultimate Six, that universe’s
Four. Bagley had a record all his own, too— equivalent of the Sinister Six. Under the
he had spent six years prior to Ultimate leadership of Norman Osborn, whose
Spider-Man on Amazing Spider-Man, Ultimate version could transform into
making him, at the time, the longest- a monstrous Green Goblin, the villains go
serving creator on the character. after Spider-Man. By this point, though,
Having departed to work on other titles, they are one member down, since Doctor
Bagley was nevertheless tempted back by Octopus had refused to take part in the
Bendis to work on the five-part story arc plan to kill Spider-Man, only to be slain
revealingly titled “Death of Spider-Man.” by Osborn in a mad fury. The remaining
g Fallen hero This story line would rock the Ultimate villains head straight to Forest Hills, as
The Ultimate line of comic
books gave creators the Universe and lead to a new era for the they know Spider-Man’s secret identity
opportunity to explore the web-slinger in that reality—and eventually and where he lives. The web-slinger
unthinkable—the death of in the mainstream Marvel Universe, too. is already seriously wounded, having
Spider-Man. The tragic event
While the mainstream Peter Parker had heroically taken a bullet meant for Captain
would mark the end of one era
and the start of another, as new left high school, gone through college, and America when the Ultimates—the
Spider-Man Miles Morales clearly matured into a Super Hero who equivalent of the mainstream Avengers—
stepped up to the role. could fight alongside the most powerful fought rogue agents of Nick Fury.
Ultimate Spider-Man #160 217

Despite his injury, Spidey tries his best Green demon
to fight off this team-up of his worst foes The Ultimate version of
the Green Goblin was a
and prevent them from hurting anyone he
terrifying giant demon,
loved and destroying his neighborhood. but a badly wounded
Incredibly, he prevails—with a little Spider-Man summoned
help from Aunt May and his girlfriend, the last of his strength to
Mary Jane—but Ultimate Spider-Man protect his loved ones.
Artist Mark Bagley
#160 saw the story line conclude exactly
showed his great skill and
as had been promised. Having used every knowledge of the character
last ounce of his strength to defeat the to balance big, powerful
demonic Osborn, Spider-Man lies on action sequences with
the ground dying from his bullet wound, heartbreakingly tender
moments in Ultimate
and surrounded by family and friends.
Spider-Man #160.
Although tears run down his face,
Peter Parker is smiling. His last words
are, “I did it.” He had not saved Uncle
Ben, but he had saved Aunt May, and
many other people besides. His crime-
fighting career, which had begun with
the shameful act of letting a dangerous
criminal go free, ended here with a selfless
display of true heroism. Writer Bendis
later commented that, while Peter Parker’s
death was tragic, his life was not.
Mark Bagley, a veteran Spider-Man
artist, moved seamlessly between extremes
in this issue, depicting phenomenal fights
and blinding explosions with aplomb
before moving to heartwrenchingly
emotional scenes. Both he and Bendis
had years of experience and affection for
the character to bring to this story line,
and it showed. The pair would also
collaborate on the follow-up story
“Ultimate Fallout,” which showed the
effect that the hero’s passing had on
the rest of the Ultimate Universe.
The death of Peter Parker left a vacancy
in the Ultimate Universe that Marvel soon
filled with a new character, Miles Morales.
Morales would be the first character of
African American heritage to take up the
mantle of Spider-Man, in a new volume
of Ultimate Spider-Man beginning in fall
2011. The creation of Bendis and artist
Sara Pichelli, Miles would go on to
become a popular Spider-Man in his own
right and star of the hit 2018 animated
movie Spider-Man: Into the Spider-Verse.
Following the destruction of the Multiverse
in 2015’s “Secret Wars,” Miles found
himself in the reformed mainstream
Marvel Universe, in the same reality in
which the original Peter Parker lived.
The long history of Spider-Man had
entered a fresh and exciting phase. ■
218 Ultimate Spider-Man #160

go go!!
peter!!
aunt May,
come on!!

Mutant
revolutionaries
A dynamic full-page
splash from artist Stuart
Immonen shows rogue
mutants clashing with the
authorities in All-New
X-Men #1. After his
terrible actions while
possessed by the
Phoenix Force, Cyclops
(Scott Summers) had
split with the X-Men and
teamed up with Emma
Frost and Magneto.
220 All-New X-Men #1

All-New X-Men #1
January 2013
“ Bendis and Immonen presented an exciting

new take on the ever-present danger for
mutants. Bringing back the original X-men
allowed a fresh perspective while remaining
true to what X-fans love of X-books.
Dan Buckley ”
A fter eight years working on the
Avengers, Brian Michael Bendis was
eager for a new challenge. The epic
to travel back to, Bendis was careful to
choose one from the 1960s, rather than
create an entirely new scene. He selected
Cover artists Stuart Immonen,
crossover event “Avengers vs. X-Men” X-Men #8 (November 1964), in which
Wade von Grawbadger,
in 2012 seemed to provide the perfect Iceman and Beast return to the X-Men’s
Marte Gracia
jumping-off point for Bendis to move across mansion after being attacked by a mob
to the X-Men. It also marked a new start for of ordinary humans. Bendis admitted that
Penciler Stuart Immonen Marvel Comics, which planned to launch one of the most exciting parts about being
Inker Wade von Grawbadger All-New X-Men as a key part of the Marvel able to use the teenage X-Men as characters
Colorist Marte Gracia NOW! rebrand. The X-Men titles were was that he could bring back Jean Grey as
Letterer Cory Petit
always something of a law unto themselves, she had been in the days before she merged
allowing writers to explore story lines that with Dark Phoenix. In the next issue, the
Editors Nick Lowe,
Jordan D. White
would not work so well in other properties. young Jean would get a shock when she
One such was time travel. Bendis thought arrived at what she thought of Charles
that it would be interesting if the original Xavier’s school only to find that it was
lineup of X-Men was able to see what had now posthumously named after her.
become of their future selves, especially in Stuart Immonen was chosen as the artist
the fallout of Avengers vs. X-Men. for All-New X-Men #1, having previously
Cyclops (Scott Summers), possessed worked with Bendis on Ultimate Spider-
by the power of the Phoenix, had killed Man. His sleek, vibrant style was perfect
his mentor Professor X and gone rogue, for the original teenage X-Men, who were
roaming the globe for new mutants to not burdened with the emotional baggage
recruit to his cause. Cyclops was one of the of years of combat in a world that often
original 1960s team, and Bendis believed hated them. The naïveté of the original
that it would have been unthinkable for his team was also perfect for newcomers to
idealistic teen predecessor to imagine a the X-Men title, as the characters could act
reality in which he would have killed Xavier as ciphers for new readers to help them
and incite a civil war between mutants catch up on decades of history without
All-New X-Men #1 shows Beast having to read hundreds of back issues first.
admitting to himself that his mutation is All-New X-Men offered a unique
killing him and resolving to do one last opportunity for fans to see Marvel’s
meaningful deed before his time came. glorious Silver Age past meet its grittier,
That deed would be to return to the past morally ambiguous present. What would
and bring back the original Scott Summers the original X-Men make of their future
to try to reason with his future self, selves’ decisions or, in some cases, their
hopefully avoiding the catastrophe of terrible fates? Simultaneously, the reader
conflict between rival factions of mutants. is also asked: what would our younger
When picking the right moment for Beast selves think about what we’ve become? ■
All-New X-Men #1 221

Infinity #3
November 2013
“ With more than three dozen heroes, a dozen

villains, half a dozen races, and the destruction
of the Inhuman’s Attilan home, there’s enough
in this issue to fill an entire limited series.
Peter David ”
I n the first decade of the 21st century,
the Avengers experienced constant
change. With the superteam frequently
unifying former alien enemies against the
Builders, Thanos opportunistically invades
Earth. Ostensibly out for profit and revenge,
evolving and splitting off into smaller, he covertly probes Earth to locate and kill
Cover artist Adam Kubert specialist units, such as the Mighty, his lost son, Thane. The Mad Titan’s armies
Writer Jonathan Hickman Uncanny, and USAvengers, those who and assassination cadre the Black Order
Pencilers, Jerome Opeña, were collectively regarded as Earth’s run amok but are constantly thwarted
inkers Dustin Weaver Mightiest Heroes seemed to lurch by those Avengers who remained behind,
Colorist Justin Ponsor from one cosmic crisis to another. unaffiliated Super Heroes, and stubborn,
Letterer Chris Eliopoulis
This period of chaos ultimately proud humans defending their world.
culminated in the annihilation of the Hickman’s vast, ambitious concept
Lauren Sankovitch
Multiverse and the birth of a revised was illustrated by two art teams assigned to
eighth incarnation of Marvel reality. specific regions of the war, who made the
While many of these catastrophes had otherwordly spectacle seem terrifyingly
metaphysical or mystic underpinnings, convincing and beautiful. The expansive
the most transformative and sweeping saga’s pivotal moment arrives in Infinity #3.
was prompted by simple paranoia and Jerome Opeña depicts the outer space
selfishness among humanity’s unrelenting segment “Kingdoms Fall,” in which many
enemies. Written by Jonathan Hickman, former belligerents capitulate to the
the mega-event “Infinity” ran across Builders. Ashamed of his warrior species’
numerous Marvel titles between August defeat, Kree warlord Ronan the Accuser
and November 2013. It comprised two war allies with the Avengers. When the anti-
stories told in parallel on separate fronts. Builder alliance almost fractures, Captain
One strand reveals how primordial race America rallies the panicking rulers of
the Builders—who claim to have seeded life myriad worlds with a shrewd plan. Later, as
throughout the universe—try to eradicate Kree homeworld Hala officially surrenders,
every Earth in the Multiverse, as well as any a suicide attack on the Builder fleet allows
planets failing to meet their expectations. Avengers, Skrull, and Shi’ar Imperial Guard
Heading to Prime Earth in a mighty commandos to capture the invaders’ World
armada, the Builders decimate many Killer dreadnoughts. Their counterattack
civilizations en route, including Kree, liberates previously captive Avengers who
Badoon, Skrulls, Spartax, and Shi’ar. take the battle to the Builders.
Infinity’s other strand detailed the Victory comes after untried hero Kevin
unanticipated consequences of the Connor unleashes the unstoppable cosmic
Conscience of the king Avengers’ response to the Builder threat. force of the “Starbrand,” which had
As Thanos demands his tribute and
By sending their most powerful members previously sought out and possessed him.
revels in his presumed success, Black
Bolt turns the tables and forever alters
to stop the armada before it reached The Starbrand energy release vaporizes
Earth’s balance of power with one Earth, they leave their homeworld virtually the Builder unit tasked with eliminating
shouted act of proud defiance. defenseless. With the Avengers off-planet resistance. As the tide of conflict turns,
222 Infinity #3
Star power
The Starbrand is a planetary defense
system fueled by the Superflow
separating and connecting parallel
universes. Bestowing infinite power,
it usually heralds global evolutionary
ascension. In Kevin Connor’s case, the
system malfunctions, granting power
but not knowledge. After accidentally
vaporizing his entire college, Connor is
recruited by the Avengers and proves
his worth as a living doomsday
weapon against the Builders.
the Builder fleet cautiously divides, with

two units continuing toward Earth, while
a third remains to pacify the Kree system.
The Earthbound units are unaware that
Thanos’ invasion of their target world
is being met with savage defiance.
Illustrated by Dustin Weaver, “What
Maximus Built” reveals how the Mad Titan
attacks Black Bolt in the floating city Attilan.
In response, the Inhuman king detonates
a massive bomb built by his brother,
Maximus. The explosion floods Earth
with the gene-warping Terrigen Mist—the
trigger for Inhuman transformation and
empowerment. This desperate tactic sparks
a whole new generation of super-warriors.
After Thanos’ defeat, these Inhumans and
NuHumans would become a new breed
of Super Heroes. Young champions such
as Ms. Marvel, Kamala Khan, and grade-
school super-genius Moon Girl, along with
her constant companion Devil Dinosaur,
would take the Marvel Universe into fresh,
thrilling, culturally diverse directions.
In the aftermath of “Infinity,” Earth
was radically transformed but still not safe.
Under the promotional title Marvel NOW!,
a company-wide reboot reformed the
overarching continuity: a major reshuffle
and rethink of characters and concepts,
with an eye to winning new readers.
Moreover, all the disparate story strands
across various comic books were slowly
building toward the next crisis, with new
Avengers titles forming the spine of an
approaching mega-epic. This would be
the collision of parallel Earths, which
decisively conclude in the reality-
shattering event “Time Runs Out.” ■
Infinity #3 223
Ms. Marvel #1
April 2014
“ Kamala Khan is many things: Muslim, South

Asian, Jerseyite, but she has all the trimmings
of a classic Marvel hero. A heartwarming, funny,
new kind of a hero... a cultural phenomenon

[who] I think is the future of Marvel.
Sana Amanat ”
I
Cover artists Sara Pichelli, n April 2014, Ms. Marvel #1 saw a that Kamala got her super-powers—the
Justin Ponsor
dramatic change of alter ego for the rest of the issue was about her day-to-
Writer G. Willow Wilson legacy Super Hero. Carol Danvers had day life as a Pakistani American teenager.
Penciler, inker Adrian Alphona left the Ms. Marvel identity behind to In many ways, Kamala Khan’s story
Colorist Ian Herring become Captain Marvel in 2012. The mirrored Peter Parker’s decades before,
Letterer Joe Caramagna
following year, Marvel announced big in that they were both nerdy outsiders
plans for a new era of Ms. Marvel. As part trying to do well at school and not
Editors Sana Amanat,
Devin Lewis,
of its All-New Marvel NOW! relaunch, disappoint their families. Like Peter,
Stephen Wacker Ms. Marvel would now be Kamala Khan, Kamala appealed to readers across the
a Muslim teenager from Jersey City. This board with her universally recognizable
made Ms. Marvel the first Marvel comic problems: annoying siblings, strict
book to feature a Muslim in its title role. parents, and butting up against the cool
Although she was inheriting Carol crowd at school. If that wasn’t enough
Danvers’ Super Hero identity, Kamala to make fans identify with Kamala, the
Khan’s powers were very different from creators added the lightly meta touch of
those of her predecessor. They were her being a huge Super Hero geek, posting
acquired through Terrigenesis, the process fan fiction online about the Avengers,
that occurred when Terrigen Mists spread with Carol Danvers being her idol.
across the planet and activated dormant Kamala Khan was created by editors
Inhuman genes in ordinary people, who Sana Amanat and Stephen Wacker, writer
then manifested superhuman abilities. G. Willow Wilson, and artist Adrian
In Kamala’s case, she was able to change Alphona. Amanat and Wilson are both
the size and shape of her body and had Muslims originally from New Jersey,
a rapid healing factor, although these so Kamala’s backstory was filled with
were not revealed until later issues. the authentic details of lived experience.
Ms. Marvel #1 was the first of a They made identity a major theme of
five-issue arc introducing Kamala Khan Ms. Marvel #1, as Kamala found herself
as Ms. Marvel. Unlike comic books of caught between two worlds. The 16-year-
earlier eras, when a new hero would be old wanted to fit in with the cool kids at
in costume and defeating a bad guy by her high school, but she did not want to
Generation NOW! the end of their debut issue, the longer reject her culture and her family. Like
Part of Kamala Khan’s appeal is that she is
story line gave the creative team time many second-generation immigrants, she
extremely relatable. As a second-generation
immigrant, she is not entirely of one group
and space to develop the character so wondered where she was supposed to fit in.
nor another, and this struggle with her that readers could really get to know her. By issue’s end, Kamala had another
identity only increases with her powers. It was not until the end of Ms. Marvel #1 identity to puzzle over, as she emerges
224 Ms. Marvel #1

