These were good years for the comic book industry. Actually, they were great years. The 1980s were a period of tremendous financial and creative growth that transformed the medium. The emergence of the Direct Market, with specialty comic book stores, created more opportunities for creators and led to a wider range of publications.
It was during this decade that Alan Moore and Dave Gibbons’ Watchmen, Frank Miller’s The Dark Knight Returns, and Art Spiegelman’s Maus were published, breaking new comic book narrative ground for future writers. It was also during this decade that DC Comics was rebooted with Crisis on Infinite Earths and started its Renaissance with the British Invasion of creators.
The comic book industry rose and fell during the 1980s, including Marvel Comics. The House of Ideas evolved in those years, embracing darker storytelling, launching new comic book series, trying new formats, hiring new talents, and releasing some of the most celebrated and iconic stories in its history.
Maybe one of the most important decades on the creative front, the 1980s helped redefine Marvel’s superheroes by pushing boundaries and going where the industry had never been before. Today, we explore the best Marvel stories of the decade!
A Mutant World: The Birth of the X-Men Franchise
While Chris Claremont arrived on the X-Men in 1975, the title took off at the start of the decade with a nine-part story that will change the X-Men forever: The Dark Phoenix Saga (Uncanny X-Men #129–138). Writer Chris Claremont and artist Dave Cockrum (and later John Byrne) developed a story with Marvel Girl at the heart, describing how Jean Grey became corrupted by her new Phoenix Power. She would become a big threat, destroying millions of lives, before being punished for it. Though the initial plan wasn’t to kill Jean Grey, a disagreement between the creative team and editor-in-chief Jim Shooter about the punishment required for the heinous crime committed by the Phoenix led to the demise of the character. While neither Claremont nor artist John Byrne was happy about this decision, it helped transform the X-Men into one of the most recognizable titles at Marvel Comics.
No sooner than this cult saga was finished, The Days of Future Past Story (Uncanny X-Men #141-142) began, introducing us to an alternate reality where Sentinels have killed many X-Men. An older Wolverine and Kitty Pryde were still fighting and put in place a bold and dangerous plan: mentally sending Kitty’s mind into the past to prevent this dystopian future from ever happening. While only a two-part story, it struck a chord with readers, and several sequels have been produced in response to its popularity.
The X-Men were not on the rise, they were at the top with Uncanny X-Men, now Marvel’s best-selling title. The world of X-Men was destined to expand. The first limited series that emerged was 1982’s Wolverine, from Claremont and Miller which introduced the character’s most famous catchphrase, “I’m the best there is at what I do. But what I do best isn’t very nice.” in a story that presents the popular character as a “failed samurai”, away from the “berserker psycho killer” of the time as explained by Claremont in the Wolverine trade paperback. This was a different Wolverine that was presented in this story. Up to that point, there had been no hints of Wolvie having a history in Japan, certainly not coming from Byrne, who built a lot of the cool factor that made the character so popular. It was also one of Marvel’s earlier attempts at the limited series format.
It was only the start. It was inevitable that a new X-Men Book would be put out there, and soon enough, The New Mutants were launched. Focused on a group of teenagers in training, the comic title didn’t find its groove immediately, lacking originality to become more than an X-Men spin-off. It all changes with the arrival of artist Bill Sienkiewicz on the title and the Demon Bear Saga (New Mutants #18-20). Danielle Moonstar is forced to confront a monstrous entity from her past, a supernatural bear that haunts her dreams and forces the New Mutants into a surreal, nightmarish battle. Sienkiewicz’s experimental side provided the series with its own identity.
The X-Men franchise continued to grow this decade, adding X-Factor, Excalibur, and Alpha Flight, developing many crossover stories, and introducing plenty of new mutants. As the X-Men became more popular, Marvel began creating space stories, introducing cosmic adventures that expanded the Marvel Universe.
Cosmic Adventures: Marvel Beyond the Stars
Not long after Jean Grey’s death shook up the X-Men, the superhero community lost another member. Jim Starlin’s The Death of Captain Marvel, the first book in a new line of graphic novels, became one of Marvel’s most iconic stories—a cosmic tale of grief, mortality, and the limits of power in the face of illness. While death is a recurring event in comic books—so much so that we have become desensitized to it—Mar-Vell’s death remains one of the most memorable in comic book history. Unlike many other heroes, Mar-Vell has never been permanently resurrected, as doing so would be seen as disrespectful to the emotional impact of his loss.
In a way, the loss of this cosmic hero can be seen as a metaphor—Marvel is burying the old to start a new era of cosmic adventures with The Fantastic Four, Thor, Doctor Strange, and the many heroes of Earth. Only a few months later, the First Family reached a creative peak under writer-artist John Byrne in The Trial of Galactus (FF #242–262), a story that explored ethics and destruction on a universal scale. In this classic tale, Reed Richards faces a cosmic trial for saving the planet-eating Galactus, with the cosmic entity given more substance and complexity than ever before.
