The disney MARVEL page

# Marvel in a nutshell

## 1. The first movie/comic ever!

The precursor to Marvel Comics was founded in 1939 by pulp magazine publisher Martin Goodman. In order to capitalize on the growing popularity of comic books—especially those starring superheroes—Goodman created Timely Comics. Timely’s first comic book was *Marvel Comics* no. 1 (cover dated October 1939), which featured several superhero characters, most notably the Human Torch and the Sub-Mariner. Timely Comics introduced many superhero characters during comics’ “Golden Age” in the 1940s, most importantly Captain America, who first appeared in *Captain America Comics* no. 1 (March 1941). Timely characters were often portrayed as fighting against the Nazis and the Japanese even before the United States entered World War II. As the 1940s came to a close, superheroes fell out of vogue with comic book readers, and Timely canceled the last of its books in this genre in 1950. In 1951 Goodman formed his own distribution company, and Timely Comics became Atlas Magazines. Though there was a brief experiment in bringing back superheroes such as Captain America in 1953, Atlas’s output was mostly in other genres such as humour, westerns, horror, war, and science fiction.

In 1956 rival company DC Comics ushered in the so-called Silver Age of comics by reintroducing superhero titles with significant commercial success. In the early 1960s Atlas changed its name to Marvel Comics. For several decades Marvel and DC were the top companies in the industry. Throughout the 1980s and ’90s Marvel changed hands numerous times, becoming a publicly held company in 1991. Questionable management decisions and a general slump in sales in the comic book industry drove Marvel Comics into bankruptcy in 1996. The company emerged from bankruptcy in 1998 and began to diversify its output, launching imprints aimed at a variety of demographics and expanding its cinematic offerings under the Marvel Studios banner. In 2007 Marvel began publishing digital comics. In 2009 the Walt Disney Company purchased the parent company of Marvel Comics.

## 2.The Marvel universe

The shared storytelling palette known as the Marvel universe was unveiled in 1961, when Goodman responded to the growing interest in superhero books by commissioning writer Stan Lee and artist Jack Kirby to create the Fantastic Four. With the release of *Fantastic Four* no. 1 (November 1961), readers were introduced to a superheroic setting that was, nevertheless, rooted in the real world. Lee and Kirby attempted to make their comic book characters more original by allowing them to interact with each other in a realistic fashion, including heroes often fighting or arguing with each other. This trend continued with a flood of other superhero characters introduced by Marvel Comics during the early 1960s, including Spider-Man, the Incredible Hulk, and the X-Men. Lee wrote the majority of Marvel’s books during that time, and Jack Kirby and Steve Ditko were the most important and influential artists.

## Stan lee

This more realistic approach to characterizations built up Marvel’s reputation and began to attract university-age readers. Stories also began to deal with social issues such as pollution, race relations, and drug abuse. A Spider-Man story arc from 1971 dealing with drug abuse had to be published without the approval of the Comic Code Authority—the self-regulatory body that had policed comic content since 1954—despite the fact that it was portraying drug use in a negative light. This caused the Comic Code Authority to revise its policy in such matters.

## Spider man and others in a nutshell

The late 1960s and early 1970s saw a new generation of creative talent emerge at Marvel. In 1967 Jim Steranko began to write and draw stories featuring secret agent Nick Fury in the anthology book *Strange Tales*. Steranko was influenced in his work by James Bond films and the psychedelic and Op art movements, and the resulting stories melded groundbreaking visuals with equally innovative storytelling techniques. Writer Chris Claremont and artist John Byrne began a long collaboration on *The Uncanny X-Men* in 1975. The pair revitalized the flagging series with characters such as Wolverine and complex story arcs that soon made the X-Men franchise one of Marvel’s best sellers. In 1985 Mark Gruenwald started a critically acclaimed 10-year run as the writer of *Captain America*. That same year he also began the miniseries *Squadron Supreme* (1985–86), a deconstructionist take on superheroes that preceded Alan Moore’s graphic novel *Watchmen*, published by DC Comics. The 1980s also saw Frank Miller’s stint on *Daredevil*, which took that book in a darker and grittier direction, reviving sagging sales and making it one of Marvel’s best sellers. In 1988 Todd MacFarlane began a popular run as artist on *The Amazing Spider-Man*. Four years later MacFarlane and a number of other popular artists, including Jim Lee, Erik Larsen, and Rob Liefeld, left Marvel to found rival Image Comics, a company that allowed creators to retain the copyrights of their characters.

