Category Archives: Topic

Happy Fourth Anniversary!

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Posted in 2010/03, Odds & Ends, Topic and tagged

Who cares about Simon and Kirby? Well judging by the first two years of this blog’s existence only a small number of fans. But it was not just the low number of visits to my blog that suggested that Simon and Kirby were pretty much forgotten by the larger public. 2006 and 2007 also did not really have much in the way of books with significant Simon and Kirby content on the market. But all that has changed. In the last two years the number of visits to the Simon and Kirby Blog has increased by a factor of ten and it keeps on rising. The last year saw the publication of Titan’s “Best of Simon and Kirby” and DC’s “Simon and Kirby Sandman”. This year should see DC release books on the Newsboy Legion and the Boy Commandos. Even more important Titan will be publishing the “Simon and Kirby Superheroes” (okay I’m biased). I still believe what I wrote in my last anniversary post, that the key event to this change in interest was due to the publication of Mark Evanier’s “Kirby: King of Comics”.

I did not envision any of this when I wrote my first post on March 17, 2006. I just wanted to spend some time writing about my favorite comic book collaborators and the artists who worked for them. I had been studying Simon and Kirby for quite some time before starting this blog but something changed once I did. I found that writing helped clarified my thoughts. That and the studies that accompanied my posts greatly increased my knowledge. I have learned much more about Simon and Kirby in the last four years then I have all the time before that.

I admit that keeping the blog going during the last year has been quite difficult. My restoration work for “Simon and Kirby Superheroes” has taken up much of my time (I will be posting about that in the not too distant future). But I love writing this blog and do not want to give it up even for a short while. And there is so much more to write about. My serial post Art of Romance has gone 28 chapters so far but is only up to the end of 1954 while I intend to take it up to 1960. Another serial post, Little Shop of Horrors, has gone 9 chapters but alas will end with the next one. And yes I know there are other serial posts that have long been idle (It’s a Crime and Wide Angle Scream) however I fully intend to write more on them at some point. In the past I posted about two titles (Foxhole and In Love) from Simon and Kirby’s short attempt at being publishers but I have yet to give Bullseye and Police Trap a similar treatment. DC is reprinting their Simon and Kirby material and that provides an added incentive to writing about Sandman, the Newsboy Legion and the Boy Commandos. With so much to discuss about Simon and Kirby I am sure this blog will have many more anniversaries to come!

Marvel Masterwork’s Daring Mystery Volume 2

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Posted in 2010/03, Restoration, Topic and tagged , ,

Some time ago I posted about the practice of reconstructing art that Marvel was using in their Masterworks reprint volumes (Recreation Vs. Restoration, How Should Reprints Be Done?). I was, and still am, rather critical of that approach. My criticism is not just theoretical, some of the reconstructions made in the past have been very poor indeed (The Human Torch #2). I concluded my Recreation Vs. Restoration post with the observation that the use of reconstructed art makes Marvel reprints of little use for me and that I would no longer be buying them. But of course, one should never say never.

I have long been on the look-out for a copy of Daring Mystery #5 (June 1940). Some have claimed that the Trojak story contained in the issue was drawn by Joe Simon. This was altogether possible because I believe Joe did do the Trojak in Daring Mystery #4 (May 1940) and he certainly drew the Fiery Mask story in Daring Mystery #6 (September 1940). Even if Simon had not drawn Trojak story in DM #5 I still thought it would be nice to see the story of this Simon created character. However Daring Mystery comics are rare in any shape and I have searched for many years in vain for an affordable copy of issue #5. So when I saw the recently released Marvel Masterwork’s Daring Mystery Volume 2 I decided that even reconstructed art was good enough for my purposes and bought a copy.

Although I had not bought a Masterwork volume for some time I did have an occasion to see the quality of the reconstruction was done in a Marvel Mystery Comics reprint volume. When the Best of Simon and Kirby book came out I received some criticism on the Marvel Masterwork forum for the restoration that I did on the volume. At one point someone posted a scan of the splash page of the Vision story from a Masterwork book. A comparison of the scan with one from the same splash from BoSK showed some rather poor reconstruction in certain areas in the Masterwork version.


