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Marvel Comics is an American comic book publisher and the flagship property of Marvel Entertainment, a division of The Walt Disney Company since September 1, 2009. Evolving from Timely Comics in 1939, Magazine Management/Atlas Comics in 1951 and its predecessor, Marvel Mystery Comics, the Marvel Comics title/name/brand was first used in June 1961.
Marvel Entertainment, LLC
(The Walt Disney Company)
1939; 84 years ago (1939)
(as Timely Comics)
(as Magazine Management)
(as Marvel Comics)
135 W. 50th Street, New York City, New York
Penguin Random House Publisher Services (direct market starting October 2021)[1]
Diamond Comic Distributors (sub-distributor through Penguin Random House starting October 2021, direct market until October 2021)
Hachette Book Group Client Services (trade paperbacks and graphic novels)[2]
C. B. Cebulski (EIC)
John Nee (Publisher)
Stan Lee (Former EIC, publisher, writer)
Fiction genres
imprint list
www.marvel.com
Marvel was started in 1939 by Martin Goodman as Timely Comics,[3] and by 1951 had generally become known as Atlas Comics. The Marvel era began in June 1961 with the launch of The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and many others. The Marvel brand, which had been used over the years and decades, was solidified as the company's primary brand.
Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Thor, Doctor Strange, Hulk, Wolverine, and Captain Marvel, as well as popular superhero teams such as the Avengers, X-Men, Fantastic Four, and Guardians of the Galaxy. Its stable of well-known supervillains includes the likes of Doctor Doom, Magneto, Ultron, Thanos, Green Goblin, Galactus, Loki, and Kingpin. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with most locations mirroring real-life places; many major characters are based in New York City, New York, United States.[4] Additionally, Marvel has published several licensed properties from other companies. This includes Star Wars comics twice from 1977 to 1986 and again since 2015.
Timely Publications
Marvel Comics #1 (Oct. 1939), the first comic from Marvel precursor Timely Comics. Cover art by Frank R. Paul.
Pulp-magazine publisher Martin Goodman created the company later known as Marvel Comics under the name Timely Publications in 1939.[5][6] Goodman, who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman (Martin's brother)[7] officially listed as publisher.[6]
Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner,[8] among other features.[5] The issue was a great success; it and a second printing the following month sold a combined nearly 900,000 copies.[9] While its contents came from an outside packager, Funnies, Inc.,[5] Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist Jack Kirby to create one of the first patriotically themed superheroes,[10] Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million.[9] Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.[3][11]
While no other Timely character would achieve the success of these three characters, some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper",[12][13] as well as a line of children's talking animal comics featuring characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.
Goodman hired his wife's 16-year-old cousin,[14] Stanley Lieber, as a general office assistant in 1939.[15] When editor Simon left the company in late 1941,[16] Goodman made Lieber—by then writing pseudonymously as "Stan Lee"—interim editor of the comics line, a position Lee kept for decades except for three years during his military service in World War II. Lee wrote extensively for Timely, contributing to a number of different titles.
Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff.[3] One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.[17]
Magazine Management/Atlas Comics
The post-war American comic market saw superheroes falling out of fashion.[18] Goodman's comic book line dropped them for the most part and expanded into a wider variety of genres than even Timely had published, featuring horror, Westerns, humor, talking animal, men's adventure-drama, giant monster, crime, and war comics, and later adding jungle books, romance titles, espionage, and even medieval adventure, Bible stories and sports.
Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned,[19] on comics cover-dated November 1951 even though another company, Kable News, continued to distribute his comics through the August 1952 issues.[20] This globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications.[21]
Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line.[22] Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (similar to Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.[23]
In 1957 Goodman switched distributors to the American News Company — which shortly afterward lost a Justice Department lawsuit and discontinued its business.[24] Atlas was left without distribution and was forced to turn to Independent News, the distribution arm of its biggest rival, National (DC) Comics, which imposed draconian restrictions on Goodman's company. As then-Atlas editor Stan Lee recalled in a 1988 interview, "[We had been] turning out 40, 50, 60 books a month, maybe more, and ... suddenly we went ... to either eight or 12 books a month, which was all Independent News Distributors would accept from us."[25]
The Fantastic Four #1 (Nov. 1961). Cover art by Jack Kirby (penciler) and an unconfirmed inker.
The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an "MC" box on its cover.[26] Then, in the wake of DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, Batman, Superman, Wonder Woman, Green Arrow and other members of the team the Justice League of America, Marvel followed suit.[n 1]
In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to older readers than the predominantly child audiences of the medium, thus ushering what Marvel later called the Marvel Age of Comics.[27] Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961),[28] broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated.[29] This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something with which many readers could identify.[30]
Stan Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age.[31] Eschewing such comic book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.[32]
Marvel often presented flawed superheroes, freaks, and misfits—unlike the perfect, handsome, athletic heroes found in previous traditional comic books. Some Marvel heroes looked like villains and monsters such as the Hulk and the Thing. This naturalistic approach even extended into topical politics. Comics historian Mike Benton also noted:
In the world of [rival DC Comics'] Superman comic books, communism did not exist. Superman rarely crossed national borders or involved himself in political disputes.[33] From 1962 to 1965, there were more communists [in Marvel Comics] than on the subscription list of Pravda. Communist agents attack Ant-Man in his laboratory, red henchmen jump the Fantastic Four on the moon, and Viet Cong guerrillas take potshots at Iron Man.[34]
All these elements struck a chord with the older readers, including college-aged adults. In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan.[35] In 2009, writer Geoff Boucher reflected that,
Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times—or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?[36]
In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, Ant-Man, Iron Man, the X-Men, Daredevil, the Inhumans, Black Panther, Doctor Strange, Captain Marvel and the Silver Surfer, and such memorable antagonists as Doctor Doom, Magneto, Galactus, Loki, the Green Goblin, and Doctor Octopus, all existing in a shared reality known as the Marvel Universe, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.
Marvel even lampooned itself and other comics companies in a parody comic, Not Brand Echh (a play on Marvel's dubbing of other companies as "Brand Echh", à la the then-common phrase "Brand X").[37]
Originally, the company's publications were branded by a minuscule "Mc" on the upper right-hand corner of the covers. However, artist/writer Steve Ditko put a larger masthead picture of the title character of The Amazing Spider-Man on the upper left-hand corner on issue #2 that included the series' issue number and price. Lee appreciated the value of this visual motif and adapted it for the company's entire publishing line. This branding pattern, being typically either a full-body picture of the characters' solo titles or a collection of the main characters' faces in ensemble titles, would become standard for Marvel for decades.[38]
Cover of The Avengers #4 (Mar 1964), featuring the return of Captain America. Art by Jack Kirby.
Cadence Industries ownership
In 1968, while selling 50 million comic books a year, company founder Goodman revised the constraining distribution arrangement with Independent News he had reached under duress during the Atlas years, allowing him now to release as many titles as demand warranted.[19] Late that year, he sold Marvel Comics and its parent company, Magazine Management, to the Perfect Film and Chemical Corporation, though he remained as publisher.[39] In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.[19]
In 1971, the United States Department of Health, Education, and Welfare approached Marvel Comics editor-in-chief Stan Lee to do a comic book story about drug abuse. Lee agreed and wrote a three-part Spider-Man story portraying drug use as dangerous and unglamorous. However, the industry's self-censorship board, the Comics Code Authority, refused to approve the story because of the presence of narcotics, deeming the context of the story irrelevant. Lee, with Goodman's approval, published the story regardless in The Amazing Spider-Man #96–98 (May–July 1971), without the Comics Code seal. The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.[40]
Goodman retired as publisher in 1972 and installed his son, Chip, as publisher.[41] Shortly thereafter, Lee succeeded him as publisher and also became Marvel's president[41] for a brief time.[42] During his time as president, he appointed his associate editor, prolific writer Roy Thomas, as editor-in-chief. Thomas added "Stan Lee Presents" to the opening page of each comic book.[41]
Howard the Duck #8 (Jan. 1977). Cover art by Gene Colan and Steve Leialoha
A series of new editors-in-chief oversaw the company during another slow time for the industry. Once again, Marvel attempted to diversify, and with the updating of the Comics Code published titles themed to horror (The Tomb of Dracula), martial arts (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian in 1970,[43] Red Sonja), satire (Howard the Duck) and science fiction (2001: A Space Odyssey, "Killraven" in Amazing Adventures, Battlestar Galactica, Star Trek, and, late in the decade, the long-running Star Wars series). Some of these were published in larger-format black and white magazines, under its Curtis Magazines imprint.
