Behind an attention-arresting cover, which — like most others Jack Kirby produced for DC Comics around this time — was built around an imaginative photo collage (and which also, like the cover of the issue of Jimmy Olsen that had immediately preceded it, featured Neal Adams’ inks over Kirby’s pencils), the comics readers of April, 1971 — including your humble blogger — were treated to the thrilling conclusion of the first multi-part storyline (indeed, the first storyline, period) of the massive Fourth World project written, drawn, and edited by Kirby. Read More
In October, 1970, I returned to Marvel Comics’ Avengers after a hiatus of one full year, during which time I hadn’t bought or read the title at all. Avengers had been one of my most reliable Marvel purchases for a year or so prior to that break, but, for reasons lost to time, I was a little tentative about committing to the series again; and after buying (and, as I recall, enjoying) both #83 and #84, I sat out the next three months, not picking up another adventure of the Assemblers until #88, in March. That one seemed to do the trick, however, because from that point on I wouldn’t miss another issue. (Well, not until 1980 or thereabouts, anyway — but that’s another story.)
Or maybe it wasn’t #88 that sealed the deal — that Harlan Ellison-plotted issue, enjoyable as it was, essentially functioned as a lead-in to the same month’s issue of Hulk, and didn’t spend much energy encouraging readers to come back for the next month’s Avengers. Avengers #89, on the other hand, kicked off a multi-issue storyline that just kept building and building, never offering anything like a reasonable jumping-off point. By the time that storyline — the Kree-Skrull War, as we’d all quickly come to call it — came to an end with #97, it was December, and buying Avengers had become an ingrained habit for your humble blogger. Read More
The third issue of Forever People leads off with a cover very much in the vein of several of the other covers of Jack Kirby’s Fourth World comics that immediately preceded it in publication date, including that of FP #2; it’s built around a drawn image, pencilled by Kirby and inked by Vince Colletta, which is then set against a photographic background, and, finally, framed by copy — a lot of it. Based simply on this visual cue, one might expect this issue’s content to be as similar to that of the second issue as are the two books’ covers — i.e., for it to follow #2’s precedent of setting our young heroes from New Genesis against a powerful servant of Darkseid, a foe that ultimately can only be vanquished by summoning the more powerful adult champion Infinity Man to take their place, with everything being set back to the status quo by the end of the issue.
But if that’s what you were expecting, you’d be wrong. Because with Forever People #3, Kirby abandons the formula he seemed to have settled into with the prior issue’s adventure, moving instead into the first chapter of a four-part narrative considerably darker and more disturbing than anything we’ve seen in a Fourth World comic to date. Ultimately, this storyline will prove to be the central arc of the entire Forever People series (which, as most of those reading this likely already know, is doomed to meet a premature end with its eleventh issue), and one of the key narratives of the entire Fourth World project. It’s where Kirby’s great theme of radical freedom versus absolute control — or, in his formulation, Life versus Anti-Life — comes to the fore more fully than it has in any previous chapter. Read More