Author Archives: John Morrow

About John Morrow

John Morrow has been publishing and editing the Jack Kirby Collector for twenty years, and is a founding trustee of the Jack Kirby Museum.

Key Late Career Moments

This timeline was first published in TwoMorrows Publishing’s Spring 2014 The Jack Kirby Collector 63. Many thanks to John Morrow for allowing us to publish it here. Suggestions or corrections are welcome, please use the comments section below. –  Rand

Continuing our look at key moments in Jack’s life and career from TJKC #60 (which covered Marvel in the 1960s) and #62 (which covered 1970-1975), we present this timeline of key moments that affected Kirby’s tenure after he left DC Comics in 1975. Of invaluable help were Richard Kolkman (who sent me an extensive list to begin work from), Eric Nolen-Weathington, Ray Wyman, Tom Kraft, Glen Gold, and Rand Hoppe, as well as Mark Evanier’s book KIRBY: King of Comics and Sean Howe’s Marvel Comics: The Untold Story.

This isn’t a complete list of every important date in Kirby’s later career history, but should hit most of the main ones. Please send us additions and corrections. Next issue, I’ll work on pivotal moments in Jack’s 1940s-1950s career with Joe Simon.

My rule of thumb: Cover dates were generally two-three months later than the date the book appeared on the stands, and six months ahead of when Kirby was working on the stories, so I’ve assembled the timeline according to those adjusted dates—not the cover dates—to set it as close as possible to real-time.

Early 1970s

  • May 30, 1972: Kirby signs an agreement with Marvel, effectively relinquishing any claim he might have to the copyright on Captain America. This document is used against Joe Simon’s efforts to secure the copyright on Captain America Comics #1-10.
  • Late 1972: Rocket’s Blast Comic Collector #94 features an erroneous newsflash titled “Kirby Leaves DC,” which speculates what might happen if Kirby returned to Marvel. The article creates quite a stir in fandom.
  • Summer 1974: Neal Kirby asks Roy Thomas to meet the Kirbys for coffee at the San Diego Comic-Con, to determine Marvel’s possible interest in having Jack return. Roy tells Jack he and Stan would be glad to have him back.


  • Early 1975: It is presumed that Kirby talks with Stan Lee regarding the possibility of Kirby returning to Marvel.
  • February 20: Longtime Marvel letterer Arthur “Artie” Simek dies.
  • March 18: Kirby visits the Marvel offices for the first time since his departure in 1970. The visit takes place on the Monday before the 1975 Mighty Marvel Con (March 22–24). Marie Severin spots Kirby going into Stan’s office, and yells down the Marvel halls, “Kirby’s back!”
  • March 24: Kirby signs a three-year contract with Marvel (valid through April 30, 1978), and appears at the Mighty Marvel Con held at the Hotel Commodore in New York City. Kirby stuns MMC attendees with the announcement of his return, and in regards to what he will be doing for Marvel, Kirby says, “It’ll electrocute you in the mind!”
  • May: Barry Alfonso’s fanzine Mysticogryfil #2 features an interview with Kirby.
  • May 25: Wings’ album Venus and Mars featuring the song “Magneto and Titanium Man,” is released (the cover of the 45 rpm single is shown above, which featured re-purposed non-Kirby art from Marvel).
  • June 2: Menomonee Falls Gazette V4, #181 features an interview with Kirby.
  • July: Mediascene #15 features a preview article entitled “The King Returns.”
  • August (October cover date): The Marvel Comics Bullpen page announces, “The King is Back! ’Nuff said!” and lists his future projects as 2001, Captain America, and a giant Silver Surfer book.
  • September (November cover date): New Kirby covers hit the stands: Fantastic Four #164, Invaders #3, Iron Man #80, Ka-Zar #12, Marvel Premiere #26 (featuring Hercules), Marvel Super-Heroes #54 (featuring Hulk), Marvel Two-in- One #12 (guest-starring Iron Man), and Thor #241.
  • September: Captain America #192 features a next issue promo with art by Kirby and Frank Giacoia (next page, top).
  • September: FOOM #11 features a preview of 2001: A Space Odyssey, cover art for Captain America #193 and #194, and “Kirby Speaks,” an interview with Kirby.
  • September: Kirby ignores editorial pleas to integrate the rest of the Marvel Universe into his Captain America series.
  • November (January 1976 cover date): Captain America #193 is published, beginning the “Madbomb” storyline, which is timed to end on America’s bicentennial.
  • November 15: Jack completes the first draft of his Silver Star screenplay.
  • December: FOOM #12 features preview art for an “Ikaris the Eternal” series, later to be renamed The Eternals.


  • January (March coer date): The Bullpen Bulletins page features the blurb, “Who Is He?” with an image of Ikaris.
  • February (April cover date): Kamandi #40, featuring the last of Kirby’s 1970s art for DC, is published.
  • February: The Comic Reader #127 announces a new Marvel series Return of the Gods (ie. The Eternals) along with Kirby’s cover art for the first issue.
  • May (July cover date): Bullpen Bulletins page announces The Prisoner. According to Mediascene (Nov.–Dec. 1977), Marvel’s Prisoner series began as a proposal by editor Marv Wolfman, followed by a Steve Englehart and Gil Kane effort which Stan Lee rejected. Lee then gave the series to Kirby to write and pencil. Kirby penciled one 17-page issue, which was partially inked by Mike Royer, before Lee cancelled the project altogether.
  • May (July cover date): Eternals #1 published.
  • June (August cover date): Captain America #200 is published.
  • June 8: The treasury sized Captain America’s Bicentennial Battles is published.
  • June 22: Kirby and his family meet Paul and Linda McCartney backstage at a Wings concert at the L.A. Forum via Gary Sherman. Kirby gives McCartney a drawing of Magneto (referencing McCartney’s song) to commemorate the occasion.
  • July (September cover date): Bullpen Bulletin page announces that Roy Thomas is to join “Marvel West” along with Kirby and Mike Royer.
  • July: The Marvel Treasury Special 2001: A Space Odyssey movie adaptation is released.
  • August (October cover date): Hulk Annual #5 is published. The story features a bevy of Jack’s Atlas-era monsters, such as Groot, Titan, and Goom, with a new cover by Kirby.
  • September (November cover date): Fantastic Four #176 is published featuring a Kirby/Joe Sinnott cover with Impossible Man. Kirby, along with the Marvel Bullpen, appears as a character in the George Pérez-drawn story inside.
  • October (December cover date): 2001: A Space Odyssey #1 (a new ongoing series) is published.
  • Late October-Early November: Kirby visits Lucca, Italy as Guest of Honor at the Lucca Comic Art Festival, his first international comics convention appearance.
  • November (January 1977 cover date): Black Panther #1 is published. As with his Captain America stories, Kirby isolates the title from the rest of the Marvel Universe.
  • December: FOOM #16 features a preview of the Marvel 1977 Calendar, featuring artwork by Kirby.


