Earlier this month, Stan Lee passed away at the age of 95. Lee was likely the most famous comic book creator in the history of the medium and he was the Editor-in-Chief for Marvel Comics for a remarkable three decades stint from the Golden Age through the launch of the Marvel Age of Comics. Working with iconic creators like Jack Kirby, Steve Ditko, John Romita, Joe Maneely, John Buscema, Don Heck, Wallace Wood, Dick Ayers, Gene Colan and many more, Lee either co-plotted and scripted or simply scripted some of the most famous stories in the history of comics. We asked you to vote for your picks for the top comic book stories that Lee either scripted or co-plotted and scripted. Here are the results!

80. "The Jester Saga" Daredevil #42-46 (1968)

This storyline by Stan Lee and Gene Colan (with inks by Dan Adkins, Vince Colletta and George Klein) introduced the villainous Jester, a guy who came up with an ingenious plot to use against Daredevil - he would frame Daredevil for his own murder!

The Jester then sets himself up as the hero of the story by promising the people of New York City that he will bring the "murderer" to justice. So begins an intricate game of cat and mouse between the Jester and Daredevil. Really intense, thrilling stuff - a lot of intrigue, like the two of them riding on the same subway car, not knowing that the other one is on the car for a while.

In the middle of the storyline, Daredevil is exposed to some radiation that drives him a bit nuts and he fights Captain America.

It is a cool fight, but it really isn't tied to the overall story, as the radiation fades away and Daredevil goes back to normal.

79. "The Abomination!" Tales to Astonish #90-91 (1967)

During the 1960s, there generally was not a whole lot of intermingling of comic book artists between DC and Marvel. Obviously, there was plenty of overlap at the margins (although the DC artists would typically hide their names while working at Marvel, like Mike Esposito would ink books using the name Micky DeMeo and George Roussos would use the name George Bell), but the star artists typcially stayed at one company or another. Gene Colan was one of the first to make the move to Marvel during the Marvel Age and even there, he used the name Adam Austin at first at Marvel (as if anyone could disguise a page drawn by Gene Colan. His layouts are famous for their unique designs). Things changed when Gil Kane, one of DC's top artists, began to work for Marvel while still continuing to draw Green Lantern for DC Comics.

Kane began drawing the Hulk feature in Tales to Astonish with #88. Two issues later, he and Lee introduced the Abomination, he first Hulk villain who could shockingly defeat the Hulk in hand to hand combat!

This was quite a shocking story at the time.

78. "The Coming of Loki" Journey Into Mystery #112-113 (1964)

Very soon into the development of the "Tales of Asgard" back-ups in Thor, Stan Lee realized that these were the types of stories that Jack Kirby was really interested in doing and it is fascinating to see the evolution of the Thor title as it adapted the main stories to match the back-ups. One of the interesting ways that Lee and Kirby used the "Tales of Asgard" back-ups early on was to give us character background on the major characters in the feature. These classic stories (by Kirby, Lee and Vince Colletta) showed how Odin came to adopt baby Loki and how young Loki first decided to embrace being a villain...

Look how much character development Kirby and Lee packed into just four pages there!

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77. "When Falls the Mighty" Tales of Suspense #79-80, Tales to Astonish #82 (1966)

This crossover between the Iron Man feature in Tales of Suspense and the Namor feature in Tales to Astonish was the first time that Marvel ever did one of those crossovers where a story directly followed from one comic book title to another (it was soon followed by the previously mentioned Daredevil/Fantastic Four crossover that was earlier on this countdown). The story opened with Iron Man taking on Namor's enemy, Attuma, with his armor being badly damaged by a blast from an Atlantean weapon. Namor was irked that someone else was fighting his foes (he wanted the honor of killing Attuma), so he decided to beat Iron Man up. Since his armor was damaged, Iron Man knew he couldn't stop Namor one-on-one, so he instead tricked him into a situation where Iron Man would be locked into a room where Iron Man could fix his armor. Once he was finished, he burst from the room and that led into the final part of the storyline, where Iron Man and Namor have an old fashioned brawl (with Jack Kirby brought in specifically to draw the fight)...

Wow, what an awesome display of superhero fisticuffs!

76. "The Grotesque Adventure of the Green Goblin!" Amazing Spider-Man #14 (1964)

In the early days of Marvel, it seemed like every other movie production being made was actually a fake movie created by supervillains to trap superheroes. This issue by Stan Lee and Steve Ditko introduced the Green Goblin and he went right into coming up with a plot where Spider-Man would be tricked into thinking that he was appearing in a movie about Spider-Man's fight against the Enforcers when, in reality, he was actually going to fight the real life Enforcers! Fancy Dan is finally given a chance to be on film and it is a fake film! The outrage!

Man, you really have to admire Green Goblin's costume design. There is something so disturbing about that stupid grin on his mask coming from a villainous character.

The following issue would be the last of the classic Ditko/Lee Spider-Man rogues and each one of these one-off issues really stood out. Only one other, though, makes the top 100. They are all good, though.

