Excerpt from ‘The Fantastic Four’ No. 49. Our heroes face an apocalyptic threat. Lee and Kirby served up a thrilling brew of high-concept sci-fi, fallible protagonists, and scintillating copywriting.
“People are almost always surprised when I tell them Stan Lee is 93. He doesn’t scan as a young man, exactly, but frozen in time a couple of decades younger than he is, embodying still the larger-than-life image he crafted for himself in the 1970s — silver hair, tinted shades, caterpillar mustache, jubilant grin, bouncing gait, antiquated Noo Yawk brogue. We envision him spreading his arms wide while describing the magic of superhero fiction, or giving a thumbs up while yelling his trademark non sequitur, Excelsior! He’s pop culture’s perpetually energetic 70-something grandpa, popping in for goofy cameos in movies about the Marvel Comics characters he co-created (well, he’s often just said ‘created,’ but we’ll get to that in a minute) in the 1960s. But even then, he was old enough to be his fans’ father — not a teenage boy-genius reimagining the comics world to suit the tastes of his peers but already a middle-aged man, and one who still looked down a bit on the form he was reinventing. A comic-book Methuselah, Lee is also, to a great degree, the single most significant author of the pop-culture universe in which we all now live. This is a guy who, in a manic burst of imagination a half-century ago, helped bring into being The Amazing Spider-Man, The Avengers, The X-Men, The Incredible Hulk, and the dozens of other Marvel titles he so famously and consequentially penned at Marvel Comics in his axial epoch of 1961 to 1972. That world-shaking run revolutionized entertainment and the then-dying superhero-comics industry by introducing flawed, multidimensional, and relatably human heroes — many of whom have enjoyed cultural staying power beyond anything in contemporary fiction, to rival the most enduring icons of the movies (an industry they’ve since proceeded to almost entirely remake in their own image). And in revitalizing the comics business, Lee also reinvented its language: His rhythmic, vernacular approach to dialogue transformed superhero storytelling from a litany of bland declarations to a sensational symphony of jittery word-jazz — a language that spoke directly and fluidly to comics readers, enfolding them in a common ecstatic idiom that became the bedrock of what we think of now as ‘fan culture.’ …”
W – Stan Lee