My heroes
As Kamala undergoes Terrigenesis
and acquires superhuman powers,
she sees a vision of her favorite
Super Heroes. Writer G. Willow
Wilson and artist Adrian Alphona
created a splash page that was
uniquely Kamala, merging
traditional heroes with a flavor
of the new Ms. Marvel’s
Pakistani heritage.
from her Terrigenesis cocoon as an

old-style Ms. Marvel, complete with
blonde hair and swimsuit-like costume.
Later issues would see Kamala find her the yellow
mustard is blooming
own Super Hero style, with an outfit based in every field;
...mango buds
click open, other
the yellow mustard
on a salwar kameez but still bearing the is blooming...
flowers too; the koyal
twitters from branch to
symbols of a legacy Ms. Marvel costume. branch and the maiden
tries on her
Artist Adrian Alphona’s work on adornments.
Ms. Marvel #1 plunged readers into
Kamala’s world. While the book did not
yet feature any big fights with Super
Villains, Alphona was able to concentrate
on creating a cast of characters that,
unusually for a Super Hero comic,
were like regular people in a regular
neighborhood. He had previous experience
illustrating the world as seen from a
teenager’s perspective from his time
working on the successful Runaways title.
However, Alphona and colorist Ian Herring
did bring a little more Super Hero pizzazz
to the pages in two imaginary sequences:
one illustrating Kamala’s fanfic, and
another showing a vision she has while
she is undergoing Terrigenesis, where her
favorite heroes appear, speaking Urdu.
Ms. Marvel was a hit, especially in the
digital sales sector, and its first volume
won a Hugo Award for Best Graphic
Story. Since her debut, Kamala Khan
has gone from strength to strength as she
learns to use her powers and integrates
more fully with the rest of the Marvel
Universe. In 2016, she fulfilled the ultimate
fangirl dream by joining the Avengers. ■
Ms. Marvel #1 225

Original Sin #8
November 2014
“ Original Sin #8 concludes a story that really

does change things. You can’t walk back Nick
Fury’s actions. Thor’s life (and Jane Foster’s)
is significantly impacted. And the Watcher?
Well, let’s just say he’s now finally upholding

the “non-interference” part of his oath.
Wil Moss ”
P
Cover artist Julian Totina Tedesco ublished in 2014, “Original Sin” As the event unfolded, it became clear
Writer Jason Aaron was a Marvel Comics event unlike that everything the Watcher had ever seen
Penciler, Mike Deodato Jr. any that had gone before. It began as a was recorded in his eyes—the unknown
inker murder mystery before expanding into murderer and possessor of those eyes
Colorist Frank Martin Jr. a boundary-pushing epic that had a huge had access to every secret deed of every
cast of characters in the Marvel Universe person on Earth, including its heroes.
questioning their deepest motives and Jason Aaron used the revealing of
inner conflicts. Writer Jason Aaron was important secrets, like the fact that
Wil Moss
well matched with artist Mike Deodato, another person had been bitten by a
the two pooling their considerable talents radioactive spider on the same day as
to produce a gritty yet cosmic tale with Peter Parker and that Captain America’s
long-lasting repercussions for some mind had been wiped by his so-called
of Marvel’s oldest characters. friends in the Illuminati, to examine the
The story line gave center stage to battle between the altruistic and the
some of Marvel’s hitherto less trumpeted selfish that each hero had to face.
heroes. Tying in with the huge box-office Did they always pursue a course of
this is his successes of the Marvel Cinematic action for the greater good, or were they
curse.
Universe, characters like Doctor Strange, sometimes following their own agenda?
Black Panther, Gamora, and the Winter As the investigation proceeded,
Soldier led the investigation into the the creators had fun with the unusual
puzzle at the heart of “Original Sin”: team-ups that Original Sin facilitated,
who had killed Uatu the Watcher? including a “buddy cop” dynamic between
Uatu had been a feature of Marvel Doctor Strange and the Punisher. But by
since the earliest days of the Silver Age. Original Sin #8, the series focused on the
He was a character who was extremely key protagonists: Nick Fury, the grizzled
powerful but whose remit was only to World War II veteran and former
observe the goings-on on Earth from his S.H.I.E.L.D. director, and Uatu the
home on the Moon. He, like others of Watcher. The issue revealed the terrible
his kind, was not supposed to interfere truth at the center of the mystery—Uatu
with events as they unfolded, although had provoked Nick Fury into killing him.
The Unseen in his long history he had been known For many years, Fury had secretly been
Original Sin #8 concluded by
to help Earth’s protectors on more than the “Man on the Wall,” appointed to
introducing a new era for longtime
Marvel stalwart Nick Fury. He would
one occasion. Original Sin’s opening counter all threats to Earth by any means
now be the Unseen, the replacement issue featured the macabre sight of the necessary. The seasoned soldier-spy had
for the deceased Uatu the Watcher. Watcher’s dead body, minus his eyes. been chosen as someone who could make
226 Original Sin #8

The killer unmasked
Original Sin was a dark,
atmospheric murder mystery
worthy of Patricia Highsmith,
“i killed the
and its concluding issue revealed watcher.”
the shocking answer to the
question of who killed
Uatu the Watcher.
“i killed him,
the tough decisions, who would shoot and then i...”
to kill when the situation demanded it.

The issue concluded with Fury being
reborn as the Unseen, a replacement for the
deceased Watcher, condemned to witness
events on Earth but never intervene.
This cleared the decks for the character
of Nick Fury Jr., modeled on his movie
counterpart, to take over S.H.I.E.L.D.
back on Earth. Meanwhile, the original
Fury’s successor as the Man on the Wall
was revealed to be the Winter Soldier
(Bucky Barnes), continuing the tradition
of appointing a super-spy to the role.
Original Sin #8 had one last surprise
in store. Thor was suddenly unable to lift
his hammer, Mjölnir, meaning that he was
no longer worthy to wield the power of
Thor. This set up the new Thor series,
also written by Aaron, in which Jane
god help
Foster would pick up the mantle as the me.
first female Thor, while the original,
now known as Odinson, would try to
find his place in this new status quo.
Aaron and Deodato presented a dark,
gripping twist on the summer event book.
Deodato’s dazzingly detailed artwork
across the full event was unfailingly
consistent, while Frank Martin’s clever use
of color helped differentiate the extensive
flashbacks from the present-day action.
Indeed, the artist’s photorealistic, moody
style, honed through many years on
various Avengers titles, was ideal for
this significant slice of space noir. ■
Original Sin #8 227

Death of
Wolverine #4
December 2014
“ Steve McNiven’s incredible linework breathes

amazing visual life into the death of one of our
most popular heroes, as Charles Soule’s words
pay fitting tribute to his heroic arc.
Jordan D. White ”
Editor in chief
Cover artists
Axel Alonso
Steve McNiven,
S ince the first glimpse in Incredible
Hulk #180 (October 1974), James
Howlett, aka Wolverine, has been a Super
Death of Wolverine #4 sees a depowered
but resolute Logan in Paradise Valley,
Nevada, invading Cornelius’ base, hell-bent
Jay Leisten,
Justin Ponsor Hero, spy, teacher, soldier, assassin, on preventing the horrors of Weapon X
Writer Charles Soule husband, and fugitive, whose gritty being repeated. Cornelius has resumed his
exploits had made him one of Marvel’s experiments, attempting to transform
Penciler Steve McNiven
highest profile stars. Ultimately, the man hapless victims into cyborg slave-soldiers
Inker Jay Leisten
beneath the legend would began to fade, using Adamantium harvested from prior
Colorist Justin Ponsor worn down by personal tragedy, ceaseless users. On discovering Logan no longer
Letterer Chris Eliopoulos conflict, and the loss of close comrades. has his healing powers, Cornelius activates
Editor Mike Marts His final reckoning would come not long a prototype soldier to kill him while trying
after Logan surrendered his unique healing to infuse Adamantium in his test subjects.
factor to stop a rampaging sentient virus To save them and end the madness, Logan
from the Microverse in the publishing event doses the subjects with an unproven
“Killable.” In his own title, Wolverine tried regeneration serum and intercepts the
to adapt to his loss of powers by dealing liquid metal with his own body. Inundated
with unfinished business and hunting down in molten Adamantium, Logan chases
old enemies Sabretooth and the Hand in a a fatally wounded Cornelius. As the lunatic
fast-paced run of issues with the tagline scientist dies, Wolverine greets his final
“3 Months to Die.” The end came in the sunset, a warrior finally at rest, and a
weekly miniseries Death of Wolverine. man who has proven he is not a beast.
Writer Charles Soule and artists Steve The Death of Wolverine gave readers
McNiven and Jay Leisten portrayed a a necessary break from the often over-
contemplative Logan seeking peace and exposed mutant, spawning several spin-off
solitude but dragged back into battle as series such as The Logan Legacy, Life
a mystery mastermind orchestrates the After Logan, and Wolverines, starring
murder of Adamantium-using heroes, old foes Mystique, his evil son, Daken,
placing a huge bounty on Logan’s head. Sabretooth, and the survivors of Cornelius’
Choosing to die on his own terms, experiments. Logan’s clone Laura Kinney
Wolverine tracks down his remaining foes, became the All-New Wolverine, fiercely
clashing with ex-wife Viper and former upholding his name and legacy—until
A life well lived mentor/malign spirit Ogun, who reveals his inevitable return. Deeply moving,
With his entire extended life of violence
that Logan’s shadowy nemesis is none beautifully illustrated, and powerfully
flashing before his eyes, Logan finds
peace in his final moments by focusing
other than Abraham Cornelius, the satisfying, the Death of Wolverine is a
on the good he has done and the decent deranged scientist who first bonded felicitous, elegiac coda to one of Marvel
people with whom he has shared his life. Adamantium to the hero’s bones. Comics’ unlikeliest yet best-loved heroes. ■
228 Death of Wolverine #4

Dying of the light
In a moving finale, Logan’s life comes full
circle as he faces his past and thwarts the
plans of the ruthless scientist who made him
an indestructible, metal-boned killer. Steve
McNiven, Jay Leisten, and colorist Justin
Ponsor’s gorgeous art references Logan’s
origins as Weapon X, recapturing the
unflinching intensity of Barry Windsor-
Smith’s inceptive saga in Marvel Comics
Presents #72–84 (January–July 1991).
Death of Wolverine #4 229

Unbeatable
Squirrel Girl #4
June 2015
“ In the 1990s, Squirrel Girl was considered a

bit ridiculous. Ryan North and Erica Henderson
[turned] her into a worthy protagonist who could
be taken seriously, and was surrounded by a
Editor in chief
Cover artists
Axel Alonso
Erica Henderson,
diverse cast of friends, allies, and antagonists.
Tom Brevoort ”
A
Rico Renzi
lthough Squirrel Girl was often working partnership and a close friendship,
Writer Ryan North dismissed as a joke character, her which made their collaboration on the
Penciler, Erica Henderson lineage demanded that she be respected— Squirrel Girl series a natural success.
inker she was created in 1991 by the team of North and Henderson filled the pages
Colorist Rico Renzi writer Will Murray and the legendary of Unbeatable Squirrel Girl with humor
Letterer Clayton Cowles artist Steve Ditko. In her debut comic yet still managed to make Doreen Green
book, Marvel Super-Heroes #8 (December extremely real and relatable. The book’s
Editor Wil Moss
1991), Squirrel Girl, aka Doreen Green, cartoonish style set it apart from nearly
started as she meant to go on by defeating every other comic in the Marvel stable.
Doctor Doom. After this, she made It was filled with in-jokes yet was
sporadic appearances until July 2005, accessible to first-time comic readers.
when she was made a regular in the A useful narrative tool in Unbeatable
Great Lakes Avengers team by writer Dan Squirrel Girl was the set of “Deadpool’s
Slott. Squirrel Girl defied expectations Guide to Super Villains” cards. This
once more when her continued popularity inventive in-story device not only helps
led her to be chosen by Brian Michael Squirrel Girl learn about the villains she
Bendis for inclusion in the New Avengers faces, but they were also perfect for filling
books, as nanny to Luke Cage and in new readers on the backstory and
Jessica Jones’ daughter, Danielle. powers of someone like Kraven the
The character’s upward trajectory Hunter, the antagonist of the first issue.
prompted Marvel Comics to commission However, unlike Deadpool’s adventures,
a regular Squirrel Girl title. Editor in Squirrel Girl did not break the fourth wall,
chief Axel Alonso was also eager to something North and Henderson felt
diversify Marvel Comics, allowing greater would lessen the character’s impact.
freedom in how a Marvel comic could The conclusion of Unbeatable Squirrel
look. Wil Moss was appointed editor of Girl #1 (March 2015) left readers with
the new title, named Unbeatable Squirrel an irresistible cliff-hanger. A confrontation
Girl in reference to the hero’s almost between Squirrel Girl and the planet-eating
Nuts about nuts unmatched record against big-league Galactus was imminent, putting her
Squirrel Girl earned her “Unbeatable” villains like Thanos and Fin Fang Foom. moniker as “The Unbeatable” to the test
nickname the hard way, seeing off numerous
Moss recruited writer Ryan North and once more. What finally happened when
A-list villains. Writer Ryan North wanted to
keep the character true to herself, and so her
artist Erica Henderson to be the creative the two met is revealed in Unbeatable
method of confronting these bad guys was team, which proved to be an inspired Squirrel Girl #4. After “borrowing” some
usually to talk things through. choice. The two would form a productive of Iron Man’s tech to launch into space,
230 Unbeatable Squirrel Girl #4

Squirrel Girl triumphant
Artist Erica Henderson had no
shortage of humorous situations
to explore with her pencils for
The Unbeatable Squirrel Girl.
However, despite the quirky
nature of the hero’s adventures,
they all took place in the main
Marvel Universe—the Galactus
she “defeated” by feeding him
nuts was the real deal.
Squirrel Girl confronts Galactus. Initially

trying to beat him up, reasoning that if she well,
gosh, that
had already beaten Thanos then it was wasn’t so hard
worth a try (a fact that amused Galactus after all!!
enormously), she finally decides to just

talk to him. This offbeat method of dealing
with tricky situations was a hallmark of
Squirrel Girl and one that served her well
throughout her Super Hero career. She
could listen and be empathetic—asking
questions before throwing punches.
Squirrel Girl, shocked that Galactus
had never eaten nuts, locates a planet
that is uninhabited but well stocked
with nuts for him to eat, in exchange
for him sparing Earth. The fearsome
world-devourer—and Squirrel Girl and
Tippy-Toe (Doreen’s squirrel pal)—
gorged on the planet’s bounty and then
returned to Earth’s Moon to rest after
their feast. Here, Squirrel Girl manages
something that no other hero had—she
connects with Galactus on a personal
level and the two part as friends.
Unlike many Super Heroes, Squirrel
Girl’s powers did not cause her angst—
she reveled in them. This gave her stories
a joyous tone, offering something very
different from most mainstream comics.
Unbeatable Squirrel Girl was a breath
of fresh air and a surprise hit, going on
to win an Eisner Award. Once again,
what had looked like a creative gamble
by Marvel Comics had paid off. ■
Unbeatable Squirrel Girl #4 231

