Tales of Syzpense #54
The Fireside Books Origins of Marvel Comics' 50th Anniversary Deluxe Edition, hunger for Syzygy's latest, The Feeding, and SDCC panel plans
Origins of Marvel Comics’ 50th Anniversary
First, the official press release, which went live earlier today at CBR:
Gallery Books Imprint Gallery 13 to Publish Deluxe Edition of ORIGINS OF MARVEL COMICS by Stan Lee - Timed to 50th Anniversary of the Landmark Book
NEW YORK, JULY 15, 2024 – Timed to the 50th Anniversary of the landmark book by comics legend Stan Lee, ORIGINS OF MARVEL COMICS will return to print in two editions—a deluxe, jacketed collector’s edition and a facsimile trade paperback edition—published by Gallery 13, an imprint of Gallery Books. Both editions will be available in stores everywhere on October 1, 2024.
The Deluxe Edition of ORIGINS OF MARVEL COMICS features a new cover by renowned comic artist Alex Ross, as well as brand-new essays and interviews from additional creators and longtime Marvel contributors such as Chris Ryall, Alex Ross, Tom Brevoort, Linda Sunshine, and Larry Lieber. It also includes an extensive gallery of original art and merchandising ads.
“The ORIGINS OF MARVEL COMICS book opened up a whole world of access to stories that my generation never thought we’d get a chance to see,” says Alex Ross, the award-winning artist/painter of the Deluxe Edition cover. “This was the beginning of treating comics as literature worth preserving for future generations.”
Chris Ryall, editor of the Deluxe Edition, reflects, “My childhood copy of ORIGINS OF MARVEL COMICS was my true entry point into the Marvel Universe. And more than just an introduction to Marvel's amazing characters, the book’s engaging text pieces by Stan Lee also made readers feel like a part of the Marvel Bullpen. So, to be able to help bring to life this celebratory edition, with contributions from so many talented individuals, is an immense thrill. This 50th anniversary edition is intended as a love letter to the Marvel era that Stan Lee, Jack Kirby, Steve Ditko, and many others launched, as well as a celebratory way for fans old and new to experience these stories all over again.”
Originally published in 1974, ORIGINS OF MARVEL COMICS features the first appearance of characters who have dominated the pantheon of Marvel’s modern storytelling mythology—Spider-Man, the Fantastic Four, the Hulk, Thor, and Doctor Strange—along with a second Silver Age tale featuring these special heroes, all hand-picked and introduced by the one and only Stan Lee, and serving as an essential showcase for writers and artists such as Stan himself, Jack Kirby, Steve Ditko, John Romita Sr., and Marie Severin. ORIGINS OF MARVEL COMICS highlights both the lasting greatness of these iconic characters as well as the monumental contributions of the talented creators who launched an entire storytelling universe.
ORIGINS OF MARVEL COMICS is the latest title in the collaboration between Marvel and Gallery Books, publishing premier nonfiction Marvel titles. These new titles focus on the storied history of Marvel Comics through today and the cultural impact of some of the world’s most iconic super heroes.
Stan Lee (1922–2018) began his long career with wartime Timely Comics, but “the Man” made comic book history with Fantastic Four #1, harbinger of a bold new perspective in comic book writing that endures to this day. With some of the industry’s greatest artists, he introduced hero after hero in The Incredible Hulk, The Amazing Spider-Man, The Uncanny X-Men, and more, forming a shared universe for rival publishers to measure themselves against. After a lifetime’s worth of writing and editing, Lee was involved in movies and television via his company POW! Entertainment. He was Marvel’s chairman emeritus and best-known public representative.
Media Contact:
Jessica Roth | Deputy Director of Publicity | Gallery Books
Jessica.Roth@simonandschuster.comSimon & Schuster, a global leader in general interest publishing, is dedicated to providing the best in fiction and nonfiction for readers of all ages, and in all printed, digital and audio formats. Its distinguished roster of authors includes many of the world’s most popular and widely recognized writers, and winners of the most prestigious literary honors and awards. It is home to numerous well-known imprints and divisions such as Simon & Schuster, Scribner, Atria Books, Gallery Books, Adams Media, Avid Reader Press, Simon & Schuster Children’s Publishing and Simon & Schuster Audio and international companies in Australia, Canada, India, the United Kingdom, and VBK in the Netherlands and Belgium. It proudly brings the works of its authors to readers in more than 200 countries and territories. For more information visit our website at www.simonandschuster.com.
