Showing posts with label Steve Ditko. Show all posts
Showing posts with label Steve Ditko. Show all posts

Tuesday, February 18, 2025

Between Books - Origins of Marvel Comics: The 50th Anniversary Edition


Book cover of Origins of Marvel Comics showing a typewriter with a pair of typing hands and other hands drawing Marvel's Thor, Hulk, Doctor Strange, Thing, Human Torch, and Spider-Man




1974’s Origins of Marvel Comics has long been on my bucket list of to read. But other books got in the way or I would say it’s nearly 50 years old and going nowhere fast. I can get to it later. Then editor Chris Ryall pushed this classic volume to the top of the list by packaging the Stan Lee classic into a pretty package that reached out to my nostalgia and history-loving heart.

Origins of Marvel Comics: The 50th Anniversary Edition by Stan Lee and edited by Ryall repackages the Lee text for a contemporary reader. Ryall provides readers with the Fireside book including all of Lee’s original commentaries and the art to match the original, for example, a green Hulk seen in the 1974 book and not the gray Hulk from the original comic. The stories found in the book include reprints of the origins of the Fantastic Four, Hulk, Spider-Man, and Doctor Strange along with a later issue to show more developed versions of the beloved heroes. Along with the original book are essays that discuss the history and importance of the book. Today’s writers using the light of history also discuss Lee’s original remarks with some looking to provide credit to writers like Jack Kirby, who felt that Lee’s words diminished their efforts. But, this is not a Lee-bashing book with the inclusion of essays from Lee proponents like his brother Larry Leiber. Artist Alex Ross provides the hardcover’s dust jacket with a new homage cover, which he provides a step-by-step process for within the text. As we look back at much of the controversy of the creation of many of these heroes, the new 2024 edition is a very balanced approach, recognizing the efforts of both Lee and his partner artists.


Reading this today, I am really glad I waited and didn’t try to find a secondary market copy of the 1974 or other editions. My assessment of the Marvel creators is that much like Disney corporate history, everything worked best with dual genius leading the way (Walt/Roy or Michael/Frank). I think that the golden age of Marvel creation was pushed forward by Lee and Kirby, Ditko, and other artists. Lee’s original introductions balance this reality, with him calling out the King Jack Kirby and his partnership with the Fantastic Four. But he with Doctor Strange wrote an introduction that was full Marvel publicity machine with Lee highlighting his efforts and framing Ditko’s role as assigned artist not a key voice in the Strange creation. These introductions from Lee give you the two sides found in the Marvel media machine of the 70’s, an all-encompassing Stan Lee with nodes to important artists that made the funny pictures come alive.

The new essays are not going to change everything. For example, the Lieber interview does not fully address the known tension between the brothers. But I do feel like the Lieber discussion does help show how Lieber feels today, as the surviving brother who in many ways is cherishing the memory of a brother who while distant at times was also supportive and brought him into the Marvel family.

Origins of Marvel Comics by Lee was an important cultural moment in the popular acceptance of comic books. Fireside put Marvel stories in a bound book and placed the stories in bookstores. Ray Bradbury wrote a review of the book, included in the text, which demonstrated the important literary moment for comics with this publication. In the book, even Lee calls the comics strips, the more culturally accepted visual media of the time. There were no graphic novels. In fact, this may be one of the first models for a graphic novel. Bookstores were not being kept afloat with large sections fills with graphic novels and anime and all the toys and gear associated with these properties. Fireside with this book made reading a comic acceptable due to the bound nature of the book. This first offering led to other Lee and Fireside offerings in books like Son of Origins of Marvel Comics and Bring on the Bad Guys. And this reader hopes that Ryall is given the chance to repackage some of the other volumes for today. Especially since these hardbacks would look really great side-by-side.

Origins of Marvel Comics: The 50th Anniversary Edition by Stan Lee and edited by Chris Ryall is a must-read for Marvel Comics fans. Even those who have a vintage copy on their shelf, will want to grab the new edition. First, let’s be honest, we are collectors. Second, the new essays and Ross’ art add to the context of the entire project. Finally, for those who have not dipped their two in, this work is an important moment in not just Marvel but now Disney history and you may wish to check it out. Without Lee’s bigger-than-life personality, we would fail to have the Marvel Cinematic Universe and other Marvel stories in so many formats that exist today.  

 

This post contains affiliate links, which means that Between Disney receives a percentage of sales purchased through links on this site

    

Monday, August 25, 2014

Between Books - Marvel Comics: 75 Years of Cover Art


Writer Alan Cowsill should add curator to his resume.  Marvel Comics: 75 Years of Comic Art is more than a book, it is a mobile art museum.  Between the book's two covers is a treasure chest of art developed by some of Marvel's finest artists from the Golden to the Modern age.

Marvel Comics: 75 Years of Comic Art by Alan Cowsill collects Marvel's finest covers in an over-sized 300 plus page book.  The text puts on displays hundreds of Marvel covers, with typically one or two covers being highlighted on a page.  Occasionally, 3 or more covers will share a page when linked by a theme or story arc.  Covers are organized by title and theme, so Avengers covers reside next to other Avengers covers.  Cowsill provides a brief caption highlighting the historical or artistic attributes of the cover.  The captions help explain historical trends such as the growth of variant and special covers.  On a few occasions, Cowsill offers a description of significant cover artists like Jack Kirby and John Byrne.  The book also explains how covers are developed using Nova #1 and Black Panther #1 as examples. The title is broken into four sections; The Golden Age, The Silver Age, The Bronze Age, and The Modern Age.  Despite being an art book with brief captions, readers will find they cannot rush through the pages but instead will spend hours enjoying the visuals.     

The book is designed to show off the included covers and the covers are the star.  The pages are large, giving the maximum space to display the art.  The captions are helpful but not overly wordy to only highlight not steal the focus from the covers.  The text comes with a sturdy slipcover to protect the book, though honestly, the book's front cover with a partial print of Marvel Comics #1 and the back cover with the fan chosen The Infinity Gauntlet #1 are eye-catching in their own right.  Every aspect of this book shows that the artists' reign in this large book, with writers as secondary contributors.  And as a bonus the publisher has included prints of Amazing Fantasy #15 and Iron Man #1 from the 2005 run that could be framed and displayed.  No one needs to worry about cutting up a copy to have prints for display.      

The text has really helped me to appreciate and find covers I had not been exposed to yet.  For example, I have enjoyed Jim Steranko's covers from Nick Fury, Agent of S.H.I.E.L.D., and loved that issue #6 which I own is included. But I am now in love with his March 1969 Captain America 111 cover.  And I was thrilled that Cowsill included Dikto's original and unedited Amazing Fantasy #15.  I did question the inclusion of seven David Aja Hawkeye covers, but the Aja art is spectacular.  And this choice shows that Cowsill wanted to display strong and interesting art.     

I honestly can only provide two criticisms of Marvel Comics: 75 Years of Cover Art.  First, the book gives over half of its pages to The Modern Age, and personally I would like to have seen more covers from The Golden to Bronze Ages.  But I cannot argue with the choices of the curator as there have been many more covers produced in The Modern Age based solely on the number of titles, artists and variations printed. Second, I would love a short conclusion where Cowsill would have provided a concluding word on this large book for his readers.       

Marvel fans will love this book.  Disney fans who want a concise visual history of Marvel comics will appreciate the text and find the art to be enjoyable.  Marvel Comics: 75 Years of Cover Art by Alan Cowsill is a large, in-depth and artful text.  The biggest problem is the size of one's comic wish list after finishing the last page.  


Review Copy Provided by Publisher