Question: What two apex predators do not have a small population size?

Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.

Answer: humans and dogs

<hl> Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. <hl> Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.

Having small population size is a characteristic almost universally inherent to apex predators, <hl> humans and dogs <hl> by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.


Question: Do apex predators generally have a large or small population?

Answer: small

<hl> Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. <hl> Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.

Having <hl> small <hl> population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.


Question: Which principle states that if two species ecologicl niches/ overlap, both species are likely to be in competition with one another?

Answer: competitive exclusion principle

Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. <hl> The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. <hl> This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.

Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The <hl> competitive exclusion principle <hl> states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance.


Question: What other factor is relevant to the competitive exclusion principle?

Answer: prey abundance

Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. <hl> This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of prey abundance . <hl>

Having small population size is a characteristic almost universally inherent to apex predators, humans and dogs by far the most blatant exceptions. Low numbers wouldn't be a problem for apex predators if there was an abundance of prey and no competition or niche overlap, a scenario that is rarely, if ever, encountered in the wild. The competitive exclusion principle states that if two species' ecological niches overlap, there is a very high likelihood of competition as both species are in direct competition for the same resources. This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of <hl> prey abundance <hl>.

This factor alone could lead to the extirpation of one or both species, but is compounded by the added factor of <hl> prey abundance <hl> .


Question: When a predator hunts too much of its prey, causing both populations to dissappear, the phenomenon is called what?

A predator's effect on its prey species is hard to see in the short-term. However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics. If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

Answer: coextinction

A predator's effect on its prey species is hard to see in the short-term. However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics. If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. <hl> If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction . <hl> This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

A predator's effect on its prey species is hard to see in the short-term. However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics. If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as <hl> coextinction <hl>. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as <hl> coextinction <hl> .


Question: Are predator's effects on prey easiest to see in the short-term or long-term?

Answer: longer period of time

A predator's effect on its prey species is hard to see in the short-term. <hl> However, if observed over a longer period of time , it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics. <hl> If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

A predator's effect on its prey species is hard to see in the short-term. However, if observed over a <hl> longer period of time <hl>, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics. If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

However, if observed over a <hl> longer period of time <hl> , it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics.


Question: The rise and fall of predator and prey populations are similar to what, in the US economy?

Answer: boom and bust cycle of economics

A predator's effect on its prey species is hard to see in the short-term. <hl> However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the boom and bust cycle of economics . <hl> If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

A predator's effect on its prey species is hard to see in the short-term. However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the <hl> boom and bust cycle of economics <hl>. If a predator overhunts its prey, the prey population will lower to numbers that are too scarce for the predators to find. This will cause the predator population to dip, decreasing the predation pressure on the prey population. The decrease in predators will allow the small number of prey left to slowly increase their population to somewhere around their previous abundance, which will allow the predator population to increase in response to the greater availability of resources. If a predator hunts its prey species to numbers too low to sustain the population in the short term, they can cause not only the extinction or extirpation of the prey but also the extinction of their own species, a phenomenon known as coextinction. This is a risk that wildlife conservationists encounter when introducing predators to prey that have not coevolved with the same or similar predators. This possibility depends largely on how well and how fast the prey species is able to adapt to the introduced predator. One way that this risk can be avoided is if the predator finds an alternative prey species or if an alternative prey species is introduced (something that ecologists and environmentalists try to avoid whenever possible). An alternative prey species would help to lift some of the predation pressure from the initial prey species, giving the population a chance to recover, however it does not guarantee that the initial prey species will be able to recover as the initial prey population may have been hunted to below sustainable numbers or to complete extinction.

However, if observed over a longer period of time, it is seen that the population of a predator will correlationally rise and fall with the population of its prey in a cycle similar to the <hl> boom and bust cycle of economics <hl> .


Question: How can natural predators benefit crops?

Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.

Answer: reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides

Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. <hl> Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides . <hl>

Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of <hl> reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides <hl>.

Natural predators are an environmentally friendly and sustainable way of <hl> reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides <hl> .


Question: How are predators beneficial to agriculture?

Answer: controlling pests

Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. <hl> Besides their use in conservation biology, predators are also important for controlling pests in agriculture. <hl> Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.

Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for <hl> controlling pests <hl> in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.


Question: If removing an introduced species entirely isn't a posibility, what is the next best outcome?

Answer: keeping its abundance down

Predators may be put to use in conservation efforts to control introduced species. <hl> Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. <hl> Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.

Predators may be put to use in conservation efforts to control introduced species. Although the aim in this situation is to remove the introduced species entirely, <hl> keeping its abundance down <hl> is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.


Question: Predators are used in conservation to reduce what type of species from the environment?

Answer: introduced species

<hl> Predators may be put to use in conservation efforts to control introduced species . <hl> Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.

Predators may be put to use in conservation efforts to control <hl> introduced species <hl>. Although the aim in this situation is to remove the introduced species entirely, keeping its abundance down is often the only possibility. Predators from its natural range may be introduced to control populations, though in some cases this has little effect, and may even cause unforeseen problems. Besides their use in conservation biology, predators are also important for controlling pests in agriculture. Natural predators are an environmentally friendly and sustainable way of reducing damage to crops, and are one alternative to the use of chemical agents such as pesticides.

Predators may be put to use in conservation efforts to control <hl> introduced species <hl> .


Question: Captain America, Thor and Ultron all inhabit what fictional milieu?

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Answer: Marvel Universe

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. <hl> Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe , with locations that mirror real-life cities. <hl> Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the <hl> Marvel Universe <hl>, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Most of Marvel's fictional characters operate in a single reality known as the <hl> Marvel Universe <hl> , with locations that mirror real-life cities.


Question: Fictional placements within this setting are modeled off what?

Answer: real-life cities

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. <hl> Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities . <hl> Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror <hl> real-life cities <hl>. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror <hl> real-life cities <hl> .


Question: Spiderman's fictional city is based off what real American location?

Answer: New York

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. <hl> Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest. <hl>

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in <hl> New York <hl> City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.


Question: What Marvel character's stories are set in an area resembling the American Southwest?

Answer: Hulk

<hl> Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk , Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. <hl> Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, <hl> Hulk <hl>, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, the Fantastic Four, the Avengers, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, <hl> Hulk <hl> , Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki.


Question: Which two groups of Marvel crimefighters are based in a fictional version of New York City?

Answer: the Fantastic Four, the Avengers

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. <hl> Characters such as Spider-Man, the Fantastic Four, the Avengers , Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest. <hl>

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, Wolverine, Thor, Hulk, Ant-Man, such teams as the Avengers, the Guardians of the Galaxy, the Fantastic Four, the Inhumans and the X-Men, and antagonists such as Doctor Doom, The Enchantress, Green Goblin, Ultron, Doctor Octopus, Thanos, Magneto and Loki. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with locations that mirror real-life cities. Characters such as Spider-Man, <hl> the Fantastic Four, the Avengers <hl>, Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.

Characters such as Spider-Man, <hl> the Fantastic Four, the Avengers <hl> , Daredevil and Doctor Strange are based in New York City, whereas the X-Men have historically been based in Salem Center, New York and Hulk's stories often have been set in the American Southwest.


Question: Who originally founded Marvel Comics?

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Answer: Martin Goodman

<hl> Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. <hl> Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

<hl> Martin Goodman <hl> founded the company later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.


Question: What was the original name of Marvel Comics?

Answer: Timely Publications

<hl> Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. <hl> Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Martin Goodman founded the company later known as Marvel Comics under the name <hl> Timely Publications <hl> in 1939. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.


Question: When was Marvel founded?

Answer: 1939

<hl> Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939 . <hl> Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in <hl> 1939 <hl>. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in <hl> 1939 <hl> .


Question: In what city was Marvel based when it was founded?

Answer: New York City

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. <hl> Launching his new line from his existing company's offices at 330 West 42nd Street, New York City , he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher. <hl>

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, <hl> New York City <hl>, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Launching his new line from his existing company's offices at 330 West 42nd Street, <hl> New York City <hl> , he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.


Question: What was Abraham Goodman's official title when Marvel was founded?

Answer: publisher

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. <hl> Martin Goodman, a pulp magazine publisher who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. <hl> Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.

Martin Goodman founded the company later known as Marvel Comics under the name Timely Publications in 1939. Martin Goodman, a pulp magazine <hl> publisher <hl> who had started with a Western pulp in 1933, was expanding into the emerging—and by then already highly popular—new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher.


