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Marvel Preview
Cover of Marvel Preview #1 (February 1975).
Art by Neal Adams
Publication information
PublisherMarvel Comics
ScheduleQuarterly
FormatMagazine
GenreAdventure
Science fiction
Sword and sorcery
Superhero
Publication date1975–Winter 1980 (as Marvel Preview)
March 1981–February 1983 (as Bizarre Adventures)
No. of issues34 (#1–24 as Marvel Preview #25–34 as Bizarre Adventures)
Creative team
Written by
List
Penciller
List
Inker
List
ColoristMarie Severin

Marvel Preview is a black-and-white comics magazine published by Magazine Management for fourteen issues and the affiliated Marvel Comics Group for ten issues.[1] The final issue additionally carried the imprint Marvel Magazines Group.

Publication history

[edit]

An umbrella title that showcased a different heroic-adventure, science-fiction, or sword-and-sorcery character in virtually every issue. The title introduced the Marvel Comics characters Dominic Fortune in issue #2, Star-Lord in #4,[2] and Rocket Raccoon in #7.[3] The vigilante character the Punisher, introduced as an antagonist in the comic book The Amazing Spider-Man, had his first solo story in issue #2.

The magazine experienced scheduling difficulties, with various "Next Issue" announcements proving unreliable. Issue #2 promised an adventure of the Marvel superhero Thor in #3, but a Blade story appeared, with the Thor story remaining unseen until #10. As well, two different issues, #20 and 24, are dated "Winter 1980, at the start and end of the year." Issue #20 was to have included photographs from the Japanese Spider-Man television program, but instead featured Howard Chaykin's Dominic Fortune.[4] In addition, Robert A. Heinlein's lawyers threatened legal action over the cover of Marvel Preview #11, which featured a blurb that described the Star-Lord content as "a novel-length science fiction spectacular in the tradition of Robert A. Heinlein," leading to the issue being pulled and reprinted.[5]

With #25 (March 1981), the title was changed to Bizarre Adventures, which ran for an additional ten issues before ceasing publication.[6] To offset the dark tone of most of the stories, editor Denny O'Neil had writer Steve Skeates produce a humor feature called Bucky Bizarre to close out each issue.[7] A story originally prepared for Marvel's Logan's Run comic book series was published in Bizarre Adventures #28 (Oct. 1981).[8] The final issue, #34, was a standard-sized color comic book, featuring the cover-blurb, "Special Hate the Holidays Issue", with anthological Christmas-related stories, including one starring Howard the Duck.

Issues

[edit]
Issue (cover date) Feature Notes Collected Editions
#1 (1975) "Man-Gods From Beyond the Stars" Based on the works of Erich Von Däniken
#2 (1975) "The Punisher" back-up: Dominic Fortune (debut) Essential Punisher Vol. 1; Punisher: Back to the War Omnibus;

