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Così fan tutte
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For other uses, see Così fan tutte (disambiguation).
Così fan tutte
ossia La scuola degli amanti
Opera by W. A. Mozart
Playbill of the first performance
Translation
Thus Do They All, or The School for Lovers
Librettist
Lorenzo Da Ponte
Language
Italian
Premiere
26 January 1790 (1790-01-26)
Burgtheater, Vienna
Così fan tutte, ossia La scuola degli amanti (Italian: [koˈsi ffan ˈtutte osˈsiːa la ˈskwɔːla deʎʎ aˈmanti; koˈzi]; Thus Do They All, or The School for Lovers), K. 588, is an Italian-language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.
Although it is commonly held that Così fan tutte was written and composed at the suggestion of the Emperor Joseph II, recent research does not support this idea.[1] There is evidence that Mozart's contemporary Antonio Salieri tried to set the libretto but left it unfinished. In 1994, John Rice uncovered two terzetti by Salieri in the Austrian National Library.[2]
The short title, Così fan tutte, literally means "So do they all", using the feminine plural (tutte) to indicate women. It is usually translated into English as "Women are like that". The words are sung by the three men in act 2, scene 13, just before the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had used the line "Così fan tutte le belle" earlier in Le nozze di Figaro (in act 1, scene 7).
Contents
[hide]
1 Performance history
2 Roles
3 Instrumentation
4 Synopsis
4.1 Act 1
4.2 Act 2
5 Recordings
6 See also
7 References
8 External links
Performance history[edit]
The first performance of Mozart's setting took place at the Burgtheater in Vienna on 26 January 1790. It was given only five times before the run was stopped by the death of the Emperor Joseph II and the resulting period of court mourning. It was performed twice in June 1790 with the composer conducting the second performance, and again in July (twice) and August (once). After that it was not performed in Vienna during Mozart's lifetime.[3] The first British performance was in May 1811 at the King's Theatre, London.[4][5] Così fan tutte was not performed in the U.S. until 1922, when it was given at the Metropolitan Opera.[4]
According to William Mann,[6] Mozart disliked prima donna Adriana Ferrarese del Bene, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic tendency to drop her chin on low notes and throw back her head on high ones, Mozart filled her showpiece aria Come scoglio with constant leaps from low to high and high to low in order to make Ferrarese's head "bob like a chicken" onstage.[7]
The subject-matter (see synopsis below) did not offend Viennese sensibilities of the time, but in the 19th and early 20th centuries was considered risqué, vulgar, and even immoral. The opera was rarely performed, and when it did appear it was presented in one of several bowdlerised versions.
After World War II it regained a place in the standard operatic repertoire and is now frequently performed. [8]
Roles[edit]
Role
Voice type
Premiere cast, 26 January 1790
(Conductor: Wolfgang Amadeus Mozart)
Fiordiligi, Lady from Ferrara and sister to Dorabella, living in Naples soprano Adriana Ferrarese
Dorabella, Lady from Ferrara and sister to Fiordiligi, living in Naples soprano Louise (Luisa) Villeneuve (fr)
Guglielmo, Lover of Fiordiligi, a Soldier bass Francesco Benucci
Ferrando, Lover of Dorabella, a Soldier tenor Vincenzo Calvesi
Despina, a maid soprano Dorotea Bussani (it)
Don Alfonso, an old philosopher bass Francesco Bussani
Chorus: soldiers, servants, sailors
While the use of modern fach titles and voice categories for these roles has become customary, Mozart was far more general in his own descriptions of the voice types: Fiordiligi (soprano), Dorabella (soprano), Guglielmo (bass), Ferrando (tenor), Despina (soprano), and Don Alfonso (bass).[9] Occasionally these modern voice types are varied in performance practice. Don Alfonso is frequently performed by baritones such as Thomas Allen and Bo Skovhus and Dorabella is almost always performed by a mezzo-soprano. In the ensembles, Guglielmo's music lies lower than Alfonso's, and accordingly has been performed by basses such as James Morris and Wladimiro Ganzarolli, and Despina is occasionally (though far less often than the other three instances cited here) performed by a mezzo, such as Cecilia Bartoli, Frederica von Stade, Agnes Baltsa and Ann Murray. Ferrando and Fiordiligi, however, can only be sung by a tenor and a soprano because of the high tessitura of their roles.
Instrumentation[edit]
The instrumentation is as follows:
Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Fiordiligi's aria "Per pietà, ben mio, perdona", act 2, contains a rare instance of clarinets in B-natural (key is E major, explaining the use of B clarinets). Score. In most modern editions this is made into a part for A clarinets. The NMA keeps the notation for the (now obsolete) B clarinet. There is evidence that some of the clarinet writing was intended for basset clarinet due to its low range.
Brass: 2 horns, 2 trumpets.
Percussion: 2 timpani – an additional military drum is used on stage.
Strings: first violins, second violins, violas, violoncellos, double basses.
Basso continuo in secco recitatives of harpsichord and violoncello (period performance practice often uses a fortepiano only).
Synopsis[edit]
Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.[10]
Place: Naples
Time: the 18th century
Act 1[edit]
Costume design by Eugène Berman
Scene 1: A coffeehouse
In a cafe, Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. The scene shifts to the two women, who are praising their men (duet: Ah guarda sorella—"Ah look sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and Guglielmo arrive, brokenhearted, and bid farewell (quintet: Sento, o Dio, che questo piede è restio—"I feel, oh God, that my foot is reluctant"). As the boat with the men sails off to sea, Alfonso and the sisters wish them safe travel (trio: Soave sia il vento—"May the wind be gentle"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: Oh, poverini, per femmina giocare cento zecchini?—"Oh, poor little ones, to wager 100 sequins on a woman").
Scene 2: A room in the sisters' home
Despina, the maid, arrives and asks what is wrong. Dorabella bemoans the torment of having been left alone (aria: Smanie implacabili—"Torments implacable"). Despina mocks the sisters, advising them to take new lovers while their betrotheds are away (aria: In uomini, in soldati, sperare fedeltà?—"In men, in soldiers, you hope for faithfulness?"). After they leave, Alfonso arrives. He fears Despina will recognize the men through their disguises, so he bribes her into helping him to win the bet. The two men then arrive, dressed as mustachioed Albanians (sextet: Alla bella Despinetta—"Meet the pretty Despinetta"). The sisters enter and are alarmed by the presence of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). However, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to remain faithful (aria: Come scoglio—"Like a rock"). The "Albanians" continue the attempt to win over the sisters' hearts, Guglielmo going so far as to point out all of his manly attributes (aria: Non siate ritrosi—"Don't be shy"), but to no avail. Ferrando, left alone and sensing victory, praises his love (aria: Un'aura amorosa—"A loving breath").