John Byrne redefined the Fantastic Four with a mix of epic battles and emotional depth, and he wasn’t the only one bringing new perspectives. Walter Simonson’s acclaimed run on Thor began with the introduction of Beta Ray Bill—an alien warrior able to wield Mjolnir. Simonson then took a deep look at what defined the God of Thunder, reshaping Asgard and expanding its mythology. His stories paved the way for the modern interpretations of the character.
Like Walter Simonson’s work on Thor, Doctor Strange: Triumph and Torment— another title from the Marvel Graphic Novel line—blended mystic realms with dramatic gravitas. Coming from Roger Stern and Mike Mignola, this comic pairs Doctor Strange with Doctor Doom on a journey to Mephisto’s infernal realm to rescue the soul of Doom’s mother. This story led to a confrontation of the past and family legacy, as well as an exploration of the fine line between good and evil, science and magic.
Marvel writers were questioning the very nature of heroism established at Marvel by having their heroes tested to their cores. And being put to the test was exactly the purpose of Jim Shooter’s Secret Wars, the first of its kind as a big crossover where heroes and villains must survive a huge and intense battle in space. Following Marvel’s partnership with Mattel, this 12-issue limited series was created to sell action figures. Though it didn’t pay off on that front and doesn’t hold up that well narratively speaking, Secret Wars became Marvel’s best-selling comic book of the decade. Its success led to many other crossover stories, but its biggest immediate and remembered impact was the first appearance of Spider-Man’s black costume.
In the stars and other realms, the writers at Marvel Comics were finding new ways to explore the characters and build epic battles, anchoring them in relatable human experiences. While expanding its scope beyond the stars, Marvel was also taking a more realistic approach and a deeper look into human nature and societal issues on Earth through the stories of street-level heroes.
Gritty Tales of Streets Superheroes
Not all stories require earth-shattering events to deliver a punch, and street-level superheroes certainly know how to land a good one! Frank Miller and Klaus Janson’s run on Daredevil made Matt Murdock one of Marvel’s most iconic heroes. No character is more synonymous with this decade than Daredevil. Miller and Janson rebuilt Daredevil and his supporting cast—including the creation of Elektra—while incorporating noir elements and bold contrasts, which redefined the character and created ripple effects throughout Marvel Comics.
The work on Daredevil during this decade pushed the boundaries of both storytelling and visual expression, resulting in more classic tales. Artist David Mazzucchelli infused a cinematic quality into the art, using bold, clean lines to intensify Murdock’s journey in Daredevil: Born Again with dynamism and symbolism. Meanwhile, Bill Sienkiewicz’s avant-garde approach in the eight-issue limited series Elektra: Assassin created a dreamlike atmosphere with a painterly sensibility, capturing Elektra’s fragmented personality and memories.
Daredevil wasn’t the only gritty character at Marvel Comics. Actually, grittiness was a defining trait of Sam Wilson since his first appearance in 1969! The superhero known as Falcon was ready for an update, a fresh new direction, and Jim Owsley’s four-issue limited series Falcon provided exactly that. Owsley, who later became known as Christopher Priest, had sold a one-shot drawn by Paul Smith that was supposed to be published in Marvel Fanfare. It didn’t happen, and the issue was later reimagined as a short limited series. Since Smith was busy working on the X-Men, Mark Bright took over to complete the series. Sam Wilson was portrayed as a social worker confronted with urban crime, racial tensions, and political corruption in Harlem, making the Falcon series more grounded than many Marvel stories of the time. Its social awareness and unique perspective provided Marvel readers with a refreshing alternative and proved that Sam Wilson was worthy of his own title.
While Falcon was fighting the good fight in Harlem, the Mightiest Heroes found themselves Under Siege (Avengers #270-277) during Roger Stern’s celebrated Avengers run. Stern had delivered epic battles with personal stakes since his arrival on the title and succeeded in juggling a large cast of characters, exploring their complex dynamics and power struggles. But no story would shake the team as much as the one that took place in their Mansion when they were overpowered by Baron Zemo (then the son of the first Baron Zemo) and his Masters of Evil. Far removed from the cosmic epics, this storyline features a gritty and down-to-earth fight that shatters the team’s invincible image. The dismantling of the Mansion stands as a symbol of the physical and psychological damage the team endured before rising again!