Daring Mystery #6 (September 1940) “The Fiery Mask” page 4, pencils by Joe Simon

Now that I had the Daring Mystery volume I was curious on how well the reconstruction was done. Of course I did not have a copy of DM #5 but I did have copies of the other issues. At a glance the reconstruction of the story art (by Pacific Rim Graphics) looked pretty good. But I decided to take one example (the demon figure from the Fiery Mask page shown above) and overlay scans from the original comic and the reprint.

I digitally bleached both scans so that for the most part only the line art remained. I changed the line art of the original comic to red and that from the Masterwork to cyan (blue). If both were identical the resulting lines would look black but deviations would show up in one of the two colors. Experience has shown that you never get perfect overlays. Even scans from the same comic will vary from day to day. Paper “breaths”, it expands or contracts with humidity changes.

Daring Mystery comparison
Original: red line art
Masterwork: blue line art

To illustrate what I found I have shown a close-up of the Demon’s foot. I have marked the most glaring difference as item 1. However the error in this case is due to the digital bleaching I did. The robe was red while the background was green. The registration was not perfect and the cyan (blue) of the background printed over a portion of red. The red (magenta and yellow) and cyan inks combined to form black. Chemical bleaching would have removed the erroneous black but digital bleaching does not. But the black due to the registration error and the black ink of the line art are not identical. If I were doing the restoration I would edit the result based on that difference and as far as I can tell the Masterwork’s reconstruction is accurate.

My registration is not perfect and as I described above variations due to paper expansion or contraction are also expected. Therefore I would not judge most of the failures to overlay correctly to be of any significance. The one I marked as 5 shows that the original comic was slightly to our right. However the line on the opposite side of the foot is also slightly to the right. I expect both “errors” are due to the problems I described above and are not reconstruction errors. There are also other variations in line width that could be explained by variations in the printing. However it is also possible that they are reconstruction errors but I cannot tell without seeing the actual comic used in the Masterwork reconstruction.

Now look closely at the heel (marked as 2). The bottom of the heel in the original comic was not smooth but deviated slightly near the end. This cannot be explained by the factors discussed above and is I believe an error in the reconstruction. On the opposite side of the foot (marked 3) is a case were the reconstruction has added an angle that was not present in the original. The fold spotting pointed to by item 4 also deviates in ways that seem to reconstruction errors.

One might think that I am criticizing Pacific Rim Graphics for the reconstruction job they did. Actually far from it, I believe they did an excellent job. These are really small errors that can only be seen when magnified and would be difficult to spot with the naked eye.

The covers were reconstructed by another (Michael Kelleher). This is same reconstructor that I mentioned in my earlier post who admitted to using a primitive reconstruction method (inking on tracing paper) and was completely clueless why some would find this objectionable. I did not do an overlay of his work but careful examination suggests it was accurate. The only thing I noticed was that his lines were consistently narrower than those from the original comics. Perhaps the original comics he used had been better printed or perhaps this was done on purpose.

I did not have time to make detailed comparisons of all the work from Daring Mystery issues 6 to 8 with the Masterwork volume but overall they looked good. I feel this volume does justice to the original artists. Does that mean I approve of the use of reconstructed art? Not at all, I still prefer scans. No matter how well done, a reconstruction is still one artist’s interpretation of another artist’s work. But let us be frank, the reader will unlikely to find a single coverless issue of Daring Mystery for the price of the Masterwork volume.

One little warning about the Masterwork book, the cover for Daring Mystery #7 was not drawn by Joe Simon. I have no idea how such an obvious mistake was made.

More Kirby Krackle

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Posted in 2010/02, 7 Freelance, Artists, DC Kirby, Kirby Krackle, Kirby, Jack, Periods, Topic, z Archive and tagged , ,

Tales of the Unexpected #18
Tales of the Unexpected #18 (October 1957) “The Man Who Collected Planets”, art by Jack Kirby

In a comment to my previous post (Kirby Krackle) Ger Apeldoorn remarked on the existence of another Kirby Krackle prototype. Unfortunately Ger was unable to provide the specific comic that it appeared in. Perhaps he meant the one that was recently brought to my attention (thanks CL), “The Man Who Collected Planets” from Tales of the Unexpected #18 (October 1957). The Kirby Krackle prototype also appears on the cover (which Kirby did as well) but I find the splash page a better example of this technique. I have previously dismissed some of the supposed Kirby Krackle prototypes (based on techniques used to indicate smoke), but how does this new (for me) contender stack up? Well it is composed of rounded (but not circular) spots, there is a tendency to form clusters, they are meant to depict energy (although more of a simmering than a high energy) and there is a cosmic connection (he is after all an alien). So while it is not perfect Kirby Krackle it is so close to the real thing that it makes a perfect prototype.

