Category Archives: Other Thinkers on Kirby

Kirby Day 2019

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Kirby at work, Thousand Oaks, CA, Sept. 1972. Photo by and (c) David Folkman.

Today, August 28, I call Kirby Day. This would have been the 102nd birthday of Jack Kirby (b. Jacob Kurtzberg, 1917-1994), as inventive and influential a comics creator as the field has ever seen, and one of the under-appreciated architects of what is now 21st century popular culture, both in the US and around the world. On this day, this unofficial holiday, why not donate to The Hero Initiative in support of veteran comics creators in need? Giving back on Kirby’s birthday is a grand tradition that deserves continuing.

Hero Initiative masthead

And, if you’re in or near New York City — not, like me, on the wrong coast — then why not join the Jack Kirby Museum & Research Center this evening on the Lower East Side, Kirby’s point of origin, for their celebratory walking tour and mixer? That sounds wonderful. It’s a free, non-ticketed event (the precise starting point and other info can be found on the Museum’s site at the above link). Kirby belongs to the world, but his roots in NYC deserve to be recognized and retraced. (How about a commemorative plaque at Kirby’s Essex Street birthplace, hmm?)

KIRBY, HYPE & HISTORY

Kirby’s name has now been coopted and rebranded as a “Disney legend,” and is at last gaining traction in entertainment media coverage, with film adaptations of his late-period auteurist works The New Gods and The Eternals looming (from Warner/DC and Marvel Studios respectively). However, his larger career story, beyond what can be harnessed to hype new adaptations, still seems unknown even to many fans of the Marvel Universe — a pop-culture franchise impossible to imagine without Kirby’s foundational work. Happily, the now-touring exhibition Marvel: Universe of Super Heroes (reviewed here on 23 April 2018) casts Kirby as, essentially, cofounder of that universe, and conversations around films like Thor: Ragnarok and the upcoming Eternals have made Kirby and his designs a frequent talking point. I have to admit, I had never expected to see this.

But to me the heart of the story remains (of course) Kirby’s own art and storytelling, and his own improbable record of unstinting creativity against long odds, in an industry that often treated creators like dirt. Thrilling to the latest news of pending screen adaptations ought to be balanced, I think, by a critical awareness that comics, as comics, do not necessarily gain from these things, and that a history of comics that is hostage to the current exploitation of corporate IP is not really history, but hype. Anyone who has published scholarship on comics creators like Kirby is probably familiar with  the odd sensation of seeing scholarly opportunities open up  precisely because of that hype — but I believe we should be wary of pop-culture presentism that repackages, but also occludes, the very history of the things we are researching. Sure, bring on the adaptations, the marketing campaigns, the DVD/Blu-ray extras and all that (I’ll be paying attention to the Eternals and New Gods films), but it’s the conversation around Kirby’s comic art as such that most interests me.

Kirby does not equal Marvel, or DC, and even his work for DC and Marvel ought to be framed in terms other than those of corporate mythology!

KIRBY STUDIES NEWS:

Man, I wish I had been able to go to France this summer. It’s been a feast of comic art exhibitions in France these last few months, and not one but two shows about Kirby have taken place in the Normandy region, coinciding with the 75th anniversary of the Allied invasion of Normandy and subsequent liberation of France. In France, Kirby’s name seems indelibly linked with his part in the liberation as well as his Marvel work, so this seems to have been perfect timing. One of these exhibitions closed just this past weekend, and the other (sigh) closes on September 29. I so wanted to give my passport another workout this summer, but, alas, could not.

I owe most of what I know about these exhibitions to social media posts and, especially, a review essay by comics scholar Jean-Paul Gabilliet (Of Comics and Men) for the International Journal of Comic Art. This thoughtful and detailed essay, by one of the leading historians of the American comic book, is happily available online, pending its publication in a future issue of IJOCA; I recommend it highly:

http://ijoca.blogspot.com/2019/08/about-four-comic-art-exhibits-in-france.html

One of the exhibitions, co-curated by French Kirby biographer Jean Depelley, focused squarely on Kirby’s wartime experience. Titled La guerre de Jack Kirby, l’inventeur des super-héros modernes [The war of Jack Kirby, the inventor of modern superheroes], it reportedly consisted of reproductions of comic book art and photographs, with emphasis on Kirby’s time as a combat infantryman in Nazi-occupied France. This fairly small exhibition ran from June 4 through August 24 at Les 7 lieux, a media library and cultural center in the city of Bayeux (famed in not only military history but also, of course, the history of sequential art).

