STANLEY LIEBER BECOMES STAN LEE AND "MR. TIMELY COMICS"

How Does Stan Lee Get into Comic Books? A Stroke of Luck or Something Else?

Stanley Lieber uses the pseudonym “Stan Lee” in his first published story!

Rising up to his feet and towering over a messy desktop with drawings strewn haphazardly about and correspondence littering every square inch, Timely Comics head writer and editorial director Joe Simon reached out his hand to welcome his new young assistant. Cigar smoke is thick in the room as Simon’s big hand comes at the teenager sitting in front of him.

Still a little dizzy from getting the job, Stanley Leiber vigorously pumped the older man’s hand – A steady paycheck…He would make eight dollars a week! He had recently graduated from high school, the DeWitt Clinton Class of 1939.

For a young man struggling to find full-time work, the pay meant that he might help the family regain its footing. They had been reeling since his father Jack couldn’t find work in the dressmaking industry throughout the tough years of the Great Depression. The job gave the teenager security and a shot to prove himself in writing and publishing. Words appealed to the boy—always had.

Stanley dreamed of one day writing the Great American Novel.

But in this new job, Stanley had to start at the bottom. He plied away as an office boy for Simon and the other full-time Timely Comics employee – artist and writer Jack Kirby. Little more than an assistant, some days he refilled Kirby and Simon’s inkwells. He had the mammoth task to get the two men sandwiches while the duo concocted new superhero stories.

Lieber worked with enthusiasm, even if he spent hours sweeping floors or erasing stray pencil marks on finished pages to prep them for publication. The youngster achieved his primary goal – simply finding a permanent position. He watched and learned from two of the industry’s budding stars.

More importantly, Stanley had a job! His father’s fate would not befall him. He set off on a career.

The Timely Job at Timely Comics…And a Mystery!

Many episodes in Stanley’s early life are shrouded in uncertainty. How the teenager bounded from Clinton High School to Simon and Kirby’s assistant at Timely involves both a bit of mystery and a touch of mythmaking.

There are several versions of his Timely Comics origin story. One account begins with his mother Celia. Clearly she put her hopes in her oldest son, particularly since her faith in her husband nearly led the family to ruin.

Here we have Celia telling Stanley about a job opening at a publishing company where her brother Robbie worked. Without delay, the young high school grad shows up at the McGraw-Hill building on West 42nd Street, but knows little about the company or comic books. With Robbie’s prodding, Simon explains the business and how comic books are made. He then offers the teen a job. Basically, he and Kirby are so frantic and overworked, particularly with their new hit Captain America, that they just need someone (anyone, really) to provide an extra set of hands.

Robbie Solomon is also at the center of a different account (here the main player), essentially a conduit between Simon and owner Martin Goodman. In addition to being Celia Lieber’s brother, Robbie married the publisher’s sister Sylvia. Goodman surrounded himself with family members, despite the imperious tone he took with everyone who worked for him. Receiving Robbie’s stamp of approval (and the familial tie) made the boy’s hire fait accompli. Simon, then, despite what he may or may not have thought of the boy, basically had to take Leiber on. “His entire publishing empire was a family business,” explained historians Blake Bell and Michael J. Vassallo. Solomon had a strange job – a kind of in-house spy who ratted out employees not working hard enough or playing fast and loose with company rules.

While the family connection tale is credible and plays into the general narrative of Goodman’s extensive nepotism, Lee offered a different perspective, making it more of a coincidence. “I was fresh out of high school,” he recalled, “I wanted to get into the publishing business, if I could.” Rather than being led by Robbie, Lee explained: “There was an ad in the paper that said, ‘Assistant Wanted in a Publishing House.’” This alternative version calls into question Lee’s early move into publishing – and throwing up for grabs the date as either 1940, which is usually listed as the year of his hiring, or 1939, as he later implied.

Lieber may have not known much about comic books, but he recognized publishing as a viable option for someone with his skills. He knew that he could write, but had no way of really gauging his creative talents. Although Goodman was a cousin by marriage, he did not have much interaction with his younger relative, so it wasn’t as if Goodman purposely brought Lieber into the firm. No one will ever really know how much of a wink and nod Solomon gave Simon or if Goodman even knew about the hiring, though the kid remembered the publisher being surprised the first time he saw him in the building.