Question: What was the cover date on Marvel Comics #1?

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Answer: Oct. 1939

<hl> Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939 ), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. <hl> The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, Marvel Comics #1 (cover dated <hl> Oct. 1939 <hl>), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, Marvel Comics #1 (cover dated <hl> Oct. 1939 <hl> ), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features.


Question: Who was Marvel/Timely's first true full-time editor?

Answer: Joe Simon

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. <hl> The company's first true editor, writer-artist Joe Simon , teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). <hl> It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist <hl> Joe Simon <hl>, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

The company's first true editor, writer-artist <hl> Joe Simon <hl> , teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941).


Question: Besides Simon, who co-created Captain America?

Answer: Jack Kirby

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. <hl> The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). <hl> It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable <hl> Jack Kirby <hl> to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.


Question: What is the name of the character created by Carl Burgos?

Answer: the Human Torch

<hl> Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch , and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. <hl> The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero <hl> the Human Torch <hl>, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero <hl> the Human Torch <hl> , and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features.


Question: In what issue was Namor, The Sub-Mariner introduced?

Answer: Marvel Comics #1

<hl> Timely's first publication, Marvel Comics #1 (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. <hl> The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

Timely's first publication, <hl> Marvel Comics #1 <hl> (cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success, with it and a second printing the following month selling, combined, nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist and emerging industry notable Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.


Question: What cartoon humorist did some high profile stories for Marvel in the early years?

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Answer: Basil Wolverton

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. <hl> Timely also published one of humor cartoonist Basil Wolverton 's best-known features, <hl> "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist <hl> Basil Wolverton <hl>'s best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Timely also published one of humor cartoonist <hl> Basil Wolverton <hl> 's best-known features,


Question: What was the name of the humorous feature penned by Wolverton?

Answer: "Powerhouse Pepper"

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. <hl> Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper" , as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal. <hl>

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, <hl> "Powerhouse Pepper" <hl>, as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Timely also published one of humor cartoonist Basil Wolverton's best-known features, <hl> "Powerhouse Pepper" <hl> , as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.


Question: What duo of kid-themed characters were featured in early Marvel issues?

Answer: Ziggy Pig and Silly Seal

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. <hl> Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal . <hl>

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo <hl> Ziggy Pig and Silly Seal <hl>.

Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo <hl> Ziggy Pig and Silly Seal <hl> .


Question: What early Marvel character may have been envisioned as a female counterpoint to Captain America?

Answer: Miss America

<hl> While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America , the Destroyer, the original Vision, and the Angel. <hl> Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, <hl> Miss America <hl>, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

While no other Timely character would achieve the success of these "big three", some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, <hl> Miss America <hl> , the Destroyer, the original Vision, and the Angel.


Question: The most popular early Marvel heroes were collectively and colloquially known as what?

Answer: "big three"

<hl> While no other Timely character would achieve the success of these "big three" , some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. <hl> Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

While no other Timely character would achieve the success of these <hl> "big three" <hl>, some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper", as well as a line of children's funny-animal comics featuring popular characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

While no other Timely character would achieve the success of these <hl> "big three" <hl> , some notable heroes—many of which continue to appear in modern-day retcon appearances and flashbacks—include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel.


Question: Marvel Comics was part of many entities having what relationship with Timely?

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.

Answer: shell companies

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. <hl> One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). <hl> As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these <hl> shell companies <hl> through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.


Question: When were all of Goodman's comic entities officially put under the moniker of Marvel Comics?

Answer: 1961

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). <hl> As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961 . <hl>

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in <hl> 1961 <hl>.

As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in <hl> 1961 <hl> .


Question: By what other name were some Marvel-related comic books published?

Answer: "A Marvel Magazine"

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). <hl> As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961. <hl>

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled <hl> "A Marvel Magazine" <hl> many years before Goodman would formally adopt the name in 1961.


Question: Under what handle were Marvel's detective fiction comics published?

Answer: Marvel Mystery Comics

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. <hl> One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). <hl> As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least <hl> Marvel Mystery Comics <hl> #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.


Question: Which writer and artist was behind the Sub-Mariner?

