022 From up here, maybe we can see what we’ve been talking about this whole time. A world that, from up here, looks like Jack Kirby’s Ego The Living Planet, but instead of its face being a wizened old man, it does of course strongly resemble the robot head of Jack Kirby. Our parachute opens,…
Continue Reading »
021 Do you know where you are? I have this vague recollection of someone asking the writer Spider Robinson where his ideas come from, and his answer having to do with hacking your way through a jungle (with Burne Hogarth denouncing you from a tree, probably) to find a filing cabinet in the middle of…
Continue Reading »
020 Bugger the robot head that steals my cigars. I love these Gil Kane BLACKMARK pages. It’s pretty genetic post-apoc barbarian fantasy. Archie Goodwin, once again writing for Kane, does his best, but he had to follow the genre (“Obey and enjoy the genre,” Michael Moorcock once said), and, you know, it was the 1970s……
Continue Reading »
019 MEANWHILE, IN THE FEVERPITCH WANKPIT OF PHILIP K DICK’S ARTIFICIAL CONSCIOUSNESS NESTED INSIDE THE ROBOT HEAD OF JACK KIRBY: someone in America is creating graphic novels for the newsstand and the bookstore. They weren’t called graphic novels. Not least because this is happening in 1968 and 1971. A crime graphic novel in magazine format,…
Continue Reading »
018 Story-strips. It made more sense to me than a lot of other replacement terms for comics. It reminded me of the early childhood where the British comics I got were called “adventure strips,” or “picture libraries.” When the comics I got were called “boy’s papers.” To me, it speaks to a time when popular…
Continue Reading »
017 It’s right there on the cover of Jack Kirby’s 1980s miniseries SILVER STAR, a comics version of a screenplay he wrote and never sold in the 1970s: “A Visual Novel.” I guess Jack didn’t fancy using the term “graphic novel,” perhaps because it’s so intrinsically linked now with Will Eisner, whose paperback edition of…
Continue Reading »
016 Superman’s head by John Lennon: the wit of his line isn’t unlike Flenniken’s, but it’s less trained, a little more hunting after the idea of the shape than the shape itself. This year he’s mostly been drawing himself going down on Yoko Ono. But he also knows how to capture a gesture, a mannerism,…
Continue Reading »
015 The artificial muscles in the severed robot head of Jack Kirby start shifting around. For a moment there, he looks like the piercing-eyed Superman of his original JIMMY OLSEN pencils. Hair starts sprouting, bushy and vegetal, until I find myself faced by Philip K Dick. Tendrils in the back of his head have connected…
Continue Reading »
014 Jack Kirby had been told, you see, that DC wanted him to reinvigorate their line, and to point the publisher towards the future. They began by giving him the extant series SUPERMAN’S PAL JIMMY OLSEN: as a warm-up, as a way to inject new life into that title, and to fire the warning shot. …
Continue Reading »
013 Jack Kirby’s move to DC, negotiated over a couple of years, was notable for several reasons. With few exceptions, people just didn’t cross town like that. DC and Marvel, still very much the only games in town (and that town was New York City, disguised as Metropolis and Gotham at DC but very much…
Continue Reading »
012 The story’s well known, now. Disenchanted with Marvel — with the constraints on his creativity, with not getting his original art back, with Stan bloody Lee and his bloody ocarina (and, perhaps, with Stan Lee suddenly emerging as a pop-culture celebrity, embraced as an intellectual on the college lecture circuit while Jack had to…
Continue Reading »
011 No disrespect should be inferred, in the previous section, to Mr Loeb, currently in (I think) the third blush of an incredibly successful career in commercial comics. As well as being the man who gave us the story in which Vernon Wells pretty much orgasms in his leather trousers at the thought of killing…
Continue Reading »