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Stan Lee: The Rise and Fall of The American Comic Book 344

Posted by timothy from the take-more-salt-if-you-need-to dept.
SpookWarfare writes "To be completely honest I'm good friends with Tom Spurgeon and Jordan Raphael, the authors of Stan Lee: The Rise and Fall of the American Comic Book." So take your grain of salt, and read on below for "an unbiased review of a the most important book ever to be written about the subject of comic books, or any subject for that matter."
Stan Lee: The Rise and Fall of The American Comic Book
author Jordan Raphael and Tom Spurgeon
pages 320
publisher Chicago Review Press
rating 8
reviewer Gus Mastrapa
ISBN 1556525060
summary Stan Lee

If you don't know who Stan Lee is, you will have little to no interest in this book. But who are we kidding? Any geek worth his or her metal knows Stan "The Man" Lee, the co-creator of Spider-man, The Hulk, The Fantastic Four and countless other beloved Marvel Comics characters. What most people don't really know is the real story behind the creation of these characters. Many have never heard of the artists Jack Kirby and Steve Ditko, who contributed a great deal to the creation and development of these superheroes. In the past years a bit of a rift has formed in comics fandom, the hard-core siding with the late Kirby, claiming that Lee and Marvel did the artist wrong. The other side blithely backs the amiable Lee. Through interviews with artists, family members and Stan Lee himself, Spurgeon and Raphael try to shed some light on the subject.

Anyone who's read Michael Chabon's The Amazing Adventures of Kavalier and Clay will notice a great deal of similarities between Stan Lee's origins and the fictionalized settings Chabon created for his book. Both stories start in the time of the pulps, when publishers cranked out fantastic publications by the truck-load. The parallels are fascinating. If you're a comic book fan and you haven't read Chabon's book, you need to read it.

Anyway, the book I'm supposed to be reviewing tracks Stan Lee's star from his position as a lowly writer at Timely Comics, to the editor behind the most famous run of comic books in history; Marvel's Silver Age comics. This is when the Fantastic Four, Spider-man and The Hulk were born. The book doesn't stop there. It follows Lee through the decades detailing his involvement with the Marvel titles all the way. It examines his rocky relationship with Hollywood and decades of attempts to bring Marvel characters to life on television or in the movies. Even more fascinating are the segments of the book that deal with Stan Lee Media and the enormous financial flame-out that occurred when the business went sour.

The book paints Lee in a very humanistic light. It brings his flaws into sharp contrast and at the same time gives him credit for his amazing accomplishments, unceasing drive and wild imagination. Most interesting is the way the book tells the story of all comics in the context of Marvel and Lee's story. As much as underground geniuses such as R. Crumb or Art Spiegelman must hate the association, it's hard to argue that the fates of all comics are influenced by Marvel's gravitational pull.

There's been a mild knee-jerk reaction in the comics community that the book is blatant attack on Lee, being that both Spurgeon and Raphael both worked at The Comics Journal, a publication that has publicly supported Jack Kirby's claims against Lee. To be fair, the authors put an exceptional amount of work into trying to tell the truth, which is reflected in the sheer number of annotated resources they've provided in the book's source notes.

In all seriousness, try to forget for a moment that I'm friends with the authors. As a lifelong comics reader I found the information presented in this book fascinating. It made me want to run to my comics shop and buy reprints of the old issues. Don't take my word for it, though.

There are several excerpts of the book available online. You can read the prologue at the book's official website. Part of Chapter 17, "Stan in Hollywood" is excerpted at The Comic's Journal's website."

You can purchase Stan Lee: The Rise and Fall of The American Comic Book from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.
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Stan Lee: The Rise and Fall of The American Comic Book

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  • A lesson from our Japanese friends... (Score:5, Insightful)

    by Bonker ( 243350 ) on Friday August 29, 2003 @11:19AM (#6825052)
    Manga tend to last a certain amount of time and then end. They don't frequently switch writers and/or artists. Popular stories are not necessarily stretched and reinvented in order to increase sales. (This point is arguable. There were 37 volums of Ranma 1/2 IIRC.) Artists are treated as talents rather than commodities.

    Who reads and sells more comic books than any other nation in the world?

