Show pageOld revisionsBacklinksBack to top This page is read only. You can view the source, but not change it. Ask your administrator if you think this is wrong. ====== Marvel Comics ====== ===== Part 1: The Dossier: An At-a-Glance Summary ===== * **Core Identity: Marvel Comics is a world-renowned American publisher of comic books and related media, celebrated for creating a vast, interconnected universe of complex, flawed, and profoundly human superheroes who have become cornerstones of global pop culture.** * **Key Takeaways:** * **A Universe of Flawed Heroes:** Unlike the god-like archetypes of its predecessors, Marvel's revolution in the 1960s was built on relatable characters who struggled with everyday problems like paying rent, managing anger, and feeling like an outcast. This humanistic approach, pioneered by creators like [[Stan Lee]] and [[Jack Kirby]], created a deep and lasting bond with audiences. * **The Shared Universe Concept:** Marvel perfected the idea of a persistent, shared continuity, known as [[Earth-616]], where the actions of a hero like `[[Spider-Man]]` in his own title could have ramifications for the `[[Fantastic Four]]` or the `[[Avengers]]`. This intricate tapestry of storytelling laid the groundwork for modern transmedia franchises. * **Comic Book & Cinematic Titans:** It is crucial to distinguish between Marvel Comics, the publishing entity responsible for the primary **Earth-616** universe, and Marvel Studios, the film production company that created the separate **[[Marvel Cinematic Universe]] (MCU)**. While the MCU adapts stories and characters from the comics, it is a distinct continuity with its own history, characterizations, and events. ===== Part 2: Origin and Evolution: A Corporate and Creative History ===== ==== Timely Comics (1939-1950s): The Golden Age ==== The story of Marvel Comics begins in 1939 under the banner of **Timely Comics**, founded by pulp-magazine publisher Martin Goodman. Responding to the explosive popularity of DC Comics' Superman, Goodman commissioned the creative team of writer-artist Carl Burgos to create a new hero. The result was the android **[[Human Torch (android)|Human Torch]]**, who debuted in //Marvel Comics// #1 (Oct. 1939). That same issue also introduced Bill Everett's anti-hero, **Namor, the [[Sub-Mariner]]**, a volatile prince of Atlantis. The comic was an instant success, selling out its initial 80,000-copy print run and a second run of over 800,000 copies. The true breakout star of the Golden Age, however, arrived as the United States was on the brink of entering World War II. In //Captain America Comics// #1 (March 1941), creators Joe Simon and Jack Kirby introduced **[[Captain America]]**, a frail young man named Steve Rogers who was transformed into the peak of human potential by a Super-Soldier Serum. The iconic cover depicted Captain America punching Adolf Hitler, a bold political statement made nearly a year before the attack on Pearl Harbor. Captain America, along with his sidekick Bucky Barnes, became one of the most popular characters of the era, embodying the patriotic fervor of the war effort. Timely's "Big Three" – the Human Torch, the Sub-Mariner, and Captain America – often fought the Axis powers both individually and as members of the superhero team, the **All-Winners Squad**. This period established many of the foundational elements of the Marvel Universe: heroic archetypes, global conflicts, and the early, tentative steps toward a shared universe. ==== Atlas Comics (1950s): The Interregnum ==== Following the end of World War II, the popularity of superheroes plummeted. Veterans returning home had little interest in the escapist fantasy of costumed heroes. In response, Goodman's company rebranded as **Atlas Comics** in the 1950s and diversified its output to match popular trends. The Atlas line was dominated by genres such as horror, crime, westerns, humor, romance, and science-fiction monster stories. This era was profoundly shaped by the cultural backlash against comics, culminating in psychiatrist Fredric Wertham's infamous 1954 book, //Seduction of the Innocent//, which claimed comics were a primary cause of juvenile delinquency. The ensuing moral panic led to the creation of the self-censoring **Comics Code Authority (CCA)**, which placed severe restrictions on content, effectively sanitizing the industry and gutting the popular horror and crime genres. While this period is often seen as a creative lull between the Golden and Silver Ages, it was a crucial training ground for the talent that would soon revolutionize the industry. Artists like Jack Kirby, Steve Ditko, and Don Heck, alongside writer-editor Stan Lee (Goodman's cousin-in-law), honed their craft on these short, formulaic stories, experimenting with pacing and visual storytelling that would become invaluable in the decade to come. ==== The Marvel