Hello World!

Posted in General.

I’m inaugurating The Kirby Effect because the Kirby Museum needs a place where Kirby interviews, articles, essays can be placed that don’t necessarily belong on our other venues. For example, I’d posted an article by Alex Jay about Simon & Kirby letterer Howard Ferguson as part of my efforts on the Museum’s Home page blog, and think it would be better either for me to post it here, or, if he were willing, to set Alex up with a writer account here. (No pressure, Alex, just using you as an example!)

I hope that some of you will be interested in participating here, whether through comments, or by answering a call for articles. Yes, if you have a paper, article or media presentation in mind, please contact me at rhoppe@kirbymuseum.org.

Thanks.

The Kirby Effect begins

In addition to all the personal blogs the Kirby Museum hosts, I’ve just fired up “The Kirby Effect“, which I’ve designated “The Journal of The Jack Kirby Museum”. I hope the The Kirby Effect will be become a rich offering of papers, articles and media presentations. Consider this post the requisite Call For Papers. I have a few things in the works for the Effect already, but they won’t last, so I look forward to hearing from you.

Unpublished Kirby-Colletta New Gods #1 Art found!

Incredible, but true!

The missing art from New Gods 1 splash

The missing art from New Gods 1 splash

I know, something of an anti-climax. My point is that Jack Kirby drew, John Costanza lettered and Vince Colletta inked the splash page to New Gods 1 without space for the publishing indicia. At least that what two photocopies in the Museum’s archives indicate. So, more than likely, one of Jack Adler’s production people at DC/National did some photostatting and some paste-up to make room.

I recently found a scan of this very splash from my personal copy of New Gods 1, which I had signed by Jack at the Miami-Con in December 1975. So, for kicks, I took that scan, added the missing art, and did a hasty coloring job.

Thanks again, to Greg Theakston!

Jack & Roz at Coney Island with Joe and more

Here’s a nice souvenir photo of Jack and Roz from Brooklyn’s Coney Island. Joe Simon is there with a date on the left, as is, I assume, Charles Brainard on the right. “The Mayflower”, heh!

I’m assuming that this letter from Charles is referring to the picture above . Could have been thirty years later!

Thanks to Greg Theakston!

Thor in Israel

Who knew that Kirby & Lee’s Thor was published in Israel?

Buki also published the X-Men, Iron Man, Superman, and many others. Read more about it in Eli Eshed’s “Hebrew Comics – A History” published on An International Catalogue of Heroes.

I’ve included a scan of the original art for that page.

Thanks to Lyle Tucker and Paul Power!

New Gods #1 Cover

Inspired by a visit a few months ago to Pete Von Sholly‘s home where he allowed me to scan his collection for the Museum’s Original Art Digital Archive, here are some pieces related to the cover to the first issue of The New Gods.

First is a piece that Pete saw for sale at Bay Con 1976, but Jack and Roz sold it to someone else (Rod Friggle?). John Morrow published this in his The Jack Kirby Collector 37.

Luckily, Roz said they had another at home that Pete could buy, and here it is.

Of course, both of these may be pieces that Jack drew on DC cover board anywhere from 1970 through the purchase date. Anyone have any thoughts?

Let’s go back to the original, as published February-March 1971, so an on the stands date might be December 1970. (Scan thanks to Grand Comics Database.)

1971 - The New Gods #1 cover

1971 – The New Gods #1 cover

DC promoted the book with a house ad, here scanned from Superman’s Pal, Jimmy Olsen 134, published December 1970.

1970 - Kirby House Ad

1970 – Kirby House Ad

But, see the differences between what was published and the house ad? Well thanks to Greg Theakston’s gift of photostats to the Museum, we have an earlier version of the cover that looks  a little more like the house ad.

NewGods_01_cover_Alt_1080h

To go all the way back, however, here’s the comp for the cover of the New Gods issue of Showcase (94). Yes, DC originally wanted to introduce what came to be known as Kirby’s Fourth World in Showcase. Image thanks to Robby Reed’s Dial B For Blog!

Unused Showcase 94 cover

Unused Showcase 94 cover

DC printed this in their January 1976 Amazing World of DC Comics “prozine” (10). Scan from Rob Kelley’s Amazing Blog of DC Comics.

10pg20

Of course, all of the production versions shown above are based on Kirby’s presentation piece, inked by Don Heck Frank Giacoia and colored by Kirby.

1969 - Orion presentation art

1969 – Orion presentation art

Last is the cover to 1999’s “Jack Kirby’s New Gods” trade paperback, with color by an uncredited artist.

 

1998 - Jack Kirby's New Gods Trade paperback cover

1998 – Jack Kirby’s New Gods Trade paperback cover

If you have any more versions of this cover, especially international versions, please let me know!