Scene 3: A garden
Opera in the Heights ensemble, 2011
The sisters are still pining. Despina has asked Don Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend to pass out. Soon thereafter, a "doctor" (Despina in disguise) arrives on the scene and, using magnet therapy, is able to revive the "Albanians". The men, pretending to hallucinate, demand a kiss from Dorabella and Fiordiligi (whom the "Albanians" call goddesses) who stand before them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to acquiesce.
Act 2[edit]
Scene 1: The sisters' bedroom
"Una donna a quindici anni" (3:26)
From act 2
Problems playing this file? See media help.
Despina urges them to succumb to the "Albanians"' overtures (aria: Una donna a quindici anni—"A fifteen year old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation will do no harm and will help them pass the time while they wait for their lovers to return (duet: Prenderò quel brunettino"—"I will take the dark one").
Scene 2: The garden
Dorabella and the disguised Guglielmo pair off, as do the other two. The conversation is haltingly uncomfortable, and Ferrando departs with Fiordiligi. Now alone, Guglielmo attempts to woo Dorabella. She does not resist strongly, and soon she has given him a medallion (with Ferrando's portrait inside) in exchange for a heart-shaped locket (duet: Il core vi dono—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: Ah, lo veggio—"Ah, I see it" and Fiordiligi's aria: Per pietà, ben mio, perdona—"Please, my beloved, forgive"), so he is enraged when he later finds out from Guglielmo that the medallion with his portrait has been so quickly given away to a new lover. Guglielmo at first sympathises with Ferrando (aria: Donne mie, la fate a tanti—"My ladies, you do it to so many"), but then gloats, because his betrothed is faithful.
Scene 3: The sisters' room
Dorabella admits her indiscretion to Fiordiligi (È amore un ladroncello—"Love is a little thief"). Fiordiligi, upset by this development, decides to go to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi finally succumbs and falls into his arms (duet: Fra gli amplessi—"In the embraces"). Guglielmo is distraught while Ferrando turns Guglielmo's earlier gloating back on him. Alfonso, winner of the wager, tells the men to forgive their fiancées. After all: Così fan tutte—"All women are like that".
Scene 4:
The scene begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a notary, presents the marriage contract, which all sign. Directly thereafter, military music is heard in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their way to the house. The "Albanians" hurry off to hide (actually, to change out of their disguises). They return as the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they become enraged. They then depart and return moments later, half in Albanian disguise, half as officers. Despina has been revealed to be the notary, and the sisters realize they have been duped. All is ultimately forgiven, as the entire group praises the ability to accept life's unavoidable good times and bad times.
Recordings[edit]
Main article: Così fan tutte discography
See also[edit]
Opera portal
List of operas by Mozart
Coronation Mass in C major (Così fan tutte pasticcio), setting of the Mass using reworked music from Così fan tutte
Così, a 1992 play by Louis Nowra, based on the staging of Così fan tutte in a psychiatric hospital
School for Lovers, a gay pornographic film based on the plot of Così fan tutte
All Ladies Do It, a 1992 Tinto Brass film of the same name
References[edit]
Notes
Jump up ^ Brown, p. 10
Jump up ^ Collins, Michael, Notes, Second Series, Vol. 53, No. 4 (June 1997), pp. 1142–1144. Music Library Association
Jump up ^ Branscombe, Peter. "Historical Note", Royal Opera House programme, 4 November 1976
^ Jump up to: a b Holden, p. 253
Jump up ^ "King's Theatre", The Times, 7 May 1811, p. 4;
Jump up ^ Mann, The Operas of Mozart (Paperback 1986), p. 542
Jump up ^ As quoted by Robert Greenberg, Great Masters – Mozart: His Life and Work, Lecture 8: "The Last Years" (Chantilly, VA: The Great Courses, 2000)
Jump up ^ "Opera Statistics". Operabase. Retrieved 2018-03-16.
Jump up ^ As evidenced by Bärenreiter's critical editions of the opera and corresponding articles in The New Grove Dictionary of Opera
Jump up ^ Synopsis taken from Leo Melitz, The Opera Goer's Complete Guide, 1921 version.
Sources
Brown, Bruce Alan, W.A. Mozart: Così fan tutte, Cambridge: Cambridge University Press. 1995 ISBN 978-0521437356
Holden, Amanda (ed) (1997). The Penguin Opera Guide. London: Penguin. ISBN 0-14-051385-X. CS1 maint: Extra text: authors list (link)
Mann, William, The Operas of Mozart, Oxford University Press, 1977
Other sources
Whitfield, Sarah (2011), "Così fan tutte: Brilliance or Buffoonery?", Musical Offerings: Vol. 2: No. 2, Article 1.
External links[edit]
Wikimedia Commons has media related to Così fan tutte.
Così fan tutte: Score and critical report (in German) in the Neue Mozart-Ausgabe
Così fan tutte: Scores at the International Music Score Library Project (IMSLP)
Complete libretto, scores
Full score
"Mozart at the Met", Time, 7 January 1952
Così fan tutte at the Internet Movie Database
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Marvel Universe
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Marvel Universe
Various characters of the Marvel Universe. Promotional art for the 2006–2007 miniseries Civil War by Steve McNiven.
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1961 (Fantastic Four #1)
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The Marvel Universe is the shared universe where the stories in most American comic book titles and other media published by Marvel Entertainment take place. Super-teams such as the Avengers, the X-Men, the Fantastic Four, the Guardians of the Galaxy, the Defenders, the Inhumans and other Marvel superheroes live in this universe, including characters such as Spider-Man, Captain America, Iron Man, Thor, The Hulk, Wolverine, Punisher, Moon Knight, Deadpool, Blade, Ghost Rider, Doctor Strange and numerous others.
The Marvel Universe is further depicted as existing within a "multiverse" consisting of thousands of separate universes, all of which are the creations of Marvel Comics and all of which are, in a sense, "Marvel universes". In this context, "Marvel Universe" is taken to refer to the mainstream Marvel continuity, which is known as Earth-616 or currently as Earth Prime.