During the 1990s and early 2000s a new wave of writers, including Brian Michael Bendis (*Daredevil*, *The Avengers*), Jonathan Hickman (*Fantastic Four*), and Ed Brubaker (*Captain America*), became well known for their mature and sometimes controversial takes on Marvel’s characters. The 2010s saw the emergence of another new wave of talent, with writer Matt Fraction and artist David Aja turning in a visually arresting run on *Hawkeye*, longtime Spider-Man writer Dan Slott teaming with artist Mike Allred for a bold take on a classic character in *Silver Surfer*, and writer G. Willow Wilson and artist Adrian Alphona breaking new ground with their critically acclaimed *Ms. Marvel*.In the 21st century Marvel’s profits were increasingly derived from toys, video games, and other merchandise featuring their most popular characters and from the production of a string of commercially successful movies. Those films differed from prior efforts to translate comics to the big screen in that they were set in a single shared world. That ambitious plan generated huge dividends with *The Avengers* (2012), a film that featured Iron Man, Thor, and Captain America—three heroes that had scored individual blockbuster successes—and grossed more than $1.5 billion worldwide. The Marvel Cinematic Universe, as it came to be known, grew into one of the most lucrative franchises in film history. Its success spawned a wave of television programs, beginning with *Agents of S.H.I.E.L.D.* (2013–20) on ABC and continuing with *Daredevil* (2015–18), *Jessica Jones* (2015–19), and *Luke Cage* (2016–18), a string of critically lauded series that appeared on Netflix. In 2015 an agreement between Disney and Sony brought Spider-Man (who had previously appeared only in Sony-produced films) into the shared universe; the character would subsequently be available for use by both studios. Marvel Studios, the company’s film and television division, continued to set records with its flagship Avengers, but it also packed theatres with relatively unknown heroes such as the *Guardians of the Galaxy* (2014), *Ant-Man* (2015), and *Doctor Strange* (2016). In addition, *Black Panther* (2018) became the first Marvel movie to win an Academy Award; it received Oscars for costume design, original score, and production design. By 2020 more than 20 films had been released under the banner of the Marvel Cinematic Universe, and the franchise’s cumulative global box office receipts had topped $22 billion.
Tim DeForestThe Editors of Encyclopaedia Britannica

Incredible Hulk

* Introduction & Top Questions
* First appearance and Silver Age stories
* From the Bronze Age of comics to the modern era
* The Hulk in television and film

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HomeEntertainment & Pop CultureComic Strips & Superheroes

# Incredible Hulk

fictional character

Alternate titles: Hulk

By Peter Sanderson | See All • Edit History

TOP QUESTIONS

Incredible Hulk, American comic strip character created for Marvel Comics by writer Stan Lee and artist Jack Kirby. The towering muscle-bound antihero debuted in the bimonthly series *The Incredible Hulk* in May 1962.

## First appearance and Silver Age stories

The Hulk was a hybrid of two popular comic book genres—monsters and superheroes. In *The Incredible Hulk* no. 1, Lee and Kirby introduced the emotionally repressed nuclear scientist Robert Bruce Banner, inventor of the gamma bomb. When teenager Rick Jones sneaks onto the bomb’s test site, Banner races into harm’s way to push him into a protective trench, only to absorb a vast quantity of gamma rays when the device detonates. The irradiated Banner consequently begins making nightly transformations into an enormous gray-skinned monster with virtually limitless strength and destructive capability; it embodies the darkest, angriest, and most antisocial aspects of Banner’s personality. Along with Jones, who was initially the only other person aware of Banner’s dual nature, the book featured a supporting cast that included U.S. Air Force general Thaddeus E. (“Thunderbolt”) Ross, one of the Hulk’s most persistent antagonists, and Betty Ross, Thunderbolt’s daughter and a recurring romantic interest for Banner.

The Hulk’s first comic book series lasted only six issues before being canceled, but audiences were sufficiently intrigued with the title character to justify continued guest appearances elsewhere in the Marvel universe. In addition to brushes with the Fantastic Four and Spider-Man, the Hulk became a charter member of the Avengers, although he left that team after just one issue. The Hulk garnered a regular feature in *Tales to Astonish*, beginning in issue no. 60 (October 1964). After sharing the title, first with Giant-Man and later with the Sub-Mariner, the Hulk eventually took over the magazine completely, and with issue no. 102 (April 1968) it was renamed *The Incredible Hulk*.

The characterization and appearance of the Hulk underwent numerous changes after the character’s inception, and these transformations began almost immediately. In his debut appearance the creature had gray skin, but Marvel’s printer was unable produce the hue consistently, and Lee and Kirby made him green in the second issue. The mechanics of Banner’s metamorphosis into the Hulk—during which Banner initially retains his intellect, though his personality becomes warped and evil—also changed fairly early in the character’s history. By issue no. 4 of the first series (November 1962), Jones is helping Banner to trigger his transformations by means of a focused gamma ray beam. In late 1960s *Tales to Astonish* stories, Banner begins changing into the Hulk whenever he is roused to extreme anger rather than because of the arrival of nightfall. In the 1970s the Hulk’s secret identity became common knowledge to his foes, and he was increasingly portrayed as a misunderstood childlike creature. Although often given to temper tantrums set off by relatively minor provocations, the Hulk can also be peaceful and gentle when left alone, a state enjoyed only rarely. This portrayal is in sharp contrast to the Hulk’s first appearances, in which he appears to be evil and remorseless in his desire to attack humanity.