A growing style in comic books at the time was putting heroes through the wringer through unexpected twists and turns, and a gritty approach. Coming from J.M. DeMatteis and Mike Zeck, Kraven’s Last Hunt (published in Web of Spider-Man 31-32, Amazing 293-294, Spectacular 131-132) was an epic story running across three Spider-Man titles that wasn’t even conceived as a Spider-Man tale. DeMatteis first developed the idea as a Wonder Man story that was turned down. It later became a Batman graphic novel before being pitched to Jim Owsley as a Spider-Man story, and history was made. It is difficult today to imagine being anything other than a Spider-Man story, although this is primarily about the famous hunter who finally proves himself superior to his foe by killing and burying Spider-Man and then taking his place. While being one of Spider-Man’s oldest enemies, the story established Kraven as one of his most notable ones alongside Green Goblin and Doctor Octopus. Mostly, Kraven’s Last Hunt became one of the most important Spider-Man stories, casting its shadow over Peter Parker’s life for years thanks to its exploration of obsession and mortality, pain and struggle, powered by Mike Zeck’s realistic and expressive art style.
The Legacies and Cost of Being a Hero
By impersonating Spider-Man, Kraven placed the hero in an impossible position. Peter Parker wasn’t the only Marvel character confronting the cost of his mission, the impact on his life and loved ones, and the weight of his legacy. Few superheroes understand that challenge more than Captain America, a symbol in his own right.
Written by Mark Gruenwald and Tom Morgan, Captain America #332, titled “The Choice,” is one of the most significant issues on the subject. In it, Steve Rogers delivers one of his most powerful speeches, reminding readers of what Captain America stands for. When summoned to the Pentagon, Captain America learns he must become an official representative of the U.S. Government. This pushes Rogers to reflect on the true meaning of Captain America as an ideal. The cover of the issue clearly indicates Rogers’s decision, but it doesn’t diminish the impact of his final words: “I cannot represent the American government: the President does that. I must represent the American people. I represent the American Dream, the freedom to strive, to become all that you dream of being. Being Captain America has been my dream. To become what you want me to be, I would have to compromise that dream… Abandon what I have come to stand for. My commitment to the ideals of this country is greater than my commitment to a 40-year-old document.” The issue was the start of a nineteen-part story in which John Walker, the Super Patriot, became the new Captain America and also found himself questioning what it means to wear the costume.
Around the same time, the question also doted on Iron Man in Armor Wars (Iron Man #225-232). Written by David Michelinie and Bob Layton, with art by Mark D. Bright and Barry Windsor-Smith, this storyline emerged at a time when the creative team felt overlooked by Marvel, which was not actively promoting the title. Jim Shooter, the editor-in-chief, pointed out that they needed to create an event that Marvel could promote. He suggested a story in which Iron Man’s armor could be stolen, leading the character to confront the moral implications of the crimes committed using his technology.
As Tony Stark grappled with the misuse of his technology, the Squadron Supreme was already taking extreme measures to “repair” the world. Created by Roy Thomas and Sal Buscema, the Squadron Supreme is a superhero team from an alternate Earth that clashed with the Avengers twice in the 1970s, but took shape in Mark Gruenwald’s Squadron Supreme 1985 limited series. They are the world’s greatest superhuman champions in their universe, serving as Marvel’s version of the Justice League. The artwork, first by Bob Hall and later by Paul Ryan, was plain, and it did not match Gruenwald’s groundbreaking approach, making the comic series one of the earliest deconstructions of the superhero genre and what the writer considered his magnum opus. The Squadron Supreme wanted to build a better world. To create this utopia, they chose to take control of society at large temporarily. Slowly but surely, one compromise after another, one disillusionment after another, they had to confront the limits of their powers and their moral ideals.
In contrast, the Vision and the Scarlet Witch delivered a more personal story. The couple dynamics, already at the heart of Bill Mantlo and Rick Leonardi’s earlier limited series, were expanded in the 1985 Vision and Scarlet Witch 12-issue limited series by Steve Englehart and Richard Howell. The series presented itself as a family drama–one featuring two members of the Avengers! Englehart made them resign from the team in favor of a suburban life with their two children! Certainly a bit cheesy by today’s standards, the comic offered a more detailed look at two superhero characters, exploring their personal struggles—Scarlet Witch with her powers and Vision with his humanity—to allow them to grow beyond their superhero identities. It delivers a sweet romance, although one that can’t be dissociated from their superhero lives. After all, they are always in costume. It’s impossible to forget that, at their core, they are still Avengers!
Off the Beaten Path: Marvel’s Expanding World
As many of the classic stories mentioned so far have shown, Marvel Comics was exploring new ground, trying new things, and embracing the darker elements that were taking over the comic book world at the time. In short, the publisher was expanding its universe and delivering a wide range of stories.
As Squadron Supreme illustrated and Watchmen brought to the mainstream, this decade saw several writers deconstructing and offering alternative takes on the superhero genre. While John Byrne was not fond of his time on Alpha Flight—a title Marvel Comics gave him because he was the creator of the team and grew up in Canada—there is no denying that his work left an impression on readers. We all wish we could be as creative as Byrne, even when working on something he wasn’t enthusiastic about! He was at least determined to give the characters depth, using the Canadian landscape to highlight the team’s dysfunction and isolation, while making some bold moves, such as killing off a main character early on.
