Hi Rob, I really enjoy Kirby Dynamics. I check in every day. I noticed your scan for Amazing Adventures number two was fairly poor so here is a nicer copy.
Thanks. Jim P.
Thanks for sending that in Jim. Great example of Jack’s classic, influential monster cover art.
// Hi Rob, Just a quick note on your posting Droom Meets Zemo.
Marvel reprinted the entire Amazing Adventures
/Amazing Adult Fantasy
run in a big hardcover omnibus in 2007. Like all their omnibus editions, it was quite expensive, but well worth the money (and still a lot cheaper than the original comics), as all the material in it is superb. – John
Thanks John. I believe this is the cover to the book John is talking about. Interesting that it’s signed Stan Lee and Steve Ditko. I wonder if Lee did some kind of layout for this and Ditko followed that? What I’d love to see would be a Complete Jack Kirby At Marvel series that reprinted all of Jack’s work for that company. I suppose because of the lawsuit that is unlikely at the moment. Years ago on the Kirby-l discussion forum Tom Brevoort informed us that Jack’s family doesn’t receive any royalties from reprints. Apparently there is some kind of death clause where after an artist has been deceased for x number of years (I think it’s 3 or 4) the family of the artist no longer receives any money from reprints. That means Jack’s family didn’t receive a penny from any of the Marvel reprints of Kirby work from any of those Essentials books or other reprint packages. I’d love to check this book out at some point, but I’d be more likely to do so if Jack’s family received even .01% of the profits.
Thanks to Paul E. for pointing out that the guardian character from yesterday’s post is officially known as “Ogar.” Here’s the actual panel from Black Panther # 3.
Paul directed me to this webpage. Yet another example of an obscure Kirby creation with plenty of potential that very well could be used for something like a Black Panther movie. I hear Arnold Schwarzenegger is planning to do action movies again — he could play Ogar. I pulled a few screencaps from the website. It’s interesting to see how fans have dissected this Marvel material so thoroughly. Thanks again to Paul for his feedback.
Hi Rob, Love your work on the Kirby Dynamics blog. Brilliant stuff, please keep posting, love seeing unseen work. Quick question, could you tell me who this character is? I love the armour and want to see more examples but can’t find a name. Thanks for your time, cheers! – Paul E.
Hi Paul, Thanks for checking out the k-blog. The armored character featured in the post Panther Art Colors appears in Black Panther# 3 (May 1977) on page 15. It would seem this character doesn’t have an acutal name in the story. Jack calls it the “Awesome Apparition” at one point and the Panther refers to it as the “Guardian of the Tomb,” but it looks like another typical Kirby throw-away character he added to the story. Jack was terrific at taking a character that you would only see for a few pages (then never again) and making it work by giving that character a creative costume design. It would be amazing if someone could go through all of Jack’s comics and put together a list of all the various unnamed extras and pedestrians that Jack created over the years. There must be thousands of them. Here are two action pages featuring the Guardian of the Tomb character from the same book. Kirby still at the top of his game.
Here is the final fate of the “timeless warrior” character. Ouch!
Here’s a guest post from author, publisher and Kirby Historian Kenn Thomas:
Tom Scioli, who did the very Kirby-inspired Godland series with Ben Ten co-creator Joe Casey, took over the art on Captain America Hail Hydra with the second issue, now on sale. The first issue was competently done but non-descript like most of Marvel’s corporate product. The second issue is remarkably distinct, however, a comic with some actual style. Scioli’s Kirby influence is as evident and oddly unique as ever, but it’s difference from standard fare makes it must see. Think of how Pat Boyette’s comics looked in the back drop of comics of their day. A too rare look at an artist with some stylistic cajones.
OMAC #5 (May 1975) double page spread. Kirby/Berry. The top image is a scan of the original artwork where the owner of the piece cleaned up the image (removing any indications of white out or production notes). Below that is the published image.
In the future I might write a little more about this spread, but for now please zoom into it and look at all the various characters: how they are composed, and how they interact. This is a great example of how Jack is telling you a lot of little stories within a story based on the spatial relationships between the various characters.
Destroyer Duck# 2 artwork. Pages 10, 11, and 14. Excellent job by Alfredo Acala on this cover. The interior work is an obvious parody of Frank Miller’s Daredevil work from the 1980s. Jack does some great action sequences here. Notice the creative page design of page 10.
The gag: the character here is using carving forks (or probably fireplace toasting forks) instead of a sai.
An example of Frank Miller’s 198os Daredevil work and one of the promotional posters for the 1990s Elektra film.
Yesterday’s post was actually written several months ago, and kept getting knocked back in the queue when I’d insert a new post so that is why the art scans were smaller than usual — on blogspot I couldn’t post HQ images. Here is a much better scan of the original artwork from page 1 of Fantastic Four# 74 (1968), Kirby/Sinnott. Click on the image to zoom in and see the details. Beautiful, classic piece of Kirby/Sinnott FF. The scan is from Heritage Auctions archives — the art sold for $23,900.00 in 2010.
I think it’s fun to look closely at Sinnott’s gorgeous brushwork and penwork.
I suppose the change in Alicia’s hair may have been made by another inker following Lee’s instructions, but it looks like originally her hair was a little darker and maybe it was Sinnott who decided to lighten it by eliminating some of the black lines with white-out, then redoing the lines.
The original artwork for Fantastic Four # 74, pg. 1 (1968).
Taking a closer look at the art, underneath the lettering you can see Stan Lee added text using a blue pencil in the word balloons.
It looks like Joe Sinnott must not have been satisfied with Alicia’s hair so he used white-out to fix some of the details. I wonder if he decided to lighten her hair or this is simply an example of his perfectionism where he wanted to make sure every single line was consistent. The image here looks almost fluorescent.
Some details on the Silver Surfer. In many ways, Sinnott’s brushwork delineating the Surfer’s metallic sheen has become almost as distinctive as Jack’s original design.
I’m always amazed how Joe puts 100% of his skill into every detail, even this statue in the corner, also note the line variety hinting at the texture of the rug.
It’s funny to look at original production artwork and see where before computers came into use, the production personnel would cut out the month and date, then tape it to the publication information at the bottom of the page. Below you can see examples where it looks like that data may have peeled off, and in the next example, the number 8 and 4 are affixed to the artboard.
The famous Lee/Kirby blurb.
Jack’s margin notes were cut off in production, but you can barely make out the text: “He has visitor — Silver Surfer is despondent.”
A scan of the published artwork.
A xerox of the original artwork & the published page from Omac # 5 (May 1975), Kirby/Berry. Great Kirby-tech in panel one.