    • Re:A lesson from our Japanese friends... (Score:5, Insightful)

      by FileNotFound ( 85933 ) on Friday August 29, 2003 @11:23AM (#6825109) Homepage Journal
      The thing about Manga is that the story is far far more involved and logical than most US commics.

      Thing is that Manga is generaly story based while US comics are action based. Bang, Pow, Boom, they all get old fast. Good stories last.
      • The thing about Japanese comics is not that they tend to follow a logical story but more that they just don't really fit into one definition of "This is what comic books have to be about." Japanese comic books cover the whole spectrum of genres and storylines, much like comics used to be in America. Japanese comics have short-attention-span theater just like American comics.

        If you want more than generalizations, then a used copy of Understanding Comics by McCloud will be much more informative than any S

      • we only see the best (Score:5, Insightful)

        by GunFodder ( 208805 ) on Friday August 29, 2003 @01:52PM (#6826851)
        Everything "used to be better" or "is better over there". The reason is that the crappy stuff made in the past or overseas never makes it to us; we only see the cream of the crop that has stood the test of time or been judged worthy for export.

        I'm sure there is plenty of crappy manga, but only the good stuff gets exported because there is limited shelf space and marketing dollars for this genre here in the States.
    • One thing I like about manga is the price. In Japan they're generally printed on cheap pulpy paper and are disposable. You can read and enjoy them, without having to treat them like treasured investments whose pages you're afraid to turn.

      American comics are just too expensive. I haven't been to a comics store in a while but last time I was there most comics were like, four bucks for something I'd finish reading in 15 minutes. The art is generally fantastic these days, insanely detailed and printed on nice paper. But they're way too expensive- I prefer the lengthier stories that manga gives me for the same amount of money, as opposed to the short, pretty, and expensive American comics.

      (there are exceptions to those generalizations, of course!)
      • That is one thing I never understood about Japan. Books over there were quite cheap compared to here, and yet all of their pulp/paper can't come from that tiny island. Don't they import from the States?

        Or are they raizing China's trees for cheap pulp?
    • Popular stories are not necessarily stretched and reinvented in order to increase sales.

      The two styles of typical American comics and manga are certainly different, as are sitcoms and soap operas (bad Slashdot metaphor, I know). But they each have their fan base, and there are advantages and disadvantages to each style. Batman and Evangelion make for very different reading, but both are good.

    • Re:A lesson from our Japanese friends... (Score:5, Interesting)

      by tgibbs ( 83782 ) on Friday August 29, 2003 @12:38PM (#6825908)
      Artists are treated as talents rather than commodities

      It is worth noting that Stan Lee's Marvel was the first US company to treat comic book artists as talents, by crediting them on stories. Of course, they still made them sign away virtually all rights in "work-for-hire" contracts. Still, by turning comic book creators into stars, Marvel ultimately improved their bargaining power.

  • Geekmetal (Score:4, Funny)

    by geekmetal ( 682313 ) <vkeerthyNO@SPAMgmail.com> on Friday August 29, 2003 @11:19AM (#6825054) Journal
    Any geek worth his or her metal knows Stan "The Man" Lee, the co-creator of Spider-man, The Hulk, The Fantastic Four and countless other beloved Marvel Comics characters.

    Now I know who I am.. hmm..

  • but does the book answer the question.. (Score:4, Funny)

    by joeldg ( 518249 ) on Friday August 29, 2003 @11:19AM (#6825059) Homepage
    Is the Things 'thing' made of rock as well?

  • well, we can pretend that they never made The Hulk. After all, they're acting as if the original [imdb.com] Punisher was never made with the coming release of The Punisher [imdb.com]
    • Something I observe with comics is the constant looking back on the characters creation. To the general public (at least), the story of the characters creation is the most important, definitive dimension of the character.

      Spider man was bitten by a radioactive spider. The Hulk was shot with Gamma rays. These are all examples of the basic knowledge most individuals have about comic book characters.

      I know it is proper story-telling to introduce characters and dramatize again and again their beginnings or
      • A lot of characters historically _didn't_ change or develop (think Batman and Superman, for a looong time) and that's one of the things that set Marvel apart for a while. A description of Superman and Dennis the Menace that was true in the early days of both comics stayed true for decades or more.