Age of Comics (1960s): The Silver Age Revolution ==== By the early 1960s, a rival publisher, DC Comics, had found immense success by reviving the superhero genre with updated versions of their Golden Age characters, most notably with the Flash and the superhero team the Justice League of America. Legend has it that Martin Goodman, during a game of golf, was told of the JLA's high sales and ordered a disillusioned Stan Lee to create a superhero team for Atlas. Lee, weary of the creative constraints of the industry, decided to write a story he would want to read, focusing on characters with real-world flaws and personalities. Collaborating with the legendary artist Jack Kirby, he created the **[[Fantastic Four]]**, who debuted in //The Fantastic Four// #1 (Nov. 1961). This was not a team of stoic heroes; they were a dysfunctional but loving family. They bickered, worried about their public image, and dealt with their powers as both a blessing and a curse. The book was a seismic event, and its success officially launched the **Marvel Age of Comics**. What followed was an unprecedented explosion of creativity: * **The [[Hulk]] (1962):** A Jekyll-and-Hyde monster representing Cold War anxieties about nuclear power. * **[[Thor]] (1962):** An arrogant Norse god cast down to Earth to learn humility. * **[[Spider-Man]] (1962):** Created by Lee and artist Steve Ditko, the quintessential Marvel hero. A teenager burdened by guilt and tremendous power, who constantly struggled with money, school, and his love life. * **[[Iron Man]] (1963):** A billionaire arms dealer forced to confront the consequences of his work. * **The [[Avengers]] (1963):** "Earth's Mightiest Heroes," a team that, unlike the JLA, was often fraught with internal conflict and changing rosters. * **The [[X-Men]] (1963):** A team of mutants born with strange powers, hated and feared by a world they were sworn to protect—a powerful and enduring metaphor for prejudice. This era was defined by the **"Marvel Method"** of creation. Lee would provide a brief plot synopsis to the artist (primarily Kirby or Ditko), who would then draw the entire story, pacing the action and determining the visual narrative. Lee would then write the dialogue and captions to fit the finished artwork. This collaborative process gave the artists immense creative freedom and resulted in the dynamic, action-packed visual style that became a Marvel hallmark. ==== The Bronze Age and Beyond (1970s-1990s): Growth, Turmoil, and Bankruptcy ==== As Marvel entered the 1970s, the "Bronze Age" of comics began, marked by a turn toward darker, more socially relevant storytelling. The Comics Code Authority's power began to wane, allowing writers to tackle issues like drug abuse (in //The Amazing Spider-Man// #96-98) and racism. The seminal story of this era was **"The Night Gwen Stacy Died"** (//The Amazing Spider-Man// #121-122, 1973), a shocking and tragic event that signaled the end of the Silver Age's relative innocence. This period saw a new generation of creators take the helm. Chris Claremont began his legendary 17-year run on //Uncanny X-Men// in 1975, transforming the low-selling title into Marvel's flagship franchise with complex, long-form storytelling and character development. Artists like John Byrne and George Pérez brought a new level of detail and dynamism to the page. Jim Starlin expanded the cosmic side of the Marvel Universe, creating [[Thanos]] and orchestrating epic sagas like **"The Infinity Gauntlet."** The 1980s were a period of commercial success, but the 1990s brought immense turmoil. A speculator boom, fueled by variant covers and #1 issues, created an unsustainable market bubble. Meanwhile, a group of Marvel's top artists, including Todd McFarlane and Jim Lee, left to form their own publisher, **Image Comics**, seeking greater creative control and ownership of their creations. When the speculator bubble burst in the mid-90s, the industry collapsed. Overextended and laden with debt from corporate acquisitions, **Marvel filed for Chapter 11 bankruptcy in 1996.** ==== The Modern Era (2000s-Present): Rebirth and Cinematic Dominance ==== Marvel emerged from bankruptcy under the new leadership of publisher Bill Jemas and editor-in-chief Joe Quesada. They revitalized the company with bold creative choices. In 2000, they launched the **[[Ultimate Universe]]** (Earth-1610), a separate continuity that reimagined Marvel's core heroes for a modern audience, free from decades of convoluted backstory. The success of the Ultimate line, particularly Brian Michael Bendis and Mark Bagley's //Ultimate Spider-Man//, brought a "widescreen," cinematic storytelling style that would influence the entire industry. In the main Earth-616 universe, Marvel began a series of massive, company-wide crossover events that drove sales and defined the narrative for years. Storylines like `[[Avengers