232
Secret Wars #1
July 2015
“ Hickman and Ribic delivered on multiple fronts:

it was epic and personal; wholly original and the
ultimate homage to the 1980s Secret Wars...
One of my favorite moments in 2010 was
Hickman pitching his 4–5 year Avengers plan
that would culminate with Secret Wars. My mind
Editor in chief
Cover artist
Writer
Axel Alonso
Alex Ross
Jonathan Hickman
and every mind in that room was blown!
Dan Buckley ”
Penciler,
inker
Esad Ribic
“S ecret Wars” was a crossover event
more ambitious than any Marvel
Comics had published before. It carried
was Jonathan Hickman, who had been
crafting the run-up to the event in the
Avengers and New Avengers titles, in an
Colorist Ive Svorcina
Letterer Chris Eliopoulos the entire Marvel legacy on its shoulders, extended story line called “Time Runs
forming the end of multiple eras and Out.” In those books, certain heroes had
Wil Moss,
preparing the ground for nothing short become aware that the Multiverse was
Jon Moisan, of a brand new Marvel Universe. The very shrinking, with universes disappearing
Alanna Smith first clue that “Secret Wars” would be until only two remained—the core 616
a crucial part of Marvel history was its universe and the “Ultimate” 1610 universe.
name. “Secret Wars” had also been the Hickman had been thinking about the idea
title for one of the first Marvel Comics behind “Secret Wars” for years and finally
events in 1984–85. In both titles, old and had the chance to make it a reality when
new, an exciting lineup of Marvel heroes he took over from Brian Michael Bendis
and villains would be brought to a place on the Avengers titles.
called Battleworld, but how they got Prior to working on Avengers and
there and what happened next was very New Avengers, Hickman had spent four
different in the 2015 iteration. years writing Fantastic Four, so it was no
While “Secret Wars” was playing out, surprise that, when “Secret Wars” began,
Marvel put all its other titles on hold, the Fantastic Four and their longtime
an unprecedented move that signalled nemesis Doctor Doom would play pivotal
the importance of the event. The continuity roles. They had also been the characters
of all Marvel Comics titles was replaced who launched the Marvel Silver Age
with dozens of miniseries about the revolution back in 1961, so it was entirely
g End of the world various encounters and conflicts taking fitting that they were front and center
Artist Esad Ribic created when that universe officially ended.
place on Battleworld, a patchwork planet
many dramatic scenes for
Secret Wars #1 as the heroes
that arch-villain Doctor Doom had Complementing Hickman’s flair for
of the 616 universe tried to managed to pull together from fragments complex, epic storytelling would be artist
fight off the incursion of the of the dying Multiverse. True to character, Esad Ribic. Ribic showed that he was
1610 Ultimate Universe. Doom would end up installing himself a natural at everything the main Secret
Although Earth’s champions Wars series would require: explosive
as “god-emperor” of Battleworld.
gave everything they had to
the battle, it turned out to
The sheer scale of “Secret Wars” meant battle scenes, universe-ending drama,
be the end of the Marvel that the creative team for the core series otherworldly tech, and the extreme
Universe as readers knew it. needed to be carefully chosen. The writer emotions of individuals caught up in
Secret Wars #1 233

unimaginable catastrophe. Colorist Ive
Svorcina employed a largely pastel palette
to conjure a dreamy aesthetic without
losing any of the impact. Another treat
for fans of high-quality comic book art
came in the form of beautiful painted
covers by Alex Ross.
Secret Wars #1 is an apocalyptic
opener to the series, with a truly downbeat,
heart-wrenching conclusion. It features
the moments when the two remaining
universes in existence are about to collide,
with the heroes in each believing that if they
could destroy the other universe first, there
was a chance they would survive. However,
behind the explosive battle scenes there are
desperate plans being enacted. The Ultimate
Reed Richards, an evil genius from the
1610 universe, tries to launch a doomsday
weapon against the 616 universe.
Meanwhile, his 616 counterpart has finally
acknowledged the futility of battle and is
coordinating a “life raft” to save as many
people as possible, who could try to remake
reality after the incursion. Although the 616
Richards manages to rescue some heroes
on his life raft, he loses those closest
to him—his family and the rest of the
Fantastic Four—in one of the most
devastating moments of the issue. Never
before had such a vast assembly of heroes
so spectacularly failed to “save the day.”
However, arguably the most moving
page of Secret Wars #1 was not a high-
octane battle scene, mega-weapon
deployment, or exploding cityscape,
but one that was plain white, bearing
only the legends: “The Marvel Universe
1961–2015” and “The Ultimate Universe
2000–2015.” The effect was like a
memorial or tombstone and starkly
emphasized to readers just what had been
lost. How the story would continue on
Battleworld and beyond was for later
issues of Secret Wars to tell.
The first issue of Secret Wars was a
smash hit with readers and critics alike,
selling an estimated 550,000 copies.
It was especially rewarding to those
readers who had been patiently following
the build-up in the “Time Runs Out”
story line in Avengers and New Avengers.
The years of carefully crafted storytelling
from Jonathan Hickman had paid off,
and a brave new dawn awaited that would
usher in a new era of Marvel Comics. ■
234 Secret Wars #1

Personal tragedy
Among the large-scale disaster of
Secret Wars #1, there was also a
crushing loss for the Fantastic Four’s
Reed Richards. Despite his meticulous
planning, he lost his wife, Susan, the
rest of his family, and his teammates
when their rescue craft broke up.
Secret Wars #1 235

Black Panther #1
June 2016
“
The enthusiasm and ambition of the
creators are palpable... [as] the world of
Black Panther is infused with new ideas,
new designs, and new directions. The start
of a truly character-defining run.
Wil Moss ”
S ince his inception in July 1966, Black
Panther has always been one of Marvel’s
most politically attuned Super Heroes:
South from Slavery to the Great Migration—
a Pulitzer Prize-winning epic history of
African Americans’ battle for equality and
Cover artist Brian Stelfreeze
one whose exploits often mirrored real- a political voice. The book’s insights into
Writer Ta-Nehisi Coates world concerns. As leader of Wakanda, black America’s hard-won independence
Penciler, Brian Stelfreeze a fictional African nation hidden for and political nationhood act as a telling
inker centuries, King T’Challa has confronted counterpoint to Coates and Stelfreeze’s
Colorist Laura Martin head-on American White Supremacy new take on Wakanda. In “Black Panther:
Letterer Joe Sabino (Jungle Action #19–24, January–November A Nation Under our Feet,” the creators
1976), South African Apartheid (Marvel shape the future of an African nation that
Editors Wil Moss,
Chris Robinson, Comics Presents #13–37, February 1988– has never known privation or conquest,
Tom Brevoort December 1989), and economic imperialism and enjoys the highest standards of living,
and Serbian nationalism (Black Panther: education, and health care on planet Earth.
The Man Without Fear, February 2011), The series built on years of turmoil,
all inspired by actual events. as Wakanda recovered from a succession
In 2016, as Black Panther was becoming of calamities. T’Challa had abdicated,
a global cinema sensation, his comic book becoming King of the Dead, while sister
stories resumed with a new series and Shuri ruled the country as a new Black
creative team. Crafted by author, journalist, Panther, facing global catastrophe,
and lifelong comics fan Ta-Nehisi Coates economic collapse, and consecutive
working with legendary comics artist Brian invasions from Namor’s Atlanteans and
Stelfreeze, the result was a radically fresh Thanos’ Black Legion, which decimated
look and feel for Wakanda, a proud and Wakanda. When Shuri sacrificed her life
independent nation that had never suffered defending the nation, T’Challa regretfully
from European expansionism. returned to resume the throne.
Having Marvel’s preeminent black Super “A Nation Under Our Feet” opens with
Hero written by the MacArthur Genius and the overburdened king hoping to reassure
National Book Award winner Ta-Nehisi his emotionally conflicted people. When
Coates (Between the World and Me) granted violence erupts during a Vibranium miners
the series significant literary and political strike, T’Challa’s senses a hidden enemy
heft, generating huge interest outside comic intensifying popular disquiet. In the
Royal blood book circles. Coates lived up to expectations, ensuing clash with the miners, he fails to
King T’Challa constantly struggles devising a compelling reevaluation of all catch the unseen instigator. Discontent,
to manage external threats and aspects of what was already a utopian black dissent, and rebellion escalate everywhere.
internal religious and political
culture. For Black Panther’s opening story Elite Dora Milaje Aneka is sentenced to
pressures. As dissent grows, another
national crisis begins with Vibranium
arc, the creative team took its inspiration death for overstepping her authority when
miners: a hurled stone, a bloodied from Steven Hahn’s A Nation Under Our she punishes a local chieftain who has been
brow, and a chilling accusation. Feet: Black Political Struggles in the Rural exploiting women. And beyond Wakanda’s
236 Black Panther #1

Under pressure
A king cannot always pick his battles.
While T’Challa is desperately seeking a
way to revive his sister, the needs of his
divided people pull him one way, the
demands of his coruling mother take
him in another, and the machinations of
insurgents armed with compelling
philosophies and deadly powers
drag him down yet another path.
borders, super-powered rebels calling

themselves “The People” wait for their
moment, dreaming of a new nation born
of violent change and ancient sorcery.
Aneka is liberated by comrade-in-arms
and lover, Ayo. Fleeing the city, they join
women escaping bandits and abusive
chieftains, and become leaders of an
emancipated third faction in Wakanda’s
civil war. T’Challa becomes too distracted
to deal with the crisis, lost in a desperate
plan to resurrect his sister. As the saga
unfolds, Queen Shuri’s spirit returns from
the Plane of Wakandan Memory, fortified
by the entire history and mythology of her
people. Her new powers and knowledge
will help save her embattled people from
rebels, invaders, and super-powered
American corporate raiders. The result
forces Wakanda to evolve, creating a new
role for the ruling family, who now
govern by popular consent through
debate and democratic decision-making,
not divinely sponsored regal diktat.
The new series was a hit, securing
Coates’ ongoing tenure on the title, which
would go on to explore Wakanda’s fraught
mythic origins and shift the action to
outer space. It also spawned equally daring
spin-offs that would expand the Panther’s
world, such as Black Panther and the Crew
and World of Wakanda, and led to Coates
turning his attention to America’s
national symbol. In 2018, he began
writing the new Captain America series,
challenging concepts of patriotism and
national identity, while also taking Black
Panther into unchartered territory. ■
Black Panther #1 237

Vision #12
December 2016
“ The last issue of a deservedly acclaimed

limited series ingeniously features the
Vision as the creator and head of an

idealized robotic nuclear family.
Peter David ”
Cover artist
Writer
Michael Del Mundo
Tom King
M arvel Comics has always had great
success in creating misunderstood
outcasts and beings somehow set apart
rebuilt with new personality engrams,
and simply destroyed several times.
He was even briefly reformed as a
Penciler, Gabriel Hernandez Walta
inker from common humanity. Many are teenager but could never find true
antiheroes like the Hulk or Namor, satisfaction or happiness. Ultimately,
Colorist Jordie Bellaire
the Sub-Mariner, or unrepentant Vision achieved a semblance of the life
Letterer Clayton Cowles
vigilantes like the Punisher, or benign he always wanted by building it himself.
Editors Wil Moss, but feared nonconformists like Silver In the 2015 miniseries Vision, the
Charles Beachum, Surfer. But of all the heroes at the fringes ever-determined synthezoid constructed
Tom Brevoort
of society, only one is a synthetic machine- his own idealized vision of the American
creature who desires nothing more than Dream: life, liberty, and the pursuit of
to be an ordinary human. happiness. Acquiring a suburban home
The Vision debuted in Avengers #57 in Cherrydale, Virginia, he furnished
(October 1968): a humanoid weapon it with a wife, two kids, and a dog:
devised by killer robot Ultron, who painstakingly, personally handmade and
overrode his programming to become programmed to grow into independent
a noble and valiant hero. Decades before beings in his own image. At last, he had
artificial intelligence became headline the existence he yearned for—it was the
parents
sacrifice their news in the real world, Vision was a most tragic mistake of his life.
lives for their
children.
symbol of computers attempting to In writer Tom King and artist Gabriel
integrate with mankind. Incorporating Hernandez Walta’s potent, poignant
then
children the heritage (and component parts) exploration of humanity, Vision follows
become parents
and sacrifice of vintage Super Heroes the Original the perfect wife, Virginia, awkward twin
their own teens, Vin and Viv, and faithful robo-mutt
lives.
Human Torch, android Jim Hammond,
and so all
and Wonder Man, Simon Williams, Vision Sparky as they strive to fit into society
is sacrificed became a trusted and valued Avenger. as regular citizens. Vision’s dream is
and nothing
is gained. He found friends and even settled down never given a chance to succeed, as the
into marriage with Wanda Maximoff, mechanical clan are constantly confronted
the Scarlet Witch, only to have those he by their artificial origins, as seen through
Family ties most admired and from whom he craved the suspicions of the community they are
As Viv tries to comprehend the futility acceptance eventually turn on him. trying to join. Compounding the problem
of human genetics, scripter Tom King
He has undergone numerous radical is the Vision himself. As an Avenger, his
goes on to imply that her artificial family
was not dissimilar to many natural ones:
reboots, being forcibly returned to career includes many villains and even
dysfunctional, broken, and separated, “factory settings” as a ghostly white friends trying to keep tabs on him.
but still devoted to all within it. Vision drained of color and character, When an old enemy, the Grim Reaper,
238 Vision #12

Do androids dream?
Illustrator Gabriel Hernandez Walta
beautifully captures the isolation and
suppressed inner turmoil of the
supposedly emotionless Vision
through quiet, understated staging.
At the threshold of a new life,
the artificial Avenger sees his hopes
and dreams slip away. The humanity
he has always doubted he possessed
is confirmed in grief, resignation,
and, ultimately, hope.
attacks the household while the Vision

is away, he almost destroys Viv before
Virginia kills him. Hiding the body, she
conceals her actions from her husband
and subsequently begins to devolve
into electronic neurosis.
The family’s descent into existential
chaos is sealed when a neighbor who
witnessed the event tries to blackmail
Virginia. This leads to the death of one
of Viv’s classmates, forcing the Avengers
to plant a spy—Victor Mancha—in the
Vision household. Another product of
Ultron’s deranged tinkering, Mancha
accidentally kills Vin, and the outraged,
distraught Vision battles and defeats the
entire assembled Avengers as they try
stop him from killing his “brother.” He is
thwarted only by the increasingly erratic
Virginia, who murders Mancha first.
In Vision #12, King and Hernandez
Walta bring the family saga to a thought-
provoking, affecting, and suspenseful
conclusion as the surviving android
intelligences realize just how human they
have become. With the epic battle
concluded, Virginia confesses to every
crime her family committed, falsifying
records, and memories to exonerate her
husband before ending her own life in
a final, loving act of devotion. When Viv
leaves—to join teen hero alliance the
Champions—her father wistfully retires
to their home to begin work on his latest
secret project: Virginia Mark II. ■
Vision #12 239

Mighty Thor #706
June 2018
“ Jane Foster proves herself worthy as the

mighty Goddess of Thunder... The story is a
poignant tribute to her as her battle with
cancer ends, and she’s forced to put down
the hammer for good. A moving and
Editor in chief
Cover artist
Writer
C. B. Cebulski
Russell Dauterman
Jason Aaron
unforgettable close to an epic story line.
Sana Amanat ”
Penciler,
inker
Russell Dauterman
B y summer 2018, writer Jason Aaron
had already been working on Thor
titles for more than six years. His time
with the monstrous Mangog threatening
all of Asgard, Jane made the heroic
decision to sacrifice herself to save others.
Colorist Matthew Wilson
Letterer Joe Sabino

with the character had seen some seismic This act exemplified why a frail human
changes, including the rendering of the had been chosen in the first place as
Editors Wil Moss,
Sarah Brunstad,
original Thor as “unworthy,” no longer worthy of possessing the power of Thor.
Tom Brevoort able to pick up the mystical weapon Mighty Thor #706 opens with Jane
Mjölnir. However, there must always Foster lying lifeless, having hurled the
be a Thor, and so the hammer searched Mangog—and Mjölnir— into the Sun.
for someone worthy to wield it. This led Her soul is at the gates of Valhalla, having
to another of Aaron’s game-changing more than earned the right to spend
plotlines—Jane Foster becoming the eternity in the warriors’ paradise, when
Mighty Thor. Although this caused she is confronted by Odin. The All-Father
consternation among some readers, the had initially been angry that a human
story played into the themes that Aaron woman could have taken what he
had been exploring throughout his run, considered to be his son’s birthright, but
of how worthiness could be defined and he acknowledges that Jane has sacrificed
how it could be lost or earned. herself to save everything he held dear.
Jane Foster’s first issue as Thor came As Jane hesitates at the gates, not feeling
in Thor #1 (December 2014), as part ready to go to her death, the two realize
of the Avengers NOW! initiative, which that the original Thor, then known as
continued a process of introducing Odinson, is trying to harness the power
a range of more diverse characters to released after the destruction of Mjölnir
continuity to appeal to a broader range to revive Jane’s human form. Odin
of readers. Jane was already suffering returns to the mortal plane to help his
from breast cancer, and, as her time as son, and with their combined power,
a hero progressed, it was revealed that Jane Foster is returned to life. She decides
wielding Mjölnir was reversing the effects to focus on getting well, urging Odinson
of her chemotherapy treatment and to assume the role of the Thunder God
Worthy warrior therefore killing her. By the time of once more, even without Mjölnir.
After her death, Jane Foster finds herself
at the gates of Valhalla with All-Father
Mighty Thor #705 (May 2018), Jane had The issue was a highly emotional
Odin. It was proof, if any were needed, been told that one more outing as Thor end to the story of Jane Foster as Thor.
that she had been a worthy Thor. would destroy her mortal form. However, Both writer Aaron and illustrator Russell
240 The Mighty Thor #706

