New Gods #11 (Oct.-Nov., 1972)

As was related in our post about Forever People #11 at the beginning of this month, Jack Kirby is reputed to have already begun work both on that comic and on New Gods #11 when he received word from DC Comics that those two issues would be the last for both titles.  The official word was that the two series were being “temporarily suspended”; but Kirby seems to have known that this was truly the end for both of his cherished creations, at least for the foreseeable future.

While we’ll probably never know just how far the writer-artist had already gotten in plotting, drawing, or scripting either comic, there can be no doubt that he made whatever adjustments were necessary to be able to provide the readers of both Forever People and New Gods with not just one last adventure of the series’ titular heroes, but with an ending for each.  In the case of Forever People, Kirby quite literally took his characters off the field, transporting them across the cosmos to an idyllic planet far from the battlefront between the warring god-worlds of New Genesis and Apokolips.  Read More

Forever People #11 (Oct.-Nov., 1972)

As I previously covered back in June in my post about the first issue of The Demon, sometime in the first half of 1972 DC Comics requested writer-artist-editor Jack Kirby to come up with a couple of new series concepts to complement the three titles already on his schedule.  The results were pitches for what ultimately became The Demon and Kamandi, the Last Boy on Earth — and DC liked them a lot.  Indeed, from Kirby’s perspective, they may have liked them a little too much. Read More

Jimmy Olsen #152 (Aug.-Sep., 1972)

Regular readers of this blog will recall how, over the past year, we’ve been tracking the Fourth World-adjacent story material that appeared in various “Superman” family titles — mostly in Superman’s Girl Friend Lois Lane — during the period that Jack Kirby was writing, drawing, and editing Superman’s Pal Jimmy Olsen.  The most significant piece of this material was that having to do with Morgan Edge, the head of Galaxy Broadcasting (and thus the boss of Lois and Jimmy, as well as of Superman’s alter ego Clark Kent).  Originally created by Kirby, Edge was introduced in his first Fourth World comic, Jimmy Olsen #133, as being secretly involved with the criminal organization Intergang — and thereby, as shown in the very next issue, also an operative of the dark lord of Apokolips, Darkseid.  More recently, however, it had been revealed in Lois Lane #118 that the Morgan Edge we readers had been reading about in all the Superman books wasn’t the real Edge at all — rather, he was an evil clone who’d been created by Darkseid’s minions in the Evil Factory to pose as the media mogul.  Read More

Mister Miracle #9 (Jul.-Aug., 1972)

In March, 1972, the lead story of Mister Miracle #8 had ended with a “Coming!” blurb promising that the very next issue would introduce readers to a “lovable old rascal” named Himon — billed not only as the man who’d mentored the series’ titular hero in his craft of escape artistry, but as an updated take on the character Fagin from Charles Dickens’ 1838 novel Oliver Twist.  With Ron Moody’s Oscar-nominated performance as Fagin in the 1968 film adaptation of the musical Oliver! still relatively fresh in the pop-cultural memory, readers might have been forgiven for expecting Mister Miracle #9 to be something of a romp — a tale one might read while listening to the movie soundtrack’s renditions of “You’ve Got to Pick a Pocket or Two” or “I’d Do Anything” playing in the background.

On the other hand, readers who’d been following the “Young Scott Free” back-up feature in the last few issues of Mister Miracle might suspect that such a level of jauntiness would be incongruous (to say the least) in the context of our hero’s upbringing on the hell-planet of Apokolips.  But even those readers might not be prepared for the reality of “Himon!” — probably the darkest and most brutal episode of Jack Kirby’s Fourth World epic yet to appear, although one that still ends on a strong note of optimism and hope.  Read More

New Gods #7 (Feb.-Mar., 1972)

Today’s post is one I’ve been looking forward to — with some trepidation as well as considerable anticipation — since I first began producing this blog, six and a half years ago.  That’s because its subject, DC Comics’ New Gods #7, is without question my single favorite comic book of all time.

Please note that I’m not saying that I think it’s the “best”, or “greatest” comic book of all time.  That would be a foolish thing to do, frankly, considering how many comic books have been published over the last century that I’ve never personally read.  I’m not even claiming that it’s the best or greatest comic book in my own collection (though I figure I could argue a strong case for it on that score, if the need ever somehow arose) — simply that, of all the thousands of comics I have read in the last 56 1/2 years, it’s the one I love the most.  And since love is entirely subjective and personal, I’m not required to justify why I favor it above all others, as I might if I were to declare that New Gods #7 is the indisputable worldwide GOAT, or whatever.