        And even those that did demonstratably change evolved very slowly or digressed back into older patterns, especially when an earlier "version" of a character was more popular. How many times as a kid, after reading
    • That's probably because the original Punisher Movie had little to do with the real Punisher Character. It makes Starship Troopers look like an authentic adaptation of the novel.

      The new Punisher movie seems to actually have the proper character.

    • And don't forget the high quality of the made for tv movie: "Nick Fury: Agent of S.H.I.E.L.D" [imdb.com]

      I caught this a few months ago on USA or SciFi. It was pretty funny.

      Unfortunately, there was David Hassellhoff, but no bouncing blond lifeguards....
  • Shouldn't Spiderman be prounounced more like Goldman? What I mean is not saying it like it's two words (Spider Man).

    Then again, we should have a superhero called GoldMan (Gold Man)! That would kick ass! Why didn't Stan Lee think of that?

  • Comment removed (Score:5, Insightful)

    by account_deleted ( 4530225 ) on Friday August 29, 2003 @11:24AM (#6825115)
    Comment removed based on user account deletion
  • ...that was NOT the

    Worst review ever. </comic book guy>

    'Nuff said.

  • Killing comics (Score:5, Insightful)

    by Foofoobar ( 318279 ) on Friday August 29, 2003 @11:24AM (#6825123)
    Between Diamond killing off independents by making them IMPOSSIBLE to get distributed and the basic stigma behind comics books, the only thing that wil truly re-invigorate comics is the internet and reinventing the distribution method.

    • Re:Killing comics (Score:2, Interesting)

      by theGreater ( 596196 )
      Not to mention the obscure story lines, re-hashed plots, standardized hero/villain archetypes, and generally diminished quality of American graphic novels / comic boos. Seriously, how many more times can we see a time travel / surprise-I-am-your-father issue?

      Call me crazybutt; I liked DC's Bloodline series, even if it was only a pathetic attempt to create a new mass of super-types a la' X-men. Oh and the new Superman is ridiculous.

      -theGreater Soapbox Evangelist.

    • Re:Killing comics (Score:3, Insightful)

      by niusj ( 698196 )
      Well, haven't we already seen the benefits and flaws of distributing comics online? There are thousands of online webcomics, by both amateur and professional artists, but none of them can make a profit. It seems every time I visit a webcomic, I see a "Donate via Paypal!" link somewhere on the site. The freedom of the internet brings the same penalty to comics as it does to music - why pay for something, when I can find something equally entertaining that is completely free, regardless of legality? Inven
      • That is why if a webcomic gets popular enough, they can start selling merchandise (coffee mugs, t-shirts) with pictures [computergear.com] of [schlockmercenary.com] the [sluggy.com] characters [cafeshops.com] on [pvponline.com] them [dandyandcompany.com]. Not to mention book compliations of the comics
      • Well as far as independent websites delivering media in comparison to an organized distribution company delivering the media... yes. But by having a centralized media company that will deliver the comic books online, you have a much larger public draw and can better take advantage of several revenue streams at the same time.

        The individual comic website does not have the power that an online distribution company would have. The true question though is who is going to create it first?
      • The guys over at penny-arcade do ok. Every time they try to open their online merchandise store it gets crushed by the demand. Also the site has been cahsflow positive since the beginning despite high bandwidth bills.
      • What's wrong with a "Donate via Paypal" link? I mean, seriously, how else do you think an independent webcomic makes money? Sure not those obnoxious banner ads you block in Mozilla? If anything, the "Donate via Paypal" link is one of the most UNOBTRUSIVE funding methods a webcomic could use (and maybe, just maybe, have a PO Box or something if you wish to send a Money Order). You're free to "ignore" the link, but it's a reminder that "Yes Virginia, bandwidth, hardware, and electricity costs money."

    • Re:Killing comics (Score:3, Interesting)

      by OpenMind(tm) ( 129095 )
      Having followed this situation as it unfolded, I think the effect of it has been overstated. Whatever factors are working behind the scenes, it appears that there are more independant or small press books on the shelves in "mainstream" comic stores than I remember being there before the whole distributer consolidation. I can only really speak for the comic stores I frequent, of course, but I do see things inproving.

      Another fun Marvel strategy seems worth mentioning: the whole "no reorders" policy. It se
    • I've seen more graphic novels and manga in Borders and Barnes and Noble than I can list. Jimmy Corrigan, Boy Genius is everywhere.

