Marvel Comics

"Spider-Man"

"Captain America"

"Fantastic Four"

"Marvel: Ultimate Alliance"

"New Warriors"

"Nextwave; Agents of H.A.T.E."

"Avengers Forever"

"Young Avengers"

"Spider-Girl"

"New Avengers"

"The Amazing Spider-Man"

"Ultimate Spider-Man"

"The Incredible Hulk"

"Astonishing X-Men"

"Ultimate X-Men"

"Uncanny X-Men"

"X-Men: Pixie Strikes Back"

"Ultimate Fantastic Four"

"The Avengers (2012 film)"

"Spider-Man 2"

"Spider-Man 3"

"X-Men: The Last Stand"

"X-Men Origins: Wolverine"

"Spider-Man: The Animated Series"

"Spectacular Spider-Man"

"X-Men: Animated Series"

"X-Men: Evolution"

"Wolverine and the X-Men"

"Agents of S.H.I.E.L.D."

"The Incredible Hulk (1978 TV series)"

"Ultimate Spider-Man (video game)"

"Spider-Man 3 (video game)"

"Spider-Man: Web of Shadows"

"Hulk (video game)"

"The Incredible Hulk: Ultimate Destruction"

"If you had two things, and on one you earned 100% of the revenues from the efforts that you put into making it, and the other you earned a much smaller percentage for the same amount of time and effort, you’d be more likely to concentrate more heavily on the first, wouldn’t you?"

"Wired: …what’s the relationship like with the comic book side of the company? Is there back-and-forth?"

"So the Chitauri were Al-Qaeda? O.K., good to know. A suspicion I had during Iron Man 3 was confirmed during Captain America: The Winter Soldier. The Marvel Cinematic Universe (by which we mean the movies starring Marvel comic-book characters that aren't distributed by Sony or 20th Century Fox) has decided to go back and reposition the big battle from Marvel’s The Avengers as its 9/11. On the one hand, this is a “no duh” observation—at the end of The Avengers, New York was blown to smithereens. But the tenor in which Joss Whedon shot and cut the lengthy third act sequence was so zippy and fun that it seemed as if Marvel was “taking back” the iconography of New York’s destruction, from both the terrorists and real life. The key image from Avengers is an adulatory 360-degree swoop of Earth’s Mightiest Heroes assembled in full flex before the sturdy columns of Grand Central. It is not “Falling Man.”"

"Much like the once wide-eyed Captain, I felt a little manipulated. Had I known those whiz-bang scenes from The Avengers were supposed to have more heft, I may have approached them differently as I was strapping that feed bag of popcorn to my face. I would have looked for more pathos in the Hulk flinging Loki around like a rag doll and muttering “puny God.” Perhaps it was less of a laugh line and more of a comment about fundamentalist religion’s unsuitability with liberty-loving New York. Which means I don't even want to think about that shawarma gag!"

"I enjoyed my time at Marvel, and the people there, but it was time to go. I left Marvel because I'd hit the glass ceiling. I was never going to be promoted, so if I intended to make a mark in the business, it would be as a freelance writer, not an editor. Leaving Marvel allowed me to take assignments at several other companies, and ultimately, to help found Milestone."

"Reflecting back on some of his co-creations in 1975, Stan Lee dubiously claimed that "Marvel Comics has never been into politics" or beholden to an "official party line" before offering a near-apology for the moral simplicity of the portrait of the Vietnam conflict in 1963's "Iron Man Is Born!" (Son of Origins 47.) A disinterested observer would find much evidence to counter these claims in the pages of Tales of Suspense between 1963 and 1968."

"I think they’re so complete now, Marvel. They probably don’t need me anymore. But if they needed me? I’d love to. It’s great to be wanted."

"It's kind of a difference based upon mood and vibe of the material. There's something about the stoic heroes of DC that could be contrasted against the hyperkinetic heroes of Marvel."

"It was nice in a way to work with more obscure Marvel characters because then the audience wouldn’t have a strong expectation of what they were going to find. It gives us a lot of creative freedom."