Marvel was able to capitalize on its successful superhero comics of the previous decade by acquiring a new newsstand distributor and greatly expanding its comics line. Marvel pulled ahead of rival DC Comics in 1972, during a time when the price and format of the standard newsstand comic were in flux.[44] Goodman increased the price and size of Marvel's November 1971 cover-dated comics from 15 cents for 36 pages total to 25 cents for 52 pages. DC followed suit, but Marvel the following month dropped its comics to 20 cents for 36 pages, offering a lower-priced product with a higher distributor discount.[45]
In 1973, Perfect Film and Chemical renamed itself as Cadence Industries and renamed Magazine Management as Marvel Comics Group.[46] Goodman, now disconnected from Marvel, set up a new company called Seaboard Periodicals in 1974, reviving Marvel's old Atlas name for a new Atlas Comics line, but this lasted only a year and a half.[47] In the mid-1970s a decline of the newsstand distribution network affected Marvel. Cult hits such as Howard the Duck fell victim to the distribution problems, with some titles reporting low sales when in fact the first specialty comic book stores resold them at a later date.[citation needed] But by the end of the decade, Marvel's fortunes were reviving, thanks to the rise of direct market distribution—selling through those same comics-specialty stores instead of newsstands.
Marvel ventured into audio in 1975 with a radio series and a record, both had Stan Lee as narrator. The radio series was Fantastic Four. The record was Spider-Man: Rock Reflections of a Superhero concept album for music fans.[48]
Marvel Super Heroes Secret Wars #1 (May 1984). Cover art by Mike Zeck depicting Captain America, Wolverine, Cyclops, Hawkeye, Rogue, She-Hulk, The Thing, Colossus, Monica Rambeau, Nightcrawler, Spider-Man, Human Torch, Hulk, Iron Man and Storm.[49]
Marvel held its own comic book convention, Marvelcon '75, in spring 1975, and promised a Marvelcon '76. At the 1975 event, Stan Lee used a Fantastic Four panel discussion to announce that Jack Kirby, the artist co-creator of most of Marvel's signature characters, was returning to Marvel after having left in 1970 to work for rival DC Comics.[50] In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. Captain Britain debuted exclusively in the UK, and later appeared in American comics.[51] During this time, Marvel and the Iowa-based Register and Tribune Syndicate launched a number of syndicated comic strips — The Amazing Spider-Man, Howard the Duck, Conan the Barbarian, and The Incredible Hulk. None of the strips lasted past 1982, except for The Amazing Spider-Man, which is still being published.
In 1978, Jim Shooter became Marvel's editor-in-chief. Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including repeatedly missed deadlines. During Shooter's nine-year tenure as editor-in-chief, Chris Claremont and John Byrne's run on the Uncanny X-Men and Frank Miller's run on Daredevil became critical and commercial successes.[52] Shooter brought Marvel into the rapidly evolving direct market,[53] institutionalized creator royalties, starting with the Epic Comics imprint for creator-owned material in 1982; introduced company-wide crossover story arcs with Contest of Champions and Secret Wars; and in 1986 launched the ultimately unsuccessful New Universe line to commemorate the 25th anniversary of the Marvel Comics imprint. Star Comics, a children-oriented line differing from the regular Marvel titles, was briefly successful during this period.
Marvel Entertainment Group ownership
In 1986, Marvel's parent, Marvel Entertainment Group, was sold to New World Entertainment, which within three years sold it to MacAndrews and Forbes, owned by Revlon executive Ronald Perelman in 1989. In 1991 Perelman took MEG public. Following the rapid rise of this stock, Perelman issued a series of junk bonds that he used to acquire other entertainment companies, secured by MEG stock.[54]
Marvel's logo, circa 1990s.
Marvel earned a great deal of money with their 1980s children's comics imprint Star Comics and they earned a great deal more money and worldwide success during the comic book boom of the early 1990s, launching the successful 2099 line of comics set in the future (Spider-Man 2099, etc.) and the creatively daring though commercially unsuccessful Razorline imprint of superhero comics created by novelist and filmmaker Clive Barker.[55][56] In 1990, Marvel began selling Marvel Universe Cards with trading card maker SkyBox International. These were collectible trading cards that featured the characters and events of the Marvel Universe. The 1990s saw the rise of variant covers, cover enhancements, swimsuit issues, and company-wide crossovers that affected the overall continuity of the Marvel Universe.
Spider-Man #1, later renamed "Peter Parker: Spider-Man" (August 1990). Cover art by Todd McFarlane.
Marvel suffered a blow in early 1992, when seven of its most prized artists — Todd McFarlane (known for his work on Spider-Man), Jim Lee (X-Men), Rob Liefeld (X-Force), Marc Silvestri (Wolverine), Erik Larsen (The Amazing Spider-Man), Jim Valentino (Guardians of the Galaxy), and Whilce Portacio (Uncanny X-Men) — left to form Image Comics[57] in a deal brokered by Malibu Comics' owner Scott Mitchell Rosenberg.[58] Three years later, on November 3, 1994, Rosenberg sold Malibu to Marvel.[59][60][61] In purchasing Malibu, Marvel now owned the leading standard for computer coloring of comic books that had been developed by Rosenberg,[62] and also integrated the Ultraverse line of comics and the Genesis Universe into Marvel's multiverse.[63]
In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor.[64] As the industry's other major publishers made exclusive distribution deals with other companies, the ripple effect resulted in the survival of only one other major distributor in North America, Diamond Comic Distributors Inc.[65][66] Then, by the middle of the decade, the industry had slumped, and in December 1996 MEG filed for Chapter 11 bankruptcy protection.[54] In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel[67]—giving the company its own section of its comics catalog Previews.[68]
To help Marvel expand its storytelling during the early to mid-1990s, they began to experiment with their series, including Saturday-morning cartoons and various comic collaborations to explore new genres. In 1992, they released the X-Men: The Animated Series which was aired on Fox Kids, they later released a Spider-Man: The Animated Series on the network as well. In 1993, Marvel teamed up with Thomas Nelson to create Christian media genre comics, including a Christian superhero named The Illuminator, they made adaptions of Christian novels too, including In His Steps, The Screwtape Letters, and The Pilgrim's Progress.[69][70] In 1996, Marvel had some of its titles participate in "Heroes Reborn", a crossover that allowed Marvel to relaunch some of its flagship characters such as the Avengers and the Fantastic Four, and outsource them to the studios of two of the former Marvel artists turned Image Comics founders, Jim Lee and Rob Liefeld. The relaunched titles, which saw the characters transported to a parallel universe with a history distinct from the mainstream Marvel Universe, were a solid success amidst a generally struggling industry.[71]
Marvel Enterprises
In 1997, Toy Biz bought Marvel Entertainment Group to end the bankruptcy, forming a new corporation, Marvel Enterprises.[54] With his business partner Avi Arad, publisher Bill Jemas, and editor-in-chief Bob Harras, Toy Biz co-owner Isaac Perlmutter helped stabilize the comics line.[72]
In 1998, the company launched the imprint Marvel Knights, taking place just outside Marvel continuity with better production quality. The imprint was helmed by soon-to-become editor-in-chief Joe Quesada; it featured tough, gritty stories showcasing such characters as the Daredevil,[73] the Inhumans, and Black Panther.[citation needed]
