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 (stories that Lee "only" plotted weren't included). Here are the results!

90. "Spider-Man/Spider-Man vs. the Chameleon!" Amazing Spider-Man #1 (1962)

This was a a weird one, since the vast majority of the votes for this one were for simply "Amazing Spider-Man #1," but, well, there are TWO stories in Amazing Spider-Man #1, so which one did people mean to vote for? Since I wasn't very well going to e-mail a bunch of people just to clarify what story that they intended, I'm just going to let the two stories in the issue share this spot.

The first story, dubbed simply "Spider-Man," sets up Spider-Man's adversarial relationship with J. Jonah Jameson, as we see that Jameson has used his media empire to turn the public against Spider-Man. Spidey figured that when Jameson's astronaut son's capsule is in danger, he could both save a life and get Jameson off of his back by saving John Jameson. It did not work out that way...

In the second story in the issue, we got a meeting between Spider-Man and the Fantastic Four, with Spidey looking to get a job from the team. This issue came out the same week as Fantastic Four #12, so they both count as the first time that characters from different Marvel titles met each other, thus firmly establishing the existence of the Marvel Universe.

89. "The Fury of the Femizons" Savage Tales #1 (1971)

As the 1970s began, Stan Lee began to try to push Marvel to be more and more innovative. One of the things that he wanted was for them to be able to go beyond the limits of the Comics Code. However, he was restrained a good deal by Marvel's publisher at the time, Martin Goodman (Goodman had sold the company a few years earlier but he was still in charge). Thus, when Stan Lee wanted to do black and white magazines that would not need to be approved by the Code, just like how Warren was doing with Creepy and Eerie and EC was doing with Mad, Goodman pushed back but finally allowed him to try Savage Tales. It lasted just a single issue, but when Lee himself succeeded Goodman as publisher, he made the black and white line a big part of his new stint as publisher.

Anyhow, while Savage Tales only lasted one issue in this specific incarnation, it was a good one, at least, with Stan himself contributing a story with art by John Romita. The story is about a futuristic world dominated by women (or Femizons). One of the members of the female ruling class, though, is forced to look beyond her gender to the suffering of the men of the world...

Beyond the outstanding Romita artwork, the story ends with a very dark twist for a Stan Lee comic book story.

88. "Captives of the Deadly Duo!" Fantastic Four #6 (1962)

Six issues before we saw the first meeting between characters from different Marvel heroes, we got the first step in a quasi-Marvel Universe when Doctor Doom, an issue after he debuted, teaming up with Namor, two issues after Namor himself made his Silver Age debut. The Doom/Namor relationship is great, as they are sort of like a super-villain Odd Couple, as Namor isn't really a villain so much as a jerk while Doom is, well, a SUPER-villain.

Of course, Doom being Doom, he betrays Namor, as well, and LAUNCHES THE FANTASTIC FOUR'S HOME INTO OUTER SPACE!!

How amazing is that idea? Kirby and Lee were so damned creative on this series.

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87. “The Living Prison” Daredevil #35-38, Fantastic Four #73 (1968)

This was quite a romp, as the story went ALL over the place. It begins with Stan Lee and Gene Colan having Daredevil fight the Trapster. The Trapster then comes up with the idea of disguising himself as Daredevil to get access to the Baxter Building, where he attacks the Invisible Girl. Daredevil manages to stop the Trapster, but the Trapster's plot has gotten Doctor Doom interested. If DISGUISING himself as Daredevil worked, what about just BECOMING Daredevil? So Doctor Doom switches bodies with Daredevil. Daredevil, now in Doom's body, manages to stop Doom and reverse the switch. Daredevil then goes to the Baxter Building to inform the Fantastic Four of Doom's ability to switch bodies. Doom, though, cuts him off at the pass and tells the Fantastic Four that Daredevil IS Doom in Daredevil's body! So the Fantastic Four are now trying to take out Daredevil. Luckily, he runs into Spider-Man and Thor, who help him out...

Is there a Tumblr out there for just out of context Jack Kirby splash pages? If not, there should be, because they are amazing.

86. "The Adaptoid" Tales of Suspense #82-84 (1966)

This arc by Stan Lee, Jack Kirby and Frank Giacoia introduced a longtime thorn in Cap's side (and later, the Avengers) the Adaptoid, who first tries to drive Cap nuts and then takes over his identity. However, the Tumbler shows up on the scene and shows that Cap has something special as he easily takes down the Adaptoid (in Captain America's form). However, just when the Tumbler began to think that he had finally taken down one of the top superheroes in the world, the REAL Captain America shows up and things don't go quite as well for ol' Tumbler...

