Marvel Silver Age

Silver Surfer V1 (1968)

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The Silver Surfer debuted as an unplanned addition to Fantastic Four #48 (March 1966). The comic’s writer-editor, Stan Lee, and its penciller and co-plotter, Jack Kirby, had by the mid-1960s developed a collaborative technique known as the “Marvel Method“: the two would discuss story ideas, Kirby would work from a brief synopsis to draw the individual scenes and plot details, and Lee would finally add the dialog and captions. When Kirby turned in his pencil art for the story, he included a new character he and Lee had not discussed. As Lee recalled in 1995, “There, in the middle of the story we had so carefully worked out, was a nut on some sort of flying surfboard”. He later expanded on this, recalling, “I thought, ‘Jack, this time you’ve gone too far'”. Kirby explained that the story’s agreed-upon antagonist, a god-like cosmic predator of planets named Galactus, should have some sort of herald, and that he created the surfboard “because I’m tired of drawing spaceships!” Taken by the noble features of the new character, who turned on his master to help defend Earth, Lee overcame his initial skepticism and began adding characterization. The Silver Surfer soon became a key part of the unfolding story.

Amazing Spider-Man (Silver Age)

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Due to strong sales on the character’s first appearance in Amazing Fantasy #15, Spider-Man was given his own ongoing series in March 1963. The initial years of the series, under Lee and Ditko, chronicled Spider-Man’s nascent career with his civilian life as hard-luck yet perpetually good-humored teenager Peter Parker. Peter balanced his career as Spider-Man with his job as a freelance photographer for The Daily Bugle under the bombastic editor-publisher J. Jonah Jameson to support himself and his frail Aunt May. At the same time, Peter dealt with public hostility towards Spider-Man and the antagonism of his classmates Flash Thompson and Liz Allan at Midtown High School, while embarking on a tentative, ill-fated romance with Jameson’s secretary, Betty Brant.

By focusing on Parker’s everyday problems, Lee and Ditko created a groundbreakingly flawed, self-doubting superhero, and the first major teenaged superhero to be a protagonist and not a sidekick. Ditko’s quirky art provided a stark contrast to the more cleanly dynamic stylings of Marvel’s most prominent artist, Jack Kirby, and combined with the humor and pathos of Lee’s writing to lay the foundation for what became an enduring mythos.

The Incredible Hulk – Silver Age

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The Hulk first appeared in The Incredible Hulk #1 (cover dated May 1962), written by writer-editor Stan Lee, penciled and co-plotted by Jack Kirby, and inked by Paul Reinman. Lee cites influence from Frankenstein and Dr. Jekyll and Mr. Hyde in the Hulk’s creation. The Hulk’s original series was canceled with issue #6 (March 1963).

In the debut, Lee chose gray for the Hulk because he wanted a color that did not suggest any particular ethnic group. Colorist Stan Goldberg, however, had problems with the gray coloring, resulting in different shades of grey, and even green, in the issue. After seeing the first published issue, Lee chose to change the skin color to green. Green was used in retellings of the origin, with even reprints of the original story being recolored for the next two decades, until The Incredible Hulk vol. 2, #302 (December 1984) reintroduced the gray Hulk in flashbacks set close to the origin story. Since then, reprints of the first issue have displayed the original gray coloring, with the fictional canon specifying that the Hulk’s skin had initially been grey. An exception is the early trade paperback, Origins of Marvel Comics, from 1974, which explains the difficulties in keeping the gray color consistent in a Stan Lee written prologue, and reprints the origin story keeping the gray coloration.

Lee gave the Hulk’s alter ego the alliterative name Bruce Banner because he found he had less difficulty remembering alliterative names. Despite this, in later stories he misremembered the character’s name and referred to him as “Bob Banner”, an error which readers quickly picked up on. The discrepancy was resolved by giving the character the official full name of Robert Bruce Banner.

Tales to Astonish(Silver Age)

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Tales to Astonish was published from January 1959 to March 1968 . It began as a science-finction anthology that served as a showcase for such artists as Jack Kirby and Steve Ditko. It became The Incredible Hulk with issue #102 (April 1968). Its sister title was Tales of Suspense.

