再见了漫威之父.斯坦李先生的逝世你有什么遗憾？怎样评价他的成就？

再见了漫威之父。那想不到你走得这么匆忙，让我有点措手不及，我再次看到你那些经典的漫威英雄，让我心中油然而生一种尊敬感。

斯坦李是美国漫画界元老级人物，斯坦李去世无疑是美漫界和**界的一大遗憾，漫威之父绝对是美国流行文化的一个标志，他创造的诸多英雄角色可以说对很多人有着很深的影响，比如说金刚侠、蜘蛛侠、美国队长、绿巨人等等，他创造的这些英雄角色可以说满足了我们多少人的幻想，我们也曾幻想着像蜘蛛侠一样拯救人类，于水火之中，匡扶正义，可以说它满足了我们。

漫威之父斯坦李的事实绝对对于漫画界是一大损失，我们期待他在复仇者联盟四中有客串有表演，愿你在天堂也能够发挥你的才能创造出更多的英雄角色，愿这些英雄陪伴着你的左右，永远守护你。

“漫威之父”斯坦李，太有名了。包括中国人在内，简直一切地球人都看过他的**。只是不晓得他是编剧。我们从小看过的《蜘蛛侠》，《钢铁侠》，《绿伟人》，都是打怪兽，捍卫地球的超人。小学的时分，同窗都会学者他们的动作，身体一转，大喊变身。

那时分，除了爱看，还爱学动作。如今回想起来，那实真实在是被他的精彩**迷上了。后来关于斯坦李的**，多几少都有看过。

最喜欢看的是《蜘蛛侠》，他的手臂一伸，就能喷出一根比钢丝还坚韧的丝，而且能收能缩。14岁那年看的《蜘蛛侠》，看过之后，血脉喷张，觉得本人就像蜘蛛侠一样能够手中喷丝，维护地球，本人就是蜘蛛侠。

但是，美国当地时间2018年11月12日，美国漫画界元老级人物斯坦李以95岁高龄，在一家医疗中心逝世。先不说他病逝的缘由。我们看看他对美国**的奉献。

关于斯坦李编剧和参演的**和电视剧的局部，如下，

几所大局部的精彩的美国**中，都有他的的身影。听说，就连最近上映的《毒液》也是漫威公司出品的。固然还没有看过毒液的详细内容，想来也是跟复仇者联盟系列是一样的主题，都是捍卫地球。

这么多的**都是斯坦李编剧的，包括前期火爆的《美国队长》系列和《复仇者联盟》系列中都不难找到他的身影。还有先前的《X战警》系列和《刀锋战士》系列，都是国人的最爱。国人之所以喜欢这样的**，不是由于主演的动作有多么的夸大，而是由于在这里我们心目中捍卫地球的那种情怀可以得到释放。

随着斯坦李的逝世，可以释放护卫情怀的**，或许就不会再有了。有网友说，斯坦李是美国**的化身，没有了他的**，我将失去对美国**的热情。

就在斯坦李逝世的前十几天，武侠大师金庸先生刚刚逝世，有人评论说，世界斯坦李的逝世，犹如江湖上少了一位金庸大侠，在中国，江湖上再也没有金大侠，在世界，**中再也没有斯坦李。

斯坦李的逝世，**中少了一位捍卫地球的使者。以后想要捍卫地球，恐怕只能在过去找了。斯坦李代表了美国**的一个顶峰，不晓得美国**会不会由于他的逝世，就像中国的金庸没有接力者，从而走向衰败？

If Stan Lee revolutionized the comic book world in the 1960s, which he did, he left as big a stamp — maybe bigger — on the even wider pop culture landscape of today

Think of “Spider-Man,” the blockbuster movie franchise and Broadway spectacle Think of “Iron Man,” another Hollywood gold-mine series personified by its star, Robert Downey Jr Think of “Black Panther,” the box-office superhero smash that shattered big screen racial barriers in the process

And that is to say nothing of the Hulk, the X-Men, Thor and other film and television juggernauts that have stirred the popular imagination and made many people very rich

If all that entertainment product can be traced to one person, it would be Stan Lee, who died in Los Angeles on Monday at 95 From a cluttered office on Madison Avenue in Manhattan in the 1960s, he helped conjure a lineup of pulp-fiction heroes that has come to define much of popular culture in the early 21st century

Mr Lee was a central player in the creation of those characters and more, all properties of Marvel Comics Indeed, he was for many the embodiment of Marvel, if not comic books in general, overseeing the company’s emergence as an international media behemoth A writer, editor, publisher, Hollywood executive and tireless promoter (of Marvel and of himself), he played a critical role in what comics fans call the medium’s silver age