75. "Behold the Living Planet!" Thor #133 (1966)

Jack Kirby and Stan Lee really took things to a whole new trippy level when they introduced Ego the Living Planet in Thor #133 (inks by Vince Colletta). It really was the natural progression, I guess, from having a guy who eats entire planets to a guy who IS an entire planet, but the creativity on these pages is just off the charts in terms of mind-blowing concepts. What Lee always did well was to take Kirby's brilliant concepts and make sure that they came across to the audience. Kirby was so creative and avant garde with his thinking that it would sometimes need someone like Lee to tamper the concept for the audience. This seems to be one of those examples...

74. "Defeated by the Frightful Four!" Fantastic Four #36-38 (1965)

This is a bit of a tricky listing for a story, as #37 is not actually part of the overall story, but it seems weird listing this as 36, 37, but that's really probably how I should be listing it. In any event, the Fantastic Four obviously had plenty of notable villains by this point in their history, but the only real team of villains that they had was the Red Ghost and his Super-Apes, and that wasn't exactly much in the way of an actual team. So Kirby and Lee (with Chic Stone doing a short stint as Kirby's inker) put together two old Human Torch villains (Wizard and Paste Pot Pete), a Spider-Man villain (Sandman) and a brand-new villain (Madame Medusa) and introduced the Frightful Four!

Their first appearance went over so well that they came back two issues later, with Paste Pot Pete now evolving into the much cooler Trapster and Madame Medusa expressing some characterization work that suggests that she really isn't necessarily a bad guy, but rather that she was just someone out of her element that the Wizard manipulated into becoming a supervillain (this was a standard trope for Marvel Comics of the era, like Hawkeye, Scarlet Witch and Quicksilver).

This story, where the Fantastic Four seemingly fail to stop the Frightful Four, will kick off a stretch of stories that are as iconic as any in superhero comic book history.

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73. "The Horns of the Rhino" Amazing Spider-Man #41-43 (1966)

When John Romita took over art duties on Amazing Spider-Man, he assumed that it was only going to be temporary. He couldn't imagine another artist walking away from one of Marvel's flagship titles, so he figured Ditko was going to be back very soon. With that in mind, his first few issues of the series were drawn in a way so that they would look a lot like Ditko's artwork. When it became obvious that Ditko was not returning to the series, Romita slowly but surely began to put his own spin on the book, including famously revamping Peter Parker's look to make him a bit more of the type of character who you would see star in a romance comic book story (most of Romita's comic book career, to this point, had been spent on romance comic books, before he got out of comics entirely for a while). In Amazing Spider-Man #41, Romita also introduced the first supervillain of his run, the Rhino.

The second issue of this storyline finally introduced the niece of Aunt May's friend, Anna Watson, who Aunt May had been trying to set Peter up with since Amazing Spider-Man #15! We finally meet Mary Jane Watson and Peter, and us, both his the jackpot at the same time! That panel is so famous that I decided to skip it and go to the next issue, where we see Mary Jane in action for the first time, as Peter answers a call for a Rhino attack...

You have to love Mary Jane's pure ENTHUSIASM!

72. "Thor Earns His Hammer" Journey Into Mystery #100-102 (1963-64)

The first few "Tales of Asgard" stories were literal stories about the history of Asgard that played directly into Jack Kirby's fascination with Norse mythology. However, after a few of them, they began to tie them into the main plot of the series a bit more and one of the first major examples of this was a three-part arc where we got to see young Thor try to earn his hammer. Over a series of the stories, Thor gets closer and closer to being worthy of lifting Mjolnir, with him finally getting the chance to wield the hammer in the final part, the same story that introduced us to Lady Sif for the first time (albeit a very different take on Sif than we would later get when "Tales of Asgard" essentially became the default state of the series and Sif replaced Jane Foster as the main love interest for Thor).

Man, Thor has rarely been quite as heroic as he is here, when he decides to brave death itself to save Sif.

71. "Turning Point" Amazing Spider-Man #10-12 (1963-64)

This is a bit of a tricky listing, as well, since you could argue that Amazing Spider-Man #12 doesn't really fit in with the other two issues, but since #11 has Doctor Octopus and so does #12, I think it makes some sense to combine the three, even though #10-11 are the ones that fit more of a logical story arc.

In any event, Amazing Spider-Man #10 saw Stan Lee and Steve Ditko introduce us to the Enforcers, including their finest creation together, Fancy Dan. The Enforcers are a typical crime organization and they have some connection to Betty Brant's brother, Bennett, and when he gets killed in the next issue in the middle of a battle with Spider-Man, then we get the first instance of one of Spider-Man's loved ones hating Spider-Man while still loving Peter...

In a lot of ways, the loss of her brother would damage Betty Brant enough that she was ultimately replaced as Peter Parker's love interest. Perhaps there was just too much darkness associated with her relationship with Peter and Spider-Man through the death of her brother. Or maybe it was just Peter growing up, as well. In any event, this story was a "turning point" in more ways than one, as it was the beginning of the end for Betty Brant as Peter's main love interest.