As was related in our post about Forever People #11 at the beginning of this month, Jack Kirby is reputed to have already begun work both on that comic and on New Gods #11 when he received word from DC Comics that those two issues would be the last for both titles. The official word was that the two series were being “temporarily suspended”; but Kirby seems to have known that this was truly the end for both of his cherished creations, at least for the foreseeable future.
While we’ll probably never know just how far the writer-artist had already gotten in plotting, drawing, or scripting either comic, there can be no doubt that he made whatever adjustments were necessary to be able to provide the readers of both Forever People and New Gods with not just one last adventure of the series’ titular heroes, but with an ending for each. In the case of Forever People, Kirby quite literally took his characters off the field, transporting them across the cosmos to an idyllic planet far from the battlefront between the warring god-worlds of New Genesis and Apokolips. Read More
In its design, the cover of New Gods #9 mirrors that of Forever People #9, the other Jack Kirby comic published by DC in April, 1972. Both covers feature a dominant image that excludes the comic’s titular stars, who are shunted off to a narrow. left-side border; both utilize a considerable amount of black in their color schemes, as well. This striking similarity seems unlikely to have been a coincidence.
In his indispensable book Old Gods & New: A Companion to Jack Kirby’s Fourth World (TwoMorrows, 2021), author John Morrow posits that, in both cases, the intent was to boost sales by making the books look less like superhero comics and more like something in the horror-mystery genre, which was then a successful niche for DC. Morrow suggests that this was part of a move by the company’s publisher, Carmine Infantino, to take a heavier hand in setting the course for these two titles, both ostensibly under the editorial control of Kirby. (Another known indicator of that heavier hand was Infantino’s directing Kirby to include Deadman as a guest star in issues #9 and #10 of Forever People, regardless of Kirby’s disinterest in the character.) Read More
Following two episodes set either on the ocean waves or on the god-worlds of New Genesis and Apokolips (the latter also being set many years in the past), in the eighth issue of New Gods writer-artist-editor Jack Kirby brought the action back to the city of Metropolis for the first time since issue #5. In doing so, he was required to pick up plot threads that had been left dangling ever since that issue, published six months earlier, as well as to re-introduce a significant new supporting character not seen since then. Of course, Kirby being the master storyteller he was, he could throw you right into the middle of the action — as he does on the very first page of #8 — and you’d find yourself acclimated almost immediately, even if you’d never read any previous issue of New Gods, let alone remembered the details of issue #5: 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
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
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].)
Jack Kirby’s cover for New Gods #2 may be considered of a piece with that of Forever People #2, out earlier the same month. Like its fellow installment in Kirby’s ongoing Fourth World saga, it features a black-and-white photo collage background, a dominant foreground figure, a set of floating heads…
And a whole lot of copy. Even the book’s title acquires a couple of extra words, so that a newcomer to the series might think they were picking up a copy of Orion of the New Gods, instead of the indicia-official The New Gods. It’s a busy cover, you might say.
That’s my sixty-three-year-old self talking, though. Back in February, 1971,when I first saw this cover at the age of thirteen, I doubt that the slightest critical thought passed through my mind. I might not even have done much more than give the cover a glance before buying the comic and bringing it home. I was, after all, already so invested in Kirby’s new epic that all I wanted to do was to open up the book to the first page, and find out What Would Happen Next. Read More
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