Dominic Fortune: It Can Happen Here and Now

#3 (September 1975) "Blade the Vampire-Slayer" originally was going to be in the never-released Vampire Tales #12 Blade: Black & White; Blade: The Early Years Omnibus; Marvel Horror Lives Again! Omnibus
#4 (January 1976) "Star-Lord" (debut) back-up: The Sword in the Star with Prince Wayfinder Star-Lord: Guardian of the Galaxy
#5 (April 1976) "Sherlock Holmes" adaptation of the novel The Hound of the Baskervilles part 1
#6 (Spring 1976) "Sherlock Holmes" The Hound of the Baskervilles part 2 Blade: Black & White (back-up)
#7 (Summer 1976) "Satana" back-up: The Sword in the Star with Prince Wayfinder, featuring the debut of Rocket Raccoon Essential Marvel Horror Vol. 1; Marvel Horror Lives Again! Omnibus;Rocket Raccoon: Guardian of the Keystone Quadrant; Rocket Raccoon and Groot(back-up)
#8 (Fall 1976) "The Legion of Monsters" Morbius the Living Vampire, Blade, and Anubis Morbius Epic Collection Vol 2; Morbius the Living Vampire Omnibus Vol 1; Blade: The Early Years Omnibus; Marvel Horror Lives Again! Omnibus
#9 (Winter 1976) "Man-God" (Hugo Danner) Part 1 of an unfinished adaptation of the novel Gladiator by Philip Wylie
#10 (Winter 1977) "Thor" back-up: Hercules Thor Epic Collection Vol 9
#11 (Summer 1977) "Star-Lord" Star-Lord: Guardian of the Galaxy; Guardians of the Galaxy Solo Classic Omnibus; Marvel Universe by John Byrne Omnibus
#12 (Fall 1977) "The Haunt of Horror" Lilith and Dracula Tomb of Dracula Complete Collection Vol 5; Marvel Horror Lives Again! Omnibus
#13 (Winter 1978) "The UFO Connection"
#14 (Spring 1978) "Star-Lord" Star-Lord: Guardian of the Galaxy; Guardians of the Galaxy Solo Classic Omnibus
#15 (Summer 1978) "Star-Lord"
#16 (Fall 1978) "Masters of Terror" Lilith Marvel Horror Lives Again! Omnibus
#17 (Winter 1979) "Blackmark"
#18 (Spring 1979) "Star-Lord" Star-Lord: Guardian of the Galaxy; Guardians of the Galaxy Solo Classic Omnibus
#19 (Summer 1979) "Kull the Destroyer" back-up: Solomon Kane Kull: Savage Sword – The Original Marvel Years OmnibusSolomon Kane: The Original Marvel Years Omnibus (back-up)
#20 (Winter 1980) "Bizarre Adventures" reprints, including Dominic Fortune
#21 (Spring 1980) "Moon Knight" back-up: the Shroud Essential Moon Knight Vol. 1; Moon Knight Epic Collection Vol 1; Moon Knight Omnibus Vol 1
#22 (Summer 1980) "Merlin"
#23 (Fall 1980) "Bizarre Adventures 2" Marvel Universe by Frank Miller Omnibus (fourth story)
#24 (Winter 1980) "Paradox"

Bizarre Adventures

[edit]
Issue (cover date) Feature Notes Collected Editions
#25 (March 1981) "Lethal Ladies" The Black Widow; Lady Daemon (debut); the Daughters of the Dragon Black Widow: Web of Intrigue; Black Widow Epic Collection Vol 2; Black Widow Strikes Omnibus;Iron Fist: Deadly Hands of Kung Fu; Iron Fist: Danny Rand – The Early Years Omnibus;Deadly Hands of Kung Fu Omnibus Vol. 2
#26 (May 1981) "Kull the Barbarian" King Kull; "Demon in a Silvered Glass"—story by Doug Moench, art by John Bolton The Savage Sword of Kull Vol. 1; Kull: Savage Sword – The Original Marvel Years Omnibus
#27 (July 1981) "Secret Lives of the X-Men" Phoenix; the Iceman; Nightcrawler Uncanny X-Men Omnibus Vol 2; X-Men Epic Collection Vol 8;Phoenix Story: Phoenix Omnibus

Iceman story: X-Men: Iceman; X-Men: Rareties (colorized)

#28 (October 1981) "...These Are the Unlikely Heroes" Elektra; the Shadow Hunter (debut); the Huntsman;[8] Triton; and Bucky Bizarre (debut) Huntsman story was originally an issue for the then recently cancelled Logan's Run comic series[9] Elektra by Frank Miller Omnibus
#29 (December 1981) "Stephen King's 'The Lawnmower Man'" Adaptation of the Stephen King short story "The Lawnmower Man" by Walt Simonson; and stories starring Greenberg the Vampire (debut)[10] and Bucky Bizarre
#30 (February 1982) "Paradox" back ups: Silhouette; Bucky Bizarre
#31 (April 1982) "A Hard Look at Violence" Dr. Deth with Kip and Muffy (debut); the Hangman I (Harlan Krueger; final appearance); Bucky Bizarre Marvel Universe by John Byrne Omnibus
#32 (August 1982) "Thor and Other Gods" backups: the Aquarian; Bucky Bizarre Thor Epic Collection Vol 12
#33 (December 1982) "The Tomb of Dracula"; "Haunt of Horror"; "Tales of the Zombie"; "Vault of Evil" Dracula; Varnae (debut); the Zombie Marvel Horror Omnibus
#34 (February 1983) "Special Hate the Holidays Issue" Christmas-themed anthology issue, including the Son of Santa (debut and final appearance), Howard the Duck, Dr. Deth with Kip and Muffy (final appearance) and Bucky Bizarre (final appearance) Howard the Duck Complete Collection Vol 4

