had little experience with or interest in superheroes, so they decided to play up the inherent campiness of costumed people fighting each other, while adopting a visual style that relied heavily on the Warhol/Lichtenstein aesthetic. So Marvel editor Stan Lee appropriated right back, intending to ride the wave of positive publicity and keep pushing his product.Īround the same time, TV producer William Dozier accepted an assignment from 20th Century Fox to produce a twice-weekly primetime series based on DC Comics’ iconic superhero, Batman. Simultaneously, painters Roy Lichtenstein and Andy Warhol had begun appropriating images from comics as part of the “pop art” movement. For a few months in late 1965, Marvel Comics changed the corner brand on the covers of a few of its bestselling titles, unofficially re-dubbing the company “Marvel Pop Art Productions.” Marvel had been getting glowing coverage in the mainstream press for its new kind of superhero comics, which were generally bolder in style and more psychologically complex than what the industry had been producing over the previous 30 years.
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