Как с английского переводится марвел название компании издающей комиксы

This article is about the comic book company using this name beginning in 1961. For the earlier comic book series, see Marvel Mystery Comics.

Parent company	Marvel Entertainment, LLC (The Walt Disney Company)
Status	Active
Founded	1939; 84 years ago (as Timely Comics) 1947; 76 years ago (as Magazine Management) 1961; 62 years ago (as Marvel Comics)
Founder	Martin Goodman
Country of origin	United States
Headquarters location	135 W. 50th Street, New York City
Distribution	Diamond Comic Distributors Hachette Client Services[1]
Key people	C. B. Cebulski (EIC) Dan Buckley (President) Joe Quesada (COO) John Nee (Publisher) Stan Lee (former EIC, publisher)
Publication types	Comics/See List of Marvel Comics publications
Fiction genres	Superhero Fantasy Science fiction Action Adventure
Imprints	imprint list
Official website	{{#property:P856}}

Marvel Comics is the common name and primary imprint of Marvel Worldwide Inc., formerly Marvel Publishing, Inc. and Marvel Comics Group, a publisher of American comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwide’s parent company.

Marvel started in 1939 as Timely Publications, and by the early 1950s, had generally become known as Atlas Comics. The Marvel branding began 1961, the year that the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko, and many others.

Marvel counts among its characters such well-known superheroes as Spider-Man (the main protagonist), Captain America (the main deuteragonist), Iron Man (the main tritagonist), Wolverine, Thor and the Hulk. There are also antagonists including Doctor Doom, the Red Skull, the Green Goblin, Thanos, Ultron, Doctor Octopus, Magneto, and Loki. Most of Marvel’s fictional characters operate in a single reality known as the Marvel Universe, with most locations mirroring real-life places; many major characters are based in New York City.^[2] The two most comic book companies from DC Comics (including Superman, Batman and other titles).

History

Timely Publications

Main article: Timely Comics

File:MarvelComics1.jpg

Pulp-magazine publisher Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939.^[3][4] Goodman, who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company’s offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman (Martin’s brother)^[5] officially listed as publisher.^[4]

Timely’s first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos‘ android superhero the Human Torch, and the first appearances of Bill Everett’s anti-hero Namor the Sub-Mariner,^[6] among other features.^[3] The issue was a great success; it and a second printing the following month sold a combined nearly 900,000 copies.^[7] While its contents came from an outside packager, Funnies, Inc.,^[3] Timely had its own staff in place by the following year. The company’s first true editor, writer-artist Joe Simon, teamed with artist Jack Kirby to create one of the first patriotically themed superhero,^[8] Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million.^[7] Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.^[9][10]

While no other Timely character would achieve the success of these three characters, some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton‘s best-known features, «Powerhouse Pepper«,^[11][12] as well as a line of children’s funny-animal comics featuring characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Goodman hired his wife’s cousin,^[13] Stanley Lieber, as a general office assistant in 1939.^[14] When editor Simon left the company in late 1941,^[15] Goodman made Lieber—by then writing pseudonymously as «Stan Lee»—interim editor of the comics line, a position Lee kept for decades except for three years during his military service in World War II. Lee wrote extensively for Timely, contributing to a number of different titles.

Goodman’s business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff.^[10] One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics’ covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled «A Marvel Magazine» many years before Goodman would formally adopt the name in 1961.^[16]

Atlas Comics

Main article: Atlas Comics (1950s)

The post-war American comic market saw superheroes falling out of fashion.^[17] Goodman’s comic book line dropped them for the most part and expanded into a wider variety of genres than even Timely had published, featuring horror, Westerns, humor, funny animal, men’s adventure-drama, giant monster, crime, and war comics, and later adding jungle books, romance titles, espionage, and even medieval adventure, Bible stories and sports.

Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned,^[18] on comics cover-dated November 1951 even though another company, Kable News, continued to distribute his comics through the August 1952 issues.^[19] This globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications.^[20]

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line.^[21] Atlas also published a plethora of children’s and teen humor titles, including Dan DeCarlo‘s Homer the Happy Ghost (similar to Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.^[22]

File:Fantastic Four Vol 1 01 Cover.jpg

Marvel Comics

The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an «MC» box on its cover.^[23] Then, in the wake of DC Comics’ success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, and other members of the team the Justice League of America, Marvel followed suit.^{[n 1]}

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to older readers than the predominantly child audiences of the medium. Modern Marvel’s first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961),^[24] broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated.^[25] This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel’s most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something with which many readers could identify.

Lee and freelance artist and eventual co-plotter Jack Kirby’s Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age.^[26] Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a «superheroes in the real world» approach, the series represented a change that proved to be a great success.^[27]

Marvel often presented flawed superheroes, freaks, and misfits—unlike the perfect, handsome, athletic heroes found in previous traditional comic books. Some Marvel heroes looked like villains and monsters such as the Hulk and the Thing. This naturalistic approach even extended into topical politics.

Comics historian Mike Benton also noted:

In the world of [rival DC Comics’] Superman comic books, communism did not exist. Superman rarely crossed national borders or involved himself in political disputes.^[28] From 1962 to 1965, there were more communists [in Marvel Comics] than on the subscription list of Pravda. Communist agents attack Ant-Man in his laboratory, red henchmen jump the Fantastic Four on the moon, and Viet Cong guerrillas take potshots at Iron Man.^[29]

All of these elements struck a chord with the older readers, such as college-aged adults. In 1965, Spider-Man and the Hulk were both featured in Esquire magazine’s list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan.^[30] In 2009, writer Geoff Boucher reflected that, «Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby’s artwork with its tension and psychedelia that made it perfect for the times—or was it Lee’s bravado and melodrama, which was somehow insecure and brash at the same time?»^[31]

In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, Ant-Man, Iron Man, the X-Men, Daredevil, the Inhumans, Black Panther, Doctor Strange, Captain Marvel and the Silver Surfer, and such memorable antagonists as Doctor Doom, Magneto, Galactus, Loki, the Green Goblin, and Doctor Octopus, all existing in a shared reality known as the Marvel Universe, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.