Collected editions

[edit]
  • Essential Punisher Vol. 1 includes the Punisher story from Marvel Preview #2, 568 pages, March 2004, ISBN 978-0785123750
  • Dominic Fortune: It Can Happen Here and Now includes Dominic Fortune story from Marvel Preview #2, 184 pages, February 2010, ISBN 978-0785140429
  • Blade: Black & White includes Blade the Vampire Slayer stories from Marvel Preview #3 and 6, 144 pages, December 2004, ISBN 978-0785114697
  • Star-Lord: Guardian of the Galaxy includes Star-Lord stories from Marvel Preview #4, 11, 14-15, and 18, 424 pages, July 2014, ISBN 978-0785154495
  • Essential Marvel Horror Vol. 1 includes Satana story from Marvel Preview #7, 648 pages, October 2006, ISBN 978-0785121961
  • Rocket Raccoon: Guardian of the Keystone Quadrant includes Rocket Raccoon story from Marvel Preview #7, 120 pages, August 2011, ISBN 978-0785155270
  • Essential Moon Knight Vol. 1 includes the Moon Knight story from Marvel Preview #21, 560 pages, February 2006, ISBN 978-0785120926
  • Black Widow: Web of Intrigue includes the Black Widow story from Bizarre Adventures #25, 176 pages, April 2010, ISBN 978-0785144748
  • Deadly Hands of Kung Fu Omnibus Vol. 2 includes the Daughters of the Dragon story from Bizarre Adventures #25, 1,000 pages, June 2017, ISBN 978-1302901349
  • The Savage Sword of Kull Vol. 1 includes King Kull story from Bizarre Adventures #26, 448 pages, November 2010, ISBN 978-1595825933
  • X-Men: Iceman includes the Iceman story from Bizarre Adventures #27, 120 pages, August 2012, ISBN 978-0785162759
  • X-Men: The Dark Phoenix Saga includes Phoenix story from Bizarre Adventures #27, 200 pages, April 2012, ISBN 978-0785164210
  • Elektra by Frank Miller Omnibus includes Elektra story from Bizarre Adventures #28, 384 pages, November 2008, ISBN 978-0785127772
  • The Uncanny X-Men Omnibus Vol. 2 includes the Jean Grey, Iceman, and Nightcrawler stories from Bizarre Adventures #27, 912 pages, April 2014, 0785185720

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Marvel Preview

View on Grokipedia
from Grokipedia
Marvel Preview was a black-and-white magazine-sized series published by Magazines, an imprint of , spanning 24 issues from February 1975 to Winter 1980. The series served as a showcase for original stories, previews of upcoming Marvel projects, and experimental content outside the constraints of the , often featuring horror, , and tales in a mature format with color covers and black-and-white interiors. The publication originated under (later known as Magazines) before transitioning to the Group for its later issues, with quarterly releases that occasionally faced scheduling delays. Notable for introducing key characters and creators, it featured a solo story for the in issue #3 (written by and illustrated by ), debuted in issue #4 (by and Steve Gan), and the first origin story of the in issue #8 (by and ). Other significant appearances included (debut) in #2 and Satana in #7, alongside early work from talents like and the creative team of , John , and Terry Austin on a story in #11. Following its run, Marvel Preview evolved into Bizarre Adventures starting with issue #25 in 1981, which continued the format until its conclusion as issue #34 in February 1983, marking the end of Marvel's major black-and-white magazine line. This transition reflected broader shifts in Marvel's publishing strategy amid changing market demands for comic magazines in the late 1970s and early 1980s.