Following his one-shot anthological story in #27 (Jan. 1962), scientist Henry Pym returned donning a cybernetic helmet and red costume, and using size-changing technology to debut as the insect-sized hero Ant-Man in #35 (Sept. 1962). The series was plotted by Lee and scripted by Lieber, with penciling first by Kirby and later by Heck and others. The Wasp was introduced as Ant-Man’s costar in issue #44 (June 1963). Ant-Man and Pym’s subsequent iteration, Giant-Man, introduced in #49 (Nov. 1963), starred in 10- to 13-page and later 18-page adventures,

The Hulk, whose original series The Incredible Hulk had been canceled after a six-issue run in 1962-63, returned to star in his own feature when Tales to Astonish became a split book at issue #60 (Oct. 1964),]after having guest-starred as Giant-Man’s antagonist in a full-length story the previous issue. The Hulk had proven a popular guest-star in three issues of Fantastic Four and an issue of The Amazing Spider-Man. His new stories here were initially scripted by Lee and illustrated by the seldom-seen team of penciler Steve Ditko and inker George Roussos. This early part of the Hulk’s run introduced the Leader, who would become the Hulk’s nemesis, and this run additionally made the Hulk’s identity known, initially only to the military and then later publicly.

Fantastic Four – Silver Age

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The Fantastic Four debuted in The Fantastic Four #1 (Nov. 1961), which helped to usher in a new level of realism in the medium. The Fantastic Four was the first superhero team created by writer-editor Stan Lee and artist/co-plotter Jack Kirby, who developed a collaborative approach to creating comics with this title that they would use from then on. As the first superhero team title produced by Marvel Comics, it formed a cornerstone of the company’s 1960s rise from a small division of a publishing company to a pop culture conglomerate.

X-Men – Silver Age

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Early X-Men issues introduced the original team composed of Cyclops, Marvel Girl, BeastAngel and Iceman among a few others, their archenemy Magneto and his Brotherhood of Evil Mutants featuring Mastermind, Quicksilver, Scarlet Witch, and Toad. The comic focused on a common human theme of good versus evil and later included storylines and themes about prejudice and racism, all of which have persisted throughout the series in one form or another. The evil side in the fight was shown in human form and under some sympathetic beginnings via Magneto, a character who was later revealed to have survived Nazi concentration camps only to pursue a hatred for normal humanity. His key followers, Quicksilver and the Scarlet Witch, were Romani. Only one new member of the X-Men was added, Mimic/Calvin Rankin, but soon left due to his temporary loss of power.

The title lagged in sales behind Marvel’s other comic franchises. In 1969, writer Roy Thomas and illustrator Neal Adams rejuvenated the comic book and gave regular roles to two recently introduced characters: Havok/Alex Summers (who had been introduced by Roy Thomas before Adams began work on the comic) and Lorna Dane, later called Polaris (created by Arnold Drake and Jim Steranko). However, these later X-Men issues failed to attract sales and Marvel stopped producing new stories with issue #66, later reprinting a number of the older comics as issues #67–93.

Iron Man – Silver Age

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After issue #99 (March 1968), the Tales of Suspense series was renamed Captain America. An Iron Man story appeared in the one-shot comic Iron Man and Sub-Mariner (April 1968), before the “Golden Avenger”] made his solo debut with The Invincible Iron Man #1 (May 1968). The series’ indicia gives its copyright title Iron Man, while the trademarked cover logo of most issues is The Invincible Iron Man. Artist George Tuska began a decade long association with the character with Iron Man #5 (Sept. 1968). Writer Mike Friedrich and artist Jim Starlin‘s brief collaboration on the Iron Man series introduced Mentor, Starfox, and Thanos in issue #55 (Feb. 1973). Friedrich scripted a metafictional story in which Iron Man visited the San Diego Comic Convention and met several Marvel Comics writers and artists. He then wrote the multi-issue “War of the Super-Villains” storyline which ran through 1975.