Marvel even lampooned itself and other comics companies in a parody comic, Not Brand Echh (a play on Marvel’s dubbing of other companies as «Brand Echh», à la the then-common phrase «Brand X»).^[32]

File:Avengers4.jpg

Cadence Industries ownership

In 1968, while selling 50 million comic books a year, company founder Goodman revised the constraining distribution arrangement with Independent News he had reached under duress during the Atlas years, allowing him now to release as many titles as demand warranted.^[18] Late that year, he sold Marvel Comics and its parent company, Magazine Management, to the Perfect Film and Chemical Corporation, with Goodman remaining as publisher.^[33] In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.^[18]

In 1971, the United States Department of Health, Education, and Welfare approached Marvel Comics editor-in-chief Stan Lee to do a comic book story about drug abuse. Lee agreed and wrote a three-part Spider-Man story portraying drug use as dangerous and unglamorous. However, the industry’s self-censorship board, the Comics Code Authority, refused to approve the story because of the presence of narcotics, deeming the context of the story irrelevant. Lee, with Goodman’s approval, published the story regardless in The Amazing Spider-Man #96–98 (May–July 1971), without the Comics Code seal. The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.^[34]

Goodman retired as publisher in 1972 and installed his son, Chip, as publisher.^[35] Shortly thereafter, Lee succeeded him as publisher and also became Marvel’s president^[35] for a brief time.^[36] During his time as president, he appointed his associate editor, prolific writer Roy Thomas, as editor-in-chief. Thomas added «Stan Lee Presents» to the opening page of each comic book.^[35]

File:Howard The Duck -8.jpg

A series of new editors-in-chief oversaw the company during another slow time for the industry. Once again, Marvel attempted to diversify, and with the updating of the Comics Code published titles themed to horror (The Tomb of Dracula), martial arts (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian in 1970,^[37] Red Sonja), satire (Howard the Duck) and science fiction (2001: A Space Odyssey, «Killraven» in Amazing Adventures, Battlestar Galactica, Star Trek, and, late in the decade, the long-running Star Wars series). Some of these were published in larger-format black and white magazines, under its Curtis Magazines imprint.

Marvel was able to capitalize on its successful superhero comics of the previous decade by acquiring a new newsstand distributor and greatly expanding its comics line. Marvel pulled ahead of rival DC Comics in 1972, during a time when the price and format of the standard newsstand comic were in flux.^[38] Goodman increased the price and size of Marvel’s November 1971 cover-dated comics from 15 cents for 36 pages total to 25 cents for 52 pages. DC followed suit, but Marvel the following month dropped its comics to 20 cents for 36 pages, offering a lower-priced product with a higher distributor discount.^[39]

In 1973, Perfect Film and Chemical renamed itself as Cadence Industries and renamed Magazine Management as Marvel Comics Group.^[40] Goodman, now disconnected from Marvel, set up a new company called Seaboard Periodicals in 1974, reviving Marvel’s old Atlas name for a new Atlas Comics line, but this lasted only a year and a half.^[41]
In the mid-1970s a decline of the newsstand distribution network affected Marvel. Cult hits such as Howard the Duck fell victim to the distribution problems, with some titles reporting low sales when in fact the first specialty comic book stores resold them at a later date.[citation needed]

But by the end of the decade, Marvel's fortunes were reviving, thanks to the rise of direct market distribution—selling through those same comics-specialty stores instead of newsstands.

Marvel ventured into audio in 1975 with a radio series and a record, both had Stan Lee as narrator. The radio series was Fantastic Four. The record was Spider-Man: Rock Reflections of a Superhero concept album for music fans.^[42]

Marvel held its own comic book convention, Marvelcon ’75, in spring 1975, and promised a Marvelcon ’76. At the 1975 event, Stan Lee used a Fantastic Four panel discussion to announce that Jack Kirby, the artist co-creator of most of Marvel’s signature characters, was returning to Marvel after having left in 1970 to work for rival DC Comics.^[44] In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. Captain Britain debuted exclusively in the UK, and later appeared in American comics.^[45] During this time, Marvel and the Iowa-based Register and Tribune Syndicate launched a number of syndicated comic strips — The Amazing Spider-Man, Howard the Duck, Conan the Barbarian, and The Incredible Hulk. None of the strips lasted past 1982, except for The Amazing Spider-Man, which is still being published.

In 1978, Jim Shooter became Marvel’s editor-in-chief. Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including repeatedly missed deadlines. During Shooter’s nine-year tenure as editor-in-chief, Chris Claremont and John Byrne’s run on the Uncanny X-Men and Frank Miller’s run on Daredevil became critical and commercial successes.^[46] Shooter brought Marvel into the rapidly evolving direct market,^[47] institutionalized creator royalties, starting with the Epic Comics imprint for creator-owned material in 1982; introduced company-wide crossover story arcs with Contest of Champions and Secret Wars; and in 1986 launched the ultimately unsuccessful New Universe line to commemorate the 25th anniversary of the Marvel Comics imprint. Star Comics, a children-oriented line differing from the regular Marvel titles, was briefly successful during this period.

In the early 1970s Lee stepped aside from running day-to-day operations at Marvel, and a series of new editors-in-chief oversaw the company during another slow time for the industry. Once again, Marvel attempted to diversify, and achieved moderate success with new horror, sword and sorcery and science fiction titles. Some of these comics were published in larger-sized black and white magazines, targeted for mature readers.

In 1974, company founder Martin Goodman sold Magazine Management Co., the trade name used by Marvel Comics at the time, to Cadence Industries. Marvel was renamed as Marvel Comics Group, but it was affected by the collapse of the newsstand distribution. Goodman would try to create a new company called Atlas Comics, but the effort didn’t last a year. An attempt to buy DC was frustrated by their refusal to sell their entire library of characters (DC wanted to retain control of Superman, Batman and Wonder Woman, and they were sold to Warner instead).