When I wrote a serial post on Kirby’s Austere and related inking styles I included a chapter on his DC work (Jack Kirby’s Austere Inking, Chapter 7). Unfortunately at the time I had access to a limited portion of that work and so I could only make some provisional conclusions. Now I am able to examine a much better selection of Kirby’s DC material but I have yet to do a careful review so my observations must still be considered as tentative. My belief is that the art for “The Man Who Collected Planets” as well of the cover was inked by Jack Kirby himself. Perhaps the best indications that this was Kirby’s inking can be found in the last panel of the image provided above. Observe the rather blunt but well controlled brushwork, the scalloped inking pattern own the man’s shoulder and the use of short brushwork arranged into strings. So the credit, if the reader accepts this as a true Kirby Krackle prototype, belongs to Kirby.

Tales of the Unexpected #18
Tales of the Unexpected #18 (October 1957) “The Man Who Collected Planets” page 3 panel 5, art by Jack Kirby

As I described above, the Kirby Krackle prototype surrounding the alien figure is used to describe a simmering energy and not the high energy that true Kirby Krackle depicts. The lower energy level drawn by Jack is quite appropriate for his subject. However the story includes art where much higher energy levels are shown, as for example the panel from page 3 shown above. As can be seen this Kirby Krackle prototype is even closer to the real thing. The dots are more irregular in size and they form more obvious clusters. Personally I cannot see how anyone could claim this is not a perfectly good prototype from which true Krackle was developed.

Tales of the Unexpected #18
Tales of the Unexpected #18 (October 1957) “The Man Who Collected Planets” page 5 panel 5, art by Jack Kirby

I cannot resist providing another panel to show that my previous example of the Kirby Krackle prototype was no accident. While I fully accept this as a prototype, that by no means negates my claim that the example I provided from Captain 3-D (Kirby Krackle) was a Krackle prototype. Far from it, I believe it only strengthens my claim. The DC example is just what would be expected as a step intermediate between the earlier Captain 3-D (1954) and the full blown Krackle that Jack started using in 1968. Only small changes needed to go from the primitive version from Captain 3-D to the better (but still not perfect) version in the DC story. This means that I still maintain that Joe Simon was probably responsible for originating what would later become called Kirby Krackle.

Kirby Krackle

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Posted in 2010/02, 5 Studio, Artists, Harvey, Kirby Krackle, Kirby, Jack, Periods, Topic, z Archive and tagged , , ,

Fantastic Four #57
Fantastic Four #57 (December 1966) “Enter, Dr. Doom” page 5 panel 4, pencils by Jack Kirby, inks by Joe Sinnott (from the Marvel Omnibus)

There is a virtual cottage industry around identifying some aspect of Jack Kirby’s artistry and naming it with a word starting with the letter ‘K’ (better yet if the chosen word actually starts with a ‘C’). I find such terms annoyingly cute and even worse some have rather vacuous foundations (see Kirby Kolor, A Kirby Myth and Kirby Kolors, Revisited). There is one such term, Kirby Krackle, which is so entrenched in comic literature that I feel that it must be accepted. No matter how grating the name, Kirby Krackle really does describe an important aspect found in much of Jack’s later work.

Kirby’s art for Marvel Comics in the 60’s began to show clusters of round dots depicting enormous but not necessarily directed energy, often of a cosmic nature. Shane Foley wrote an excellent article on Kirby Krackle (Kracklin’ Kirby, Jack Kirby Collector #33) were he traces the appearance of this device. Because of the manner that the work was created, many experts have claimed that Kirby’s inker Joe Sinnott actually came up with the device and Kirby liked what he saw and adopted it.

