Question: What two Marvel characters were part of that campus heroes section?

Answer: Spider-Man and the Hulk

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. <hl> 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. <hl> 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?"

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. In 1965, <hl> Spider-Man and the Hulk <hl> were both featured in Esquire magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan. 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?"


Question: Which publisher is Marvel's biggest rival?

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. 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. 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?"

Answer: DC Comics

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. 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. <hl> 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. <hl> 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?"

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. 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. In 2009 writer Geoff Boucher reflected that, "Superman and <hl> DC Comics <hl> 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?"


Question: Writer Geoff Boucher compared DC to what dull 1960s crooner?

Answer: Pat Boone

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. 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. <hl> 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. <hl> 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?"

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. 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. In 2009 writer Geoff Boucher reflected that, "Superman and DC Comics instantly seemed like boring old <hl> Pat Boone <hl>; 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?"

In 2009 writer Geoff Boucher reflected that, "Superman and DC Comics instantly seemed like boring old <hl> Pat Boone <hl> ; Marvel felt like The Beatles and the British Invasion.


Question: What two real life persons were also part of the magazine feature alongside fictional Marvel characters?

Answer: John F. Kennedy and Bob Dylan

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. <hl> 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 . <hl> 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?"

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside <hl> John F. Kennedy and Bob Dylan <hl>. 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?"

In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside <hl> John F. Kennedy and Bob Dylan <hl> .


Question: What actual US cities have fictional equivalents in Marvel's comic milieu?

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.

Answer: New York, Los Angeles and Chicago

<hl> 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 . <hl>

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 <hl> New York, Los Angeles and Chicago <hl>.

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 <hl> New York, Los Angeles and Chicago <hl> .


Question: What Marvel hero is related to a tiny insect?

Answer: Ant-Man

<hl> 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. <hl>

In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, <hl> Ant-Man <hl>, 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.

In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, <hl> Ant-Man <hl> , 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.


Question: The shared milieu inhabited by all Marvel heroes and villains is known as?

Answer: the Marvel Universe

<hl> 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. <hl>

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 <hl> the Marvel Universe <hl>, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.

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 <hl> the Marvel Universe <hl> , with locations that mirror real-life cities such as New York, Los Angeles and Chicago.


Question: Which two comic book titles were the precursors to the widening of this overall setting?

Answer: Spider-Man and the Fantastic Four

<hl> 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. <hl>

In addition to <hl> Spider-Man and the Fantastic Four <hl>, 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.

In addition to <hl> Spider-Man and the Fantastic Four <hl> , 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.


Question: How many comics did Marvel sell during 1968?

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. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

Answer: 50 million

<hl> 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. <hl> Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

In 1968, while selling <hl> 50 million <hl> 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. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.


Question: What company was distributing Marvel's titles at that point?

Answer: Independent News

<hl> 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. <hl> Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

In 1968, while selling 50 million comic books a year, company founder Goodman revised the constraining distribution arrangement with <hl> Independent News <hl> he had reached under duress during the Atlas years, allowing him now to release as many titles as demand warranted. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.


Question: To whom was Marvel sold in 1968?

Answer: the Perfect Film and Chemical Corporation

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. <hl> Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation , which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. <hl> In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

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. Late that year he sold Marvel Comics and his other publishing businesses to <hl> the Perfect Film and Chemical Corporation <hl>, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

Late that year he sold Marvel Comics and his other publishing businesses to <hl> the Perfect Film and Chemical Corporation <hl> , which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher.


Question: What wholly-owned affiliate of this company did Marvel operate within?

Answer: Magazine Management Company

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. <hl> Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company , with Goodman remaining as publisher. <hl> In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

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. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary <hl> Magazine Management Company <hl>, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary <hl> Magazine Management Company <hl> , with Goodman remaining as publisher.


Question: What distributor took over Marvel's titles in 1969?