The hero’s journey
Returned to life by Thor and Odin,
Jane Foster no longer had the
power of Thor and now needed to
focus all her energies on her fight
against cancer. The poignancy
of the contrast between the
frail human and the Goddess of
Thunder helped make Mighty Thor
a critical success and a favorite
with creators and fans alike.
Dauterman commented that they had

never felt so attached to a character,
or worked with one that connected them
so strongly to readers. Jane’s battle with
cancer had struck a chord with many,
and her ascension to becoming Thor
had made headlines around the world.
Dauterman’s art on Mighty Thor was
distinct from what had gone before, as
if to underscore that this was a different
version of the hero and therefore a new
era. His pencils were intricately detailed
and given added impact by Matthew
Wilson’s sumptuous color palette.
The entire creative team used the Jane
Foster-as-Thor era to really extend the
boundaries of the character and bring the
realms of gods, mythical monsters, and
dark villains to breathtaking life. Of all
Marvel characters, Thor offers perhaps
the broadest scope for storytelling, and
this was maximized throughout Jane
Foster’s time as the Asgardian champion.
Mighty Thor was also a critical success,
netting Eisner Awards for writer Aaron
and colorist Wilson. Mighty Thor #706
was a fitting, elegiac end to a near four-
year arc for a long-standing character
that had reached a new cohort of readers.
It has also inspired the upcoming Marvel
Cinematic Universe sequel Thor: Love and
Thunder, with actress Natalie Portman’s
Jane Foster set to wield Mjölnir. ■
The Mighty Thor #706 241

Avengers #6
October 2018
“
Cosmic craziness comes to Earth as
Jason Aaron and Ed McGuiness try to top
Stan Lee and Jack Kirby in an Avengers
adventure the likes of which we’ve never
seen before, as Loki unites the heavens and
hell against Earth’s Mightiest Heroes.
C. B. Cebulski ”
Editor in chief
Cover artists
C. B. Cebulski
Ed McGuinness,
Mark Morales,
T hroughout its numerous incarnations,
the Avengers has an incomparable
record as the go-to title for epic events.
Stark to get the gang back together.
They make no headway until a dying,
Horde-infested, 2,000-foot tall Celestial
Justin Ponsor In many ways, it is the natural successor smashes into the Manhattan shoreline,
Writer Jason Aaron to Stan Lee and Jack Kirby’s stellar run despite every effort of Captain Marvel
Pencilers Ed McGuinness, on the Fantastic Four, which defined the (Carol Danvers) to prevent the calamity.
Paco Medina Marvel Universe. The Avengers are now It is only one of hundreds of dead and
Inkers Mark Morales, the take-charge team whenever the dying star gods impacting all over Earth.
Juan Vlasco continuity undergoes one of its frequent It transpires that Celestials have been
Colorist David Curiel reality realignments. Earth’s Mightiest locked in a civil war since reality began,
Heroes are almost always on hand and the Horde were devised eons ago
Letterer Cory Petit
whenever things get seriously difficult and as their ultimate weapon. As a group
are themselves generally reshaped and of Celestials—the Final Host—appear,
Alanna Smith
reformed through each crisis. A prime accompanied by the Avengers’ old foe
example of this came in 2018 when a Loki, Stark reluctantly concedes it’s
squad of retired veterans and a spooky time for Avengers to assemble again.
new kid on the block assembled to save The six-part saga opened a new
the world—once again. era, as the god of mischief reveals that
It begins with a dismaying chain in 1,000,000 BCE Asgardian warrior
of events: deep beneath Africa, Black Odin led another team of Avengers—
Panther T’Challa and mystic master comprising the first Iron Fist and Black
Doctor Strange discover the corpse of Panther, Sorcerer Supreme Agamotto,
a four-billion-year-old Celestial infested a Mammoth-riding spectral Ghost Rider,
with horrific alien bugs. The heroes’ primal Hulk-ish warrior Starbrand, and
presence awakens the voracious cosmic entity Lady Phoenix—against the
monsters, later identified as the Horde, First Host. The Celestial star gods were
which start burrowing toward the surface on Earth only because the prehistoric
and eventually spread across the entire Avengers had rashly executed a mad
world. In Los Angeles, demonically Celestial endangering the primitive planet.
possessed street racer Robbie Reyes Loki then shares a shocking truth.
Secret Avenger transforms into the Ghost Rider and Billions of years earlier, as the world was
Loki’s role in Avenger history began is magically drawn toward rampaging forming from cosmic rubble, a Celestial
when he accidentally caused the team
She-Hulk Jennifer Walters in Manhattan named the Progenitor—fatally infested
to form. Recent revisions have made
him more complex, and with each
as she smashes Horde bugs. In a nearby with Horde bugs—perished on Earth.
Machiavellian turn, it is harder to see bar, former Avengers Steve Rogers and Its escaping bodily fluids contaminated
whether he is a force for good or evil. Thor try to convince fellow founder Tony Earth’s protomatter, warping the biosphere
242 Avengers #6
Celestial Avengers Assemble
Above all else, the Avengers are
designed for epic adventures.
Their real power rests, not in their
members’ individual skills or gifts,
but in the ability to combine radically
different personalities and power sets
into a unified force that always gets
the job done—even if that means
accepting Celestials into their ranks.
and creating conditions that made the

planet a crucible for incredible life forms,
including gods, mutants, Inhumans,
and an infinitely adaptable mankind.
Due to the Progenitor’s corrupting
essence, the Earth and all its inhabitants
were an anathema to and different from
the rest of the universe, having become
a “Planet of Pathogens.”
Combining cosmic spectacle,
blockbuster action, and history-altering
revelation, writer Jason Aaron and art
team Ed McGuinness, Paco Medina,
Mark Morales, and Juan Vlasco united
to deliver a cathartic final act as the
heroes use Loki’s jibes and gloating
disclosure to divine a solution to the
alien invasion. United with last Celestial,
Eson the Searcher, the heroes eradicate
the Horde and drive off the Final Host,
again saving the world and reinvigorating
the Avengers for the future.
In the aftermath in Avengers #6, the
superteam get a new HQ inside a dead
Celestial at the North Pole, a new leader
in Black Panther, and are repositioned to
lead a reinvigorated Marvel Universe to
greater glories and against deadlier threats.
The altered cosmology at last explained
in credible terms just why Earth and its
occupants are so unique in the cosmos.
It rationalized the existence and role of
different strands of superhumanity, while
also opening up new vistas—at least
one million years’ worth—of hitherto
untapped Super Hero story lines. ■
Avengers #6 243
Cover artist: Carl Burgos Writers: Hank Cover artists: Jack Kirby, Dick Ayers Cover artists: Jack Kirby, Don Heck
Chapman (Torch), Don Rico (Captain Writers: Stan Lee, Larry Lieber Writers: Stan Lee, Larry Lieber
America), Bill Everett (Sub-Mariner) Penciler: Jack Kirby Inker: Dick Ayers Penciler/Inker: Don Heck
Pencilers/Inkers: Russ Heath, Carl Burgos Editor: Stan Lee Editor: Stan Lee
(Torch), John Romita Sr., Mort Lawrence
(Captain America), Bill Everett (Sub-Mariner)
Editor: Stan Lee
Tales to Tales of
Young Men #24 Astonish #27 Suspense #39
December 1953 January 1962 March 1963
S uper Hero comics dominated

during World War II but waned
once hostilities ceased. After the
H enry Pym, aka Ant-Man, is the
first crossover hero to migrate
from the Atlas Era to the Marvel Age.
R eleased at the beginning of 1963,
Tales of Suspense #39 was the
latest in a run of hit comic books
Korean War, Marvel Comics (then He graduated from a stand-alone story introducing a new star to the Marvel
Atlas Comics) briefly revived their “Big in the anthology title Tales to Astonish firmament. The star in this case was
Three” in a climate of anti-communist #27—released the same month as Tony Stark and his alter ego, the
paranoia. In Young Men #24, Human Fantastic Four #2—to gain stardom invincible Iron Man. The story, plotted
Torch, Captain America, and Namor, in Stan Lee and Jack Kirby’s Super by Stan Lee and scripted by his brother,
the Sub-Mariner, starred in short solo Hero revolution. Larry Lieber, established the origin of
exploits, maintaining their presence “The Man in the Ant Hill!” sees the character. The locations may have
on the newsstands. The Torch— maverick citizen-scientist Hank Pym been updated for topical relevance in
ambushed by Soviet-backed gangsters create shrinking potions and discover later issues of the character’s own
in 1949—was resurrected from a peril, wonder, and even companionship title and for the big screen, but the
desert grave by nuclear tests, making among the lowliest creatures on, and essentials remain Iron Man lore.
him Marvel’s first atomic age hero, under, the Earth. Rapidly retooled as Captured by a band of terrorists,
while Cap and Bucky came out of a costumed crusader, Pym debuted a near fatally wounded Tony Stark
retirement when Red Skull attacked again later that year in Tales to Astonish creates an armored suit to preserve his
the UN. Namor made his appearance #35 (September 1962). “The Return life and escape, aided by imprisoned
when called on to solve a missing-ships of the Ant-Man” finds Soviet agents genius Professor Ho Yinsen. Jack Kirby
mystery and battle alien robots. holding Pym hostage in his own created the look of Iron Man, while
Further tales followed in Young Men laboratory. Using his shrinking serum interior artist Don Heck based Tony
and Men’s Adventures, and Captain and cybernetic devices he had built to Stark on dashing movie star Errol Flynn.
America and Sub-Mariner’s own titles communicate with ants, Pym defeats Stan Lee’s real-life model for Stark was
would be restarted, before the heroes the spies and resolves to use his powers bon vivant, technologist, and high-flying
retired again in 1955. ■ for the good of humankind. ■ business magnate Howard Hughes. ■
244 Directory
Cover artists: Jack Kirby, George Roussos Cover artists: Jack Kirby, Dick Ayers Cover artist: Gene Colan Writer: Arnold
Writer: Stan Lee Penciler: Jack Kirby Writer: Stan Lee Penciler/Inker: Steve Drake Penciler: Gene Colan Inker: Mike
Inker: Steve Ditko Editor: Stan Lee Ditko Editor: Stan Lee Esposito Editor: Stan Lee
Fantastic Strange Marvel Super-

Four #13 Tales #110 Heroes #18
April 1963 July 1963 January 1969
I n the early 1960s, nearly every

successive Marvel Comics Super
Hero release was a winner, but
A lthough his full origin would not
be revealed until Strange Tales
#115 (December 1963), this issue
W hile lauded for reinventing
Super Heroes for the modern
era, Marvel always maintained strong
Fantastic Four #13 was a standout saw the debut of Doctor Strange, connections with other popular genres,
even by these standards. “The Red Ghost his mystic teacher, the Ancient One, such as science fiction and war stories.
and His Incredible Super Apes!” was and Strange’s (unnamed) assistant In 1968, as America was undergoing
ostensibly a riotous Cold War thriller Wong. Doctor Strange was the creation sweeping social change, and with the
pitting the year-old team against a Soviet of the great Steve Ditko, whose offbeat, Vietnam War on TV screens every
scientist in the race to reach the Moon. psychedelic style was perfect for both night, writer Arnold Drake created a
But it also discloses more about the the character and the tenor of the uniquely topical band of champions for
mutating cosmic rays that created the times. “Dr. Strange: Master of Black Marvel Super-Heroes #18. “Guardians
Fantastic Four (FF) and now empowers Magic,” sees Strange’s astral form of the Galaxy!: Earth Shall Overcome!”
a new foe. The villain is Soviet scientist enter a man’s troubled dreams, where introduced Vance Astro—last survivor of
Ivan Kragoff who, with his trio of trained he first encounters and battles the 20th-century Earth—united in 3007 ce
apes, replicates the FF’s origin accident, demonic Nightmare, a future, recurring with Centauran Yondu and genetically
deliberately exposing himself and his foe. With the help of the Ancient One, modified humans Charlie-27 and
soon-to-be Super Apes to an even Strange defeats his enemy and returns Martinex in a guerrilla war against alien
higher dose of the deadly radiation. to his corporeal form. Badoons who had conquered mankind.
An action-packed romp notable for In Strange Tales #110, Doctor Despite an intriguing story line and
Steve Ditko’s moody inking over Jack Strange was a mere five-page backup dynamic, experimental artwork from
Kirby’s pencils, Stan Lee’s story makes to the headlining Human Torch, but Gene Colan and Mike Esposito, the
another major revelation. It depicts a by the end of the decade, Strange Tales freedom fighters were a rare Marvel
mysterious and ancient oxygen-rich city would be renamed Doctor Strange. misfire. However, their mid-1970s
on Luna and introduces the omnipotent The character proved to be a big hit revival saw the “Future Avengers”
Watchers, silently surveilling humanity with Marvel’s increasing college-age become a key part of Marvel continuity
for millennia: an invaluable plot device readership, giving them something very and the inspiration for today’s hugely
of numerous future adventures. ■ different to regular Super Hero titles. ■ successful star-spanning incarnation. ■
Directory 245
Cover artist: Barry Windsor-Smith Cover artist: Neal Adams Writer: Steve Cover artist: Mike Ploog Writers: Mary
Writer: Roy Thomas Penciler: Barry Gerber Penciler: Rich Buckler Inker: Jim Shelley, Gary Friedrich Penciler/Inker:
Windsor-Smith Inkers: Barry Windsor-Smith, Mooney Editor: Roy Thomas Mike Ploog Editor: Roy Thomas
Joe Sinnott, Syd Shores Editor: Stan Lee
Adventure Monster of
Avengers #100 into Fear #11 Frankenstein #1
June 1972 December 1972 January 1973
U nder Roy Thomas, Avengers was