Contents
[hide]
1 History
2 Concepts
2.1 Costumed superheroes and supervillains
2.2 Origin of superhuman powers
2.3 Nonhuman
2.4 Alien races
2.5 Supernatural creatures
2.6 Cosmic entities
3 Cosmology
3.1 Universes/Earths/continuities
3.2 Dimensions
3.3 Time
3.4 Space
4 Role-playing games
5 See also
6 References
7 External links
History[edit]
Though the concept of a shared universe was not new or unique to comics in 1961, writer/editor Stan Lee, together with several artists including Jack Kirby and Steve Ditko, created a series of titles where events in one book would have repercussions in another title and serialized stories would show characters' growth and change. Headline characters in one title would make cameo or guest appearances in other books. Eventually many of the leading heroes assembled into a team known as the Avengers. This was not the first time that Marvel's characters had interacted with one another—Namor the Sub-Mariner and the Original Human Torch had been rivals when Marvel was Timely comics (Marvel Vault)—but it was the first time that the comic book publisher's characters seemed to share a world.[1] The Marvel Universe was also notable for setting its central titles in New York City; by contrast, many DC heroes live in fictional cities. Care was taken to portray the city and the world as realistically as possible with the presence of superhumans affecting the common citizens in various ways.[citation needed]
Over time, a few Marvel Comics writers lobbied Marvel editors to incorporate the idea of a Multiverse resembling DC's parallel worlds; this plot device allows one to create several fictional universes which normally do not overlap. What happens on Earth in the main Marvel Universe would normally have no effect on what happens on a parallel Earth in another Marvel-created universe. However, storywriters would have the creative ability to write stories in which people from one such universe would visit this alternative universe.[citation needed]
In 1982, Marvel published the mini-series Contest of Champions, in which all of the major heroes in existence at the time were gathered together to deal with one threat. This was Marvel's first miniseries. Each issue contained biographical information on many major costumed characters; these biographies were a precursor to Marvel's series of reference material, The Official Handbook of the Marvel Universe, which followed shortly on the heels of Contest of Champions.[citation needed]
Concepts[edit]
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The Marvel Universe is strongly based on the real world. Earth in the Marvel Universe has all the features of the real one: same countries, same personalities (politicians, movie stars, etc.), same historical events (such as World War II), and so on. However, it also contains many other fictional elements: countries such as Wakanda and Latveria (very small nations), and organizations like the espionage agency S.H.I.E.L.D. and its enemy, HYDRA, and A.I.M. In 2009 Marvel officially described its world's geography in a two-part miniseries, the Marvel Atlas.[2]
Most importantly, the Marvel Universe also incorporates examples of almost all major science fiction and fantasy concepts, with writers adding more continuously. Aliens, gods, magic, cosmic powers and extremely advanced human-developed technology all exist prominently in the Marvel Universe. (A universe incorporating all these types of fantastic elements is fairly rare; another example is the DC Universe.) Monsters also play a more prominent role with east Asian origins of magical incantation, outlandish sorcery and manifesting principle in the Marvel Universe. One such case is Fin Fang Foom arising from the ashes of tantric magic. Thanks to these extra elements, Earth in the Marvel Universe is home to a large number of superheroes and supervillains, who have gained their powers by any of these means.[citation needed]
Comparatively little time passes in the Marvel Universe compared to the real world, owing to the serial nature of storytelling, with the stories of certain issues picking up mere seconds after the conclusion of the previous one, while a whole month has passed by in "real time". Marvel's major heroes were created in the 1960s, but the amount of time that has passed between then and now within the universe itself has (after a prolonged period of being identified as about ten years in the mid-to-late 1990s) most recently been identified as thirteen years.[3] Consequently, the settings of some events which were contemporary when written have to be updated every few years in order to "make sense" in this floating timeline. Thus, the events of previous stories are considered to have happened within a certain number of years prior to the publishing date of the current issue. For example, Spider-Man's high school graduation was published in Amazing Spider-Man #28 (September 1965), his college graduation in Amazing Spider-Man #185 (October 1978), and his high school reunion in Marvel Knights: Spider-Man #7 (December 2004). Because of the floating timeline, where stories refer to real-life historic events, these references are later ignored or rewritten to suit current sensibilities. For instance, the origin of Iron Man was changed in a 2004 storyline to refer to armed conflict in Afghanistan,[4] whereas the original Iron Man stories had referred to the Vietnam War.[volume & issue needed]
Marvel Comics itself exists as a company within the Marvel Universe, and versions of people such as Stan Lee and Jack Kirby have appeared in some of the stories, whereas characters like Steve Rogers, (Captain America's alter ego), have worked for Marvel.[volume & issue needed] The Marvel of this reality publishes comics that adapt the actual adventures of the superheroes (except for details not known to the public, like their secret identities); many of these are licensed with the permission of the heroes themselves, who customarily donate their share of profits to charity. Additionally, the DC Comics Universe is also said to exist in the Marvel Universe as one of the many alternative universes. The reverse may also be said with respect to the DC Universe. This is one method of explaining the various crossover stories co-published by the two companies.[volume & issue needed]
Pop culture characters such as Dracula and Frankenstein actually exist in the Marvel Universe. This is usually justified as a second hand account of events as told to credited authors Bram Stoker and Mary Shelley although the general public continues to believe them as fictional. Robert E. Howard's Conan the Barbarian, Red Sonja, Kull the Conqueror, and Solomon Kane also have real life existences in the Marvel Universe. The Hyborian Era of Conan and Kull is considered part of Earth-616 pre-recorded history. However, they rarely encounter modern Marvel superhero characters. This is most likely possible due to the uncertain legal status of Howard's works prior to 2006 when they became public domain. Other licensed works that have been incorporated into the Marvel Universe include Godzilla, 2001: A Space Odyssey (in the character of Machine Man), ROM: Spaceknight, the Micronauts, and the Shogun Warriors. In most cases, such material is either restricted from use after the license expires or the characters redesigned or renamed to avoid infringement.[volume & issue needed]
Costumed superheroes and supervillains[edit]
Within the fictional history of the Marvel Universe, the tradition of using costumed secret identities to fight or commit evil had long existed, but it came into prominence during the days of the American "Wild West" with heroes such as the Phantom Rider. During the 20th century the tradition was reinvigorated by Captain America and his fellow Invaders in the 1940s, who fought for the Allies of World War II.[citation needed]
