Captain America is a fictional superhero appearing in American comic books published by Marvel Comics. Created by cartoonists Joe Simon and Jack Kirby, the character first appeared in Captain America Comics #1 from Timely Comics, a predecessor of Marvel Comics. Captain America was designed as a patriotic supersoldier who fought the Axis powers of World War II and was Timely Comics' most popular character during the wartime period; the popularity of superheroes waned following the war and the Captain America comic book was discontinued in 1950, with a short-lived revival in 1953. Since Marvel Comics revived the character in 1964, Captain America has remained in publication; the character wears a costume bearing an American flag motif, he utilizes a nearly indestructible shield which he throws as a projectile. Captain America is the alter ego of Steve Rogers, a frail young man enhanced to the peak of human perfection by an experimental serum to aid the United States government's efforts in World War II.
Near the end of the war, he was trapped in ice and survived in suspended animation until he was revived in the present day. Although Captain America struggles to maintain his ideals as a man out of his time with its modern realities, he remains a respected figure in his community which includes becoming the long-time leader of the Avengers. Captain America was the first Marvel Comics character to appear in media outside comics with the release of the 1944 movie serial, Captain America. Since the character has been featured in other films and television series. In the Marvel Cinematic Universe, the character is portrayed by Chris Evans in Captain America: The First Avenger, The Avengers, Captain America: The Winter Soldier, Avengers: Age of Ultron, Ant-Man, Captain America: Civil War, Spider-Man: Homecoming, Avengers: Infinity War, Captain Marvel, Avengers: Endgame. Captain America is ranked sixth on IGN's "Top 100 Comic Book Heroes of All Time" in 2011, second in their list of "The Top 50 Avengers" in 2012, second in their "Top 25 best Marvel superheroes" list in 2014.
In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume. "I wrote the name'Super American' at the bottom of the page," Simon said in his autobiography, decided: No, it didn't work. There were too many "Supers" around. "Captain America" had a good sound to it. There weren't a lot of captains in comics, it was as easy as that. The boy companion was named Bucky, after my friend Bucky Pierson, a star on our high school basketball team. Simon recalled in his autobiography that Timely Comics publisher Martin Goodman gave him the go-ahead and directed that a Captain America solo comic book series be published as soon as possible. Needing to fill a full comic with one character's stories, Simon did not believe that his regular creative partner, artist Jack Kirby, could handle the workload alone: I didn't have a lot of objections to putting a crew on the first issue... There were two young artists from Connecticut. Al Avison and Al Gabriele worked together and were quite successful in adapting their individual styles to each other.
Their work was not too far from Kirby's. If they worked on it, if one inker tied the three styles together, I believed the final product would emerge as quite uniform; the two Als were eager to join in on the new Captain America book. "You're still number one, Jack," I assured him. "It's just a matter of a quick deadline for the first issue." "I'll make the deadline," Jack promised. "I'll pencil it myself and make the deadline." I hadn't expected this kind of reaction... but I acceded to Kirby's wishes and, it turned out, was lucky that I did. There might have been two Als, but there was only one Jack Kirby... I wrote the first Captain America book with penciled lettering right on the drawing boards, with rough sketches for figures and backgrounds. Kirby did his thing, building the muscular anatomy, adding ideas and popping up the action as only he could, he tightened up the penciled drawings, adding detailed backgrounds and figures." Al Lieberman would ink that first issue, lettered by Simon and Kirby's regular letterer, Howard Ferguson.
Simon said. We wanted to have our say too." Captain America Comics #1 — cover-dated March 1941 and on sale December 20, 1940, a year before the attack on Pearl Harbor, but a full year into World War II — showed the protagonist punching Nazi leader Adolf Hitler. While most readers responded favorably to the comic, some took objection. Simon noted, "When the first issue came out we got a lot of... hate mail. Some people opposed what Cap stood for." The threats, which included menacing groups of people loitering out on the street outside of the offices, proved so serious that police protection was posted with New York Mayor Fiorello La Guardia contacting Simon and Kirby to give his support. Though preceded as a "patriotically themed superhero" by MLJ's The Shield, Captain America became the most prominent and enduring of that wave of superheroes introduced in American comic books prior to and during World War II, as evidenced by the unusual move at the time of premiering the character in his own title instead of an anthology title first.
