Marvel Comics
 |
| Type | Subsidiary of Marvel Entertainment |
|---|
| Industry | Publishing |
|---|
| Genre | Crime, horror, mystery, romance, science fiction, superhero, war, Western |
|---|
| Founded | 1939 (as Timely Comics) |
|---|
| Founder(s) | Martin Goodman |
|---|
| Headquarters | 417 Fifth Avenue, New York, NY |
|---|
| Area served | USA, UK |
|---|
| Key people | Axel Alonso, EIC
Dan Buckley, publisher, COO
Stan Lee, former EIC, publisher |
|---|
| Products | Comics/See List of Marvel Comics publications |
|---|
| Revenue |  US$125.7 million (2007) |
|---|
| Operating income | US$53.5 million (2007)[1] |
|---|
| Owner(s) | Martin Goodman (1939-1968) |
|---|
| Parent | Magazine Management Co. (1968-1973)
Cadence Industries (1973-1986)
Marvel Entertainment Group (1986-1997)
Marvel Entertainment (1997- ) |
|---|
| Website | marvel.com |
|---|
Marvel Worldwide, Inc., commonly referred to as
Marvel Comics and formerly
Marvel Publishing, Inc. and
Marvel Comics Group, is an American company that publishes
comic books and related media. In 2009,
The Walt Disney Company acquired
Marvel Entertainment, Marvel Worldwide's parent company,
[2] for $4.24 billion.
Marvel started in 1939 as
Timely Publications, and by the early 1950s had generally become known as
Atlas Comics. Marvel's modern incarnation dates from 1961, with the company later that year launching
Fantastic Four and other superhero titles created by
Stan Lee,
Jack Kirby,
Steve Ditko, and others.
Marvel counts among
its characters such well-known properties as
Spider-Man, the
X-Men,
Iron Man, the
Hulk, the Fantastic Four,
Thor and
Captain America; antagonists such as
Doctor Doom, the
Green Goblin,
Magneto,
Galactus, and the
Red Skull. Most of Marvel's fictional characters operate in a single reality known as the
Marvel Universe, with locales set in real-life cities such as
New York,
Los Angeles and
Chicago.
[3]
To date, films based on Marvel's properties represent is the highest-grossing franchise of all time, its films having grossed a total of $4,094.6 billion.
[4]
History
Timely Publications
Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939,
[5] publishing comic books under the
imprint Timely Comics.
[6] Goodman, a
pulp magazine publisher 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,
New York, he officially held the titles of
editor, managing editor, and
business manager, with Abraham Goodman officially listed as publisher.
[5]
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 generally available appearance of
Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies.
[7] While its contents came from an outside packager,
Funnies, Inc., Timely by the following year had its own staff in place.
The company's first true editor, writer-artist
Joe Simon, teamed with imminent industry-legend
Jack Kirby to create one of the first
[citation needed] patriotically themed
superheroes,
Captain America, in
Captain America Comics #1. (March 1941) It, too, proved a major sales hit, with sales of nearly one million.
[7]
While no other Timely character would achieve the success of these "big three", 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",
[8][9] as well as a line of children's
funny-animal comics featuring popular characters like
Super Rabbit and the duo
Ziggy Pig and Silly Seal.
Goodman hired his wife's cousin,
[10] Stanley Lieber, as a general office assistant in 1939.
[11] When editor Simon left the company in late 1941,
[12] 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.
[6] 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.
[13]
Atlas Comics
The post-war American comic market saw superheroes falling out of fashion.
[14] 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,
funny 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,
[15] on comics
cover-dated November 1951 even though another company, Kable News, continued to distribute his comics through the August 1952 issues.
[16] 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.
[17]
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.
[18] Atlas also published a plethora of children's and teen humor titles, including
Dan DeCarlo's
Homer the Happy Ghost (à la
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.).
1960s
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.
[19] Then, in the wake of
DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the
Flash,
Green Lantern, and other members of the team the
Justice League of America, Marvel followed suit.
[20] The introduction of modern Marvel's first
superhero team, in
The Fantastic Four #1, (Nov. 1961),
[21] began establishing the company's reputation. The majority of its superhero stories were written by editor-in-chief
Stan Lee. The company continued to publish a smattering of
Western comics such as
Rawhide Kid,
humor comics such as
Millie the Model, and
romance comics such as
Love Romances, and added the
war comic Sgt. Fury and his Howling Commandos.
Editor-writer Lee and freelance artist
Jack Kirby's Fantastic Four, reminiscent of the non-superpowered adventuring quartet the
Challengers of the Unknown that Kirby had created for DC in 1957, 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.
[22] 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.
[23] Marvel began publishing further superhero titles featuring such heroes and antiheroes as the
Hulk,
Spider-Man,
Thor,
Ant-Man,
Iron Man, the
X-Men, and
Daredevil, and such memorable antagonists as
Doctor Doom,
Magneto,
Galactus, the
Green Goblin, and
Doctor Octopus. Lee and Steve Ditko generated the most successful new series in
The Amazing Spider-Man. 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").
[24]
Marvel's comics had a reputation for focusing on characterization to a greater extent than most superhero comics before them.