a watchword for innovation and
sheer quality. After completing the
M an-Thing, a being created when
Professor Ted Sallis is transformed
into a swamp creature in the Everglades,
T he last “classic monster” to be
incorporated into the Marvel
Universe in his own title in the 1970s,
pioneering Kree-Skrull War saga, was created in the black-and-white “Mary Shelley’s Frankenstein!” proudly
Avengers #98 (April 1972) saw Thomas anthology magazine Savage Tales #1 debuted as a close adaptation and
and soon-to-be superstar illustrator (May 1971) by Stan Lee, Roy Thomas, continuance rather than being simply
Barry Windsor-Smith begin another Gerry Conway, and Gray Morrow. based on the source material. Illustrated
momentous extended epic. The saga Sallis has perfected a Super-Soldier by new sensation Mike Ploog, and set in
kicks off when an amnesiac Hercules serum when thugs raid his lab to steal 1898, it introduces Robert Walton IV,
ominously proclaims humanity’s doom the formula from him. To keep it from great-grandson of the sea captain who
while mythological monsters orchestrate them, the fleeing scientist desperately rescued scientist Victor Frankenstein in
atomic Armageddon on Earth. injects himself with the serum but Shelley’s novel. His handed-down
Inked by Smith, Joe Sinnott, and crashes his car into the swamp—only to account of “the Modern Prometheus”
Syd Shores, the anniversary issue rise as a muck-encrusted monster who is prompted by his own crew uncovering
Avengers #100 “Whatever Gods There wreaks brutal revenge on his attackers. a massive figure in a block of Arctic ice
Be!” threw down the gauntlet to all, Adventure into Fear #11 would see and—under his orders—bringing it
as every living Avenger, including the a new era dawn for the character as aboard his own foredoomed icebreaker.
rampaging Hulk, the Black Knight future star scribe Steve Gerber took the This atmospheric retelling is so close
(Dane Whitman), and disgraced helm in his first writing job for Marvel to the original tale that Shelley is credited
criminal the Swordsman, join forces Comics. Gerber’s run would become as cowriter. It is a gripping yarn that
to invade heavenly Olympus and a cult classic, and, in this first issue, broadens Marvel’s storytelling style
confront old foe Enchantress and he laid down the signature tagline of the with dark elegance and high impact.
War God Ares to save the world in character: “Whatever knows fear burns The monster, and subsequent clones,
spectacular style. Captivating, beautiful, at the Man-Thing’s touch!” The book would become embedded in mainstream
and action-packed, the tale remains also saw the beginnings of Man-Thing’s Marvel continuity, appearing alongside
the epitome of Earth’s Mightiest swamp home becoming a pivotal Marvel Spider-Man, the Avengers, and even
Heroes at their finest. ■ location: the Nexus of All Realities. ■ S.H.I.E.L.D.’s Howling Commandos. ■
246 Directory
Cover artists: Frank Robbins, John Romita Sr. Cover artists: Gil Kane, Al Milgrom Writer: Cover artists: Dave Cockrum, Danny Crespi
Writer: Roy Thomas Penciler: Frank Robbins Doug Moench Penciler: Don Perlin Inker: Writer: Chris Claremont Penciler: Dave
Inker: Vince Colletta Editor: Roy Thomas Howie Perlin Editor: Len Wein Cockrum Inker: Frank Chiaramonte
Editor: Archie Goodwin
Giant-Size Werewolf by
Invaders #1 Night #32 X-Men #101
June 1975 August 1975 October 1976
I n 1975, a resurgence of interest

in Super Heroes coincided with a
general wave of nostalgia, resulting in
H eralding a wave of supernatural
stars, Jack Russell and his
accursed alter ego debuted in Marvel
T he “All-New, All-Different X-Men”
sparked a comics revolution.
Chris Claremont and Dave Cockrum
a concept that finally married modern Spotlight #2 (February 1972), the first sought to create strong, believable
Marvel to its Timely Comics antecedents. Marvel horror hero in his own series. women and spectacularly succeeded
In Giant-Size Invaders #1, “The Three years later, Werewolf by Night by reinventing diffident Jean Grey as
Coming of the Invaders!,” Roy Thomas #32 signaled the end of the trend as the the most powerful—and flawed—
adroitly retrofitted Timely’s “Big dramatic debut of Moon Knight steered hero in the Marvel Universe.
Three”—Captain America; the Human the lycanthrope’s adventures toward X-Men #101 is equal parts miracle
Torch (Jim Hammond); and Namor, more super-heroic territory. and mystery. “Like a Phoenix, from
the Sub-Mariner—into a formal fighting In “The Stalker called Moon Knight,” the Ashes!” sees Grey explode from a
unit battling the Axis powers in a Marc Spector is a mercenary hired by crashed space shuttle after piloting it
blistering, fast-paced tale illustrated capitalist cabal “the Committee,” who through a deadly solar storm to save
by acclaimed veteran cartoonist Frank are out to exploit the werewolf. Spector, her comrades. In the process, she is
Robbins. After individually thwarting aka Moon Knight, prepares for battle transformed into a blazing paragon
Nazi Super-Soldier Master Man, and with silver-coated armor and weaponry of energy exclaiming she is the
attempts to assassinate Winston and, with the aid of his partner Jean- Phoenix—“Fire and Life Incarnate!”
Churchill, they unite—at the British Paul “Frenchie” Duchamp, captures Grey’s journey to this moment begins
leader’s insistence—to take the war Russell and his equally-afflicted sister, after her teammates are dispatched to
to the enemy as “The Invaders.” Lissa. Spector ultimately turns on his Europe to battle villains Black Tom
The issue’s stunning success paymasters and frees his captives. and the Juggernaut. Her intervention
prompted the rapid release of a regular After a return engagement with Jack and miraculous survival will later be
title, adding new Golden Age heroes Russell, Moon Knight would become a explained as intercession by a cosmic
to Marvel’s firmament. The Invaders breakout star of 1980s Marvel, and his avatar. But at this crucial point, all
would return over the decades with further stories a byword for intense readers knew was that this selfless hero
contemporary lineups, all paying homage psychological drama and darkly mature had been reborn as a being of godlike
to the original’s WWII pedigree. ■ Super Hero storytelling. ■ power and unimaginable potential. ■
Directory 247
Cover artist: P. Craig Russell Writer: Don Cover artist: Dave Cockrum Writer: Chris Cover artists: Gene Colan, Tom Palmer
McGregor Penciler/Inker: P. Craig Russell Claremont Penciler: John Byrne Inkers: Writer: Marv Wolfman Penciler: Gene
Editor: Archie Goodwin Dave Cockrum, Dan Green Editor: Archie Colan Inker: Tom Palmer Editors: Marv
Goodwin Wolfman, Jim Shooter
Amazing Power Man and Tomb of

Adventures #39 Iron Fist #50 Dracula #70
November 1976 April 1978 August 1979
W hen the 1960s Super Hero boom

started to stall a decade later,
Marvel diversified into other genres,
A lthough this issue was the first
titled Power Man and Iron Fist,
it retained the numbering of the
T he 1970s horror boom spawned
many supernatural heroes.
In Marvel’s Tomb of Dracula, it was
including perennial favorite science preceding Power Man title. It officially an unrepentant, soulless monster who
fiction. In May 1973, it created a cult brought together Luke Cage (Power captivated readers with his deadly
comic classic that broadly reinterpreted Man) and Danny Rand (Iron Fist) depredations and machinations. Over
H. G. Wells’ War of the Worlds, pitting as an unlikely crime-fighting pairing, seven blood-chilling years, Dracula
rebel leader Killraven against entrenched, a shrewd move by Marvel Comics battled vampire hunters, Marvel Super
man-eating Martian invaders. After intended to raise the profile of both Heroes, and eldritch combatants such
several creators worked on the title, the characters and tap into the continued as Blade the Vampire Slayer, before
series gelled from Amazing Adventures popularity of Blaxploitation and martial dramatically concluding in the extra-
#27 (November 1974), with writer Don arts action movies. It proved to be an length thriller “Lords of the Undead!”
McGregor and artist P. Craig Russell inspired team-up, and the duo’s close Finally ousted as king of Earth’s undead,
examining contemporary American association would thrive well into Dracula destroys his vampiric usurper,
society in crisis with powerful, heartfelt the new millennium, even making the Torgo, only to fall to dying human
story lines, strong characterization, jump across to the small screen. archenemy Quincy Harker, who
and simply gorgeous artwork. Power Man and Iron Fist #50 was executes Vlad Dracul in his own castle.
Amazing Adventures #39, the last written by legendary X-Men scribe Chris An era of horror heroes ended,
issue, found Killraven’s “Freemen” Claremont, laying the foundation for the fittingly written by Marv Wolfman
pursuing a winged mutant foe, only odd-couple partnership that would later and rendered by Gene Colan and Tom
to discover she is simply a mother be known as Heroes for Hire. The issue, Palmer, whose indelible, much-praised
defending very strange children. In a which sees our heroes prevent villains run on the title remains an exemplar
series infamous for uncompromising from ruining a party in Cage’s honor, of the genre. Dracula soon regenerated
violence, this vision of peace through also features the timely arrival of regular in a mature-age magazine iteration,
compromise provided a potent note of guest stars, Daughters of the Dragon before returning to mainstream Marvel
optimism on which to end the saga. ■ Colleen Wing and Misty Knight. ■ continuity in the 21st century. ■
248 Directory
Cover artist: Brent Anderson Writer: Cover artist: John Byrne Writer/Penciler: Cover artists: Michael Zeck, John Beatty
Bruce Jones Penciler: Brent Anderson John Byrne Inker: Bob Wiacek Editor: Writer: Jim Shooter Penciler: Michael Zeck
Inker: Carlos Garzon Editor: Louise Jones Terry Kavanagh Inker: John Beatty Editor: Tom DeFalco
Marvel Super
Ka-Zar the Namor, the Heroes Secret
Savage #1 Sub-Mariner #1 Wars #1
April 1981 April 1990 May 1984
D ebuting in comic strip form in

Marvel Comics #1 (October
1939), Ka-Zar, or a namesake of his,
A fter decades as a dangerously
unpredictable antihero and, at
times, outright villain, Marvel’s oldest
T he first in a 12-issue miniseries,
Marvel Super Heroes Secret Wars #1
was a milestone in the history of Marvel
was reintroduced into the Marvel super-being gets a radical revamp. Saved Comics and the comic book industry.
Universe in X-Men #10 (March 1965) from himself by oceanographers Caleb It was the first time a story line unfolded
as a “Tarzan-like” jungle-reared hero and Carrie Alexander during a mindless across ten A-list titles, culminating in
and lord of the Savage Land. attack on Pacific islanders, Namor learns a series that sold more copies than any
In April 1981, Ka-Zar was brilliantly his lifelong mood swings are caused by other comic in the previous 25 years.
reimagined in “A New Dawn… A New a blood imbalance. With the condition Its huge success also provided a model
World!,” the first installment of a series corrected, he becomes coldly rational for subsequent crossover events.
that was thrilling, witty, and sophisticated. and dedicates himself to acquiring vast Initially conceived to tie in with a
Now a cultured man and bored with all riches to further his new goal: saving range of toys, Secret Wars changed how
things primitive, Lord Kevin Plunder Earth from ecological collapse and comic creators thought about story lines
leaves his longtime mate Shanna to mankind from mass suicide. forever. Written by editor in chief Jim
search for his missing sabretooth In “Purpose!,” John Byrne brilliantly Shooter, the first issue sees nearly all of
companion Zabu. In the course of his recaps Namor’s origins, confirms his Marvel’s high-profile heroes and villains
quest, Ka-Zar (and intrigued readers) importance to Marvel history, cleverly spirited away from their own titles by the
learns that the primeval Savage Land is channels the rampage that resurrected all-powerful Beyonder to a patchwork
only part of a larger region stocked with Captain America, sets the character’s planet called Battleworld. Here, they
many alien races and creatures. Exploring new direction, and introduces the engage in a battle of strength and wits
this “Pangea,” he embarks on incredible Atlantean monarch’s new archenemies to win the Beyonder’s cosmic game and
explorations, romantically strays, and in billionaires Desmond and Phoebe return to their own world. The concept
battles bizarre beings before ultimately Marrs. Moreover, from the next issue, was reprised in a sequel the following
discovering that his Antarctic Eden is Namor is proudly redesignated as year, and informed 2015’s Secret Wars,
an ancient Atlantean/alien theme park! ■ “Marvel’s first and mightiest mutant.” ■ which rebooted the Marvel Universe. ■
Directory 249
Cover artist: George Pérez Writer: Peter Cover artist: Pete Woods Writer: Joe Kelly Cover artist: Joe Quesada Writers: Brian
David Penciler/Inker: : George Pérez Penciler: Pete Woods Inkers: Nathan Michael Bendis, Bill Jemas Penciler: Mark
Editor: Bobbie Chase Massengill (1997), Al Milgrom, Joe Sinnott Bagley Inker: Art Thibert Editor: Ralph
(1960s) Editor: Bob Harras Macchio
Incredible
Hulk: Future Ultimate
Imperfect #1 Deadpool #11 Spider-Man #1
December 1992 December 1997 October 2000
I ncredible Hulk: Future Imperfect was

a historic two-part story set in an
alternate future dystopia. Written by
U ndying assassin Wade “Deadpool”
Wilson debuted as a wisecracking
but deadly serious villain in New
T he first comic book released as part
of the Ultimates initiative, Ultimate
Spider-Man #1 is now regarded as
celebrated Hulk scribe Peter David, Mutants #98 (February 1991). a modern classic. The Ultimate label
whose 12-year run on Incredible Hulk He developed into the utterly absurd, was devised as a way to revitalize the
greatly expanded the character’s appeal, fourth-wall busting sociopath of page most popular characters for a new
the stand-alone saga boasted epic, and screen only after Joe Kelly began millennium, making them accessible
meticulous artwork by the great George scripting his ongoing adventures. to a younger generation of readers who
Pérez. The story also debuted Maestro, The pivotal moment occurs in could jump on board without having
a twisted version of Hulk who has Bruce Deadpool #11’s “With Great Power to catch up on decades of continuity.
Banner’s intelligence but also all of the Comes Great Coincidence,” when the In Ultimate Spider-Man #1, writer
Jade Giant’s more malevolent qualities. rationality-challenged antihero and Brian Michael Bendis and artists
In a world ravaged by war, Maestro’s his hostage-cum-sidekick Blind Al Mark Bagley and Art Thibert retell the
prodigious strength has enabled him are accidentally catapulted back to web-slinger’s classic origin, shifting the
to become a tyrannical ruler—one who April 1967 and hilariously inject fateful moment to Osborn Industries,
can be stopped only by the Hulk himself. themselves into the classic adventure where Peter Parker is accidentally bitten
Incredible Hulk: Future Imperfect #1 from Amazing Spider-Man #47! by an experimental radioactive spider.
shows readers this terrifying future, Constantly mistaken for Spidey— The issue also reveals that Peter’s birth
which includes a shrine of memorabilia and Al for Aunt May!—Deadpool parents had died in a plane crash.
from dead heroes and villains collected battles Kraven the Hunter while The Ultimate Universe proved to be
by a now ancient Rick Jones. The issue desperately, and uncharacteristically, a huge hit with fans, and these updated
concludes as Maestro and Hulk meet trying to prevent continuity from incarnations of Marvel’s best-loved
for the first time, ahead of an almighty unraveling in a surreal romp that characters would become the go-to
battle in the second part that ends at defines the character and sets the resource for the filmmakers of the
the start of Hulk’s story. ■ scene for years of madcap mayhem. ■ Marvel Cinematic Universe. ■
250 Directory
Cover artist: David Aja Writers: Ed Brubaker, Cover artists: Chris Bachalo, Tim Townsend Cover artist: Amy Reeder Writer: Brandon
Matt Fraction Pencilers: David Aja, Travel Writer: Jason Aaron Penciler: Chris Montclare, Amy Reeder Penciler/Inker:
Foreman Inkers: David Aja, Derek Fridolfs Bachalo Inkers: Tim Townsend, Al Vey, Mark Natacha Bustos Editor: Mark Paniccia,
Editor: Warren Simons Irwin Editors: Nick Lowe, Charles Beacham Emily Shaw
Immortal Doctor Moon Girl and