  • January: “Stan’s Soapbox” announces the Silver Surfer graphic novel is to be written by Lee and drawn by Kirby.
  • February 1: Kirby submits his art for The Prisoner.
  • March (May cover date): Marvel Two-in-One #27 is released, featuring a Kirby/Sinnott cover with Deathlok.
  • March 14: Kirby hands in concept art and plot concept for the Silver Surfer graphic novel to “Stanley” Lee, and Lee begins scripting.
  • May (July cover date): 2001 #8 is published, introducing Mister Machine. Ideal Toys, having rights to the name, convinces Marvel to rename the character, 75 and Kirby re-dubs him “Machine Man” in the first issue of his solo series.
  • May (July cover date): “Bullpen Bulletins” announces an adaptation of the forthcoming Star Wars movie, which would open to general audiences on May 17. Though not known at the time, Star Wars would feature themes and characters remarkably similar to Kirby’s Fourth World series.
  • May 12: The Star Wars movie premieres.
  • May 20: Kirby works on concept art for Devil Dinosaur under the working title Devil Dinosaur of the Phantom Planet. An earlier working title was Reptar, King of the Dinosaurs.
  • June (August cover date): Eternals #14 is published, featuring a cosmic-powered Hulk, in a feeble nod to tying the series to the Marvel Universe.
  • July (September cover date): 2001 #10 is published, announcing Machine Man will receive his own title.
  • August (October cover date): Captain America #214 is published, marking the final issue of Kirby’s run.
  • October: Pizzazz #1 features a page of Kirby artwork for “2001 Compute-a-Code”. It is the only published artwork Larry Lieber would ink over Kirby pencils.
  • November (January 1978 cover date): Eternals #19, the final issue of the series, is published.
  • November 19: Longtime Marvel production staffer and occasional Kirby inker “Jumbo” John Verpoorten dies at age 37.


  • February (April cover date): Machine Man #1 and Devil Dinosaur #1 are
  • Early 1978: DePatie-Freleng begins development of a Fantastic Four half-hour cartoon to air in 1979, with Kirby drawing storyboards.
  • Spring: FOOM #21 introduces H.E.R.B.I.E. (earlier named Charlie and Z-Z-1-2-3), a robot member of the Fantastic Four team designed by Kirby for the DePatie-Freling FF cartoon. The rights to Human Torch were tied up with another production company, so DePatie-Freleng used H.E.R.B.I.E. as a stand-in.
  • March: Ballantine Books publishes Sorcerers: A Collection of Fantasy Art, featuring an essay by Kirby, showcasing several unpublished pieces of his personal art.
  • April: The Comics Journal #39 features an article titled, “From Dinosaurs to Rockets: Kirby Strikes Out Again.” The article—along with letters printed in the Marvel letters’ pages and petty cruelty from members of the Marvel Bullpen staff—adds to Kirby’s growing discontent.
  • April 30: Kirby’s contract with Marvel expires and he decides not to renew it, and instead focuses on his animation career.
  • Late Spring: Kirby begins development on Captain Victory and His Galactic Rangers, including concept art and co-writing a screenplay with Steve Sherman.
  • July: Kirby begins working on concept art for The Lord of Light movie and theme park (based on Roger Zelazny’s novel of the same name). This artwork would later be used as part of a real-life CIA operation to rescue kidnapped diplomats, as depicted in the 2012 film Argo.
  • August (October cover date): What If? #11 is published. Written and penciled by Kirby, the story, titled “What if the Fantastic Four Were the Original Marvel Bullpen?” features Kirby, Stan Lee, Sol Brodsky, and Flo Steinberg as the FF.
  • August: The Comics Journal #41 features an article titled, “Kirby Quits Comics.”
  • September (November cover date): Fantastic Four #200 is published, the cover of which being Kirby’s final work on the FF in comics.
  • October (December cover date): Machine Man #9 and Devil Dinosaur #9 are published—Kirby’s last ongoing series work for Marvel.
  • Fall: The Silver Surfer graphic novel is published by Simon & Schuster. Kirby and Lee share the copyright.
  • Late 1978: Development begins on the unrealized “Jack Kirby Comics” line of titles: Bruce Lee; Captain Victory and His Galactic Rangers; Reptar, King of the Dinosaurs; Satan’s Six; Silver Star (based on the existing screenplay co-written with Steve Sherman); and Thunder Foot.


  • Kirby produces an unfinished 224-page version of his novel The Horde, which is edited by Janet Berliner.
  • The Jack Kirby Masterworks portfolio is published by Privateer Press.
  • January: The Marvel 1979 Calendar features a Kirby Hulk drawing inked by Joe Sinnott. It is Kirby’s final published artwork for Marvel.
  • Early 1979: Stan Lee options the Silver Surfer graphic novel movie rights to producer Lee Kramer. The film is set to have a $25 million budget, with Olivia Newton-John attached to play the role of Ardina (as related in Marvel Comics: The Untold Story, pg. 215).
  • Kirby appears in a cameo role on the Incredible Hulk TV series as a police sketch artist.
  • June (August cover date): Fantastic Four #209 is published, introducing the Kirby-designed H.E.R.B.I.E. to comics.
  • September 2 (through January 13, 1980): Kirby’s adaptation of Walt Disney’s film The Black Hole appears in Sunday newspapers across America, and is later translated for foreign publications as well.


  • Kirby continues working as a storyboard and concept artist in the animation industry, particularly for Ruby-Spears Productions on Thundarr The Barbarian (example shown below). Kirby receives some of the best pay of his career, and for the first time, health insurance benefits.
  • October 11: The first episode of Thundarr The Barbarian airs, starting a highly successful syndication run for the series.


  • September (November cover date): Captain Victory and His Galactic Rangers #1 is published through Pacific Comics.
  • September (November cover date): Fantastic Four #236—the 20th anniversary issue—is published. Kirby demands the removal of his name from the cover, citing unauthorized use of his Fantastic Four storyboards inside for nefarious “celebratory purposes.”
  • Kirby works with Steve Gerber on the unused Roxie’s Raiders newspaper strip, comic book, and animated series for Ruby-Spears.