85. "The Spider or the Man?" Amazing Spider-Man #100 (1971)

At the end of his run on Daredevil, Brian Michael Bendis has Matt Murdock arrested by the FBI, giving incoming writer Ed Brubaker quite a mess to untangle. However, that was on the low end of what Roy Thomas had to deal with when he took over writing Amazing Spider-Man after Stan Lee's final issue. The anniversary issue followed a tradition, of sorts, that Lee established in Amazing Spider-Man #50 where Spider-Man questions whether he even WANTS to be Spider-Man anymore. Gil Kane and Frank Giacoia drew this issue, where Spider-Man takes an experimental serum designed to remove his superpowers so that he could finally stop being Spider-Man (as otherwise, his sense of responsibility would be too great for him to ignore being a hero if he had powers).

The serum causes him to hallucinate battles with all of his greatest foes before he finally realizes that he HAS to continue to be Spider-Man, but even as he realizes it, the serum takes a strange turn...

How do you even approach taking over a book with an ending like that?

84. "The Fantastic Four Meet the Skrulls from Outer Space!" Fantastic Four #2 (1961)

In the early days of the Fantastic Four, Lee and Kirby were unclear exactly how much they should turn into the superhero style of comic books. After all, Marvel was mostly doing aliens and monsters during this time period, so when they suddenly started doing a superhero series, they did not want it to be TOO different from their other titles. Hence, the first Fantastic Four issue saw them come to Monster Island to fight the Mole Man and his group of monsters. In the second issue, the team takes on the shapeshifting Skrulls. Note that the Fantastic Four wasn't even using costumes. Check out the utterly bonkers solution that Reed Richards comes up with to stop the Skrulls from invading the planet...

Reed Richards went hardcore at the end of the issue, where he hypnotizes the remaining Skrulls on Earth to become cows!

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83. "Fighting Side-By-Side With... Captain America and Bucky !" Sgt. Fury and His Howling Commandos #13 (1964)

One of the interesting things about the early days of Sgt. Fury and the Howling Commandos is that Lee was very dedicated to the book being its own thing and not tied into the Marvel superhero universe. He had obviously already shown that he and Kirby could do a great superhero series, but now he wanted to diversify. Of course, he dropped that almost right away by having a young Reed Richards in issue #3 (and then Baron Zemo in #8). Of course, when you launch a book set in World War II when Marvel had a bunch of notable World War II superheroes, then fans are going to ask about them being included in the series. Finally, Lee and Kirby (along with inker Dick Ayers, who had the longest association with the Sgt. Fury series of anyone) gave in to fan demand by having Captain America team up with Fury and his Howlers. What's interesting is seeing the way that Steve Rogers and Bucky Barnes were sable to sneak into the German camp. Some Nazi Youth just shows up out of nowhere? Okay, sure, why not!

This leads to a really great action sequence, though...

This led to a long association of Fury and Captain America in the years to come.

82. "Sub-Mariner Versus the Human Race!" Fantastic Four Annual #1 (1963)

When Marvel finally decided to launch annuals for its comic book series, you know that Lee and Kirby believed that they had to come up with something particularly special to start doing them, so they came up with an epic idea for the first Fantastic Four Annual, with inks from Dick Ayers. You see, after bringing Namor into the Silver Age in Fantastic Four #4, the former king of Atlantis has been apart from his people for the whole time. That finally changed in this annual, which has Namor finally find his home. There is a great sequence where the United Nations discuss the merits of admitting Atlantis into the international community. There is a great bit where Khrushchev objects to the situation (he seemed to guest star in every other issue of Marvel Comics at the time). Then, of course, the professor discussing Atlantis turns out to be Namor himself! How insane is that? The invasion of New York City begins!

It is a testament to how crazy Lee and Kirby's Fantastic Four run was that this didn't even seem like that big of a deal at the time. Kurt Busiek and Alex Ross did a great job in Marvels showing just how huge it was for New York City to be INVADED!

81. "Lo, This Monster" Spectacular Spider-Man #1 (1968)

As noted earlier, Stan Lee was chomping at the bit in the late 1960s/early 1970s to expand Marvel's presence in the comic book world beyond just comic books. Lee was always looking for new angles and thus, one of his big ideas was to take the success of his Amazing Spider-Man run with John Romita and expand it to the world of black and white magazines with Jim Mooney working over Romita's layouts (so that Romita could continue to work on Amazing Spider-Man, as well). Spectacular Spider-Man #1 was basically a riff on the famous Andy Griffith film, A Voice in the Crowd, that really stands out as oddly topical now...

Of course, in this instance, the socio-political part of the story takes a side note to the fact that the bad guy trying to become Mayor of New York City has enlisted a giant monster-like being to "hate" him and thus, Spider-Man has to fight this oddly designed Frankenstein's monster creature, but hey, the fact that they could get into any socio-political stuff at all was a nice step up for Lee at the time. Like Savage Tales, this ended up not lasting that long, but it made a sizable stamp on Spider-Man history. Later, when Lee left Amazing Spider-Man, Marvel found a clever way to extend his run by extending this story into three issues of Amazing Spider-Man.