At the same time, roughly 60 miles away, a very large exhibition titled Jack Kirby: la galaxie des super-héros ran (and is still running, through Sept. 29, having been extended) at Le Musée Thomas Henry, a fine-arts museum in Cherbourg, the famed Normandy port city. Co-curated by Musée curator Louise Hallet and comic art dealer Bernard Mahé, this exhibition is part of the Biennale du 9e art, a biennial event that centers on a big exhibition focused on a major creator. La galaxie reportedly includes more than 200 pieces of original comic art, about three-fourths of which are by Kirby, the other one-fourth being works by, as Gabilliet says, Kirby’s precursors (e.g. Hal Foster; Alex Raymond) and followers (e.g. Steranko; John Buscema). This sounds frankly like an overwhelming feast for the eye and the mind. Dig a couple of borrowed photos:

La galaxie exhibit entryway

Jack Kirby: la galaxie des super héros at Le Musée Thomas Henry. Photo: actua.fr, 28 July 2019.

Curator Louise Hallet (and Darkseid) at Le Musée Thomas Henry

Curator Louise Hallet and Darkseid, Le Musée Thomas Henry. Photo: Ouest-France, 22 May 2019.

La galaxie appears to have been one of the very largest Kirby exhibitions ever, comparable in scope to The House that Jack Built (co-curated by Paul Gravett and Dan Nadel for Lucerne’s Fumetto festival in 2010). Gabilliet writes thoughtfully of the exhibition’s pleasures and limitations, in terms that reminded me of the challenges I faced when curating Comic Book Apocalypse for the CSUN Art Galleries (2015). But, ah, just to see the complete “Even Gods Must Die” (New Gods, 1984 series, #6), on view at La galaxie — man, what I wouldn’t have done for that experience. I dearly regret missing these shows, just as I regret missing Mostri, uomini, dei [Monsters, Men, Gods], the Kirby exhibition at Bologna’s BilBOLBul comics festival last fall.

Right now, Gabilliet’s conclusion is ringing in my head:

[C]omic art exhibiting seems increasingly open to a plurality of conceptual and aesthetic possibilities that by far transcend the arguably increasingly humdrum pattern of “career retrospectives,” notwithstanding the genuine satisfaction one is perfectly free to experience while beholding wall-to-wall displays of original comic art drawn by a given creator. While many museums and galleries still regard comic art as “easily accessible” art that will likely attract paying visitors—a legitimate expectation by all means, unfortunately—the full museographic potential of comic art is yet to be tapped. The more imaginative curators will prove, the more alive we will all become to the versatility of our favorite art form.

Yet to be tapped. Absolutely. But things are happening. This puts me in mind of, one, Kim Munson’s forthcoming academic anthology, Comic Art in Museums (UP of Mississippi, 2020), in which I believe I will have a couple of pieces; two, the pending Comic-Con Museum in San Diego; and three, the pending Lucas Museum of Narrative Art in Los Angeles (currently advertising for a comic art curator). It would be reasonable to expect major Kirby-themed exhibitions from either or both of those places.

TWO OTHER NEWS ITEMS:

ONE. Speaking of Kirby’s wartime experience, acclaimed artist and Kirby expert James Romberger has a Kirby-themed biographical comic about to drop: For Real #1, promised from Uncivilized Books this November, which will reportedly contain:

“The Oven,” a short comics story that is a fictionalized amalgam of two little-discussed and largely undocumented parts of Kirby’s life: a harrowing encounter with Nazis in World War 2 and his treatment for cancer many years later, a story that touches on themes of PTSD, graphic medicine, courage and empathy; and “The Real Thing,” an accompanying essay by James that clarifies aspects of the story and contextualizes them with the reality of Kirby’s experiences.

For Real cover by Romberger

James Romberger’s anthology series For Real will begin with a comic and an essay about Kirby. In shops Nov. 6, 2019.

This comic book, Romberger says, is “the first issue of what will be a continuing anthology title” that he will edit, to be published by Uncivilized Books.