Iron Fist #1 Strange #1 Devil Dinosaur #1
January 2007 January 2016 January 2016
M arvel assembled a top creative

team for Immortal Iron Fist, a
title that expanded on the mythology of
F ollowing on from the “Secret Wars”
event and also in the buildup to the
title character’s first solo movie, Doctor
M aking her impressive debut in
Moon Girl and Devil Dinosaur #1,
Moon Girl may have been a brand-new
the character and revealed that Danny Strange #1 was the first in a relaunch character, but the title had plenty of
Rand was one of many people to have of the Sorcerer Supreme’s adventures. Marvel legacy behind it. In 1978,
held the power of the Iron Fist. Written by award-winning scribe Jason Jack Kirby created the original Devil
Immortal Iron Fist #1 featured the Aaron with evocative, “otherworldly” Dinosaur and his companion Moon
first appearance of previous Iron Fist pencils from Chris Bachalo, the book Boy, whose fantastical adventures took
Orson Randall, who had held the role was part of Marvel’s “All-New All- place on a primeval alternate Earth.
in the early part of the 20th century Different” initiative and confronted Editor Mark Paniccia was a fan of
before being traumatized by his the good Doctor with a wholly unique the Devil Dinosaur character and was
experience in World War I. As Danny and traumatizing dilemma. looking for a way to use him in a modern
Rand is relentlessly attacked by a Hydra “The Way of the Weird” sees Doctor context, and so Moon Girl was born.
legion in Manhattan, a Bangkok-based Strange dealing on a daily basis with An elementary school super-genius,
Randall makes his reluctant entrance bizarre demons and otherdimensional Lunella Lafayette is trying to solve the
at the end of the issue as a target of phenomena that ordinary people just world’s problems with her extraordinary
the fearsome martial artist Davos, could not see. Strange discovered that inventions when she inadvertently
a recurring foe of Rand’s. the increase in weird, mystical activity transports a ferocious Tyrannosaurus
The series was nominated for an might actually be a result of his rex to her own time. After a tricky
Eisner Award for Best New Series, with continual use of magic and that there introduction, the two become BFFs
writer Ed Brubaker’s work earning him was always a cost for what he did. in remarkably short order. Writers
a Best Writer win. Gritty, stylish artwork The series would later see Strange Brandon Montclare and Amy Reeder,
from David Aja and Travel Foreman struggling to defeat the Empirikul, with artist Natacha Bustos, get the style
also helped make Immortal Iron Fist a technologically superior alien and tone spot-on for this delightful,
a modern classic and establish the adversary determined to wipe magic heartwarming, all-ages title featuring
character as a Marvel mainstay. ■ from the face of the universe. ■ an unlikely but irresistible team-up. ■
Directory 251
Index
the Avengers 19, 36, 57, 60, 178, 188, Brevoort, Tom 212 Comics Magazine Association of
201, 204, 221, 224, 225 Brotherhood of Evil Mutants 67, 146, America 102
Captain Marvel #33 120 148 Conan the Barbarian 130
Daredevil #231 164 Brubaker, Ed 14, 208, 209, 251 Connor, Kevin 222, 223
Fantastic Four #25 55 Brunner, Frank 130–31 Conway, Gerry 114, 115, 118, 128, 129,
Page numbers in bold refer to main
House of M #7 196, 197 Buckler, Rich 116, 117 162, 246
comic entries
Infinity #3 222 the Builders 222–23 Cornelius, Abraham 178, 228
Marvel Two in One Annual #2 138 Bullseye 150, 151, 152, 164 Crimson Dynamo 56
A Monster of Frankenstein #1 246 Burgos, Carl 14, 16, 68 Crystal 74, 75
New Avengers #31 214 Buscema, John 88, 89, 90, 107, 108 Cyclops 47, 67, 92, 125, 126, 142–43,
Aaron, Jason 226, 227, 240–41, 243, 251
What If? #3 134 Busiek, Kurt 180 186, 221
Abnett, Dan 212
X-Men #9 67 Byrne, John 92, 101, 142, 143, 146, 147,
Adamantium 123, 175, 228
Adams, Neal 92, 93, 104, 105, 107
see also individual characters and 170, 249 D
comics
Adkins, Dan 108, 109 Daily Bugle 62, 103, 131, 164, 165
Adventure into Fear #11 246
Avengers Annual #7 136–39 C Damian, Daniel and Margo 132
Avengers Annual #10 148–49
Adventure into Fear #19 130 Cabe, Bethany 140, 141 Danvers, Carol 106, 148, 224, 242
Avengers Finale #1 192–93
Al, Blind 250 Cage, Luke 110–111, 189, 194, 230, 248 Daredevil 116, 190
Avengers West Coast #100 214
Alexander, Caleb 249 Captain America 85, 86, 192, 193, 237 Daredevil #1 184–85
Ayers, Dick 21, 41, 42, 59, 68, 70
Alexander, Carrie 249 Captain America #25 208–09 Daredevil #7 68–69
Alias 194 Captain America #111 92–95 Daredevil #168 144–45
Alias #1 188–89
B Captain America 15, 18, 19, 28, 42, 44, Daredevil #181 150–53
All-New X-Men 220–21 Badoon 90, 222, 245 88, 111, 132, 148, 162, 204, 226, 249 Daredevil #231 164–65
All-Winners Squad 42 Bagley, Mark 217, 218, 250 Amazing Spider-Man Annual #1 63 Daredevil 99, 113, 120, 162, 194
Alonso, Axel 190, 230 Banner, Bruce 26, 55, 250 Avengers #4 52–53 Dark Phoenix 92, 142, 143, 146, 161, 221
Alphona, Adrian 224, 225 see also Hulk Avengers #6 58, 59 D’Armata, Frank 195, 209
Amanat, Sana 224 Barnes, James Buchanan “Bucky” 18, Avengers #16 70, 71 Dauterman, Russell 240–41
Amazing Adult Fantasy 30 19, 42, 59, 70, 95, 209, 227 Avengers #93 105 David, Peter 172, 173, 190, 250
Amazing Adventures 30 Avengers #6 58 Civil War #1 201, 202, 203 Deadpool 230
Amazing Adventures #27 248 Young Men #24 244 Daredevil #231 164 Deadpool #11 250
Amazing Adventures #39 248 Barton, Clint 60, 105 Giant-Size Invaders #1 247 Dean, Betty 16, 180
Amazing Fantasy #15 30–33, 38 Battleworld 233, 249 Infinity #3 222 Death, Mistress 120, 121, 138, 178–79B
Amazing Spider-Man 92, 114, 168, Baxter Building 38, 40, 80 Marvels #1 180 The Death of Captain Marvel 120
190, 217 Beast 47–48, 67, 186, 221 New Avengers #1 194, 195 The Death of Wolverine 178
Amazing Spider-Man #1 32, 40–41 Ben, Uncle 30, 32, 63, 76, 217, 218 Tales of Suspense 95 Death of Wolverine #4 228–29
Amazing Spider-Man #33 62, 76–77 Bendis, Brian Michael 148, 184, 188 Thor #337 158 DeFalco, Tom 180
Amazing Spider-Man #86 100–101 Alias #1 188 Ultimate Spider-Man #160 217 DeMatteis, J.M. 168
Amazing Spider-Man #96 102–103 All-New X-Men 221 X-Men #9 67 Deodato, Mike 226, 227
Amazing Spider-Man #121 114–15, 128 Astonishing X-Men 196 Young Men #24 52, 244 Deviants 132–33, 206
Amazing Spider-Man #122 115 Avengers 221, 233 see also individual comics Devil Dinosaur 132
Amazing Spider-Man #129 118–19 Avengers Finale #1 192, 194 Captain America: Civil War (movie) 202 Devil Dinosaur 223, 251
Amazing Spider-Man #149 128–29 Civil War #1 201 Captain America Comics #1 18–19 Diamondback 110
Amazing Spider-Man #294 168 House of M #7 196, 197 Captain Marvel 105, 148, 178, 224 Ditko, Steve 20, 23, 51, 55, 182, 183, 230
Amazing Spider-Man #545 210–11 New Avengers 214, 230 Avengers #6 242 Amazing Fantasy #15 30, 31, 32
Amazing Spider-Man Annual #1 62–63 New Avengers #1 194, 195 Avengers #93 107 Amazing Spider-Man #1 41
Ancient One 83, 245 New Avengers Illuminati #1 204 Avengers Annual #7 136, 138 Amazing Spider-Man #33 76, 77
Andrews, Kaare 190 Secret Invasion #8 214 Marvel Graphic Novel #1 154–55 Amazing Spider-Man Annual #1
Andru, Ross 118, 128, 162 Ultimate Spider-Man 221 Captain Marvel #25 120, 154 62, 63
Aneka, Dora Milaje 236, 237 Ultimate Spider-Man #1 250 Captain Marvel #33 120–21 Avengers #1 42
Angel 14, 48 Ultimate Spider-Man #160 217, 218 Carter, Agent Sharon 208, 209 Doctor Strange 50, 156
Annihilation Wave 212 Beta Ray Bill 158 Castle, Frank 162, 163, 166 Doctor Strange #55 157
Annihilus 212, 214 Black Bolt 74, 204, 222, 223 CCA (Comics Code Authority) 102, 103, Fantastic Four #13 245
Ant-Man 38, 42, 44, 71, 105, 107, Black Knight 58, 59, 246 112, 162, 166, 188 Spider-Man 50, 83
192, 244 Black Panther 132, 184 Celeste 183 Strange Tales 83
Asgard 36, 42, 158, 240 Avengers #6 242, 243 Celestials 132, 133, 206, 242, 243 Strange Tales #110 245
Astonishing X-Men 196 Fantastic Four #52 84–85, 116 Churchill, Winston 247 success of 68, 76, 83
Atlas Comics 20, 23, 27, 108, 166, 244 Jungle Action #6 116–17 Civil War #1 200–203 Tales of Suspense #48 50–51
Attilan 75, 107, 223 New Avengers #7 204 Claremont, Chris 146, 147 Doctor Strange 50, 245
Royal Family of 74, 75 Original Sin 226 Avengers Annual #10 148 Doctor Strange #1 251
Austin, Terry 143, 157, 161 see also T’Challa Giant-Size X-Men #1 126 Doctor Strange #55 156–57
Avengers 28, 98, 116, 233, 234 Black Panther #1 236–37 Ms. Marvel 148 Dr Strange Annual #1 182
Avengers #1 42–45 Black Panther and the Crew 237 Power Man and Iron Fist #50 248 Dr Strange: What is it that Disturbs You
Avengers #3 64–65, 134 Black Panther: Man Without Fear 236 Uncanny X-Men #142 147 Stephen? 182–83
Avengers #4 52–53 Black Panther: A Nation Under our Feet Uncanny X-Men #190 161 Doll, Mr 50
Avengers #6 (July 1964) 58–59 236 X-Men 148 Doom, Doctor 38–39, 40, 134, 179,
Avengers #6 (July 2018) 242–43 Black Widow 60, 71, 162 X-Men #101 247 230, 233
Avengers #16 70–71 Amazing Spider-Man #86 100–101 X-Men #137 142, 143 Dormammu 83
Avengers #53 67 Avengers 98 Clea 83, 156 Dorrek, Emperor 204
Avengers #54 88 Tales of Suspense 98 Clone Saga 115, 129 Dracula 248
Avengers #57 88–89, 238 Tales of Suspense #52 56–57 Coates, Ta-Nehisi 236, 237 Drake, Arnold 245
Avengers #93 104–107 Tales of Suspense #57 60, 61 Cockrum, Dave 124, 125–26, 247 Drax the Destroyer 120, 212, 213
Avengers #100 246 Blake, Dr Donald 34–36, 65, 158 Coipel, Olivier 197 Drew, Jessica 148, 194
Avengers #200 148 Blaze, Johnny 112–13 Colan, Gene 120, 151, 156, 245, 248 D’Spayre 156–57
252
E G House of M 201 Civil War #1 202, 203
House of M #7 196–97 Journey into Mystery #112 64
Eagle Awards 140 Gaiman, Neil 206, 207 Howard, Robert E. 130 New Avengers #7 204
Earthlings 90 Galactus 162 Howard the Duck #1 130–31 New Avengers Illuminati #1 204
Ecce the Watcher 100, 101 Fantastic Four 84, 90 Howlett, James 228 Secret Invasion #8 214, 215
Eisner Awards 180, 182, 231, 241, 251 Fantastic Four #48 78, 79, 80, 100 Howling Commandos 21, 246 Tales of Suspense 95
Electra 182, 183 Silver Surfer #1 171 the Hulk 21, 30, 34, 36, 38, 47, 88, 95, Tales of Suspense #39 244
Electro 62, 194, 195 The Silver Surfer: The Ultimate Cosmic 133, 201, 238 Tales of Suspense #48 50–51
Ellis, Warren 204, 199 Experience 170 Avengers #1 42, 44, 45 Tales of Suspense #52 56–57
Empirikul 251 Thor #169 98, 99 Avengers #3 64–65 Tales of Suspense #57 60, 61
Englehart, Steve 52, 156 Unbeatable Squirrel Girl #4 230–31 Avengers #4 52 What If? #3 134–35
Epic Comics 170 Galen 100, 101 Avengers #100 246 see also Stark, Tony
Epting, Steve 14, 208 Galen Showman 182 Captain America #111 93 Iron Man (movie) 199
The Eternals 132–33, 206 Galtus 183 Fantastic Four #25 55 Iron Man 3 (movie) 199
The Eternals #1 132–33 Gamora 179, 212, 213, 226 Fantastic Four Annual #1 40
The Eternals #7 206–07 Gardley, Jim 14 Journey into Mystery #112 64, 65
Eternity 83 Gaydos, Michael 188, 189
J
New Avengers #7 204
Everett, Bill 14, 16, 68 Genosha 67, 187, 196 What If? #3 134–35 The Jackal 118, 119, 128, 129
Extremis 198–99 Gerber, Steve 130, 246 see also individual comics James Bond 72, 73, 86, 98
Ghost Rider 113 Human Torch 70 Jameson, J. Jonah 62, 118, 180
F Ghost Rider 112–13, 242 Human Torch 14, 15, 19, 42, 48, 55, Janson, Klaus 134, 135, 152
Giant Man 70 59, 238 Jarvis 140
Fantastic Four 20, 27, 34, 80, 85, 90, 92, Giant Man 58, 63, 64, 70, 134–35 Jemas, Bill 194
Fantastic Four #1 24, 52
105, 114, 192, 233 Giant-Size Invaders #1 247 Jigsaw 163
Fantastic Four #1 22–25, 40, 42, 52, 133 Giant-Size Man-Thing 130 Jones, Bruce 17, 190
Fantastic Four #45 74, 75
Fantastic Four #2 40, 244 Giant-Size X-Men #1 124–27 Jones, Danielle 230
Giant-Size Invaders #1 247
Fantastic Four #4 38, 52, 69 Gil, Armando 148, 167 Jones, Gabe 86
Marvel Mystery Comics #9 16, 17
Fantastic Four #6 38–39 Gill, Raymond 15, 16 Jones, Jessica 188–89, 230
Marvels #1 180
Fantastic Four #11 64 Giraud, Jean “Moebius” 170, 171 Jones, Rick 55, 120
Strange Tales 38
Fantastic Four #13 100, 134, 245 Golden, Michael 148, 149, 156, 157, 167 Avengers #1 44, 45
Fantastic Four #25 54–55 Goliath 88, 105, 106 Avengers #4 53
Young Men #24 244
Fantastic Four #45 74–75 Goodman, Martin 14, 15, 18, 20, 23, 30, Avengers #16 70, 71
Hydra 72, 73, 95, 251
Fantastic Four #48 78–79, 80, 100, 170 47, 103, 166 Avengers #93 105, 106, 107
Fantastic Four #51 80–81
Fantastic Four #52 84–85, 116
Goodwin, Archie 110, 134, 138, 170 I Captain America #111 93, 94
Gorgon 74, 75 Incredible Hulk #1 28
Fantastic Four #66 108 Graham, Billy 110, 111, 117 Iceman 48, 221 Incredible Hulk: Future Imperfect #1
Fantastic Four 23, 30, 40, 68, 101, 192 Granov, Adi 198, 199 Ikaris 132, 133, 206 250
Amazing Spider-Man Annual #1 63 Grant, Steven 162 Illuminati 204, 226 What If? #3 134
Avengers #1 44 Green, Doreen 230 Immonen, Stuart 221 Journey into Mystery 20, 23
Avengers #93 106 Green Goblin 102, 103, 114, 115, 118, Immortal Iron Fist #1 251 Journey into Mystery #83 32, 34–37
Marvel Two in One Annual #2 138 119, 218 Incredible Hulk 34, 126 Journey into Mystery #112 64–65
Strange Tales 38 Grey, Jean 47, 48, 126, 142–43, 147, 186, Incredible Hulk #1 26–29 Jungle Action 85
success of 41, 47, 48 221, 247 Incredible Hulk #34 190–91 Jungle Action #6 116–17
see also individual characters and Grim Reaper 238–39 Incredible Hulk #180 228 Jungle Action #19–24 236
comics Grimm, Ben 24, 55, 80, 81, 134 Incredible Hulk #181 122–23
Fantastic Four Annual #1 40–41 Groot 21, 27, 212 Incredible Hulk #377 172–73
Fellowship of Fear 68 Incredible Hulk Annual #5 21 K
Gruenwald, Mark 101
Fin Fang Foom 21, 27, 230 Guardians of the Galaxy 21 Incredible Hulk: Future Imperfect #1 250 Ka-Zar 14, 15
The Final Host 242, 243 Guardians of the Galaxy #1 212–13 Infinity #3 222–23 Ka-Zar the Savage 249
Fisk, Wilson 151, 152, 164, 165 Gustavson, Paul 14 Infinity Gauntlet #1 178–79B Kane, Gil 102, 151
Fixit, Joe 172, 173 Gwyneth 184–85 Infinity War 179 Amazing Spider-Man #96 103
Forge 161 Infinity War 178 Amazing Spider-Man #121 114
Foster, Jane 135, 158, 227, 240–41 The Inhumans 78, 132, 184, 243 Captain America 95
Frankenstein 26, 27, 88, 246
H Amazing Adventures 98 Giant-Size X-Men #1 125–26
Friedrich, Gary 112, 113 Hahn, Steven 236 Fantastic Four 84 Jungle Action 117
Friendly Neighborhood Spider-Man 210 Hama, Larry 166, 167 Fantastic Four #45 74–75 Marvel Premiere #1 108, 109
Frightful Four 74 Hammond, Jim 238, 247 Fantastic Four #52 85 What If? #3 134, 135
Frost, Emma 186, 221 the Hand 151, 228 Infinity #3 223 Karnak 74, 75
Funnies Inc. 14 Hansen, Maya 198, 199 the Invaders 181, 247 Kelly, Joe 250
Fury, Jacob 86 Happy Hogan 60, 61 Invisible Girl 24, 55 Kelly, Senator Robert 146
Fury, Miss 98 Harker, Quincy 248 Iro, Peter 124 Keown, Dale 172, 173
Fury, Nick 21, 188, 201, 217 Harris, Ike 132, 206 Iron Fist 111 Khan, Kamala 223, 224–25
Captain America #111 93 Hawkeye 60, 61, 71, 105, 192, 197, 214 Iron Fist 242, 248 Killian, Aldrich 198, 199
Marvels #1 180 Heck, Don 50, 56, 57, 61, 68, 70, 244 Iron Man 70, 190, 192, 193 Killmonger, Erik 116, 117
Nick Fury, Agent of S.H.I.E.L.D. #1 Hembeck, Fred 135 Iron Man #6 198–99 King, Tom 238, 239
86–87 Henderson, Erica 230, 231 Iron Man #55 178 Kingpin 151, 164, 165
Original Sin #8 226, 227 Hernandez Walta, Gabriel 238, 239 Iron Man #128 140–41 Kinney, Laura 228
Sgt. Fury and his Howling Herring, Ian 225 Iron Man 50, 70, 61, 88, 208 Kirby, Jack 20, 21, 27, 50, 55, 74, 86,
Commandos 72 Hickman, Jonathan 222, 233, 234 Amazing Spider-Man Annual #1 63 108, 170, 251
Strange Tales 86 The High Evolutionary 108, 109, 132 Avengers #1 42, 44 Amazing Fantasy #15 30
Strange Tales #135 72–73 Hill, Maria 201 Avengers #93 105 Amazing Spider-Man #1 41
Strange Tales #146 83 Him 108, 109 Avengers Annual #10 148 Avengers #1 42
Thor #337 158 The Horde 242 Captain Marvel #33 120 Avengers #4 53
253
Avengers #6 58–59 Fantastic Four #25 55 Mar-Vell 28, 105, 106, 120, 138, 154–55 Moon Boy 251
Avengers #16 70 Fantastic Four #28 55 Marcus 148 Moon Girl 223
Captain America 95 Fantastic Four #45 74 Marks, Ed 166, 167 Moon Girl and Devil Dinosaur #1 251
Captain America #112 95 Fantastic Four #48 78 Marrs, Desmond and Phoebe 249 Moon Knight 247
Captain America Comics #1 18, 19 Fantastic Four #51 80 Martin, Frank 227 Moondragon 70, 120, 136, 138
The Eternals 132, 206, 207 Fantastic Four Annual #1 40–41 Martinex 245 Morales, Mark 187, 243
Fantastic Four 80, 84, 100, 217, 242 Incredible Hulk #1 26, 27, 28 Marvel, Captain see Captain Marvel Morales, Miles 217, 218
Fantastic Four #1 23, 24 Journey into Mystery #83 34, 36 Marvel Collector’s Items Classic 40 Mordo, Baron 83
Fantastic Four #6 38 Journey into Mystery #112 64, 65 Marvel Comics 14 Morrison, Grant 186, 187
Fantastic Four #45 74 Marvel Spotlight #5 112 Marvel Comics #1 14–15, 16, 249 Moss, Wil 230
Fantastic Four #48 78, 79, 170 as publisher 108, 112, 114, 118 Marvel Comics Presents #13–37 236 Murdock, “Battlin’ Jack” 144
Fantastic Four #51 80, 81 Silver Surfer 108, 132 Marvel Comics Presents #72 174–77 Murdock, Matt 69, 144, 151, 152, 164,
Fantastic Four #52 85 Silver Surfer #3 90 Marvel Comics Presents #72–84 229 165, 184–85, 194
Fantastic Four Annual #1 40, 41 The Silver Surfer: The Ultimate Cosmic Marvel Feature 108 Murray, Doug 167
Groot 21, 27 Experience 170 Marvel Graphic Novels Murray, Will 230
Incredible Hulk #1 26, 27 Strange Tales #114 53 The Death of Captain Marvel 120 Mysterio 62
Journey into Mystery #83 34–36 Strange Tales #135 72 Marvel Graphic Novel #1 154–55 Mystique 146, 148, 228
Journey into Mystery #112 64, 65 success of 64, 68 Marvel Knights 184
Silver Surfer 132 Tales to Astonish #27 244 Marvel Method 59 N
Silver Surfer #3 90 Tales of Suspense #39 244 Marvel Mystery Comics 15, 16
The Silver Surfer: The Ultimate Cosmic Tales of Suspense #48 50 Marvel Mystery Comics #9 16–17 The ’Nam #1 166–67
Experience 170 Tales of Suspense #52 56 Marvel Premiere 108 The ’Nam Magazine 167
Strange Tales #114 53 Tales of Suspense #57 60–61 Marvel Premiere #1 108–09B Namor, the Sub-Mariner 14, 15, 19, 38,
Strange Tales #135 72, 73 Thor #169 98, 99 Marvel Preview 132 39, 42, 55, 70, 238
success of 64, 68, 70, 76 X-Men #1 46, 47, 48 Marvel Spotlight 108 Avengers #4 52, 53
Tales to Astonish #27 244 X-Men #9 67 Marvel Spotlight #2 247 Avengers #16 70, 71
Tales of Suspense #39 244 Leialoha, Steve 130–31 Marvel Spotlight #5 112–13 Black Panther #1 236
Tales of Suspense #48 50 Leisten, Jay 228, 229 Marvel Super-Heroes #18 245 Daredevil #5 69
Thor 158 Lichtenstein, Roy 49 Marvel Super Heroes Secret Wars #1 249 Daredevil #7 69
Thor #169 98, 99 Lieber, Larry 21, 36, 68, 244 Marvel Tales 40 Fantastic Four #4 38–39, 52
What If? #3 135 Life After Logan 228 Marvel Two in One Annual #2 136–39 Fantastic Four Annual #1 40, 41
X-Men #1 46, 47, 48, 49 Lilandra, Empress 142 Marvel NOW! 221, 223 Giant-Size Invaders #1 247
X-Men #9 67 Living Monolith 92 Marvels #1 180–81 Journey into Mystery #112 64
Kirby, Neal 72 LMD (Life Model Decoy) 72, 86 The Marvels Project 14 Marvel Mystery Comics #9 16, 17
Klaw, Ulysses 85 Lockjaw 74 Marvels #1 180
The Masked Raider 14
Klein, George 23, 89 Loeb, Jeph 196, 201 New Avengers Illuminati #1 204
Master Planner 76, 77
Kragoff, Ivan 245 Logan 175–77, 228–29 Tales to Astonish 70
Masters, Alicia 78, 80
Krakoa 124, 125, 126 The Logan Legacy 228 Tales to Astonish #70 69
Masters, Ken 14–15
Kraven the Hunter 62, 168, 230, 250 Loki 42–44, 242–43 What If? #3 134–35
Masters of Evil 58, 59, 70–71
Kree 74–75, 106, 107, 120, 192, 222–23 Lucas, Carl see Cage, Luke Young Men #24 244
MAX imprint 188
Kree-Skrull War 105, 204, 246 Lucifer 67 Namor, the Sub-Mariner #1 249
Maximoff, Wanda 192, 196, 197, 238
Kubrick, Stanley 132 Luke Cage, Hero for Hire #1 110–111 Natchios, Demetrios 144
Maximus the Mad 74, 78, 223
Lynne, Monica 116 Natchios, Elektra 144, 145, 151–52,
May, Aunt 30, 76, 77, 114, 212–13, 218, 250
L Mazzucchelli, David 164, 165
164, 214
Lafayette, Lunella 251