      What's happened is that the old, serialized superhero comics are down in the dumps and mostly thriving as fodder for big-screen semi-nostalgic blockbusters, but comics as an art form are doing very well lately. Yes, there's stigma behind Spider-Man - and rightly so, it's silly (even when it's fun, it's silly.) But Marvel and DC are to what is happening with comics nowadays what
    • Between Diamond killing off independents by making them IMPOSSIBLE to get distributed

      Yeah, bring back the good days when comic book distribution was controlled by the Mafia, and there were no independent comic book publishers at all.

  • Yes, I'm sure this autobiography of Stan Lee is far more important than such wortless books as Scott McCloud's Understanding Comics and Reinventing Comics. NOT.

  • Jack Kirby, et. al. (Score:5, Interesting)

    by knghtrider ( 685985 ) on Friday August 29, 2003 @11:27AM (#6825161)

    As Mark Evanier (once Jack Kirby's Assistant) said "Well, it's safe to say Jack did all the pencilling. Beyond that, we run into all sorts of semantic arguments having to do with definitions of the word "writing" and with the fact that Mssrs. Lee and Kirby both have/had notoriously poor memories. You also have the fact that, when two creative talents get together and come up with an idea, each of them might honestly believe that he suggested at least the core of the concept if not the entire thing. This happens in any collaboration anywhere and, ultimately, you usually have to just say that they both had the idea. Ergo, I say that the Lee-Kirby creations are Lee-Kirby creations."

    I think that quote says it all--except for the fact that Stan Lee created/inspired a whole generation of HUMANISTIC superheroes--ones with flaws, foibles and problems that were not outweighed by ultra-human abilities. Peter Parker was still somewhat introverted and Geeky, Stephen Strange was still an alcoholic and somewhat arrogant, Ben Grimm had self-esteem problems relating to his appearance. The list is Endless.

    Stan Lee and Marvel Comics brought us some of the greatest comics and heroes. Thanks Stan!!

  • Europe (Score:2, Insightful)

    by Anonymous Coward
    It always amazes me how few comics you find in the US compared to walking into any book store, news-agency, or grocery store in continental Europe.

  • The Comic Book industry, not the medium. (Score:5, Informative)

    by Noren ( 605012 ) on Friday August 29, 2003 @11:31AM (#6825193)
    "an unbiased review of a the most important book ever to be written about the subject of comic books, or any subject for that matter."
    From the review, this book appears to be about the comic book industry, not the comic books themselves.

    The "most important book ever to be written about the subject of comic books" is Understanding Comics. [scottmccloud.com]

    It's in comic book (more accurately, a graphic novel (even more accurately, graphic nonfiction)) form, which is the right medium to actually describe the craft.

  • Isn't that a little excessive? (Score:5, Funny)

    by Wylfing ( 144940 ) <brian@nOspAm.wylfing.net> on Friday August 29, 2003 @11:32AM (#6825211) Homepage Journal
    the most important book ever to be written about the subject of comic books, or any subject for that matter

    Holy crap! I suggest you immediately step away from the computer screen, pack a bag, and move out of your parents' basement.

  • I know he's dead, but it'd be cool to include relevant artwork.

  • It's not hard to figure-out. (Score:3, Interesting)

    by Pig Hogger ( 10379 ) <pig DOT hogger AT gmail DOT com> on Friday August 29, 2003 @11:36AM (#6825250) Journal
    When you've been raised reading belgo-french heavy-metal comics, and as you grow-up, see the same character take on adult stories (and I mean with explicit, graphic sex), it's no wonder that american comics don't look too exiting.
    • a list of recommendations would be greatly appreciated, mister.

      • Well I don't know what the author of the post had in mind, but the following authors are worth checking out:

        - Moebius (French Sci Fi), he also uses other names for side projects

        - Schuiten&Peeters (Belgian architectural delirium!), these guys sometimes work on their own too

        - Bilal (French Sci Fi), great drawings

        - Hugo Pratt (Italian poetic adventures)

        - Manara (Italian erotica)

        The last two authors have definitely been translated to English, not sure about the others...

