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Category Archives: Other
Dark Horse Presents #103 [1995]
This issue of Dark Horse’s long running anthology series promises an “exclusive never-before-seen Jack Kirby centerfold” on the cover, and indeed we do get this Kirby image from 1970, inked by Mike Royer, on a two-page spread in the middle of the book. This is one of several religious themed images that Kirby did and displayed in his home. Dark Horse published this and the other images in the series in a portfolio the following year, signed and with commentary by Roz Kirby, and I think they’ve all been seen in various issues of The Jack Kirby Collector and other places in the years since.
It’s a fascinating image of God turning his back on the world, very open to interpretation on the exact meaning, and an showing a few of the visual motifs that he used in his comic book work in a more pure form.
A nice look at some of the work that Kirby did when there was no real commercial aim or deadline (remember, he did these kinds of things while maintaining his regular comics work at several pages per day).

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The Conversion of Tegujai Batir
In the 1995 anthology DAVID COPPERFIELD’S TALES OF THE IMPOSSIBLE, you’ll find the short story “The Conversion of Tegujai Batir”, which was “extrapolated” by Janet Berliner from Kirby’s unfinished novel THE HORDE, one of two such stories published (the other was in a sci-fi magazine called GALAXY in 1994). If you want to know more about the complicated history of the novel and the various attempts by others to complete/expand/adapt it, check out the 32nd issue of THE JACK KIRBY COLLECTOR, or this page on the TwoMorrows website.
This chapter isn’t really an easy story to read. I got the book several years ago, and it took me a while to get past the first few pages. After that it opens up a bit, either because I got used to the rhythms of the writing or because the plot moved to more interesting things. This story tells how the Mongolian youth, Tegujai Batir, came to be possessed by a jinn, then exiled from his home to join the Russian army in WWII, returns home to conquer as part of the Chinese army after the war, and began his plans for conquest that involve tunnels under the earth.
Out of this hatred was born the concept of the army that he would form., the one that would become known as the great worm. Its guiding will lived with him and among those who surrounded him
I’m not sure how much of Kirby’s own version of the story is in this extract, but it does have a few moments that seem to distantly echo themes he explored in other ways in his comic book work. Hopefully, if/when any of the attempts to complete the story reach fruition, we’ll at least get to see the 1979 five-page outline mentioned in the JKC article, or ideally one or more of the complete unfinished manuscripts that Kirby wrote.
The story is 18 pages, plus a short introduction by Copperfield and a chapter illustration by an artist who seems to be uncredited in the book. There’s also a brief bio of Kirby in the back.
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Classics Illustrated #35 [HRN-161] [1961] – Last Days of Pompeii
A lesser known sidetrack to Kirby’s career is the short period that he did work for Gilberton, publishers of CLASSICS ILLUSTRATED and WORLD AROUND US, in the early 1960s, just before the Marvel super-heroes took off. One of the major books he did there was a new edition of CI #35, a 45 page adaptation of “Last Days of Pompeii” by Edward Bulwer-Lytton, replacing the previous edition. Inked by Dick Ayers, who was also doing some fine inking on much of Kirby’s work at Marvel, as well as having inked the Sky Masters comic strip.
The story is, I’m assuming, pretty faithful to the novel. Lots of intrigue, back-stabbing and romance among the residents of the doomed city, with the noble Athenian Glacius as the hero and evil Egyptian Arbaces as the villain (and a great looking Kirby villain he is, with a long face, a longer goatee and a snake-headband, I could see him fitting in as a minion of Darkseid).
While far from Kirby’s best, the art in here does look very good most of the time, when the Kirby elements are allowed to shine through. You can see a lot of that in the faces of some of the characters, the great clothing designs and some of the backgrounds, and when he got to cut loose with an action sequence, like the fleeing from the volcano at the end, it really shines.
Kirby’s said one of the reasons he didn’t like working at Gilberton was their insistence that certain details be what they considered accurate, and requiring a lot of editorial control and re-drawing. This panel, in the published version and from the original art where a paste-up fell off show this nicely:
I’d have to say, the original version of the face is just gorgeous work, and any editor who would replace it with the published version is just insane. Maybe they should have spent some of the time they wasted on that on improving their colouring or printing.
Despite all that, it’s a book well worth picking up, and usually available fairly inexpensively given that it’s a 45 page Kirby story from 1961 that’s unlikely to ever see a decent reprinting (I believe that the current rights holders of the CI books are doing extensively re-drawn reprints, and concentrating on the CI JUNIOR and religious line).
Published 1961
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