Most of Marvel's major heroes are those created during Marvel's Silver Age: Spider-Man, Iron Man, Doctor Strange, Daredevil, Thor, the Hulk, Ant-Man and the Wasp, Black Widow, Hawkeye, Quicksilver and Scarlet Witch, The Vision, Peggy Carter and Sharon Carter, Groot, the Avengers, the X-Men, the Fantastic Four, the Inhumans, S.H.I.E.L.D., Nick Fury, Black Panther, Captain Marvel, Falcon, and the Silver Surfer. Marvel's other notable heroes from the Bronze and Modern Ages include Wolverine, Storm, Colossus, Nightcrawler, Luke Cage, Iron Fist, Misty Knight, Colleen Wing, Ghost Rider, Blade, Drax the Destroyer, Star-Lord, Gamora, the Punisher, Moon Knight, Nova, Rocket Raccoon, Psylocke, Scott Lang, Black Cat, Silver Sable, Kitty Pryde, Emma Frost, She-Hulk, Elektra, Cloak and Dagger, Rogue, The New Mutants, Jubilee, and New Warriors. Some of Marvel's most recent creations such as Deadpool, Gambit, Cable, Domino, War Machine, Jessica Jones, The Runaways, X-23, Daisy Johnson, Winter Soldier, Maria Hill, the modern Guardians of the Galaxy and Defenders, and Ms. Marvel have become popular characters in their own right. Unlike the DC Universe, few of Marvel's 1940s characters have become major characters in modern publications; Captain America is one exception, and to a lesser extent his contemporary, Namor the Sub-Mariner, primarily because both of these characters were reintroduced to readers and to the Marvel Universe during the 1960s.[citation needed]
Prominent groups of superheroes include the Avengers, the X-Men, the Fantastic Four, the Defenders, the Guardians of the Galaxy, and the Inhumans. All these groups have varying lineups; the Avengers in particular, have included many of Marvel's major heroes as members at one time or another. The X-Men are a team of mutants led by Professor X and include some of Marvel's most popular characters, such as Wolverine. The Fantastic Four are "Marvel's First Family" of superheroes consisting of husband and wife Reed Richards (aka Mister Fantastic), Sue Storm (Invisible Woman), brother Johnny Storm (aka the Human Torch), and best friend Ben Grimm (aka the Thing). The Defenders were an ad-hoc team usually brought together by Doctor Strange, which has included the Hulk, Namor the Sub-Mariner and the Silver Surfer, with the most recent incarnation of the team though consists of street-level heroes Daredevil, Jessica Jones, Luke Cage and Iron Fist. The Guardians of the Galaxy include Marvel's cosmic characters such as Star-Lord, Gamora, Drax the Destroyer, Groot, Rocket Raccoon, but the team has also other heroes into roster such as Iron Man and Kitty Pryde. The Inhumans are a species of genetically-engineered beings which include the Royal Family (consisting of Black Bolt, Medusa, Karnak, Gorgon, Lockjaw, Crystal, Auran, and Triton) and the NuHumans (Inhumans who have recently gone through the process of Terregenesis). Teams of supervillains exist as well though these far and few in between but notable villain teams include the Masters of Evil, The Brotherhood of Mutants, the Frightful Four, Annihilation Wave and The Cabal.
Origin of superhuman powers[edit]
Most of the superhumans in Marvel's Earth owe their powers to the celestials, cosmic entities who visited Earth millions of years ago and experimented on our prehistoric ancestors (a process they also carried out on several other planets). This resulted in the creation of two hidden races, the godlike Eternals and the genetically unstable Deviants, in addition to giving some humans an "x-factor" in their genes, which sometimes activates naturally, resulting in sometimes superpowered, sometimes disfigured individuals called mutants. Others require other factors (such as radiation) for their powers to come forth. Depending on the genetic profile, individuals who are exposed to different chemicals or radiation will often suffer death or injury, while in others it will cause superhuman abilities to manifest. With the exception of psionic abilities, these powers are usually random; rarely do two people have exactly the same set of powers. It is not clear why the Celestials did this, although it is known that they continue to observe humanity's evolution. A Marvel series titled Earth X explored one possible reason for this: that superhumans are meant to protect a Celestial embryo that grows inside the Earth against any planetary threats and have done so for eons. An X-Men villain known as Vargas claims to be a new direction in human evolution, as he is born with superpowers even though his genetic profile said he was an ordinary human being. The majority of the public is unaware of what may cause superhuman powers.[volume & issue needed]
Other possible origins for superhuman powers include magic, genetic manipulation and/or bionic implants. Some heroes and villains have no powers at all but depend instead on hand-to-hand combat training or advanced technological equipment. In the Marvel Universe, technology is considerably more advanced than in the real world; this is due to unique individuals of genius intelligence, such as Reed Richards (Mister Fantastic) of the Fantastic Four. However, most of the really advanced devices (such as powered armor and death rays) are too expensive for the common citizen, and are usually in the hands of government organizations like S.H.I.E.L.D., or powerful criminal organizations like A.I.M. One major company producing these devices is Stark Industries, owned by Tony Stark (Iron Man), but there are others. Advanced technology has also been given to humans by hidden races, aliens, or time travelers like Kang the Conqueror, who is known to have influenced the robotics industry in the past.[volume & issue needed]
In superhumans the energy required for their superpowers either comes from within using their own body as a source, or if the demand of energy exceeds what their body is capable to deliver, comes from another source. In most cases, this other source seems to be what is called the universal psionic field (UPF), which they are able to tap into. Sometimes they are connected to another source, and more rarely they are even a host for it.[volume & issue needed]
Marvel tries to explain most superpowers and their sources "scientifically", usually through the use of fictional science-like concepts, such as:
The battery effect; the cells in the body have the same function as batteries, being charged with energy that comes from an outer source. This is most often seen in gamma exposed individuals such as the Hulk, who get their powers from this stored energy. The powers will remain as long as the energy is present, and can even be increased by filling the "batteries" even more. If the energy is emptied, the powers will fade away.
The Power Primordial is a leftover force from Big Bang and is controlled by the Elders of the Universe.
The Phoenix Force is a force of incredible power. It channels energy from life itself and has been shown to favor mutant telepaths like Jean Grey.
Psionic energy, which is assumed to be an invisible, unknown form of energy generated by all living brains that has the ability to manipulate other forms of matter and energy.
Universal psionic field is a force present everywhere in the universe, but only those with abilities to connect to it can make use of its energy.
Enigma Force is suspected to be connected to the Microverse, and is also the source to the Uni-Power, which transforms an individual into Captain Universe.