This popularity drew the attention and a complaint from MLJ that the character's triangular
S. H. I. E. L. D. is a fictional espionage, special law enforcement, counter-terrorism agency appearing in American comic books published by Marvel Comics. Created by Stan Lee and Jack Kirby in Strange Tales #135, it deals with paranormal and superhuman threats; the acronym stood for Supreme Headquarters, International Espionage and Law-Enforcement Division. It was changed in 1991 to Strategic Hazard Intervention Espionage Logistics Directorate. Within the various films set in the Marvel Cinematic Universe, as well as multiple animated and live-action television series, the backronym stands for Strategic Homeland Intervention and Logistics Division; the organization has appeared in media adaptations as well as films and shows that take place in the Marvel Cinematic Universe. S. H. I. E. L. D.'s introduction in the Strange Tales feature "Nick Fury, Agent of S. H. I. E. L. D." Occurred during a trend for action series about secret international intelligence agencies with catchy acronyms, such as television's The Man from U.
N. C. L. E. Which Stan Lee stated in a 2014 interview, was the basis for him to create the organization. Colonel Fury was reimagined as a older character with an eyepatch and appointed head of the organization; some characters from the Sgt. Fury series reappeared as agents of S. H. I. E. L. D. Most notably Timothy "Dum-Dum" Dugan, Fury's bowler hat–wearing aide-de-camp, its most persistent enemy is a criminal organization founded by Baron Wolfgang von Strucker. S. H. I. E. L. D. was presented as an extant, full-blown entity in its first appearance, with Tony Stark in charge of the Special Weaponry section and Fury seeing "some of the most famous joes from every nation" at a meeting of the Supreme International Council. Much was revealed over the years to fill in its labyrinthine organizational history. Stan Lee wrote each story, abetted by artist Kirby's co-plotting or full plotting, through Strange Tales #152, except for two issues, one scripted by Kirby himself and one by Dennis O'Neil. Following an issue scripted by Roy Thomas, one co-written by Thomas and new series artist Jim Steranko, came the sole-writer debut of soon-to-become industry legend Steranko—who had begun on the feature as a penciller-inker of Kirby layouts in #151, taken over the every-other-issue "Nick Fury" cover art with #153 two months and full writing with #155.
Steranko established the feature as one of comics history's most groundbreaking and acclaimed. Ron Goulart wrote, ven the dullest of readers could sense that something new was happening. … Which each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings ignored panel boundaries and instead worked together on planes of depth; the first pages … became incredible production numbers similar in design to the San Francisco rock concert poster of the period. Larry Hama said Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts; the graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages — and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension"; the series won 1967 and 1968 Alley Awards, was inducted in the latter year to the awards' Hall of Fame. Steranko himself was inducted into the Comic Book Hall of Fame in 2006.
The 12-page feature ran through Strange Tales #168, after which it was spun off onto its own series of the same title, running 15 issues, followed by three all-reprint issues beginning a year later. Steranko wrote and drew issues #1–3 and #5, drew the covers of #1–7. New S. H. I. E. L. D. Stories would not appear for nearly two decades after the first solo title. A six-issue miniseries, Nick Fury vs. S. H. I. E. L. D. was followed by Nick Fury, Agent of S. H. I. E. L. D.. This second series lasted 47 issues. H. I. E. L. D. Agents were replaced with Life Model Decoy androids in a takeover attempt. A year after that series ended, the one-shot Fury retconned the events of those previous two series, recasting them as a series of staged events designed to distract Fury from the resurrection plans of Hydra head von Strucker; the following year, writer Howard Chaykin and penciler Corky Lehmkuhl produced the four-issue miniseries Fury of S. H. I. E. L. D.. Various publications have additionally focused on Nick Fury's solo adventures, such as the graphic novels and one-shots Wolverine/Nick Fury: The Scorpio Connection, Wolverine/Nick Fury: Scorpio Rising, Fury/Black Widow: Death Duty and Captain America and Nick Fury: Blood Truce, Captain America and Nick Fury: The Otherworld War.