Many believe that Marvel, under his leadership and infused with his colorful voice, crystallized that era, one of exploding sales, increasingly complex characters and stories, and growing cultural legitimacy for the medium (Marvel’s chief competitor at the time, National Periodical Publications, now known as DC — the home of Superman and Batman, among other characters — augured this period, with its 1956 update of its superhero the Flash, but did not define it)

Under Mr Lee, Marvel transformed the comic book world by imbuing its characters with the self-doubts and neuroses of average people, as well an awareness of trends and social causes and, often, a sense of humor

In humanizing his heroes, giving them character flaws and insecurities that belied their supernatural strengths, Mr Lee tried “to make them real flesh-and-blood characters with personality,” he told The Washington Post in 1992

“That’s what any story should have, but comics didn’t have until that point,” he said “They were all cardboard figures”

Energetic, gregarious, optimistic and alternately grandiose and self-effacing, Mr Lee was an effective salesman, employing a Barnumesque syntax in print (“Face front, true believer!” “Make mine Marvel!”) to market Marvel’s products to a rabid following

He charmed readers with jokey, conspiratorial comments and asterisked asides in narrative panels, often referring them to previous issues In 2003 he told The Los Angeles Times, “I wanted the reader to feel we were all friends, that we were sharing some private fun that the outside world wasn’t aware of”

Though Mr Lee was often criticized for his role in denying rights and royalties to his artistic collaborators , his involvement in the conception of many of Marvel’s best-known characters is indisputable

Reading Shakespeare at 10

He was born Stanley Martin Lieber on Dec 28, 1922, in Manhattan, the older of two sons born to Jack Lieber, an occasionally employed dress cutter, and Celia (Solomon) Lieber, both immigrants from Romania The family moved to the Bronx

Stanley began reading Shakespeare at 10 while also devouring pulp magazines, the novels of Arthur Conan Doyle, Edgar Rice Burroughs and Mark Twain, and the swashbuckler movies of Errol Flynn

He graduated at 17 from DeWitt Clinton High School in the Bronx and aspired to be a writer of serious literature He was set on the path to becoming a different kind of writer when, after a few false starts at other jobs, he was hired at Timely Publications, a company owned by Martin Goodman, a relative who had made his name in pulp magazines and was entering the comics field

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Mr Lee was initially paid $8 a week as an office gofer Eventually he was writing and editing stories, many in the superhero genre

At Timely he worked with the artist Jack Kirby (1917-94), who, with a writing partner, Joe Simon, had created the hit character Captain America, and who would eventually play a vital role in Mr Lee’s career When Mr Simon and Mr Kirby, Timely’s hottest stars, were lured away by a rival company, Mr Lee was appointed chief editor

As a writer, Mr Lee could be startlingly prolific “Almost everything I’ve ever written I could finish at one sitting,” he once said “I’m a fast writer Maybe not the best, but the fastest”

Mr Lee used several pseudonyms to give the impression that Marvel had a large stable of writers; the name that stuck was simply his first name split in two (In the 1970s, he legally changed Lieber to Lee)

During World War II, Mr Lee wrote training manuals stateside in the Army Signal Corps while moonlighting as a comics writer In 1947, he married Joan Boocock, a former model who had moved to New York from her native England

His daughter Joan Celia Lee, who is known as J C, was born in 1950; another daughter, Jan, died three days after birth in 1953 Mr Lee’s wife died in 2017

A lawyer for Ms Lee, Kirk Schenck, confirmed Mr Lee’s death, at Cedars-Sinai Medical Center in Los Angeles

In addition to his daughter, he is survived by Ms Lee and his younger brother, Larry Lieber, who drew the “Amazing Spider-Man” syndicated newspaper strip for years

In the mid-1940s, the peak of the golden age of comic books, sales boomed But later, as plots and characters turned increasingly lurid (especially at EC, a Marvel competitor that published titles like Tales From the Crypt and The Vault of Horror), many adults clamored for censorship In 1954, a Senate subcommittee led by the Tennessee Democrat Estes Kefauver held hearings investigating allegations that comics promoted immorality and juvenile delinquency

Feeding the senator’s crusade was the psychiatrist Fredric Wertham’s 1954 anti-comics jeremiad, “Seduction of the Innocent” Among other claims, the book contended that DC’s “Batman stories” — featuring the team of Batman and Robin — were “psychologically homosexual”

Choosing to police itself rather than accept legislation, the comics industry established the Comics Code Authority to ensure wholesome content Gore and moral ambiguity were out, but so largely were wit, literary influences and attention to social issues Innocuous cookie-cutter exercises in genre were in