## From the Bronze Age of comics to the modern era

One of the most poignant chapters in the life of Marvel’s misunderstood man-monster came from fantasist Harlan Ellison and veteran comics writer Roy Thomas. In *The Incredible Hulk* no. 140 (June 1971), the Hulk enters a subatomic world inhabited by green-skinned humanoids who are ruled by the benevolent Princess Jarella. Here the Hulk finds not only the acceptance he craves but also the love of Jarella. He manages to retain the intellect and emotions of Banner while using the Hulk’s prodigious strength to protect Jarella and her people, although the Hulk/Banner ultimately ends up mourning Jarella’s death. The story line inspired later writers—such as John Byrne in the 1980s and Peter David in the 1990s—to alter the balance between Banner’s and the Hulk’s personalities, often to tremendous dramatic effect.

One of the highlights of Byrne’s stint on the series involved the separation of Banner and the Hulk into independent entities, thereby revisiting the Jekyll-and-Hyde concept that had initially inspired Lee and Kirby. Unshackled from Banner’s emotional restraint, the Hulk becomes more dangerous than ever before. Banner finally marries Betty Ross, but his bliss is short-lived. Byrne’s successor, writer Allen Milgrom, quickly placed both the man and the monster back into a single body.

David’s lengthy writing tenure, which began in *The Incredible Hulk* no. 328 (February 1987) and ended with issue no. 467 (August 1998), is widely regarded as the definitive treatment of the character. David explored three distinct personalities: Banner, who despite his emotional scars is capable of experiencing a loving relationship with Betty; an intelligent, scheming gray Hulk, who represses all of his “softer” emotions; and the raging child represented by the traditional green-skinned Hulk. David’s run on *The Incredible Hulk* is also memorable for its clever, incisive dialogue, its visually stunning exploration of Banner’s psyche, and the death—albeit temporary—of Betty Ross.

Although his long-running series concluded with issue no. 474 (March 1999), the Hulk returned to prominence a month later with a new monthly title, simply called *Hulk*. As the story unfolds, Banner must contend with a new incarnation of the Hulk that represents his intense guilt over Betty’s death. After sales slumped in the early 21st century, writer Greg Pak revitalized the franchise with the “Planet Hulk” (2006) and “World War Hulk” (2007) story lines. Cast into space by the Illuminati, a council of superheroes that includes Mr. Fantastic, Iron Man, and others, the Hulk crashes on the planet Sakaar, where he leads a revolt, becomes Sakaar’s emperor, and marries a woman named Caiera. Caiera becomes pregnant, but the spaceship that brought the Hulk to Sakaar explodes, killing Caiera and millions of others. Overcome with rage, the Hulk returns to Earth and attacks Manhattan, seeking revenge on the Illuminati, whom he blames for the disaster. The Hulk is finally defeated and imprisoned in his Bruce Banner form. Thanks to his alien biology, the Hulk’s unborn son Skaar survives Caiera’s death and rapidly grows to adulthood, becoming a regular supporting character. The Hulk’s perennial nemesis, General Thunderbolt Ross, makes a deal with a cadre of supervillains to become the gamma-powered Red Hulk, and his daughter Betty is resurrected and subjected to a similar process, becoming the Red She-Hulk. Although the proliferation of Hulks was initially a source of conflict within Marvel’s superheroic community, over time this new generation of titans found acceptance with such teams as the Avengers, the Thunderbolts, and the Defenders.

During Marvel’s *Civil War II* (2016) crossover event, Banner was seemingly killed by Avengers teammate Hawkeye, but in the world of comics death is often a fleeting experience. While Banner was temporarily indisposed, the mantle of the Hulk was claimed by teenage wunderkind Amadeus Cho in Greg Pak’s *Totally Awesome Hulk* (2015–17). Writer Al Ewing and artist Joe Bennett took the Hulk back to his monstrous roots in the critically acclaimed *The Immortal Hulk* (2018– ). Ewing reimagined Marvel’s entire gamma-powered cast of characters, linking their abilities and apparent immortality to a hellish dimension called the Below-Place. Although the book retained some traditional superhero trappings, Ewing’s story and Bennett’s visuals recalled the classic horror comics published by William Gaines in the 1950s.

## The Hulk in television and film

As one of Marvel’s most-recognizable characters, the Hulk proved to be a lucrative property in a variety of media. He was featured in several animated television series from the 1960s onward, but perhaps the definitive on-screen depiction of the character was the live-action drama *The Incredible Hulk* (1978–82). On that show, the character was played by two men, bodybuilder Lou Ferrigno as the Hulk and actor Bill Bixby as Banner. Oscar-winning director Ang Lee created the character’s first feature film, *Hulk*, in 2003. Another version, *The Incredible Hulk*, directed by Louis Letterier, appeared in 2008. The character was integrated into Marvel’s larger cinematic universe with Mark Ruffalo’s scene-stealing turn as the jade giant in *The Avengers* (2012). Ruffalo returned as the Hulk in *Avengers: Age of Ultron* (2015), *Thor: Ragnarok* (2017), *Avengers: Infinity War* (2018), and *Avengers: Endgame* (2019).