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.
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
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
A little less than half a century ago, in the letters column of Lois Lane #119 (Feb., 1972), reader Karl Morris of San Diego, CA commented favorably on the title’s recent use of elements from Jack Kirby’s Fourth World mythos, but expressed concern that writer Robert Kanigher might be treading on dangerous ground: “Unless he keeps a very close check on Jolting Jack, Rapid Robert might find himself out of sync with Kirby’s Fourth World. (Though God only knows how anyone keeps up with it!)”
Not to worry, responded LL‘s editor, E. Nelson Bridwell: “…the way we keep up with the Kirby epic is that yours truly proofreads all his mags when the artwork comes in from California, where Jarring Jack lives.” From there, Bridwell segued into a plug for the then-current issue of New Gods (#7) which, though obviously well-intentioned, arguably gave away more of that comic’s monumental Big Reveal than Kirby, or most of his readers, might have wished. But, hey, water under under the bridge; and besides, that’s not why we’re bringing all this up. Read More
With this issue of Superman, the story arc begun eight months earlier in the iconic #233 (“Kryptonite Nevermore!”) came to a close — and the revamp of the Man of Steel inaugurated in that issue by writer Denny O’Neil and editor Julius Schwartz was at last complete. But before we dive into issue #242’s “The Ultimate Battle!”, written by O’Neil and illustrated by his usual artistic collaborators, Curt Swan (penciller) and Murphy Anderson (inker), we’ll need to back up one month to take a look at issue #241’s “The Shape of Fear!”, by the same creative team — which not only leads right into #242’s concluding chapter of the “Sand-Superman saga”, but also follows directly from the previous chapter in issue #240 — which, of course, also happens to be the last issue we posted about on this blog.
As you may recall, that installment had ended with a moment of great personal triumph for Superman, who, though his powers had been thoroughly leeched from him by his mysterious sandy duplicate, had yet managed to save both himself and I-Ching (the mentor of Diana Prince, as seen regularly in Wonder Woman) from a vicious attack by the Anti-Superman Gang. But as we’ll soon see, the note of optimism with which that chapter ended is about to turn decidedly sour… 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