  • Comics ... sigh (Score:5, Interesting)

    by YllabianBitPipe ( 647462 ) on Friday August 29, 2003 @11:39AM (#6825275)

    I really wish comics were more popular than they are in America. The reasons why have been hashed out ad nauseum but I think it boils down to a bad stereotyped image ... that comics are for kids and mostly center around superheroes in spandex, muscles, with a hugely breasted babe on each arm. It's because companies like Marvel and DC saturate the market with their corny superhero escapades, leading people to assume that's all comics can be and all they're about.


    There's a lot of great stuff there, but in order to truly break through the aformentioned kiddie / funny / superhero / alienated loser stereotype something more mainstream and substantial needs to come out of the comics world. My primary gripe is not about the art. The art is great and wonderful things are being done every day. It's the subject matter and the writing.


    The handful of comics folks I really admire these days are Chris Ware, Posy Simmonds and Dan Clowes. Chris Ware's stuff transcends narrative and writing. Posy Simmonds' "Gemma Bovery" is a re-telling of Madame Bovery with a really complex merging of novel and art. It doesn't look that great at first but there's subtle patterns to when it lapses into comic and back to novel. Dan Clowes I mention because he's done comics that read more like films and his latest 8ball, frankly, blew me away with it's genere hopping and Altmanesque interweaving story lines.


    I've been hopeful as of late as finally we got to see Ghost World, American Splendor, heck even Road To Perdition which are great examples of films based on comics that do not have the aforementioned superhero complex. For better or worse, it's hard to tell they in fact were comics to begin with. Now don't get me wrong, I still enjoy X-Men and Hulk, but I don't think these films are doing anything to break down the stereotypes of what comics are.


    Frankly, we need more boundry-breaking artists than Stan Lee, who keeps rehashing the same old archetypes. Otherwise we'll just continue with the situation we have now, where comic book stores go under, fewer people can make a living at it, and the comics section is delegated to some far corner of the bookstore near the porno mags...

    • Re:Comics ... sigh (Score:3, Insightful)

      by mausmalone ( 594185 )

      Frankly, we need more boundry-breaking artists than Stan Lee, who keeps rehashing the same old archetypes. Otherwise we'll just continue with the situation we have now, where comic book stores go under, fewer people can make a living at it, and the comics section is delegated to some far corner of the bookstore near the porno mags...

      In defense of Stan Lee, though, he invented a lot of those archetypes (or at least was involved in the creation of a lot of those archetypes). His new ideas are very campy b

  • I'm sorry, but the Slashdot editors need to improve their criteria for reviews. With some prodding, I think the author of this review could've written a fine review, but this is just mediocre.

    What I'd really like to understand the dynamics of the stigma attached to comic books--the stereotype that they're artless, pulpy, and read by pimply teenaged males. I know this stigma isn't applied as much by elitist types to the work of people like Art Spiegelman. But as an artistic/literary venture, I think com

    • Re:Poor review (Score:5, Insightful)

      by YllabianBitPipe ( 647462 ) on Friday August 29, 2003 @11:51AM (#6825391)

      Scott McCloud's books, Understanding Comics, tries to answer your question. One big historical situation was back in the 40's and 50's when there was a genre of comics dealing with crime ... they would depict sex, drugs, grisly murders. There was a huge backlash and the "comics code" was created which basically censored the crap out of comic books in America. So, along the way, comics couldn't talk about "adult" subject matter, and due to all the media coverage, a lot of people were told that comic books were evil, brain washing, exploitative, etc.

      Frankly you could see some parallels there and with what some people say about videogames today. Just imagine what would happen if the government decided to crack down on video games ... and all we were left with were Mario and Dance Dance Revolution etc....

      Anyhow during the 60's a whole underground movement started which did a lot to revitalize the "adult" nature of comics ... starting with Crumb ... Spiegleman is a direct offshoot of what Crumb started with his autobiographical comics style.

      But I would dare say the underground comics movement at least in it's inception, over compensated for all the censorship. They went far left, delving into drugs, nudity, sexual hangups, racism. So you get comics that are all about superheroes on one hand and alienated losers on the other, and not a whole lot inbetween.

      The inbetween is what I think needs to be filled out.

      In Japan they've got everything covered. There are comics for kids, adults, women, jocks, pervs, working class people. It is socially acceptable to read a comic. Nobody thinks you're a deviant, a perv or a stunted adolescent as they seem to in the States. And a lot of this stereotype has to do with the history, and the inability of the comics makers to breach the social walls with some truly mainstream material.