Of course there are Kirby fans that were unwilling to accept any of Jack’s techniques as originating anywhere other than from the King himself. And so the race was on to find Kirby Krackle precursors in earlier work by Jack to prove that the idea came from him and not Sinnott. Frankly I find the the examples I have seen of the supposed Kirby Krackle prototypes to be less then convincing. Most are inking techniques that were used to depict smoke. These prototypes have four strikes against them. They do not take the shape of round dots, they do not form clusters, they are not used to depict high energy, and there are no intermediate examples that show they evolved into true Kirby Krackle. With so many points against them these so called prototypes can be discarded from serious consideration.

Captain 3-D #1
Captain 3-D #1 (December 1953) “The Man from the World of D”, page 3 panel 6, pencils by Jack Kirby, inks by Joe Simon

I would like to suggest yet another Kirby Krackle prototype. One found in the work that Kirby drew for Captain 3-D (December 1953). Besides the panel shown above, another example can be found from page 2 of the same story used in an earlier post (Captain 3D). Now I am not claiming these are true Kirby Krackle. Here dashes rather then dots are used and the dashes do not quite cluster as closely as in true Kirby Krackle, but it would not take much to make the change from the prototype to the real thing. Further the prototype is used to depict true energy; in fact there is a cosmic connection in that the weapon is called a gamma ray gun.

Unfortunately there is a problem for those Kirby fans who would like to use Captain 3-D Kirby Krackle prototype as proof that the idea came from Jack himself. These pages were not inked by Kirby. Worse yet, during the Simon and Kirby collaboration Jack did not indicate spotting in his pencils. Kirby drawings were line drawings only and it was up to the inker to determine the spotting. Joe Simon was the inker for page 3. Page 2 was inked by Steve Ditko but with touch-ups by Simon. I really cannot say for certain who inked the Kirby Krackle prototype on page 2 but since it is done in the same manner as page 3 I credit it to Joe as well. But somehow I do not think comic fans are going to begin calling this technique Simon Snackle.

Joe Simon and thee Newsboy Legion Archives

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Posted in 2010/01, Publications, Topic, z Archive and tagged , , , , , ,

Star Spangled #7

Amazon.com shows that Volume 1 of the Newsboy Legion will be released on March 9, 2010. If past experience is any guide, the book may actually appear in comic stores a week or two before that. This volume covers the Newsboy Legion and the Guardian stories that appeared in Star Spangled Comics #7 to #32 (April 1942 to May 1944). This is the entire Simon and Kirby story run created before the artists went into military service. That would leave Volume 2 to stories drawn largely by Gil Kane and perhaps another artist. While that might sound attractive to many potential readers of Volume 2 I expect most will be disappointed because at that time Kane was nowhere near the talented artist he would become. However there will also be some stories in Volume 2 by Simon and Kirby from when they returned to civilian life and a lot of their covers.

One of the things that I could not understand about the Marvel golden age reprints is why that company never got Joe Simon to provide any of the introductions? Well DC caught on to that idea and Joe has written the intro for the first Newsboy Legion volume. Joe tells me that it will include some previously unrevealed facts about the Newsboy Legion. I have not read it so I do not know what that might be. I have read many other unpublished essays by Joe and I am confident that this introduction will be a good read because he is such a great writer.

I am sure I will have something to say about the book when it comes out but I will not be writing a review. It turns out that I also have played a part in this book although admittedly a small one. I do not know if the restorations of the Newsboy Legion stories will be done in the same approach as the Simon and Kirby Sandman Archive but I do have a comment to those who have criticized the work done for that volume. Some have said that not enough effort was done on restoring the scans. Worse yet some have tried to align the work that I did on the Best of Simon and Kirby with Marvel’s approach as examples of how DC should be doing their archives. Well all I can say is that greatly disagree with that assessment. There maybe a superficial resemblance to my work in BoSK to Marvel’s archives but superficial is all it is. Marvel’s reprints are essentially recreations and on close examination show inaccuracies. While my restorations for BoSK may look different from the S&K Sandman Archive in fact both are based on scans with no line art recreation. When it comes to reprints I want to see the original artists’ work not some reinterpretation by a modern artist. That is much, much more important than whether printing defects such as registration problems are corrected.