[25] This applied to
The Amazing Spider-Man in particular. Its young hero suffered from self-doubt and mundane problems like any other teenager. Marvel often presents 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. In time, this non-traditional approach would revolutionize comic books. This
naturalistic approach even extended into topical politics. Wrote comics historian Mike Benton,
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.
[26]
... 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.
[27]}}
Writer Geoff Boucher in 2009 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?"
[28]
Lee, with his charming personality and relentless salesmanship of the company, became one of the best-known names in comics.
[citation needed] His sense of humor and generally lighthearted manner became the "voice" that permeated the stories, the letters and news-pages, and the hyperbolic house ads of that era's Marvel Comics. He fostered a clubby fan-following with Lee's exaggerated depiction of the Bullpen (Lee's name for the staff) as one big, happy family. This included printed kudos to the artists, who eventually co-plotted the stories based on the busy Lee's rough synopses or even simple spoken concepts, in what became known as the
Marvel Method, and contributed greatly to Marvel's product and success. Kirby in particular is generally credited for many of the cosmic ideas and characters of
Fantastic Four and
The Mighty Thor, such as the
Watcher, the
Silver Surfer and
Ego the Living Planet, while Steve Ditko is recognized as the driving artistic force behind the moody atmosphere and street-level naturalism of
The Amazing Spider-Man and the surreal atmosphere of the
Strange Tales mystical feature "
Doctor Strange". Lee, however, continues to receive credit for his well-honed skills at dialogue and sense of storytelling, for his keen hand at choosing and motivating artists and assembling creative teams, and for his uncanny ability to connect with the readers—not least through the nickname endearments he bestowed in the credits and the monthly "
Bullpen Bulletins" and letters pages, giving readers humanizing hype about the likes of "Jolly Jack Kirby," "
Jaunty Jim Steranko", "
Rascally Roy Thomas", "
Jazzy Johnny Romita", and others, right down to letterers "
Swingin' Sammy Rosen" and "
Adorable Artie Simek".
Lesser-known staffers during the company's growth in the 1960s (some of whom worked primarily for Marvel publisher
Martin Goodman's umbrella magazine corporation) included circulation manager Johnny Hayes, subscriptions person Nancy Murphy, bookkeeper Doris Siegler, merchandising-person Charles "Chip" Goodman (son of publisher Martin), and Arthur Jeffrey, described in the December 1966 "Bullpen Bulletin" as "keeper of our MMMS [
Merry Marvel Marching Society] files, guardian of our club coupons and defender of the faith".
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.
[15] In the fall of that year he sold Marvel Comics and his other publishing businesses to the
Perfect Film and Chemical Corporation, which grouped them as the subsidiary
Magazine Management Company, with Goodman remaining as publisher.
[29] In 1969, Goodman finally ended his distribution deal with Independent by signing with
Curtis Circulation Company.
[15]
1970s
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.
[30]
Goodman retired as publisher in 1972 and installed his son, Chip, as publisher,
[31] Shortly thereafter, Lee succeeded him as publisher and also became Marvel's president
[31] for a brief time.
[32] During his time as president, he appointed as editor-in-chief
Roy Thomas, who added "Stan Lee Presents" to the opening page of each comic book.
[31]
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 achieved moderate to strong success with titles themed to
horror (
The Tomb of Dracula),
martial arts,
(Shang-Chi: Master of Kung Fu),
sword-and-sorcery (
Conan the Barbarian,
Red Sonja),
satire (
Howard the Duck) and
science fiction (
2001: A Space Odyssey, "
Killraven" in
Amazing Adventures,
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.
[33] Goodman increased the price and size of Marvel's November 1971 cover-dated comics from 15 cents for 39 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.
[34]
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.
[35] 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 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.
[36] 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.
[37]
1980s
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.
[citation needed] Shooter brought Marvel into the rapidly evolving
direct market,
[39] 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 childrens-oriented line differing from the regular Marvel titles, was briefly successful during this period.
Despite Marvel's successes in the early 1980s, it lost ground to rival DC in the latter half of the decade as many former Marvel stars defected to the competitor. DC scored critical and sales victories
[40] with titles and
limited series such as
Watchmen,
Batman: The Dark Knight Returns,
Crisis on Infinite Earths, Byrne's revamp of
Superman, and
Alan Moore's
Swamp Thing.
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.
1990s
Marvel earned a great deal of money and recognition 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.
[41][42] In 1991 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, and
swimsuit issues.
Another common practice of this period was company-wide crossovers that affected the overall continuity of the fictional
Marvel Universe. In 1996, Marvel had almost all its titles participate in the "
Onslaught Saga", a crossover that allowed Marvel to relaunch some of its flagship, albeit flagging, characters such as the
Avengers and the
Fantastic Four, and
outsource them to the studios of former Marvel artists turned
Image Comics founders,
Jim Lee and
Rob Liefeld. After an initial sales bump, sales quickly declined below expected levels,
[citation needed] and Marvel discontinued the experiment after a one-year run; the characters soon returned to the Marvel Universe proper. In 1998, the company launched the imprint
Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief
Joe Quesada, it featured tough, gritty stories showcasing such characters as the
Inhumans,
Black Panther and
Daredevil.