  • Battle For A 3-D World is published, with Kirby pencils, Mike Thibodeaux inks, and 3-D conversion by Ray Zone. The 3-D glasses that come with the comic state “Kirby: King of the Comics,” which is later misconstrued by Johnny Carson when he uses a pair as a prop on The Tonight Show, and inadvertently insults Jack on the air. He publicly apologizes to Jack on-air two weeks later.
  • January (March cover date): Destroyer Duck #1, featuring Kirby pencils, is published in an effort to raise money for Steve Gerber’s lawsuit against Marvel for the rights to Howard the Duck. Kirby also donates the cover art for the F.O.O.G. (Friends of Old Gerber) benefit portfolio.
  • January (March cover date): Kirby’s unpublished 1975 story for DC’s Sandman #7 is finally published in Best of DC Digest #22. It had previously only appeared, for copyright purposes, in DC’s Summer 1978 in-house ashcan inventory book Cancelled Comics Cavalcade, of which only 35 copies were produced by photocopying.
  • October 28: Kirby is interviewed on the TV show Entertainment Tonight by Catherine Mann.
  • December (February 1983 cover date): Silver Star #1 is published by Pacific Comics, based on Jack’s 1975 concept.


  • Kirby is commissioned by Richard Kyle to draw the autobiographical story “Street Code”.
  • February: Will Eisner’s “Shop Talk” interview with Kirby is published in Spirit magazine #39, featuring controversial comments by Kirby.
  • October (December cover date): Destroyer Duck #5 (Kirby’s final issue) is published. Pacific Comics would publish one additional issue, without Kirby art.
  • November (January 1984  cover date): Captain Victory #13 and Silver Star #6 (the final issues) are published.


  • April (June cover date): New Gods reprint #1 is published, beginning a full reprinting of the 11 original New Gods issues.
  • May (July cover date): Super Powers #1 (first series) is published by DC Comics, featuring a Kirby cover, and Jack’s plotting (Kirby plots and draws only covers for #1-4). Jack agrees to tackle this series, in appreciation for DC retroactively making him eligible for royalties on the creation of the New Gods characters that appear in the Super Powers toy line.
  • August: Kirby receives a 4-page legal document from Marvel Comics, drafted especially for him, that contains numerous excessive stipulations around the possible return of his 1960s artwork—including denying him the ability to sell the artwork, and with no guarantee of how many pages he would receive if he did sign the document. Kirby refuses to sign, and attempts to negotiate behind-the-scenes with Marvel, with no success.
  • September (November cover date): New Gods reprint #6 is published, containing the new story “Even Gods Must Die” which attempts to bridge the narrative between the original New Gods #11, and Jack’s upcoming Hunger Dogs graphic novel.
  • September (November cover date): Super Powers #5 is published, the final issue of the first series, featuring Kirby plot, cover, and full pencils.


  • The Hunger Dogs graphic novel is published, giving Kirby a chance to put a pseudo-ending to his New Gods saga.
  • February (April cover date): Who’s Who #2 is published by DC Comics—the first of numerous issues to feature single-page illustrations by Kirby, of his DC characters.
  • March 6: A Cannon Films ad in Variety magazine erroneously credits Stan Lee as the creator of Captain America. The Kirbys’ attorney contacts Marvel Comics about the error.
  • June (August cover date): DC Comics Presents #84 is published, featuringa Kirby-drawn story teaming Superman and the Challengers of the Unknown.
  • July (September cover date): Super Powers (series two) #1 is published, with pencils only by Kirby.
  • July: The Kirbys’ legal dispute with Marvel over the ownership of original artwork plays out publicly, in the first of several issues of The Comics Journal to bring public awareness to the issue. Issue #105 (February 1986) is pivotal in its coverage of the situation.
  • August 2: Kirby appears on a panel at the San Diego Comic-Con with Jim Starlin, Greg Theakston, and Gary Groth, to discuss the situation of Marvel Comics not returning his original artwork.
  • December (February 1986 cover date): Super Powers (series two) #6 is published, featuring Kirby’s final penciled story in comics.


  • New World Entertainment acquires Marvel Comics.
  • Heroes Against Hunger is published by DC Comics to benefit famine relief, featuring a 2-page sequence donated by Jack.
  • August: The Comics Journal #110 includes a petition signed by numerous industry professionals, appealing to Marvel Comics to give Kirby back his original art.
  • August 3: Kirby appears on a panel at the San Diego Comic-Con with Frank Miller, Alan Moore, Marv Wolfman, and Gary Groth, to discuss the situation with Marvel Comics and the return of his original artwork. Marvel editor-in-chief Jim Shooter was in the audience, and spoke briefly from the floor to clarify Marvel’s position.
  • September: Marvel Age Annual #2 is published, reprinting a ½-page text piece by Kirby titled, “Jack Kirby by Jack Kirby,” reprinted from the Merry Marvel Messenger newsletter of 1966.


  • Kirby appears on Ken Viola’s Masters of Comic Book Art documentary, offering many fans their first chance to actually hear and see Kirby speak about comics.
  • January (March cover date): Last of the Viking Heroes #1 is published by Genesis West, featuring a Kirby cover.
  • Pure Imagination publishes Jack Kirby’s Heroes & Villains, reprinting the Valentine’s Day pencil sketchbook Jack drew for his wife Roz in the late 1970s.
  • Summer: Kirby is inducted into the Will Eisner Comic Book Hall of Fame.
  • Summer: Under pressure from comics creators and the fan community, Marvel Comics sends Kirby the standard form other artists signed, and upon Jack signing it, finally returns approximately 2,100 of the estimated 13,000 pages Kirby drew for the company.
  • August (October cover date): Kirby’s half of a “jam” cover with Murphy Anderson for DC’s Secret Origins #19 sees print.
  • November: Marvel begins their hardcover Marvel Masterworks collection of early Lee/Kirby stories.


  • December (February 1989 cover date): Action Comics Weekly #638 is published, featuring a Kirby Demon cover—his last new work for DC.


  • Monster Masterworks Vol. 1 is published, featuring “Monsters of the Shifty Fifties,” a text piece written by Kirby.
  • Marvel publishes a collection of Simon & Kirby’s Fighting American, including a two-page introduction by Kirby.
  • Glen Kolleda releases a pewter sculpture based on Kirby’s “Jacob And The Angel” drawing. It comes with a print of Jack’s illustration; a second sculpture and print (Beast Rider) was planned, but never produced.


  • February: The Comics Journal #134 (left) is published, featuring a controversial interview with Kirby, including derogatory comments about Stan Lee, and Jack’s own involvement in the creation of Spider-Man.
  • May: Robin Snyder’s fanzine The Comics Vol. 1, #5 prints a 4-page essay/rebuttal by Steve Ditko entitled “Jack Kirby’s Spider-Man,” giving Ditko’s recollection of what Kirby’s involvement on Spider-Man was prior to Ditko taking over. It includes a Ditko sketch of what Kirby’s version looked like.
  • November: Kirby’s 1983 “Street Code” story finally sees print in Richard Kyle’s Argosy magazine, Vol. 3, #2.
  • December: Marvel Age #95 is published, featuring “Birth of a Legend,” an interview with Kirby (as well as a separate interview with Joe Simon) to commemorate Captain America’s 50th anniversary.


