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
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 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.
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
Why Don Rickles?
That was the question I had, back in the spring and summer of 1971, as Jack Kirby devoted not just one, but two issues of Jimmy Olsen — the first two following the conclusion of his initial story arc for the series, a six-chapter saga that he’d begun in his very first issue — to a tale focused on the famous insult comic.
It’s not that my fourteen-year-old self had anything against Don Rickles; I actually thought the guy was pretty funny. But that didn’t necessarily mean that I wanted to see him — or any comedian, really — in my superhero comics. I certainly didn’t expect it, in any event. Read More
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
“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
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
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
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 (#135–136), 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