Lois Lane #111 (July, 1971)

In May, 1971, DC Comics continued to chronicle the ongoing saga of the war between the god-worlds of New Genesis and Apokolips in three new releases:  Mister Miracle #3, Jimmy Olsen #139 — and Lois Lane #111.

True, the progenitor of that cosmic saga, Jack Kirby, neither wrote, nor drew, nor edited the third of the comic books listed above; indeed, he may not even have served as an informal consultant in its production.  Nevertheless, the latest episode in the continuing adventures of “Superman’s Girl Friend” leaned heavily on concepts developed by Kirby for Jimmy Olsen, with a plot centered on an attempt by the minions of Darkseid, Lord of Apokolips, to assassinate Lois’ mighty beau.  And why not?  Whatever else Kirby’s Fourth World was, it was clearly part of DC’s  shared universe, with especially strong ties to Superman’s corner of that fictional world; after all, in his guise of Clark Kent, Superman even had a minion of Darkseid for his boss.  It only made sense, therefore, that the cosmic conflict at the heart of Kirby’s four series (which included Forever People and New Gods in addition to Jimmy Olsen and Mister Miracle) would eventually spill over into the rest of DC’s line — and that any stories resulting from such a spillover would and should “count”, continuity-wise, every bit as much as did the King’s.

At least that’s how my thirteen-year-old self saw the matter, fifty years ago; and since I was then avidly following any and all developments in the Fourth World saga, that was enough to get me to pick up my first issue of Lois Lane in almost five years.  Read More

Superman #238 (June, 1971)

Please –-” begs a kneeling Man of Steel on the cover of Superman #238, “You’re the only one on Earth who can help –”

No!” replies the figure standing before him with arms impassively folded.  “I am not human!  I care nothing for you and your world!”  The figure is Superman’s doppelgänger in every respect — save that it appears to be made completely out of yellow sand.

If all that you knew about early-’70s Superman comics was what you’d previously read on this blog, you’d still be able to tell that quite a bit had happened since the last issue I wrote about, back in November.  In that heralded first installment of “The Amazing New Adventures of Superman”, a scientific experiment gone haywire resulted in an explosion that  temporarily knocked our hero down and out, but then was revealed to have had the welcome, and apparently permanent, effect of turning all kryptonite on Earth into iron.  The first indication that something rather less welcome had also resulted from the blast came thirteen pages into the story, when Superman experienced a moment of weakness as he flew over the spot in Death Valley where he’d fallen during the explosion.  Two pages later, a figure slowly rose from the desert sands of that very spot, and while this “thing” had a marked resemblance to the Man of Tomorrow, it didn’t yet have a face — so you could hardly expect it to speak, as we now see it doing on Carmine Infantino and Murphy Anderson’s dramatic cover for issue #238 (which, incidentally, is the first Superman cover since #230 to be neither pencilled nor inked by Neal Adams.  Now you know.)

So, yeah, a lot happened in the last four issues.  Let’s see if we can get you caught up, shall we? Read More

Jimmy Olsen #138 (June, 1971)

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

Forever People #3 (Jun.-Jul., 1971)

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

Jimmy Olsen #137 (April, 1971)

Taken together, the first six issues of Jack Kirby’s run on Superman’s Pal, Jimmy Olsen — beginning with #133, and continuing on through #138 — comprise one long story, which, for purposes of discussion, can conveniently be broken down into three discrete parts, each two issues long.

In the first part (#133-134), Kirby hits the ground literally racing, introducing such new characters and concepts as the new Newsboy Legion, Inter-Gang, the Wild Area, the Outsiders, Habitat, the Zoomway, the Mountain of Judgment, and the Hairies — oh, and some fellow named Darkseid — without giving Jimmy, his pal the Man of Steel, or us readers, a chance to catch a breath.

Moving into the middle section (#135136), the writer-artist-editor slows things down a bit, as the headlong narrative comes to rest (at least temporarily) at the Project, a secret U.S. government initiative successfully experimenting with human cloning.  In these issues, the majority of scenes function in an expository mode — though that mode is significantly interrupted at one point by violent action, in the form of an attack from the Project’s rival operation, the Evil Factory.