By the end of the decade, though, Marvel’s fortunes were reviving, thanks to the rise of direct market distribution (selling through comic specialty stores instead of newstands) and the revived X-Men title, most popular under the team of writer Chris Claremont and artist John Byrne.

Despite Marvel’s successes in the early 1980s, it lost ground to rival DC in the latter half of the decade as many former Marvel stars defected to the competitor. DC scored critical and sales victories^[48] with titles and limited series such as Watchmen, Batman/Superman/Wonder Woman: Trinity, Action Comics, Superman, Detective Comics, Batman, All Star Comics, Sensation Comics, Wonder Woman, Superman/Batman, World’s Finest Comics, Trinity, Batman and Robin, Superman and Batman, Superman, Batman and Wonder Woman, Batman: The Dark Knight Returns, Crisis on Infinite Earths, Byrne’s revamp of Superman, and Alan Moore’s Swamp Thing.

Marvel Entertainment Group ownership

In 1986, Marvel’s parent, Marvel Entertainment Group, was sold to New World Entertainment, which within three years sold it to MacAndrews and Forbes, owned by Revlon executive Ronald Perelman in 1989. In 1991 Perelman took MEG public. Following the rapid rise of this stock, Perelman issued a series of junk bonds that he used to acquire other entertainment companies, secured by MEG stock.^[49]

File:Marvel Comics 1990 logo.svg

Marvel earned a great deal of money with their 1980s children’s comics imprint Star Comics and they earned a great deal more money and worldwide success during the comic book boom of the early 1990s, launching the successful 2099 line of comics set in the future (Spider-Man 2099, etc.) and the creatively daring though commercially unsuccessful Razorline imprint of superhero comics created by novelist and filmmaker Clive Barker.^[50][51] In 1990, Marvel began selling Marvel Universe Cards with trading card maker SkyBox International. These were collectible trading cards that featured the characters and events of the Marvel Universe. The 1990s saw the rise of variant covers, cover enhancements, swimsuit issues, and company-wide crossovers that affected the overall continuity of the Marvel Universe.

Marvel suffered a blow in early 1992, when seven of its most prized artists — Todd McFarlane (known for his work on Spider-Man), Jim Lee (X-Men), Rob Liefeld (X-Force), Marc Silvestri (Wolverine), Erik Larsen (The Amazing Spider-Man), Jim Valentino (Guardians of the Galaxy), and Whilce Portacio (Uncanny X-Men) — left to form Image Comics^[52] in a deal brokered by Malibu Comics’ owner Scott Mitchell Rosenberg.^[53] Three years later Rosenberg sold Malibu to Marvel on November 3, 1994,^{[53][54][55][56][56][57][58]}Template:Citation overkill who acquired the then-leading standard for computer coloring of comic books (developed by Rosenberg) in the process,^[59] but also integrating the Ultraverse into Marvel’s multiverse and ownership of the Genesis Universe.

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor.^[60] As the industry’s other major publishers made exclusive distribution deals with other companies, the ripple effect resulted in the survival of only one other major distributor in North America, Diamond Comic Distributors Inc.^[61][62] Then, by the middle of the decade, the industry had slumped, and in December 1996 MEG filed for Chapter 11 bankruptcy protection.^[49] In early 1997, when Marvel’s Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel^[63]—giving the company its own section of its comics catalog Previews.^[64]

In 1996, Marvel had some of its titles participate in «Heroes Reborn», a crossover that allowed Marvel to relaunch some of its flagship characters such as the Avengers and the Fantastic Four, and outsource them to the studios of two of the former Marvel artists turned Image Comics founders, Jim Lee and Rob Liefeld. The relaunched titles, which saw the characters transported to a parallel universe with a history distinct from the mainstream Marvel Universe, were a solid success amidst a generally struggling industry,^[65] but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper.

Marvel Enterprises

In 1997, Toy Biz bought Marvel Entertainment Group to end the bankruptcy, forming a new corporation, Marvel Enterprises.^[49] With his business partner Avi Arad, publisher Bill Jemas, and editor-in-chief Bob Harras, Toy Biz co-owner Isaac Perlmutter helped stabilize the comics line.^[66]

In 1998, the company launched the imprint Marvel Knights, taking place just outside Marvel continuity with better production qualtity. The imprint was helmed by soon-to-become editor-in-chief Joe Quesada; it featured tough, gritty stories showcasing such characters as the Daredevil,^[67] Inhumans and Black Panther.

With the new millennium, Marvel Comics emerged from bankruptcy and again began diversifying its offerings. In 2001, Marvel withdrew from the Comics Code Authority and established its own Marvel Rating System for comics. The first title from this era to not have the code was X-Force #119 (October 2001). Marvel also created new imprints, such as MAX (an explicit-content line) and Marvel Adventures (developed for child audiences). In addition, the company created an alternate universe imprint, Ultimate Marvel, that allowed the company to reboot its major titles by revising and updating its characters to introduce to a new generation.

Some of its characters have been turned into successful film franchises, such as the Men in Black movie series, starting in 1997, Blade movie series, starting in 1998, X-Men movie series, starting in 2000, and the highest grossing series Spider-Man, beginning in 2002.^[68]

Marvel’s Conan the Barbarian title stopped in 1993 after 275 issues. The Savage Sword of Conan magazine had 235 issues. Marvel published additional titles including miniseries until 2000 for a total of 650 issues. Conan was pick up by Dark Horse three years later.^[37]

In a cross-promotion, the November 1, 2006, episode of the CBS soap opera The Guiding Light, titled «She’s a Marvel», featured the character Harley Davidson Cooper (played by Beth Ehlers) as a superheroine named the Guiding Light.^[69] The character’s story continued in an eight-page backup feature, «A New Light», that appeared in several Marvel titles published November 1 and 8.^[70] Also that year, Marvel created a wiki on its Web site.^[71]

In late 2007 the company launched Marvel Digital Comics Unlimited, a digital archive of over 2,500 back issues available for viewing, for a monthly or annual subscription fee.^[72]

