These introductions and anecdotes are "more fantasy than historic," in which Lee falsely bestows on himself "almost all of the creative credit... while underplaying the contributions of figures such as Jack Kirby and Steve Ditko.

[1] These sequels also have the same textual errors because Stan Lee falsely took creator credit for himself even though the comic books had "as much or even more to do with Jack Kirby and Steve Ditko and their fellows.

"[3] The book contained the following stories: The cover was illustrated by John Romita Sr. A contemporary review in the Saskatoon Star-Phoenix criticized Lee's bombastic style: "Though his patronizing tone is entertaining for the first few paragraphs, he seems to forget one of his own conclusions about the readers of comics books [sic], that they are not necessarily youthful devotees who are accustomed to being lectured, but rather may be reasonably intelligent and educated people who will quickly tire of Lee's self-centred and falsely casual manner."

In a florid passage, Bradbury wrote, "I sing the full wide-open-alert-unbiased, sometimes splendidly mediocre, pig-that-flies man and woman and their dirty children with bright faces.

It takes an embarrassing [sic] combination of pretentiousness, awkwardness, insecurity, and ignorance to write a sentence like, 'Myself when born was christened Stanley Martin Lieber — truly an appellation to conjure with.'"

Writers on Comics, Christopher Sorrentino points out that, in the mid-70s, the stories chosen to represent the modern style were all from the late 1960s: "The message coming through loud and clear was that Marvel had already peaked.