Overview

Format and Genre

Marvel Preview was published in a standard format, measuring approximately 8.5 by 11 inches, with black-and-white interiors printed on newsprint and glossy color covers bound via saddle-stitching. This oversized design distinguished it from Marvel's typical pamphlets, providing space for longer narratives and detailed artwork typical of magazine-style publications. The series adhered to a quarterly , producing 24 issues from its debut in February 1975 through its final Winter 1980 edition under the Marvel Preview banner. This rhythm allowed for experimental storytelling without the monthly pressures faced by standard comics. Content emphasized genres including adventure, , sword-and-sorcery, and horror, enabling explorations of mature themes such as violence and sensuality that were restricted in color comics under the . The magazine format's exemption from Code oversight fostered bolder creative approaches, often featuring anthology-style tales or character spotlights in these speculative and action-oriented fields. Publication began under Magazine Management's Curtis Magazines imprint for issues 1–14, before transitioning to the Group for issues 15–24, reflecting internal corporate shifts at Marvel. This change maintained continuity in format and genre focus amid evolving production.

Purpose and Innovations

was established by as an anthology series intended to preview and test potential new titles, characters, and story concepts before launching them as full in the mainstream line. This strategic approach minimized by allowing the publisher to assess reader reception in a dedicated format. The black-and-white magazine structure provided key innovations, including expanded page counts ranging from 34 to 84 pages per issue, which supported longer, more narrative-driven stories compared to the standard 20- to 32-page color . Unconstrained by the Comics Code Authority's restrictions, the series enabled edgier, more mature content—such as horror, , and pulp adventures—that would not fit within code-approved publications. These elements allowed Marvel to experiment with diverse genres and tones, fostering creative freedom for writers and artists. A core editorial goal was to attract an older readership demographic, distinct from the younger audience of traditional superhero comics, by blending original tales with excerpts from forthcoming Marvel projects. This positioned Marvel Preview as a direct competitor to Warren Publishing's horror anthologies like Creepy and Eerie, which had successfully captured mature fans with uncensored, sophisticated material. Innovations like debuting non-superhero properties in magazine form, including space operas, further diversified Marvel's output and gauged interest in alternative storytelling styles. For instance, the series briefly introduced elements like Star-Lord to explore pulp-inspired adventures.

Publication History

Inception and Early Publication (1975-1977)

Marvel Preview was launched in February 1975 by Magazine Management under its Curtis Magazines imprint, serving as a black-and-white anthology magazine to explore new storytelling formats outside the constraints of the Comics Code Authority. Denny O'Neil served as editor, guiding the title's initial direction toward experimental narratives in genres like science fiction and sword-and-sorcery. The debut issue featured striking cover art by Neal Adams, setting a tone for the magazine's bold visual style. The early issues, from #1 to #8, concentrated on solidifying the structure, with each installment presenting a mix of original tales to gauge reader interest in the expanding black-and-white magazine market. This phase highlighted Marvel's strategy to test diverse content beyond traditional color , including self-contained stories that showcased varying artistic teams. Notably, issue #1 debuted "Man-Gods From Beyond the Stars," a narrative inspired by Erich von Däniken's theories on from his 1968 book Chariots of the Gods?, written by and illustrated by Alex Niño.

Later Developments and Challenges (1978-1980)

Beginning with issue #15 in Summer 1978, Marvel Preview was published directly under the Group imprint for its remaining ten issues, shifting from the previous Co., Inc. indicia used for the first fourteen issues. This change aligned the magazine more closely with Marvel's core operations amid broader industry pressures in the late 1970s. Issues 15 through 24 increasingly featured stories centered on established Marvel characters such as in #15 and #22, Killraven in #17, in #19, and John Carter in #20, reflecting an editorial strategy to leverage familiar properties for reader retention. The publication schedule became irregular during this period, nominally quarterly but with noticeable delays; for instance, issue #16 appeared in Fall 1978, followed by #17 in Winter 1979, and subsequent issues spaced unevenly through 1980 due to production constraints and softening market conditions. Low sales contributed to these challenges, as the black-and-white magazine format struggled against color and rising distribution costs in the post- implosion era, when Marvel canceled 21 titles between September 1978 and February 1979. To address content gaps, editors incorporated more literary adaptations, alongside original works to fill pages efficiently. A notable operational hurdle from earlier in the run lingered as a cautionary example: the initial printing of issue #11 (Summer 1977) was pulled and reprinted after Robert A. Heinlein's lawyers threatened legal action over a cover blurb comparing the story to Heinlein's style, highlighting sensitivities around promotional claims in science fiction content. Production support included contributions from veteran colorist , who handled coloring duties for various Marvel titles during this timeframe, ensuring visual consistency in the magazine's painted covers and interiors. The series concluded with issue #24 (Winter 1980), featuring the Paradox tale and marking the end of the Marvel Preview title before its rebranding into Bizarre Adventures.