Romberger will be speaking about this project at the New York Comics & Picture-story Symposium next Tuesday, September 3, at 7pm at Parsons School of Design, University Center, 63 Fifth Avenue, Room UL 105. This event is free and open to the public.

I’m excited about this project, which promises to complement some other recent biographical projects: Tom Scioli’s graphic bio of Kirby (in progress), Scioli and Jean Depelley’s collaboration on “Private Kirby Adventures” (as seen in The Jack Kirby Collector #64, 2014), and Depelley and Marc Azéma’s 2017 documentary film La guerre de Kirby. Romberger is a superb artist, with a great feel for period and place and an abiding interest in Kirby.

TWO. On an academic and theoretical front, Kirby’s work figures in the recently released bilingual (French and English) anthology Abstraction and Comics/Bande dessinée et abstraction, a two-volume slipcased beauty edited by Aarnoud Rommens with the collaboration of Benoît Crucifix, Björn-Olav Dozo, Erwin Dejasse, and Pablo Turnes.

bandedessinéeabstraction

Abstraction and Comics | Bande dessinée et abstraction. La Cinquième Couche/Presses universitaires de Liège, collection ACME, 201

Abstraction and Comics is a project of the ACME research group at the University of Liège in Belgium, and jointly published by La Cinquième Couche and the University Presses of Liège. It totals nearly 900 pages, and includes essays and comics by more than fifty contributors (among them my esteemed colleagues Jan Baetens, Hugo Frey, Gene Kannenberg, Jr., Martha Kuhlman, Pascal Lefèvre, Gert Meesters, and Barbara Postema). Two essays will be of special interest to Kirby scholars and fans: “Jack Kirby: In-between the Abstract and the Psychedelic,” by Spanish scholar Roberto Bartual (author of Jack Kirby: Una Odisea Psicodélica); and “The Kirby ‘Krackle’: A Graphic Lexicon for Cosmic Superheroes,” by Argentinean scholar Amadeo Gandolfo.

There’s a ton to take in and think about in this pair of books. Recommended emphatically! My own research on collage in comics (including Kirby’s) will draw quite a bit from these pages.

It’s great to see Kirby studies flourishing internationally, and so many exhibitions and projects taking up his work. By Halloween I’ll have another such project to announce.

HAPPY KIRBY DAY! Indeed, #K i r b y I s E t e r n a l.

PS. My thanks to the great Paul Gravett for providing me updated and corrected information about the Cherbourg exhibition!

Jack Kirby’s Marvels on Imaginary Worlds

Imaginary Worlds label

I had the pleasure of being among the scholars interviewed by host and producer Eric Molinsky for “Jack Kirby’s Marvels,” an episode of Imaginary Worlds, his biweekly podcast  on the Panoply network about science fiction, fantasy, and geek culture.

An experienced radio reporter and producer, Molinsky has worked for NPR, PRI’s Studio 360The New Yorker Radio Hour, and many other programs. He has been producing Imaginary Worlds for nearly four years, and in that time has done more than ninety episodes. Molinsky describes Imaginary Worlds as “a show about how we create them and why we suspend our disbelief.” This particular episode, “Jack Kirby’s Marvels,” explores the question of “Kirby’s influence on the Marvel Cinematic Universe.” The show includes a visit to the Tenement Museum of New York’s Lower East Side, featuring IW assistant producer Stephanie Billman and museum educator and guide Jason Eisner; and historical commentary from Mark Evanier, Kirby’s biographer and onetime collaborator; Rand Hoppe, Acting Director of the Jack Kirby Museum & Research Center; and Arlen Schumer, designer, illustrator, and popular culture historian (The Silver Age of Comic Book Art). I’m in there too.

You can listen to the episode (about 32 minutes) via the links above, or right here:

(My first moments come in around 16:50, he said egotistically.)

I’m glad to have done this, and in such good company. The end results are sharp, professional, and engaging. Imaginary Worlds boasts top-notch production and creates an interesting audio-imagescape (with, in this case, sound bites from Marvel movies woven into the mix). It’s a thrill to be a voice on such a show. Further, I’m happy to hear Kirby credited, unambiguously, as the source of so many of Marvel’s enduring properties from the Sixties.