Gallery 13, a division of Simon & Schuster, is an imprint dedicated to publishing the highest quality of visual storytelling. Launched in 2017, Gallery 13 champions graphic fiction and nonfiction that inspires, challenges, and expands the reading experience. Gallery 13 is the publisher of YALSA Award winner Roughneck by Jeff Lemire, Eisner Award and Lambda Literary Award nominee Thirsty Mermaids by Kat Leyh, Angoulême International Comics Festival Official Selection Alone by Christophe Chabouté, Eisner Award nominee All the Answers by Michael Kupperman, Two Dead by Van Jensen and National Book Award winner Nate Powell, and graphic novel adaptations of Stephen King’s The Dark Tower series, among other works from acclaimed authors and artists. New and upcoming releases include The Heart That Fed by Carl Sciacchitano and My Super Hero Is Black by John Jennings and Angelique Roché.
About Marvel
Marvel is one of the world’s most prominent entertainment brands, built on an unparalleled library of iconic characters and stories that have shaped pop culture for 85 years. The Marvel brand spans entertainment, including film, television, publishing, licensing, games, live events, digital media, and more.
For more information visit marvel.com.
© 2024 MARVEL
The official S&S link to the Deluxe Edition is here. And the softcover replica edition is here. Lastly, here’re some pics of the two "co-authors” and some mock-ups all enhanced by designer Ian Chalgren.
And a few notes about this project overall:
There were really two books that just cemented by comic-book fandom as a kid: Origins of Marvel Comics and Superman: From the 30’s to the 70’s. So to be able to head up the anniversary celebration of Origins is a massive thrill.
Even more than just the book itself, I’ve been able to connect with the original editor responsible for both of those books, Linda Sunshine. Linda has had a long, distinguished career as editor and writer, and she was kind enough to agree to an interview about her work on Origins for the Deluxe Edition. And Comic-Con made her a special guest this year, so she’ll be at SDCC for the first time in decades. I’ll be moderating a Spotlight panel focused on her career. More about that below but feel free to bring your original copies to have her sign ‘em!
Origins was, as all these books are, a group effort, and in the book, I thank everyone who had a hand in it, but special thanks here to S&S’s Ed Schlesinger and Kimberly Laws for bringing me in to do it; to Sven Larsen, Sarah Singer, and Jeff Youngquist and his team at Marvel for all their help; and to the book’s designer Ian Chalgren, who once again delivered some really inspired and beautiful design, work that both matches and enhances the original book, wrapping it all together with so many great visual flourishes, from the gorgeous endpapers to the design of all the text pieces and bonus sections. And he did so in record time, not only making tweaks while ostensibly on an overseas vacation but also while lettering and designing Self Help, our coming complete Saucer Country collection, finalizing the Conan Colossal Edition, working on the design of the big Spider-Man book for Dark Horse that I mentioned last time, and other work besides. He’s a regular miracle worker and someone I’m happy to work on as often as possible on as many books as possible, and this book is the latest reason why I feel that way.
And again, not to thank everyone involved here but I also wanted to express my respect and admiration—my flat-out adoration—for the great work Alex Ross did on the cover. I enjoyed working on this with him just for our long conversations alone, but his cover really blew me away. The addition of the Jack Kirby and Steve Ditko hands, alongside Stan’s hands that were featured on the original, was such a tasteful way to not only pay tribute to John Romita’s original cover but also to all the creators whose work combined to create the Marvel Universe. Which is what I wanted in general for this book — a celebration of all these creators and their creations, not any kind of corrective that takes sides in what some fans perceive as being an either/or. I’ve no interest in that, and more, I’ve no knowledge of the actual goings-on when these stories were created. I only know that their combined talents created lasting mythology even greater than the sum of its parts.
So yeah, I’ve always loved this book. And I loved getting to work with people like the folks listed above, as well as people like Tom Brevoort, who dropped some of his Marvel Science into the book, and artist/writer Larry Lieber — at 92, one of the last surviving creators to work on the stories in this book, including the first appearance of Thor in Journey Into Mystery 83. Larry wrote this very sweet remembrance of his brother Stan that got me choked up when I read it.