M Medusa, Madame 74, 75
Nelson, Foggy 69, 144, 151, 164
Nelson, Greer 132
Landau, Al 125 McCoy, Hank 47, 186 Men in Action 166
New Avengers 192, 214, 233, 234
Lang, Scott 71, 192 MacEvil, Madame 120 Men’s Adventures 244
New Avengers #1 194–95
Lanning, Andy 212 McGregor, Don 116, 117, 248 Mephisto 90, 112, 178, 179, 210, 211
New Avengers #7 204
Layton, Bob 140 Machine Man 132 Michelinie, David 140
New Avengers #31 214
Lee, Stan 20, 21, 30, 50, 55, 58–59, 74, McKenzie, Roger 144, 151 Mighty Avengers #18 73
New Avengers Illuminati #1 204–05
83, 86, 120, 162, 170 McNiven, Steve 201, 202, 203, 228, 229 The Mighty Thor 32, 36
New Mutants #98 250
Adventure into Fear #11 246 Mad Thinker 38, 40 Mighty Thor #706 240–41
New X-Men #115 186–87
Amazing Adventures 98 Maestro 250 Milgrom, Al 170
Nick Fury, Agent of S.H.I.E.L.D. #1 86–87
Amazing Fantasy #15 30, 32 Magneto 21 Miller, Frank
Nightcrawler 147
Amazing Spider-Man #1 41 All-New X-Men 221 Daredevil #1 184, 185
Nitro 154
Amazing Spider-Man #33 76 Avengers #53 67 Daredevil #168 144
North, Ryan 230
Amazing Spider-Man #96 102, 103 Avengers Finale #1 192 Daredevil #181 150, 151, 152
Nova 212
Amazing Spider-Man #121 114–15 House of M #7 196, 197 Daredevil #189 152
Nova, Cassandra 186–87
Amazing Spider-Man #149 128 Infinity Gauntlet #1 179 Daredevil #231 164, 165
Amazing Spider-Man Annual #1 62, 63 New X-Men #115 186 Doctor Strange 156
Avengers #1 42, 44 X-Men #1 47, 49 What If? #3 135 O
Avengers #4 53 X-Men #9 67 Millar, Mark 194, 201, 202 Octopus, Doctor (Doc Ock) 62, 63
Avengers #6 58–59 Makkari 206 Millie the Model Annual #1 40 Amazing Spider-Man #3 62
Avengers #16 70, 71 Mallen 198 Mills, June “Tarpé” 98 Amazing Spider-Man #33 62, 76–77
Avengers #57 88 Man-Beast 109 Miss Fury 98 Ultimate Spider-Man #160 217
Captain America #111 93, 94 The Man from U.N.C.L.E. 72, 86 Mister Fantastic 24, 84 Amazing Spider-Man Annual #1 62, 63
Captain America Comics 19 Man-Thing 113, 130 Ms. Marvel #1 224–25 Odin 35, 65, 100, 158, 240, 242
Doctor Strange #55 157 Man-Thing 21, 130, 246 Mockingbird 214 Odinson 227, 240
Fantastic Four 80, 84, 100, 217, 242 Mancha, Victor 239 Moebius 170, 171 Ogun 228
Fantastic Four #1 23, 24 Mangog 240 Mole Man 24, 38, 40 O’Neil, Dennis 83
Fantastic Four #6 38 Mantis 213 the Monster of Frankenstein 113 Opeña, Jerome 222
Fantastic Four #13 245 Mantlo, Bill 212 Monster of Frankenstein #1 246 Original Sin #8 226–27
254
Orlando, Joe 68 Reed, Brian 204 Sgt Fury and His Howling Spider-Man: Into the Spider-Verse
Osborn, Harry 103, 114, 118, 211 Reilly, Ben 118, 129 Commandos #1 86 (movie) 218
Osborn, Norman 103, 114, 118, 119, 215, Reva 110 She-Hulk 29, 192, 242 Spider-Woman 148, 194, 214, 215
217, 218 Reyes, Robbie 242 Sheldon, Phil 180 Squirrel Girl 230–31
Ribic, Esad 233 Shelley, Mary 27, 88, 246 Stacy, Gwen 128, 114–15, 118, 119,
P Richards, Reed 24, 38, 84, 208 Shelley, Percy Bysshe 88 128, 129
Fantastic Four #25 55 Shi’ar 186, 222 Star-Lord 212, 213
Page, Karen 164, 184
Fantastic Four #48 78 Shi’ar Imperial Guard 142, 222 Starbrand 222, 223, 242
Palmer, Tom 92, 105, 170, 248
Fantastic Four #51 80 S.H.I.E.L.D. 57, 72–73, 86–87, 133, 158, Stark, Tony 61, 208
Palmiotti, Jimmy 184, 185
Fantastic Four Annual #1 41 201, 215, 227 Avengers #6 242
Paniccia, Mark 251
New Avengers Illuminati #1 204 Shmidt, Johan 18 Avengers Finale #1 193
Panther Cult 116
Secret Wars #1 234, 235 Shooter, Jim 144, 154, 170 Civil War #1 202
Parker, Peter 62, 128, 224, 226
Richards, Susan 235 Iron Man #128 140 The Eternals #7 206
Amazing Fantasy #15 30–32
Rico, Don 56 Marvel Super Heroes Secret Wars #1 Iron Man #6 198–99
Amazing Spider-Man #33 76–77
Rififi 87 249 Iron Man #128 140, 141
Ringmaster 172 The ’Nam #1 166 Strange Tales #135 72
Roberts, Tim 14–15 Punisher #1 162 Tales of Suspense #39 244
Amazing Spider-Man #129 118, 119
Robertson, Randy 103 Uncanny X-Men #142 146 Tales of Suspense #48 50
Rocket Raccoon 212, 213 What If? #3 134 Tales of Suspense #52 56, 57
Rockwell, Norman 180 X-Men #137 142, 143 Tales of Suspense #57 60
Amazing Spider-Man #545 210–11
Rogers, Steve 18, 19, 42, 52, 95, 96, Shores, Syd 246 What If? #3 134–35
Howard the Duck #1 131
202, 208–09, 242 Shostakov, Alexi 98 see also Iron Man
Marvel Two in One Annual #2 138
see also Captain America Shuri, Queen 236, 237 Starlin, Jim
Rogue 148 Silver Surfer 108 Avengers Annual #7 136, 137
Spider-Man #132 168–69
Romanoff, Natasha 56, 57, 60, 98–99 Silver Surfer #1 170–71 Captain Marvel #25 154
see also Black Widow Silver Surfer #3 90–91 Captain Marvel #33 120, 121
Ultimate Spider-Man #160 217–18 Silver Surfer #34 178
Romita, John Jr 141, 161, 190, 191, 206, 207 Infinity Gauntlet #1 178
see also Spider-Man Silver Surfer #59 178
Romita, John Sr 98, 118, 122, 162 Marvel Graphic Novel #1 154, 155
Paste-Pot Pete 59 Silver Surfer 78, 80, 84, 100, 170, 179,
Amazing Spider-Man #86 100 Marvel Two in One Annual #2 138
Paul, Frank R. 15 212, 238
Amazing Spider-Man #96 103 Super-Villain Classics: Galactus the
Pelletier, Paul 212–13 Simon, Joe 18, 19
Amazing Spider-Man #121 114, 128 Origin #1 101
Pérez, George 179, 180, 250 Simonson, Louise 101
Captain America 95 Stelfreeze, Brian 236
Peter Parker, the Spectacular Spider- Simonson, Walter 158, 159
Incredible Hulk #181 122 Steranko, Jim 86–87, 94–95, 96, 190
Man #132 168–69 Simpson, Crash 113
Luke Cage, Hero for Hire #1 110 Stern, Roger 156, 157
Petrovitch, Ivan 99 Simpson, Roxanne 113
Ronan the Accuser 105, 212, 222 Stone, Chic 65, 67
Phalanx 212 Sinister Six 62–63
Roosevelt, President 18 Storm 125, 161
Phoenix force 142, 220 Sinnott, Joe 68, 80, 85, 96, 246
Rosemann, Bill 212 Storm, Johnny 23, 24, 38, 74, 75, 84
Phyla-Vell 212, 213 Skrulls 40, 106, 107, 195, 212, 204, 205,
Rosen, Sam 67 Storm, Susan 23, 24, 38, 39
Pichelli, Sara 218 214–15, 222, 246
Ross, Alex 180, 181, 234 Straczynski, J. Michael 210, 211
Pip the Troll 179 Slaughter, Eric 145
Ross, Betty 173 Strange, Doctor Stephen 42
Ploog, Mike 112, 113, 246 Slott, Dan 230
Roussos, George 53 Amazing Spider-Man Annual #1 63
Plunder, Lord Kevin 249 Smith, Kevin 184, 185
Rubinstein, Josef 136, 138, 179 Avengers #6 242
Ponsor, Justin 228 Soule, Charles 228
Rule, Christopher 23 Avengers Finale #1 192
Potter, Melvin 164, 165 Spectacular Spider-Man 192
Runaways 225 Doctor Strange #1 251
Potts, Carl 162 Spector, Marc 247
Russell, Jack 247 Doctor Strange #55 156–57
Potts, Pepper 60, 61 Spider-Girl 135
Russell, P. Craig 182, 183, 248 Dr Strange: What is it that Disturbs
Powell, Bob 68 Spider-Man 50, 118
Power Man 248 You Stephen? 182–83
Power Man and Iron Fist #50 248
S Spider-Man 40, 42, 47, 48, 68, 178, 201
Endgame 179
Amazing Fantasy #15 30–33, 38
Pro-Rata 130, 131 Sallis, Professor Ted 246 House of M #7 197
Amazing Spider-Man 168
Progenitor 242, 243 Samson, Doc 172 Infinity Gauntlet #1 178
Amazing Spider-Man #1 32, 40–41
Pryde, Kate 146 Sandman 62 New Avengers Illuminati #1 204
Amazing Spider-Man #33 62, 76–77
Pryde, Kitty 146, 147 Satan 112, 113 Amazing Spider-Man #86 100–101 Original Sin 226
the Punisher 118–19, 184, 226, 238 Satan’s Sadists 112 Amazing Spider-Man #96 102–103 Strange Tales 86
Punisher #1 162–63 Savage Tales 167 Amazing Spider-Man #121 114–15, 128 Strange Tales #110 245
Puppet Master 38, 40 Scarlet Witch 238 Amazing Spider-Man #129 118–19 Strange Tales #146 83
Pym, Hank 88, 105, 106, 244 Avengers #16 71 Amazing Spider-Man #149 128–29 Strange Tales 20, 23, 38, 59, 83, 86
Avengers #53 67 Amazing Spider-Man #294 168 Strange Tales #110 245
Q Avengers #93 105, 106 Amazing Spider-Man #545 210–11 Strange Tales #114 53
Avengers Annual #10 149 Amazing Spider-Man Annual #1 62–63 Strange Tales #135 72–73
Quesada, Joe 184, 185, 186, 194, 198,
Avengers Finale #1 192 Fantastic Four Annual #1 40 Strange Tales #146 82–83
210, 211
House of M #7 196, 197 Howard the Duck #1 130, 131 Strange Tales #167 86
Quicksilver 67, 71, 105, 106, 196, 197
New Avengers #1 194 Marvel Two in One Annual #2 138 Strange Tales Annual #1 40
Quitely, Frank 186, 187
X-Men #9 67 Monster of Frankenstein #1 246 Strange Worlds 20
Scorpio 86 New Avengers #1 194, 195 Stryker, Willis 110
R Secret Invasion #8 214–15 Summers, Alex 92
the Raft 194 Secret Wars 249 Spider-Man #132 168–69 Summers, Hope 67
Rambeau, Monica 154 Secret Wars #1 232–35 Punisher #1 162 Summers, Rachel 147
Rand, Danny 248, 251 Sensational Spider-Man 210 Ultimate Spider-Man #1 250 Summers, Scott 47, 92, 126, 142, 147, 221
Rand, David 15 Sentinels 146, 186–87 Ultimate Spider-Man #160 216–19 Super Apes 242
Randall, Orson 251 Sentry 194, 204 Web of Spider-Man 168 Super-Villain Classics: Galactus the
Red Ghost 38, 40 Sgt. Fury and His Howling Commandos see also Parker, Peter and individual Origin #1 101
Red Skull 18, 209, 244 59, 70, 72, 166 comics Super-Villain Team-Up 39
255
Superhuman Registration Act 201–202, Thorr 21 Williams, Simon 88, 238
208 Thunderbolts 193 Wilson, G. Willow 224, 225
Svorcina, Ive 234 Timely Comics 18, 42, 52, 56, 166, 247 Wilson, Matthew 241
Switzler, Beverly 130, 131 Timely Publications 14, 15 Windsor-Smith, Barry 161, 175, 176, 229,
Swordsman 70, 246 Tomb of Dracula #70 248 246
Torgo 248 Wingfoot, Wyatt 84
T Toro 42 Winter Soldier 209, 226, 227
Townsend, Tim 187 Wolfman, Marv 182, 248
Tales to Astonish 28
Trask, Bolivar 187 Wolverine 125, 162
Tales to Astonish #13 20–21
Trimpe, Herb 122, 123 The Death of Wolverine 178
Triton 74, 75 Death of Wolverine #4 228–29
Tuska, George 110, 111 Giant-Size X-Men #1 125, 126
Twisted Tales 190 Incredible Hulk #181 122–23
Tales of Suspense 20, 56, 95, 98
Tales of Suspense #48 50–51
U New Avengers #1 194
New Avengers #31 214
Tales of Suspense #52 56–57 Uatu the Watcher 78, 134–35, 226, 227
New X-Men #115 186
Tales of Suspense #57 60–61 Ultimate Reed Richards 234
Uncanny X-Men #142 146–47
T’Challa, King 85, 116–17, 204, 236–37, Ultimate Spider-Man #1 250
Wolverine: Weapon X 175
242 Ultimate Spider-Man #160 216–19
X-Men Origins: Wolverine 178
see also Black Panther the Ultimates 217
Wolverine: Weapon X 175
Teen Brigade 45 Ultron 88, 238, 239
Wolverines 228
Tevoski, Ted 157 Unbeatable Squirrel Girl #3 230–31
Wonder Man 70, 88, 238
Thanos 212, 206, 236 Uncanny 222
Wong 182, 183, 245
Avengers Annual #7 137, 138 Uncanny X-Men #142 146–47
Wood, Wally 68, 69
Captain Marvel #25 154 Uncanny X-Men #190 160–61
Workman, John Jr. 159
Captain Marvel #33 120, 121 Universal Church of Truth 212, 213
World of Wakanda 237
Infinity #3 222, 223 the Unseen 226, 227
Wyndham, Herbert Edgar 108
Infinity Gauntlet #1 178–79B Urich, Ben 164–65
Marvel Graphic Novel #1 155
Marvel Two in One Annual #2 138, 139 V X
Silver Surfer #34 178 X, Professor 47, 48, 67, 125, 126, 142,
van Dyne, Janet 214, 215
Thanos Quest 178 143, 186, 221
Vanko, Ivan 56, 57
Unbeatable Squirrel Girl #3 230, 231 X-Men 122, 126, 175
Veranke, Skrull Queen 194, 204, 215
Thibert, Art 250 X-Men #1 46–49
Vermin 168, 169
the Thing 24, 27, 55, 78, 80, 81, 120, X-Men #8 221
Vin and Viv 238, 239
138, 178 X-Men #9 66–67
Virginia 238, 239
This Island Earth 107 X-Men #10 249
Vision 70, 88, 89, 105–106, 107, 238
Thomas, Roy 52, 114, 118, 120, 125, 181 X-Men #20 67
Avengers Finale #1 192
Adventure into Fear #11 246 X-Men #56 96–97
Vision #12 238–37
Amazing Spider-Man #121 128 X-Men #101 247
Vlasco, Juan 243
Avengers #57 88 X-Men #129 142
Von Däniken, Erich 132
Avengers #93 105, 107 X-Men #135 92, 143
Voyant, Claire 56
Avengers #100 246 X-Men #137 142–43
the Vulture 62, 63
Giant-Size Invaders #1 247 X-Men 46, 67, 122, 146, 175, 194, 201
Incredible Hulk #181 122 All-New X-Men 220–21
Jungle Action #6 116
W Amazing Spider-Man Annual #1 63
Luke Cage, Hero for Hire #1 110 Wakanda 84–85, 116, 236–37 Avengers Annual #10 148
Marvel Premiere #1 108, 109 Walters, Jennifer 242 Giant-Size X-Men #1 124–27
Marvel Spotlight #5 112, 113 Walton, Robert IV 246 House of M #7 196, 197
X-Men #56 96 War Comics #1 166 New X-Men #115 186–87
Thompson, Ben 15 Warlock, Adam 111, 136, 138, 139, 178, Uncanny X-Men #142 146–47
Thor 70, 118, 192, 206 213 Uncanny X-Men #190 160–61
Thor 32, 47, 58, 70, 88, 101, 148, 201 Warlock and the Infinity Watch 178 X-Men (movie) 186
Amazing Spider-Man Annual #1 63 Warren, Miles 118, 119, 128, 129 X-Men Origins: Wolverine 178
Avengers #1 42–44 Warrior Falls 116, 117 Xavier, Charles 47, 126, 186, 192, 204,
Avengers #3 64–65 the Wasp 42, 44, 63, 64, 134, 214, 215 221
Avengers #6 242 Watcher 90, 100–101, 227
Avengers #16 71 the Watchers 100, 134, 245 Y
Avengers #93 105 Watson, Mary Jane 103, 114, 129, 168,
Yinsen, Professor Ho 50, 198, 244
Fantastic Four #66 108 210, 211, 218
Young Allies 42
Journey into Mystery #83 34–37 Weapon X 122, 228, 229
Young Avengers 193
Journey into Mystery #112 64 Weaver, Dustin 223
Young Men #24 52, 244
Mighty Thor #706 240–41 Web of Spider-Man 168
Yu, Leinil Francis 214, 215
Mjölnir 36, 65, 67, 71, 158, 227, 240 Wein, Glynis 124, 130, 143
Original Sin #8 227 Wein, Len 122, 123, 125, 126, 158
Secret Invasion #8 215 Wendigo 122, 123
Z
Strange Tales 38 Werewolf by Night 113 Zeck, Mike 162, 163, 168, 169
What If? #3 134 Werewolf by Night #32 247 Zemo, Baron 58, 59, 70
X-Men #9 67 Wertham, Dr Frederic 20 Zuras 206
Thor #169 98–99 What If? #3 134–35
Thor #337 158–59 Whedon, Joss 196
Thor: Love and thunder (movie) 241 The Wild One 112
256