– Rand

Jack Kirby in the Wall Street Journal

Thanks to the interest of journalist Bruce Bennett, Jack Kirby and the Kirby Museum were featured in an article in the Wall Street Journal’s New York Culture section this past Wednesday.

1964 - The Mighty Thor Battles The Incredible Hulk! - page 10 original art

1964 – The Mighty Thor Battles The Incredible Hulk! – page 10 original art

Writer Glen David Gold, writer/designer Steven Brower and I talked with Bruce who pulled together a fine piece regarding Kirby’s place in our culture considering the success of adaptations of his work in recent years, as well as the increase in value of his original art. The Museum’s efforts, especially the Pop-Up project, were mentioned, as well.

Thanks to all!

More Kirby in Academia: From the editors of 1975’s Looking Ahead

I posted in January about Looking Ahead: The Vision of Science Fiction. Soon after I posted, I found co-editor Dick Allen online, listed as Connecticut State Poet Laureate (2010-2015), so I sent him an email. He responded a few days later, with a postscript from spouse and co-editor, Lori:

***

Dear Rand Hoppe,

I pulled out a copy of LOOKING AHEAD a few nights ago and reread the Jack Kirby comic, as well as the other material (which you also posted on the excellent website).

Here, as best as I can recall, is the background of the inclusion:

In 1967 or 1968, as a young professor at Wright State University in Fairborn, Ohio, I’d become fascinated with the changes in science fiction since I’d started reading it early in my high school years. It seemed to me to be an important part of contemporary literature, and yet was scorned by Academics. There was, however, a small group of SF fans who were also English professors, and they had a small panel on SF at an Modern Language Association Convention in Chicago, which I attended.

I was taken aback to see that everyone in the room was in his (no hers) 60s or 70s, and all they could see in SF was its slight historical importance. And I was interested in its political, social, cultural importance, as well as its growing stylistic advances and relevance to the changes coming upon us at the end of the 1960s and start of the 1970s. I thought science fiction studies should be taught in college classrooms. Others scoffed.

Nonetheless, a fine editor (William Pullin) at Harcourt Brace agreed with me, and accepted my proposal for my first college textbook/anthology, SCIENCE FICTION: THE FUTURE. To make it “acceptable” by academics, I included what I considered important SF work or SF-oriented work by such as Nathaniel Hawtorne, Isaac Bashevis Singer, Donald Barthelme, Kurt Vonnegut, Jr., E.M. Forster, Kingsley Amis, Arthur Koestler, Susan Sontag, the great contemporary poet Richard Wilbur, and others, placing alongside this work pieces by H.G. Wells, Isaac Asimov, Robert Heinlein, Roger Zelazny, etc.

To our astonishment, the book was a major hit, adopted by schools throughout the nation (and world), taught as a reader in college freshman classrooms and in high school advanced classes, but also used as a book to allow professors to teach SF as an actual genre course (like “Satire” and “Comedy and Tragedy”).

It sold over 100,000 copies and within two years had 28 competing SF college texts.

Its success led my editor to ask for a second anthology along the same line. For this one, however, I didn’t have to be as careful about wining over college professors. With my wife, Lori Allen (then a SF writer; now, a poet writing as L.N. Allen), as co-editor, we were able to take more risks with LOOKING AHEAD.

One of these risks was to include an entire comic book in a college text/anthology.

The background here was that our son, Richard, now a United Methodist Minister in Sayville, Long Island, had become an utterly devoted comic books fan, and especially a fan of Jack Kirby’s work. He convinced my wife to read such comics as “The Forever People” and my wife convinced me to do likewise.

We had become convinced that serious quality literature, the kind beloved by academic journals and stuffy review magazines such as the NY Times Book Review was then, had reached a dead end and needed a good infusion of plot, action, heroism, return to some Romanticism, and the like. We were also convinced that the genre of SF or science fiction was increasingly a MAJOR way of examining the changed consciousness the world was entering (computers just beginning, space travel, modern warfare, youth revolution, sexual revolution, civil rights, gay rights, women’s revolution, and on and on).

The acute change of consciousness of the late 1960s-early 1970s was, we felt, reflected in the changing comics (with both Marvel and DC almost always SF-oriented) and at the time the best representative of these comics was this issue of “The Forever People.” It was particularly notable for its use of irony and humor, its myth-making, and most especially for its humanization of Superman, who realizes he’s actually a minority of one on the planet Earth, longs to return to be with others like him, but decides at the end of the comic that he will sacrifice his own desires for the good of others, for the good of humanity, for the good of the planet. This, of course, was a prevailing new mindset in the late 1960s-early 1970s–one which remains in the “Occupy” and “Green” movements, among many others. Additionally, we loved what looked like an allusion to Robert Heinlein’s very influential novel, STRANGER IN A STRANGE LAND, when Superman realizes that’s what he is!