  • January: Marvel publishes a collection of Simon & Kirby’s Boys’ Ranch, including a two-page introduction by Kirby.
  • The Art of Jack Kirby is published. Jack and author Ray Wyman conduct a book tour from November 7-December 12, at five stores in California and Tucson, Arizona.


  • January 22: Kirby appears in a cameo as himself, on the shortlived Bob Newhart sitcom Bob (below).
  • February (April cover date): Topps Comics begins publishing their “Kirbyverse” titles—Bombast, Captain Glory, Night Glider, and Jack Kirby’s Secret City Saga—based on unused Kirby concepts from the 1970s. They also publish Satan’s Six #1, which includes a previously unpublished 8-page Kirby sequence from the ’70s.
  • March 14: Jack and Ray Wyman appear at Comics & Comix in Palo Alto, California to promote The Art of Jack Kirby. A lengthy fan video of Jack’s appearance exists.
  • September (December cover date): Phantom Force #1 is published by Image Comics. The Image founders form a sort of solidarity around Kirby.
  • October (January cover date): Monster Menace #2 is published, featuring a ½-page text piece by Kirby titled “Jack Kirby, Atlas Comics and Monsters”—Kirby’s final work of any kind for Marvel.


  • January (April cover date): Phantom Force #2 is published—Kirby’s final comic book work published during his lifetime.
  • February 6: Kirby dies at his home in Thousand Oaks, California at age 77.
  • March 4: Comics Buyer’s Guide #1059 begins coverage of Kirby’s passing, including the first part of a revealing personal recollection by Mark Evanier.
  • Dr. Mark Miller starts an industry petition to persuade Marvel Comics to credit Kirby on his creations. His behind-the-scenes discussions with Marvel’s Terry Stewart would play a role in Marvel granting a pension to Jack’s wife Roz in September 1995, which lasted until her death on December 22, 1997.
  • June 18: Sotheby’s Auction House auctions Kirby cover recreations produced prior to his death.
  • July: A 9-page excerpt from Kirby’s unfinished novel The Horde is published in Galaxy Magazine #4. To date, two others excerpts have been published: in David Copperfield’s anthology Tales of the Impossible (1995), and the anthology book Front Lines (2008)
  • Summer: Chrissie Harper publishes Jack Kirby Quarterly #1 in the United Kingdom.
  • September: John Morrow publishes The Jack Kirby Collector #1.

Key 1970s DC Moments

This timeline was first published in TwoMorrows Publishing’s Winter 2013 The Jack Kirby Collector 62. Many thanks to John Morrow for allowing us to publish it here. Be sure to read the Key 1960s Moments timeline, as well. Suggestions or corrections are welcome, please use the comments section below. –  Rand

Continuing our look at key moments in Jack’s life and career from TJKC #59 (which covered Marvel in the 1960s), we present this timeline of key moments that affected Kirby’s tenure at DC Comics in the 1970s. Of invaluable help were Rand Hoppe, past research by Mark Evanier and Steve Sherman, and of course, the “X” list of Jack’s DC production numbers (an updated version is shown elsewhere in this issue).

This isn’t a complete list of every important date in Kirby’s DC 1970s history, but should hit most of the main ones. Please send us additions and corrections. Next issue, I’ll work on pivotal moments in Jack’s return to Marvel in the 1970s and beyond.

My rule of thumb: Cover dates were generally two-three months later than the date the book appeared on the stands, and six months ahead of when Kirby was working on the stories, so I’ve assembled the timeline according to those adjusted dates—not the cover dates—to set it as close as possible to real-time.


  • Kinney National Company buys DC Comics, and Carmine Infantino is appointed Art Director. He initiates the era of “artist as editor,” bringing new talent and ideas in. Also, editor Jack Schiff retires from DC Comics, opening the door for Kirby to possibly return.


  • January: The Kirby family moves to California, taking a loan from Martin Goodman.
  • Mark Evanier and Steve Sherman become acquainted with Kirby through working on Marvelmania projects, and Mike Royer inks his first Kirby piece.
  • Kirby meets with Carmine Infantino at a Los Angeles hotel to discuss the possibility of joining DC Comics, and Mort Weisinger retires from DC Comics, removing the last obstacle for Kirby returning.


  • January: Kirby receives a “onerous” contract from Perfect Film to continue working at Marvel Comics, telling him “take it or leave it.”
  • February: Carmine Infantino signs Kirby to a DC contract.
  • Early March: Kirby turns in Fantastic Four #102, his final story for Marvel, and resigns. On March 12, Don and Maggie Thompson publish an “Extra” edition of their fanzine Newfangles announcing Kirby is leaving Marvel. That Spring, Mark Evanier and Steve Sherman become Jack’s official assistants.
  • May-June: “The Great One Is Coming!” ad appears in various DC comics, trumpeting “The Boom Tube,” but does not mention Kirby by name.
  • July (September cover date): The “Stan’s Soapbox” in Marvel’s comics tells of Jack’s resignation from Marvel, and Jimmy Olsen #132’s letter column announces Kirby will start in the following issue.
  • Summer: “Kirby is coming” blurb appears in various DC comics. Also, Kirby’s three new core books are mentioned (with bullet art) in the 1970 San Diego Comic-Con program book.
  • August (October cover date): Jimmy Olsen #133 published with Kirby’s first work for DC Comics.
  • October (December cover date): “The Magic of Kirby” house ads appear in DC comics, heralding the first issues of Forever People, New Gods, and Mister Miracle.
  • November (January 1971 cover date): Kirby stories in Amazing Adventures #4 and Tower of Shadows #4 published by Marvel, the same month as Jimmy Olsen #135 at DC Comics.
  • December (February 1971 cover date): Forever People #1 and New Gods #1 published at DC Comics.