Notable Issues and Stories

Key Debuts and Original Content

Marvel Preview showcased several groundbreaking original stories and character debuts during its initial run, providing a testing ground for innovative concepts outside the constraints of the . These introductions often blended genres like pulp adventure, , and horror, helping to expand Marvel's roster with enduring anti-heroes and cosmic elements. Issue #2 (July 1975) marked the debut of , a 1930s-style pulp adventurer named David Fortunov, created by writer and artist . The 13-page story, titled "The Power Broker Resolution!," portrayed Fortune as a resourceful operative battling Nazis and threats, establishing him as a swashbuckling figure inspired by classic adventure serials. The same issue featured the Punisher's first solo outing in the 32-page tale "Death Sentence," written by with pencils and inks by . This story delved deeper into Frank Castle's vigilante psyche, depicting him dismantling a criminal syndicate in shortly after his family tragedy, and solidified his role as Marvel's relentless avenger beyond his guest appearances in . Issue #3 (September 1975) presented the first solo story for the Vampire Hunter in "The Night Josie Harper Died!," written by with art by Don McGregor and Rico Rival. This horror tale introduced Blade's mentor Jamal Afari and explored his relentless crusade against vampires, marking a significant expansion of Marvel's lineup in a mature black-and-white format. burst onto the scene in issue #4 (January 1976) with the 30-page story "Starlord: First House - Earth!," written by with art by Steve Gan. The narrative introduced Peter Quill as a disillusioned abducted by aliens, who becomes a brooding space outlaw seeking vengeance against his father's killers, blending gritty sci-fi with anti-heroic rebellion in a format that allowed for mature themes like existential isolation. Issue #7 (July 1976) featured the debut of Satana, the Devil's Daughter, in "The Damnation Waltz," written by with art by Vicente Alcazar. This supernatural horror story depicted Satana's demonic heritage and battles against occult forces, introducing a provocative anti-heroine unbound by code restrictions. The same issue included 's as a in the 22-page sci-fi adventure "The Sword in the Star!," scripted by with art by . Depicted as a wisecracking, anthropomorphic raccoon guardian on the planet Halfworld, Rocket aided the protagonist against interstellar threats, foreshadowing his later prominence as a quirky cosmic hero with a mix of humor and pathos. Beyond these character launches, Marvel Preview published various original tales across genres, including sword-and-sorcery narratives unbound by traditional color limitations.

Adaptations and Reprints

Marvel Preview included several licensed adaptations and reprints of material from external sources or upcoming Marvel titles, serving as a testing ground for new concepts while occasionally facing production challenges. The debut issue, #1 (February 1975), featured the story "Man-Gods From Beyond the Stars," written by and with art by Alex Niño, which blended pseudoscientific theories of with fictional narrative elements inspired by 's bestselling book Chariots of the Gods? (1968). This adaptation capitalized on the public fascination with von Däniken's ideas about extraterrestrial influences on , incorporating articles like "Erich von Däniken: The Man Behind a Phenomenon" to contextualize the theme. Early publication schedules saw shifts in planned content, such as a Thor adventure originally slated for issue #3 but delayed until #10 (Winter 1977), where it appeared as "Thor the Mighty!" scripted by with art by (pencils), Val Mayerik, and (inks). This story, involving sending Thor and on a quest for a prophesied relic, exemplified the magazine's role in previewing tales for mainstream . Issue #11 (Summer 1977) encountered legal complications when 's representatives objected to a cover promoting the story as "a by ," leading to the initial print run being recalled and reprinted with the text removed. The corrected version retained the core content, including the second appearance by and John Byrne, but the incident highlighted challenges in promotional wording for anthology formats. The magazine frequently previewed sword-and-sorcery arcs from upcoming Marvel series through anthology stories. For instance, issue #17 (Winter 1979) contained "The Mind Demons," a sword-and-sorcery tale written and illustrated by featuring the character Blackmark in a post-apocalyptic world facing extinction. Similarly, issue #19 (Summer 1979) spotlighted Kull the Destroyer in stories adapting Robert E. Howard's prehistoric fantasy, positioning the barbarian king against supernatural threats as a lead-in to his ongoing series. These selections underscored 's function in introducing to broader audiences before full launches.

