Happy Birthday Stan Lee! Happy New Year! Thursday’s Mega Comics Group Updates!
Thursday, December 28th, 2017Welcome to Thursday’s Mega Comics Group Updates!
Happy Birthday Stan Lee! 😀 That’s right today’s “The Man’s” 95th birthday!
Here is an in depth biography of the career of Stan Lee courtesy of those wonderous folks at Wikipedia:
Stan Lee (born Stanley Martin Lieber, December 28, 1922) is an American comic-book writer, editor, film executive producer, and publisher. He was formerly editor-in-chief of Marvel Comics, and later its publisher and chairman before leaving the company to become its chairman emeritus, as well as a member of the editorial board.
In collaboration with several artists, including Jack Kirby and Steve Ditko, he co-created Spider-Man, the Hulk, Doctor Strange, the Fantastic Four, Iron Man, Daredevil, Thor, Black Panther, the X-Men, and many other fictional characters, introducing a thoroughly shared universe into superhero comic books. In addition, he challenged the comics industry’s censorship organization, the Comics Code Authority, indirectly leading to it updating its policies. Lee subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
He was inducted into the comic book industry’s Will Eisner Award Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995. Lee received a National Medal of Arts in 2008. He has had many cameo appearances in films and TV, he holds the number one spot in terms of total revenue generated by all the films an actor has appeared in over their lifetime.
Marvel Revolution
In the late 1950s, DC Comics editor Julius Schwartz revived the superhero archetype and experienced a significant success with its updated version of the Flash, and later with super-team the Justice League of America. In response, publisher Martin Goodman assigned Lee to come up with a new superhero team. Lee’s wife suggested him to experiment with stories he preferred, since he was planning on changing careers and had nothing to lose.
Lee acted on that advice, giving his superheroes a flawed humanity, a change from the ideal archetypes that were typically written for preteens. Before this, most superheroes were idealistically perfect people with no serious, lasting problems. Lee introduced complex, naturalistic characters who could have bad tempers, fits of melancholy, and vanity; they bickered amongst themselves, worried about paying their bills and impressing girlfriends, got bored or even were sometimes physically ill.
The first superhero group Lee and artist Jack Kirby created together was the Fantastic Four, based on previous Kirby superhero team Challengers of the Unknown published by DC Comics. The team’s immediate popularity led Lee and Marvel’s illustrators to produce a cavalcade of new titles. Again working with Kirby, Lee co-created the Hulk, Thor, Iron Man, and the X-Men; with Bill Everett, Daredevil; and with Steve Ditko, Doctor Strange and Marvel’s most successful character, Spider-Man, all of whom lived in a thoroughly shared universe. Lee and Kirby gathered several of their newly created characters together into the team title The Avengers and would revive characters from the 1940s such as the Sub-Mariner and Captain America.
Comics historian Peter Sanderson wrote that in the 1960s:
DC was the equivalent of the big Hollywood studios: After the brilliance of DC’s reinvention of the superhero … in the late 1950s and early 1960s, it had run into a creative drought by the decade’s end. There was a new audience for comics now, and it wasn’t just the little kids that traditionally had read the books. The Marvel of the 1960s was in its own way the counterpart of the French New Wave…. Marvel was pioneering new methods of comics storytelling and characterization, addressing more serious themes, and in the process keeping and attracting readers in their teens and beyond. Moreover, among this new generation of readers were people who wanted to write or draw comics themselves, within the new style that Marvel had pioneered, and push the creative envelope still further.
Lee’s revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators. He introduced the practice of regularly including a credit panel on the splash page of each story, naming not just the writer and penciller but also the inker and letterer. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style. Lee has said that his goal was for fans to think of the comics creators as friends, and considered it a mark of his success on this front that, at a time when letters to other comics publishers were typically addressed “Dear Editor”, letters to Marvel addressed the creators by first name (e.g. “Dear Stan and Jack”) By 1967, the brand was well-enough ensconced in popular culture that a March 3 WBAI radio program with Lee and Kirby as guests was titled “Will Success Spoil Spiderman”.