Answer: Curtis Circulation Company

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. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. <hl> In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company . <hl>

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. Late that year he sold Marvel Comics and his other publishing businesses to the Perfect Film and Chemical Corporation, which continued to group them as the subsidiary Magazine Management Company, with Goodman remaining as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with <hl> Curtis Circulation Company <hl>.

In 1969, Goodman finally ended his distribution deal with Independent by signing with <hl> Curtis Circulation Company <hl> .


Question: What government agency asked Marvel to do a series of stories to publicize an issue?

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.

Answer: United States Department of Health, Education, and Welfare

<hl> 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. <hl> 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.

In 1971, the <hl> United States Department of Health, Education, and Welfare <hl> 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.


Question: What issue was Marvel asked to tackle for this agency?

Answer: drug abuse

<hl> 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 . <hl> 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.

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 <hl> drug abuse <hl>. 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.

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 <hl> drug abuse <hl> .


Question: What comic book series did stories related to this issue appear in?

Answer: Spider-Man

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. <hl> Lee agreed and wrote a three-part Spider-Man story portraying drug use as dangerous and unglamorous. <hl> 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.

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 <hl> Spider-Man <hl> 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.


Question: What industry censorship and standards organization tried to block publication of this series?

Answer: Comics Code Authority

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. <hl> 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. <hl> 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.

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 <hl> Comics Code Authority <hl>, 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.

However, the industry's self-censorship board, the <hl> Comics Code Authority <hl> , refused to approve the story because of the presence of narcotics, deeming the context of the story irrelevant.


Question: What were the issue dates of the three-episode series on this public health issue?

Answer: May–July 1971

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. <hl> Lee, with Goodman's approval, published the story regardless in The Amazing Spider-Man #96–98 ( May–July 1971 ), without the Comics Code seal. <hl> The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.

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 (<hl> May–July 1971 <hl>), without the Comics Code seal. The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.

Lee, with Goodman's approval, published the story regardless in The Amazing Spider-Man #96–98 ( <hl> May–July 1971 <hl> ), without the Comics Code seal.


Question: What situation allowed Marvel to expand into more adult-themed genre stories?

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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. 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.

Answer: the updating of the Comics Code

A series of new editors-in-chief oversaw the company during another slow time for the industry. <hl> Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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). <hl> 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. 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.

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 <hl> the updating of the Comics Code <hl> achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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. 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.


Question: What were two of Marvel's comic heroes in fantasy, swords and magic settings?

Answer: Conan the Barbarian, Red Sonja

A series of new editors-in-chief oversaw the company during another slow time for the industry. <hl> Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery ( Conan the Barbarian, 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). <hl> 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. 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.

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (<hl> Conan the Barbarian, Red Sonja <hl>), 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. 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.

Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery ( <hl> Conan the Barbarian, Red Sonja <hl> ), 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).


Question: What waterfowl character had his own satire series of comic books?

Answer: Howard the Duck

A series of new editors-in-chief oversaw the company during another slow time for the industry. <hl> Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, Red Sonja), satire ( Howard the Duck ) <hl> 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. 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.

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, Red Sonja), satire (<hl> Howard the Duck <hl>) 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. 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.

Once again, Marvel attempted to diversify, and with the updating of the Comics Code achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, Red Sonja), satire ( <hl> Howard the Duck <hl> )


Question: In what year did Marvel's sales overtake rival DC?

Answer: 1972

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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. <hl> 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. <hl> 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.

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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 <hl> 1972 <hl>, during a time when the price and format of the standard newsstand comic were in flux. 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.

Marvel pulled ahead of rival DC Comics in <hl> 1972 <hl> , during a time when the price and format of the standard newsstand comic were in flux.


Question: How were some of Marvel's genre titles published in the 1970s?

Answer: larger-format black and white magazines, under its Curtis Magazines imprint

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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). <hl> Some of these were published in larger-format black and white magazines, under its Curtis Magazines imprint . <hl> 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. 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.