Not all superhero titles from the eighties went down the darker path. After the success of a miniseries, Marvel Comics launched the ongoing West Coast Avengers for some superhero adventures out of New York City! Taking on writing duties, Steve Englehart used his position to deliver an indirect follow-up to his 70s Avengers run. The writer proved over and over his expertise in Marvel’s history and continuity while mixing different genres. Nothing was off-limits, from time travel adventures and Wild West tales with characters such as Phantom Ride and Two-Gun Kid, to the exploration of mysticism and cosmic entities. And of course, some classic superhero romance!
Alpha Flight and West Coast Avengers were still superhero titles, the bread and butter of Marvel Comics. In 1982, the publishing company ventured into a new direction with the creation of the Epic Comics imprint (a precursor to Icon Comics). Founded by Jim Shooter, this imprint allowed creators to retain control and ownership of their works and freed them from the restrictions of the Comics Code Authority. As such, it provided writers with the opportunity to experiment with stories beyond the traditional superhero genre. One of the most famous comics released under the Epic imprint is Moonshadow, a satirical space fantasy and coming-of-age story by J.M. DeMatteis, featuring artwork by Jon J. Muth, Kent Williams, and George Pratt. Libeled as a “fairy tale for adults,” the story follows Moonshadow, the child of a hippie mother and an enigmatic alien father. After becoming an orphan as a teenager, Moonshadow chooses to live among the stars, with his mother’s cat and a manipulative humanoid named Ira. The comic is also considered America’s first fully painted graphic novel.
Also published through the Epic Imprint was the experimental Havok and Wolverine: Meltdown. Written by Walter Simonson and Louise Simonson, the story follows Havok and Wolverine, two mutant friends caught in a dangerous world of international intrigue and betrayal. Although those are two great writers, the title was made unique not for his script—a somewhat inconsistent Cold War-era thriller—but for its unique painted art by two artists. Jon J. Muth illustrated all the scenes featuring Havok, while Kent Williams focused on Wolverine and his scenes. In panels where both characters appeared together, both artists collaborated to create the artwork.
At the same time, Marvel’s main line was publishing limited series to highlight minor characters such as Hercules and Machine Man. Coming from writer-artist Bob Layton, Hercules, Prince of Power did not star the classic Avenger, but a 24th-century version of the character set in an alternate universe to deliver some cosmic antics. As Hercules has been exiled from Olympus and Earth into the far reaches of space, the demigod goes on a series of quests accompanied by a robotic Rigellian for more banters! It was successful enough to have a follow-up released two years later (with the exact same title), but this time, Hercules was traveling with a renegade Skrull.
Machine Man was not a humorous title but a cybernetic tale starring Aaron Stack, the android superhero created by Jack Kirby. Written by Tom DeFalco, the 1984 miniseries was set in a cyberpunk-inspired version of 2020, with art by Herb Trimpe and Barry Windsor-Smith. After being reassembled, Machine Man awakens in a future more advanced than the one we actually got, where he finds himself in conflict with Iron Man 2020, a.k.a. Arno Stark, while trying to make sense of what happened to him and the world. The story surfs on the wave of the emerging cyberpunk movement (with William Gibson’s Neuromancer released the same year), incorporating elements of corporate dystopias and robotics, along with striking visuals for the time, particularly in Barry Windsor-Smith’s final issue.
With the rise of personal computers, the internet, the growing dominance of capitalism, Cold War tensions, and a shifting global landscape, the 1980s were a period of change. These changes can be found in the pages of comic books, which were becoming more ambitious and darker as time went on. From epic sagas to intimate tales, and everything in between, there was something for nearly everyone—social commentary, fun stories, sci-fi adventures, and realistic threats. This was like a creative bubble with some experimental storytelling and visuals, darker themes, and complex characters. From a modern (and personal) point of view, some stories hold their own today, still as bold, fun, colorful, and prescient as the day they were released; others, less so. But all of them represent what the decade was—a period of expansion and possibility that slowly gave way to the darker age of the 1990s. Most importantly, they help define the superheroes in new ways, redefining some characters for decades, creating stories with lasting ripple effects, and simply changing the world of Marvel Comics.
Source Notes: For everyone interested in the history of comic books, we always recommend checking out the American Comic Book Chronicles collection published by TwoMorrows. Presently, we consulted the volume dedicated to the 1980s! Marvel Comics in the 80s by Pierre Comtois and Marvel Year By Year: A Visual History, published by DK, were two other primary sources, as well as some good classic reading of comic books!