Tag Archives: Jack Kirby

In Love #3

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Posted in 2007/09, 6 Mainline, In Love, Periods, z Archive and tagged ,

In Love #3
In Love #3 (December 1954) “Artist Loves Model”, art by Jack Kirby

The artist and model theme was one that obviously resonated well with Simon and Kirby. They launched the whole romance comic book genre using the theme on a cover The theme became the basis of a syndication strip proposal most likely from the late ’40s or early ’50s. Later Simon and Kirby then tried to use it as a basis for a new comic book title. Kirby and Bill Draut both made cover proposals for the “Artist And Models” book. Kirby’s version of the cover and the original syndication proposals were used as a basis for the “Artist Loves Model” story for In Love #3. Theakston’s Jack Kirby Treasury vol 2 has one of the syndication strips. 2 panels made it into the comic version of the story, while 2 panels did not. The panels that made it were used in their entirety. Joe Simon’s collection has the original art for what was going to be the first page of the story. Two of the original three rows of panels remain on this page. Everything was cut and pasted, nothing was drawn on the board itself. Unlike the art from the Treasury strip example, this page did not use whole panels, instead these are pieces of panels cut to fit together. I am not sure why this page was abandoned, but it does seem to tell a story that deviates from the published version.

In Love #3
In Love #3 (December 1954) “Artist Loves Model” page 1, pencils by Jack Kirby inks by Joe Simon

We can be certain that the published first page was newly created for the comic book version of the story, a syndication strip would not require a full page splash. I am not certain, but I believe Simon did the inking. It is even blunter then what Kirby was doing at the time without the type of control Jack usually provided. When I showed Joe this page he commented that he felt there was too many words in the caption. It is an unusually wordy introduction for a Simon and Kirby comic. This was probably due to the need to cover the part of the story which had been on the abandoned first page that I talked about above. Although I have attributed the pencils to Jack, he may not have done the rows of buildings at the top and bottom of the page. In any case the tenements on the bottom are a particularly nice touch.

Of all the stories published for the In Love title, or any other Simon and Kirby romance productions, the inclusion of “Artists Loves Model” in the romance genre is the greatest stretch. Although love plays and important part of the story it really is not the central theme. The real theme for this story concerns artistic creativity. The story follows the lead character Inky from the end of his gig as an assistant to a famous and successful syndication strip artist. We see Inky’s failed attempt at creating his own strip. Eventually our hero does accomplish his goal, but only as an unwitting accomplice to intellectual property theft. When Inky realizes what has happen he abandons his new found success and sets things right. But he has not only proved his moral integrity, but his artistic value as well. Inky ends up with a new assignment and there is little doubt that he will be very successful with it.

In Love #3
In Love #3 (December 1954) “Artist Loves Model” page 5, pencils by Jack Kirby

“Artist Loves Model” has significance beyond the fact that it is a great story. Both Jack and Joe gave a number of interviews later in their lives. Jack’s interviews in particular give insight into his opinions about the creative process. The prestige of comic book artists is very different from the Silver Age on. I doubt very much if anyone bothered to interviewed Kirby or Simon during their time of collaboration. Therefore “Artist Loves Model” provides a rare opportunity into what Simon and Kirby thought about creativity in comic art at that time. When syndication manager Jack Hill rejects Inky’s initial strip proposal Hill’s explanation is:

BECAUSE YOUR CHARACTERS ARE ARTIFICIAL, INKY … THEY LACK LIFE!

Later Hill makes it clear that he is not just talking about how good the drawing is:

NO EDITOR IN HIS RIGHT MIND WILL ACCEPT THAT LIFELESS CREATION, INKY! IT’S JUST A GOOD-LOOKING CORPSE!

To help Inky understand what he is saying, Hill shows two popular syndication artists at work. One, a small and skinny man, draws a Superman clone (Vita-Man), using his inner most desires as an inspiration. Another artist is a typical family man and therefore can make his comic strip family real for his readers. One particularly interesting comment is made by Mr. Hill:

A MAN DOESN’T SEARCH FOR AN INSPIRATION … IT EXPLODES IN HIS MIND!

The way this particular comment is phrased sounds so like Kirby to me. It is just the sort of thing that Jack might have said thirty years later.