With the new millennium, Marvel Comics emerged from bankruptcy and again began diversifying its offerings. In 2001, Marvel withdrew from the Comics Code Authority and established its own Marvel Rating System for comics. The first title from this era to not have the code was X-Force #119 (October 2001). Marvel also created new imprints, such as MAX (an explicit-content line) and Marvel Adventures (developed for child audiences). The company also created an alternate universe imprint, Ultimate Marvel, that allowed the company to reboot its major titles by revising and updating its characters to introduce to a new generation.[citation needed]
Some of the company's properties were adapted into successful film franchises, such as the Men in Black movie series (which was based on a Malibu book), starting in 1997, the Blade movie series, starting in 1998, the X-Men movie series, starting in 2000, and the highest grossing series, Spider-Man, beginning in 2002.[74]
Marvel's Conan the Barbarian title was canceled in 1993 after 275 issues, while the Savage Sword of Conan magazine had lasted 235 issues. Marvel published additional titles including miniseries until 2000 for a total of 650 issues. Conan was picked up by Dark Horse Comics three years later.[43]
In a cross-promotion, the November 1, 2006, episode of the CBS soap opera The Guiding Light, titled "She's a Marvel", featured the character Harley Davidson Cooper (played by Beth Ehlers) as a superheroine named the Guiding Light.[75] The character's story continued in an eight-page backup feature, "A New Light", that appeared in several Marvel titles published November 1 and 8.[76] Also that year, Marvel created a wiki on its Web site.[77]
In late 2007 the company launched Marvel Digital Comics Unlimited, a digital archive of over 2,500 back issues available for viewing, for a monthly or annual subscription fee.[78] At the December 2007 the New York Anime Fest, the company announcement that Del Rey Manga would published two original English language Marvel manga books featuring the X-Men and Wolverine to hit the stands in spring 2009.[79]
In 2009 Marvel Comics closed its Open Submissions Policy, in which the company had accepted unsolicited samples from aspiring comic book artists, saying the time-consuming review process had produced no suitably professional work.[80] The same year, the company commemorated its 70th anniversary, dating to its inception as Timely Comics, by issuing the one-shot Marvel Mystery Comics 70th Anniversary Special #1 and a variety of other special issues.[81][82]
Disney conglomerate unit (2009–present)
Writers of Marvel titles in the 2010s include (seated left to right) Ed Brubaker, Christos Gage, Matt Fraction, and Brian Michael Bendis.
On August 31, 2009, The Walt Disney Company announced it would acquire Marvel Comics' parent corporation, Marvel Entertainment, for a cash and stock deal worth approximately $4 billion, which if necessary would be adjusted at closing, giving Marvel shareholders $30 and 0.745 Disney shares for each share of Marvel they owned.[83][84] As of 2008, Marvel and its major competitor DC Comics shared over 80% of the American comic-book market.[85]
As of September 2010, Marvel switched its bookstore distribution company from Diamond Book Distributors to Hachette Distribution Services.[86] Marvel moved its office to the Sports Illustrated Building in October 2010.[87]
Marvel relaunched the CrossGen imprint, owned by Disney Publishing Worldwide, in March 2011.[88] Marvel and Disney Publishing began jointly publishing Disney/Pixar Presents magazine that May.[89]
Marvel discontinued its Marvel Adventures imprint in March 2012,[90] and replaced them with a line of two titles connected to the Marvel Universe TV block.[91] Also in March, Marvel announced its Marvel ReEvolution initiative that included Infinite Comics,[92] a line of digital comics, Marvel AR, a software application that provides an augmented reality experience to readers and Marvel NOW!, a relaunch of most of the company's major titles with different creative teams.[93][94] Marvel NOW! also saw the debut of new flagship titles including Uncanny Avengers and All-New X-Men.[95]
In April 2013, Marvel and other Disney conglomerate components began announcing joint projects. With ABC, a Once Upon a Time graphic novel was announced for publication in September.[96] With Disney, Marvel announced in October 2013 that in January 2014 it would release its first title under their joint "Disney Kingdoms" imprint "Seekers of the Weird", a five-issue miniseries.[97] On January 3, 2014, fellow Disney subsidiary Lucasfilm announced that as of 2015, Star Wars comics would once again be published by Marvel.[98]
Following the events of the company-wide crossover "Secret Wars" in 2015, a relaunched Marvel universe began in September 2015, called the All-New, All-Different Marvel.[99]
Marvel Legacy was the company's Fall 2017 relaunch branding, which began that September. Books released as part of that initiative featured lenticular variant covers that required comic book stores to double their regular issue order to be able to order the variants. The owner of two Comix Experience stores complained about requiring retailers to purchase an excess of copies featuring the regular cover, which they would not be able to sell in order to acquire the more sought-after variant. Marvel responded to these complaints by rescinding these ordering requirements on newer series, but maintained it on more long-running titles like Invincible Iron Man. As a result, MyComicShop.com and at least 70 other comic book stores boycotted these variant covers.[100] Despite the release of Guardians of the Galaxy Vol. 2, Logan, Thor: Ragnarok and Spider-Man: Homecoming in theaters, none of those characters' titles featured in the top 10 sales and the Guardians of the Galaxy comic book series was cancelled.[101] Conan Properties International announced on January 12, 2018, that Conan would return to Marvel in early 2019.[43]
On March 1, 2019, Serial Box, a digital book platform, announced a partnership with Marvel, in which they would publish new and original stories tied to a number of Marvel's popular franchises.[102]
In the wake of the COVID-19 pandemic, from March to May 2020, Marvel and its distributor Diamond Comic Distributors stopped producing and releasing new comic books.[103][104][105]
On March 25, 2021, Marvel Comics announced that they planned to shift their direct market distribution for monthly comics and graphic novels from Diamond Comic Distributors to Penguin Random House. The change was scheduled to start on October 1, 2021, in a multi-year partnership. The arrangement would still allow stores the option to order comics from Diamond, but Diamond would be acting as a wholesaler rather than distributor.[1]
Michael Z. Hobson, executive vice president;[106] Marvel Comics Group vice-president (1986)[107]
Stan Lee, chairman and publisher (1986)[107]
Joseph Calamari, executive vice president (1986)[107]
Jim Shooter, vice president and editor-in-chief (1986)[107]
(Abraham Goodman, 1939[6])
Martin Goodman, 1939–1972[41]
(Charles "Chip" Goodman, 1972[41])
Stan Lee, 1972 – October 1996[41][42][106]
Shirrel Rhoades, October 1996 – October 1998[106]
Winston Fowlkes, February 1998 – November 1999[106]
Bill Jemas, February 2000 – 2003[106]
Dan Buckley, 2003[108] — January 2017[109][110]
John Nee, January 2018 — present[109]
Marvel's chief editor originally held the title of "editor". This head editor's title later became "editor-in-chief". Joe Simon was the company's first true chief-editor, with publisher Martin Goodman, who had served as titular editor only and outsourced editorial operations.
In 1994 Marvel briefly abolished the position of editor-in-chief, replacing Tom DeFalco with five group editors-in-chief. As Carl Potts described the 1990s editorial arrangement:
In the early '90s, Marvel had so many titles that there were three Executive Editors, each overseeing approximately one-third of the line. Bob Budiansky was the third Executive Editor [following the previously promoted Mark Gruenwald and Potts]. We all answered to Editor-in-Chief Tom DeFalco and Publisher Mike Hobson. All three Executive Editors decided not to add our names to the already crowded credits on the Marvel titles. Therefore it wasn't easy for readers to tell which titles were produced by which Executive Editor … In late '94, Marvel reorganized into a number of different publishing divisions, each with its own Editor-in-Chief.[111]
Marvel reinstated the overall editor-in-chief position in 1995 with Bob Harras.