Alex Raymond’s Rip Kirby

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Posted in 2009/12, Artists, Meskin, Mort, Swiping, Topic, z Archive and tagged , , , ,

Rip Kirby (12/5/46)
Rip Kirby (12/5/46) art by Alex Raymond

Syndication strips had a great influence on comic book artists. The newspaper comics developed before comic books were widely read and their creators (at least with the more popular strips) were big money earners. Milton Caniff probably had the greatest impact on comic book artists either directly or indirectly. This was particularly true of the Simon and Kirby studio where most artists, including Jack Kirby, grew up reading Caniff’s Terry and the Pirates and had adopted much from Caniff’s style. However he was not the only influential strip artist, another was Alex Raymond. Raymond grew to fame with his earlier Jungle Jim, Secret Agent X-9 and especially Flash Gordon. However Alex’s most important work was, in my opinion, Rip Kirby.

Rip Kirby (3/5/46)
Rip Kirby (3/5/46) art by Alex Raymond

Raymond had a long successful run on Flash Gordon before he volunteered for the Marines during World War II. When he returned from service he found that King Features, his syndication company, had contracted Flash Gordon to another artist. I always thought that companies were required to give returning veterans their original jobs but it turns out that was only true if they had been drafted, not if they had volunteered for service. I guess it was just another example of no good deed goes unpunished. King offered Raymond to create a new feature and the result was Rip Kirby. Some good did come out of this as Raymond not only received a large percentage of the profits but owned the rights to the strip as well. Rip Kirby was immensely popular and became the fastest selling syndication strip.

Rip Kirby (10/25/46)
Rip Kirby (10/25/46) art by Alex Raymond

Some have described the art of Rip Kirby as photo-realistic. Frankly this is not an accurate description at all. True realism in the panel size used in newspaper comics would have made the strips difficult to follow. Raymond carefully worked his realism to keep his characters easy to recognize and expressive as well. Many comic artists that have attempted this sort of realism only ended creating rather dry art. Not Raymond, his lines seem natural and relaxed and his designs always interesting.

Rip Kirby (3/12/46)
Rip Kirby (3/12/46) art by Alex Raymond

Alex Raymond did not have nearly the influence on comic book art as Milton Caniff. This might have been just a greater appreciation to Caniff’s more cartoon-like approach, but the difficulty of adopting Raymond’s greater realism may have been a factor as well. Still some artists were clearly influenced by Raymond. I have mentioned in my recent post on The Art of Romance that Simon and Kirby studio artist Bob McCarty had in 1953 developed a style seemingly influenced by Raymond’s art. John Prentice was even more of a follower of Raymond. Raymond’s approach to Rip Kirby was something that would work quite well in romance stories that Prentice was often asked to do. Prentice’s romance work was so successful that I believe Simon and Kirby preferred to give him love assignments more so then work for Black Magic (although I feel he was quite good at that as well). John Prentice was so adept at Raymond’s approach that after Alex’s untimely death in 1956 John became his replacement on Rip Kirby. While I do not claim Prentice was as good an artist as Raymond, I feel fans have sadly underappreciated Prentice’s work on Rip Kirby. Raymond was a tough act to follow but I feel no one could have done it better then Prentice.

Young Love #14
Young Love #14 (October 1946) “Girls like Her”, art by Mort Meskin

While Alex Raymond’s influence Bob McCarty and John Prentice was not unexpected I was surprised to find clear evidence of his impact on another artist. Of all the artists working for Simon and Kirby I would think Mort Meskin was the furthest from Raymond’s approach. Meskin had developed a stylized style that superficially seems quite different from Raymond’s more realistic manner. However I realized I had been underestimating Mort Meskin when I saw a panel from the Rip Kirby strip of March 10, 1946. The scene depicts Rip Kirby entering a model agency but while that is the true subject of the panel the entire foreground is occupied by some of the agency’s models. A similar composition, but by no means an identical one, was used by Meskin for “Girls like Her” (Young Love #14, October 1950). Obviously Meskin is not copying Raymond’s piece but clearly that was the original inspiration for his splash. Once again we view a man entering a modeling agency but only through a foreground of an array of models. There are telling differences. While some of Raymond’s models are actual doing something (reading a magazine or having a conversation) all off Meskin’s models look like just lounging around as if in some modern day harem. Raymond’s models seemed attired in the latest (for 1946) manner (I understand Raymond had a consultant keep him abreast of the latest fashions) but while the clothing of Meskin’s models is imaginative it does not seem realistic. Meskin has placed all his models in a rather confined space while Raymond’s models are arranged with a much greater depth of field. Meskin was obviously inspired by Raymond but created his own unique piece of art.

