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
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
A half-century after the fact, I’m at something of a loss to explain why I stopped reading Amazing Spider-Man for almost an entire year, after my subscription ran out with issue #85 in March, 1970. Regular readers of this blog may remember that my younger self went through a period of being considerably less interested in comic books than I previously had been, a period that began in the fall of 1969 and extended through the next spring. But my subscription had actually carried through the bulk of that time span, as it had for my other favorite Marvel comic of the time, Fantastic Four; and I was back to picking up FF, at least occasionally, by June, 1970. Somehow, though, even as late as February, 1971 — well after I’d resumed buying Avengers, Daredevil, and other Marvel standbys on a semi-regular basis — I was still avoiding becoming reacquainted with May Parker’s favorite nephew.
Until Amazing Spider-Man #96, that is. This one brought me back into the fold. Read More
While I can’t claim to have strong, specific recollections of my thirteen-year-old self’s reactions to the cover of Forever People #2 the first time I saw it, sometime in February, 1971, I’m sure I must have found it at least somewhat startling. Mainly because the five titular heroes — presumably the stars of the book — were relegated to a row of floating heads at the bottom (where they might not even have been visible on the spinner rack), while a brand-new character, Mantis — evidently the villain of the piece — took the front and center spot. Even the Forever People’s ally/secret weapon/kind-of-alter-ego, the Infinity Man, was relegated to the background, completely overshadowed by this “evil power vampire!”
Power vampire? I definitely recall being struck by the use of that latter word in the cover copy. This was likely just because I was interested in vampires, thanks to my enthusiasm for the daytime television serial Dark Shadows. But it may have also resulted at least in part from my subconscious realization of how unusual it was to see that word on the cover of a comic book — at least one published by either of my two favorite companies, DC and Marvel. Read More
By the time DC Comics released New Gods #1 on December 22, 1970, we readers were beginning to get some sense of the scope of the conflict at the heart of the imaginative construct we would eventually come to call Jack Kirby’s Fourth World.
Information had been delivered on a steady, if limited basis since the release of Kirby’s first new comic for DC, Jimmy Olsen #133, back in August. There we’d been introduced to Inter-Gang, a shadowy criminal organization whose insidious reach extended even into the everyday workplace of the DC Universe’s premiere superhero and his closest friends. In the following issue, published in October, we’d learned that Inter-Gang reported to someone called Darkseid; and in November’s JO #135, we’d discovered that this craggy-faced figure was also the boss of a couple of aliens, hailing from a world named Apokolips, who managed an Evil Factory where they conducted sinister experiments with human DNA — with the clear implication that Darkseid shared their extraterrestrial origin. Finally, in Forever People #1, published December 1st, we’d met a group of strangely garbed — and gifted — young folks from someplace called Supertown, who arrived on Earth by a bizarre means of transport called a Boom Tube. One of their number had been kidnapped by none other than Darkseid, who had come to our world in search of an “ultimate weapon” called the Anti-Life Equation — and it seemed clear that while Darkseid himself might not be from Supertown, he and these Forever People were nevertheless connected in some way. Read More
In December, 1970 — a little over three months after the appearance of Jack Kirby’s first new comic book work for DC, in Superman’s Pal, Jimmy Olsen #133 — the first of the creator’s three brand-new titles for the publisher finally had its debut, with Forever People #1. The comic’s cover, pencilled by Kirby and inked by Frank Giacoia, was a powerful (if somewhat busy) invitation to check out the story within — a story which, via its inclusion of Superman, was clearly set smack-dab in the middle of the DC universe every bit as much as Jimmy Olsen was.
But DC could have put the book out with nothing on the cover but the title, and it would have sold just as readily to my thirteen-year-old self. Because after three wildly imaginative, breathlessly paced issues of Jimmy Olsen, I couldn’t wait to see what “King” Kirby would give us next. Read More
In August, 1970, when DC Comics released Jimmy Olsen #133 — the first new comic book produced for the publisher by Jack Kirby to make it to print — they marked the occasion with a “Kirby Is Here!” banner headline (a consummation of the “Kirby Is Coming!” promotional campaign they’d been running the last couple of months), topping a cover drawn (mostly) by Kirby himself.
Two months later, when the publisher brought out their second Kirby comic, they continued to use his name as a selling point, with the cover’s banner headline now proclaiming “A King-Size Kirby Blockbuster!” (“King-Sized” was in fact not an entirely accurate description, since both the physical comic itself and the featured story within were of standard length; perhaps DC was trying to evoke the “King” nickname that Kirby had acquired at his former employer, Marvel Comics.) But the cover illustration itself wasn’t by Kirby, this time; rather, it was the work of Neal Adams. Read More
By August, 1970, I’d been buying and reading comic books for a full five years. Somehow, however, in all that time, I hadn’t yet sampled an issue of Jimmy Olsen.
I’m not really sure why that was. My very first comic book had been an issue of Superman, after all, and I’d picked up a couple of Lois Lanes pretty early on, as well. And I don’t recall having anything particularly against the red-headed cub reporter (in comics, anyway — I think I always considered the version played by Jack Larson on the live-action TV show to be kind of a doofus). Indeed, as best as I can remember, I actually kind of enjoyed Jimbo’s appearances in World’s Finest, where he basically functioned as the Robin to Superman’s Batman, as well as having his own team-up thing going with the genuine Boy Wonder on the side (the Olsen-Robin team even had their own secret HQ, the Eyrie). Read More