  • January (March cover date): Marvel’s Fantastic Four #108 published from Jack’s original rejected FF #102 story, the same month that DC Comics publishes Mister Miracle #1 and Jimmy Olsen #136.
  • January 31: Kirby and Infantino are interviewed for Comics & Crypt fanzine in the DC offices, during Jack’s trip back to New York City. Around this time, Carmine Infantino is promoted to publisher of DC Comics.
  • May (July cover date): Lois Lane #111 is published, with a non-Kirby story that used his Fourth World concepts. Also, while drawing the end of Mister Miracle #5, Kirby conceives the idea of Stan Lee as “Funky Flashman” for #6.
  • Mid 1971: After discovering inker Vince Colletta has been showing Fourth World pages around Marvel’s offices before publication, and being shown how Colletta omits details in the inking, Kirby insists on Mike Royer as inker. Mike starts with New Gods #5, Mister Miracle #5, and Forever People #6.
  • June (August cover date): DC publishes Super DC Giant S-25, with 1950s reprints of Kirby’s Challengers of the Unknown, and a new cover and text feature by Kirby. Also, Carmine Infantino raises cover prices to 25¢ and includes Golden Age Simon & Kirby reprints in the back of Kirby’s Fourth World issues. One month after matching the increase, Marvel undercuts DC by dropping their cover prices to 20¢.
  • June 15 and July 15: In The Days of the Mob #1 and Spirit World #1 published, but receive nebulous ads (left) and spotty distribution. Months later, ads for both books would appear in DC comics, offering unsold copies to readers by mail.
  • October: Kirby draws his final issue of Jimmy Olsen (#148). Around this time, Kirby conjures up the idea for The Demon to replace Jimmy Olsen on his schedule.
  • November (January cover date): Mister Miracle #6 published, with unflattering caricatures of Stan Lee as “Funky Flashman” and Roy Thomas as “Houseroy,” burning bridges at Marvel.
  • December (February cover date): New Gods #7 is published, with the pivotal Fourth World story “The Pact.”
  • December: Carmine Infantino instructs Kirby to add Deadman to Forever People #9-10, in an attempt to boost sales. The covers of Forever People #9 and New Gods #9 downplay the lead characters, in what seems to be an attempt to make the covers look more like mystery titles, which were selling well.


  • January (March cover date): DC runs ads for the Kirby Unleashed portfolio in its comics.
  • February (April cover date): Jimmy Olsen #148, Kirby’s final issue, is published.
  • March: Kirby is told by Carmine Infantino that due to under-performing sales, DC will be canceling New Gods and Forever People, and that he must move Mister Miracle away from its Fourth World ties. Kirby hurriedly switches gears and swaps his planned stories for Mister Miracle #9 (“The Mister Miracle To Be”) and #10, so he gets his “Himon” story into print. It’s too late to alter the “next issue” blurb in #8’s letter column (right) to reflect the change.
  • April: Kirby draws his final issues of New Gods and Forever People.
  • April (June cover date): Jimmy Olsen #150 is published, with a non-Kirby Newsboy Legion back-up story featuring Angry Charlie.
  • May-June (July-August cover dates): DC finally gives in to sales pressure, and drops its cover prices to 20¢ to match Marvel Comics.
  • May (July cover date): Mister Miracle #9 published, with the story “Himon”. Also, Kirby stories planned for the unpublished Spirit World #2 begin appearing in Weird Mystery Tales and Forbidden Tales of Dark Mansion.
  • June: After Martin Goodman calls in Jack’s 1969 loan, Kirby “under duress” signs a copyright agreement with Marvel. Also, Demon #1 is published.
  • July (September cover date): Jimmy Olsen #152 is published, with a non-Kirby wrap-up to the Morgan Edge clone saga, and a guest appearance by Darkseid and other Kirby Olsen characters. Also, Mister Miracle #10 is published, in an abrupt departure from the Fourth World. Jack keeps the title “The Mister Miracle To Be”, but the story has nothing to do with Scott Free’s early days.
  • August (October cover date): New Gods #11 and Forever People #11 (the final issues) and Kamandi #1 are published.


  • July (September cover date): Boy Commandos #1 is published, reprinting Golden Age stories.
  • August: After being notified that Mister Miracle will be cancelled, Kirby draws a final issue that brings back Fourth World characters.
  • September: Kirby considers returning to Marvel, but can’t get out of his DC contract.
  • September (November cover date): DC begins publishing reprints of Simon & Kirby’s
    Black Magic comics of the 1950s, working with Joe Simon as editor.
  • Fall: Kirby begins work on OMAC #1 (it wouldn’t be published till almost a year later),
    and Sandman #1, briefly reuniting with Joe Simon.
  • December (February cover date): Mister Miracle #18, the final issue, is published.


  • April: Kirby starts work on the Losers story in Our Fighting Forces #151, the first of a
    dozen war stories he would chronicle for that title.
  • May (July cover date): One story (“Murder Inc.”) from the unpublished In The Days Of
    The Mob #2 appears in Amazing World of DC Comics #1.
  • May 7: Kirby creates Atlas, who would debut in First Issue Special #1 several months
  • July (September cover date): OMAC #1 published.
  • September: Origins of Marvel Comics by Stan Lee is published, featuring Stan’s account of the creation of the Fantastic Four, the Hulk, Spider-Man, Thor, and Doctor Strange.


  • February (April cover date): First Issue Special #1 is published, featuring Kirby’s Atlas.
  • March 24: Kirby signs a contract to return to Marvel Comics, but must continue working for DC to finish out his contract with the company.
  • April: Knowing Jack is leaving, DC brings in Gerry Conway as editor on Kamandi #34 to indoctrinate him to the series, eventually making him full writer/editor on Kamandi #38-40, Jack’s last three issues. DC would no longer commission covers by Kirby for any further titles he drew from this point on, undoubtedly to lessen readers’ association of Kirby with DC on newsstands.
  • May (July cover date): Justice Inc. #2 is published, with Kirby art and Denny O’Neil
  • June (August cover date): Richard Dragon, Kung Fu Fighter #3 is published, with
    Kirby art and Denny O’Neil script. Also, First Issue Special #5 is published, with
    Kirby’s revamped Manhunter, but DC created a cover from Kirby’s flopped splash
    page, rather than commission a new one.
  • July 1975: First Issue Special #6 is published, featuring the Dingbats of Danger
    Street #1 story, a year-and-a-half after Kirby drew it. His completed stories for
    Dingbats #2 and #3 remain unpublished to this day.
  • September (November cover date): OMAC #8, the final issue, is published, with a
    reworked last panel bringing the series to an abrupt end, instead of Kirby’s
    planned conclusion to the OMAC #7-8 continued story.
  • October: Son of Origins of Marvel Comics by Stan Lee is published, giving Stan’s accounts of the creation of the X-Men, Iron Man, The Avengers, Daredevil, Nick Fury, the Watcher, and the Silver Surfer.
  • November (January cover date): Captain America #193 is published, marking Kirby’s return to Marvel.
  • December (February cover date): Kobra #1 is published by DC, heavily altered, and with an Ernie Chua cover.


  • February (April cover date): First Issue Special #13 (right) is published, a non-Kirby “Return of the New Gods” tryout. No mention of Kirby is made in the New Gods history article. This issue was published concurrently with Kamandi #40, Kirby’s final issue and last work for DC in the 1970s. Carmine Infantino is fired as publisher of DC Comics in early 1976, and Jenette Kahn is made publisher. Plans are made to include Kirby’s unpublished Sandman #7 story in Kamandi #60, but that title gets cancelled in the “DC Implosion”, and Sandman #7 is finally published in The Best of DC #22 (1982).