Martin Goodman (1939–1940; titular only)[6]
Joe Simon (1939–1941)
Stan Lee (1941–1942)
Vincent Fago (acting editor during Lee's military service) (1942–1945)
Roy Thomas (1972–1974)
Len Wein (1974–1975)
Marv Wolfman (black-and-white magazines 1974–1975, entire line 1975–1976)
Gerry Conway (1976)
Archie Goodwin (1976–1978)
Jim Shooter (1978–1987)
Tom DeFalco (1987–1994)
No overall; separate group editors-in-chief (1994–1995)
Bob Budiansky, Spider-Man Group
Bobbie Chase, Marvel Edge
Mark Gruenwald, Marvel Universe (that is, Avengers & Cosmic)
Bob Harras, X-Men Group
Carl Potts, Marvel Comics (licensed property titles only)[111]
Bob Harras (1995–2000)
Joe Quesada (2000–2011)
Axel Alonso (2011–2017)
C. B. Cebulski (2017–present)[112]
Executive Editors
Originally called associate editor when Marvel's chief editor just carried the title of editor, the title of the second-highest editorial position became executive editor under the chief editor title of editor-in-chief. The title of associate editor later was revived under the editor-in-chief as an editorial position in charge of few titles under the direction of an editor and without an assistant editor.
Jim Shooter, January 5, 1976 – January 2, 1978[113]
Tom DeFalco, 1983-1987
Mark Gruenwald, 1987–1991; Senior Executive Editor: 1991–1995
Carl Potts, Epic Comics Executive Editor, 1989–1995[111]
Bob Budiansky, Special Projects Executive Editor, 1991–1995[111]
Bobbie Chase, 1995–2001
Tom Brevoort, 2007–2011[114]
Axel Alonso, 2010 – January 2011[115]
Martin Goodman (1939–1968)
Parent corporation
Magazine Management Co. (1968–1973)
Cadence Industries (1973–1986)
Marvel Entertainment Group (1986–1998)
Marvel Enterprises, Inc. (1998–2005)
Marvel Entertainment, Inc (2005–2009)
Marvel Entertainment, LLC (2009–present, a wholly owned subsidiary of The Walt Disney Company)
Located in New York City, Marvel has had successive headquarters:
in the McGraw-Hill Building,[6] where it originated as Timely Comics in 1939[116]
in suite 1401 of the Empire State Building[116]
at 635 Madison Avenue (the actual location, though the comic books' indicia listed the parent publishing-company's address of 625 Madison Ave.)[116]
575 Madison Avenue;[116]
387 Park Avenue South[116]
10 East 40th Street[116]
417 Fifth Avenue[116]
a 60,000-square-foot (5,600 m2) space in the Sports Illustrated Building at 135 W. 50th Street (October 2010—[87][117] present)
The Marvel Super Heroes 1966 Grantray-Lawrence Animation / Marvel Comics Group Krantz Films ABC 65
Fantastic Four 1967–68 Hanna-Barbera Productions / Marvel Comics Group Taft Broadcasting 20
Spider-Man 1967–70 Grantray-Lawrence Animation / Krantz Films / Marvel Comics Group 52
The New Fantastic Four 1978 DePatie-Freleng Enterprises / Marvel Comics Animation Marvel Entertainment NBC 13
Fred and Barney Meet the Thing 1979 Hanna-Barbera Productions / Marvel Comics Group Taft Broadcasting 13 (26 segments of The Thing)
Spider-Woman 1979–80 DePatie-Freleng Enterprises / Marvel Comics Animation Marvel Entertainment ABC 16
In 2017, Marvel held a 38.30% share of the comics market, compared to its competitor DC Comics' 33.93%.[118] By comparison, the companies respectively held 33.50% and 30.33% shares in 2013, and 40.81% and 29.94% shares in 2008.[119]
Marvel characters in other media
Marvel characters and stories have been adapted to many other media. Some of these adaptations were produced by Marvel Comics and its sister company, Marvel Studios, while others were produced by companies licensing Marvel material.
In June 1993, Marvel issued its collectable caps for milk caps game under the Hero Caps brand.[120] In 2014, the Marvel Disk Wars: The Avengers Japanese TV series was launched together with a collectible game called Bachicombat, a game similar to the milk caps game, by Bandai.[121]
The RPG industry brought the development of the collectible card game (CCG) in the early 1990s which there were soon Marvel characters were featured in CCG of their own starting in 1995 with Fleer's OverPower (1995–1999). Later collectible card game were:
Marvel Superstars (2010–?) Upper Deck Company
ReCharge Collectible Card Game (2001–? ) Marvel
Vs. System (2004–2009, 2014–) Upper Deck Company
X-Men Trading Card Game (2000–?) Wizards of the Coast
Marvel Champions: The Card Game (2019—present) Fantasy Flight Games, a Living Card Game[122]
Marvel Crisis Protocol (Fall 2019—) Atomic Mass Games[123]
HeroClix, WizKids
TSR published the pen-and-paper role-playing game Marvel Super Heroes in 1984. TSR then released in 1998 the Marvel Super Heroes Adventure Game which used a different system, the card-based SAGA system, than their first game. In 2003 Marvel Publishing published its own role-playing game, the Marvel Universe Roleplaying Game, that used a diceless stone pool system.[124] In August 2011 Margaret Weis Productions announced it was developing a tabletop role-playing game based on the Marvel universe, set for release in February 2012 using its house Cortex Plus RPG system.[125]
Video games based on Marvel characters go back to 1984 and the Atari game, Spider-Man. Since then several dozen video games have been released and all have been produces by outside licensees. In 2014, Disney Infinity 2.0: Marvel Super Heroes was released that brought Marvel characters to the existing Disney sandbox video game.
As of the start of September 2015, films based on Marvel's properties represent the highest-grossing U.S. franchise, having grossed over $7.7 billion [126] as part of a worldwide gross of over $18 billion. As of May 2019 the Marvel Cinematic Universe (MCU) has grossed over $22 billion.
Spider-Man's Wedding (1987)
Spider-Man On Stage (1999)
Spider-Man Stunt Show: A Stunt Spectacular (2002-2004)
Spider-Man Live! (2002–2003)
The Marvel Experience (2014–)
Marvel Universe Live! (2014–) live arena show
Spider-Man: Turn Off the Dark (2011–2014) a Broadway musical
Prose novels
Marvel first licensed two prose novels to Bantam Books, who printed The Avengers Battle the Earth Wrecker by Otto Binder (1967) and Captain America: The Great Gold Steal by Ted White (1968). Various publishers took up the licenses from 1978 to 2002. Also, with the various licensed films being released beginning in 1997, various publishers put out movie novelizations.[127] In 2003, following publication of the prose young adult novel Mary Jane, starring Mary Jane Watson from the Spider-Man mythos, Marvel announced the formation of the publishing imprint Marvel Press.[128] However, Marvel moved back to licensing with Pocket Books from 2005 to 2008.[127] With few books issued under the imprint, Marvel and Disney Books Group relaunched Marvel Press in 2011 with the Marvel Origin Storybooks line.[129]
Television programs
Many television series, both live-action and animated, have based their productions on Marvel Comics characters. These include series for popular characters such as Spider-Man, Iron Man, the Hulk, the Avengers, the X-Men, Fantastic Four, the Guardians of the Galaxy, Daredevil, Jessica Jones, Luke Cage, Iron Fist, the Punisher, the Defenders, S.H.I.E.L.D., Agent Carter, Deadpool, Legion, and others. Additionally, a handful of television movies, usually also pilots, based on Marvel Comics characters have been made.
