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A year after the previous series, Kirby returns to the toy line inspired SUPER POWERS, which I think by this time was also part of the Super Friends cartoon, which I guess explains the Hall of Justice super-hero HQ in this issue. Anyway, Kirby doesn’t write this series, just pencils. We open just after the events of “The Hunger Dogs”, with Darkseid’s rule overturned.

He’s able to find some of his most loyal servants, DeSaad, Kalibak and Steppenwolf (actually just “animated bodies” of them that he brought back to life) and escape to the moon, where they plan the conquest of Earth, which is where our various action figures, um, I mean, heroes, come in, splitting into teams to investigate five mystrious seeds which have appeared through the world, which seem to be digging to the Earth’s core. J’onn J’onzz goes to England where he meets up with Aquaman to investigate one of the seeds. While there, they encounter DeSaad, and all of them are hurled back in time where they meet King Arthur.

Kind of a dull story, although the art does have a few points of interest, mostly a few of the scenes with Darkseid in the first half.

Greg Theakston inks the cover and 23-page story.

Published 1985

The issue opens with OMAC enjoying some virtual reality entertainment, battling a monster protecting the secrets of the giant talking skulls. He’s pulled out of the “movie” to get his official credentials to act as a One Man Army on behalf of the faceless Global Peace Agents, but before he goes on his first official mission he’s introduced to a couple applying to act as his parents, OMAC having forgotten his life as Buddy Blank. I’m always unclear on how creepy Kirby meant this stuff to be.

OMAC is then sent on his mission to take down Marshal Kafka, a tyrant who has put together his own army of a hundred thousand. His jet is shot at on the way down, leaving him fighting from his chair until that’s shot out from under him. He quickly gets through the Kafka’s forces until he finally reaches the Marshal.

Like I said, a bit of a creepy beginning, followed by a quick high-action story. Kirby was throwing out the ideas fast in this series, a lot of which are never returned to.

D. Bruce Berry inks the cover and 20-page story.

Published 1975

This issue has an edited reprint of CAPTAIN AMERICA #102 (1968). One change made is right on the splash page, where a reference to the Lovin’ Spoonful is changed to Blue Oyster Cult. How hip. Anyway, Cap still has the control key for the Fourth Sleeper from last issue, but doesn’t know how to use it. He battles with the Red Skull’s agents, and is rescued by Agent 13, and they go out in pursuit of the Sleeper. Lots of good fighting throughout, although the end is a bit abrupt. One of the two pages edited is just a splash of the destruction when the Sleeper attacks, but another is kind of crucial to the climax of the story, so was a pretty bad cut.

Syd Shores inks the cover and edited-to-18-page story. There’s also some of the usual meddling on the cover, moving figures slightly. I’m still not a huge fan of Shores’ inks on Kirby during this time, and the linework of his that got lost the first time around suffers even more in the reprints.

Published 1977

Among Kirby’s work for Gilberton published in 1961, in addition to his one full issue of CLASSICS ILLUSTRATED, were a few short bits in five issues of THE WORLD AROUND US. This issue’s theme was Hunting, and Kirby contributed 12 pages, inked by Dick Ayers.

The Kirby starts on the title page, an image of some hunters getting ready to take down a bear with spears and arrows. The archer’s pose in the foreground is especially nice.

Later in the issue is the 6-page “Early Hunters” chapter, which has a quick summary of a few thousand years of mankind, starting with hunting with clubs and wandering from place to place as hunter/gatherers, and then developing more complex weapons and hunting techniques. Then follows the discovery of farming, allowing for permanent villages, and domesticating animals.

Following some non-Kirby stuff is the 5-page “An End to Slaughter”, which starts with the story of Theodore Roosevelt, starting with a quick look at his buffalo hunting as a youth, bear hunting as President and his post-presidency African safari. The story then goes to Roosevelt’s role in expanding the National Park system in the US and inspiring similar efforts around the world, and a look at protected lands in other countries and the importance of following hunting laws, getting proper licenses and all the rest.

This isn’t a bad sample of Kirby’s art, although clearly doing short vignettes, single panels on a theme, doesn’t really play to his story-telling strengths. There are also a few bits every now and then in the art that just feel off, which are likely panels or parts of panels that the Gilberton folks had redrawn, either by Kirby or by another artist to meet their standards of accuracy. A few of the animals seem to suffer from this on Kirby’s pages.

This issue also includes a lot of art by Sam Glanzman and a few pages by Pete Morisi, so is worth checking out for more than the Kirby.

Published 1961

This issue starts what is my favourite of Kirby’s SPACE ODYSSEY series, with a tale of the near future. First we start with Harvey Norton, who participates in some live action super-hero roleplaying as White Zero in Comicsville. In the middle of the game he encounters the Monolith, which awakens a sense of wonder in him that makes the unreality of the game stand out in sharp contrast.

Later he’s at an artificial beach, opening his eyes to the fact that the whole world he lives in is just as fake as the game. “It’s a comfortable Hades — and not without beauty — but is it enough for Harvey Norton?” is what he’s driven to ask, and the answer is clearly no, as the Monolith appears again and pushes his curiosity in the direction of space, so that two years later Norton is in orbit around Neptune when an alien ship is detected, and they encounter a strange beautiful alien woman. Soon after they see her, their ship is confronted by a giant alien ship.

Wonderful story progression, echoing the original movie without mimicking any of the story beats, and a lot of thought clearly went into the “comfortable Hades” of the future that Norton was eventually driven to escape.

Mike Royer inks the cover and 17-page story.

Published 1977 AD