Jack Kirby earned the nickname "King" over 50 plus years in comics, from co-creating Captain America to the Fantastic Four to Devil Dinosaur. In addition, Jack's explosive layouts, high drama and fantastic imagination helped evolve the art form in ways few others can claim. Now, the House of Ideas explores that work in The Marvel Legacy of Jack Kirby. In essays and commentary, this deluxe, oversized volume reviews the comics, the influence and the times of Kirby, and puts a special focus on the month that changed everything, November 1961. Don't ask- just buy!

Jack Kirby earned the nickname "King" over 50 plus years in comics, from co-creating Captain America to the Fantastic Four to Devil Dinosaur. In addition, Jack's explosive layouts, high drama and fantastic imagination helped evolve the art form in ways few others can claim. Now, the House of Ideas explores that work in THE MARVEL LEGACY OF JACK KIRBY HC. In essays and commentary, this deluxe, oversized volume reviews the comics, the infl uence and the times of Kirby, and puts a special focus on the month that changed everything, November 1961. Don't ask - just buy!!!

Collects Marvel Legacy #1, Marvel Legacy Primer pages, FOOM Magazine (2017). EVERYTHING STARTS HERE! It begins at the dawn of the human race, and ends with a child's prayer! In between, empires fall, mysteries brew, secrets are revealed, quests are undertaken and legends are forged! All leading up to the dramatic return you've been waiting for - and one you've been dreading! Jason Aaron (MIGHTY THOR) and Esad Ribic (SECRET WARS) usher in a new dawn - one whose rays will touch every corner of the Marvel Universe in the days to come! MARVEL LEGACY: It's everything you've been longing for - and more!

SERIES RETURN: "ON 'TIL MORNING," Part Four With the fi nal clue uncovered, Peter, the Lost Boys, and an entire squad of the Mermaids track down the Hook to his secret base in Cherbourg. It's the fi rst meeting of the greatest adversaries in a year and the fate of the entire French Resistance depends on a fi nal clash of swords.

John Romita Sr is as synonymous with Marvel as is Stan Lee. Stan was the definitive writer and visionary of the Marvel Universe, but Jazzy John was the ultimate catcher to all of Stan's pitches. Arguably the most important contributor to Marvel canon with Jack Kirby, and arguably the definitive Spider-Man artist, John Romita has left his mark creating, defining and/or designing some of Marvel's most, well, marvelous characters. From being (in our humble opinion) the definitive Spider-Man artist to helping design many of Marvel's major characters from Wolverine and the Punisher to Spider-Woman, The Kingpin and so many more. And, though it was Stan Lee and Steve Ditko who co-created Spider-Man and Peter Parker, and helped us love the boy with the problems we all grew up with, it was Jazzy John who allowed Peter to grow up and have the same problems many had growing up, and glamorized Peter Parker and rounded out his stable of characters from Gwen Stacy and Harry Osborne, and who also gave us the unbelievable entrance by Mary Jane Watson, showing us just how Peter had hit the jackpot! And John Romita Jr. has also created a rich body of work that few can follow in his footsteps. Having outgrown the shadow of his father early in his career, John Romita Jr. has shown the world why he is "Mr. Marvel". From his early days working with Bob Layton on the Iron Man issues featuring the controversial issues of Tony Stark's alcoholism, to his jump to stardom in the early '90's on the Uncanny X-Men (almost a decade after his first stint on the Uncanny X-Men with Chris Claremont), to his unbelievable work on Daredevil: Man Without Fear with Frank Miller and Al Williamson, John proved that he was one of only a few artists who can shine working with a master such as Frank Miller. Moving in to the new millennium, John's work on Thor was nothing short of amazing, as well as working on Daredevil with Ann Nocenti and Al Williamson. But nothing has been more tailor made for John Jr's art than Marvel's flagship title - Spider-Man! His return on Peter Parker, Spider-Man proved that he was Marvel's best choice for a Spider-Man artist, and when Joe Michael Straczynski took hold of Marvel's flagship title, it was John Jr's art that made the great stories shine as well as they did! One thing that's kept John's art fresh is his ability to move from character to character. It definitely is bitter sweet to see John leave Spider-Man and run around the Marvel Universe on characters such as The Eternals (with Neil Gaiman), proving that once again, John Jr. is the artists artist who can tackle such great projects, and even on his run on the World War Hulk (yes, Hulk does indeed Smash!), one is mesmerized by his incredible artwork. What's amazing is, that as of this writing, John Romita Jr. will be returning to Amazing Spider-Man #568, and this fan, Nick Barrucci, President of Dynamic Forces, feels the excitement and energy to his return. These are the things that we live for in comics. it's rare to know when a series is going to be great because a great artist is working on it. We are fortunate to be on the ground floor, again, but the anticipation is something that will only be quenched with the first read of a series that will be great. The Romit's are one of the few royal families in comics. If you haven't had a chance to fully appreciate their work, here's your chance. it's a fun ride. I hope you enjoy it as much as we have in putting this book together! With an introduction by Alex Ross and an afterword by Stan "The Man" Lee, this hard cover book is perfect for every Spider-Man fan young and old!