That said, I’m still eager — yes, and also anxious — to share this comic book with you, faithful readers, in the hope of having you understand, to whatever degree possible, just why I love it so much.  Read More

Forever People #7 (Feb.-Mar., 1972)

When we last saw the Forever People, they  — most of them, anyway — were in the process of disappearing.   In the climactic scenes of their sixth issue, their great enemy Darkseid had wielded the terrible power of the Omega Effect against the young gods from Supertown (as well as their new ally, Sonny Sumo), consigning them all to apparent oblivion — all, that is, save for the youngest of the group, Serifan, who was left to face the tender mercies of Glorious Godfrey’s Justifiers alone.

Now, writer-artist Jack Kirby (aided by inker Mike Royer) continues the story.  He opens issue #7’s chapter in a novel fashion, with a character — Highfather — who, while quite familiar to readers of FP‘s companion title New Gods, has only been spoken of in this series, never seen — until now:  Read More

Lois Lane #118 (January, 1972)

With this post, we continue our coverage of Lois Lane‘s forays into Jack Kirby’s Fourth World, courtesy of editor E. Nelson Bridwell, scripter Robert Kanigher, penciller Werner Roth, (primary) inker Vince Colletta, and uncredited Superman/Clark Kent head-finisher Murphy Anderson.  As you may recall, the intermittent usage of Kirby’s concepts and characters in the title had begun in #111, then resumed in #115 before continuing into #116Read More

Forever People #6 (Dec.-Jan., 1971)

When we last left the Forever People, at the conclusion of their fourth issue back in June, our young heroes were in desperate straits.  Having been captured by Glorious Godfrey and his Justifiers in #3, they had then been handed over to the not-so-tender mercies of Desaad, who’d imprisoned them in his own private “kingdom of the damned” — essentially a torture camp, though presenting itself to the outside world as an innocent amusement park called “Happyland”.  The young gods’ sole hope seemed to lie with their living, sentient computer, Mother Box — and with the stranger into whose care Mother Box had teleported herself: a young man named Sonny Sumo.  Read More

Lois Lane #116 (November, 1971)

A little less than half a century ago, in the letters column of Lois Lane #119 (Feb., 1972), reader Karl Morris of San Diego, CA commented favorably on the title’s recent use of elements from Jack Kirby’s Fourth World mythos, but expressed concern that writer Robert Kanigher might be treading on dangerous ground: “Unless he keeps a very close check on Jolting Jack, Rapid Robert might find himself out of sync with Kirby’s Fourth World.  (Though God only knows how anyone keeps up with it!)”

Not to worry, responded LL‘s editor, E. Nelson Bridwell: “…the way we keep up with the Kirby epic is that yours truly proofreads all his mags when the artwork comes in from California, where Jarring Jack lives.”  From there, Bridwell segued into a plug for the then-current issue of New Gods (#7) which, though obviously well-intentioned, arguably gave away more of that comic’s monumental Big Reveal than Kirby, or most of his readers, might have wished.  But, hey, water under under the bridge; and besides, that’s not why we’re bringing all this up.  Read More

Forever People #4 (Aug.-Sep., 1971)

The fourth issue of Jack Kirby’s Forever People brought us the second chapter in the five-part story arc which would prove to be the centerpiece of this ultimately short-lived series.  But, published as it was on the first day of June, 1971, the issue was also the harbinger of a new era for its publisher, DC Comics — marking the end of the 32-page comic book at the company (at least for the next eleven months), as the standard-size comic’s page length was increased to 48 pages, and the price raised from 15 to 25 cents.

I don’t actually know whether this particular issue was the very first 25-cent DC comic I myself saw or bought — unlike the occasion of DC’s last price hike, I have no clear memory of the specific comic that presented me with the sensation of “sticker shock” that surely must have accompanied my discovery of the change.  (And it was a change I would have been utterly unaware of until I was confronted by it at the spinner rack; DC had given no hint this was coming in the past month’s books, and I was not yet plugged into any fan networks, formal or otherwise, that might have broken the news.)  But Forever People #4 could have been the first — it was in DC’s first batch of 25-cent releases, for sure — so I’m going to use its release as a platform for discussing the change.  Read More