In 2009 Marvel Comics closed its Open Submissions Policy, in which the company had accepted unsolicited samples from aspiring comic book artists, saying the time-consuming review process had produced no suitably professional work.^[73] The same year, the company commemorated its 70th anniversary, dating to its inception as Timely Comics, by issuing the one-shot Marvel Mystery Comics 70th Anniversary Special #1 and a variety of other special issues.^[74][75]

Disney conglomerate unit

File:6.21.10BrubakerGageFractionBendisByLuigiNovi1.jpg

On August 31, 2009, The Walt Disney Company announced a deal to acquire Marvel Comics’ parent corporation, Marvel Entertainment, for $4 billion^[76] or $4.2 billion,^[77] with Marvel shareholders to receive $30 and 0.745 Disney shares for each share of Marvel they own.^[76] As of 2008, Marvel and its major, longtime competitor DC Comics shared over 80% of the American comic-book market.^[78] As of September 2010, Marvel switched its bookstores distribution company from Diamond Book Distributors to Hachette Distribution Services.^[79]

Marvel relaunched the CrossGen imprint, owned by Disney Publishing Worldwide, in March 2011.^[80] Marvel and Disney Publishing began jointly publishing Disney/Pixar Presents magazine that May.^[81]

Marvel discontinued its Marvel Adventures imprint in March 2012,^[82] and replaced them with a line of two titles connected to the Marvel Universe TV block.^[83] Also in March, Marvel announced its Marvel ReEvolution initiative that included Infinite Comics,^[84] a line of digital comics, Marvel AR, an application software that provides an augmented reality experience to readers and Marvel NOW!, a relaunch of most of the company’s major titles with different creative teams.^[85][86] Marvel NOW! also saw the debut of new flagship titles including Uncanny Avengers and All-New X-Men.^[87]

In April 2013, Marvel and other Disney conglomerate components began announcing joint projects. With ABC, a Once Upon a Time graphic novel was announced for publication in September.^[88] With Disney, Marvel announced in October 2013 that in January 2014 it would release its first title under their joint «Disney Kingdoms» imprint «Seekers of the Weird», a five-issue miniseries.^[77] On January 3, 2014, fellow Disney subsidiary Lucasfilm announced that as of 2015, Star Wars comics would once again be published by Marvel.^[89]

Following the events of the company-wide crossover «Secret Wars» in 2015, a relaunched Marvel universe began in September 2015, called the All-New, All-Different Marvel.^[90]

Marvel Legacy was the company’s Fall 2017 relaunch banner starting in September. The banner had comics with lenticular variant covers which required comic book stores to double their regular issue order to be able to order the variants. The owner of two Comix Experience stores complained about the set up of forcing retailers to be stuck with copies they cannot sell for the variant that they can sell. With other complaints too, Marvel did adjust down requirements for new titles no adjustment was made for any other. Thusforthly MyComicShop.com and at least 70 other comic book stores were boycotting these variant covers.^[91] With a handful of Marvel movies, Guardians of the Galaxy Vol. 2, Logan, Thor: Ragnarok and Spider-Man: Homecoming, in theaters, none of those characters’ titles were in the top 10 and even the Guardians of the Galaxy comic book series was canceled. Thus films do not affect comic book sales.^[92] Conan Properties International announced on January 12, 2018 that Conan would return to Marvel in early 2019.^[37]

On January 19, 2018, it was announced that there would be big changes in Marvel Comics to expect from the deal between 21st Century Fox and the Walt Disney Company.^[93]

Officers

• Michael Z. Hobson, executive vice president;^[94] Marvel Comics Group vice-president (1986)^[95]
• Stan Lee, Chairman and Publisher (1986)^[95]
• Joseph Calamari, executive vice president (1986)^[95]
• Jim Shooter, vice president and Editor-in-Chief (1986)^[95]

Publishers

• Abraham Goodman, 1939^[4]–?
• Martin Goodman, ?–1972^[35]
• Charles «Chip» Goodman 1972^[35]
• Stan Lee, 1972 – October 1996^[35][36][94]
• Shirrel Rhoades, October 1996 – October 1998^[94]
• Winston Fowlkes, February 1998 – November 1999^[94]
• Bill Jemas, February 2000 – 2003^[94]
• Dan Buckley, 2003–^[96] 2018
• John Nee, 2018-present^[97]

Editors-in-chief

Marvel’s chief editor originally held the title of «editor». This head editor’s title later became «editor-in-chief». Joe Simon was the company’s first true chief-editor, with publisher Martin Goodman, who had served as titular editor only and outsourced editorial operations.

In 1994 Marvel briefly abolished the position of editor-in-chief, replacing Tom DeFalco with five group editors-in-chief. As Carl Potts described the 2018s editorial arrangement:

In the early ’90s, Marvel had so many titles that there were three Executive Editors, each overseeing approximately 1/3 of the line. Bob Budiansky was the third Executive Editor [following the previously appointed Mark Gruenwald and Potts]. We all answered to Editor-in-Chief Tom DeFalco and Publisher Mike Hobson. All three Executive Editors decided not to add our names to the already crowded credits on the Marvel titles. Therefore it wasn’t easy for readers to tell which titles were produced by which Executive Editor … In late ’94, Marvel reorganized into a number of different publishing divisions, each with its own Editor-in-Chief.^[98]

Marvel reinstated the overall editor-in-chief position in 1995 with Bob Harras.

Executive Editors

Originally called associate editor when Marvel’s chief editor just carried the title of editor, the title of the next highest editorial position became executive editor under the chief editor title of editor-in-chief. The title of associate editor later was revived under the editor-in-chief as an editorial position in charge of few titles under the direction of an editor and without an assistant editor.