Transition to Bizarre Adventures

Reasons for Renaming

By 1980, Marvel Comics was grappling with broader financial pressures amid softening sales across its lines, which impacted the viability of its black-and-white magazine imprint. This format fatigue, coupled with the evolving comic market, prompted a rebranding of Marvel Preview to reinvigorate interest and draw in new readers by better aligning the title with its anthology-style content focused on horror, science fiction, and adventure tales. The original "Preview" moniker, intended to spotlight potential ongoing series or adaptations, had increasingly given way to standalone original stories, leading to a mismatch that contributed to underwhelming performance and a need to shed the restrictive branding. Under new editorial leadership following Rick Marschall's departure in 1980, with Lynn Graeme assuming oversight, the direction shifted toward more experimental, genre-driven narratives to differentiate from standard color comics and appeal to mature audiences outside Comics Code restrictions. Production challenges from earlier in the run, notably the 1977 legal threat from Robert A. Heinlein's representatives over a promotional blurb on Marvel Preview #11 comparing the Star-Lord story to Heinlein's work—which resulted in the issue being pulled, revised, and reprinted—highlighted ongoing vulnerabilities that favored a fresh start unencumbered by past controversies. Announced in late via teaser covers on issues #20–24 (e.g., subtitled "Bizarre Adventures"), the rename debuted fully with #25 (cover-dated ), maintaining sequential numbering to preserve the established second-class mailing permit and avoid additional postal costs associated with launching a new .

Content Changes and Run (1981-1983)

With issue #25, dated March 1981, Marvel Preview was renamed Bizarre Adventures to reflect a shift toward more eclectic and mature storytelling, launching with the "Lethal Ladies" themed issue featuring the Black Widow story "I Got the ... You Got the String," a tale of and intrigue written by and illustrated by Paul Gulacy, alongside other female-led adventures. This rebranding aimed to differentiate the magazine in a crowded field of black-and-white publications by emphasizing anthology formats with bolder, character-driven narratives. To counterbalance the often grim and intense themes, editor Denny O'Neil introduced the humorous backup series "Bucky Bizarre," scripted by Steve Skeates and drawn by artists like Steve Smallwood, which appeared in issues #28-34 as a lighthearted coda featuring absurd misadventures of the titular character. The magazine maintained its quarterly schedule, delivering mature content such as Frank Miller's solo Elektra story in #28 (October 1981), which explored the assassin's deadly precision in a self-contained noir thriller. That same issue repurposed an unused adaptation as "Huntsman," written by Archie Goodwin and penciled by Michael Golden, adapting dystopian chase elements into a standalone tale of pursuit and survival. Bizarre Adventures concluded after ten issues with #34 (February 1983), a holiday-themed anthology that included "Howard the Duck's Christmas," a poignant, -inspired yarn by writer and artist Paul Smith, where the anthropomorphic anti-hero confronts existential despair amid festive chaos. The series' end aligned with a broader industry contraction in black-and-white magazines, as newsstand distribution waned and market saturation led to widespread cancellations amid economic pressures on periodical sales.