Marvel has licensed its characters for theme parks and attractions, including Marvel Super Hero Island at Universal Orlando's Islands of Adventure[130] in Orlando, Florida, which includes rides based on their iconic characters and costumed performers, as well as The Amazing Adventures of Spider-Man ride cloned from Islands of Adventure to Universal Studios Japan.[131]
Years after Disney purchased Marvel in late 2009, Walt Disney Parks and Resorts plans on creating original Marvel attractions at their theme parks,[132][133] with Hong Kong Disneyland becoming the first Disney theme park to feature a Marvel attraction.[134][135] Due to the licensing agreement with Universal Studios, signed prior to Disney's purchase of Marvel, Walt Disney World and Tokyo Disney Resort are barred from having Marvel characters in their parks.[136] However, this only includes characters that Universal is currently using, other characters in their "families" (X-Men, Avengers, Fantastic Four, etc.), and the villains associated with said characters.[130] This clause has allowed Walt Disney World to have meet and greets, merchandise, attractions and more with other Marvel characters not associated with the characters at Islands of Adventures, such as Star-Lord and Gamora from Guardians of the Galaxy.[137][138]
Marvel Press, joint imprint with Disney Books Group
Icon Comics (creator owned)
Infinite Comics
Timely Comics
Disney Kingdoms
Marvel Worldwide with Disney announced in October 2013 that in January 2014 it would release its first comic book title under their joint Disney Kingdoms imprint Seekers of the Weird, a five-issue miniseries inspired by a never built Disneyland attraction Museum of the Weird.[97] Marvel's Disney Kingdoms imprint has since released comic adaptations of Big Thunder Mountain Railroad,[139] Walt Disney's Enchanted Tiki Room,[140] The Haunted Mansion,[141] two series on Figment[142][143] based on Journey Into Imagination.
Amalgam Comics
CrossGen
Curtis Magazines/Marvel Magazine Group
Marvel Monsters Group
Epic Comics (creator owned) (1982–2004)
Malibu Comics (1994–1997)
Marvel 2099 (1992–1998)
Marvel Absurd
Marvel Age/Adventures
Marvel Books
Marvel Illustrated
Marvel Mangaverse
Marvel Music
Marvel Next
Marvel Noir
Marvel UK
Marvel Frontier
New Universe
Paramount Comics (co-owned with Viacom's Paramount Pictures)
Razorline
Ultimate Comics
List of comics characters which originated in other media
List of magazines released by Marvel Comics in the 1970s
^ Apocryphal legend has it that in 1961, either Jack Liebowitz or Irwin Donenfeld of DC Comics (then known as National Periodical Publications) bragged about DC's success with the Justice League (which had debuted in The Brave and the Bold #28 [February 1960] before going on to its own title) to publisher Martin Goodman (whose holdings included the nascent Marvel Comics) during a game of golf. However, film producer and comics historian Michael Uslan partly debunked the story in a letter published in Alter Ego #43 (December 2004), pp. 43–44
Irwin said he never played golf with Goodman, so the story is untrue. I heard this story more than a couple of times while sitting in the lunchroom at DC's 909 Third Avenue and 75 Rockefeller Plaza office as Sol Harrison and [production chief] Jack Adler were schmoozing with some of us … who worked for DC during our college summers.... [T]he way I heard the story from Sol was that Goodman was playing with one of the heads of Independent News, not DC Comics (though DC owned Independent News). … As the distributor of DC Comics, this man certainly knew all the sales figures and was in the best position to tell this tidbit to Goodman. … Of course, Goodman would want to be playing golf with this fellow and be in his good graces. … Sol worked closely with Independent News' top management over the decades and would have gotten this story straight from the horse's mouth.
Goodman, a publishing trend-follower aware of the JLA's strong sales, confirmably directed his comics editor, Stan Lee, to create a comic-book series about a team of superheroes. According to Lee in Origins of Marvel Comics (Simon and Schuster/Fireside Books, 1974), p. 16: "Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. … ' If the Justice League is selling ', spoke he, 'why don't we put out a comic book that features a team of superheroes?'"
^ a b Schedeen, Jesse (March 25, 2021). "Marvel Comics Shifts to New Distributor in Industry-Rattling Move - IGN". IGN. Retrieved March 25, 2021.
^ "Hachette - Our Clients". Archived from the original on September 11, 2017. Retrieved September 17, 2017.
^ a b c Daniels, Les (1991). Marvel: Five Fabulous Decades of the World's Greatest Comics. New York: Harry N. Abrams. pp. 27 & 32–33. ISBN 0-8109-3821-9. Timely Publications became the name under which Goodman first published a comic book line. He eventually created a number of companies to publish comics ... but Timely was the name by which Goodman's Golden Age comics were known... Marvel wasn't always Marvel; in the early 1940s the company was known as Timely Comics, and some covers bore this shield.
^ Sanderson, Peter (November 20, 2007). The Marvel Comics Guide to New York City. Gallery Books.
^ a b c Postal indicia in issue, per Marvel Comics #1 [1st printing] (October 1939) Archived November 3, 2014, at the Wayback Machine at the Grand Comics Database: "Vol.1, No.1, MARVEL COMICS, Oct, 1939 Published monthly by Timely Publications, ... Art and editorial by Funnies Incorporated..."
^ a b c d e Per statement of ownership, dated October 2, 1939, published in Marvel Mystery Comics #4 (Feb. 1940), p. 40; reprinted in Marvel Masterworks: Golden Age Marvel Comics Volume 1 (Marvel Comics, 2004, ISBN 0-7851-1609-5), p. 239
^ Bell, Blake; Vassallo, Michael J. (2013). The Secret History of Marvel Comics: Jack Kirby and the Moonlighting Artists at Martin Goodman's Empire. Fantagraphics Books. p. 299. ISBN 978-1-60699-552-5.
^ Writer-artist Bill Everett's Sub-Mariner had actually been created for an undistributed movie-theater giveaway comic, Motion Picture Funnies Weekly earlier that year, with the previously unseen, eight-page original story expanded by four pages for Marvel Comics #1.
^ a b Per researcher Keif Fromm, Alter Ego #49, p. 4 (caption), Marvel Comics #1, cover-dated October 1939, quickly sold out 80,000 copies, prompting Goodman to produce a second printing, cover-dated November 1939. The latter appears identical except for a black bar over the October date in the inside front-cover indicia, and the November date added at the end. That sold approximately 800,000 copies—a large figure in the market of that time. Also per Fromm, the first issue of Captain America Comics sold nearly one million copies.
^ Goulart, Ron (2000). Comic book culture: an illustrated history. Collectors Press, Inc. p. 173. ISBN 978-1-888054-38-5. . Preceding Captain America were MLJ Comics' the Shield and Fawcett Comics' Minute-Man.
^ "Marvel : Timely Publications (Indicia Publisher)" Archived January 28, 2012, at the Wayback Machine at the Grand Comics Database. "This is the original business name under which Martin Goodman began publishing comics in 1939. It was used on all issues up to and including those cover-dated March 1941 or Winter 1940–1941, spanning the period from Marvel Comics #1 to Captain America Comics #1. It was replaced by Timely Comics, Inc. starting with all issues cover-dated April 1941 or Spring 1941."
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^ Holochwost, George (August 5, 2011). "Gen Con: New Marvel Comics RPG Games Announced by Margaret Weis Productions". MTV.com. Archived from the original on September 28, 2011. Retrieved September 28, 2011.
^ "Franchise Index". Box Office Mojo. Archived from the original on February 1, 2016. Retrieved May 29, 2013.
^ a b DeCandido, Keith R.A. "Marvel Comics in Prose: An Unofficial Guide". SFF.net. Archived from the original on August 6, 2011. Retrieved October 4, 2011.
^ Weiland, Jonah (May 26, 2004). "Marvel Announces Creation of New Prose Imprint, Marvel Press". Comic Book Resources. Archived from the original on August 19, 2014. Retrieved August 24, 2011.
^ Alverson, Brigid (July 15, 2011). "SDCC '11 | Disney to unveil Marvel Press imprint at San Diego". Comic Book Resources. Archived from the original on August 18, 2011. Retrieved September 28, 2011.
^ a b "Marvel Agreement between MCA Inc. and Marvel Entertainment Group". sec.gov. U.S. Securities and Exchange Commission. Archived from the original on March 23, 2016. Retrieved September 4, 2017.
^ "Universal's Islands of Adventures: Marvel Super Hero Island (official site)". Archived from the original on June 20, 2009.