Extradimensional space: dimensions that can be tapped in order to pull mass from them (to add to objects on Earth) or taken away from those objects and be stored in those "pocket dimensions" to be retrieved later. This is how characters like the Hulk can grow and shrink with no visible absorption of mass. A type of subatomic particles called Pym Particles can be used for these effects. (Note that many giant-sized characters have a limited ability to manipulate gravity to handle their increased weight.) The change in mass can be in the form of a density change instead, allowing a character to become harder or incorporeal. Some characters can seem to "transform" themselves (or others) into unliving substances, or even pure energy, by storing their bodies in extradimensional space and replacing them with bodies made from matter or energy from that dimension, while their souls remain on Earth, controlling their new body. Travel into other dimensions can also be used as a way to "teleport" by re-entering the Earth dimension at a different point from the exiting one.
The Darkforce is an unknown, dark substance from another dimension (known simply as the Darkforce Dimension) that can be summoned and manipulated in many ways: to create impenetrable darkness, to solidify it in various forms, and (most notably) to absorb the "life energy" from living beings (not all users can use all these effects). The Darkforce can also be used to travel to and from its home dimension, but this is dangerous to all except those with Darkforce powers. Some believe that the Darkforce is sentient and sometimes has an evil influence on those who use it. Various heroes and villains have versions of Darkforce powers, including Darkstar, the first Blackout, the Shroud, Cloak, Doorman and Quagmire (of the Squadron Supreme Universe). Cloak seems to be the prime 'portal' to the Darkforce, however.
The Living Light is the opposite of the Darkforce: a form of energy that resembles light and also comes from its own dimension, but has healing effects on living beings (except ones made of darkness or Darkforce.) It is unknown if it might be sentient. Cloak's partner, Dagger seems to be the Living Light's main Avatar.
The Power Cosmic is a force that can alter reality, allowing the user to do whatever he or she wants (including bending the laws of physics), only being limited by how much cosmic energy the character can tap at a time. It seems to be part of the universe itself, and is most prominently used by Galactus and his heralds.
Magic also appears to be like a form of energy, except that it can defy the laws of physics naturally, and usually overrules ordinary science. However, it does have rules of its own to follow, which vary with the method of invocation, usually in the form of spoken spells. It appears to be present in everything, even living beings. All humans in the Marvel Universe have the ability to use magic, but only if properly trained. Most people are unaware that magic actually works. In addition, powerful magical beings from other dimensions have created specific, extremely powerful magical spells that they allow to be used (often indiscriminately) by those sorcerers who invoke their names; one example is the trinity of beings called The Vishanti, who serve as patrons to heroic sorcerers. At any given time, there is a sorcerer on Earth whose task is to protect the universe against extra-dimensional mystical invaders; this sorcerer is known as the Sorcerer Supreme, an office left empty since the death of Brother Voodoo, but most recently has been reinstated to Doctor Strange.[5] Stars in the Marvel Universe are actually sentient beings, and the source of all mystic energy.[6]
Pym particles are what make Ant-Man shrink.
Nonhuman[edit]
A degree of paranoid fear against mutants exists due to stories of mutants being a race or even a species (Homo superior or Homo sapiens superior) that is evolving and is meant to replace normal humans. This has caused organizations to form to deal with the problem, who can be divided into three camps: those who seek peaceful coexistence between mutants and normal humans (the X-Men and their affiliated groups), those who seek to control or eliminate humans to give mutants safety or dominance (Magneto and his followers, as well as other mutants such as Apocalypse), and those who seek to regulate or eliminate mutants in favor of humans. The latter often use the robots known as Sentinels as weapons. Certain species are regarded as subhuman, like the Morlocks who lurk beneath New York City and have been discriminated against by the outside world because of their mutant deformities. The Morlocks have recently joined the terrorist organization Gene Nation.[volume & issue needed]
In addition to mutants, Eternals and Deviants, several other intelligent races have existed secretly on Earth. These include: The Inhumans, another genetically unstable race (like the Deviants, but in their case it is due to their use of a substance called the "Terrigen Mists") that was created by a Kree experiment long ago; The Subterraneans, a race of humanoids adapted to living below the surface, created by the Deviants (some subterraneans were transformed into 'Lava Men' by a demon); and Homo mermanus, a humanoid race of water-breathers that lives in Earth's oceans. Most of these races have advanced technology but existed hidden from humanity until recent times. More variants of humanity can be found in the Savage Land (see places, below.) Most of the Savage Land races have their origin from a group of primitive ape men who seems to have escaped the Celestial experiments whose influence is present in all modern Homo sapiens. Other leftovers from the era where primitive humanoids walked the earth still exist, such as the altered Neanderthal known as Missing Link, an old enemy of the Hulk.[volume & issue needed]
Alien races[edit]
Main article: List of alien races in Marvel Comics
The Marvel Universe also contains hundreds of intelligent alien races. Earth has interacted with many of them because a major "hyperspace warp" happens to exist in the Solar System.
The three major space empires are:
the Kree, who rule the Kree Galaxy (the Greater Magellanic Cloud)
the Skrulls, who rule the Skrull Galaxy (the Andromeda Galaxy)
the Shi'ar, who rule the Shi'ar Galaxy (no known real-world counterpart, but might possibly be the Triangulum Galaxy[7])
The three are often in direct or indirect conflict, which occasionally involve Earth people; in particular, the Kree and Skrulls are ancient enemies, and the Kree-Skrull War has involved humans on several occasions.
The Skrulls have also been known to be in a long and consistent war against the Majesdanians, who live in a milky planet named Majesdane.[8] The war between the two had started after two Majesdanians, Frank and Leslie Dean of The Pride had been kicked out for criminal activities; the two travelled to Earth, where Frank and Leslie stopped the war against Earth in exchange for giving the Skrulls the location of Majesdane, which was hidden behind the corona of a white dwarf. The war had gone on for sixteen years minimum; it ended abruptly after the Skrulls shot a barrage of missiles at Majesdane, who retaliated.[8]
Another prominent alien race is The Watchers, immortal and wise beings who watch over the Marvel Universe and have taken a sacred vow not to intervene in events, though the Watcher assigned to Earth, Uatu, has violated this oath on several occasions.
The Elders of the Universe are ancient aliens who have often had great impact on many worlds, for billions of years, acting alone or as a group. A power called Power Primordial is channeled through them.
Many other races exist, and have formed an “Intergalactic Council” to have their say on matters that affect them all, such as interference from Earth humans in their affairs.