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 achieved moderate to strong success with titles themed to horror (The Tomb of Dracula), martial arts, (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian, 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 <hl> larger-format black and white magazines, under its Curtis Magazines imprint <hl>. 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. 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.

Some of these were published in <hl> larger-format black and white magazines, under its Curtis Magazines imprint <hl> .


Question: What new venture did Marvel's founder begin after leaving the company in the 1970s?

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. 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.

Answer: Seaboard Periodicals

<hl> 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. <hl> 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.

Goodman, now disconnected from Marvel, set up a new company called <hl> Seaboard Periodicals <hl> in 1974, reviving Marvel's old Atlas name for a new Atlas Comics line, but this lasted only a year and a half. 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.


Question: What former Marvel title imprint did Goodman attempt to revive?

Answer: Atlas Comics

<hl> 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. <hl> 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.

Goodman, now disconnected from Marvel, set up a new company called Seaboard Periodicals in 1974, reviving Marvel's old Atlas name for a new <hl> Atlas Comics <hl> line, but this lasted only a year and a half. 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.


Question: What new retail outlet came on board at the end of the 1970s to rival newsstands for comic sales?

Answer: comic book stores

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. In the mid-1970s a decline of the newsstand distribution network affected Marvel. <hl> 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] <hl> 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.

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. 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 <hl> comic book stores <hl> 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.


Question: How long was the 1970s revival of Atlas Comics in business?

Answer: a year and a half

<hl> 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 . <hl> 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.

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 <hl> a year and a half <hl>. 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.

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 <hl> a year and a half <hl> .


Question: During what era did newsstand distribution begin to tail off markedly for Marvel?

Answer: the mid-1970s

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. <hl> In the mid-1970s a decline of the newsstand distribution network affected Marvel. <hl> 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.

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. In <hl> the mid-1970s <hl> 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.


Question: What was Marvel's self-hosted comic book convention called?

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. 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.

Answer: Marvelcon

<hl> Marvel held its own comic book convention, Marvelcon '75, in spring 1975, and promised a Marvelcon '76. <hl> 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. 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.

Marvel held its own comic book convention, <hl> Marvelcon <hl> '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. 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.


Question: What artist's return to Marvel was announced at this event?

Answer: Jack Kirby

Marvel held its own comic book convention, Marvelcon '75, in spring 1975, and promised a Marvelcon '76. <hl> 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. <hl> 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.

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 <hl> Jack Kirby <hl>, 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. 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.

At the 1975 event, Stan Lee used a Fantastic Four panel discussion to announce that <hl> Jack Kirby <hl> , 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.


Question: What Marvel character was specifically created to appeal to the UK market?

Answer: Captain Britain

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. In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. <hl> Captain Britain debuted exclusively in the UK, and later appeared in American comics. <hl>

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. In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. <hl> Captain Britain <hl> debuted exclusively in the UK, and later appeared in American comics.


Question: When was the first Marvel-sponsored comics convention?

Answer: spring 1975

<hl> Marvel held its own comic book convention, Marvelcon '75, in spring 1975 , and promised a Marvelcon '76. <hl> 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. 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.

Marvel held its own comic book convention, Marvelcon '75, in <hl> spring 1975 <hl>, 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. 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.

Marvel held its own comic book convention, Marvelcon '75, in <hl> spring 1975 <hl> , and promised a Marvelcon '76.


Question: When did Marvel's British-themed superhero first appear?

Answer: October 1976

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. <hl> In October 1976 , Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. <hl> Captain Britain debuted exclusively in the UK, and later appeared in American comics.

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. In <hl> October 1976 <hl>, 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.

In <hl> October 1976 <hl> , Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market.


Question: Who took over as head of Marvel in 1978?

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. Shooter brought Marvel into the rapidly evolving direct market, 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.

Answer: Jim Shooter

<hl> In 1978, Jim Shooter became Marvel's editor-in-chief. <hl> 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. Shooter brought Marvel into the rapidly evolving direct market, 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 1978, <hl> Jim Shooter <hl> 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. Shooter brought Marvel into the rapidly evolving direct market, 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.