Marvel Greatest Comics 100 Comics That Built A Universe

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Marvel Greatest Comics 100 Comics That Built A Universe

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What comics established major Marvel characters?

What comics established major Marvel characters?

What comics featured the debut of major teams?

What comics featured the debut of major teams?

Senior Editor Cefn Ridout

Senior Art Editor Clive Savage

First American Edition, 2020

DK, a Division of Penguin Random House LLC

A catalog record for this book is available

DK books are available at special discounts when purchased in bulk for

For the curious

Written by Melanie Scott and

14 Marvel Comics #1 60 Tales of Suspense #57 96 X-Men #56

16 Marvel Mystery Comics #9 62 Amazing Spider-Man Annual #1 98 Thor #169

20 Tales to Astonish #13 66 X-Men #9 102 Amazing Spider-Man #96

22 Fantastic Four #1 68 Daredevil #7 104 Avengers #93

26 Incredible Hulk #1 70 Avengers #16 108 Marvel Premiere #1

38 Fantastic Four #6 76 Amazing Spider-Man #33 114 Amazing Spider-Man #121

40 Fantastic Four Annual #1 78 Fantastic Four #48 116 Jungle Action #6

42 Avengers #1 80 Fantastic Four #51 118 Amazing Spider-Man #129

46 X-Men #1 82 Strange Tales #146 120 Captain Marvel #33

52 Avengers #4 86 Nick Fury Agent of S.H.I.E.L.D. #1 124 Giant-Size X-Men #1

54 Fantastic Four #25 88 Avengers #57 128 Amazing Spider-Man #149

strength of a thousand men. . . is a

in Tomm Dixon’s (aka Art Pinajian’s) replaced as super heroic alternatives

“ It set the template for the eventual

Editor in chief Joe Simon

16 Marvel Mystery Comics #9

Marvel Mystery Comics #9 17

“Set squarely in the real world events of

Pencilers Jack Kirby,

18 Captain America Comics #1

Captain America Comics #1 hit the

Captain America Comics #1 19

Ray Holloway A lthough rightly lauded with making

20 Tales to Astonish #13

Tales to Astonish #13 21

m inutes later, listen to me, all you don’t right,

i’m calling same goes i a i n ’ t b e n a n ym o r e - - a nd so was born

“...marks the turning point between

Where monsters dwell a

“ Lee and Kirby create the Hulk, and like

Cover artists Jack Kirby,

“ The famed “with great power, must also

30 Amazing Fantasy #15

And, a short distance A nd a lean, silent figure

And so a legend is born

Action and reaction

Amazing Fantasy #15 31

32 Amazing Fantasy #15

Amazing Fantasy #15 33

“ Originally intended as a one-off story...

Cover artists Jack Kirby, emphasis on actual Norse mythology.

34 Journey into Mystery #83

th “wh thor!! the legendary god of thunder!!

Journey into Mystery #83 35

36 Journey into Mystery #83

“Still early in the series, Stan and Jack

“ The first Golden Age hero to return to Marvel,