Supernatural creatures[edit]
Also abundant in the Marvel Universe are legendary creatures such as gods, demons and vampires. The 'gods' of most polytheistic pantheons are actually powerful, immortal human-like races residing in other dimensions who visited Earth in ancient times, and became the basis of many legends. However, all of these 'gods' share a common ancestry and connection to Earth due to Gaea, the primeval Elder Goddess that infused her life essence into all living things on Earth. Gaea is known by various names and appearances in other cultures and among the various pantheons, but she's the same being. As a result, she's a member of every polytheistic pantheon of 'gods' worshipped by humans. Besides mythological gods, many deities made up by Marvel writers exist as well, such as the Dark Gods, enemies of the Asgardians. The Dark Gods are a race of 'gods' that have been worshipped by extraterrestrial races. Well known alien races like the Shi'ar and Skrulls also have beings they worship as 'gods', though little has been revealed about them.[volume & issue needed]
Many persons and beings have falsely pretended to be gods or demons during history; in particular, none of the ones claiming to be major figures from Judeo-Christian beliefs has turned out to be the real article, although a number of angels have appeared in recent years, as well as an apparent true rebellion and expulsion of angels from a higher realm known as Paradise, proving that some form of Heaven and Hell do exist in this Universe, seemingly like those in keeping with common real world religious belief. Similarly, demons are evil magical beings who take affairs in the matters of the universe. Some of the most powerful are Blackheart, Mephisto, Nightmare, Satannish, and Zom. There are also powerful benevolent mystical entities such as The Vishanti; or amoral and malevolent entities who are not truly demonic in nature, such as Dormammu and The Octessence, or ones heavily drawing upon the mythologies of H.P. Lovecraft and Robert E. Howard. Some supernatural beings, entities and human characters created by Lovecraft & Howard, who were friends and influenced each other's work, have been adapted by Marvel and include Abdul Alhazred,[9][10][11] Conan the Barbarian[12] Nyarlathotep[13] and Set.[14] Some deities or demonic beings that are original characters of Marvel have been heavily influenced by these mythologies, such as Shuma-Gorath.[15]
Most of the current generation of gods have been revealed to be the descendants of the Elder Goddess Gaea. The two most featured pantheons are the Asgardians (of whom Thor is a member) and the Olympians (of whom Hercules is a member). The lords of the various pantheons sometimes gather in groups known as the Council of Godheads and Council of Skyfathers. The gods were forced to stop meddling with humanity (at least openly) a thousand years ago by the Celestials, and most people today believe them to be fictional. There are other pantheons that have been depicted in the Marvel Universe that are still actively worshipped in the real world including those worshipped by the Aboriginal inhabitants of Australia, the gods of Hinduism, the Shinto gods and the gods of Zoroastrianism. These deities are rarely depicted, however. One such appearance generated a good deal of controversy as the depiction involved a fight between Marvel's incarnation of Thor and the Hindu god Shiva, a battle which Shiva lost.[16] As Shiva is one of the principal deities of Hindu religion, his defeat offended some followers of Hinduism. This battle was retconned later as having been the deity Indra, the Hindu god of thunder, who was posing as Shiva, that met defeat.[17] In order to avoid offending believers of still active religions, Marvel features such deities as characters in the background or who make very brief cameo appearances.
Marvel's depiction of vampires has been heavily influenced by various interpretations of popular media, such as Bram Stoker's Dracula. As with many other supernatural creatures, Marvel entwined the origin of vampires with aspects of the mythologies created by Lovecraft and Howard. They were originally created by magical rites performed by priests of Atlantis prior to the Great Cataclysm that destroyed much of the world with Varnae becoming the first vampire. Marvel would depict vampires as frequent antagonists during the Hyborian Age to Howard characters such as Kull and Conan. In recent years, Marvel's depiction of vampires has altered greatly by creating various subspecies of vampires that exist in clans that greatly differ in appearance and belief. All vampires are depicted with varying degrees of superhuman strength, speed, stamina, agility, reflexes and accelerated healing. Many are capable of transforming into animals such as bats or wolves, some can transform into a mist like substance; some of the most powerful are capable of controlling the weather to a somewhat limited degree. All vampires must ingest blood in order to maintain their survival and physical vitality. So long as they do so regularly, they cease to age and are immune to diseases. They retain the well known vulnerabilities common to vampires in other media interpretations including sunlight, garlic, religious icons and weapons made of silver. Vampires can be killed by a wooden stake driven through the heart, though they return to life if the stake is removed. Vampires are highly allergic to silver and can be killed with it. While they normally heal rapidly, injuries inflicted by silver weapons heal at a much slower rate if the injuries aren't fatal. Vampires can also be killed by decapitation or being set on fire, with burning them to ashes and then scattering the ashes being the most effective means of ensuring their demise.
Cosmic entities[edit]
The cosmic entities are beings of unbelievably great levels of power (the weakest of whom can destroy planets) who exist to perform duties that maintain the existence of the universe. Most do not care at all about "lesser beings" such as humans, and as a consequence their acts are recurrently dangerous to mortals. When dire threats threaten the universe it is not uncommon for these beings to gather together to discuss the threat, and even act.[volume & issue needed]
Above all pantheons of gods, mystical beings, and cosmic/conceptual entities there exists one, supreme "God", a mysterious but apparently benign entity sometimes referred to as the One-Above-All. This being is indicated to be the Creator of all existence and all realities of the Marvel Universe and possibly beyond.[volume & issue needed]
The Living Tribunal is the cosmic judge, overseer, and mediator. It safeguards the multiverse from dire threats, but is also willing to destroy entire universes on behalf of more favored creations.[volume & issue needed]
Most conceptual entities are simply interested in furthering their own essential function, or to keep the balance with an opposing force. However, certain cosmic entities, such as Galactus, In-Betweener, Maelstrom, or The Stranger have demonstrated personality, motivations, or (except for the first mention) even ambitions beyond their functions, but often maintain the perspective that morality is entirely relative, or that destroying civilisations of "lesser" beings is no more evil than if these beings destroyed an anthill. Others such as Uatu the Watcher, Eon, or the Celestials Ashema and Tiamut are aberrations in the sense of sympathising with and occasionally coming to the defense of humanity.[volume & issue needed]
The "Fulcrum" is a comparatively recent addition to the hierarchy, that "all" cosmic entities allegedly serve, of a level of raw power stated to far surpass the might of the Watchers and the Celestials. Unlike most other entities it is capable of conscience, compassion, and even a sense of humour, and has stated that it wants other cosmic beings to develop such as well. He is a possible manifestation/avatar of The One Above All.[volume & issue needed]
The Phoenix Force first received personification in Jean Grey. The Force is composed of the psionic energy from all living beings, past, present and future, and is an embodiment of rebirth and destructive transformation through "burning away what doesn't work", and helped to restart the universe before the Big Bang.[volume & issue needed]
Cosmology[edit]
The Marvel Universe is part of a multiverse, with various universes coexisting simultaneously usually without affecting each other directly.[volume & issue needed] According to Reed Richards, the ultimate fate of the Multiverse is to perish in an all-encompassing heat death.[18]
Universes/Earths/continuities[edit]
The action of most Marvel Comics titles takes place in a continuity known as Earth-616. This continuity exists in a multiverse alongside trillions of alternative continuities.[19] Alternative continuities in the Marvel multiverse are generally defined in terms of their differences from Earth-616.