Inky’s love interest is his new found manager, Donna Dreame. Donna is a very beautiful woman with a larcenous heart. Unfortunately Inky is the only one in the story who does not recognize her true nature. Donna is surprised to find that Inky has used her as a model for one of the characters in the strip they are collaborating on. However as Donna remarks:

BUT THIS GIRL … SHE’S A SWEET YOUNG THING … INNOCENT … WHOLESOME … EVERYONE’S KID SISTER …

This is the way the love blind Inky sees Miss Dreame. Donna is so taken by Inky’s idolized version of herself that she resolves to be more like the woman that the artist has portrayed. Real life has inspired art which in turn becomes a source of inspiration. I believe this is a rare presentation of a core, if unspoken, Simon and Kirby philosophy. I can think of no more capable comic book creators at that time then Simon and Kirby. Yet Joe and Jack never went to the extremes found in comics produced by companies like EC. Even before the Comic Code there was a self imposed barrier of good taste that Simon and Kirby would never extend beyond. As businessmen money was very important to them, but never to the point that Joe and Jack would compromise their product. Simon and Kirby wanted their stories to be sources of inspiration for their readers and not just a vehicle for cheap thrills.

“Artist Loves Model” is unique among the numerous Simon and Kirby productions. Unfortunately In Love #3 is probably the rarest of all the Mainline/Charlton Simon and Kirby issues. Further this story has never been reprinted. The story has no superheroes or blazing guns yet I think it is a most important story that every Simon and Kirby fan should read. Perhaps someday that will once again be possible.

The format of the In Love would change after issue #3. Never again would the title include a “book length love novel”. Nor would the stories have the unique flavor that previously even many of the backup stories had. The stories from In Love became indistinguishable from those concurrently being produced by Simon and Kirby for Young Romance, Young Love and Young Brides. I will continue scanning and restoring the remaining issues of In Love but I doubt I will be posting about them at this time. First I need to write about Simon and Kirby’s long and fruitful career in the romance genre.

Addendum:
When I wrote the above I had completely forgotten that Bob on the Jack Kirby Comics Weblog had once posted on the syndicate version of this story. I am in the process of getting a copy of Buried Treasure v1 #2 which Bob reports has 36 strips. When I do I will post on what portion of the original strip made it into the comic book story.

Simon and Kirby’s Manhunter

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Posted in 2007/09, 4 DC (early), Featured Work, Periods, Topic, z Archive and tagged ,

Adventure #72
Adventure #72 (March 1942) “The Fish-Men”, art by Ed Moore

There is a gap of a couple of months between when Simon and Kirby left Timely and their first published work for their new gig, DC. In his book, The Comic Book Makers, Joe has said that they did some ghosting at first. I am surprised about that because later attempts by Joe or Jack to copy another artist’s style were not very successful. I would think that by now someone would have identified any ghosting that they did for DC. The first known work for DC was a Sandman story in Adventure #72 (March 1942). Simon and Kirby imparted to Sandman their unique storytelling talents. However Sandman was not their own creation, Simon and Kirby did not even create a new costume for the hero.

Adventure #73
Adventure #73 (April 1942) “Buzzard’s Revenge”, art by Jack Kirby

For the next Adventure issue S&K added another feature, Manhunter. This replaced the series Paul Kirk Manhunter. Joe and Jack kept the concept of a big game hunter using his skills to combat crime. Instead of fighting crime as a detective, Simon and Kirby would give their hero a costume and a secret identity. It seems that Joe and Jack wanted to distance themselves further from the previous strip by calling the hero by a new name, Rick Nelson. Probably at the instigation of DC management, Manhunter’s alter ego changed back to Paul Kirk in the next issue’s story and so would remain.

Adventure #73
Adventure #73 (April 1942) “Buzzard’s Revenge” page 8, art by Jack Kirby

The name of Manhunter’s secret identity was not the only thing that changed after the first story, there was a costume change as well. Initially Manhunter had a mask which left bare his lower face, very much in the style that Simon and Kirby had used previously for Captain America. This would be replaced afterwards with a blue mask that covers the entire face. It is only the face that is blue, the rest of the head is red like most of the costume. This blue mask is unlike anything that Simon or Kirby did before, and they would never repeat it. There is a separation between the blue mask from the rest of the head gear. The demarcation between the two follows a path about where the hair line would be and then traces down the cheeks. A careful examination reveals that the new costume did not actually start with the second issue, but was used in the first story as well. It is only the coloring used that makes the first story look like it matches the cover art. Chances are when DC noticed the discrepancy between the cover art and the story they asked Simon and Kirby to correct it. On the splash page Manhunter was modified by the addition of a upper face mask. Such a modification probably took too long, and the results were neither matched the cover nor were very satisfactory in its own right. So the rest of the story was altered by the judicious use of color alone.

