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Stan Lee, a writer and editor of Marvel Comics, a modest family son, grew up this weekend in Manhattan's bedroom, where he died at the age of 95 and the window faced the wall. He resented the wall, built a brick in sight and bought a favorable price for the world. In one way of thinking, the greedy and lifelong way to fame and fortune was a quest to tear off the moody barriers.
Spider-Man, Fantastic Four, and Iron Man are among the most famous for bringing heroes to the world, but Stanley himself may be the only character of his own. He brings each metaphorical brick, builds a little more body, sometimes becomes cliched and sometimes laconic, but always incredibly lovable. As a master of personal branding, he was instantly identifiable in his catch phrase ("Excelsior!") And his signature look. It features large sunglasses and a Member 's Only jacket that goes well with the 90s.
In spite of his appearance, success never reached Lee easily. His reputation has been repeatedly challenged by his long career. In the '40s and' 50s, many contemporaries in magazine publishing saw him as lightweight. Later, they questioned his loyalty to his collaborators by citing his attempt to claim creative credibility for once-over-directed intellectual property. But if Lee still thrived – he is still attracting fans who pay a premium to take pictures – he was sure because he rebuilt it as an unofficial ambassador for a comic book. He might once have been in a brick outside the bedroom, but ultimately helped break the walls that separated popular culture from culture.
No astronaut investigating Lee's early attempts could predict the trajectory of his career. For twenty years, he reigned as an anonymous and unique writer of innumerable short stories of various genres ranging from romance to horror to adventure. And though he later became famous for his quietly hackneyed grandiloquence in his prose, his writing was never his writing. In the 1960s, after he and his collaborators had succeeded with a new superhero group that was the basis of today's amazing film empire, Lee created a way to make cartoons known as Marble Method. This writer will often give President Lee a short summary, sometimes only a few sentences, of the conspiracy of the matter. After the page is laid out and the drawing is drawn, the artist dreams of conversation and caption.
Stan Lee: Interview with the producer: & # 39; I noticed that entertainment is not easy to dissolve & # 39;
The Marvel Method allowed Lee to freely create more surfaces to work on more comic books and conveniently make more money with scripting. Its true effect is that it may have made it possible to imprint your own personal criticism in a whole line of amazing comics that allows the reader to read a heterogeneous title, a product of his unified vision. The irony of his hands-on approach allowed his collaborators the freedom to experiment aesthetically and lend Marvel's titles more diverse and sophisticated look than their competitors' displays.
And that competition was crucial in the fertile era of the 1960s, particularly defining Lee's career. Rival publisher DC Comics has been on the market for 50 years with a new version of Marble's classic superhero characters, such as Green Lantern and Flash. Marvel simply could not participate in this exercise. The reader needed to innovate by providing something new that was quickly noticed. A hero with clay; Good people failed; The villains who were heroes of their stories. On the other hand, Lee appeared as an excellent editor-in-chief, witnessing a small group of regular artists to announce the novel. He was a better production manager, wisely using the limits of a limited distribution deal to keep the line small but powerful. Even the "lightweight" critique of the past has served to Marvel's advantage in the 1960s, when he thought Lee was more abusive than supporting artists with strong editorial characteristics in DC.
Li also helped at first, as the comic book range was relatively scarcer. His exceptional personality fits well with reporters to cover the growth success of publishers, and few people claim creative genius at the forefront of Marble's collective success. Until Marvel named DC Comics as the best selling comic book publisher in 1972, fans of the new generation were successful at the Sandbox that helped to prosper. "Stan Lee wrote" became "Stan Lee Presents …". Few have worried that the company's core titles have dramatically reduced innovation. A character set in a pattern that can recognize behaviors that are difficult to predict once. The narrative became periodic. This, in turn, ultimately influences Lee's heritage, effectively empowering the company's stable figures, allowing end-film and TV listeners to select the most creative projects with thousands of pages of similar material.
Marvel's reaction to the impresario was quicker. Lee has been cast twice as an industry villain in his career. For the first time, I betrayed my status as a co-creator in the amazing comics of the last decade. As the 1970s progressed, hardcore fans and emerging industry news organizations found that Marvel is doing more with toy knots, spin-offs and narrative stunts, such as corporate crossovers, than innovative character creation and storytelling. Marvel was not the only one. It was blatantly commercial to have betrayed the very things that once brought back fame.
Much more serious is Lee Lee's frequent creative partner and co-creator Jack Kirby, an industry legend in an interview from 1982 to 1989 that Lee wrote much less about the Marvel superhero than most obvious. The description of the Marvel Method has convinced people. Perhaps even more, Kirby and some supporters claimed that Riga was a poor advocate of his co-creators. Over time, many people have gone out of their way to account for looting contracts that have been deprived of everything, with the exception of minimal rewards for invaluable intellectual property that helped them build. Lee's nickname – The Man has a new meaning.
If President Lee 's reputation has weathered the storm anyway, it' s disgusting to blame fans for working aggressively with artists like Kirby and Steve Ditko. To do so would have been a rebuke to the world. Heroes are sometimes a world in which they can overcome their anger and eventually meet again. Lee's final year of collision with a website media company partner broke up with Marvel, later solved money and credit problems, failed several media production efforts, and suffered a personal crisis. It may not have been possible to rehabilitate. His image, but they probably smoothed it. To many fans, he always remained as his lovely comic uncle, who was permanently connected to the Marvel Universe.
Lee 's true grace may be that his desire is not very helpful, but it is highly disproportionate when compared to the contemporaries of a business that could form a comic. He was eager to transcend the media while maintaining a misunderstood belief that the ridiculous book that made him famous through Hollywood success could be legalized. He lived long enough for Marvel's characters to grow into multi-billion dollar assets, even though he played a cameo in a film that put the currents of the film in ink and ink.
However, Lee himself was not a journalist. His true talent would have been as simple as his ability to broaden the appeal of superhero comics. I want to read Marvel Comics as an 8 year old and become a Spiderman. You can read them at the age of 16 and want to do amazing things to draw characters. You can read them as adults and simply admire panache and the technology they said. It was impossible for us to show that this possibility is open to us. He knew how to wink without laying down the reader, and now we set the example in a way that interacts with all popular cultures.
In that sense, Lee was always down the wall. He offered us a new way of looking at manga, pop culture, maybe the world. It was not what he wanted when he was a child, but it is something we all share today.
Spurgeon is co-author of "The Collapse of Stan Lee and the American Comic Book" (with Jordan Raphael) and produces The Comics Reporter website.
First published by the Washington Post
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