  • April (July cover date): New Gods #12 published after a review of sales reports by DC’s new management of the Kirby issues and First Issue Special #13 showed it was a title worth reviving. The cover is drawn by Al Milgrom in a very Kirbyesque style.

Key 1960s Moments

This timeline was first published in TwoMorrows Publishing’s Winter 2013 The Jack Kirby Collector 60. Many thanks to John Morrow for allowing us to publish it here. Suggestions or corrections are welcome, please use the comments section below. –  Rand

There were many key moments at Marvel in the 1960s, but the first one that really sent shockwaves through fandom (and Marvel) was the 1966 departure of Steve Ditko from the company. Don’t you suppose that got Stan to thinking, “Gee, what if I lose Jack Kirby, too?” Shortly thereafter, in an odd twist, Stan began occasionally letting Jack script a few stories here and there in the latter 1960s. Was that an effort on Stan’s part to keep him happy at the company?

To clarify the chronology of events in my mind, I decided to prepare this timeline of key moments that affected Marvel, and Lee and Kirby’s relationship in the 1960s. Of invaluable help were Rand Hoppe, past research by Mark Evanier and Pat Ford online, as well as online excerpts from Sean Howe’s Marvel Comics: The Untold Story (I plan to read the full book soon).

This isn’t a complete list of every important date in Marvel’s 1960s history, but hopefully hits most of the key ones. I’m sure I’ve left some out, and more will come to light in the future, so please send us additions and corrections. I plan to update it, and continue the timeline into the 1970s and beyond.

My rule of thumb: Cover dates were generally two-three months later than the date the book appeared on the stands, and six months ahead of when Kirby was working on the stories, so I’ve assembled the timeline according to those adjusted dates—not the cover dates—to set it more closely to real-time.


  • This year: Marvel sells 18,700,000 copies of its comics.
  • February 25: Final Sky Masters daily strip sees print.
  • April-May: Fantastic Four #1 conceived by Lee and Kirby, and drawn by Kirby.
  • August 8 (November cover date): FF #1 goes on sale.


  • This year: Marvel sells 19,740,000 copies of its comics. 1158 Kirby pages are published (most in a single year).
  • June (August cover date): Amazing Fantasy #15 published, featuring Ditko’s Spider-Man, after Kirby’s original version was rejected.
  • November (January 1963 cover date): FF #10 features the first appearance of Lee and Kirby in a comic. On the letters page, Stan tells readers to drop the formal “Dear Editor” salutation in letters, and to instead address them to “Dear Stan and Jack.”


  • This year: Marvel sells 22,530,000 copies of its comics.


  • This year: Marvel sells 27,709,000 copies of its comics, with an expectation of 32,000,000 for 1965, showing a nearly 50% increase in 3 years. 102 Kirby covers are published (most in a single year).
  • Also this year: Martin Goodman becomes worried about Stan’s popularity and the control he has over the Marvel line, and pressures him to have other writers handle some of the stories. Stan develops “writer’s test” using four Kirby pages from FF Annual #2, with the balloons whited-out.
  • May (July/Summer cover dates): FF Annual #2, FF #28, and Avengers #6 are published. Original art for these issues are the earliest pages to show Kirby’s handwriting in the margin notes, but all these issues also feature Chic Stone as the inker for the first time, so it’s unclear if Kirby included notes prior to these, and other inkers simply erased Jack’s notes when they erased the pencil art after inking.
  • September: Addams Family and Munsters television series debut (influences Kirby’s creation of the Inhumans later).
  • October (December cover date): Stan hypes Wallace Wood on the cover of Daredevil #5.
  • December (February cover date): FF #35 published, with first ad for MMMS fan club, using Kirby art to sell $1 memberships and, later, promotional products. Flo Steinberg has said, “Nobody expected the fan-club to be so big. There were thousands of letters and dollar bills flying around all over the place. We were throwing them at each other.”


  • Early this year: Marvel’s reacts to news of an impending Batman TV series, and of new publishers jumping on the super-hero bandwagon due to their success, as Martin Goodman tells Stan to add more books, to keep Marvel from getting crowded off newsstands. Soon thereafter, Lee and Kirby develop the Inhumans and Black Panther (originally named Coal Tiger)—both of which feature a character visually similar to Batman—but DC controlled Marvel’s distribution, and wouldn’t allow the new books to be added to Marvel’s output (they were eventually included in the FF).
  • January (March cover date): Tales of Suspense #63 published, the first of several reworks of 1940s S&K Cap stories (with no mention of Simon).
  • This year and next: Kirby assigned to do layouts for Hulk series in Tales to Astonish, Captain America in Tales of Suspense, Nick Fury in Strange Tales, for Don Heck on Avengers, and for Werner Roth on X-Men. He came to view this as doing the majority of the storytelling, for only a fraction of the pay.
  • March (May cover date): Charlton’s Mysteries of Unexplored Worlds #46 published, featuring Son of Vulcan (influenced by Marvel’s Thor).
  • April (June cover date): Charlton begins reprinting Captain Atom adventures in Strange Suspense Stories #75, and renames the title Captain Atom with #78 in October (December 1965 cover date), the first of its Action Hero line.
  • June (August cover date): Spider-Man T-shirt first offered for sale in Spider-Man #27.
  • Summer: FF Annual #3 published, with Stan and Jack appearing in the story together at Reed and Sue’s wedding.
  • July (September cover date): Stan hypes Wallace Wood’s inking of “Don’s drawings” on the cover of Avengers #20.
  • August (October cover date): Daredevil #10 is published, wherein Wallace Wood fought for and received the writing credit from Stan Lee.
  • September (November cover date): Jack introduces the Inhumans in FF #44.
  • September (November cover date): Tower Comics’ T.H.U.N.D.E.R. Agents #1 (featuring art by Wallace Wood), and Archie’s Mighty Crusaders #1, are published. Wallace Wood had just left Marvel over creative differences with Stan Lee. Kirby and Wood were contemporaries who were known to speak to each other fairly regularly.
  • October (December cover date): Modeling with Millie #44 is published, featuring Roy Thomas’ first Marvel writing work.
  • November (January 1966 cover date): Daredevil #12 published, with Kirby assigned to do layouts for John Romita, and to design the villain The Plunderer.
  • December 1965: Interview with Nat Freedland for New York Herald Tribune article takes place, where Stan is giving art direction to Sol Brodsky about a page from FF #50, page 8, which was apparently in production at that time.