Many found the sanitized comics boring, and — with the new medium of television providing competition — readership, which at one point had reached 600 million sales annually, declined by almost three-quarters within a few years

With the dimming of superhero comics’ golden age, Mr Lee tired of grinding out generic humor, romance, western and monster stories for what had by then become Atlas Comics Reaching a career impasse in his 30s, he was encouraged by his wife to write the comics he wanted to, not merely what was considered marketable And Mr Goodman, his boss, spurred by the popularity of a rebooted Flash (and later Green Lantern) at DC, wanted him to revisit superheroes

Mr Lee took Mr Goodman up on his suggestion, but he carried its implications much further

Enter the Fantastic Four

In 1961, Mr Lee and Mr Kirby — whom he had brought back years before to the company, now known as Marvel — produced the first issue of The Fantastic Four, about a superpowered team with humanizing dimensions: nonsecret identities, internal squabbles and, in the orange-rock-skinned Thing, self-torment It was a hit

Other Marvel titles — like the Lee-Kirby creation The Incredible Hulk, a modern Jekyll-and-Hyde story about a decent man transformed by radiation into a monster — offered a similar template The quintessential Lee hero, introduced in 1962 and created with the artist Steve Ditko (1927-2018), was Spider-Man

A timid high school intellectual who gained his powers when bitten by a radioactive spider, Spider-Man was prone to soul-searching, leavened with wisecracks — a key to the character’s lasting popularity across multiple entertainment platforms, including movies and a Broadway musical

Mr Lee’s dialogue encompassed Catskills shtick, like Spider-Man’s patter in battle; Elizabethan idioms, like Thor’s; and working-class Lower East Side swagger, like the Thing’s It could also include dime-store poetry, as in this eco-oratory about humans, uttered by the Silver Surfer, a space alien:

“And yet — in their uncontrollable insanity — in their unforgivable blindness — they seek to destroy this shining jewel — this softly spinning gem — this tiny blessed sphere — which men call Earth!”

Mr Lee practiced what he called the Marvel method: Instead of handing artists scripts to illustrate, he summarized stories and let the artists draw them and fill in plot details as they chose He then added sound effects and dialogue Sometimes he would discover on penciled pages that new characters had been added to the narrative Such surprises (like the Silver Surfer, a Kirby creation and a Lee favorite) would lead to questions of character ownership

Mr Lee was often faulted for not adequately acknowledging the contributions of his illustrators, especially Mr Kirby Spider-Man became Marvel’s best-known property, but Mr Ditko, its co-creator, quit Marvel in bitterness in 1966 Mr Kirby, who visually designed countless characters, left in 1969 Though he reunited with Mr Lee for a Silver Surfer graphic novel in 1978, their heyday had ended

Many comic fans believe that Mr Kirby was wrongly deprived of royalties and original artwork in his lifetime, and for years the Kirby estate sought to acquire rights to characters that Mr Kirby and Mr Lee had created together Mr Kirby’s heirs were long rebuffed in court on the grounds that he had done “work for hire” — in other words, that he had essentially sold his art without expecting royalties

In September 2014, Marvel and the Kirby estate reached a settlement Mr Lee and Mr Kirby now both receive credit on numerous screen productions based on their work

Turning to Live Action

Mr Lee moved to Los Angeles in 1980 to develop Marvel properties, but most of his attempts at live-action television and movies were disappointing (The series “The Incredible Hulk,” seen on CBS from 1978 to 1982, was an exception)

Avi Arad, an executive at Toy Biz, a company in which Marvel had bought a controlling interest, began to revive the company’s Hollywood fortunes, particularly with an animated “X-Men” series on Fox, which ran from 1992 to 1997 (Its success helped pave the way for the live-action big-screen “X-Men” franchise, which has flourished since its first installment, in 2000)

In the late 1990s, Mr Lee was named chairman emeritus at Marvel and began to explore outside projects While his personal appearances (including charging fans $120 for an autograph) were one source of income, later attempts to create wholly owned superhero properties foundered Stan Lee Media, a digital content start-up, crashed in 2000 and landed his business partner, Peter F Paul, in prison for securities fraud (Mr Lee was never charged)

In 2001, Mr Lee started POW! Entertainment (the initials stand for “purveyors of wonder”), but he received almost no income from Marvel movies and TV series until he won a court fight with Marvel Enterprises in 2005, leading to an undisclosed settlement costing Marvel $10 million In 2009, the Walt Disney Company, which had agreed to pay $4 billion to acquire Marvel, announced that it had paid $25 million to increase its stake in POW!