Throughout the 1960s, Lee scripted, art-directed and edited most of Marvel’s series, moderated the letters pages, wrote a monthly column called “Stan’s Soapbox”, and wrote endless promotional copy, often signing off with his trademark motto, “Excelsior!” (which is also the New York state motto). To maintain his workload and meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee’s success with it, became known as the “Marvel Method“. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon. Lee recorded messages to the newly formed Merry Marvel Marching Society fan club in 1965.
Following Ditko’s departure from Marvel in 1966, John Romita Sr. became Lee’s collaborator on The Amazing Spider-Man. Within a year, it overtook Fantastic Four to become the company’s top seller. Lee and Romita’s stories focused as much on the social and college lives of the characters as they did on Spider-Man’s adventures. The stories became more topical, addressing issues such as the Vietnam War, political elections, and student activism. Robbie Robertson, introduced in The Amazing Spider-Man #51 (August 1967) was one of the first African-American characters in comics to play a serious supporting role. In the Fantastic Four series, the lengthy run by Lee and Kirby produced many acclaimed storylines as well as characters that have become central to Marvel, including the Inhumans and the Black Panther, an African king who would be mainstream comics’ first black superhero.
The story frequently cited as Lee and Kirby’s finest achievement is the three-part “Galactus Trilogy” that began in Fantastic Four #48 (March 1966), chronicling the arrival of Galactus, a cosmic giant who wanted to devour the planet, and his herald, the Silver Surfer. Fantastic Four #48 was chosen as #24 in the 100 Greatest Marvels of All Time poll of Marvel’s readers in 2001. Editor Robert Greenberger wrote in his introduction to the story that “As the fourth year of the Fantastic Four came to a close, Stan Lee and Jack Kirby seemed to be only warming up. In retrospect, it was perhaps the most fertile period of any monthly title during the Marvel Age.” Comics historian Les Daniels noted that “the mystical and metaphysical elements that took over the saga were perfectly suited to the tastes of young readers in the 1960s”, and Lee soon discovered that the story was a favorite on college campuses. Lee and artist John Buscema launched The Silver Surfer series in August 1968.
The following year, Lee and Gene Colan created the Falcon, comics’ second African-American superhero in Captain America #117 (September 1969). Then in 1971, Lee indirectly helped reform the Comics Code. The U. S. Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker’s best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. With Goodman’s cooperation and confident that the original government request would give him credibility, Lee had the story published without the seal. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.
Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. “Stan’s Soapbox”, besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice.
In 1972, Lee stopped writing monthly comic books to assume the role of publisher. His final issue of The Amazing Spider-Man was #110 (July 1972) and his last Fantastic Four was #125 (August 1972).
Later Career
In later years, Lee became a figurehead and public face for Marvel Comics. He made appearances at comic book conventions around America, lecturing at colleges and participating in panel discussions. Lee and John Romita Sr. launched the Spider-Man newspaper comic strip on January 3, 1977. Lee’s final collaboration with Jack Kirby, The Silver Surfer: The Ultimate Cosmic Experience, was published in 1978 as part of the Marvel Fireside Books series and is considered to be Marvel’s first graphic novel. Lee and John Buscema produced the first issue of The Savage She-Hulk (February 1980), which introduced the female cousin of the Hulk and crafted a Silver Surfer story for Epic Illustrated #1 (Spring 1980). He moved to California in 1981 to develop Marvel’s TV and movie properties. He has been an executive producer for, and has made cameo appearances in, Marvel film adaptations and other movies. He occasionally returned to comic book writing with various Silver Surfer projects including a 1982 one-shot drawn by John Byrne, The Judgment Day graphic novel illustrated by John Buscema, The Parable limited series drawn by French artist Mœbius, and The Enslavers graphic novel with Keith Pollard. Lee was briefly president of the entire company, but soon stepped down to become publisher instead, finding that being president was too much about numbers and finance and not enough about the creative process he enjoyed.