Associate Editor

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?–1976

Executive Editor

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Ownership

• Martin Goodman (1939–1968)

Parent corporation

• Magazine Management Co. (1968–1973)
• Cadence Industries (1973–1986)
• Marvel Entertainment Group (1986–1998)
• Marvel Enterprises
  • Marvel Enterprises, Inc. (1998–2005)
  • Marvel Entertainment, Inc (2005–2009)
  • Marvel Entertainment, LLC (2009–present, a wholly owned subsidiary of The Walt Disney Company)

Offices

Located in New York City, Marvel has had successive headquarters:

• in the McGraw-Hill Building,^[4][103] where it originated as Timely Comics in 1939
• in suite 1401 of the Empire State Building^[103]
• at 635 Madison Avenue (the actual location, though the comic books’ indicia listed the parent publishing-company’s address of 625 Madison Ave.)^[103]
• 575 Madison Avenue;^[103]
• 387 Park Avenue South^[103]
• 10 East 40th Street^[103]
• 417 Fifth Avenue^[103]
• a 60,000-square-foot (5,600 m²) space at 135 W. 50th Street^[104][105]

Template:Recentism
In 2017, Marvel held a 38.30% share of the comics market, compared to its competitor DC Comics’ 33.93%.^[106] By comparison, the companies respectively held 33.50% and 30.33% shares in 2013, and 40.81% and 29.94% shares in 2008.^[107]

Marvel characters in other media

Marvel characters and stories have been adapted to many other media. Some of these adaptations were produced by Marvel Comics and its sister company, Marvel Studios, while others were produced by companies licensing Marvel material.

Games

In June 1993, Marvel issued its collectable caps for milk caps game under the Hero Caps brand.^[108] In 2014, the Marvel Disk Wars: The Avengers Japanese TV series was launched together with a collectible game called Bachicombat, a game similar to the milk caps game, by Bandai.^[109]

Collectible card games

The RPG industry brought the development of the collectible card game (CCG) in the early 1990s which there were soon Marvel characters were featured in CCG of their own starting in 1995 with Fleer‘s OverPower (1995–1999). Later collectible card game were:

• Marvel Superstars (2010–?) Upper Deck Company
• ReCharge Collectible Card Game (2001–? ) Marvel
• Vs. System (2004–2009, 2014–) Upper Deck Company
• X-Men Trading Card Game (2000–?) Wizards of the Coast

Role-playing

Main article: List of Marvel RPG supplements

TSR published the pen-and-paper role-playing game Marvel Super Heroes in 1984. TSR then released in 1998 the Marvel Super Heroes Adventure Game which used a different system, the card-based SAGA system, than their first game. In 2003 Marvel Publishing published its own role-playing game, the Marvel Universe Roleplaying Game, that used a diceless stone pool system.^[110] In August 2011 Margaret Weis Productions announced it was developing a tabletop role-playing game based on the Marvel universe, set for release in February 2012 using its house Cortex Plus RPG system.^[111]

Video games

Video games based on Marvel characters go back to 1984 and the Atari game, Spider-Man. Since then several dozen video games have been released and all have been produced by outside licensees. In 2014, Disney Infinity 2.0: Marvel Super Heroes was released that brought Marvel characters to the existing Disney sandbox video game.

Films

As of the start of September 2015, films based on Marvel’s properties represent the highest-grossing U.S. franchise, having grossed over $7.7 billion ^[112] as part of a worldwide gross of over $18 billion.

Live shows

• The Marvel Experience (2014–)
• Marvel Universe Live! (2014–) live arena show
• Spider-Man Live! (2002–2003)
• Spider-Man: Turn Off the Dark (2011–2014) a Broadway musical

Prose novels

Main articles: Marvel Books and Marvel Press

Marvel first licensed two prose novels to Bantam Books, who printed The Avengers Battle the Earth Wrecker by Otto Binder (1967) and Captain America: The Great Gold Steal by Ted White (1968). Various publishers took up the licenses from 1978 to 2002. Also, with the various licensed films being released beginning in 1997, various publishers put out movie novelizations.^[113] In 2003, following publication of the prose young adult novel Mary Jane, starring Mary Jane Watson from the Spider-Man mythos, Marvel announced the formation of the publishing imprint Marvel Press.^[114] However, Marvel moved back to licensing with Pocket Books from 2005 to 2008.^[113] With few books issued under the imprint, Marvel and Disney Books Group relaunched Marvel Press in 2011 with the Marvel Origin Storybooks line.^[115]

Television programs

Many television series, both live-action and animated, have based their productions on Marvel Comics characters. These include series for popular characters such as Spider-Man, Iron Man, the Hulk, the Avengers, the X-Men, Fantastic Four, the Guardians of the Galaxy, Daredevil, Jessica Jones, Luke Cage, Iron Fist, the Punisher, the Defenders, S.H.I.E.L.D., Peggy Carter, Deadpool, Legion, and others. Additionally, a handful of television movies, usually also pilots, based on Marvel Comics characters have been made.

Theme parks

Marvel has licensed its characters for theme parks and attractions, including Marvel Super Hero Island at Universal Orlando’s Islands of Adventure^[116] in Orlando, Florida, which includes rides based on their iconic characters and costumed performers, as well as The Amazing Adventures of Spider-Man ride cloned from Islands of Adventure to Universal Studios Japan.^[117]

Years after Disney purchased Marvel in late 2009, Walt Disney Parks and Resorts plans on creating original Marvel attractions at their theme parks,^[118][119] with Hong Kong Disneyland becoming the first Disney theme park to feature a Marvel attraction.^[120][121] Due to the licensing agreement with Universal Studios, signed prior to Disney’s purchase of Marvel, Walt Disney World and Tokyo Disney are barred from having Marvel characters in their parks.^[122] However, this only includes characters that Universal is currently using, other characters in their «families» (X-Men, Avengers, Fantastic Four, etc.), and the villains associated with said characters.^[116] This clause has allowed Walt Disney World to have meet and greets, merchandise, attractions and more with other Marvel characters not associated with the characters at Islands of Adventures, such as Star-Lord and Gamora from Guardians of the Galaxy.^[123][124]

Imprints

• Disney Kingdoms^[77]
• Marvel Comics
• Marvel Press, joint imprint with Disney Books Group
• Icon Comics (creator owned)
• Infinite Comics
• Timely Comics

Defunct

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See also

Template:Wikipedia books

• List of magazines released by Marvel Comics in the 1970s
• List of comics characters which originated in other media
• Panini Comics
• Soleil Productions

Notes

References

Further reading

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External links

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• Lua error in Module:Official_website at line 79: attempt to index field ‘wikibase’ (a nil value).
• Vassallo, Michael J. (2005). «A Timely Talk with Allen Bellman». Comicartville.com. p. 2. Archived from the original on November 25, 2009. https://www.webcitation.org/5lYfiHjIi?url=http://www.comicartville.com/bellmanpg2.htm..