Question: What is an example of a bad practice eliminated under Shooter's regime at Marvel?

Answer: repeatedly missed deadlines

In 1978, Jim Shooter became Marvel's editor-in-chief. <hl> Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including repeatedly missed deadlines . <hl> 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. Shooter brought Marvel into the rapidly evolving direct market, 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 1978, Jim Shooter became Marvel's editor-in-chief. Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including <hl> repeatedly missed deadlines <hl>. 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. Shooter brought Marvel into the rapidly evolving direct market, 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.

Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including <hl> repeatedly missed deadlines <hl> .


Question: What noted artist and writer made brought Daredevil to the forefront during the 1980s?

Answer: Frank Miller

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. <hl> 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. <hl> Shooter brought Marvel into the rapidly evolving direct market, 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 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 <hl> Frank Miller <hl>'s run on Daredevil became critical and commercial successes. Shooter brought Marvel into the rapidly evolving direct market, 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.

During Shooter's nine-year tenure as editor-in-chief, Chris Claremont and John Byrne's run on the Uncanny X-Men and <hl> Frank Miller <hl> 's run on Daredevil became critical and commercial successes.


Question: What team of artist and writer helped popularize the Uncanny X-Men line of comics in the 1980s?

Answer: Chris Claremont and John Byrne

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. <hl> 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. <hl> Shooter brought Marvel into the rapidly evolving direct market, 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 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, <hl> Chris Claremont and John Byrne <hl>'s run on the Uncanny X-Men and Frank Miller's run on Daredevil became critical and commercial successes. Shooter brought Marvel into the rapidly evolving direct market, 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.

During Shooter's nine-year tenure as editor-in-chief, <hl> Chris Claremont and John Byrne <hl> 's run on the Uncanny X-Men and Frank Miller's run on Daredevil became critical and commercial successes.


Question: Secret Wars was an early example of what Marvel comics story trope?

Answer: crossover story arcs

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. <hl> Shooter brought Marvel into the rapidly evolving direct market, 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. <hl> Star Comics, a children-oriented line differing from the regular Marvel titles, was briefly successful during this period.

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. Shooter brought Marvel into the rapidly evolving direct market, institutionalized creator royalties, starting with the Epic Comics imprint for creator-owned material in 1982; introduced company-wide <hl> crossover story arcs <hl> 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.


Question: What 1990s comic line featured futuristic, sci-fi stories?

Marvel earned a great deal of money and recognition 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. 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 fictional Marvel Universe

Answer: 2099 line

<hl> Marvel earned a great deal of money and recognition 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. <hl> 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 fictional Marvel Universe

Marvel earned a great deal of money and recognition during the comic book boom of the early 1990s, launching the successful <hl> 2099 line <hl> 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. 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 fictional Marvel Universe


Question: What was the name of the specialty comics line created by Clive Barker for Marvel?

Answer: Razorline

<hl> Marvel earned a great deal of money and recognition 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. <hl> 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 fictional Marvel Universe

Marvel earned a great deal of money and recognition 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 <hl> Razorline <hl> imprint of superhero comics created by novelist and filmmaker Clive Barker. 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 fictional Marvel Universe


Question: In what year did Marvel introduce trading cards based on their characters?

Answer: 1990

<hl> Marvel earned a great deal of money and recognition during the comic book boom of the early 1990 s, launching the successful 2099 line of comics set in the future (Spider-Man 2099, etc.) <hl> and the creatively daring though commercially unsuccessful Razorline imprint of superhero comics created by novelist and filmmaker Clive Barker. 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 fictional Marvel Universe

Marvel earned a great deal of money and recognition during the comic book boom of the early <hl> 1990 <hl>s, 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. 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 fictional Marvel Universe

Marvel earned a great deal of money and recognition during the comic book boom of the early <hl> 1990 <hl> s, launching the successful 2099 line of comics set in the future (Spider-Man 2099, etc.)