Aside from the issues of the costume and secret identity, everything for Manhunter was in place right from the start. In Captain America the origin story seemed like something that S&K had to get over with as quickly as possible so that the real tales could be presented. With Manhunter Simon and Kirby handled the origin better, integrating it into the first story quite well. Kirby continued drawing with devices he had adopted in Captain America, variable shaped panels, figures that extended beyond panel boarders, exaggerated perspectives, outrageous running strides, and what would become a Kirby trademark, his socko punches. Jack’s pencils seem better, as if he was now fully in control of what he was doing. But of course Kirby’s art always seem to change and improve as he was never satisfied to rest on his former achievements. For me it was with the early DC work and the Harvey covers that the Simon and Kirby unique artistic vision first congealed. An important part of this was their forging a unique inking style. You can see suggestions of it in Captain America, but perhaps because of all the different hands used to produce that comic it all appeared a bit piece meal. With the DC and Harvey work the brushwork would be bold yet sensitive.

It is not just the art that makes Simon and Kirby productions so great, it is the writing as well. Simon and Kirby managed to leave their unique touch on the Manhunter stories. There was nothing else at the time as exciting as Manhunter in Adventure Comics, or for that matter any of the DC comics, well except of course for the Sandman stories. Manhunter was matched against crime lords, evil scientists, jewel thieves, Nazi spies and escaped convicts. No matter what foe Manhunter pitted himself against he would manage to track them down, although sometimes he would end up being hunted in return. They were all fast pace adventures and in my opinion great reads.

Adventrue #75
Adventure #75 (June 1942) “Beware of Mr. Meek”, art by Jack Kirby

There was one aspect about Manhunter that Joe and Jack seemed a little uncomfortable with. Simon and Kirby preferred to give their heroes a sidekick, so that they would have someone to talk to as Joe would explain. Simon and Kirby’s solution to this problem in Manhunter was to provide a different sidekick as the need aroused. In “Scavenger Hunt” (Adventure #73) Manhunter teams up with a young man trying to prove his worth to his would be love. For “Beware of Mr. Meek” (Adventure #75) the sidekick is of all things a beautiful jewel thief. A boy scout helps the temporarily blinded Manhunter follow the crooks’ trail in “The Legend of the Silent Bear” (Adventure #76). In “The Stone of Vengeance” (Adventure #77) a shoe shine boy becomes involved in Manhunter’s case against some murderous jewel thieves. The lady in “The Lady and the Tiger” is effectively Manhunters sidekick in Adventure #78. Finally in “Man Trap Island” (Adventure #80) he teams up with a young Indian lad to combat escape convicts. Only in the origin story and “Cobras of the Deep” (Adventure #79) does Manhunter truly work alone.

Simon and Kirby only did eight Manhunter stories. The feature did continue but under much less talented hands. Unfortunately Manhunter was not the sort of character that could continue to be successful without the Simon and Kirby touch. Frankly I am surprised it made it as far as Adventure #92 (June 1944). Reprints of most of the S&K Manhunter stories appeared as backup features for some of Kirby’s DC comics in the early ’70s. Jack would also do a retro version of the Manhunter in 1975 (1st Issue Special #5). These ’70s work must have had an impact because over the years DC would publish a variety of Manhunter avatars, the latest being a female version. With Manhunter’s continued significance in DC continuity I would have thought that a tradeback edition of the original Simon and Kirby stories would be a no brainer. Yet despite all the archive editions published, DC seems reluctant to reprint Manhunter or any of the other Simon and Kirby creations. I wonder why?

Night Fighter, an Abandoned Superhero

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Posted in 2007/08, 6 Mainline, Assorted, Odds & Ends, Periods, Topic, z Archive and tagged ,

In Love #1
Mainline Advertisement from In Love #1 (September 1954)

Simon and Kirby launched their own comic publishing company, Mainline, with Bullseye (August 1954). The first issue of Bullseye ran an advertisement for the next issue, but no mention of other titles. For the next month, September, two additional titles were released, Police Trap and In Love. Like Bullseye, Police Trap ran an ad for the second issue. However inside In Love was an advertisement for all the Mainline titles. It was a diverse lineup including western, crime, romance and war comics. At this point only the Foxhole had not been released. But it is clear from the description that S&K had already decided on the theme for their war title:

BATTLE STORIES WRITTEN AS THEY ARE LIVED BY THE MEN WHO MARCHED AND CUSSED…AND DIED! HERE IS YOUR FATHER – YOUR BROTHER – AND YOUR SON, TOUCHED BY THE HAND OF WAR!

Right above the blurb the comics title is given and it is Night Fighter instead of Foxhole. Night Fighter just does not make sense as a title for a war comic. There is nothing in the blurb to suggest the comic would only be about nighttime battles.