But, ahem, I’d be remiss if I didn’t point out how my own perspective differs from that ultimately taken by the ‘cast. In particular, I disagree with the angle of the last seven minutes or so, as Molinsky pivots from the Marvel Sixties to Kirby’s stormy Seventies, including the Fourth World and then his troubled return to Marvel in the mid-decade. I was sorry to hear so much great work summarily dismissed, and to hear the show repeat the canard that Kirby had never written dialogue before 1970 (false) and, worse yet, that he really couldn’t, that as a writer his work was “clunky” and inelegant. This is an old chestnut among Marvel fans, but of course I don’t buy it. When I reread, say, New Gods #5-9, Mister Miracle #9, The Demon #1, Kamandi #11-16, Eternals #8-10, or Captain America’s Bicentennial Battles, this claim makes no sense to me.

Jack Kirby’s Marvels” seems determined to highlight Kirby’s contributions to the Marvel Cinematic Universe above all else, which would be fine if that choice of focus were explained at the outset as simply one of many possible angles—yet at the same time the show tries to encapsulate all of Kirby’s career, the result being a too-brief and frankly misleading sketch. Molinsky privileges Marvel “IP” even as he reads Kirby’s work through the lens of autobiography; what emerges from all this is an odd mashup of Marvel-centric fan lore with the biographical tendency in Kirby studies. In effect, the episode makes Marvel (and I find this terribly ironic) the center of Kirby’s life story. The rest of his career, both before and after, is thinly documented, or simply undocumented (Captain America Comics is the one thing brought up from Kirby’s early career). Again, all this would be understandable if the ‘cast had clearly announced its scope and intentions up front—but instead it offers, by way of an ending, a quick, misleading capsule summary of the rest of Kirby’s career, presented as a tragic fall.

IMO the show gets bogged down at the intersection of Kirby bio and Marvel movie IP, and the cost is obscuring history. You would never know from this ‘cast that Simon and Kirby scored other big hits besides Captain America in the WWII years, such as The Boy Commandos. You wouldn’t know that comic book sales peaked in the early Fifties, after the heyday of the superhero, or that superheroes were not the barometer of the industry’s health. You’d never know that Kirby did his most lucrative, and one of his most influential, genres, romance, from the late Forties through late Fifties. (I’ll repeat what I’ve said before: you cannot explain the Marvel superheroes of the Sixties, with their domestic melodrama and expanded though sentimental women’s roles, without the influence of romance comics.)

“Jack Kirby’s Marvels” does good work in highlighting Kirby as Marvel’s co-founder. Kirby’s centrality is never questioned, and Molinsky and company have edited many voices into one succinct, riveting account. Further, the early portion of the ‘cast, with the visit to the Tenement Museum, could be eye-opening to many (the tenement segment is great). For these reasons, I hate to go public with my criticisms, which may smack of ingratitude. But I have to admit my heart fell during the final fourth or so of the ‘cast, and I reckon I should state for the record how my interpretation of the history differs.

It’s a shame that the episode’s emphasis on Marvel IP causes it to short-shrift other important aspects of Kirby’s biography, including huge successes like the Commandos and Young Romance, the harrowing details of his military service, the ups and downs of his partnership with Simon, and the upheavals in the comic book market after the mid-Forties. Finally, I was disappointed by the episode’s ending, which comes down to, simply, a reaffirmation that both “Jack AND Stan mattered”—a conclusion that is hardly surprising, indeed by now has become standard. I guess that was a gesture toward closure, and listeners do need closure—but so much gets swept under the floorboards when we do that.

Just Draw! Mark Badger Brings Kirby Studies and More to SVCC  

Going to the Silicon Valley Comic Con this weekend? Look out for Kirby stuff, Kirby studies, and ace cartoonist Mark Badger!


Tomorrow through Sunday, March 18-20, Mark, wearer of many hats–artist, teacher, Comic Book Apocalypse essayist, and Kirby expert among them–will be appearing at the inaugural SVCC at the San Jose Convention Center, where he’ll be doing a lot of great things:

  • Manning a booth on behalf of the Kirby Museum (that would be booth AA2 H) in collaboration with underground comix artist Bruce Simon. They’ll be selling the Four Faces of Evil poster for the Museum, plus Museum T-shirts and sundries, plus examples of their own work–and copies of our Comic Book Apocalypse catalog, as a Museum fundraiser!
  • Co-presenting, with Bruce Simon and puppeteer, writer, and longtime Kirby associate Steve Sherman, the Kirby panel A Graphic Apocalypse, on Sunday at 2:00pm. (You can consult the SVCC schedule here.)
  • Presenting his own interactive workshop, Just Draw, a session on “drawing, mindfulness, comics, and storytelling,” on Friday night from 8 to 9pm. This is based on Mark’s new publication, Just Draw, which he describes as a manual for “stressed out” artists who want to stop worrying and “get their work done.”