Question: What trading card company did Marvel team up with to license these trading cards?

Answer: SkyBox International

Marvel earned a great deal of money and recognition 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. <hl> In 1990, Marvel began selling Marvel Universe Cards with trading card maker SkyBox International . <hl> 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 fictional Marvel Universe

Marvel earned a great deal of money and recognition 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. In 1990, Marvel began selling Marvel Universe Cards with trading card maker <hl> SkyBox International <hl>. 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 fictional Marvel Universe

In 1990, Marvel began selling Marvel Universe Cards with trading card maker <hl> SkyBox International <hl> .


Question: What was affected by the increasing use at Marvel of crossover stories between comic characters?

Answer: overall continuity of the fictional Marvel Universe

Marvel earned a great deal of money and recognition 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. 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. <hl> The 1990s saw the rise of variant covers, cover enhancements, swimsuit issues, and company-wide crossovers that affected the overall continuity of the fictional Marvel Universe <hl>

Marvel earned a great deal of money and recognition 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. 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 <hl> overall continuity of the fictional Marvel Universe <hl>


Question: What studio helped to relaunch and revamp classic marvel teams The Fantastic Four and the Avengers?

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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

Answer: Image Comics

<hl> 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. <hl> 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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

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 <hl> Image Comics <hl> 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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.


Question: What two Marvel veterans founded Image?

Answer: Jim Lee and Rob Liefeld

<hl> 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 . <hl> 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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

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, <hl> Jim Lee and Rob Liefeld <hl>. 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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

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, <hl> Jim Lee and Rob Liefeld <hl> .


Question: How was the setting for the Image versions of Marvel characters different from the official comics?

Answer: a parallel universe with a history distinct from the mainstream

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. <hl> 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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. <hl> In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

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 <hl> a parallel universe with a history distinct from the mainstream <hl> Marvel Universe, were a solid success amidst a generally struggling industry, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.


Question: How long did the Image run of Marvel characters last?

Answer: a one-year run

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. <hl> 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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. <hl> In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.

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, but Marvel discontinued the experiment after <hl> a one-year run <hl> and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil.


Question: What three titles were part of the darker, grimmer Marvel Knights comics?

Answer: the Inhumans, Black Panther and Daredevil

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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. <hl> In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as the Inhumans, Black Panther and Daredevil . <hl>

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, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper. In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as <hl> the Inhumans, Black Panther and Daredevil <hl>.

In 1998, the company launched the imprint Marvel Knights, taking place within Marvel continuity; helmed by soon-to-become editor-in-chief Joe Quesada, it featured tough, gritty stories showcasing such characters as <hl> the Inhumans, Black Panther and Daredevil <hl> .


Question: What channel did Marvel buy to self-distribute its own comics in the 1990s?

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. 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. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

Answer: Heroes World Distribution

<hl> In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. <hl> 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. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

In late 1994, Marvel acquired the comic book distributor <hl> Heroes World Distribution <hl> to use as its own exclusive distributor. 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. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.


Question: When did Marvel purchase this distribution network?

Answer: 1994

<hl> In late 1994 , Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. <hl> 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. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

In late <hl> 1994 <hl>, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. 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. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

In late <hl> 1994 <hl> , Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor.


Question: Exclusive deals for distributing comics during the 1990s left this company as the only unaffiliated one.

Answer: Diamond Comic Distributors Inc

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. <hl> 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 . <hl> In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. 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, <hl> Diamond Comic Distributors Inc <hl>. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

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, <hl> Diamond Comic Distributors Inc <hl> .


Question: What year did Diamond Comic Distributors team up with Marvel?

Answer: 1997

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. 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. <hl> In early 1997 , when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews. <hl>

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. 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. In early <hl> 1997 <hl>, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.

In early <hl> 1997 <hl> , when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel—giving the company its own section of its comics catalog Previews.