Continuities besides Earth-616 include the following (for a complete listing see Multiverse):
Age of Apocalypse- an alternate reality ruled by the mutant god Apocalypse
Alterniverse- the reality for some What If stories
Amalgam Universe- a reality combining the Marvel and DC Universes
Days of Future Past- another dystopian reality where Sentinels rule North America and enslave mutants.
Earth X- an alternate future for the Marvel Universe depicting an Earth mutated by the Terrigen mist. The reality was followed by two other series Universe X and Paradise X. Designated Earth-9997.
Earth-92131- The universe of X-Men: The Animated Series, Spider-Man: The Animated Series, Fantastic Four, Iron Man, and The Incredible Hulk.
Earth-200111 - the reality of The Punisher MAX, Born (and its sequel Punisher: The Platoon), Wolverine MAX, Foolkiller MAX, Fury, and Fury: My War Gone By. A world without traditional superheroes and a gritty, realistic, violent universe.
Earth-30847 - The reality of the Marvel vs. Capcom games.
House of M- a reality dominated by mutants
Larval Universe- the home reality of Peter Porker (aka Spider-Ham) a reality where animal-themed versions of Marvel superheroes exist.
Marvel Noir- a reality home to noir versions of superheroes.
Marvel 2099- a reality showing a possible future for the Marvel Universe in the year 2099.
Marvel 1602- A reality where Marvel superheroes emerged in the early 1600s. This reality became Earth-311.
Marvel Age- an all ages imprint
Marvel Mangaverse- A reality home to Manga versions of Marvel characters.
Marvel Apes- A reality where apes are the dominant species and the superheroes are apes themselves.
Marvel Cinematic Universe- a shared cinematic universe by Marvel Studios consisting of the Avengers, the Defenders, the Guardians of the Galaxy, the Inhumans (both the Royal Family and NuHumans), Phil Coulson and the Agents of S.H.I.E.L.D., the New Warriors, the Runaways, Spider-Man, Ant-Man and the Wasp, Black Panther, Doctor Strange, Captain Marvel, Punisher, Elektra, Ego the Living Planet, Kingpin, Cloak and Dagger and many other characters. It is designated as Earth-199999.
Earth-12041, an animated version of the Marvel Universe on Disney XD. The shows part of this universe include Ultimate Spider-Man, Avengers Assemble, Guardians of the Galaxy, and Hulk and the Agents of S.M.A.S.H..
Marvel Zombies- a reality where all the Marvel superheroes were turned into zombies
MC2- another alternate future for the world of the Marvel Universe and its heroes and villains. The designation of this Earth is Earth-982.
New Universe- An alternate reality where a major catastrophe known as "White Event" caused numerous people to develop superpowers in a world where there are no hidden races, gods, magic, and super technology. The home reality of Star Brand.
Old Man Logan, a dystopian alternate future where the super villains killed all the superheroes and took over the United States (and presumably the world) dividing it among themselves. The home reality of the titular Old Man Logan (an alternate version of Wolverine and designated as Earth-807128.
Ruins- a reality where "everything that can go wrong will go wrong" where the experiments and other incidents that granted the superheroes their powers instead resulted in horrific consequences and deaths.
Shadowline- a horror imprint separate from the mainstream Marvel continuity.
Earth-712- the home of the Squadron Supreme a super-team from another universe and pastiches of DC Comics Justice League.
Ultimate Marvel- a modern-day reimagining of Spider-Man, the Ultimates, the X-Men, the Fantastic Four, S.H.I.E.L.D. as well as other Marvel heroes and villains in a new setting. The home reality of Miles Morales, the Maker (aka Reed Richards), and Jimmy Hudson. Ultimate Marvel is also known by its designation Earth-1610.
Earth-65- a reality where Gwen Stacy was bitten by the radioactive spider instead of Peter Parker (who became the Lizard in this universe and died) where Gwen became a superhero it also includes variations of other Marvel characters such as a gender bent version of Sam Wilson (known as Samantha Wilson and became Captain America instead of Steve Rogers).
Ultraverse- the home of the super-team known as Ultraforce and superhumans known as Ultras.