Marvel Comics Database at Wikia.com Marvel Database — Fandom | Marvel Comics Database is a wiki anyone can edit, full of characters (like Hulk, Spider-Man, Wolverine, X-Men, Fantastic Four, Venom, Thanos, and the Avengers), comic books, and movies!

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История Марвел

И так в этой статье мы расскажем с чего началась история ныне самой известной и кассовой кинофрашизы.

Издатель Мартин Гудмен 1939 году создал компанию Marvel Comics из дочерних предприятий и назвал ее Timely Comics.

В октябре 1939 году вышел первый комикс Marvel Comics #1. Главными героями которого стали герой Человек-Факел(человек-андроид) и антигерой Нэмор (мутант). Над созданием которого трудились Карл Бургос и Билл Эверетт. Первый выпус имел ошиломляющий успех. И Timely Comics не смогла покрыть все расходы. По обьему теража и пришлось воспользоваться услугами Funnies Inc.

В 1941 году в время войны населению как никогда требовался новый герой. И Джо Саймон писатель и художник обьединил свои усилия с Джеком Кирби. В результате совместной работы в марте 1941 г свет увидел Капитана Америку(патриотический супер герой). Выпуск «Captain America Comics» #1 стал бестселлером на рынке.
Так же компания не забывала о остальных супер героях Юла, Мисс Америка,Разрушитель, Вижен, Ангел. Продолжает выпускать комиксы с их участием.

Через некоторое время примерно к 40-м годам компания стала популярна. И гудман принимает решение что Саймону необходимы помощники. И нанимает на работу племянника 17-ти летнего Стэнли Либера. Который в дальнейщем станет известен всему миру. Как легенда и создатель большинства персонажей Марвел Стен Ли.

В после военные годы продажи комиковсов очень упали. Компания Timely — известная в 1950-е годы под названием Atlas Comics- внесла в индустрию комиксов жанры такие как:забавные животные, вестерн, ужасы, война, криминал, юмор, любовный роман, шпионский роман и даже средневековое приключение.
В 1953-1954 году компания поняла что комиксы с участием Человека-факела, Подводника и Капитана Америка не имеют успеха.

Послевоенное время

Мартин Гудман в 1952-1956 г оды распростронял комиксы через компанию «Atlas» . Немного позже о начал работать с «American News Company». Крупнейшей национальной компанией-распространителя и фактически монополию. Которая вскоре проиграла судебный процесс Министерству юстиции США и вышла из дела.
Последним комиксом с логотипом «Atlas» был «Dippy Duck» #1 (Сумасшедшая утка), вышедший в октябре 1957 года.

Первым комиксом со знаком Marvel Comics стала научно-фантастическая антология «Amazing Adventures» #3 (Удивительные приключения), на обложке которой был логотип «MC». Комикс был издан 9 мая 1961 года, хотя на обложке стояла дата август 1961.
Издатель Гудман решил запустить комиксы научно-фантастического жанра. И были выпущены «Удивительные миры» #1; «Мир фэнтези» #15; «Удивительные истории» #67; «Путешествие в тайну» #50; «Тревожные истории» #1 и «Поразительные истории» #1. Комиксы в жанре космического фэнтези оказались неудачными.

И к концу 1959 года большинство серий (выпуск «Удивительных миров» и «Мира фэнтези» был прекращён) стали второсортными комиксами про монстров. Большинство серий рисовал Джек Кирби (их часто раскрашивал Дик Айерс). Также выходили атмосферные приключения о побегах из тюрем/джунглей и причудливые истории от Дона Хека. Комиксы таких художников, как Пол Райнман и Джо Синнотт, и работы творческого тандема Стэн Ли—Стив Дитко.

Также Marvel выпустила линию юмористических комиксов для девушек. Создав серию «Кэти» (октябрь 1959) и короткий комикс «Линда Картер, медсестра-студентка» (сентябрь 1961).
В 1960-е годы вновь жанр комиксов о супергероях поднялся в рейтинге.

Новый жанр в комиксах

И Marvel Comics выпускает серию о «Фантастической четверке» создателями которой стали: писатель и редактор Стэн Ли и художник Джек Кирби. На удивления читателям герои этих комиксов не вели двойную жизнь. Вели себя как обычные люди с теми же самыми проблемами. Дальше это получило свое название «супергерои в реальном мире».

Комиксы принесли успех Марвел и начал создавать комиксы о таких супергероях как: Халк, Человек-Паук, Тор, Человек-Муравей, Железный Человек, Люди Икс и Сорвиголова. И таких запоминающихся суперзлодеях, как Доктор Осьминог, Веном, Доктор Дум, Магнето, Галактус, Зелёный Гоблин. Самым коммерчески успешным комиксом стал «Удивительный Человек-Паук» (The Amazing Spider-Man), созданный Ли и Дитко.

Во преки всем стереотипам герои Марвел обладали человеческими качествами. И душевными проблемами,внутренними противоречиями и одиночеством. Иногда больше чем обычные люди. И этими качествами они завоевали сердца читателей, больше чтем холодные стереотипные накаченные супергерои. И эти черты которыми наградил супергероев Стен Ли принесли популярность Марвел.
Стен Ли стал популярным в индустрии комиксов. Созданные им персонажи и составляют основную массу известные героев и ныне. Художники также оказали значительное влияние на развитие комиксов. Так, имя Джека Кирби можно увидеть в большинстве комиксов того времени на космическую тематику — «Фантастическая четвёрка», «Могучий Тор», персонажи Наблюдатели, Серебряный Сёрфер и Эго Живая Планета.