The book is out on October 1 — as the press release states, it’ll be available as a straight softcover replica edition, which is great since my original copy, in my photo above, is basically only held together by sheer force of will at this point; and it’s also available with all those great extras and more in our deluxe hardcover-with-dustjacket edition. Available at all the usual places but like with my coming Marvel Calendar book, I’ll have a signed edition available directly from me, too.
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There’s a song, “Ceasefire,” on the latest Frank Turner & the Sleeping Souls release, and it’s basically a conversation between adult Frank addressing the ways he knows he’s in some ways a disappointment to his 15-year-old self; but he also discusses the things he’s done that 15-year-old Frank should be happy about.
Getting to work on Origins, much like my various contributions to Rom and even my coming Marvel Calendar Book, are my way of reassuring my younger self that I haven’t turned my back on the things he loved. Indeed, if anything, I’m probably guilty of caring too much about those things even decades later. But when they come to pass as satisfyingly as this one did, I feel like childhood Chris would be pretty okay with many of the decisions I’ve made.
Incidentally, it’s got nothing to do with comics but here’s that Frank Turner song if you’re interested. It’s a great song on one of his best albums in some time:
Feeding Time
Last week, we announced another new Syzygy title, coming in October from the Canto team of David M. Booher and artist Drew Zucker — The Feeding, a one-shot horror comic. Here’s The Feeding announcement at Comicbook.com
My SDCC Panel Schedule
THURSDAY, JULY 25
Marvel: Past, Present, and Future from Abrams
Thursday July 25, 2024 10:00am - 11:00am PDT
Acclaimed creators John Jennings (Marvel Super Stories, Kindred), Chris Ryall (Mighty Marvel Calendar Book, A Visual History), Rick Parker (Drafted, formerly of Marvel Comics), and Ryan Meinerding (Marvel Studios’ head of visual development) explore the history of Marvel superheroes, their own personal histories working on Marvel’s acclaimed heroes, and how Marvel's past influences its future. These creators will be joined by Abrams staff Andrew Smith (senior vice president, publisher, children’s books), Connor Leonard (editor), and Charles Kochman (editor-in-chief, Abrams ComicArts), with Sven Larsen (vice president, licensed publishing, Marvel’s licensing team).
The Secret History of Comics on the Bookshelf
Thursday July 25, 2024 3:00pm - 4:00pm PDT
Starting in the 1970s, deluxe reprints of comics began appearing in bookstores for the first time, paving the way for the graphic novel market of the 21st century. Learn the untold story of how early trade collections like Batman from the 30's to the 70's and Origins of Marvel Comics came to be, featuring Linda Sunshine (original book editor, Comic-Con guest), Michael Uslan (Batman), Paul Levitz (DC Comics), and Chris Ryall (Syzygy), moderated by Rob Salkowitz (Forbes, ICv2).
Time to PANICK!: Introducing a New Era of Genre Comics
Thursday July 25, 2024 4:00pm - 5:00pm PDT
PANICK Entertainment is a new comic publisher dedicated to modernizing horror and sci-fi comics for readers and rattling the status quo of genre comic storytelling. Join industry veterans and co-founders Kris Longo (Heavy Metal, DC Comics), Adam Schlagman (DC Comics; executive producer, Shazam!), Mark McCann (writer, Never Never), Doug Pasko (executive producer, The Outpost, Mythica 5), and others for the first-ever convention appearance of PANICK Entertainment. Get a first look at their slate of books for late 2024 and 2025, and expect a surprise guest or two to drop in.
FRIDAY, JULY 26
The Scribe Awards and Media Tie-in Panel
Friday July 26, 2024 2:00pm - 3:00pm PDT
Each year the International Association of Media Tie-in Writers presents the Scribe Awards to celebrate outstanding works tied to popular licenses such as novelizations of movies and TV shows, as well as numerous original works set in the worlds of Star Wars, the MCU, the DCU, video games, popular TV shows, and much more. The event at Comic-Con includes a lively panel discussion with current nominees and past winners. Hosted by NY Times bestseller Jonathan Maberry, president of the IAMTW, along with panelists Chris Ryall, Scott Sigler, Greg Hauman, Stacia Deutsch, Jennifer Brody, Deborah Daughetee, and David Avallone.