  • This year: Joe Simon sues Marvel in state court, and then in 1967 in federal court, claiming that Captain America was his creation and that he was entitled to the renewal on the copyright registration. Carl Burgos does likewise over his creation The Human Torch.
  • January 9: NY Herald Tribune article appears, which greatly offends Kirby, and possibly Ditko. In it, Stan also says,

    “I don’t plot Spider-Man any more. Steve Ditko, the artist, has been doing the stories. I guess I’ll leave him alone until sales start to slip. Since Spidey got so popular, Ditko thinks he’s the genius of the world. We were arguing so much over plot lines I told him to start making up his own stories. He won’t let anybody else ink his drawings either. He just drops off the finished pages with notes at the margins and I fill in the dialogue. I never know what he’ll come up with next, but it’s interesting to work that way.”

    FF #48 (March cover date) goes on sale the same month, with first appearance of Galactus and the Silver Surfer (a character Stan has said he knew nothing about until Kirby turned in the pages with him on them).

  • January 12: Batman TV series debuts as a mid-season replacement.
  • January to February: After months of not directly communicating with Stan, Ditko turns in Spider-man #38 and resigns. He asks Kirby to join him on a walkout to pressure Marvel into better terms, and Kirby initially agrees, but backs out due to concerns over supporting his family. (This comes per Robert Beerbohm’s conversations with Jack)
  • February (April cover date): Myron Fass’ Captain Marvel #1 is published (the character who splits apart into pieces) and co-opts both the famous 1940s character’s name, and the name of Martin Goodman’s company in an attempt to cause market confusion. It’s drawn by Carl Burgos, creator of the Human Torch for Goodman in the 1940s.
  • April (June cover date): Fantasy Masterpieces #3 published, featuring the first of a series of Simon & Kirby 1940s Captain America Comics reprints, with Joe Simon’s credit line removed.
  • May (July cover date): Tales to Astonish #81 published, featuring Kirby’s documented design for the villain Boomerang. Also, T.H.U.N.D.E.R. Agents #6 is published by Tower Comics, featuring art by both Wallace Wood and Steve Ditko.
  • May (July cover date): FF #52 published, with the Black Panther’s debut, and includes an announcement that Ditko is leaving Marvel. The real-life Black Panther organization wouldn’t officially be formed until October 1966, but shortly before this issue went into production, news article were published (as early as January) about a Black Panther logo being used by an organization in Alabama.
  • This year: Kirby stops doing most layouts for other artists. This is the point his work begins to reach its 1960s peak, as he has more time to devote to his own stories. Also, Kirby draws the first of his Fourth World concept drawings, but doesn’t show them to Marvel.
  • Mid-1966: Lancer paperbacks are released, reprinting Kirby Fantastic Four, Thor, and Hulk stories. (The Fantastic Four book quotes the 1966 New York Herald-Tribune article.) Also, Donruss’ Marvel Super-Heroes set of 66 trading cards released, using Kirby art (both presumably unpaid).
  • June: Stan takes a train trip to Florida on his first-ever vacation, and lets Jack script the S.H.I.E.L.D. story in Strange Tales #148 (September 1966) after plotting the story together. Stan noted in an interview, “I [did] a little editing later, but it was [Jack’s] story.” Stan also assigned Roy Thomas to script the Tales To Astonish #82 (August 1966) Iron Man/Sub-Mariner fight, but Roy gives Jack all the credit for the plot.
  • Summer: Fantastic Four Special #4 is released, featuring the original Human Torch battling the FF’s Torch. Carl Burgos’ daughter sees her father destroy all his old Timely Comics, as a reaction to the FF Special story, and/or losing his bid to reclaim the copyright on the Human Torch.
  • July 12: Goodman convinces Kirby to sign a deposition against Joe Simon in the Captain America copyright case, siding with Marvel, with the promise of receiving whatever Simon gets in any settlement.
  • July: Martin Goodman offers Myron Fass $6000 for the copyright on his Captain Marvel; Fass refuses.
  • August (October cover date): Joe Simon releases Fighting American #1 and The Spirit #1 at Harvey Comics, featuring reprints and new material. Simon also oversees the first of the Harvey Thriller line of new super-hero comics for Harvey.
  • August (October cover date): Thor #133 published, which at Jack’s insistence, is the first to include the joint credit “A Stan Lee—Jack Kirby Production” (in the “Tales of Asgard” story) instead of separate credits for Stan as “Writer” and Jack as “Artist.” Future Thor issues would continue this. This issue also features the debut of a balding, bearded “Ego, the Living Planet”; perhaps a subtle shot at Stan? FF #55 is also published with Marvel t-shirt and poster ads, using Kirby art to sell merchandise (presumably unpaid).
  • September 1: Marvel Super-Heroes cartoon debuts, with no payment to Kirby for reuse of art. Robert Lawrence of Gantray-Lawrence accompanies Stan Lee on a wildly popular college lecture circuit tour to promote it. A September Esquire article mentions Stan speaking at Princeton, Bard and NYU, and that Marvel had sold 50,000 t-shirts and 30,000 sweat-shirts.
  • September (November cover date): FF #56 published, with “Produced by Stan Lee and Jack Kirby” credit instead of separate listings for Writer and Artist.
  • October (December cover date): FF #57 published, with back cover ad for the Marvel Aurora model kits, featuring Kirby art of Hulk and Captain America (presumably unpaid).
  • December (February 1967 cover date): Strange Tales #153 published, with Kirby’s final layouts for another artist (in this case, Steranko).


  • February (April cover date): Strange Tales #155 is published, with Steranko’s first writing credit.
  • July (September cover date): Thor #144 published, without its original Kirby cover, which was rejected by Stan. This issue’s “Tales of Asgard” back-up is entitled “The Beginning of the End”. Stan has often said that Kirby was mostly responsible for these stories, as he knew the Norse legends better than Stan.
  • August (October cover date): FF #67 published, with last part of “Him” story, and heavy characterization changes to Kirby’s characters by Stan. (This was the last issue drawn on large-size art.) Also, the final “Tales of Asgard” back-up in Thor #145 is published, titled “The End,” possibly alluding to discontent on Jack’s part.
  • September 9: First of 20 Fantastic Four cartoons airs, using Lee/Kirby FF issues as the basis for each story (presumably unpaid). Also, America’s Best TV Comics is published in conjunction with ABC-TV, with Kirby story reprint (presumably unpaid).
  • September (November cover date): Stan includes the note “Jack, you’re still the greatest” on a pin-up in FF Special #5 pin-up, which was published shortly after the “Him” story in FF #66-67 that upset Jack. Stan apparently tosses Jack a bone by letting him write the 3-page “This is a plot?” throwaway story in the issue, and had Jack draw a solo Silver Surfer/Quasimodo story as well—perhaps as a peace offering, since Jack wasn’t happy with the way the Surfer was being handled. Inhumans backups  also begin in Thor #146, likely made from previously created Inhumans stories that weren’t published.
  • October (December cover date): Marvel Super-Heroes #12 is published, with the debut of Marvel’s Captain Marvel (Mar-vell). Kirby felt this idea came from an offhand conversation he’d had in the offices, for which he wasn’t credited.
  • This year: New ads were printed that announced a “Nifty New Membership Kit” for the MMMS, including new merchandise for sale with Kirby artwork.


