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
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
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
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!”
With this post, we’re taking a short break from Giant-Size Marvel Month to pay a brief visit to the DC Universe — more specifically, to that section of it known as Jack Kirby’s Fourth World. When last we looked in on the New Gods, our hero Orion had assumed the earthly disguise of “O’Ryan” just in time for he and his ally, P.I. Dave Lincoln, to go into action against Inter-Gang — the human criminal organization allied with the forces of Apokolips — and their plan to take out Earthly communications technology for thousands of miles. While the duo were able to thwart Inter-gang’s immediate plot with the secret aid — or at least the presence — of the mysterious Black Racer, the organization itself was hardly slowed down — as Orion would learn as early as the next issue.
In New Gods #4’s “O’Ryan Gang and the Deep Six”, the war between Apokolips and New Genesis enters a deadly new phase, as for the first time — or at least the first we readers have been privy to — a denizen of the latter god-world falls to enemy forces upon our own Earth. Pulled from harbor waters by police officers, he is recognized by Orion: Read More
The Black Racer is undoubtedly one of the most enigmatic and ambivalent characters who ever appears within the pages of Jack Kirby’s Fourth World comics. Somewhat ironically, however, his creator appears not to have originally intended him to be part of the sprawling cosmic epic that ran through his DC titles in the early 1970s. According to Mark Evanier, who was working as an assistant to Kirby during that period:
At the time, it was intended as a stand-alone series, utterly unconnected to the NEW GODS, FOREVER PEOPLE or MISTER MIRACLE series, and what Jack wanted to do was to hold a big talent hunt to find a young black writer and a young black artist- or maybe one person who could do both under Jack’s supervision. He presented this all to Carmine Infantino, who was then the guy in charge at DC, and Infantino convinced Jack to launch the character himself…and to do so right away, in the pages of one of the above-mentioned three comics. (“The Soul of Willie Walker”, The Black Racer and Shilo Norman Special [Oct., 2017].)
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