Dynamic! Dazzling! Distinctive!: The 3 D’s of 3D Comics
Friday July 26, 2024 3:00pm - 4:00pm PDT
Prepare to journey into the third dimension of two-dimensional art with John Barber (editor-in-chief, Pan-Universal Galactic Worldwide), Nate Murray (publisher, Pan-Universal Galactic Worldwide), Mason Rabinowitz (director of publishing operations, Pan-Universal Galactic Worldwide), Chris Ryall (publisher, Syzygy Publishing), and Hannah Wall (studio manager, Anomaly Productions, Inc.). Get a look at some of the pieces they have particularly enjoyed adapting and learn a little bit about the process of helping images leap off the pages.
SATURDAY, JULY 27
Licensed Comics Panel
Saturday July 26 2024 1:00pm - 2:00pm PDT
Room 9
From TV shows and feature films to novels, and from video games to public figures, licensed titles have been part of the rich fabric of comics almost since the very beginning. Dan DiDio (former publisher, DC Comics), artist Joe Jusko (Savage Sword of Conan), writer/editor Chris Ryall (publisher, Syzygy), writer/producer Mark L. Haynes (Stargate Universe), writer Andy Mangels (Boba Fett: Twin Engines of Destruction), Captain Action Enterprises' Michael Polis, and writer Tom Mason (former creative director, Malibu) have a lively discussion of the ins and outs of this major comic book niche. Moderated by Overstreet's J. C. Vaughn.
Spotlight on Linda Sunshine
Saturday July 26 2024 3:00pm - 4:00pm PDT
Room 4
As a young publishing executive, Linda Sunshine was the driving force behind groundbreaking titles like Batman from the 30's to the 70's and The Origins of Marvel Comics, which changed the history of the industry. In this panel, this "hidden figure" of comics shares her story of those days and her 50-year career as a bestselling writer and editor, in conversation with Chris Ryall (Syzygy).
“I refuse to join any club that would have me as a member.” - Groucho Marx
I’m not sure what it all means beyond a cool membership card (which is, frankly, enough for me) but I got accepted into the Siegel & Shuster Society (member #816) last week. And it occurred to me that I may be one of the only members, if any others, who got a personalized autograph from Joe Shuster. I got this at the first con I ever attended, at maybe age 5 or so, and have managed to hang onto it all these years. I did, of course, deface all the faces on the autograph program at that time but luckily, I only did it in pencil so I cleaned them off years ago, when I was old enough to know just what I had here. Looking forward to our meetings at the clubhouse, which I assume, looks like this:
SyzMail
Last time around, I mentioned my general envy of all the mail that Tom Brevoort’s Man With a Hat newsletter gets on a regular basis, and Tom himself helped me in that regard this week, in response to my discussion of regular, and regularly cranky, Letterhacking Andrew J. Shaw.
TOM BREVOORT writes: Not anything you probably haven’t thought of yourself, but for a long while I’ve assumed that Andrew Shaw is neurodivergent and driven to write a response to every comic book he buys and reads, even if he has little to say about it. So in that frame of mind, his missives become more amusing than antagonistic.
I tend to never get overly upset about any letter anyone writes — I do maintain that anyone who pays good money for any comic is entitled to share their opinion about it, as long as they’re respectful of the creators themselves. Sure, some of Andrew’s opinions skirt the line of good taste but they never do seem malicious.
MICHAEL PERLMAN writes: You missed one of my favorite con-related covers. It is a variant cover by Erica Henderson UNBEATABLE SQUIRREL GIRL #6. The creators shown at the table are Joe Quinones, Chip Zdarsky, Erica, and Ryan North. I own the original art for this.
Michael, this is also one reason I tend to avoid using modern covers in the spinner rack — there seem to be endless examples of any and all cover themes knowingly used now, as homages, as variants or store exclusives, or just as direct riffs on classic covers and themes. I prefer to make my life more difficult by truing to limit myself to previous eras, when it didn’t feel like cover approaches came from such a self-aware place.