Rip Kirby (6/19/48)
Rip Kirby (6/19/48) art by Alex Raymond

I am happy to say that IDW will be reprinting the entire run of Raymond’s Rip Kirby. The first volume covering 1946 to 1948 is already out and the second volume should be released in March. The volumes are said to be based on syndication proofs of the original strips. The quality of the reproduction in the first volume varies a little bit but is always much better then I would expect if it was reproduced from actual newspaper strips (newspaper printing is as bad as that used on comic books). Rip Kirby was a daily strip so there are no color pages. All of the volume is printed on real nice flat paper (I do not understand why some people prefer glossy paper). The book’s width is greater then its height which is admittedly awkward for storing on a shelf but makes for much better reading. IDW does such a nice job on their reprints and I cannot recommend their Rip Kirby too highly.

Rip Kirby (12/13/46)
Rip Kirby (12/13/46) art by Alex Raymond

Early Lettering by Joe Simon

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Posted in 1 Early, 2009/11, Artists, Lettering, Periods, Simon, Joe, Topic, z Archive and tagged , ,

Like most comic book artists from the earliest period, Joe Simon lettered his own art. Actually Joe was doing lettering long before he began his career in comic books. While working as a newspaper staff artist Simon would letter his sport illustrations. Joe’s lettering for these sport drawings was quite variable even within the same individual work.

Silver Streak #2
Silver Streak #2 (January 1940) “Solar Petrol” letters by Joe Simon

Simon’s lettering for his earliest comic book work was rather amateurish as even he admits. Letter size varied a bit in different parts of the same page as did line spacing. I tried to get most of my letter samples from “Solar Petrol” from the same regions but even so there some of this variation can be seen above. Interestingly, Simon did his ‘G’ similarly to the way Jack Kirby did it. This was just a coincidence because when Joe did “Solar Petrol”, his first published comic book story, he had not yet met Jack. While some of the other letters are not very useful in distinguishing Joe from Jack one helpful one is the letter ‘M’ where Joe’s version has vertical side strokes while Jack made his ‘M’ with slanting sides. Further Joe never gave his ‘U’ the horse-shoe shape that Kirby used. The most useful letter for spotting Simon’s hand is ‘W’. Joe did this letter in a very distinctive manner that I have not seen others use.

One of Simon’s characteristics found in his earliest lettering is the way he would occasionally embellish a letter. I provide examples for the letters ‘R’, ‘S’ and ‘W’ at the bottom of the image. It is important to note that Joe did not do this sort of embellishment often but some can found in all the early stories and are quite distinctive when found.

The samples from Silver Streak are pretty typical for Simon’s early comic book art. Similar lettering can be found in the following:

  • Daring Mystery #1 (January 1940) “The Fantastic Thriller of the Walking Corpses” (Fiery Mask)
  • Daring Mystery #2 (February 1940) “The Phantom Bullet”
  • Daring Mystery #2 (February 1940) “Trojak the Tiger Man”
  • Target #1 (February 1940) “The Case of the Black Widow Spider”
  • Amazing Man #10 (March 1940) “Ranch Dude”
  • Target #2 (March 1940) “Sabotage”

Daring Mystery #3
Daring Mystery #3 (April 1940) “Trojak” letters by Joe Simon

In later works Simon seemed to restrain his use of embellished letters although they still occur with some examples on the bottom line shown above. Joe changed the way he usually did the letter ‘Y’ writing it with a vertical lower stroke. However there are occasional uses of a diagonal lower stroke of the ‘Y’ with an example on the last line from Daring Mystery #3. Such mixed use of letter forms is often the sign of two different hands; one the original letterer and the other making alterations. But I do not believe that this is the case here because we will see later works where the use of the two versions of “Y” seems characteristic of Joe.

I only had the time to put together these two samples of Joe Simon’s lettering so I will be return later with some other examples.