Nick Fury, Agent of S. H. I. E. L. D. is a comic book series published by Marvel Comics, that first premiered in Strange Tales and became several ongoing series. Nick Fury vs. S. H. I. E. L. D. is a comic book miniseries published by Marvel Comics, that first premiered in 1988. Fury of S. H. I. E. L. D. is a comic book miniseries published by Marvel Comics, that first premiered in 1995. Kitty Pryde, Agent of S. H. I. E. L. D. is a comic book series published by Marvel Comics, that first premiered in 1997. S. H. I. E. L. D. is a comic book title published by Marvel Comics. The fir
Power Pack is a fictional team of superheroes consisting of four young siblings appearing in American comic books published by Marvel Comics. They were created by writer Louise Simonson and artist June Brigman and first appeared in their own series in 1984; the series lasted 62 issues. The characters have since appeared in other books. Power Pack is the first team of preteen superheroes in the Marvel Universe and the first in comics to operate without adult supervision; the title retains a cult following and in 2005 was relaunched as a title aimed at younger readers—though this was declared a separate continuity from that of the original series. During the early 1980s, Marvel Comics had a policy that all their editors should be writers. Despite this, Louise Simonson recalled, I had resisted Shooter's encouragement to write stuff or do freelance stuff because I thought he had writers whose livelihoods depended on their doing books and it didn't feel fair to take the work away from them. I had a job.
But Shooter hired a whole batch of new editors, my workload was cut in half. I got bored and I thought I should create something rather than take one of the jobs that were there, so I proposed the idea for "Power Pack" to Shooter, he loved the idea, so, my taste of writing. I found it more challenging than editing, way more fun, because I had been editing for a long time so I think it had gotten too easy for me. Simonson chose June Brigman as Power Pack's penciler because of her talent for drawing children; the Power Pack series premiered in May 1984 in a double issue inked by Bob Wiacek. The series continued through early 1991, during which time Brigman and Wiacek were replaced by Jon Bogdanove and Hilary Barta as principal artists, Bogdanove took over as writer. Dramatic changes were made to the series' art and storylines in 1990, when Michael Higgins and Tom Morgan were brought in to make the comic edgier and more adult beginning with issue #56; the changes were reviled by Power Pack readers, the series was canceled six months with issue #62.
A year and a half after the cancellation of the series, creators Louise Simonson and June Brigman teamed up on the Power Pack Holiday Special, which undid all of the plotlines started by Michael Higgins. The Power Pack strips were reprinted by Marvel UK beginning around 1986, it was Marvel UK's practice at the time to use a less well-known series as a second strip in a comic devoted to more recognizable characters, Power Pack became the "back-up strip" in a run of Marvel's licensed Star Wars weekly Return of the Jedi. During this period it was printed in black and white and in colour, as was the main Star Wars strip. Power Pack subsequently became the back-up strip for the ThunderCats comic, where it remained until its eventual replacement with the Galaxy Rangers series. While the characters of Power Pack were children, the series dealt with mature issues. Many of the social problems of the eighties found their way into the book's storylines. Among the themes addressed were pollution, drug abuse, kidnapping, gun violence, bullying and homelessness.
A major ongoing theme of the series was the relationship between Power Pack and their parents and Maggie. Unlike superheroes such as Spider-Man or Batman, the Power children were not "conveniently" orphaned and alone. In spite of this, they decided early in the series to keep their powers and superhero activities concealed from their parents. Keeping their powers secret sometimes led the members of Power Pack to deceive their family and friends and to feel guilty about doing so. For instance, in one incident, Julie was forced to allow her school friends to be beaten up by bullies instead of using her powers to defend them; the question of whether or not the powers should be revealed was an ongoing source of debate among the children. Jack, for instance, found it "cool" to have a secret, while the older and more responsible Julie, who had suggested that the powers be concealed from their parents reversed her opinion and felt that they needed to be told sooner or later. Power Pack readers argued the matter out in the letter pages.
