Origins of Marvel Comics

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Origins of Marvel Comics
Origins of Marvel Comics.jpg
Author Stan Lee
Cover artist John Romita Sr.
LanguageEnglish
Genre Superhero
Publisher Marvel Fireside Books (Simon & Schuster)
Publication date
September 1974
Publication placeUnited States
Followed bySon of Origins of Marvel Comics 

Origins of Marvel Comics is a 1974 collection of Marvel Comics comic book stories, selected and introduced by Marvel writer and editor Stan Lee. The book was published by Marvel Fireside Books, an imprint of Simon & Schuster, and was Marvel's first trade paperback collection. [1]

Contents

The book collected the first story and a more recent story starring five of Marvel's star characters: The Fantastic Four, Spider-Man, Thor, the Hulk and Doctor Strange. [1] Lee wrote an introduction to the collection, and anecdotes introducing each story. These introductions and anecdotes are "more fantasy than historic," in which Lee falsely bestows on himself "almost all of the creative credit... while underplaying the contributions of figures such as Jack Kirby and Steve Ditko." [2] [ self-published source ]

The book was very successful, and was followed by annual sequels in the Marvel Fireside Books series: Son of Origins of Marvel Comics (1975), Bring on the Bad Guys (1976) and The Superhero Women (1977). [1] These sequels also have the same textual errors because Stan Lee falsely took creator credit for himself even though the comic books had "as much or even more to do with Jack Kirby and Steve Ditko and their fellows." [2] [ self-published source ]

Style

Lee's introduction to the Fantastic Four section typifies his "tongue-in-cheek verbosity and ad-man hyperbole": [3]

In the beginning Marvel created the Bullpen and the Style.
And the Bullpen was without form, and was void; and darkness was upon the face of the Artists. And the Spirit of Marvel moved upon the face of the Writers.
And Marvel said, Let there be The Fantastic Four. And there was The Fantastic Four.
And Marvel saw The Fantastic Four. And it was good.

Origins supports Lee's self-created mythology of himself as the master creator of Marvel Comics. Matt Yockey observes that "Lee invokes his own childhood love of the pulp character The Spider as a primary motivation for creating Spider-Man. He thus articulates a narrative of transformation from fan to professional that makes his own textual self-production in the comic books more personal and identifiable to readers." [3]

Contents

The book contained the following stories:

The cover was illustrated by John Romita Sr.

Reception

A contemporary review in the Saskatoon Star-Phoenix criticized Lee's bombastic style: "Though his patronizing tone is entertaining for the first few paragraphs, he seems to forget one of his own conclusions about the readers of comics books [sic], that they are not necessarily youthful devotees who are accustomed to being lectured, but rather may be reasonably intelligent and educated people who will quickly tire of Lee's self-centred and falsely casual manner." However, the review allows that the book offers "substantial information of the early evolution of the comic book and its first steps to becoming a true piece of 20th century art." [4]

Author Ray Bradbury wrote an unusual review of Origins of Marvel Comics for The Los Angeles Times , "Here's a Pictorial Tonic to Relieve Virus Plaguing a World with Too Much Reality," praising the "intellectual-with-a-small-i" who enjoys both highbrow literary classics and middlebrow comic strips. In a florid passage, Bradbury wrote, "I sing the full wide-open-alert-unbiased, sometimes splendidly mediocre, pig-that-flies man and woman and their dirty children with bright faces. If this sounds like a description of you with your secret guilts for having loved the wrong films and wrong books, Stan Lee's new volume is the very stuff for you." [5]

A critical review in The Spectrum , the University at Buffalo student newspaper, savaged Lee's style: "The writing is stylistically crummy, which wouldn't be so jarring if Lee hadn't made such a big deal about his style. It takes an embarrassing [sic] combination of pretentiousness, awkwardness, insecurity, and ignorance to write a sentence like, 'Myself when born was christened Stanley Martin Lieber — truly an appellation to conjure with.'" The review also groused, "Production values were expendable to the publisher. Lee introduces one Spiderman [sic] story, but instead another one is printed. The Dr. Strange stories near the end of the book are placed in the wrong relationship to the introductory copy; one of them is thrown in after the epilogue. Maybe they'll fix these things in subsequent printings. Then again, Marvel's mistakes are legend, by now. Maybe they'll leave them in." [6]

In Give Our Regards to the Atom-Smashers! Writers on Comics, Christopher Sorrentino points out that, in the mid-70s, the stories chosen to represent the modern style were all from the late 1960s: "The message coming through loud and clear was that Marvel had already peaked." [7]

Sequels

Origins of Marvel Comics was followed in 1975 with Son of Origins of Marvel Comics, featuring the origins of the X-Men, Iron Man, the Avengers, Daredevil, Nick Fury, the Watcher, and the Silver Surfer. In addition to the single release, Origins and Son of Origins were offered as a two-volume set in a slipcased edition. [8]

The two Origins books were followed by Bring on the Bad Guys, origins of a selection of Marvel villains; and The Superhero Women, featuring some of Marvel's most popular female superheroes. Eventually, the series moved away from origin stories and published collections of classic stories with individual characters such as Spider-Man, the Fantastic Four, the Hulk, Captain America, and Doctor Strange. [8]

Stan Lee's text pieces explaining the creation of the characters are dishonest. Marvel's Senior Vice President of Publishing, Tom Breevort, points out that "these write-ups are more fantasy than historic–in particular, Lee saves almost all of the creative credit for himself while underplaying the contributions of figures such as Jack Kirby and Steve Ditko, who are referred to merely as artists, men who carried out Lee’s creative vision. History has shown us that this wasn’t truly the case at all, and that Kirby and Ditko and others were far more central to the plotting of stories and the origination and development of the characters than this volume would lead you to believe." [2] [ self-published source ]

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References

  1. 1 2 3 Sacks, Jason; Dallas, Keith (2014). American Comic Book Chronicles: The 1970s. TwoMorrows Publishing. p. 136. ISBN   978-1605490564.
  2. 1 2 3 Breevort, Tom. "Breevort History of Comics: Origins of Marvel Comics".
  3. 1 2 Yockey, Matt (2017). Make Ours Marvel: Media Convergence and a Comics Universe. University of Texas Press. pp. 10, 26. ISBN   9781477312520.
  4. ↑ J.R.N. (August 1, 1975). "In praise of Marvel Comics". Saskatoon Star-Phoenix . p. 22. Retrieved November 26, 2020.
  5. ↑ Bradbury, Ray (December 29, 1974). "Here's a Pictorial Tonic to Relieve Virus Plaguing a World with Too Much Reality". The Los Angeles Times . Retrieved November 26, 2020.
  6. ↑ Boyar, Jay (January 31, 1975). "Spiderman, the Hulk, Thor and Lee; a marvelous story". The Spectrum (University at Buffalo) . p. 11. Retrieved November 26, 2020.
  7. ↑ Sorrentino, Christopher (2004). "The Ger Shecker". In Howe, Sean (ed.). Give Our Regards to the Atomsmashers! Writers on Comics. Pantheon. p. 64. ISBN   978-0375422560 . Retrieved November 26, 2020.
  8. 1 2 Fredt, Stephan (February 2016). "The Other Marvel Team-Up: Simon & Schuster (Fireside) and Marvel". Back Issue! (86). Raleigh, North Carolina: TwoMorrows Publishing: 61–70.
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