Disassembled]]`, `[[House of M]]`, `[[Civil War]]`, and `[[Secret Invasion]]` reshaped the status quo, pitting hero against hero and fundamentally altering the political landscape of the Marvel Universe. The most significant development, however, was the formation of **Marvel Studios**. After licensing its characters to other film studios with mixed results, Marvel took a gamble by producing its own films, beginning with `[[Iron Man (film)|Iron Man]]` in 2008. The film's success laid the foundation for the **[[Marvel Cinematic Universe]] (MCU)**, an unprecedented shared cinematic universe that mirrored the interconnectivity of the comics. In 2009, The Walt Disney Company acquired Marvel Entertainment for $4 billion, cementing its place as a global entertainment powerhouse. The MCU's colossal success has brought Marvel's characters to a level of worldwide recognition unimaginable in previous decades, creating a symbiotic relationship where the films and comics now influence one another. ===== Part 3: The Marvel Universe: Core Concepts and Architecture ===== === The Shared Universe: Earth-616 === The cornerstone of Marvel Comics is its single, persistent shared universe. The primary reality in which the vast majority of Marvel's stories take place is designated as **Earth-616**. This designation was first coined by writer Alan Moore in a //Captain Britain// story for Marvel UK, reportedly as a somewhat arbitrary and slightly pejorative take on the biblical number 666, to distinguish the mainline Marvel universe from others.((The "616" number was later embraced by Marvel creators and has become the official in-universe designation for the prime reality, often referenced by characters who travel the multiverse.)) In this universe, the actions of one character can have lasting consequences for all others. A Skrull invasion fleet appearing in an `[[Avengers]]` comic will be reported on in the Daily Bugle in a `[[Spider-Man]]` comic. A law passed in the wake of a battle involving the `[[Hulk]]` will affect how `[[Daredevil]]` operates in Hell's Kitchen. This interconnectivity creates a rich, textured world that feels lived-in and dynamic. To manage this continuity over 60+ years, Marvel employs a concept known as the **"sliding timescale."** This means that while characters age and events progress, the "modern era" of heroes (beginning with the Fantastic Four's debut) is perpetually compressed into the last 10-15 years. This allows characters like Peter Parker to remain young adults instead of senior citizens, while still acknowledging the history of events like `[[Civil War]]`. === The Multiverse === Beyond Earth-616 lies the **Marvel Multiverse**, an infinite collection of alternate universes, each representing a different possibility. These universes often stem from a pivotal choice being made differently, leading to a divergent timeline. The Multiverse allows creators to tell stories without being constrained by the main continuity and to explore "what if" scenarios. Some of the most prominent alternate universes include: * **Earth-1610 (The Ultimate Universe):** A modernized, streamlined universe created in 2000. It was known for its grounded, contemporary take on heroes and its willingness to make permanent, shocking changes, such as the death of its Peter Parker and his replacement by [[Miles Morales]]. The universe was destroyed during the 2015 `[[Secret Wars (2015)|Secret Wars]]` event, though key elements (like Miles) were later integrated into Earth-616. * **Earth-295 (The Age of Apocalypse):** A dystopian reality created when Professor X's son, Legion, accidentally killed his father in the past. This allowed the immortal mutant Apocalypse to conquer North America. It is one of the most popular and revisited alternate timelines. * **Earth-199999 (The Marvel Cinematic Universe):** The official designation for the timeline of the Marvel Studios films and television shows. While it draws heavy inspiration from Earth-616 and the Ultimate Universe, it is a completely separate continuity with its own unique origins, character arcs, and cosmic rules. * **Earth-928 (Marvel 2099):** A possible future timeline set in the year 2099, featuring futuristic versions of Marvel's heroes, such as `[[Spider-Man 2099]]` (Miguel O'Hara). === Cornerstones of the Universe === The Marvel Universe is not monolithic; it contains diverse genres and sub-universes, each with its own tone and rules. ==== Street-Level Heroes ==== This corner of the universe is focused on the gritty, grounded stories of heroes operating in urban environments, primarily New York City. Their villains are often crime bosses, assassins, and gangsters rather than alien invaders. * **Key Characters:** `[[Daredevil]]`, `[[Spider-Man]]`, `[[Luke Cage]]`, `[[Jessica Jones]]`, `[[The Punisher]]`, `[[Iron Fist]]`. * **Themes:** Justice, crime, moral