The teen, though bright, talented, and hard working, needed a break. His early tenure at Timely Comics served as a kind of extended apprenticeship or on-the-job training at comic book university. Lieber was earnest in learning from Simon and Kirby as they scrambled to create content. Since they were known for working fast, the teen witnessed firsthand how two of the industry’s greatest talents functioned. The lessons he learned set the foundation for his own career as a writer and editor, as well as a manager of other highly talented individuals.

Stan Lee: A Life, by award-winning historian Bob Batchelor

WHY A BIOGRAPHY OF STAN LEE?

My Personal Journey: Marvel Comics, Electric Company, and Reading

Stan Lee: A Life by Bob Batchelor, celebrating the 100-year history of the iconic creative force!

My criteria for who or what to write about as a biographer and cultural historian is a mix of a.) personal interest, and b.) impact the person or group has had on culture. Clearly, Stan Lee fits.

When thinking about possible topics, I wanted to find an iconic figure whose life and work had influenced countless millions of people. There are many people who fit this description, but back in 2014 and 2015 when I was thinking about who, the possibilities were not endless. Many figures had biographies written about them or had covered their own territory via autobiography or memoir. Others I didn’t find interesting enough — personally — to want to spend five or more years with: from research to writing to publication to marketing to more marketing, etc. Taking on a biography is a LONG process of essentially getting inside another human being’s skin (and letting them in yours in some strange way), so commitment is fundamental.

When Stephen Ryan, then editor at Rowman & Littlefield, suggested Stan, he seemed a natural subject to explore in a full-scale biography. And, of course, I am a lifelong Marvel and Lee fan, so I felt I had some insight into his life at the outset.

The popularity of the Marvel film universe had rekindled Lee’s global popularity. Ironically, though, when I interviewed self-professed Marvel and Lee fans, what I realized is that most didn’t know much about him (and much of what they thought they knew wasn’t the whole story).

What could I add to the body of knowledge about Lee? I figured my best bet would be to write a biography deeply steeped in archival research that provided an objective portrait that would give readers insight and analysis into Lee’s life and career. Multi-archival research had been the training I received as a historian, so I went to the Stan Lee Archives at the American Heritage Center at the University of Wyoming. I searched out information at the Billy Ireland Cartoon Library and Museum, a wonderful space at Ohio State University.

The research provided a deeply nuanced view of Lee’s work that I then conveyed to the reader. This commitment to the research and uncovering the “man behind the myth” became the driving force of the initial book, published in late 2017, titled Stan Lee: The Man Behind Marvel.

In looking at a person’s life, especially one as long as Lee’s, context and historical analysis provides the depth necessary to create a compelling picture. For example, Lee grew up during the Great Depression and his family struggled mightily. I saw strains of this experience at play throughout his life that I then emphasized and discussed. As a cultural historian, my career is built around analyzing context and nuance, so that drive to uncover a person’s life within their times is at the heart of the narrative.

Another important element in writing about Lee was to really give a thorough going-over of his life and experiences as an editor of comic books. Stripping away the film cameos, the fame, and the self-created “comic book man” persona, I felt it was Lee’s work as an editor, art director, production manager, writer, and boss that had not been fully explored.

Stan Lee greeting the adoring crowd at a comic book convention

What I Hoped to Accomplish

In the initial biography and the two that followed — Stan Lee: A Life and Stan Lee: The Man Behind Marvel, Young Adult Edition — what the reader gets is multi-archival research and deep engagement with contemporary American history. Basically, I wanted to write a biography that is based on archival research, but written for general fans and readers. The books explore Lee’s rise as a kind of fulfillment of the American dream, from near-poverty in Depression-era New York City to the comic book industry’s iconic visionary, a man who created (with talented artists) many of history’s most legendary characters.

The books look at how Lee capitalized on natural talent and hard work to become the editor of Marvel Comics as a teenager. After toiling in the industry for decades, Lee threw caution to the wind and went for broke, co-creating the Fantastic Four, Spider-Man, Hulk, Iron Man, the X-Men, the Avengers, and others in a creative flurry that revolutionized comic books for generations of readers. Marvel superheroes became a central part of pop culture, from people who began collecting comics to the company’s innovative merchandising, from superhero action figures to the ever-present Spider-Man lunchbox.

 My biographies of Lee examine many of his most beloved works, including the 1960s comics that transformed Marvel from a second-rate company to a legendary publisher. What I hoped to show is that Lee took risks to bring the characters to life. Of course, he didn’t do it alone, and the battle over who did what and when has led comic book historians and others to draw battle lines that are hard and fast. What I wanted to demonstrate, though, was that it took Lee’s tireless efforts to make comic books and superheroes part of mainstream culture.