  • Early this year: Kirby begins, unsuccessfully, trying to negotiate better terms with Martin Goodman.
  • March-June (May-August cover dates): FF #74-77 published, with Jack leading to a climax and jumping-off point on the Silver Surfer storyline, possibly preparing to work on his own Silver Surfer book.
  • April (June cover date): Beware the Creeper #1 by Steve Ditko is published by DC Comics.
  • May 22: Kirby takes a $2000 loan from Martin Goodman to finance his family’s upcoming move to California, to live in a better climate for his daughter’s asthma. Around this time, Bill Everett also takes a “loan” from Goodman, which was an off the record agreement that Everett wouldn’t sue over Sub-Mariner copyrights, so as not to hurt the sale of Marvel to Perfect Film.
  • June (August cover date): Silver Surfer #1 published the same month as FF #77: John Buscema is assigned to draw the solo title, apparently without Jack’s knowledge. Kirby feels his character has been taken away from him.
  • July: Sale of Marvel Comics to Perfect Film is finalized. Perfect Film is “over running the company” by September 1968, even though Martin Goodman is retained as publisher.
  • August 31: Kirby repays half of the loan from Goodman.
  • This year: Stan Lee interview is published in Castle of Frankenstein #12, wherein Stan says of Jack, “Some artists, such as Jack Kirby, need no plot at all. I mean I’ll just say to Jack, ‘Let’s let the next villain be Dr. Doom’… or I may not even say that. He may tell me. And then he goes home and does it. He’s so good at plots, I’m sure he’s a thousand times better than I. He just about makes up the plots for these stories. All I do is a little editing… I may tell him that he’s gone too far in one direction or another. Of course, occasionally I’ll give him a plot, but we’re practically both the writers on the things.”


  • January: Kirby family moves from New York to California, further distancing Jack from the Marvel offices.
  • This year: Marvelmania fan club established, selling merchandise with Kirby artwork on it. However, Kirby was paid to produce new material, although he reportedly didn’t receive full payment for it before Marvelmania went bankrupt.
  • This year: Joe Simon signs a Settlement Agreement with Marvel over Captain America for a payment of $3750. Less than $1000 was paid directly to Simon, with the rest secretly being funneled to him through his attorney, per Marvel’s wishes. Marvel does this so they can pay Kirby only the smaller amount that Simon got directly.
  • March (May cover date): Stan apologizes in his Soapbox that the Inhumans title he said was coming out, isn’t.
  • July-September (September-November cover date): Thor #168-170 published, with altered Galactus origin story and other editorial changes. Issue #169, released in August, has an inordinate amount of unused pages, suggesting almost an entire issue was rejected by Stan.
  • This year: Kirby withholds full-page splashes from Thor, replacing them with supposedly lesser pages, presumably at wife Roz’s urging (“They’re too good for them…”).
  • November (January 1970 cover date): Kirby withholds original design of Agatha Harkness for FF #94, as too good for them, as well.
  • December: Jack goes to New York to try to negotiate a new deal with Marvel/Perfect Film, unsuccessfully. He agrees to write and draw two full-length Inhumans issues, and to draw the first issue of a new Ka-Zar book, and goes home and completes them.
  • Late 1969-early 1970: Kirby meets with Carmine Infantino to show New Gods presentation pieces, and discuss the possibility of coming to DC Comics.


  • This year: Kirby’s Hulk and Spider-Man posters for Marvelmania are replaced with versions by Herb Trimpe and John Romita, respectively, so all the Marvelmania materials won’t be dependent on Kirby’s signature style.
  • January: Kirby receives an “onerous” contract from Perfect Film to continue working at Marvel, telling him “take it or leave it.”
  • Late January: Kirby is told to split his two Inhumans and one Ka-Zar story into 10-pagers, which are eventually used in Amazing Adventures and Astonishing Tales split-books.
  • February: Kirby draws Silver Surfer #18, in an attempt to save the book from cancellation with a new direction. Kirby also draws the “Janus” story intended for FF #102, but Stan rejects the entire story—it was eventually published in FF #108, after Jack had moved to DC Comics. Also this month, Chamber of Darkness #4 is published, with “The Monster” scripted by Kirby. It originally features Kirby and Lee in cameos, but Stan makes major editorial changes that require extensive redrawing by Kirby.
  • Early March: Kirby draws the published version of FF #102, his final story for Marvel. After mailing in the pages, he phones Stan and resigns.
  • March 12: Don and Maggie Thompson publish an unprecedented “Extra” edition of their fanzine Newfangles announcing Kirby is leaving Marvel.
  • April (June cover date): Chamber of Darkness #5 published, with the story “And Fear Shall Follow” scripted by Kirby.
  • June (August cover date): Amazing Adventures #1 is published from Jack’s split apart solo books, with Kirby drawing and scripting The Inhumans, and featuring Black Bolt out of character with a thought balloon for one panel. Also, Astonishing Tales #1 is published from Kirby’s split apart solo book, featuring Ka-Zar, with script by Stan Lee and art by Kirby. It also features a second Dr. Doom solo story, by Wallace Wood, returning to Marvel Comics.
  • July (September cover date): Silver Surfer #18 is published, with Inhumans guest-starring. With Kirby gone, Marvel cancels the book after this issue. Also, FF #102 is published, Jack’s last issue.
  • July (September cover date): Amazing Adventures #2 published, with Kirby drawing and scripting The Inhumans, includes “Stan’s Soapbox” announcing Jack’s resignation from Marvel.
  • August (October cover date): Jimmy Olsen #133 published with Kirby’s first work for DC Comics.
  • August (October cover date): Astonishing Tales #2 published, featuring Ka-Zar, script by Roy Thomas (other than Iron Man/Subby battle in Tales To Astonish #82, this may be the first non-Stan Marvel scripting for Kirby). Includes some major non-Kirby redraws on Ka-Zar figures.
  • September (November cover date): Amazing Adventures #3 published, with Kirby’s Inhumans.
  • November (January 1971 cover date): Kirby stories in Amazing Adventures #4 and Tower of Shadows #4 published by Marvel, the same month as Jimmy Olsen #135 at DC Comics.
  • December (February 1971 cover date): Forever People #1 and New Gods #1 published at DC Comics.


  • January (March cover date): FF #108 published from Jack’s original rejected FF #102 story, the same month that DC Comics publishes Mister Miracle #1 and Jimmy Olsen #136.


  • June: After Martin Goodman calls in the rest of his loan, Kirby “under duress” signs a copyright agreement with Marvel.