      I'm thinking, American comics needs a "Harry Potter" or "Sims" equivalent.

  • Mettle (Score:3, Informative)

    by johnny_cobol ( 544511 ) on Friday August 29, 2003 @11:45AM (#6825334) Homepage
    The proper use of the phrase is worth your "mettle" not "metal."

    Revemnge of the English Majors . . .
  • I just finished reading this book and it's wonderful. I don't have time (or will) to write a full review, but if you've any interest in comic books or in very good historical fiction, I'd suggest picking up a copy [amazon.com]

  • Lots of geeks don't read comics (Score:5, Insightful)

    by Junks Jerzey ( 54586 ) on Friday August 29, 2003 @11:49AM (#6825365)
    Let's not overgeneralize the geeks & comic books thing, okay? I read a few when I was a kid, but have no interest at all now.
  • While it is always dangerous to assume that a Slashdot reviewer actually knows what they're talking about, the review does present me with several reasons I might not want to read the book:

    1. Calling Marvel's Silver Age comics "the most famous run of comic books in history" is a highly subjective and arguably mistaken statement. More famous than the early years of DC, with Batman and Superman? I don't think so.

    2. While I have no objection to a book about Stan Lee per se, calling it The Rise and Fall of The American Comic Book suggests a rather serious overreach. The fact is that the decline in the quality of Stan Lee's Marvel stable happened at the same time of perhaps the most impressive ferment in comics and graphic novels in history, i.e. the mid-to-late 1980s, a renaissance lead by a handful of exceptionally influential DC titles (especially Alan Moore's Watchman, Frank Miller's Dark Knight, and Neil Gaiman's Sandman), together with a number of important independent comics (Dave Sims' Cerebus, etc.).

    3. The review does not mention it, but the true "Fall of the American Comic Book" occured in the mid-1990s due to largely economic circumstances, i.e. the collapse of the speculator market and a disasterous consolidation of comic distribution companies set in motion by Marvel's decision to make Heroes World their sole distributor. (I published an article by Paul T. Riddell on this very subject in the Fall/Winter 2000 isssue of Nova Express, but there are also several online summaries of those events you can Google.) The fact that the book focuses on Stan Lee, and that the review makes no mention of this (an event quite apart from the Dotcom-like collapse of Stan Lee Media) makes me fear that this book either gives a very distorted view of this economic cataclysm, or no view at all.

    That is not to say that it might not be interesting to Stan Lee fans. But Stan Lee != American Comic Books, no matter emblamatic his work may have been in the 1960s.
    • 1. Calling Marvel's Silver Age comics "the most famous run of comic books in history" is a highly subjective and arguably mistaken statement. More famous than the early years of DC, with Batman and Superman? I don't think so.

      This reminds me of my comic book days in the late 80s and early 90s when there were Marvel readers (X-Men, Spider Man), DC readers (Frank Miller, Sandman), and the indies (Cerebus, early Groo, etc). Each readership had a very myopic view of the world and was convinced their publisher
  • the most important book ever to be written about the subject of comic books

    This is probably the most biased review I've ever read. Somebody should be ashamed to write it even in a press release. It is the most important book about commics just for the authors and their friends, or if you think Marvel is really important in comic book history.

    In the realm of comic books, sequencial graphic storytelling, Marvel and DC just publish a very limited set of themes: collant-dressed-anabolised-fantastic-powers h

  • So what about this "fall" in the title? (Score:3, Informative)

    by Galvatron ( 115029 ) on Friday August 29, 2003 @12:00PM (#6825467)
    One thing I'm not getting from the review is why it's called The Rise and Fall of the American Comic Book. I think it would be erroneous to claim that American comics have "fallen." As far as I'm concerned, comics have never been better. Neil Gaiman, Alan Moore, Frank Miller, Brian Michael Bendis, and Warren Ellis are all top notch writers, and the art that can be put into comics today is frankly astounding. I've seen some comics that weren't even inked, just pencilled and then colored, which would have been impossible with earlier technology. Artists are now allowed to have distinctive styles, books like Drawing Comics the Marvel Way are now obsolete because artists are no longer regarded as interchangable.