Jack Kirby as a Letterer

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Posted in 1 Early, 2009/10, Lettering, Periods, Topic, z Archive and tagged , ,

Creator credits were pretty much never supplied before the silver age of comics. Therefore we have no good idea who the letterers actually were for a long period of comic book history. In the case of Simon and Kirby we are more fortunate because they have told us who some of the letterers were. It is only a guess but I would not be surprised if over 95% of the lettering on works created by Jack Kirby and Joe Simon up to the breakup of their collaboration can be attributed to just four artists. Actually the overwhelming percentage of it was done by just Howard Ferguson and Ben Oda. However early in their careers both Jack and Joe generally lettered the works that they drew themselves. This was not surprising because typically there was no division of labor in the earliest years of comic books and artists were expected to supply fully inked and lettered art.

For this post I will be writing about the lettering by Jack Kirby. Jack’s earliest work was not in comic books but work intended for publication in newspapers. I suspect much of this was lettered by Jack himself but I am not completely sure. For instance “The Romance of Money” (link 1) was printed as a bank give-a-way in 1937. There are some suggestions that this was Kirby’s writing but it is hard to be sure because some of his more distinctive traits from a few years later are not found.

Kirby also did some lettering in the work that he did for the Iger and Eisner studio. At this point Kirby’s lettering is very much the same as in the examples that I will provide below from a latter period. An example of Kirby lettering from that period can be found in a previous post (see A Brief Pause).

Kirby also did the lettering for the syndication strip Lightin’ and the Lone Rider. Actual I am not sure if this strip was every published in a newspaper but Greg Theakston includes some proofs in his Complete Jack Kirby 1917 – 1940. The Lone Rider strip was included in Famous Funnies however the lettering was redone by some other artist for all the early issues (Famous Funnies #62 to #65, August to December 1939, see Chapter 1 of Early Jack Kirby). Jack’s original lettering was retained for Famous Funnies #72 to #76 (July to November 1940, see Chapter 3 of Early Jack Kirby).

LettersBlueBeetleFebruary
The Blue Beetle (February 1940), letters by Jack Kirby

The earliest samples of Kirby’s own lettering that I will supply come from the Blue Beetle syndication strip that Jack did for Fox Comics in 1940. Others who have previously written about detecting Kirby’s lettering have placed much emphasis on his distinctive ‘U’ with its ends curved inwards in a “horseshoe” shape. Kirby’s ‘U’ is very helpful for detecting Kirby’s lettering but I have also found his ‘G’ helpful as well. Observe the small vertical stoke that drops from the lower end of the letter. The vertical stroke does not always dip below the rest of the letter but even so its straight form can often be detected. Some letters by Kirby are not so distinctive from those used by other letterers but still are useful in cases where the ‘U’ and ‘G’ are not so helpful. In particular are ‘J’ without a cross stroke at the top, ‘M’ with slopping sides, and a ‘Y’ with a diagonal lower portion. Despite the vertical characteristic of Kirby’s alphabet he nonetheless executes his exclamation point at an extreme angle. Not infrequently Kirby fails to connect the strokes that form letters and I provide examples of such a failing for ‘K’ and ‘P’ and the bottom.

For an example of Kirby lettering for the Blue Beetle please see Chapter 2 of Early Jack Kirby.

LettersPrize08
Prize Comics #8 (January 1941), letters by Jack Kirby

I provide above letters from a somewhat later period taken from the Black Owl story published in Prize Comics #8. It can be seen that little has changed in Kirby’s lettering. In fact most of the differences that can be seen between the two examples I provide are actually not due to some evolution of Kirby style but rather to the wide range of variation that occurred in the lettering of a single story. For example I show from Prize Comics #8 two versions of the letter ‘S’. I also provide two further examples of letters (‘B’ and ‘R’) where Kirby fails to connect the strokes.

Captain America #2
Captain America #2 (April 1941) “Hurricane”, letters by Jack Kirby

My final set of letters by Kirby come from a story that probably was the last published one he ever lettered, “Hurricane” from Captain America #2. Also published in April was “The Underground Empire” from Daring Mystery #7 but that story was probably reworked material originally done earlier for the never published Red Raven Comics #2. Again there is little changed to be observed in Kirby’s lettering. Perhaps the most significant is that Jack now provides a more vertical form to his exclamation points.

Captain America was a big success and Jack Kirby would from then on concentrate on the art and would no longer letter his stories. The period that Kirby did lettering was relatively short and I provide below all the comics that I believe he lettered. However care must be used in some of the cases because Jack’s was not the only hand involved. But I will go into that in more detail later.