Myth, religion, importance of popular culture, all were intertwining with the consciousness revolutions.

With the help of William Pullin, we got a reluctant and somewhat mystified DC Comics to allow us to reprint the comic, without charging us too much for reprint fees. And Harcourt’s book designers and printers found a way to reproduce the comic effectively in LOOKING AHEAD’s pages.

So, in our own way, we were maybe partially responsible for breaking the college barriers for science fiction and comics and popular literature as legitimate areas of study by academics and others (I’d also co-edited another genre volume: DETECTIVE FICTION: CRIME AND COMPROMISE, for Harcourt, which made possible other genre studies courses, and later a revised SCIENCE FICTION: THE FUTURE). All sold pretty well. LOOKING AHEAD, as I recall, sold about 50,000 copies. And after the initial shock of having an actual comic in a college classroom, professors grew accustomed to how our literature has changed.

As indeed it has, as you know and certainly the great Jack Kirby sensed deeply.

And the world of literary fiction has certainly changed, I think for the better, and we now get to see such perception altering movies as AVATAR and the STAR WARS movies, and so many important hero-stressing, archetypal movies, using comics as their basis, I long ago lost count. I felt, since the 1950s, that SF was THE form of literature best able to communicate to readers the nature of the world we were entering. This intuition seems to have been born out, sometimes to the extent to my wife and me feeling almost guilty about encouraging so many “pop literature” studies which students may take instead of Shakespeare and Milton and “The Eighteenth Century in Literature.” 🙂 or :-(.

Hope some of this nostalgia may have amused you.

All best wishes and further congratulations and thanks for your work with the Jack Kirby Museum.

Dick

P.S. Lori’s comment, when she checked over the above:

“This was a great age of comics. Saddens me that now comics are read mainly by young adults, not by children, and that there’s so much more action than text that we’re nearing the world of Fahrenheit 451.”

***

Thanks, Lori & Dick!

Changes to 1960s Marvel covers

Over at his blog, Ferran Delgado’s been posting some comparisons between the cover stats that Marvel Comics sent to the Spanish publisher and the covers Marvel published. Ferran’s generously allowed me to share some of his content here. Thank you, Ferran! – http://ferrandelgado.blogspot.com/

Note the grey-toning of the buildings in the background on the right, additional figures, the shadows of the monster….

1961 - Fantastic Four 1 cover comparison

1961 – Fantastic Four 1 cover comparison

Word balloons, character name bursts, issue number, picture frames.

1962 - Fantastic Four 2 cover comparison

1962 – Fantastic Four 2 cover comparison

Black Panther’s trunks, mask and cape.

1966 - Fantastic Four 52 cover comparison

1966 – Fantastic Four 52 cover comparison

Crackle on the stat, buildings on the cover…

1967 - Fantastic Four 65 cover comparison

1967 – Fantastic Four 65 cover comparison

Crackle on the stat, empty space on the cover

1967 - Fantastic Four 69 cover comparison

1967 – Fantastic Four 69 cover comparison

Shadows, speed lines and crackle on the stat, space on the cover

1968 - Fantastic Four 71 cover comparison

1968 – Fantastic Four 71 cover comparison

Marvel’s Greatest Comics cover in 1975 returned some of the speed lines and crackle

1968 - Another Fantastic Four 71 cover comparison

1968 – Another Fantastic Four 71 cover comparison

Crackle blackened

1968 - Fantastic Four 78 cover comparison

1968 – Fantastic Four 78 cover comparison

1975’s Marvel’s Greatest Comics cover removed the added black, but did not restore the crackle. Also adjustments to Ben Grimm’s face.

1968 - Another Fantastic Four 78 cover comparison

1968 – Another Fantastic Four 78 cover comparison

Architectural element & shadows on the stat, outline around story title; not on the cover. Note the shape of the shadow to the left of the Thing’s foot

1968 - Fantastic Four 79 cover comparison

1968 – Fantastic Four 79 cover comparison

1976’s Marvel’s Greatest Comics edition returned the architectural element around the background figures, and the shape of the shadow by the Thing’s foot!

1968 - Another Fantastic Four 79 cover comparison

1968 – Another Fantastic Four 79 cover comparison

Added black background, removed black on Tomazooma’s torso

1968 - Fantastic Four 80 cover comparison

1968 – Fantastic Four 80 cover comparison

1976’s Marvel’s Greatest Comics cover returned the shadow on Tomazooma’s torso

1968 - Another Fantastic Four 80 cover comparison

1968 – Another Fantastic Four 80 cover comparison

Story title different

1969 - Fantastic Four 93 cover comparison

1969 – Fantastic Four 93 cover comparison

Buildings added, word balloons removed, web increased to full cover

1963 - Strange Tales Annual 2 cover comparison

1963 – Strange Tales Annual 2 cover comparison