Marvel suffered a major 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—left to form the successful company
Image Comics.
[43]
Marvel's logo, circa 1990s
In late 1994, Marvel acquired the comic book distributor
Heroes World Distribution to use as its own exclusive distributor.
[44] 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.[45][46] In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel
[47]—giving the company its own section of its comics catalog
Previews.
[48]
In 1991
Ronald Perelman, whose company,
Andrews Group, had purchased Marvel Comic's Parent corporation,
Marvel Entertainment Group (MEG) in 1989, took the company 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. Then, by the middle of the decade, the industry had slumped, and in December 1996 Marvel filed for
Chapter 11 bankruptcy protection.
[49] In 1997,
Toy Biz and MEG merged to end the bankruptcy, forming a new corporation,
Marvel Enterprises.
[49] 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.
[50]
2000s
With the new millennium, Marvel Comics escaped 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). In addition, the company 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.
Some of its characters have been turned into successful film franchises, such as the
X-Men movie series, starting in 2000, and the highest grossing series
Spider-Man, beginning in 2002.
[51]
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.
[52] 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.
[53] Also that year, Marvel created a
wiki on its Web site.
[54]
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.
[55]
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.
[56] 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.
[57][58]
On August 31, 2009,
The Walt Disney Company announced a deal to acquire Marvel Comics' parent corporation, Marvel Entertainment, for $4 billion, with Marvel
shareholders to receive $30 and 0.745 Disney shares for each share of Marvel they own.
[59]
2010s
Marvel relaunched the
CrossGen imprint, owned by
Disney Publishing Worldwide, in March 2011.
[60] Marvel and Disney Publishing began jointly publishing
Disney/Pixar Presents magazine in May 2011.
[61]
Officers
- Michael Z. Hobson Executive Vice President, Publishing [62] Group vice-president, publishing (1986)[63]
- Stan Lee, executive vice-president & publisher (1986)[63]
- Joseph Calamari, executive vice-president (1986)[63]
- Barry Kaplan, senior vice-president, fiance and administration (1986)[63]
- Jim Shooter, vice-president and Editor-in-Chief (1986)[63]
- Gene J. Durante, vice-president, manufacturing and operations (1986)[63]
- Harry Flynn, vice-president, Marvel Books (1986)[63]
- Thomas R. Costello, vice-president , circulation (1986)[63]
- Steven R. Herman, vice-president, licensing and merchandising (1986)[63]
- David Fox, vice-president, legal affairs (1986)[63]
- Katherine Beekman, vice-president, subscription (1986)[63]
- Milton Schiffman, vice-president, production (1986)[63]
Publishers
Editors-in-chief
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 initially outsourced editorial content, having been the titular editor previously.
In 1994, Marvel briefly abolished the position, 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 1/3 of the line.
Bob Budiansky was the third Executive Editor [following the previously appointed
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."
[65] Marvel reinstated the overall editor-in-chief position in 1995 with
Bob Harras.
- Editor
- Editor-in-chief
Offices
Located in New York City, Marvel has been successively headquartered in the
McGraw-Hill Building,
[5][66] where it originated as
Timely Comics in 1939; in suite 1401 of the
Empire State Building;
[66] at 635
Madison Avenue (the actual location, though the comic books'
indicia listed the parent publishing-company's address of 625 Madison Ave.);
[66] 575 Madison Avenue;
[66] 387 Park Avenue South;
[66] 10 East 40th Street;
[66] 417
Fifth Avenue;
[66] and a 60,000-square-foot (5,600 m
2) space at 135 W. 50th Street.
[67][68]
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.
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.
[69] 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.
[70] However, Marvel moved back to licensing with Pocket Books from 2005 to 2008.
[69] With few books issued under the imprint, Marvel and
Disney Books Group relaunched Marvel Press in 2011 with the Marvel Origin Storybooks line.
[71]
Television programs
Many television series, both live-action and animated, have based their productions on Marvel Comics characters. These include multiple series for popular characters such as Spider-Man and the X-Men. Additionally, a handful of television movies based on Marvel Comics characters have been made.
Role-playing games
TSR published the pen-and-paper
role-playing game Marvel Super Heroes in 1984. TSR then released the
Marvel Super Heroes Adventure Game in 1998. In 2003 Marvel Publishing published its own role-playing game, the
Marvel Universe Roleplaying Game.
[72]
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.
[73][74]
Theme parks
Marvel has licensed its characters for theme-parks and attractions, including at the
Universal Orlando Resort's
Islands of Adventure, in
Orlando, Florida, which includes rides based on their iconic characters and costumed performers.
[75] Universal theme parks in California and Japan also have Marvel rides.
[76] In early 2007 Marvel and developer the Al Ahli Group announced plans to build Marvel's first full theme park, in
Dubai,
United Arab Emirates, by 2011.
[76]
Video games
Marvel also made a series of
digital comics that serve as prequels to
Disney Epic Mickey.
[citation needed] Marvel also released two games under the title
Marvel Ultimate Alliance between 2000 and 2010. The same game has been remodeled as an arcade game as well.
[citation needed]