The biographies not only reveal why Lee developed into such a central figure in American entertainment history, but explores the cultural significance of comic books and how the superhero genre reflects ideas central to the American experience.

Personal Journey

As mentioned earlier, personal interest is critical for a biographer. If you believe eminent author Jerome Charyn, who exclaims, “Every book is really about me,” then you’ll understand the connection between subject and writer. Essentially, an author is asking, “From my lived experience and mental map, what can I add to this story that is uniquely from my perspective?” This thought is often discussed in the work of Carl Rollyson, in my opinion the “dean” of biography for his work as a biographer and biography theorist.

My personal experience certainly led to my interest in writing about Lee and Marvel — now stretching to more than nine years of research, writing, talking about, and thinking about the iconic figure. But, my personal interest dwarfs my professional interest.

At around four years-old, I taught myself to read so that I could “understand” Spider-Man comic books. I remember really needing to make sense of the words, which struck me so much more than the images and art. And, this later played a role in my thinking as I met and talked to artists and people who love art over text in comic books. I think that some people are “words” people and some are “art.” I am clearly about the words, so this ability to read comic books meant so much more to me than the pictures. I never thought twice about who drew comic books, but I did attempt to make a connection between the words and how they played out on the page.

Another perspective came from watching the Electric Company on PBS (back when there were literally only a handful of channels to choose from). “Spidey’s Super Stories” were live-action skits featuring the web-slinger and I lived for those spots. The vignettes debuted in 1974, so the timeline (when I look back on it now), fits with my Gen X youth.

This is the skeleton of my five decades-plus relationship with Stan Lee, Marvel, and particularly Spider-Man. I am so proud of the three Lee biographies and believe strongly that Stan himself would be happy to know they exist. And, who know…maybe there is another Lee biography or book with Stan as a central figure still left in me…as Rollyson says, “The answer to one biography is another biography.”

Happy 100th Birthday Celebration for Marvel Legend Stan Lee

Stan Lee as Artist and Producer — The Man “Behind” Marvel’s Success

Stan Lee: A Life by cultural historian Bob Batchelor

Stan Lee had been working in the comic book industry for decades before the successes of the 1960s. Lee’s most important lessons from those first two-plus decades in comic book publishing were about how to manage a business, the seemingly simple on paper, but difficult in practice nature of running a company.

Comic book publishing was not for the meek – governed by relentless deadlines in an era before technology made many of the processes more efficient. While not trained in business, Lee became a manager, which gave him insider perspective into the machinations of the industry, particularly in contrast to the artist or writer view that is solely on their specific creation. From an enterprise perspective, Lee learned everything that would enable him to re-launch Marvel in the early 1960s, ultimately overseeing the company as it became a force in comic books and later, American popular culture as a whole.

Yet, if we were just discussing Lee as an editor and manager of Marvel, the story would be truncated. Of course, he was also a creator, as were so many of the early comic book artists and writers, more or less forced into developing managerial acumen, because, well someone had to run the business side. What emerged in Lee as a result of the melding of the business and creative parts of his work life was a keen sense of responsibility. He had to nurture the artistic aspects of comic book creation, from writing and editing to assigning cover art and lettering, while also overseeing the business side, from managing budgets to working with the production team to ensure deadlines were met in an industry with slim margin for error. Ultimately, all responsibility wrapped back to Lee.

Rather than these viewpoints warring inside Lee as he built his career, he used them as a way to create a central worldview: Comic books were important as tools to educate. They had value for readers – regardless of age – as a means of education, including outlining a value system based on the complexity of the human experience, not unlike literature and poetry. Lee realized that this perspective stood in contrast to the mainstream opinion that comic books were “pulp,” simple stories aimed at children and feeble-minded adults (a common belief through the 1960s).

Without going into deep analysis of the controversial creation of Spider-man – an amalgamation of the thinking and experiences lived by Lee, Steve Ditko, Jack Kirby – the character’s popularity provided Lee with an instrument to explore his ideas about how important comic books could be as tool for education. Spider-man gave him influence and proved that he could help shape culture in ways unimaginable during the first 20 years of his career.