ambiguity, and the protection of the common person. Stories are often presented as crime noir or detective fiction. ==== Global Superteams ==== These are the premiere superhero teams who handle planet-level threats, from alien invasions to rogue gods and super-science calamities. They operate on a global scale and often have official sanction from governments. * **Key Teams:** `[[The Avengers]]`, `[[The Fantastic Four]]`, `[[The Ultimates]]`. * **Themes:** Responsibility, heroism on a grand scale, family, exploration, and the defense of humanity. ==== Mutants and the X-Men ==== Mutants (`Homo sapiens superior`) are a subspecies of humanity born with a genetic trait called the X-Gene, which grants them superhuman abilities. Their corner of the universe is defined by the central metaphor of prejudice. * **Key Characters:** The `[[X-Men]]` (led by `[[Charles Xavier]]`), the Brotherhood of Mutants (led by `[[Magneto]]`), and thousands of others. * **Themes:** Civil rights, persecution, identity, found family, and the struggle for coexistence. The conflict between Xavier's dream of peaceful integration and Magneto's belief in mutant supremacy is the central ideological axis. ==== The Cosmic Pantheon ==== This sphere deals with adventures in outer space and interactions with alien empires, powerful cosmic entities, and the fundamental forces of the universe. * **Key Characters:** `[[Thor]]`, `[[Silver Surfer]]`, `[[Captain Marvel]]`, `[[Guardians of the Galaxy]]`, `[[Nova]]`. * **Major Concepts:** Alien empires like the **Kree** and **Skrull**, cosmic beings like **[[Galactus]]** (the Devourer of Worlds) and the **Celestials**, and abstract entities like **Eternity**, **Death**, and the **Living Tribunal**. ==== The Supernatural and Magical ==== This realm is populated by vampires, werewolves, demons, and sorcerers. It operates on the laws of magic rather than science and deals with threats to reality itself from mystical dimensions. * **Key Characters:** `[[Doctor Strange]]` (the Sorcerer Supreme), `[[Ghost Rider]]` (the Spirit of Vengeance), `[[Blade]]` (the vampire hunter), `[[Scarlet Witch]]`. * **Themes:** The battle between good and evil on a spiritual plane, the cost of power, and the hidden world that exists alongside our own. ===== Part 4: The Marvel Method and Creative Giants ===== ==== The Architects: Stan Lee, Jack Kirby, and Steve Ditko ==== The foundation of the Marvel Universe was laid by three men whose creative friction and collaboration produced a pantheon of iconic characters. * **Stan "The Man" Lee (1922-2018):** As writer and editor-in-chief, Lee was the voice and face of Marvel. His signature style involved bombastic, alliterative prose, snappy dialogue, and a personal, conversational tone in the comics' letter pages and "Stan's Soapbox" column. He infused his characters with relatable anxieties and flaws, making them feel like real people under the masks. While the exact division of creative labor remains a subject of debate, his contribution in shaping the personality and humanity of the Marvel Universe is undeniable. * **Jack "The King" Kirby (1917-1994):** Kirby was the primary visual architect of the Marvel Age. His art was explosive, dynamic, and possessed an unparalleled sense of power and scale. He was a master of action and design, creating countless characters, costumes, and technologies. His signature "Kirby Krackle"—an artistic representation of cosmic energy—came to define the look of Marvel's cosmic stories. He was a co-plotter who often drove the narrative through his artwork, creating worlds and concepts that Lee would then script. * **Steve Ditko (1927-2018):** Ditko was the co-creator of Spider-Man and Doctor Strange. His art was more stylized and idiosyncratic than Kirby's, perfectly capturing the awkward, wiry energy of Peter Parker and the surreal, psychedelic landscapes of Doctor Strange's magical dimensions. A follower of Ayn Rand's Objectivism, Ditko imbued his work with strong moral themes of personal responsibility. His contributions were foundational, but his reclusive nature and philosophical differences with Lee led to his departure from Marvel in 1966. ==== The Second Wave: Roy Thomas, Chris Claremont, and John Byrne ==== The generation of creators who followed the original architects built upon their foundation and took the characters in new, more complex directions. * **Roy Thomas:** Stan Lee's hand-picked successor as editor-in-chief, Thomas was a fan-turned-pro with an encyclopedic knowledge of comics history. He excelled at weaving together disparate threads of continuity, particularly from the Golden Age. He co-created characters like Wolverine, Vision, and Ultron and wrote definitive runs on `The Avengers` and `Conan the Barbarian`. * **Chris Claremont:** Claremont's 17-year run on `Uncanny X-Men` (1975-1991) is one of the most celebrated in comics