^ Dawn C. Chmielewski (March 14, 2012). "Walt Disney plans to deploy Marvel superheroes at its theme parks". The Los Angeles Times. Archived from the original on November 7, 2012. Retrieved April 4, 2012.
^ "Disney Parks Might Soon Add Marvel Characters". Huffington Post. March 20, 2012. Archived from the original on March 23, 2012. Retrieved April 4, 2012.
^ Chu, Karen (October 8, 2013). "Hong Kong Disneyland to Open 'Iron Man' Experience in 2016". The Hollywood Reporter. Archived from the original on March 28, 2014. Retrieved October 8, 2013.
^ John Tsang (February 27, 2013). "The 2013–14 Budget – Promoting Tourism Industry". Hong Kong Government. Archived from the original on January 17, 2016. Retrieved October 12, 2013.
^ Munarriz, Rick (October 18, 2015). "Disney is Taking Too Long to Add Marvel to Disneyland and Disney World". The Motley Fool. Archived from the original on January 21, 2016. Retrieved January 17, 2016.
^ "Guardians of the Galaxy theme park characters appear for first time as Walt Disney World welcomes Marvel". Inside the Magic. August 24, 2014. Archived from the original on January 29, 2016. Retrieved January 29, 2016.
^ "Exclusive 'Guardians of the Galaxy' Sneak Peek Debuts July 4 at Disney Parks". Disney Parks Blog. Archived from the original on January 29, 2016. Retrieved January 29, 2016.
^ Lee, Banks (November 16, 2014). "Big Thunder Mountain Railroad to become next Disney Kingdoms Marvel comic". Attractions Magazine. Retrieved March 10, 2020.
^ "First look at Disney Kingdoms' new Enchanted Tiki Room comic book". Attractions Magazine. September 12, 2016. Archived from the original on November 9, 2016. Retrieved March 10, 2020.
^ Lee, Banks (February 26, 2016). "Preview of Marvel's Haunted Mansion #1 comic". Attractions Magazine. Retrieved March 10, 2020.
^ Lovett, Jamie (September 6, 2017). "Disney Kingdoms' Figment #1 Preview: Spark Your Imagination". Comicbook.com. Archived from the original on July 11, 2014. Retrieved March 10, 2020.
^ Lee, Banks (June 28, 2015). "Dreamfinder and Figment return in sequel to Marvel comic book series". Attractions Magazine. Archived from the original on April 3, 2016. Retrieved March 10, 2020.
George, Milo (2001). Jack Kirby: The TCJ Interviews. Fantagraphics Books. ISBN 1-56097-434-6.
Howe, Sean (2012). Marvel Comics: the Untold Story. HarperCollins. ISBN 978-0-06-199210-0.
Jones, Gerard (2004). Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book. Basic Books. ISBN 0-465-03657-0.
Lupoff, Dick; Thompson, Don (1997). All in Color for a Dime. Krause Publications. ISBN 0-87341-498-5.
Steranko, James (1971). The Steranko History of Comics. Vol. 1. ISBN 0-517-50188-0.
Wikimedia Commons has media related to Marvel Comics.
Wikiquote has quotations related to Marvel Comics.
Vassallo, Michael J. (2005). "A Timely Talk with Allen Bellman". Comicartville.com. p. 2. Archived from the original on January 17, 2010. .
Complete Marvel Reading Order from Travis Starnes
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Oh Brian!! This made me all teary! What a wonderful and AMAZING event that you did. WOW. I am blown away with the special way that you have helped those families document and preserve something so special to them. I am also very happy that you had a picture of the man made waterfall without you guys in it.
Awesome awesome event and thank you for sharing it on your blog too. It was wonderful to read and will share this with my team and customers too. I know they are going to love it.
Fantastic event Brian. Those families and especially the kids, will now have something tangible to take with them wherever they go in life. What a special day to be a part of!!
What a wonderful, joyous, and kind event that you put together. You're so kind and generous, not to mention, an awesome artist. Thank you for sharing your story and inspiring us with different ways of giving back to our communities.
What a wonderful opportunity to share !! Very inspiring. Thanks for sharing.
Fantastic! As a foster and adoptive parent, creating a Life Book with a child in care is not only fun but is a connection built with a special soul. Thanks for sharing this story, Brian. Removing the stigma from foster care will happen with caring people like you helping things along. Well done!
What a great event….thanks for sharing the story and photos. Heartwarming!!
What a wonderful day for all involved! So many happy memories will be kept and treasured. Your heart has to be full after sharing your love and talents that day!
AMAZING POST and I am sure that your JOY TANK was FULL. The feeling inside is just indescribable when you make a difference to others. I am sure that you and your team had a fabulous day and that the people that attended had the BEST TIME OF THEIR LIVES….
You ROCK my friend….a super fun day that will be cherished by many!
Wonderful, Brian. This will touch so many lives and make them so the richer.
What a wonderful event. My Dad was adopted and that always was special to me. I adopted my youngest child and I have always felt so blessed to have her join our family. It has been a very memorable journey.
I am always excited to see your emails. You do such beautiful work and most of your samples I have flagged. However, this story exemplifies what a great heart you have and such compassion for people. You go above and beyond as a Stampin Up demonstrator. May God continue to bless you as you have others.
Brian, you are the best! I am sure that is a day that the kids and adults will long remember.
Brian I always enjoy reading your daily blog and so often getting my daily dose of laughter. Today's was so very heartfelt, what a beautiful gift this event was, and I enjoyed every word and pic of you capturing this exciting day. The Georgia DFCS struck gold when they found your blog. Kudos to you Brian King!
LOVE ! Loved seeing all the pictures and your telling us all the details !
I have two adopted GKs so I know how special all of this is !!
What a wonderful thing to do! I'm sure the families appreciated the opportunity to document their time together. And the kids will have something to show that their childhood existed!
What a special person you are! Such an inspiring story.
I love this story especially the goo goo, water and thank-you card for the UPS guy. We do a goo goo search each year for our Halloween treats. You touch a lot of lives my friend. Very proud of all the good you do!
Much love to you Brian for making it happen!
What an amazing story Brian. So glad you were able to participate!
Thank you for sharing this event! You and your team did an awesome job! Making a memory book about this will be easy with all these great pictures!
Blessings to you, Brian ! What an inspiring story! I am sure you made a difference in many lives that day and that is what it is all about ! This story does my heart much good !! And you even reached out to the wonderful UPS driver !!!! Thank you for sharing this !
Wow! Just wow! What an incredible day that must have been!
Beautifully done Brian & team!!!! What a wonderful idea.
Oh my goodness!! I am blown away! What a wonderful event!! You continue to be a blessing to SO many! Your team and even the UPS guy were clearly happy to be a part of it all! Well done!! You are my hero!!
This was an amazing project and you are so awesome for taking charge and making it such a big success. Thank you for all you do in sharing your love of all things creative.
What a wonderful awesome day! Thanks for sharing ?
Words can't express how much I love this recap and what that event must have meant to all those families! Amazing!
Oh Brian, this was wonderful!!!!! Lots of happy tears filled my eyes!!! (((HUGS))) and SMILES to you!
I am overjoyed that the event went so well. Doing something for others can be so rewarding. You all helped this group not only document memories, but also make some new ones as I'm sure they'll always remember this event as will you.
What an amazing person you are. I am sure you made a big impression on the families . You made their day a day filled with lots of HAPPY.
What a great event! Thank you for sharing the story. You and your team made a difference in each of these lives and one they will never forget.
What an amazing event. That took a lot of thought and effort. I'm impressed. I loved seeing all the smiles on your faces!
Awesome. You and your team are amazing.
Great story, Brian. Your generous, giving, loving spirit is so inspiring. You and your team did an amazing job to make a very memorable day for this group of wonderful people. Enjoy your day!
This was such an inspiring story! Thank you for sharing!