    Sure, Marvel went bankrupt a while back, but that's because they were headed Ronald Perelman, a so-called "turnaround specialist," who actually behaves much like the executives of SCO, whom we love so dearly. He pumps up stock prices, issues junk bonds, then bails and lets the company crater. As a brief aside, he now heads Revlon, which is trading around $3 per share.

    Sure, I suppose if one were writing a book in the midst of Marvel's bankrupcy, one would be tempted to write a book called The Rise and Fall of American Comics, but in fact that was an artificial situation, and the industry has recovered quite well since then.

  • ... what lead good ol' Stan to plunge into cheap, two-bit pornified cartoons on cheap, two-bit cable stations. Seriously. What was possessing the man? Or is that tail saved for the sequel "Stan Lee: The Rise and Fall of Cheap Cable Cartoon Trash"?

  • Actually... (Score:2, Informative)

    by j0hnfr0g ( 652153 )
    the most important book ever to be written about the subject of comic books

    Most would probably say that honor belongs to "Comics and Sequential Art" by Will Eisner [amazon.com].

    I also would highly recommend "Understanding Comics" by Scott McCloud [amazon.com].
  • Is that the spin of the reviewer, or of the book's authors?

    Granted, the shitty writing of the stanlee.net 'webisodes' probably would have guaranteed the implosion of the company sooner or later, but before that could happen Stan's cofounder and one of the company execs ran the company into the ground [bayarea.com] by way of a stock scam.

    Stan Lee Media was one of the last hurrahs of the dot com era... I worked there for six months, and managed to cash out my unused vacation and leave about a month before everyone in the

  • After reading other books (Score:3, Insightful)

    by TheVampire ( 686474 ) on Friday August 29, 2003 @12:07PM (#6825528) Homepage
    Such as Bone, Cerebus, Ghost in the Shell, and so forth, you'll see that Marvel is the AOL of comics.

  • Ok. (Score:4, Funny)

    by SomeOtherGuy ( 179082 ) on Friday August 29, 2003 @12:08PM (#6825540) Journal

    I think I will wait for the movie adaption of this book. We will see what CGI can do with Stan.

  • Iceman (Score:4, Interesting)

    by fiannaFailMan ( 702447 ) on Friday August 29, 2003 @12:09PM (#6825544) Journal
    Does the book explain how Iceman travelled? As far as I can tell a stream of water shot out of his hand and froze instantly in what just happened to be a perfectly smooth track that was strong enough to support him no matter how long it got. And he always managed to have enough momentum to slide along it, was this momentum an undocumented feature of his power?
    • see, that would ale be because he is a superhero.
      I mean, its funny, nobody talks about how superman can fly, but then they mention something like this.

  • There are two major books worth reading about comic books - "Comics and Sequential Art", by Will Eisner, and "Understanding Comics", by Scott McCloud. (Skip McCloud's "Reinventing Comics"). There's also "Drawing Comics the Marvel Way", by Stan Lee. Those three books explain how the medium, and the industry, work. Eisner focuses on space, viewpoint, and lighting. It's a nice contrast to Lee. Read Eisner first; he tells you how to think about what Lee tells you how to do.

    McCloud focuses on timing, tran

  • mettle ( P ) Pronunciation Key (mtl) n. Courage and fortitude; spirit: troops who showed their mettle in combat. Inherent quality of character and temperament. metal ( P ) Pronunciation Key (mtl) n. Abbr. M Any of a category of electropositive elements that usually have a shiny surface, are generally good conductors of heat and electricity, and can be melted or fused, hammered into thin sheets, or drawn into wires. Typical metals form salts with nonmetals, basic oxides with oxygen, and alloys wi

  • Contradiction (Score:3, Funny)

    by Earlybird ( 56426 ) <{slashdot} {at} {purefiction.net}> on Friday August 29, 2003 @12:29PM (#6825816) Homepage
    • ... an unbiased review of a the most important book ever to be written about ... any subject for that matter. ... If you don't know who Stan Lee is, you will have little to no interest in this book.

    So it's the most important book ever written, but if I don't know who Stan Lee is, I won't care?

    I was so ready to buy the hyperbole, and then you just shot me right down, didntcha.

  • "Lets just say, Stan Lee's mind is in less then mint condition"

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