Finally, in the third and final part, the pace ratchets up again, as the Evil Factory unleashes a second, more deadly assault on the Project — one which threatens virtually all of the characters and locales we’ve met in the series to date, including the entire city of Metropolis.  Read More

Jimmy Olsen #136 (March, 1971)

In early 1971, when the subject of today’s post blog first showed up on spinner racks, Jack Kirby had been producing new comic books for DC Comics for almost half a year.  Not only had three issues of Kirby’s debut project, Jimmy Olsen, been released by this time, but so had the premiere issues of his three brand new titles — Forever People, New Gods, and Mister Miracle (the latter actually hitting stands on the very same day as Jimmy Olsen #136, January 14).  He was becoming established (or, more accurately re-established) at the publisher, in other words.  Perhaps that’s the main reason that this fourth Olsen outing, unlike the first three, didn’t feature Kirby’s name anywhere on the cover; after five months, DC may have figured they no longer needed to tell us readers that Kirby Was Here — by now, we must know that, surely.  Read More

New Gods #1 (Feb.-Mar., 1971)

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

Forever People #1 (Feb.-Mar., 1971)

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

Jimmy Olsen #135 (January, 1971)

The month of November, 1970 brought comics readers the third installment of writer-artist Jack Kirby’s run on Superman’s Pal, Jimmy Olsen — a book which also happened to be the third installment of the massive, multi-title, interconnected epic that we’d eventually come to know as Jack Kirby’s Fourth World, though few if any of us who were reading the comics as they came out fifty years ago had more than the vaguest inkling of that fact.

But it hardly mattered, because Kirby was giving us so much to thrill to and wonder at in each issue of Jimmy Olsen on its own, with no need for reference to any larger narrative.  The “King” had come roaring out of the gate with his very first issue, #133, which set Jimmy and his new best friends, the Newsboy Legion, on a mission into the mysterious Wild Area, where they immediately got mixed up with a community of motorcyclists called the Outsiders, who made their home in a “tree city” called Habitat.  The next issue, #134, found Jimmy and company taking their super-vehicle, the Whiz Wagon, out onto a subterranean drag strip called the Zoomway, joining the Outsiders in a quest for the Mountain of Judgement — which turned out to be an enormous, high-tech mobile home, the headquarters of yet another hidden society, the Hairies.  In the issue’s climax, a bomb that had been surreptitiously placed in the Whiz Wagon was discovered and — with the help of Superman, who’d followed Jimmy and his colleagues to the Wild Area — dealt with just in time to prevent the Mountain of Judgement and its inhabitants from being blown to bits.  The issue ended with Jimmy’s new boss, Morgan Edge — the man who’d built the Whiz Wagon for the Newsboys in the first place, and then sent them and Jimmy into the Wild Area — reporting in to his own, secret boss: a forbidding-looking fellow named Darkseid.

Quite a lot to take in for just two issues, wouldn’t you say?  Read More

Superman #233 (January, 1971)

As a kid, I was a big fan of Superman.  But I wasn’t all that crazy about Superman comics.

Oh, I bought ’em, at least occasionally.  Indeed, the very first comic I remember buying for myself was an issue of the “World’s Best-Selling Comics Magazine!” (as the blurb on each issue’s cover confidently assured us).  But they tended not to make a terribly strong impression, especially as my experience of comics widened; to me, at least, it seemed that for every Superman #199 (which featured the first race between Superman and the Flash, and which my then ten-year-old self enjoyed very much), there was a Superman #198 (see left) which centered on an “impossible” (but not really all that exciting) situation, or a Superman #200 (see right), which devoted all of its pages to an “imaginary novel” whose events didn’t even happen to the “real” Man of Steel, and thereby didn’t count.  (Yes, I was that kind of comics fan, pretty much from the get-go.)  Read More