Brian, you (and your team) exemplify all that is right in the world. What a great story, what a great post, what a great purpose. Thanks for giving us a glimpse in to this heartwarming and meaningful day.
Congratulations on a wildly successful, happy, cherished event!! Thank you for sharing it with us. The people attending may not remember you or your team in a few years, but they will remember making their books and sharing a wonderful fun filled day! It really doesn't get ANY better then that!
What an amazing and wonderful event! The results of this outing will be treasured by all in attendance for many years to come! So proud and happy that Rhonda found you and your fellow" Stampin'Uppers" to make this a memorable event! Love you, "my brother" and all who participated!
What a beautiful story and such a nice way to touch lives with some important people -cjildren. Nicely done Brian!
Just beautiful! What a wonderful thing to do! Look at those happy faces. Oh my gosh! Makes the heart smile!
With everything going on in the world it's so nice to hear such a heart warming story. You touched so many lives in such a happy positive way.
Such an awesome service project. You and your team rocked it. Small things bring such big rewards.
Thank you Brian. You have the biggest heart.
This makes my heart happy! Great job one and all!


text:
Sneaker culture
Zeb Berg ('17) is part of a growing movement that has taken the U.K. by storm: Sneaker culture. Berg believes that being a part of the sneaker movement is "[to have]a common interest in sneakers. It's not just owning a couple pairs of sneakers, but also knowing the history, understanding the purpose, and recognizing different styles and models."
Being a part of sneaker culture can mean that you compliment people's sneakers as they walk through the hallway, or it can mean developing friendships through a mutual passion for sneakers.
Khari Brandes ('16) believes that sneakers are "as much a part of the identity of the students as any other culture that is represented."
"I think there is a really strong relationship with the fashion culture of ASL, as in general the people who buy into sneaker culture, such as myself, are doing so to complement their wider clothing styles," Brandes said.
Sneaker culture has become a well-defined movement across the United States with people camping outside shoe stores for days before releases. People even resort to violence, with numerous muggings and killings revolving around sneakers.
However, the movement is making its way overseas slowly but surely. Now, sneaker-based Facebook groups have been created in the U.K., containing tens of thousands of members.
A large aspect of buying and selling shoes is sneaker events. These events are large conventions where thousands of people attend. People can set up a table and buy or sell shoes, or just talk with fellow sneaker aficionados. At these events, sneakers are often available for purchase at inflated prices.
Antonio Pineda ('17), a sneaker collector, believes the reason behind the sneaker's sky-high prices is its limited quantity and its celebrity endorsers. "With some sneakers being released in limited quantities along with celebrities such as Kevin Durant and Kanye West endorsing these shoes, people want to buy them and they are willing to pay for them."
London's most well-known event is Crepe City whereas events known as SneakerCons are held across the United States, bringing together buyers and sellers as well as collectors.
Justin Hoyt ('18) recently went to SneakerCon in New York City. At the convention, Hoyt sold 10 shoes and made over $2,000. He described the atmosphere at the convention as "spectacular" due to the wide array of shoes available and the different personalities represented.
Sneaker events can not only encourage buying and selling, but also can get people interested through their unique experience.
Danyal Mahmood ('15) was first introduced to the culture because of a sneaker event. "When I was in [Grade 10] I went to a sneaker event called Crepe City and that's how I got intrigued by the concept [of sneakers collecting]."
For Hoyt, sneakers play a significant role in his life, whether buying, selling or collecting. Hoyt started collecting sneakers at the mere age of 13.
Hoyt, though, does not believe the sneaker culture at school is that strong. Instead, Hoyt believes there is a direct correlation between sneakers and basketball and believes that is why sneakers are more popular in the United States.
Magnus Allan ('17), another sneaker collector, believes that his passion is driven by his music taste, primarily hip-hop, where his favorite artists have their own collections.
Hoyt cites rapper Wale, who owns over 1,000 sneakers, as one of his initial reasons for getting into sneaker collecting.
Sneaker trends vary from city to city. Brandes believes that his taste has changed since he has moved to London. "Living in suburban California, I was mainly interested in skating shoes like Etnies, Vans, and even Converse. Then, when I moved to London, I became more interested in urban shoes by Nike and Adidas because this is more or less what people around me were wearing."
Berg's interest in sneakers developed because of his mother. "When I was little I really wanted a new pair of basketball shoes but my mother said they were too expensive, so she told me to go look for a better deal online," Brandes said. "I went on the computer and started looking at all types of shoes, expensive and cheap, which then sparked my interest."
Berg has been into sneakers for five years and considers himself a casual collector. However, Berg has done some selling of his own, selling a pair of Nike Yeezy Red October 2's for $3,000, which retailed at $245. Berg bought the pair of shoes from a link he saw on Twitter; a common approach for many sneaker enthusiasts.
Much like Berg, Brandes got into sneakers through his mother. "My mom bought my first pair of Jordan's, for when I used to play peewee basketball, when I was quite young, I think around five. I can't even remember them that well and didn't understand the significance of the brand. After that, around the ages of six and seven, is when I started to pick out my own shoes."
Sneaker culture has different identities, and can appear in different ways but it is a growing phenom not only in the U.K. but in ASL as well.
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redpajama_set_name: RedPajamaCommonCrawl


Administration Method: Crushed parsley for infusions and other natural preparations.
Health Warning: Avoid use during Pregnancy or with inflammatory kidney conditions. Parsley may cause High Blood Pressure if taken in large doses - consult with your doctor.
Parsley and Mint - Herbal remedy for Sore Throat: Tear some parsley or mint leaves and infuse in a cup of boiling water for two minutes. Add a pinch of salt and gargle as needed.


text:
Main › War › More than 100 suspicions of treason were filed in Kharkiv region
More than 100 suspicions of treason were filed in Kharkiv region
The head of the Kharkiv Military Administration, Oleg Sinegubov, said that more than 100 suspicions of treason have already been filed in the region.
Oleg Synegubov became the head of the Kharkiv Regional State Administration at the end of December 2021, when everyone already knew for sure about the future aggravation of the military situation. Under his leadership, the region endured the most difficult first weeks despite its direct border with the Russian Federation and ultimately remained mainly under the control of the Defense Forces of Ukraine.
"We have now filed more than 100 suspicions on the territory of the Kharkiv region. Some in person that is, directly handed over by the prosecutor's office, the National Police, the Security Service of Ukraine, suspicions. And people were detained, including Russian servicemen. There are people who have been informed of this suspicion in absentia," Sinegubov said in an interview with Dumka.
He noted that the situation requires a serious approach.
The head of the Kharkiv Military Administration, Oleg Sinegubov
Photo: Dumka
"For example, that same Kupyansk community and its head tells us that somewhere, probably, we have not done enough in this direction either," says the head of the Military Administration.
According to him, partly, these suspicions in absentia will develop into full-time ones, when the Armed Forces of Ukraine will de-occupy the territories.
Tags: Kharkov
Kadyrov demanded a change in strategy in Ukraine after Russia "surrendered cities" in the Kharkiv region
Oleg Zhdanov: how to force Russia to capitulate


text:
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    smdb::Uri smdb::Parse(std::basic_string<char> uri) {

        typedef std::string::iterator Iterator;
        namespace  qi = boost::spirit::qi;
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        typedef qi::rule<Iterator, std::pair<std::string, std::string>()> PairArgRule;
        typedef qi::rule<Iterator, std::map<std::string, std::string>()> MapArgRule;
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        StringArgRule scheme = *qi::alnum >> "://";
        StringArgRule host = qi::alnum >> *(qi::alnum | qi::char_("."));
        StringArgRule path = qi::char_('/') >> *(qi::alnum | qi::char_("/."));
        StringArgRule queryParamName = *qi::alnum;
        StringArgRule queryParamValue = *(qi::alnum | qi::char_('%'));

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        MapArgRule query = qi::lit('?') >> (queryPair % '&');

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        Uri result;

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        return result;
    }

redpajama_set_name: RedPajamaGithub


text:
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'I have people telling me I should end my life': Love Island and Farmer Wants a Wife stars call out online bullies
20 September 2020 | Hannah Sparks
Justine Adams and Neil Seaman of Farmer Wants a Wife 2020 and Grant Crapp of Love Island 2018. Photos: Supplied.