In Mr Lee’s final years, after the death of his wife, the circumstances of his business affairs and contentious financial relationship with his surviving daughter attracted attention in the news media In 2018, Mr Lee was embroiled in disputes with POW!, and The Daily Beast and The Hollywood Reporter ran accounts of fierce infighting among Mr Lee’s daughter, household staff and business advisers The Hollywood Reporter claimed “elder abuse”

In February 2018, Mr Lee signed a notarized document declaring that three men — a lawyer, a caretaker of Mr Lee’s and a dealer in memorabilia — had “insinuated themselves into relationships with J C for an ulterior motive and purpose,” to “gain control over my assets, property and money” He later withdrew his claim, but longtime aides of his — an assistant, an accountant and a housekeeper — were either dismissed or greatly limited in their contact with him

In a profile in The New York Times in April, a cheerful Mr Lee said, “I’m the luckiest guy in the world,” adding that “my daughter has been a great help to me” and that “life is pretty good” — although he admitted in that same interview, “I’ve been very careless with money”

Marvel movies, however, have proved a cash cow for major studios, if not so much for Mr Lee With the blockbuster “Spider-Man” in 2002, Marvel superhero films hit their stride Such movies (including franchises starring Iron Man, Thor and the superhero team the Avengers, to name but three) together had grossed more than $24 billion worldwide as of April

“Black Panther,” the first Marvel movie directed by an African-American (Ryan Coogler) and starring an almost all-black cast, took in about $2018 million domestically when it opened over the four-day Presidents’ Day weekend this year, the fifth-biggest opening of all time

Many other film properties are in development, in addition to sequels in established franchises Characters Mr Lee had a hand in creating now enjoy a degree of cultural penetration they have never had before

Mr Lee wrote a slim memoir, “Excelsior! The Amazing Life of Stan Lee,” with George Mair, published in 2002 His 2015 book, “Amazing Fantastic Incredible: A Marvelous Memoir” (written with Peter David and illustrated in comic-book form by Colleen Doran), pays abundant credit to the artists many fans believed he had shortchanged years before

Recent Marvel films and TV shows have also often credited Mr Lee’s former collaborators; Mr Lee himself has almost always received an executive producer credit His cameo appearances in them became something of a tradition (Even “Teen Titans Go! to the Movies,” an animated feature in 2018 about a DC superteam, had more than one Lee cameo) TV shows bearing his name or presence have included the reality series “Stan Lee’s Superhumans” and the competition show “Who Wants to Be a Superhero”

Mr Lee’s unwavering energy suggested that he possessed superpowers himself (In his 90s he had a Twitter account, @TheRealStanlee) And the National Endowment for the Arts acknowledged as much when it awarded him a National Medal of Arts in 2008 But he was frustrated, like all humans, by mortality

“I want to do more movies, I want to do more television, more DVDs, more multi-sodes, I want to do more lecturing, I want to do more of everything I’m doing,” he said in “With Great Power …: The Stan Lee Story,” a 2010 television documentary “The only problem is time I just wish there were more time”

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LearnAndRecord

2015年2月8日

2018年11月13日

第1375天

每天持续行动学外语

说起美国大片，不得不说的就是漫威公司，漫威旗下的英雄们让多少孩子幻想过自己变成英雄，让多少人为之振奋和欢呼。漫威公司的很多角色都家喻户晓，如钢铁侠、金刚狼、美国队长、雷神等等。而这些英雄的创造者是被称为漫威之父的斯坦李，已经95岁高龄的斯坦李在接受采访时，分享了他的创作经验。

首先，斯坦李认为人们之所以会喜欢超级英雄，人们总是希望有更大的能力、更多的天赋和本领去做事情，是因为每个人都想超越自己，当他看这些角色的时候，就会把自己代入进去。斯坦李在创作的时候一般会设计一个比主角更强大的反派，然后用各种方法让主角逐渐强大，最终战胜反派，观众们也会从中获得满足。

其次，在设计英雄时，斯坦李认为一定要给英雄设计缺陷，这样才能够让他们显得更真实，因为没有人是完美的。在漫威的英雄里，有眼睛不好使的，有心脏有问题的，有整天为了钱担心的，这样能够让观众感觉到这些英雄和他们平时认识的人没有多大的区别。人物越真实，故事里的要素越真实，人们就越能接受你的超级英雄。

最后，斯坦李给所以创作者提了一个建议：为自己而做。他从来不会试着去写一个别人喜欢的故事，因为他不知道别人喜欢什么，而他坚信世界上一定有很多和他品味相同的人。作为作者，如果你忠于你自己概率上来说会有很多和你一样的人，但如果你试图写某个人喜欢的故事，你就不可能像了解自己一样了解那个人。