The writers emphasized that the Pack had to learn to deal with their powers—and their lethal potential—responsibly. In one early issue, Jack was wracked with remorse. In a story arc, Katie dealt with immense guilt, called herself a "monster", wanted to die after she saw how she had injured the Snark prince Jakal. In 1984, Power Pack was featured with Spider-Man in a special comic designed to fight sexual abuse; the one-shot issue, written by Louise Simonson, was distributed free and reprinted in the comics sections of many major newspapers. Marvel continued the campaign by featuring the characters in print public service announcements; the same year, when the Pack was kidnapped during the Snark Wars, the writers used the storyline to address the issue of child abduction and printed photos of missing children in lieu of the comic's regular letters column. While one-shot public service issues are non-canonical, Spider-Man's childhood sexual abuse was mentioned in other issues, with a reference to this comic, leading some to believe Power Pack confronted this in canon, also.
In 1989, the team was featured with Cloak and Dagger in a special graphic novel, which addressed the issues of teen homelessness and runaways. Hotline telephone numbers for Covenant House were printed on the back cover for readers seeking help; the Power Pack letters column, titled "Pick of the Pack", printed drawings and jokes about the characters submitted by readers, an unusua
The Daily Bugle is a fictional New York City tabloid newspaper appearing as a plot element in American comic books published by Marvel Comics. The Daily Bugle is a regular fixture in the Marvel Universe, most prominently in Spider-Man comic titles and their derivative media; the newspaper first appeared in Fantastic Four #2, its offices in The Amazing Spider-Man #1. The Daily Bugle was first featured on film in the 2002 film Spider-Man; the fictional newspaper is meant to be a pastiche of both the New York Daily News and the New York Post, two popular real-life New York City tabloids. The Daily Bugle is featured prominently in many Marvel Comics titles those in which Spider-Man is the lead character. In 1996, a three-issue limited series was printed. Since 2006, Marvel has published a monthly Daily Bugle newspaper reporting on the company's publications and authors. Marvel earlier used the newspaper format to promote Marvel's crossover events Civil War and House of M—reporting on storyline events as if the comic book Daily Bugle had come to life.
Marvel restored this promotional function for the 2007 death of Captain America. The Daily Bugle was founded in 1898 and has been published daily since; the Daily Bugle is printed in tabloid format like its rival The Daily Globe. The editor and publisher of the Bugle, J. Jonah Jameson, began his journalistic career as a reporter for the Bugle while still in high school. Jameson purchased the then-floundering Bugle with inheritance funds, from his deceased father-in-law and turned the paper into a popular success. Other magazines published from time-to-time include the revived Now magazine and the now-defunct Woman magazine, edited by Carol Danvers. J. Jonah Jameson, Inc. purchased the Goodman Building on 39th Street and Second Avenue in 1936 and moved its entire editorial and publishing facilities there. Now called the Daily Bugle Building, the office complex is forty-six stories tall, is capped by the Daily Bugle logo in 30-foot letters on the roof. There are loading docks in the rear of the building, reached by a back alley.
Three floors are devoted to the editorial office of the Bugle and two sub-basement levels to the printing presses, while the rest of the floors are rented. The newspaper is noted for its anti-superhero slant concerning Spider-Man, whom the paper smears as a part of its editorial policy. However, the Editor-in-Chief, "Robbie" Robertson, the only subordinate to Jameson, not intimidated by him, has worked to moderate it. More positively, the newspaper has published important exposés of political corruption and organized crime in the city, takes a strong stance in favor of mutant rights, which has led to its being targeted by various criminals and hate groups. Due to declining circulation, Jameson has conceded to Robertson's objections and has created a special feature section of the paper called The Pulse, which focuses on superheroes. In addition, the paper intermittently ran a glossy magazine called Now Magazine. Soon after the team's formation, the New Avengers decided to strike a deal with Jameson regarding exclusive content in exchange for removing the strong anti-Spider-Man sentiment from the newspaper, to which Jameson agreed.