Continually attempting to establish Marvel as different, Lee started calling the company the “House of Ideas,” which stuck with journalists and became part of the company’s cachet. If a downside existed in the surge of Marvel comics into the public consciousness it is that Lee and his bullpen teammates had to balance between entertainment, social issues, and profitability. Stan valued the joy derived from reading comics, but he wanted them to be useful: “Hopefully I can make them enjoyable and also beneficial…This is a difficult trick, but I try within the limits of my own talent.” Lee wanted to have it both ways – for people to read the books as entertainment, but also be taken seriously.

“Hopefully I can make them enjoyable and also beneficial…This is a difficult trick, but I try within the limits of my own talent.”

— Stan Lee

At the same time, Marvel had to sell comics, which meant that little kids and young teenagers drove a sizeable chunk of the market. In 1970, Lee estimated that 60 percent of Marvel’s readers were under 16-years old. The remaining adult readership was enormous given historical numbers, but kept Lee focused on the larger demographic. “We’re still a business,” he told an interviewer. “It doesn’t do us any good to put out stuff we like if the books don’t sell…I would gain nothing by not doing things to reach the kids, because I would lose my job and we’d go out of business.”

 On one hand, the industry moved so quickly that Lee and his creative teams constantly fought to get issues out on time. The number of titles Marvel put out meant that everyone had to be constantly producing. So, when Lee was in the office or working from home, he committed to getting content out. Roy Thomas recalls, “Stan and I were editing everything, and the writers were editing what they did, and we had a few assistant editors that didn't really have any authority...that was about it.” However, that chaotic atmosphere made it rife for animosities to form or fester. Lee needed content out the door and Goodman tried to maintain control over cover artwork and other little details that inevitably slowed down the process.

Thomas’ ascension and Lee’s pull toward management did shift the editorial direction, if for no other reason than that Stan wouldn’t be writing full-time any longer. “It was time to kind of branch out a little bit,” Thomas explained. “We wanted to keep some of that Marvel magic, and at the same time, there had to be room for other art styles and other writing styles.” The most overt change came when Lee turned in the copy for The Amazing Spider-Man #110. The late 1971 issue was the last Lee wrote for the character. Writer Gerry Conway succeeded Lee and the next books in the series would be co-created by Conway and star artist John Romita.

While many adults looked down on Lee for writing comic books, especially early in his career, he developed a masterful style that rivals or mirrors those of contemporary novelists. Lee explained:

Every character I write is really me, in some way or other. Even the villains. Now I’m not implying that I’m in any way a villainous person. Oh, perish forbid! But how can anyone write a believable villain without thinking, “How would I act if he (or she) were me? What would I do if I were trying to conquer the world, or jaywalk across the street?...What would I say if I were the one threatening Spider-Man? See what I mean? No other way to do it.”

 Lee’s distinctive voice captured the essence of his chosen medium.

Lee also understood that the meaning of success in contemporary pop culture necessitated that he embrace the burgeoning celebrity culture. If a generation of teen and college-aged readers hoped to shape him into their leader, Lee would gladly accept the mantle, becoming their gonzo king. Fashioning this image in a lecture circuit that took him around the nation, as well as within the pages of Marvel’s books, Lee created a persona larger than his publisher or employer. As a result, he transformed the comic book industry.

Unlike Bob Dylan or Jann Wenner, for example, Stan didn’t plan this revolution. He didn’t say to himself that he would cocreate a character that would become part of American folklore. It wasn’t planned, yet it seems completely intentional.

Baby boomers grew up with Stan’s voice in their heads. Interestingly, Lee spoke for Marvel’s superheroes to eager audiences talking about the characters, while at the same time creating the dialogue in the actual comics. So he was the person talking about the characters he himself was voicing. In addition, he wasn’t just in the media; Stan was talking directly to readers within the pages. He was Spider-Man’s voice, while also talking about the comics, the company, his colleagues, and the world to a captivated audience.

By the time Gen Xers started reading comics, Marvel’s style was wholly entrenched. As each generation ages out of traditional comic book reading age, Lee’s voice becomes commensurate with nostalgia—a part of our lives we look back to with fondness and equate with better times. Immersed in a heavily capitalistic, entertainment-driven culture, embedded stories are ones that get retold, and Marvel superheroes become a balm for a cultural explosion driven by cable television, global box office calculations, and the web. In what seems like the blink of an eye, the Marvel voice became the voice of modern storytelling.

