Seeing as how I'm taking what will likely be a years-long undertaking of reading all the Marvel superhero comics from 1961 on, I thought it would be good to go back 40 years and read Stan Lee's origin stories.

Okay, let's be real: Stan Lee has become as much a larger-than-life character as many of those he had a hand in creating. This buys him a lot of leeway.

Because, make no mistake, the writing in this is absolutely horrible. Lee's love of alliteration and his bombastic statements are cringe-worthy. But, he also takes as many shots at himself as he does anyone, and he's a hell of a lot of fun to read.

He gives more credit to the artists than I remember when I first read this book, but then again, back then, I was twelve and Lee was only in his fifties. Now, I'm in my fifties and Lee is in his nineties (!). He's nowhere near as relevant as he was in the 60s, but there's gold in this book.

I liked comics a lot before I read this book. But at the tender age of 12, when I finished this book, I loved them. I wanted to draw and write my own comics. I wanted to create characters that would be known and loved the world over, just like Lee did. You have to admit, the man was on a streak for a long time.

And this is the story of it. My only complaint is, in true Stan Lee form, you get the highlights of the stories, but never the deep-down stuff. I know we never will, but I'd love to have seen that here. ( )

In Origins of Marvel Comics, Stan Lee examines the creation of several of Marvel’s original stars along with example stories. He suggests the reader call the volume “a remedy, a pictorial tonic to relieve the awesome affliction that threatens us all: the endlessly spreading virus of too much reality in a world that is losing its legends – a world that has lost its heroes” (pg. 9). Lee examines the Fantastic Four, the Incredible Hulk, the Amazing Spider-Man, the Mighty Thor, and Doctor Strange. He excerpts stories from Fantastic Four nos. 1 and 55; The Incredible Hulk nos. 1 and 118; Amazing Fantasy no. 15 and Amazing Spider-Man 72; Journey Into Mystery no. 83 and The Mighty Thor 143; and Strange Tales nos. 110, 115, and 155.

Each chapter begins with a brief history of the characters’ creation and subsequent legacy, such as Lee’s writing the Fantastic Four as a team book following the success of DC’s Justice League of America along with his decision that they should have no secret identities or kid sidekicks in order to make them more relatable. Turning to the Hulk, Lee describes his attempt to further break the mold in making a monster into a hero along with the problems of coloring the Hulk that led to his current green color. The reprint of The Incredible Hulk no. 1 recolors Hulk as green on the interior pages “since this is the way he is presently known to both friend and foe alike” (pg. 77). Lee does offer the caveat, “To satisfy the archivists and the purists among you, The Hulk cover which accompanies this daring denouement is depicted in its original gray, as Marvel constantly strives to bring you the very best of both possible worlds” (pg. 77). This type of recoloring would not appeal to readers today, steeped as they are in comic book history, but prior to the modern graphic novel in 1974, it was an acceptable change.

Turning to the creation of the Mighty Thor and the desire to top the previously-created characters with a deity, Lee writes, “There was no way we could present a strip featuring God without possibly offending any reader of almost any religious affiliation. Remember, this was before the days of the so-called underground comics where anything goes. But even that wouldn’t have mattered. The underground type of publication wasn’t our thing. Marvel has always aimed for a family audience – fun for the kiddies and fantasy for the older readers. Or the other way if you prefer. So I knew we just couldn’t swing with Super-God” (pg. 178). To that end, Lee turned to other mythologies for a deity figure that wouldn’t risk running afoul of readers. He continues his journey into strange tales with Doctor Strange. On the impact of Doctor Strange, Lee writes, “Dr. Strange, which I always thought would prove exceptionally appealing to our younger readers, began to develop a cult among those at the other end of the spectrum. Suddenly the mail started pouring in – from colleges, if you will. In ever-increasing numbers students were actually devoting term papers and theses to the language of Dr. Strange, investigating the derivation of his various spells and incantations” (pg. 225). Lee points out at numerous points that he values older readers.

Describing Marvel’s readership, Lee writes, “Nowadays, almost a generation after the start of Marvel Comics, more than one-third of our readers are of college age – though that’s a subject for another book” (pg. 74). In discussing the way Marvel personalized its creative talent to its readers, Lee writes, “Prior to the emergence of Marvel Comics, the artists and writers who produced the strips, as well as the editors, art directors, and letterers, were mostly unknown to the reader, who rarely if ever saw their names in print. In order to change that image and attempt to give a bit more glamour to our hitherto unpublicized creative caliphs, I resorted to every device I could think of – and the nutty nicknames seemed to work” (pg. 131). Lee concludes by terming Origins of Marvel Comics “the beginning of an ever-continuing journey into the realm of Marvel mythology – a realm where all, regardless of color, sex, or creed, are truly kindred souls, united by a common love of adventure, fantasy, and just plan fun. Perhaps, just perhaps, that’s what Marvel’s really all about. Excelsior!” (pg. 254) ( )

Origins of the superheroes I grew upon, when comics were twelve cents and my allowance was a quarter--you do the math. Each origin story is followed by a later story of the same comic.. ( )

Comics reprints with comment