One day Jameson broke the spirit of his agreement with Iron Man, using the headline "a wanted murderer, an alleged ex-member of a terrorist organization and a convicted heroin-dealer are just some of the new recruits set to bury the once good name of the Avengers," but refraining from attacking Spider-Man. This prompted Jessica Jones to sell the first pictures of her newborn baby to one of the Bugle's competitors instead. In the first issue of Runaways vol. 2, Victor Mancha states in an exchange about Spider-Man that "The only people who think he's a criminal are Fox News and the Daily Bugle. And the Bugle is, the least respected newspaper in New York City." The paper's major named competitors are the Daily Globe, which implicitly takes a more balanced look at the superhero, Front Line, run by EIC Ben Urich and Sally Floyd, The Alternative. After Peter Parker revealed he is Spider-Man and the Bugle planned to sue him for fraud, the paper itself was put on the defensive with front page accusations from The Globe of libeling the superhero.
The adventures of the staff of the newspaper beyond Peter Parker have been depicted in two series, Daily Bugle and The Pulse. After Jameson suffered a near-fatal heart attack, his wife sold the Bugle to rival newspaper man Dexter Bennett, who changed the name to The DB, transformed it into a scandal sheet. Since after Brand New Day no one knows the secret identity of Spider-Man anymore, the animosity between Jameson and Parker is retconned as a simple financial question, with Jameson's heart attack coming right after a monetary request from Peter; the reputation of the DB since the mention in Runaways has plummeted down because of the new, scandalistic angle Bennett gives it. Several reporters unwilling, or refusing the new course, like Peter himself, are forced to go away, finding a new safe haven in the Front Line, the only magazine willing to accept people fired by Bennett, pursuing a scorched earth policy over them; the villain Electro targeted Dexter Bennett because of a government bailout plan for the financially strapped p
Richard Bache "Dick" Ayers was an American comic book artist and cartoonist best known for his work as one of Jack Kirby's inkers during the late-1950s and 1960s period known as the Silver Age of Comics, including on some of the earliest issues of Marvel Comics' The Fantastic Four. He is the signature penciler of Marvel's World War II comic Sgt. Fury and his Howling Commandos, drawing it for a 10-year run, he co-created Magazine Enterprises' 1950s Western-horror character the Ghost Rider, a version of which he would draw for Marvel in the 1960s. Ayers was inducted into the Will Eisner Comic Book Hall of Fame in 2007. Richard Bache Ayers was born April 28, 1924 in Ossining, New York, the son of John Bache Ayers and Gladys Minnerly Ayers, he had a sister, 10 years older. The siblings were in the 13th generation, he said, of the Ayers family that had settled in Newbury, Massachusetts in 1635. At 18, during World War II, he enlisted in the United States Army Air Corps, stationed in Florida, where after failing radar training he was sent for a month's art training at McTomb University and began working as an artist in the Air Corps' Operations division.
He published his first comic strip, Radio Ray, in the military newspaper Radio Post in 1942. Ayers broke into comics with unpublished work done for Western Publishing's Dell Comics imprint. "I approached them," Ayers said in a 1996 interview. "I had a story drawn. They wanted to wrap a book around it.... I got into it, but Dell decided to scrap the project.... It was an adventure thing and girl; the girl kept feeding the jukebox and he'd played along to Harry James or whatever sort of thing.... It didn't make it, but it got me started where I wanted to be in the business." Following this, in 1947, Ayers studied under Burne Hogarth in the first class of Hogarth's new institution, New York City's Cartoonists and Illustrators School. Joe Shuster, co-creator of Superman, would visit the class, Ayers ventured to his nearby studio. "Next thing I knew," Ayers said in the same interview, "I was penciling a bit here and there." In a 2005 interview, Ayers elaborated that, "Joe had me pencil some of his Funnyman stories after seeing my drawings at Hogarth's evening class" and "sent me to Vin Sullivan of Magazine Enterprises."