Стив Дитко был ведущим художником в комиксах, где превалирует натурализм (как, например, в городских пейзажах Человека-Паука) и сюрреалистичная атмосфера (как в комиксе о Докторе Стрэндже). Вместе они создали так называемый «метод Марвел». Заключающийся в том, что автор придумывает сюжет. Художник его рисует и продумывает тонкие детали сюжета. Диалогов и даже персонажей. А затем автор завершает процесс окончательной шлифовкой сюжета и диалогов.

В 1968 году основатель компании Мартин Гудман продал Marvel Comics и все свои остальные издательские компании «Perfect Film and Chemical Corporation». Все бывшие компании Гудмана были объединены в подразделение «Magazine Management Co.», а сам Гудман остался издателем.

Новые победы

Стен Ли в 1970 году решил покорить Британию. В октябре 1976 года Марвел выпускае комикс и «Капитан Британия».

Позже этот комикс появился в Америке.
В 1971 году Департамент образования и здравоохранения США предложил Стэну Ли создать комикс о вреде использования наркотиков. Ли согласился и ввёл в комикс о Человеке-Пауке историю, в которой показал, насколько опасны наркотики.

Однако цензор внутри индустрии комиксов отказался одобрить эту историю. Поскольку счёл присутствие наркотиков неуместным в контексте данного комикса. Ли, заручившись поддержкой Гудмена, всё-таки издал свою историю в «Поразительном Человеке-пауке» #96—98 (май—июль 1971 года). Без разрешения цензурного комитета. Сюжетная линия получила положительные отзывы. А аргументы цензурного комитета были подвержены критике. Что привело к его переформированию в том году.

Стен Ли возглавил компанию

В 1972 году Гудмен отдал свое место Стену Ли ,и ушел из издательства. Ли в свою очередь отошёл от повседневной работы в Марвел. Комиксы, созданные под эгидой новых главных редакторов, пришлись на период очередного затишья в индустрии. Вновь Marvel обратилась к другим жанрам: ужасам (Гробница Дракулы). Боевым искусствам (Шан-Чи: Мастер кун-фу). Фэнтези (Конан-Варвар, Рыжая Соня). Сатира (Утка Говард) и научная фантастика (Ворон-убийца в «Удивительных приключениях»).

В 1973 году «Perfect Film and Chemical Corporation» сменила название на «Cadence Industries», а «Magazine Management Co». В свою очередь была переименована в «Marvel Comics Group». Гудмен, теперь уже совершенно далёкий от Marvel. И создал в 1974 году новую компанию «Atlas/Seaboard Comics», воспользовавшись старым названием Marvel. Однако этот проект просуществовал всего полтора года.

В середине 1970-х годов у Marvel заметно уменьшилась сеть газетных киосков. В которых продавались их комиксы. К концу десятилетия финансовое положение Marvel улучшилось благодаря развитию собственной дистрибьюторской сети (компания стала осваивать магазины комиксов наряду с газетными киосками). Некоторым возрождённым сериям (вроде «The Uncanny X-Men»). Новым хитам от команды писателя Криса Клэрмонта и художника Джона Бирна. А также более реалистичному комиксу о городском борце с преступностью «Сорвиголове». Созданному автором/художником Фрэнком Миллером.

Замена руководства

В 1978 году Джим Шутер (англ. Jim Shooter) становится главным редактором Marvel Comics. Хоть и будучи противоречивой фигурой, Шутер излечил множество болезней издательства. Включая постоянно пропускаемые сроки. Компания наслаждалась своим лучшим успехом на протяжении девяти лет. Пребывания Шутера в должности главного редактора. Наиболее знаменательные тем, что Крис Клермонт и Джон Бирн запустили «Uncanny X-Men». Френк Миллер — «Сорвиголову».

Также под редакционным правлением Шутера Волт Симонсон перезапустил комикс «Могучий Тор». И вновь сделал его бестселлером. Шутер принёс Marvel в быстро растущий рынок комиксов (англ. direct market). Институционализировал отчисления за авторство создателям комиксов, начал импринт «Epic Comics» для авторов-собственников (англ. creator-owned) в 1982. Представил миру кроссоверы, затрагивающие всю компанию. Турнир Чемпионов и Секретные войны; и в 1986 запустил новую, хотя и совершенно неудачную серию Новая Вселенная (англ. New Universe). В память о 25-й годовщине издательства Marvel Comics. «Звёздные комиксы» (англ. Star Comics), ориентированные на детей больше, чем обычные комиксы Marvel. Имели недолгий успех на протяжении этого периода.

Несмотря на успех Marvel в начале 1980, издательство начало сдавать позиции «DC» во второй половине декады. С того момента, как несколько бывших звёзд Marvel перебежали к противнику. «DC» вырвались вперёд с такими комиксами и мини-сериями, как «Хранители», «Возвращение Тёмного Рыцаря», «Кризис на Бесконечных Землях», перезапуск «Супермена» от Джона Бирна, и «Swamp Thing» от Алана Мура.

В 1986 Marvel была продана «New World Entertainment», через три года перепродавшей Marvel «MacAndrews and Forbes». Владельцем которой был исполнительный директор «Revolon» Рональд Перлман.

Взлет и падение

Marvel заработали много денег и признание читателей на протяжении бума комиксов в начале 90-х. Запустив успешную серию комиксов «2099», события которой происходили в будущем («Spider-MAN 2099», и тому подобные). И творчески смелый, хоть и неудачный импринт «Razorline», выпускавший комиксы о супергероях. Созданные писателем и кинорежиссёром Клайвом Баркером. Тем не менее в середине десятилетия в индустрии наступил спад. И в декабре 1996 Marvel воспользовались главой 11 Кодекса о банкротстве США.

Самый большой удар Marvel потерпела в начале 1992 года. Когда семь самых успешных, обладающих наградами, художников — Тодд МакФарлейн (известный за его работу над Человеком-Пауком). Джим Ли («Люди Икс»), Роб Лайфелд («Сила Икс»), Марк Сильвестри («Росомаха»), Эрик Ларсен («Удивительный Человек-Паук»). Джим Валентино («Стражи Галактики») и Уильям Портасио — оставили компанию для основания своей собственной успешной компании «Image Comics».