Winner of the 2022 Eisner Award for Best Comics-Related Book The first-ever full reckoning with Marvel Comics’ interconnected, half-million-page story, a revelatory guide to the “epic of epics”—and to the past sixty years of American culture—from a beloved authority on the subject who read all 27,000+ Marvel superhero comics and lived to tell the tale “Brilliant, eccentric, moving and wholly wonderful. . . . Wolk proves to be the perfect guide for this type of adventure: nimble, learned, funny and sincere. . . . All of the Marvels is magnificently marvelous. Wolk’s work will invite many more alliterative superlatives. It deserves them all.” —Junot Díaz, New York Times Book Review The superhero comic books that Marvel Comics has published since 1961 are, as Douglas Wolk notes, the longest continuous, self-contained work of fiction ever created: over half a million pages to date, and still growing. The Marvel story is a gigantic mountain smack in the middle of contemporary culture. Thousands of writers and artists have contributed to it. Everyone recognizes its protagonists: Spider-Man, the Avengers, the X-Men. Eighteen of the hundred highest-grossing movies of all time are based on parts of it. Yet not even the people telling the story have read the whole thing—nobody’s supposed to. So, of course, that’s what Wolk did: he read all 27,000+ comics that make up the Marvel Universe thus far, from Alpha Flight to Omega the Unknown. And then he made sense of it—seeing into the ever-expanding story, in its parts and as a whole, and seeing through it, as a prism through which to view the landscape of American culture. In Wolk’s hands, the mammoth Marvel narrative becomes a fun-house-mirror history of the past sixty years, from the atomic night terrors of the Cold War to the technocracy and political division of the present day—a boisterous, tragicomic, magnificently filigreed epic about power and ethics, set in a world transformed by wonders. As a work of cultural exegesis, this is sneakily significant, even a landmark; it’s also ludicrously fun. Wolk sees fascinating patterns—the rise and fall of particular cultural aspirations, and of the storytelling modes that conveyed them. He observes the Marvel story’s progressive visions and its painful stereotypes, its patches of woeful hackwork and stretches of luminous creativity, and the way it all feeds into a potent cosmology that echoes our deepest hopes and fears. This is a huge treat for Marvel fans, but it’s also a revelation for readers who don’t know Doctor Strange from Doctor Doom. Here, truly, are all of the marvels.

Collects Darkhawk #51, Master Of Kung Fu (2017) #126, Not Brand Echh #14, Power Pack (2017) #63 And Silver Sable And The Wild Pack #36. Five classic titles return as the full legacy of the Marvel Universe is celebrated! Years ago, Chris Powell transformed into the spacefaring gladiator known as Darkhawk — now it’s Chris himself who must rise! Shang-Chi, the Master of Kung Fu, has proved himself as an Avenger — but some missions rest solely in his deadly hands! When Katie Power revisits her family history, a never-before-told tale of the Power Pack comes to light! After faking her own death, Silver Sable is back in the mercenary game — and this time she really might not survive! Plus: Almost 50 years after #13, NOT BRAND ECHH returns — and Forbush Man is ready to take over the comics industry!

Collects Marvel 2-In-One (2017) #1-6. A classic title from Marvel’s storied history is back at last — and it’s fantastic! With Reed and Sue Richards gone and presumed dead, Johnny Storm and Ben Grimm reunite in a bid to find their new place in the Marvel Universe. But something is wrong with the Human Torch, and only the Thing can help him! And what monumental secret has Victor Von Doom been hiding — and how will it completely change the lives of Ben and Johnny?! Prepare for things to go Multiversal as the Thing and the Torch explore the Fate of the Four! It’s the reunion you’ve been waiting for — well, half of it, at least — in the world’s new greatest comic magazine!

The Secret History of Marvel Comics digs back to the 1930s when Marvel Comics wasn't just a comic-book producing company. Marvel Comics owner Martin Goodman had tentacles into a publishing world that might have made that era’s conservative American parents lynch him on his front porch. Marvel was but a small part of Goodman’s publishing empire, which had begun years before he published his first comic book. Goodman mostly published lurid and sensationalistic story books (known as “pulps”) and magazines, featuring sexually-charged detective and romance short fiction, and celebrity gossip scandal sheets. And artists like Jack Kirby, who was producing Captain America for eight-year-olds, were simultaneously dipping their toes in both ponds. The Secret History of Marvel Comics tells this parallel story of 1930s/40s Marvel Comics sharing offices with those Goodman publications not quite fit for children. The book also features a comprehensive display of the artwork produced for Goodman’s other enterprises by Marvel Comics artists such as Jack Kirby and Joe Simon, Alex Schomburg, Bill Everett, Al Jaffee, and Dan DeCarlo, plus the very best pulp artists in the field, including Norman Saunders, John Walter Scott, Hans Wesso, L.F. Bjorklund, and Marvel Comics #1 cover artist Frank R. Paul. Goodman’s magazines also featured cover stories on celebrities such as Jackie Gleason, Elizabeth Taylor, Liberace, and Sophia Loren, as well as contributions from famous literary and social figures such as Isaac Asimov, Theodore Sturgeon, and L. Ron Hubbard.

The reactionary Comicsgate campaign against alleged “forced” diversity in superhero comics revealed the extent to which comics have become a key battleground in America's Culture Wars. In the first in-depth scholarly study of Marvel Comics' most recent engagement with progressive politics, Superhero Culture Wars explores how the drive towards greater diversity among its characters and creators has interacted with the company's commercial marketing and its traditional fan base. Along the way the book covers such topics as: · Major characters such as Miles Morales's Spider-man, Kamala Khan's Ms. Marvel, Jane Foster's Thor, Sam Wilson's Captain America and the Secret Empire series' turncoat Captain America · Creators such as G. Willow Wilson, Jason Aaron, Nick Spencer and Michael Bendis · Marketing, the Marvel Universe, and online fan culture Superhero Culture Wars demonstrates how the marketing of Marvel comics as politically progressive has both indelibly shaped its in-world universe and characters, and led to conflicts between its corporate interests, its creators, and it audience.