There, Sullivan "let me try the Jimmy Durante strip. I submitted my work and got the job."Ayers went on to pencil and ink Western stories in the late 1940s for Magazine Enterprises' A-1 Comics and Trail Colt, for Prize Comics' Prize Comics Western. With writer Ray Krank, Ayers created the horror-themed Western character Ghost Rider in Tim Holt #11; the character appeared in stories through the run of Tim Holt, Red Mask, A-1 Comics, Bobby Benson's B-Bar-B Riders, the 14-issue solo series The Ghost Rider, up through the introduction of the Comics Code. The character's genesis came, Ayers recalled in 2003, when Sullivan "describe what he wanted in the Ghost Rider" and told Ayers to see the 1949 Disney animated feature The Adventures of Ichabod and Mr. Toad, one segment of which adapted Washington Irving's story "The Legend of Sleepy Hollow", featuring the Headless Horseman. "nd he told me to play the Vaughn Monroe record " Riders in the Sky". And he started talking about what he wanted the guy wearing."After the trademark to the character's name and motif lapsed, Marvel Comics debuted its own near-identical, non-horror version of the character in Ghost Rider #1, by writers Roy Thomas and Gary Friedrich and original Ghost Rider artist Ayers.
Ayers' hands appear onscreen as those of a cartoonist played by actor Don Briggs in "The Comic Strip Murders", a 1949 episode of the CBS television series Suspense. In 1952, while continuing to freelance for Magazine Enterprises, Ayers began a long freelance run at Atlas Comics, the 1950s forerunner of Marvel Comics, he drew horror stories in such titles as Adventures into Terror, Journey into Mystery, Journey into Unknown Worlds, Mystery Tales, Strange Tales, Uncanny Tales. As well, he drew the brief revival of the 1940s Golden Age of Comics superhero the Human Torch, from Marvel's 1940s predecessor Timely Comics, in Young Men # 21-24. An additional, unpublished Human Torch story drawn by Ayers belatedly appeared in Marvel Super-Heroes #16. During the 1950s, Ayers drew freelance for Charlton Comics, including for the horror comic The Thing and the satirical series Eh!. Ayers first teamed with the influential and important penciler Jack Kirby at Atlas shortly before Atlas transitioned to become Marvel Comics.
As Kirby's second regular Marvel inker, following Christopher Rule, Ayers would ink countless covers and stories, including on such landmark comics as most early issues of The Fantastic Four, in addition to a slew of Western and "pre-superhero Marvel" monster stories in Amazing Adventures, Journey into Mystery, Strange Tales, Tales of Suspense, Tales to Astonish. Because creator credits were not given at the time, two standard databases disagree over the duo's first published collaboration. Ayers revealed in 1996, however: The first work I did with Jack was the cover of Wyatt Earp #25. Stan Lee liked it and sent me another job, "The Martian Who Stole My Body," for Journey into Mystery #57. I began Sky Masters, the newspaper strip. There is a lot of confusion on this. But, Dave Wood, the writer. I began Sky Masters with the 36th Sunday page.
Civil War (comics)
"Civil War" is a 2006–07 Marvel Comics crossover storyline consisting of a seven-issue limited series of the same name written by Mark Millar and penciled by Steve McNiven, various other tie-in books published by Marvel at the time. The storyline builds upon the events that developed in previous Marvel storylines "Avengers Disassembled", "House of M", "Decimation"; the tagline for the series is, "Whose Side Are You On?"The plot of the series follows a framework story line in which the U. S. government passes a Superhero Registration Act, ostensibly designed to have super powered individuals act under official regulation, somewhat akin to law enforcement. However, superheroes opposed to the act, led by Captain America, find themselves in conflict with those supporting the act, led by Iron Man, with Spider-Man caught in the middle; the superheroes in support of the law, such as Iron Man, Mister Fantastic and Ms. Marvel, become authoritarian. In the aftermath of the war, Captain America is imprisoned.
