As the year 1972 began, Jack Kirby had only two issues left to go in his Jimmy Olsen run. According to Mark Evanier (one of Kirby’s two assistants at the time), the writer-artist-editor hadn’t been enjoying the assignment all that much, and it’s probably safe to assume that he wasn’t sorry to see the end of it. Nevertheless, before making his exit from the “Superman family” of DC Comics titles, Kirby would take the opportunity to deliver on an implicit promise regarding the Man of Steel which he’d made his readers at the end of Forever People #1, published a little over a year previously… Read More
In November, 1971, the lead story in Mister Miracle #6 had concluded with the titular hero resolving to return to the planet Apokolips — from which he’d escaped just prior to the beginning of his series, only to be regularly menaced by its forces on Earth ever since — to win his freedom “their way!! — in trial by combat!!” Two months later, Jack Kirby’s cover for Mister Miracle #7 indicated that he would indeed be making such a journey within its pages — and also that the “Super Escape Artist” would, not unexpectedly, encounter more than a bit of trouble before achieving his goal. (Not that we readers of January, 1972 would have wanted it any other way, of course.) Read More
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
In considering the last third of Jack Kirby’s run on Jimmy Olsen — a run of five issues beginning with #144 that starts out pretty well, but finishes up rather anticlimactically, with a number of tantalizing plot threads left simply dangling — it’s probably worth remembering that Kirby was never all that excited about chronicling the adventures of “Superman’s Pal” in the first place.
In a 2011 blog post concerning JO #144, Mark Evanier (one of Kirby’s two assistants in 1971) wrote:
Jack didn’t much like working on Jimmy Olsen. It was someone else’s character, someone’s else’s book…and when you worked on the “Superman family” comics then, you had to coordinate with a half-dozen other editors who also had Superman (and sometimes Jimmy) in their comics… Many at DC hated the way Jack drew Superman and Olsen and his renderings of those characters were being redrawn by others… and Kirby was just sick of the assignment.
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
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 #116. Read More
The subject of today’s blog post is probably the best known issue of writer-artist-editor Jack Kirby’s DC Comics title Mister Miracle — or, if not that, at least the most referenced. Its contents are mentioned in most comprehensive histories of American comic books, as well as in the majority of biographies not only of Kirby himself, but also of Stan Lee, Kirby’s primary collaborator at DC’s main rival, Marvel Comics. Most of you out there reading this probably know the reason why; it’s all down to a certain character who, while he doesn’t actually appear on the comic’s cover by Kirby and inker Mike Royer, does have his debut heralded there: “Introducing.. Funky Flashman! Villain or Hero — You Decide!”
And why was — why is — Funky Flashman such a big deal? Because, as Jordan Raphael and Tom Spurgeon so aptly put it in their 2004 book, Stan Lee and the Rise and Fall of the American Comic Book, Funky represented Kirby’s “considered vivisection of his old creative partner.”
But, here’s the thing — back in November, 1971, my fourteen-year-old self didn’t get that. At all. Read More
Regular readers of this blog may have noticed, and perhaps even wondered at, the absence of Jimmy Olsen in recent months. After all, beginning with the advent of Jack Kirby as writer-artist of the adventures of Superman’s freckle-faced pal with JO #133, we’ve devoted an entire post to each and every issue of the series, sans one (that one being #139, featuring the first half of the “Goody Rickels” two-part storyline) — or at least we had done so, up through #141 (the second half of said two-parter). Since July, however, there’s been no sign of the red-headed reporter for the Daily Planet around these parts. So, well might you wonder: what’s up with that? Read More
Over the six years that I’ve been producing this blog, I’ve found the fifty-year-old comic books I write about here — all of which I bought off the stands when they first came out — generally fall into one of three categories. First, there are those comics that I liked, or even loved, when I originally read them, but which don’t hold up all that well today; though I can usually still find things to enjoy about these books, it’s by considering them either through the rosy lens of nostalgia, or at something of an ironic distance — sometimes both. Second, there are those comics which, allowing for the inevitable changes in popular tastes and prevailing styles that have occurred over the last half-century, still hold up quite well indeed; such books continue to provide an entertainment experience that can be recommended to other readers with few if any reservations.
And then there’s the third, as well as the smallest, category: the comic books that I didn’t enjoy as much when I first bought and read them as I do today. The comic books that I needed to grow into to fully appreciate. Read More
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