В конце 1994 года Marvel Comics приобрела компанию-распространителя комиксов «Heroes World Distribution». Для использования в качестве собственного распространителя комиксов. В то время остальные крупные издательства заключали индивидуальные договоры с другими компаниями. И в результате волнового эффекта остался только один, главный дистрибьютор в Северной Америке, «Diamond Comic Distributors, Inc». В начале 1997 года, когда попытка Marvel с «Heroes World» провалилась. «Diamond» предложил уникальную сделку для Marvel — отдать компании секцию под каталог комиксов «Previews».

Девяностые годы были примечательны использованием различных оригинальных приёмов по повышению продаж комиксов. Вроде разных по стилю обложек, обложки, комиксов с купальниками . В 1991 году Marvel начали продавать «Marvel Universe Cards» — коллекционные карточки. Производимые компанией, специализирующейся на производстве карт — «SkyBox International». Это были коллекционные карточки, описывающие персонажей и события Вселенной Marvel.

Другая частая практика Marvel этого периода — это кроссоверы с вовлечением всей вселенной. Которые внесли хаос в её целостную картину. В 1996 году был выпущен кроссовер «Onslaught Saga». В котором были задействованы почти все комиксы. Который позволил Marvel перезапустить несколько ведущих персонажей вселенной. Таких, как Мстители и Фантастическая четвёрка, и во вселенной Возрождения Героев, в которой перебежчикам Marvel (а ныне звёздам «Image Comics») Джиму Ли и Робу Лайфелду. Было дано разрешение перезапустить комиксы с нуля. Однако вскоре после запуска продажи быстро опустились ниже ожидаемого уровня.

Marvel закрыла эксперимент после года работы над ним. Вскоре персонажи вернулись к своему прежнему облику (Вселенная Marvel или Земля 616). В 1998 году компания запустила серию «Marvel Knights». Берущую начало во вселенной Marvel; ведомая будущим главным редактором Джо Кесадой. Она наполнилась сильными и смелыми историями с появлениями таких персонажей, как Нелюди, Чёрная пантера и Сорвиголова.

В 1991 году Рональд Перлман, чья компания «MacAndrews and Forbes» приобрела материнскую компанию Marvel Comics, «Marvel Entertainment Group» (MEG). В 1986 году выпустил акции компании на Нью-Йоркскую фондовую биржу. Гарантированным размещением которых занялись Меррил Линч и «First Boston Corporation». Используя быстрый рост рынка ценных бумаг, Перлман выпустил серию бросовых облигаций. Которые он использовал для приобретения детских развлекательных компаний. Обеспеченных акциями «MEG». В 1997 году компании «Toy Biz» (как следует из названия, компания заведовала играми, куклами по мотивам комиксов Marvel). И «MEG» решили покончить с банкротством, образовав новую корпорацию, «Marvel Enterprises». Вместе с деловым партнёром Ави Арадом, издателем Биллом Джемезом. А так же главным редактором Бобом Харрасом Перлман помог вернуть к жизни Marvel.

С приходом нового тысячелетия Marvel Comics избежала банкротства и начала пытаться разнообразить свои предложения. В 2001 году Marvel отказалась от «Comics Code Authority» и основала свою собственную систему рейтингов «Marvel Rating System» для комиксов. Первый комикс этого тысячелетия, который не был отмечен Code, был «X-Force» #119 (октябрь 2001).

Marvel также запустила новые импринты: «MAX» (линия комиксов, предназначенная для более взрослых читателей) и «Marvel Age» (наоборот, предназначенная для более юных читателей). Также компания создала отдельную серию для альтернативной вселенной. «Ultimate Marvel», позволившую компании перезапустить истории основных персонажей. Чтобы улучшить и адаптировать персоналии для представления новому поколению.

К 2010 году, в то время как Marvel оставалась основным издателем комиксов. Несмотря на значительный спад в индустрии комиксов в сравнении с предыдущими десятилетиями. Некоторые персонажи были изменены, чтобы стать франшизой. Самые кассовые из которых: серия фильмов Люди Икс, стартовавшая в 2000 году. И трилогия Человек-Паук, стартовавшая в 2002 году.

В 2006 году, 1-го ноября, вышел эпизод мыльной оперы «Направляющий свет», носящий название «Она Чудо». Описывающий персонажа Харли Дэвидсон Купер как супергероиню Направляющий Свет. История персонажа продолжилась в восьмистраничном продолжении, «Новый Свет». А затем появлялся ещё в нескольких комиксах Marvel, вышедших с 1-го ноября по 8. Также в том году Marvel создала вики на своём сайте.

В конце 2007 года компания начала инициативу в сети, анонсировав «Marvel Digital Comics Unlimited», цифровой архив, насчитывающий более 2 500 комиксов, доступных для просмотра. Для ежемесячной или ежегодной подписки.

В 2009 году Marvel Comics закрыла Политику Открытого Представления. В контексте которой принимала от художников образчики комиксов. Которые не были заказаны, аргументируя это тем, что большой объём рассмотрения этих образцов мешает профессиональной деятельности. В том же году компания отметила 70-летие, празднуя своё начало как «Timely Comics». В честь чего был выпущен одно-серийный комикс «Marvel Mystery Comics» «70th Anniversary Special» #1. И другие вариации специальных выпусков.

31 августа 2009 года, после десятилетия переговоров между компаниями, The Walt Disney Company заключила сделку о приобретении «Marvel Entertainment» за 4 миллиарда долларов. При этом акционеры Marvel получили 30 долларов и 0,745 акции Disney за каждую акцию Marvel, что они имели. Сделка была выгодна обеим компаниям: Disney с годами становится всё труднее создавать и продвигать новых персонажей. А Marvel не хватало инвестиций для продвижения существующих.

Весной 2013 года вся команда Marvel, включая высший менеджерский состав компании, переехала с Манхэттена. Где в последние четыре года обитала под крышей Raleigh Studios, в северный пригород Лос-Анджелеса.