Peter Paul and Lee began a new Internet-based superhero creation, production, and marketing studio, Stan Lee Media, in 1998. It grew to 165 people and went public through a reverse merger structured by investment banker Stan Medley in 1999, but, near the end of 2000, investigators discovered illegal stock manipulation by Paul and corporate officer Stephan Gordon. Stan Lee Media filed for Chapter 11 bankruptcy protection in February 2001. Paul was extradited to the U.S. from Brazil and pleaded guilty to violating SEC Rule 10b-5 in connection with trading of his stock in Stan Lee Media. Lee was never implicated in the scheme. In 2001, Lee, Gill Champion, and Arthur Lieberman formed POW! (Purveyors of Wonder) Entertainment to develop film, television and video game properties. Lee created the risqué animated superhero series Stripperella for Spike TV. In 2004 POW! Entertainment went public. Also that year, Lee announced a superhero program that would feature Ringo Starr, the former Beatle, as the lead character. Additionally, in August of that year, Lee announced the launch of Stan Lee’s Sunday Comics, a short-lived subscription service hosted by Komikwerks.com. On March 15, 2007, after Stan Lee Media had been purchased by Jim Nesfield, the company filed a lawsuit against Marvel Entertainment for $5 billion, claiming Lee had given his rights to several Marvel characters to Stan Lee Media in exchange for stock and a salary. On June 9, 2007, Stan Lee Media sued Lee; his newer company, POW! Entertainment; and POW! subsidiary QED Entertainment.
In 2008, Lee wrote humorous captions for the political fumetti book Stan Lee Presents Election Daze: What Are They Really Saying? In April of that year, Brighton Partners and Rainmaker Animation announced a partnership POW! to produce a CGI film series, Legion of 5. Other projects by Lee announced in the late 2000s included a line of superhero comics for Virgin Comics, a TV adaptation of the novel Hero, a foreword to Skyscraperman by skyscraper fire-safety advocate and Spider-Man fan Dan Goodwin, a partnership with Guardian Media Entertainment and The Guardian Project to create NHL superhero mascots and work with the Eagle Initiative program to find new talent in the comic book field.
In October, Lee announced he would partner with 1821 Comics on a multimedia imprint for children, Stan Lee’s Kids Universe, a move he said addressed the lack of comic books targeted for that demographic; and that he was collaborating with the company on its futuristic graphic novel Romeo & Juliet: The War, by writer Max Work and artist Skan Srisuwan. At the 2012 San Diego Comic-Con International, Lee announced his YouTube channel, Stan Lee’s World of Heroes, which airs programs created by Lee, Mark Hamill, Peter David, Adrianne Curry, and Bonnie Burton among others. Lee wrote the book, Zodiac released in January 2015, with Stuart Moore. The film Stan Lee’s Annihilator, based on a Chinese prisoner-turned-superhero named Ming and in production since 2013, is set for a 2015 release.
In his later career, Lee’s contributions continued to expand outside the style that he helped pioneer. An example of this is his first work for DC Comics in the 2000s, launching the Just Imagine… series, in which Lee re-imagined the DC superheroes Superman, Batman, Wonder Woman, Green Lantern, and the Flash. Manga projects involving Lee include Karakuridôji Ultimo, a collaboration with Hiroyuki Takei, Viz Media and Shueisha, and Heroman, serialized in Square Enix’s Monthly Shonen Gangan with the Japanese company Bones. In 2011, Lee started writing a live-action musical, The Yin and Yang Battle of Tao.
This period also saw a number of collaborators honor Lee for his influence on the comics industry. In 2006, Marvel commemorated Lee’s 65 years with the company by publishing a series of one-shot comics starring Lee himself meeting and interacting with many of his co-creations, including Spider-Man, Doctor Strange, the Thing, Silver Surfer, and Doctor Doom. These comics also featured short pieces by such comics creators as Joss Whedon and Fred Hembeck, as well as reprints of classic Lee-written adventures. At the 2007 Comic-Con International, Marvel Legends introduced a Stan Lee action figure. The body beneath the figure’s removable cloth wardrobe is a re-used mold of a previously released Spider-Man action figure, with minor changes. Comikaze Expo, Los Angeles’ largest comic book convention, was rebranded as Stan Lee’s Comikaze Presented by POW! Entertainment in 2012.
At the 2016 Comic-Con International, Lee introduced his digital graphic novel Stan Lee’s ‘God Woke’, with text originally written as a poem he presented at Carnegie Hall in 1972. The print-book version won the 2017 Independent Publisher Book Awards’ Outstanding Books of the Year Independent Voice Award.