The conflict between freedom and security is an underlying theme in the story line, with real-life events and discussions, such as the U. S. government's increased surveillance of its citizens, serving as a backdrop for the events in Civil War. A sequel, Civil War II, debuted in June 2016; the series polarized critics but it was a commercial success. The film Captain America: Civil War in the Marvel Cinematic Universe was made as a loose adaptation of the same storyline; the premise of "Civil War" involves the introduction of a Superhuman Registration Act in the United States. Mark Millar, writer for the story, has said: The act requires any person in the United States with superhuman abilities to register with the federal government as a "human weapon of mass destruction," reveal their true identity to the authorities and undergo proper training; those who sign have the option of working for S. H. I. E. L. D. Earning a salary and benefits such as those earned by other American civil servants. Characters within the superhero community in the Marvel Universe split into two groups: one advocating the registration as a responsible obligation, the other opposing the law on the grounds that it violates civil liberties and the protection that secret identities provide.
While arguing directly with Iron Man about the law, Luke Cage, an African American, compared the mandatory registration to slavery. A number of villains have chosen to take sides, some choosing to side with the registration, others against it. Marvel announced in August 2006 that some issues of the main Civil War series would be pushed back several months to accommodate artist Steve McNiven; the schedule had issue #4 being released one month late, in September, while issue #5 was released two months in November. Furthermore, various tie-in books including the Civil War: Front Line miniseries and tie-in issues of other comics were delayed several months so as not to reveal any plot developments. In late November 2006, Marvel announced another delay. Civil War #6 scheduled for release on December 20, was pushed back two weeks and released on January 4. Unlike the previous instance, only The Punisher War Journal #2 was delayed. In a final act of rescheduling, Civil War #7 was pushed back two weeks, pushed back again until February 21.
After the publication of Civil War #7, Mark Millar was interviewed by Newsarama and described the event as "a story where a guy wrapped in the American flag is in chains as the people swap freedom for security", agreeing that a "certain amount of political allegory" was present but that the real focus of the book was on superheroes fighting each other. Contrasting it with The Ultimates, Millar stated that Civil War was "accidentally political because I just cannot help myself." The New Warriors battle a group of villains in Stamford, Connecticut while filming a reality television show. Nitro explodes; the rest of the superheroes appear in Stamford to search for survivors. Public opinion turns against superhumans; the inactive members of the New Warriors are branded as "baby killers". Hindsight releases their secret identities online, several are attacked. She-Hulk forces Hindsight to shut down the site, Hindsight is arrested by John Jameson. Angry civilians attack the Human Torch outside a club.
Guided by Iron Man, Congress passes the Superhuman Registration Act, 6 U. S. C. § 558, requiring the registration of all persons with superhuman abilities with the U. S. government, the enlistment and training of those wishing to operate as superheroes. The law applies to those with naturally-occurring superhuman abilities, those humans using exotic technology, or anyone who wants to challenge the superhumans. Enactment of the federal law led to revisions of state criminal codes. Captain America refuses to join a S. H. I. E. L. D. Strike force hunting superhumans in violation of the act, is attacked by S. H. I. E. L. D.'s "Cape-Killers" though the Act has not been passed yet. Afterwards, he becomes a fugitive and forms an underground resistance movement calling itself the "Secret Avengers"; this team includes Hercules, Danny Rand, Luke Cage, the Young Avengers. Iron Man, Reed Richards, Henry Pym, She-Hulk come down in favor of the Act. Spider-Man unm
Stilt-Man is the name of different fictional supervillains appearing in American comic books published by Marvel Comics. Stilt-Man first appeared in Daredevil #8, he is a criminal wearing an impenetrable suit of armor with powerful telescopic legs. In addition to being one of Daredevil's most enduring arch-foes, he has appeared as an adversary for heroes more matched to his power level, such as Iron Man and Thor. Wilbur Day was born in New York City; as a scientist and engineer, he was employed by Carl Kaxton who invented a hydraulic ram device. Wilbur stole Kaxton's designs and used them to engineer a pair of long, telescopic metal legs, which allowed him to tower high over the ground, he incorporated these hydraulic stilts into an armored battlesuit, which he created for use in robberies as the professional criminal Stilt-Man. He battled Daredevil, was shrunk into nothingness when he was accidentally hit by an experimental molecular condenser ray, his return from the limbo-like "microverse" was recounted, he attempted to help Leap-Frog escape from custody.