That said, it really is a great cover and while I did add it to last week’s newsletter after you made me aware of it, it deserves to be seen again:
JOE H. writes: Lettercol! Ah! I had 4 letters over the years, and like you, a couple of embarrassing ones. When DC noted Sienkiewicz was leaving the Shadow, i was incensed, and wrote in who is this Kyle Baker guy anyway?? Ah! Teenage hubris! My Baker love became so real. I actually apologized to him at Comicon. And bought a beautiful Dick Tracy page.. ah!
l remember feeling kind of the same way — I knew of Kyle Baker from, like, inking Butch Guice, Mike Harris, and others at Marvel was going to take over for Bill Sienkiewicz? I mean, I thought then and now that Kyle was an amazing inker but it felt like a big ask from someone who hadn’t really penciled and inked many pages, as far as I knew. And then Kyle proceeded to do a fantastic job there, and on pretty much everything he’s done in the decades hence, too.
The Spinner Rack Fill-In Issue
I was thinking about how my last few newsletters seem to be spiraling into unintended epics, which led me naturally to thinking that having the occasional fill-in would be welcome at times like the always hectic lead-up to Comic-Con… which then reminded me how much I hated fill-in issues as a kid.
They didn’t happen regularly, but every now and then, you’d plunk down hard-earned coins to buy the latest issue of a series only to find that the issue contained some old story from the past, and whatever epic storyline you were following would have to wait another month. This was in the days before readers had any idea what would be awaiting them in any issue, so you really only ever found out when you got home that the story you were hoping to continue was on hold for another interminable month. We didn’t have many diversions back then, so having to wait two months to catch up on a big storyline was rough.
Not all fill-ins were the same — some were just straight reprints of older issues (like Fantastic Four 180, which was especially confusing, since its cover image showed a scene out of the current ongoing story whereas the interior pages were an old Lee/Kirby reprint. And then issue 181, where the current storyline did continue, featured a generic Kirby cover that made the issue look like it contained a fill-in issue. Confusing times.) — and others just gave the creative team a break for a month. Occasionally, the latter situation led to a great comic all its own — the Bob Layton/Butch Guice issue that appeared one month during Walter Simonson’s epic Thor run was both annoying because I wanted more Simonson, but also pretty damned fun on its own.
Like I say, confusing times (and a time recounted well by Tom “him again” Brevoort right here). These are nine of the issues that annoyed me back in the day and seeing them here again annoys me all over again. Some, I picked up as pricey back issues (like Fantastic Four 154 and Daredevil 162), which was even more obnoxious. The latter, that Daredevil issue, featured a new story that was doomed to land with a thud for fans despite featuring art by Steve Ditko, coming as it did in the middle of Frank Miller’s historic DD run. Same with a couple of The Avengers issues (a series that featured an egregious number of fill-ins and one-offs): notably 163, which followed a fan-favorite Ultron storyline, and again issue 178, which came directly after the stunning conclusion of the Korvac Saga but did nothing to advance the story, or even reference it.
All of that said… as much as these things bugged me as a kid, I now have much greater understanding and appreciation of the need for a break every so often.
Also, giving the regular creative team a break and doing something different does at times lead to comic-book gold: the photo cover of Spider-Man 262 below gave the world Peter Parker half-in-costume and half in dad jeans… and writer Steve Gerber’s embrace of the “dreaded deadline doom,” as it as called, in Howard the Duck 16, is truly one of a kind.
And this sort of thing is pretty much a relic of the back-issue bins now — which is good, considering comics run $4 and up now — so I suppose even though Little Chris still has some psychic scars of the wasted money and lost time, I guess I do still think fondly of these just for the period in my early comic life that they represent. A chapter from my own Origin of Marvel Comics, if you will.
First, congratulations on your latest projects. As well to Ian.
I have to say, I am learning a lot about the industry in a deeper way than I've ever let myself be involved in everytime I read your Substack.
I look forward to any work you are bringing to the public as it is always creative, informative and everything "comics".
Being involved in comics myself doesn't mean I know the things I don't get involved in. This expands my knowledge and helps me to get a much better overall 3000 foot view.
One thing I really like, is that you put out quality products every time.
Now... about that Ross cover...
Wow! A fantastic tribute, so well done it had me zooming in to take a closer look at all characters and parts individually.
I continue to look forward to reading Tales of Syzpense religiously!
Marvel Rules