Night Fighter
Night Fighter, unpublished cover

Night Fighter was also the title used for a superhero proposal that Simon and Kirby came up with. The original art is known for two covers. The one whose image I show above was created by altering an unused Fighting American cover. This and the other Night Fighter cover can also be seen in Greg Theakston’s Jack Kirby Treasury volume 2. Both covers show a hero with special equipment, boots that allow him to walk on walls and goggles that permit him to see in the dark.

But the use of name Night Fighter in the Mainline advertisement and for the unused superhero is not a coincidence. Compare the logo from the unused Night Fighter covers with the one in the In Love advertisement. There is no question, both are the same design. The most reasonable explanation is that the superhero Night Fighter was originally planned as part of the Mainline lineup and was included in the first state of the In Love ad. Before In Love #1 was sent to the printers Simon and Kirby decided to replace the superhero entry of the Mainline comics with one from the war genre. They replaced the blurb in the advertisement with one appropriate for the new war title. Somehow S&K never got around to changing the title from Night Fighter in the ad. Perhaps they had not yet decided what to call the war comic and simply forgot to correct it in the advertisement by the time they decided to name it Foxhole.

Why did Simon and Kirby decide to drop the superhero Night Fighter from their lineup? With the part that Jack played in the creation of the Marvel universe as well as all the superheroes Simon and Kirby worked on during the war, it is easy to conclude that superheroes were important for the S&K team. However during the years after the war until the breakup of the studio superheroes only played a small part of the comics that Simon and Kirby produced. Stuntman and the Red Demon quickly failed during the comic book blot that followed the war. Captain 3D had an even shorter life when 3D comics turned out to just be a fad. Simon & Kirby had created Fighting American for Prize Comics just before starting Mainline. Fighting American #1 has a cover date of April which would indicate a calendar date for its release as February. In Love #1 with a cover date of September would have gone to the printers at a calendar date of May. Since their deal with Prize was to share the profits, it is possible S&K may have known the sales return for FA #1 in May and perhaps these were not as good as hoped. The only problem with this scenario is that when In Love #1 was sent to the printers it would be expected that some work may have already begun for the next month’s titles. Yet all the art that seems to remain for Night Fighter are the two unused covers. So it is hard to be sure whether or not sales figures for Fighting American affected the decision not to launch Night Fighter. Whether influence by sales figures for Fighting American or not, Simon and Kirby apparently decided the time was not right for launching a new superhero. Perhaps if Mainline had been a success they might have later expanded their line to include Night Fighter.

Jack Kirby Lettering Checklist

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Posted in Kirby, Jack, Letterer Checklist, Lettering and tagged 
Last update 6/4/2020

Blue Beetle Syndication
                    February    1940  1p sample sheet from Joe Simon's collection

Captain America (Timely)
     1              March       1941 10p "Murder, Ltd."
     1              March       1941  6p "Stories From The Dark Ages"
     2              April       1941 10p "Hurricane"
     3              May         1941  2p "Amazing Spy Adventure    Simon"
     4              June        1941  9p "Ivan The Terrible" page 8

Crash (Tem Publishing)
     1              May         1940  5p "The Solar Legion"
     2              June        1940  5p "The Solar Legion"
     3              July        1940  6p "The Solar Legion"

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

Famous Funnies (Eastern Color)
     72             July        1940  1p "Lightnin' and The Lone Rider"
     73             August      1940  2p "Lightnin' and The Lone Rider"
     74             September   1940  2p "Lightnin' and The Lone Rider"
     75             October     1940  2p "Lightnin' and The Lone Rider"
     76             November    1940  2p "Lightnin' and The Lone Rider"

Jumbo (Fiction House Magazines)
     1              September   1938  4p "The Count of Monte Cristo"
     1              September   1938  4p "Wilton of the West"
     2              October     1938  4p "The Count of Monte Cristo"
     2              October     1938  1p "The Diary of Dr. Hayward"
     2              October     1938  2p "Wilton of the West"
     3              November    1938  4p "The Diary of Dr. Hayward"
     3              November    1938  4p "Wilton of the West"

Marvel Mystery (Timely)
     13             November    1940  8p "The Vision"
     14             December    1940  7p "The Vision"
     15             January     1941  7p "The Vision"

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

Prize (Prize)
     8  (v.1, n.8)  January     1941  9p "The Black Owl"
     8  (v.1, n.8)  January     1941  6p "Ted O'Neill"

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

Romance of Money (Natamsha Publishing)
                                1937 24p

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

Wow (Fawcett)
     1              Spring      1941  p7 "Mr. Scarlet"