history. He took a canceled title and, with artists like Dave Cockrum and John Byrne, transformed it into a pop culture phenomenon. He pioneered long-form, serialized storytelling, focusing on deep character development and complex emotional arcs. He is responsible for crafting iconic storylines like "The Dark Phoenix Saga" and "Days of Future Past." * **John Byrne:** A superstar writer and artist, Byrne defined the look and feel of Marvel in the late 1970s and 1980s. His collaboration with Claremont on `Uncanny X-Men` is legendary. He later took on both writing and art duties for a celebrated run on `Fantastic Four`, returning the team to its roots as a family of cosmic explorers. ==== Modern Masters: Brian Michael Bendis and Jonathan Hickman ==== In the 21st century, the Marvel Universe has been shaped by architects who favor long-form, "cinematic" storytelling. * **Brian Michael Bendis:** Bendis's signature style includes decompressed pacing and naturalistic, overlapping dialogue. His work on `Ultimate Spider-Man` was a landmark success. In the main universe, he dismantled and rebuilt the Avengers in `Avengers Disassembled` and `New Avengers`, making them Marvel's central franchise. He co-created key modern characters like [[Jessica Jones]] and [[Miles Morales]]. * **Jonathan Hickman:** Hickman is known for his incredibly dense, intricate, and high-concept plotting that often spans years and multiple titles. His epic runs on `Fantastic Four` and `The Avengers` involved complex science fiction ideas and deep world-building. His entire tenure at Marvel built toward the 2015 event `[[Secret Wars (2015)|Secret Wars]]`, a cataclysmic story that destroyed and then rebooted the entire Marvel Multiverse. ===== Part 5: Landmark Events and Defining Storylines ===== === The Kree-Skrull War (1971) === //Avengers// #89-97. This storyline by Roy Thomas, Neal Adams, and John Buscema is widely considered the first true comic book event. It was an epic space opera that involved a galactic war between two alien empires, the militaristic [[Kree]] and the shapeshifting [[Skrull]], with Earth caught in the middle. It spanned multiple issues, featured a huge cast, and had lasting consequences for the Marvel Universe, setting the template for every company-wide crossover to come. === The Dark Phoenix Saga (1980) === //Uncanny X-Men// #129-138. Crafted by Chris Claremont and John Byrne, this is arguably the most beloved and influential X-Men story of all time. It chronicles the corruption and fall of X-Man [[Jean Grey]] after she merges with the cosmic Phoenix Force. Her transformation from hero to the genocidal Dark Phoenix, and her ultimate sacrifice, was a powerful and tragic character arc that demonstrated a new level of emotional maturity in mainstream comics. It proved that superhero stories could be profound tragedies with permanent consequences. === Secret Wars (1984) === A 12-issue limited series by Jim Shooter, Mike Zeck, and Bob Layton. Motivated by a deal with the Mattel toy company, `Secret Wars` was the first event to encompass the entire Marvel line. A near-omnipotent being called the Beyonder transports Marvel's greatest heroes and villains to a "Battleworld" and forces them to fight. While the plot was straightforward, the event had major ramifications, including Spider-Man acquiring his black symbiote costume (which would later become [[Venom]]), the Thing leaving the Fantastic Four, and the introduction of several new characters. === Civil War (2006) === A 7-issue limited series by Mark Millar and Steve McNiven. Tapping into post-9/11 anxieties about security versus freedom, `Civil War` saw the U.S. government pass the Superhuman Registration Act, forcing all powered individuals to register their identities with the government. The hero community was fractured, leading to a devastating conflict between two factions: one led by `[[Iron Man]]`, who supported registration, and the other by `[[Captain America]]`, who championed civil liberties. The event ended with Captain America's surrender and subsequent assassination, a shocking moment that had deep and lasting effects on the entire Marvel Universe. Its core conflict was later adapted into the MCU film, `[[Captain America: Civil War]]`. === Secret Wars (2015) === An 8-issue limited series by Jonathan Hickman and Esad Ribić. This event was the culmination of Hickman's multi-year run on `The Avengers` and `New Avengers`. It depicted the final "incursion" that destroyed the last remaining universes in the Multiverse. `[[Doctor Doom]]`, having stolen the power of the Beyonders, salvages remnants of these realities to create a new "Battleworld," which he rules as God Emperor. The event served as a grand finale for both the classic Earth-616 and the Ultimate Universe, and its conclusion saw the restoration of the Marvel Universe with key elements from other realities (like Miles Morales) integrated into the new prime reality. ===== Part 6: Marvel Beyond the Page: Adaptations and Legacy ===== ==== The Marvel Cinematic Universe (MCU) ==== Without question, the most significant adaptation of Marvel Comics is the Marvel Cinematic Universe. Beginning in 2008 with `Iron Man`, producer Kevin Feige and Marvel Studios meticulously built an interconnected series of films that mirrored the shared universe of the comics. The MCU (officially designated Earth-199999) is a separate continuity, and its success is rooted in its ability to adapt the core spirit of the characters while streamlining and modernizing their origins for a mass audience. Key differences from the comics are common: Ultron was created by Tony Stark in the MCU, not Hank Pym; the `Civil War` was fought over the Sokovia Accords, not a Registration Act; and the Infinity Stones were the primary focus of the first "saga," whereas the comics have a much more diverse range of cosmic threats. The MCU has had a profound "feedback loop" effect on the comics, with character designs (like the Guardians of the Galaxy), personalities, and even origins being adjusted in the comics to create synergy with their popular film counterparts. ==== Animation ==== For decades, animation was the primary medium through which many fans were introduced to Marvel characters. Several series have become iconic in their own right: * **//X-Men: The Animated Series// (1992-1997):** This series was a cultural phenomenon. It adapted classic Claremont-era storylines with a level of fidelity and maturity previously unseen in children's cartoons, and its massive success is often credited with paving the way for the live-action `X-Men` films. * **//Spider-Man: The Animated Series// (1994-1998):** This series provided a definitive take on Spider-Man for a generation, successfully balancing Peter Parker's personal life with his superhero adventures and featuring a vast roster of his allies and villains. * **//The Avengers: Earth's Mightiest Heroes// (2010-2012):** Praised for its deep reverence for classic comics continuity, this series brought the core Avengers team to life with stories pulled directly from the Lee/Kirby and Roy Thomas eras. ==== Video Games ==== Marvel has a long and storied history in video games, from early arcade beat 'em ups to sprawling modern RPGs. * **The //Marvel vs. Capcom// Series:** This legendary fighting game franchise pits Marvel's heroes against the characters of video game publisher Capcom, known for its fast-paced, chaotic action. * **//Marvel: Ultimate Alliance//:** This action-RPG series allows players to create teams of four from a massive roster of Marvel heroes to combat universe-spanning threats. * **Insomniac's //Marvel's Spider-Man// (2018) and its sequels:** This PlayStation-exclusive series has been critically acclaimed for its exceptional gameplay, heartfelt storytelling, and faithful-yet-fresh take on the Spider-Man mythos, creating its own distinct universe (Earth-1048). ===== See Also ===== * [[Earth-616]] * [[Marvel Cinematic Universe]] * [[List of Marvel Comics characters]] * [[List of Marvel Comics events]] * [[DC Comics]] ===== Notes and Trivia ===== ((Marvel's first use of the name "Marvel Comics" was on the cover of //Marvel Comics// #1 in 1939. The company did not officially adopt the name "Marvel" until the 1960s, operating as Timely and Atlas in the interim.)) ((The character of [[Wolverine]] was initially co-created by Roy Thomas, writer Len Wein, and artist John Romita Sr. as a Canadian government agent meant to be an antagonist for the Hulk. He was later added to the "All-New, All-Different" X-Men lineup by Wein and artist Dave Cockrum in 1975, where Chris Claremont would develop him into the iconic character he is today.)) ((Stan Lee was known for his famous cameos in Marvel film adaptations, a tradition that began long before the MCU, with his first live-action appearance being a jury foreman in the 1989 TV movie //The Trial of the Incredible Hulk//.)) ((The concept of the "sliding timescale" was never an explicit, written rule but rather an informal editorial practice that evolved to keep the characters perpetually relevant. Writer-editor Mark Gruenwald was one of the first to attempt to formally define and map it out during his time at Marvel.)) ((The first meeting between Marvel and DC characters in a company-sanctioned crossover was in the 1976 treasury-sized comic //Superman vs. The Amazing Spider-Man//.)) ((Prior to the MCU, Marvel sold the film rights to many of its top characters to different studios to avoid bankruptcy, which is why 20th Century Fox controlled the X-Men and Fantastic Four, and Sony Pictures controlled Spider-Man for many years. Disney's acquisition of 21st Century Fox in 2019 finally returned the film rights for the X-Men and Fantastic Four to Marvel Studios.))