Stilt-Man was helped to escape by the Masked Marauder. Stilt-Man teamed with the Masked Marauder in an attempt to trap Daredevil, his escape from Daredevil aided by Electro was recounted. Stilt-Man teamed with Electro, Leap-Frog, Gladiator to form the original Emissaries of Evil and battle Daredevil. Stilt-Man was hired by mobsters to kill district attorney candidate Foggy Nelson, battled Daredevil once again, he disguised himself as Stunt-Master, attacked Daredevil on a Hollywood movie set. In San Francisco, he kidnapped his former employer Carl Kaxton and his daughter, to force him to recreate his molecular condenser. However, Stilt-Man was defeated by Daredevil and the Black Widow. Besides Stilt-Man's long, unsuccessful career against Daredevil, he encountered other superheroes in the meantime, he was hired by Los Angeles mobsters to kill the Falcon, in the process stole various weapons and devices from the Trapster. He robbed a Los Angeles bank, battled the Black Goliath, he teleported his companions to an alien planet using the Z-ray weapon.
Stilt-Man attacked Black Goliath at Champions headquarters in search of an alien power source. He battled the Champions, his Z-ray weapon was destroyed by Darkstar, but he managed to escape the Champions, he was freed from prison by Blastaar and F. A. U. S. T. and given a special new battlesuit constructed of secondary adamantium with additional weaponry. He stole some radioactive isotopes, battled Thor, but lost the fight and was stripped of his suit by the victorious thunder god who confiscated it. Stilt-Man was hired to kidnap assistant District Attorney Maxine Lavender, he was waylaid in his civilian identity by Turk Barrett, a small-time crook and an greater loser than Day, who cold-cocked Day, stole his armor, took on the Stilt-Man identity. Turk contacted the Kingpin and offered to become his new assassin, only to be refused, being told "It does not matter what armor or weapons you may have acquired, Turk. You are an idiot. I do not employ idiots". Enraged by Turk's audacity, Day informed him of a weakness in the armor.
Thanks to Day's information, Daredevil disabled the auto-gyroscopes necessary for the armor to keep its balance and brought Turk down. Day modified the armor to prevent Daredevil from using this newfound knowledge against him. Stilt-Man sought to regain his reputation by defeating Spider-Man, he turned an automated Cordco factory against Spider-Man, but when Spider-Man saved his life, Stilt-Man returned the favor by not taking the opportunity to kill him. Stilt-Man continued to make sporadic appearances in various Marvel comics, wherein he has continued his criminal career and fought several superheroes, but without much success. One of his most prominent appearances during this time was during the Iron Man storyline "Armor Wars", where he was one of the many armored super-villains whose armors had been secretly upgraded with technology stolen from Tony Stark. Stilt-Man attempted to kill District Attorney Blake Tower for sending him to prison, but was captured by She-Hulk. Stilt-Man was among the villains assembled by Doctor Doom to attack the Fantastic Four in Washington, D.
C. during the Acts of Vengeance. Though he had several other villains with him, he failed miserably, he was among the villains who attempted to attack the Avengers at the site of their reconstructed mansion, but was foiled by the construction workers. In the 2006 issues of Heroes for Hire, a version of Stilt-Man's armor can be found in a police storehouse with other villains' equipment under their names; the armor seen here is labeled "Case: NYC v. Turk". and is used by Scorpion during her battle with Paladin. Daredevil's secret identity of Matt Murdock was exposed by a local newspaper, with Murdock denying the allegations. On hearing of this news, Wilbur visited the law offices of Nelson and Murdock, announcing he was sick of the whole ordeal and that he was retiring as Stilt-Man, he left his armor in a suitcase on Murdock's desk, was forcibly removed when he began yelling his paranoid conclusion that Murdock was the real Kingpin. Murdock jokingly asked his law partner, Foggy Nelson, if he'd like to be the next Stilt-Man, an offer he declined.
During this period, Day romanced and married Circus of Crime member Princess Python. When the Superhero Registration Act offered Day a chance at redemption, he signe