Why did the Marvel Universe come to dominate global popular culture? Largely based on Stan supplying a voice to a mythology. Certainly, the creation of the Marvel Universe was a team effort, like all forms of entertainment, nothing is created in a vacuum. There are unheralded people in the process and those who deserve as much credit as Lee for their roles. Yet, it was the unmistakable “music” that Lee conceived that launched a cultural revolution.

Crisscrossing the nation while speaking at college campuses, sitting for interviews, and conversing with readers in the “Stan’s Soapbox” pages in the back of comic books, Lee paved the way for intense fandom. His work gave readers a way to engage with Marvel and rejoice in the joyful act of being a fan. Geek/nerd culture began with “Smiley” and his Merry Marauding Bullpen nodding and winking at fans each issue. Lee’s commitment to building a fan base took fandom beyond sales figures and consumerism to authentically creating communities. The Marvel Cinematic Universe has spun this idea into global proportions. It is the fans of the MCU across film and television that has reinforced and spread Stan’s voice across the world.

Amazing Fantasy #15, the comic that launched Spider-Man into the popular culture stratosphere

The superheroes that Lee and his co-creators brought to life in Marvel comic books remain at the heart of contemporary storytelling. Lee created a narrative foundation that has fueled pop culture across all media for nearly six decades.

By establishing the voice of Marvel superheroes and shepherding the comic books to life as the creative head of Marvel, Lee cemented his place in American history. According to analyst Paul Dergarabedian, the results have been breathtaking: “The profound impact of Stan Lee’s creations and the influence that his singular vision has had on our culture and the world of cinema is almost immeasurable and virtually unparalleled by any other modern day artist.”

“The profound impact of Stan Lee’s creations and the influence that his singular vision has had on our culture and the world of cinema is almost immeasurable and virtually unparalleled by any other modern day artist.”

— Paul Dergarabedian

EXCLUSIVE -- Excerpt from Stan Lee: A Life

Exclusive! Read Excerpt From Stan Lee: A Life by Bob Batchelor

Fans who have been waiting to catch Stan Lee: A Life by award-winning cultural historian and biographer Bob Batchelor can now read an exclusive excerpt at Forces of Geek, one of the premiere pop culture websites publishing today. Over the years, millions of fans have been entertained by FOG, which delivers outstanding columnists and opinion, reviews, and insightful analysis of geek culture from today and our nostalgia-tinged youths.

Exclusive! Read an Excerpt From Stan Lee: A Life by Bob Batchelor

Stefan Blitz is FOG editor-in-chief. In the introduction to the excerpt, he also revealed that Batchelor “will be joining the site next year.” He will be writing a column on Gen X and other popular culture topics.

On Stan Lee: A Life, Blitz explains, “Take the opportunity to check out an exclusive excerpt from his fantastic book, which might be the last word on one of pop culture’s most inimitable icons.”

The excerpt, “How the Marvel Universe Conquered the Globe,” is the first chapter from Stan Lee: A Life.

Forces of Geek — your home to discover and embrace the unknown, the forgotten, and the beloved from popular culture — has published an exclusive excerpt from Stan Lee: A Life (Rowman & Littlefield, 2022).

“While there are generations of great science fiction films and action movies, the difference between the Marvel Cinematic Universe (MCU) and the others is voice…The Marvel feeling is so ingrained in the heads of fandom that it feels subconscious. It’s driven by Lee’s voice. No matter who directs an MCU film or plays a superhero or supervillain, the internal consistency prevails: Thor’s humor and stilted formality, Iron Man’s snark, Spider-Man’s relentless patter and earnestness. This is Stan’s enduring legacy.”

— Bob Batchelor

While some readers might never have thought of the term “voice,” Batchelor breaks it down via the way the concept is outline by eminent writer Jerome Charyn, one of the most important voices in American literature today.

Charyn describes voice as “music.” Charyn’s concept, although focused on books, can be applied to Lee’s comic book writing:

“Writing…is about the music, it’s about the voice. This is what predominates. The music is all, the music is total, it’s absolute.”

— Jerome Charyn

Stan’s dialogue provided Marvel with a kind of music that readers could hear and matched their internal rhythms, resulting in an experience that transformed them. “It’s music alive with extreme sympathy,” Charyn explained, “there is no space between you and the text.” As a result, readers could feel the Marvel style, while simultaneously that Lee patter paralleled the cultural explosion booming across society. We hear this in the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” Stanley Kubrick’s Dr. Strangelove and 2001: A Space Odyssey, and J. D. Salinger’s short stories.