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Answer: Bill Everett

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). <hl> Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett ), <hl> and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by <hl> Bill Everett <hl>), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by <hl> Bill Everett <hl> ),


Question: What was Marvel's major offshoot with Westerns, war stories, and monster comics called?

Answer: Atlas

<hl> Atlas , rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. <hl> Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

<hl> Atlas <hl>, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

<hl> Atlas <hl> , rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line.


Question: What was Dan DeCarlo's spooky but humorous comic aimed at kids called?

Answer: Homer the Happy Ghost

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. <hl> Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). <hl> Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's <hl> Homer the Happy Ghost <hl> (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.


Question: DeCarlo also penned a knock-off of what teen comic superstar?

Answer: Archie Andrews

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. <hl> Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews ). <hl> Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la <hl> Archie Andrews <hl>). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la <hl> Archie Andrews <hl> ).


Question: What was the name of DeCarlo's main character in his humorous teen series?

Answer: Homer Hooper

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. <hl> Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). <hl> Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Atlas, rather than innovate, took a proven route of following popular trends in television and movies—Westerns and war dramas prevailing for a time, drive-in movie monsters another time—and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (à la Casper the Friendly Ghost) and <hl> Homer Hooper <hl> (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.


Question: Marvel's first team of superheroes was known by what alliterative name?

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

Answer: The Fantastic Four

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. <hl> Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. <hl> Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of <hl> The Fantastic Four <hl> #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.


Question: What was the issue date when this superhero team debuted?

Answer: Nov. 1961

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. <hl> Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 ( Nov. 1961 ), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. <hl> Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (<hl> Nov. 1961 <hl>), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 ( <hl> Nov. 1961 <hl> ), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status.


Question: What Marvel executive helped change the focus of Marvel's stories and characters?

Answer: Stan Lee

<hl> In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. <hl> Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

In 1961, writer-editor <hl> Stan Lee <hl> revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.


Question: In the Marvel Universe, the public treated conferred what response on the Fantastic Four?

Answer: celebrity status

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. <hl> Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status . <hl> Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of <hl> celebrity status <hl>. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of <hl> celebrity status <hl> .


Question: What is Marvel's best-selling comic?

Answer: The Amazing Spider-Man

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. <hl> This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. <hl> Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to more all-ages readers than the predominantly child audiences of the medium. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to <hl> The Amazing Spider-Man <hl> title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something readers could identify with.


Question: Who joined with Stan Lee in creating the Fantastic Four?

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.

Answer: Jack Kirby

<hl> Lee and freelance artist and eventual co-plotter Jack Kirby 's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. <hl> Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.

Lee and freelance artist and eventual co-plotter <hl> Jack Kirby <hl>'s Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.

Lee and freelance artist and eventual co-plotter <hl> Jack Kirby <hl> 's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age.


Question: What historic era did the Fantastic Four initially inhabit?

Answer: Cold War

<hl> Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. <hl> Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a <hl> Cold War <hl> culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.


Question: What traditional superhero element did the Fantastic Four initially do without?

Answer: costumes

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. <hl> Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success. <hl>

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as secret identities and even <hl> costumes <hl> at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.


Question: None of the Fantastic Four had what hidden element so common to other superheroes?

Answer: secret identities

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. <hl> Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success. <hl>

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as <hl> secret identities <hl> and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.


Question: The emphasis on relatable settings and character motivations in Marvel's 1960s comics is called what?

Answer: "superheroes in the real world"

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. <hl> Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success. <hl>

Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic-book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a <hl> "superheroes in the real world" <hl> approach, the series represented a change that proved to be a great success.


Question: What magazine featured two Marvel Characters in a college campus heroes feature?

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan. In 2009 writer Geoff Boucher reflected that, "Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times—or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?"

Answer: Esquire

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. <hl> In 1965, Spider-Man and the Hulk were both featured in Esquire magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan. <hl> In 2009 writer Geoff Boucher reflected that, "Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times—or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?"

All of these elements struck a chord with the older readers, such as college-aged adults, and they successfully gained in a way not seen before. In 1965, Spider-Man and the Hulk were both featured in <hl> Esquire <hl> magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan. In 2009 writer Geoff Boucher reflected that, "Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times—or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?"