Two years on from his appearance on Love Island and Canberra electrician Grant Crapp still receives death threats on Instagram.
"To this day, I have people telling me I should end my life for what I've done to women, that I shouldn't be breathing," he told Region Media.
"I had one yesterday that said they wished they could drag me behind their car."
The reality television star came under fire from viewers and the media when his relationship with Love Island's Tayla Damir ended and he announced he was back with former girlfriend Lucy Cartwright.
"I think people got stuck on the fantasy of myself and Tayla on TV, people wanted to see that bloom and blossom after, but we're all real people and sometimes things don't work," Mr Crapp said.
He and Ms Cartwright are still together and are facing the online bullies together.
READ MORE Farmer Wants a Wife: Snowy Mountains farmer's second chance at love in 2021 season
"When it happens, I talk to Lucy and we try and laugh it off because if [the online bullies are] wasting their time of day worrying about what I'm doing and to say terrible things, there's obviously something not going right in their life," Mr Crapp said.
However, some comments aren't as easy to shake off, particularly those from close friends.
"The saddest thing was I saw a lot of people in my home town knock me for putting myself out there and having a go. People would say, he's a piece of sh*t, his last name suits him well, I knew him when I was younger and he was a d*ckhead," Mr Crapp said.
"It was shocking. They were people I really trusted, blokes I played footy with and worked with. Seeing those comments really hurt me."
The online bullies also got to Crookwell farmer Neil Seaman and girlfriend Justine Adams from the 2020 season of Farmer Wants a Wife.
READ ALSO Farmer Wants a Wife: Border closes on love for Neil and Justine
Viewers called Ms Adams a "tantrum chucker", "ball buster" and told farmer Neil "to run" after an episode showed her annoyed at him for kissing contestant Karissa Godfrey.
"I was angry at Neil that night but only for about 20 minutes. Instead, I was portrayed as cranky for the whole episode," Ms Adams told Region Media.
"The thing you have to remember is, we shot about 70 hours of footage per week, per farm and only about 20 minutes per farm makes it to air, so they [the producers and viewers] can paint any picture they want," Mr Seaman said.
The couple says they hit it off early on and could have been "a great love story" if the producers had captured it.
Online bullies also told Ms Adams she was a bad mother and looked like a man.
"People can comment but I wish they'd comment on the circumstances and not on my physical appearance or how I am as a mother," she said.
Ms Adams says the producers of reality TV shows need to be more accountable for online bullying and should be moderating comments.
"I thought I was strong but it really got to me. I felt physically sick when the episodes were airing," she said.
"There was so much duty of care on the farm: we couldn't sit on the quad bike, on the back of the ute or do any farming activity but where was the duty of care for the girls' mental health once the show went to air? We had a psychologist, but he wasn't very helpful and there were no moderators, nothing in place for the comments on the website."
Ms Adams said Channel Seven did censor some words and removed comments after she took photos of them and sent them to the producers.
READ ALSO Canberra woman denied the chance to say goodbye to her dying mother
Behind the comments are real people with real feelings – that's what these reality TV stars wished the people posting the comments knew.
"There have been times when I've felt depressed and I'm usually a happy person. Seeing those comments over and over again takes its toll and makes you question if you've done something wrong.
"You can't look away, even though you know they're saying bad things," Ms Adams said. "I started replying to the ones on Facebook but then I would be bombarded with people saying, why did you go on a reality TV show then? You're fighting a losing battle."
If you or someone you know has been affected by this story, support is available through Lifeline Australia on 13 11 14.
Lisa Norrie12:19 pm 23 Sep 20
Small minded people with sfa to do maybe take up a hobby get a full time job focus on your family there's millions of things trolls should be doing rather then trolling worrying about what everyone is doing especially when they don't know them it's just pathetic the mentality of people especially so called bloody adults !!!!!!! My little dashy has more brains then majority of these so called humans…….
Toni Higgins9:19 pm 22 Sep 20
Shame facebook cant b used for good only instead people like to b nasty and put people down all the time.wonder if they would b so mouthy face to face.forget about the haters and enjoy your time together
John Moulis5:18 am 21 Sep 20
I've been the victim of several Internet pile-ons. I have a way of dealing with them. As soon as it starts, stop reading the comments and don't go to the sites. After a week or so they would have got it out of their system, and when they see that the subject of their vituperation isn't responding they soon lose interest.
I was driven out of the workforce by bullies submitting complaints to bosses. I hated having to sit down and write reports defending myself knowing that the bosses would just ignore it and find in favour of the complainant. I sure as hell won't tolerate this BS from keyboard warriors who – in most cases – I don't even know.
Meredith Bognar3:21 am 21 Sep 20
I concurr
Margie Cummins12:32 am 21 Sep 20
I had to move house, get myself a new phone number & involve the police. Ain't pretty.
Paul Leins12:21 pm 20 Sep 20
Online bullies are pathetic, but honestly, when you're deciding to humiliate yourself on the public stage via reality TV, you've kinda bought and paid for your ticket yourself.
Avril Pounds11:16 am 20 Sep 20
Justine was never my favourite on Farmer Wants a Wife, but I wish her and Neil all the best. Sad that people feel the need to bully others for any reason.
Margaret Welsh9:34 am 20 Sep 20
What despicable behaviour. I won't watch these shows, but I don't think that the people on them should be trolled. Perhaps some accountability needs to be made possible for trolling.
Farmer Wants a Wife: what can we learn from Andrew and Jess's journey?
28 July 2021 | By Hannah Sparks


text:
Alexandra Sokolova
By CaroleP_SWinGleader13 March 2020March 18th, 2020No Comments
Let us introduce you to Alexandra Sokolova
Alexandra grew up in Moscow, Russia. She has otherwise had a very international education and life making her the insightful and open-minded person she is.
She is currently studying for her Masters degree in Sport Ethics and Integrity (MAiSI) that makes her one of a few professionals equipped for ethical governance and integrity management. Alexandra has 13 years' experience in the sport sector as an athlete and a professional.
Alexandra is passionate about fighting for the ethical practice of sport and, via her studies, is equipping herself to change trends within sport. Her aim is to give people the opportunity to play fair, compete clean and promote human dignity. She is currently working on a project dedicated to good governance in the anti-doping sector.
Alexandra's father was himself a semi-professional football player, and her mother a career-woman and important role model for Alexandra growing up. Alexandra has in turn demonstrated the strength that comes with being ambitious, fearless and career focused that inspired her to go beyond what her home country had to offer. So far, she has lived in 6 different countries across the globe. She has received numerous international scholarships and awards that recognize her potential.
Growing up, Alexandra initially practiced sport for health reasons, but moved from speed skating to athletics in order to build a path that allowed her to pursue her education and sport simultaneously. Alexandra went through the NCAA system and competed for Lamar University Cardinals (USA) in cross country and 800m where she set multiple school records. Apart from athletic success, she learned the importance of team spirit that makes an individual sport like athletics a true team effort – the motto she translates into her work.
Alexandra Sokolova is undoubtedly smart and driven and has harnessed the opportunity of sport to open doors rather than direct her life. Through SWinG, Alexandra has set out to develop her leadership and decision-making skills. She is readying herself to help combat some of the most serious challenges facing international sport today.
For SWinG, Alexandra is being mentored by Sophie Carole René Worms, from Cabinet René Worms, France.
Adressing some of the most serious challenges facing international sport
Alexandra's strenghts
Leadership and team-leading skills
Research report drafting
Intercultural communication and PR abilities
Alexandra competing in the 800m at the Tübingen Soundtrack 2018 European Athletics Meeting
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