Captain America (Timely (Marvel))
     1    Mar  1941   10p "Murder, Ltd."
     1    Mar  1941    6p "Stories From The Dark Ages"
     2    Apr  1941   10p "Hurricane"

Crash (Tem Publishing)
   a 1    May  1940    5p "The Solar Legion"
   a 2    June 1940    5p "The Solar Legion"
   a 3    July 1940    5p "The Solar Legion"

Daring Mystery (Timely (Marvel))
     7    Apr  1941    8p "The Underground Empire"

Famous Funnies (Eastern Color)
     72   July 1940    2p "Lightnin' and The Lone Rider"- (Kirby lettering page 2)
   a 73   Aug  1940    2p "Lightnin' and The Lone Rider"
   a 75   Oct  1940    2p "Lightnin' and The Lone Rider"
   a 76   Nov  1940    2p "Lightnin' and The Lone Rider"

Jumbo (Fiction House Magazines)
   a 1    Sept 1938    4p "The Count of Monte Cristo"
     1    Sept 1938    4p "Wilton of the West"- (Kirby letters page 4)
   a 2    Oct  1938    4p "The Count of Monte Cristo"
   a 2    Oct  1938    4p "The Diary of Dr. Hayward"- (Kirby lettering page 3)
   a 2    Oct  1938    4p "Wilton of the West"- (Kirby letters pages 3 & 4)
   a 3    Nov  1938    4p "The Diary of Dr. Hayward"
   a 3    Nov  1938    4p "Wilton of the West"

Marvel Mystery (Timely)
     13   Nov  1940    8p "The Vision"
     14   Dec  1940    7p "The Vision"
     15   Jan  1941    7p "The Vision"

Mystery Men (Fox)
   a 10   May  1940    3p "Wing Turner"

Prize (Prize)
     8    Jan  1941    6p "Black Owl"
     8    Jan  1941    6p "Ted O'Neill"

Red Raven (Timely (Marvel))
     1    Aug  1940    8p "Mercury In The 20th Century"
   s 1    Aug  1940    7p "Comet Pierce"

Romance of Money (Natamsha Publishing)
          **** 1937   24p ""- (bank give-away)

Science (Fox)
   a 4    May  1940    8p "Cosmic Carson

Wow (Fawcett)
     1    Spr  1941    7p "Mr. Scarlet"

Big Apple Con Vs New York Comic Con

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Posted in 2009/10, Odds & Ends, Topic, z Archive and tagged , , , , ,

I been attended Big Apple Con over a number of years. It was reasonably priced and attracted a number of useful comic dealers. It used to be held in the basement of St. Paul where it always was overcrowded. It since has changed venues but somehow the show never seemed to gain in actual space. In April Wizard bought the convention and last weekend was their first show. Now Big Apple Con was held on a pier and there seemed plenty of room. I wish I could say I was pleased.

My problem was not how the show was run but in the price of admission. Where once the single day fee was $7 it now has jumped to an outrageous $40. I was unsure what day I would attend so I could not order my ticket ahead but that would only have saved me $5. I thought the ticket would cost $35 but there turned out to be a $5 handling fee. Frankly I feel such practices border on the dishonest; ticket prices should include all cost up front.

I decided to try the show anyway to see if it was worth the extra money. Unfortunately it was not. As far as I could tell it was largely the same comic dealers that I used to see for one fifth the price.

My biggest surprise from the show was finding out that Wizard had scheduled a Big Apple Con on the same weekend as the next New York Comic Con (October 8 – 10, 2010). So we are now faced with a smack down between the two conventions. Big Apple Con at $40 for a single day and the NY Comic Con at $30. No contest, why pay more for much, much less? I predict Wizard is in for a big surprise.

Belated Birthday to Joe Simon

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Posted in Odds & Ends, Topic and tagged , ,

Somehow I forgot to post Joe Simon’s 96th birthday yesterday. I did not forget his birthday as I visited him Saturday. But Joe downplays his birthdays and does not want to make a big deal about it. He is in good health and still rather active. He is scheduled to appear at the Wizard’s Big Apple Con on Friday, health permitting. No mention of time. Joe rarely makes convention appearances and when he does they generally are rather short. Not so much because he gets tired but rather because he gets bored. So if you go to the Big Apple Con keep and eye out for him.