Meet Stan Lee -- October 12, 1991

Stan Lee and Spider-Man together at 1991 book signing event

Meet Stan Lee!

From the early 1960s until his death in 2018, Stan Lee was different than other celebrities — approachable and committed to staying connected to the fans that helped build Marvel into a global brand.

Marvel: Five Fabulous Decades of the World's Greatest Comics by Les Daniels

Les Daniels’ book — Marvel: Five Five Fabulous Decades of the World's Greatest Comics not only gave fans an inside look at Marvel’s history, but for those fans lined up at the Paramus Barnes & Noble, they were in for a treat — meeting Stan and Spider-Man!

Two heroes for the price of one!

To learn more about the Marvel maestro’s amazing life, please read Stan Lee: A Life, available wherever you like to purchase books.

Spider-Man Film Rights Tangled in Web (of Lawsuits) -- October 11, 1998

Stan Lee believed in Spider-Man as a film franchise, but the rights were tangled in a web of lawsuits

Spider-Man film rights stuck in legal quagmire

Stan Lee had a vision — an entire Marvel Universe on screen! He had worked for decades to get Hollywood executives and studio heads to believe him. As always, he placed his faith in his most successful co-creation — Spider-Man.

Stan Lee with his number one creation -- Spider-Man

Even a person as optimistic as Stan had a difficult time keeping his cool as a series of productions companies bought the rights to Spider-Man, but then fell into development hell as they attempted to figure out just how to bring the web-slinger to life.

The extensive licensing and rights deals attached to the character led to a series of high-profile lawsuits that stalled progress and infuriated Lee. At various points the legal battles included many of Hollywood’s greatest names, from MGM and Viacom to Sony and 21st Century. Even the great James Cameron — who would later become a hit-maker based on Titanic (1997) — couldn’t move the mountains necessary to make a Spider-Man film based on his 1991 treatment.

Stan Lee hoped James Cameron would make a Spider-Man film

The legal battles were not cleaned up until early 1999, when Columbia Pictures acquired the rights to all previous Spider-Man scripts in a deal with Metro-Goldwyn-Mayer and Sony then purchased the rights from MGM. Sam Raimi was hired to direct the Tobey Maguire-starring vehicle in 2000 and the film came out two years later.

Spider-Man (2002) is finally made!

Spider-Man was 2002’s highest grossing film, generating more than $407 million in North America, while earning a staggering $418 million overseas. Wiping out all the doubts about whether a superhero film might work, Spider-Man soon became the highest-grossing superhero film of all time after its release, both domestically and worldwide.

Spidey turned Stan Lee’s dream into a reality!

To learn more about the Marvel maestro’s amazing life, please read Stan Lee: A Life, available wherever you like to purchase books.

Stan Lee Predicts Marvel's Future -- 50 Years Ago Today

Stan Lee Predicts Marvel’s Future in 1972!

Newspaper article on Marvel superheroes featuring Stan Lee

The power and global influence of the Marvel Cinematic Universe is pervasive today, but imagine having nearly every door in Hollywood slammed in your face at the mere thought that anyone would want to see Marvel superheroes on the big screen.

This was Stan Lee’s reality 50 years ago in 1972, even though comic books were a $200 million industry at the time. Ironically, the Dallas Times Herald journalist who interviewed Stan was named Bill Marvel, a daily reporter who had started his career in 1961, at the dawning of the Marvel comic book renaissance, which began with the launch of the Fantastic Four, co-created with artist Jack Kirby.

Stan Lee is prescient in forecasting Marvel's future

Despite being roundly ignored (or laughed out of the room) by Hollywood executives, Lee persevered, asserting that Marvel was in the midst of a major transformation from comic book company to media “hot property.”

Although he could not get producers to agree, Stan told the journalist that he viewed television and film as the future of the company. He was betting his own future on that vision after a lifetime in creating comic books and decades ahead of his peers at Marvel or in the entertainment industry.

“The next phase is where the much bigger money might lie.”

— Stan Lee

Stan Lee with the book Origins of Marvel Comics

Stan certainly did not have a crystal ball, but his tireless dedication to the basic notion that adults would enjoy films centered on Marvel superheroes eventually transformed the film industry around the globe. Lee was just decades ahead of his time!

To learn more about the Marvel maestro’s amazing life, please read Stan Lee: A Life, available wherever you like to purchase books.