Whew! Stan has done more in 95 years than most could accomplish in 200! Supposing someone could live that long. 😉 What an inspiration! ’nuff said!
Happy New Year! CU in 2018!
After Klaue and Erik Stevens steal a Wakandan artifact from a museum, W’Kabi, T’Challa’s friend and Okoye’s lover, urges him to bring Klaue back dead or alive. T’Challa, Okoye, and Nakia travel to Busan, South Korea where Klaue plans to sell the artifact to CIA agent Everett K. Ross. A firefight erupts and Klaue attempts to flee but is caught by T’Challa, who reluctantly releases him to Ross’ custody. Klaue tells Ross that Wakanda’s international image is a front for a technologically advanced civilization. Erik attacks and extracts Klaue as Ross is severely injured protecting Nakia. Rather than pursue Klaue, T’Challa takes Ross to Wakanda where their technology can save him.
While Shuri heals Ross, T’Challa confronts Zuri about N’Jobu. Zuri explains that N’Jobu planned to share Wakanda’s technology with people of African descent around the world to help them conquer their oppressors. As T’Chaka arrested N’Jobu, N’Jobu attacked Zuri, forcing T’Chaka to kill him. T’Chaka ordered Zuri to lie that N’Jobu had disappeared and left behind N’Jobu’s American son, Erik, in order to maintain the lie. Erik became a U.S. black ops soldier, adopting the name “Killmonger“. Meanwhile, Killmonger kills Klaue and takes his body to Wakanda. He is brought before the tribal elders, revealing his identity and claim to the throne. Killmonger challenges T’Challa to ritual combat; after killing Zuri, he defeats T’Challa and hurls him over a waterfall. After ingesting the heart-shaped herb, Killmonger orders the rest incinerated, but Nakia extracts one first. Killmonger, supported by W’Kabi and his army, prepares to distribute shipments of Wakandan weapons to operatives around the world.
Nakia, Shuri, Ramonda and Ross flee to the Jabari Tribe for aid. They find a comatose T’Challa, rescued by the Jabari in repayment for sparing M’Baku’s life. Healed by Nakia’s herb, T’Challa returns to fight Killmonger, who dons his own Black Panther suit and commands W’Kabi and his army to attack T’Challa. Shuri, Nakia, and the Dora Milaje join T’Challa, while Ross remotely pilots a jet and shoots down the planes carrying the vibranium weapons. M’Baku and the Jabari arrive to reinforce T’Challa. Confronted by Okoye, W’Kabi and his army stand down. Fighting in Wakanda’s vibranium mine, T’Challa disrupts Killmonger’s suit and stabs him. Killmonger refuses to be healed, choosing to die a free man rather than be incarcerated.
Mark’s Remarks:
Having created and co-created a few characters of my own, as this web site testifies, I’m well aware of the emotions which can be involved on part of talented folks when credit is due. Where writers and artists are concerned it is a matter of perspective. From the view point of the writer, he thinks in words so the names, the way the names are spelled, the descriptions of the character and his crew, equipment, headquarters, his relationships with other heroes or cast members of the story and the story itself is the most important part of creating. For the artist it’s all about the image, how the hero looks, his costume design, the design of the character and his crew, equipment, headquarters, his visual relationships with other heroes or cast members. The way it all looks is the most important part of creating for the artist. There are instances where the writer and artist are the same person the values of importance will be split. Artists often think of themselves as writers as well as artists, whereas writers seldom think of themselves as visual artists. If you think about these concepts from the perspective I’ve outlined here you may gain a new understanding as to why Stan & Jack often had different recollections about who created what on the comics they collaborated on.
Some would say, “Well it’s not that, it’s who come up with he idea first.” But again, the concepts above still apply. First ideas are often rough and they often change as the concepts are batted back and forth between collaborators. This explains why the characters often changed so much with each subsequent appearance. Look at the Inhumans, the Black Panther, the Silver Surfer, Galactus or any of the characters Stan and Jack worked on and how they evolved in these early Fantastic Four stories. Remember when the Inhumans were returned to their home city of Attilan and were trapped by Maximus, isolated from the world by what was called a Negative Zone. But only a few issues later this barrier was not called a Negative Zone anymore and that name was used for the region of subspace discovered by Reed Richards from then on.