Legacy

Cultural Impact

Marvel Preview played a pivotal role in ' exploration of more mature themes, operating outside the constraints of the through its black-and-white magazine format, which targeted older audiences with edgier narratives involving horror, , and violence. This approach allowed the publication to test boundaries that influenced subsequent Marvel imprints, notably in the 1980s, where creators gained greater autonomy over their stories, echoing the experimental freedom of Marvel Preview. The magazine's character debuts had enduring legacies, particularly in propelling obscure figures to mainstream prominence. , introduced in Marvel Preview #4 (1975), evolved from a niche space adventurer into a central hero of the franchise, amplified by the film that grossed over $773 million worldwide and revitalized the team's cultural footprint. Similarly, Rocket Raccoon's whimsical debut in #7 (1976) transformed him into a fan-favorite anti-hero, with his portrayal in the Guardians films—starting with the same release—contributing to the series' billion-dollar success and embedding the character in pop culture. the Vampire Slayer's first solo story in #3 (1975) established him as a key horror icon, leading to a successful film trilogy and spin-offs that grossed over $1 billion worldwide, boosting Marvel's presence in the genre. The Punisher's first solo in #2 (1975) further solidified his archetype, boosting his appeal beyond guest spots in titles and paving the way for his 1986 ongoing series amid rising demand for gritty anti-heroes. As part of the black-and-white magazine boom, Marvel Preview exemplified how publishers circumvented Comics Code restrictions to revive horror and genres, flooding newsstands with titles that emphasized mature content and artistic experimentation. However, this surge contributed to market oversaturation by the late , leading to declining sales and the eventual contraction of Marvel's magazine line, underscoring the commercial challenges of non-Code publications. Marvel Preview also spotlighted emerging creators, fostering talent that shaped Marvel's future.

Collected Editions and Modern Availability

Material from Marvel Preview has been reprinted in various collected editions, primarily focusing on stories featuring key characters rather than the full . The 2004 trade paperback Essential Punisher Vol. 1 includes the Punisher story from Marvel Preview #2, alongside early appearances from titles like Amazing and . Star-Lord's early adventures receive more extensive coverage in Star-Lord: Guardian of the Galaxy (2014 trade paperback), which collects the character's stories from Marvel Preview #4, #11, #14-15, and #18, as well as material from Marvel Super Special #10 and Marvel Spotlight #6-7. This volume highlights Peter Quill's origins and tales, contributing to renewed interest in the character amid broader revivals. For Bizarre Adventures, the successor title, the Frank Miller story from #28 is reprinted in Elektra by Frank Miller Omnibus (2008, with subsequent printings including 2011), which also gathers Elektra: Assassin #1-8, Elektra Lives Again, and What If? #35. Rocket Raccoon's debut in Marvel Preview #7 appears in several trade paperbacks, such as Rocket Raccoon & Groot: The Complete Collection (2013), which includes that issue along with Incredible Hulk #271, Rocket Raccoon #1-4, and later Annihilators stories from the 2010s. Earlier collections from the 1980s, like those reprinting the 1985 Rocket Raccoon miniseries, occasionally reference or pair with the Preview material, while 2010s editions expanded accessibility post-Guardians of the Galaxy film success. All 24 issues of Marvel Preview (1975-1980) are available digitally on , Marvel's subscription service that expanded significantly in the 2010s to include over 30,000 comics. Select Bizarre Adventures issues are also accessible there, though physical reprints remain sporadic. As of 2025, no single collected edition reprints the entire run of Marvel Preview or Bizarre Adventures, leaving gaps for many minor or anthology stories that have not been republished in modern formats.

References

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  42. https://gocollect.com/blog/the-1970s-horror-comics-boom-conclusion
  43. https://www.marvel.com/comics/collection/1234/essential_punisher_vol_i_trade_paperback
  44. https://www.marvel.com/comics/collection/49598/star-lord_guardian_of_the_galaxy_trade_paperback
  45. https://marvel.fandom.com/wiki/Elektra_by_Frank_Miller_Omnibus_Vol_1_1
  46. https://www.marvel.com/comics/collection/46393/rocket_raccoon_groot_the_complete_collection_tpb_trade_paperback
  47. https://www.marvel.com/comics/series/3718/marvel_preview_1975_1981
  48. https://www.comicreleases.com/2021/12/marvel-upcoming-collected-editions/
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