X-Men Adventures - Originally based on the X-Men animated series, this universe went on to feature more original stories, and in its final issue, revealed itself to be the universe which existed prior to the current 616 reality, when it was destroyed by the fracturing of the M'Kraan crystal. The current edition of the Official Handbook of the Marvel Universe corroborates this.[volume & issue needed]
In addition, multiple continuities are visited in the comic book series What If, What The--?! (formerly Not Brand Echh) and Exiles. The concept of a continuity is not the same as "dimension" or "universe"; for example, characters like Mephisto and Dormammu hail from alternative dimensions and Galactus from another universe, but they all nevertheless belong to the Earth-616 continuity (where all the dimensions and universes seems to be connected to the same main timeline). A continuity should also not be confused with an imprint; for example, while the titles of some imprints, such as Ultimate Marvel, take place in a different continuity, some or all publications in other imprints, such as Epic Comics, Marvel MAX, and Marvel UK, take place within the Earth-616 continuity.[citation needed]
Dimensions[edit]
Within and sometimes between continuities, there exist a variety of dimensions, sometimes called pocket dimensions which typically are not depicted as separate continuities, but rather part of one, typically Earth-616. There are a score of such dimensions, ranging from the Earthlike to the totally alien. Some are magical in nature and others are scientific; some are inhabited and others are not. These include realities like the Microverse, the Darkforce Dimension, Limbo, the Mojoverse, and many more. The Astral Plane is a dimensional plane which is the source of telekinesis and various other psychic powers. It is a dimension created by the Elder Goddess Oshtur that is sometimes referred to as the "Temple of Oshtur" or the "Realm of the Mind".[20]
Despite various contradictions, the term, dimension is sometimes interchangeable with universe or reality. Every reality of the Marvel Universe has numerous interconnected dimensions, with each dimension differing from those of other realities; for example, the Ultimate Asgard has clearly been shown to be distinct from the Asgard known to Earth-616 characters. Such dimensions, such as Asgard or the Dark Dimension are technically not "pocket dimensions" as they clearly reside completely outside the boundaries of the Marvel Universe, instead of within, as the former does.[volume & issue needed]
Time[edit]
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One cannot normally alter the Marvel Universe's history; if a time-traveller should cause an alteration to the established flow of events at some point in the past, a divergent universe will simply "branch out" from the existing timeline, and the time-traveller will still return to his or her unaltered original universe. Those realities can also spawn realities of their own. There exists hundreds, probably thousands of such realities. It is unknown why this happens, though a warp known as the Nexus of All Realities exists in a swamp in the Florida of Earth-616. For the most part this does not matter, as most beings are unaware that this occurs, or even that their universes were recently "born" from another. However, individuals and organizations exist that try to monitor or manipulate the various realities. These include Immortus, the Captain Britain Corps, the Time Variance Authority, the Timebreakers/Exiles, and Kang the Conqueror's forces. It has been shown to be possible to travel through time without creating a new alternative universe, instead altering events in the future, but this seems to have devastating and very far-reaching repercussions, as depicted in Marvel 1602 (it almost destroyed the whole multiverse, including the afterlife).[citation needed]
Also, time itself passes much differently within the confines of the Marvel Universe than it does in the real world. Despite various characters having appeared within company publications for decades, few if any have aged to any appreciable degree. For example, the patriotic hero Captain America was created in 1941 but stopped appearing in titles soon after the end of World War II. The character was revived more than twenty years later, explained as having been frozen in a block of ice though believed to be dead, to lead Marvel's latest team of superheroes the Avengers. This first Avengers team featured several characters that would go on to be some of the company's most famous and most popular. Although the characters would be portrayed in hundreds and even thousands of adventures over the decades, they have been portrayed as having aged little or none at all.[citation needed]
Naturally this tendency is purely due to story conveniences (or a somewhat haphazardly shifting patchwork pattern of authors), and mainly that the fictional "continuity" has been maintained and expanded far beyond what Stan Lee and others originally planned or hoped for. Hence, the passing of time was more discernible in the very early years, such as the graduation of Spider-Man; and what started as children or teenaged characters, such as Kitty Pryde, Franklin Richards, Valeria Richards, Power Pack, or the New Mutants are all allowed to age at wildly shifting rates (in the second case even backwards at times), whereas surrounding characters somewhat dependent on a certain age limit do not change at all. This recurrently creates inherently contradictory effects, as events are routinely described to have happened several years ago, even in cases when this would mean that some of the involved characters would have been toddlers. Different approaches also exist regarding allowing "second-generation" descendants of heroes or villains, fully grown over 18 years after an event (for example Hulkling, other members of the Young Avengers, Runaways, and Secret Warriors), whereas other books, such as Young Allies use the inherent contradiction to debunk similar claims. If a past storyline wherein a direct depictions of a then-current president or similar is referred to in a later era, it tends to become updated accordingly, sometimes with an "in-joke" acknowledgement.[citation needed]
A more recent explanation was given by Galactus to the Ultimates, namely that some important events - for instance, the creation of the Fantastic Four or the Avengers - have a 'gravity' all their own and warp time around them, causing the timeline to subtly change to accommodate this.[21]
Space[edit]
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While the Marvel Universe is presumably as large as the non-fictional universe comic book readers inhabit, for all intents and purposes the Local Group is the universe; practically all action takes place in it. The Skrull Empire is located in the Andromeda galaxy, the Kree Empire in the Magellan clouds which are satellites of the Milky Way galaxy in which Earth of course is found, while the Shi´ar Empire is located somewhere between them in one of the smaller galaxies (perhaps Triangulum); frequently, these three empires are quoted as the main political powers "in the universe". Similarly, the Local Group seemed to be the only affected area when the Annihilation Wave cut its bloody swath "across the universe".
Role-playing games[edit]
Four role-playing games have been set in the Marvel Universe:
Marvel Super Heroes (TSR, 1984)
Marvel Super Heroes Adventure Game (TSR, 1998)
Marvel Universe Roleplaying Game (Marvel Comics, 2003)
Marvel Heroic Roleplaying (Margaret Weis Productions, 2012)
See also[edit]
For more complete lists of inhabitants of the Marvel Universe, see List of Marvel Comics characters, List of Marvel Comics teams and organizations, and List of Marvel Comics alien races.
Features of the Marvel Universe
Publication history of Marvel Comics crossover events
The Official Handbook of the Marvel Universe
List of Marvel Comics superhero debuts
Marvel Super Heroes (role-playing game)
Marvel Cinematic Universe
Comparison of Marvel and DC
References[edit]
Jump up ^ Marvel Mystery Comics. Marvel Comics #1
Jump up ^ Travel "The World With The Marvel Atlas". Marvel.com News
Jump up ^ The Thing #13, July 2006; Civil War Battle Damage Report, March 2007
Jump up ^ Iron Man vol. 4 #1 (November 2004)
Jump up ^ New Avengers: Volume 2, #34 (November 2012)
Jump up ^ Doctor Strange: Volume 1, #24 (August 1977)
Jump up ^ Triangulum is the third-largest galaxy of the Local Group and located more or less between the two main members, Andromeda and the Milky Way.
^ Jump up to: a b Runaways: Volume 2, #8
Jump up ^ Tarzan vol.1 #15 (August 1978)
Jump up ^ Marvel Comics Presents vol.1 #62 (November 1990)
Jump up ^ Marvel Comics Presents vol.1 #152 (April 1994)
Jump up ^ Conan the Barbarian vol.1 #1 (July 1971)
Jump up ^ Journey Into Mystery vol.2 #4 (June 1973)
Jump up ^ Marvel Feature vol.1 #6 (May 1976)
Jump up ^ Marvel Premiere vol.1 #10 (September 1973)
Jump up ^ Thor vol.1 #301 (November 1980)
Jump up ^ Thor Annual #10 (1981)
Jump up ^ New Avengers v.3, #1
Jump up ^ Exiles Annual #1 (November 2006)
Jump up ^ Mystic Arcana: The Marvel Tarot One Shot, Marvel Publishing, Inc. 2007.
Jump up ^ Ultimates (2015) #5
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