Did I mention Mark’s own work? How about his amazing, multipart Abstract Kirby project? How about his now complete Kirby-inspired opus, William Shakespeare’s Julius Caesar, collected for the first time anywhere, just in time for SVCC? Great stuff.



If you don’t know Mark’s comics, you’re missing out on some wonderful cartooning. I learned to recognize his work back in 1988, when his pencils, inks, and colors on a Martian Manhunter miniseries (scripted by J.M. DeMatteis) hipped me to his distinctive style: swooping, slashing, and bold, abstracted into modernistic pattern and pure vectors of force, taking lessons from Kirby and Picasso alike and wreaking havoc with superhero conventions. I followed him to later projects such as Batman: Run, Riddler, Run (1992, scripted by Gerard Jones) and Animal Rights Comics (1996, scripted by Joyce Brabner). His resume since then has been strange and awesome.

Mark is not only a terrific comics artist, but also a teacher and activist. His current projects, such as Just Draw, pull these threads together. His “Daily Kirby” exercises (a 3-year-long series of devotional studies to the King) have to be seen to be believed. Read more about Mark’s career here, and if you’re going to SVCC, look up Mark and tell him I said hello and thanks! Mark’s been one of the voices reminding me of just how important it is to keep up the dialogue between critics and artists–and his own recent work amounts to an amazing creative and critical encounter with Kirby’s work.

Talking Kirby at Rose City!

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I’m delighted to announce that tomorrow, Sept. 19, I’ll be talking Kirby at the Rose City Comic Con! That means I’ll be joining the thousands thronging at the Oregon Convention Center in Portland this weekend.

Thanks to my friend and colleague (and Comic Book Apocalypse catalog co-editor) Ben Saunders, of the University of Oregon, I’ll be taking part in a jam-packed panel on Kirby, as follows:

Jack Kirby’s Greatest Comics: An All-Star Tribute to The King

Room: Panel Room 7
Time: 3:00PM – 3:50PM

Captain America. The Fantastic Four. The Incredible Hulk. The Mighty Thor. The Avengers. The Silver Surfer. The Inhumans. Mr. Miracle. The New Gods. The Eternals. All these iconic creations and titles — and many more besides — were first brought to life on the comic book page by Jack Kirby. But although he is without doubt one of the greatest American comic book artists in the history of the medium, the full range of Kirby’s achievement is less than fully understood by many fans today. In a forty-year career, he drew every genre of comics — Romance, Western, War, Horror, and Crime titles as well as superheroes — and his powerful, kinetic style would pass through three distinct phases, from the 1940s through the Silver Age and into the 1970s. Join a panel of creators and academic experts for a gallop through some career highlights from this master of the form, and find out why Kirby is still the King!

Among the stars gathered for this panel (besides moderator Ben) are Mike Allred, Kurt Busiek, Glen David Gold, Joe Keatinge, Gary Phillips, and Diana Schutz—good company! (Ben, Glen, Diana, and I all contributed essays to the soon-to-be-released CBA catalog.)

Rose Citygoers, I hope you can make it! Talking Kirby with a room full of smart and creative people is my favorite kind of gig.

Kirby Day: What a Blast!

Kirby4Heroes

Two days ago, Thursday, August 28, was Kirby Day—that is, Jack Kirby’s birthday. It brought a delightful outpouring of remembrance and appreciation that spilled over into Friday. The Kirby4Heroes campaign took the occasion to raise money for The Hero Initiative—I hope they were able to raise a lot!

It’s never too late to donate to The Hero Initiative. 🙂

I was glad to contribute to Kirby Day in my own small way: with a posting at Acts of Geek (also run here on my blog), and by taking part in the big two-part (one, two) celebration over at Comics Alliance.

I went a little Twitter crazy on the 28th, tweeting links to online examples of top-notch Kirby scholarship, Kirby appreciation, and Kirbyana. For the record, here are the things I linked to (besides those mentioned above):

Requiem for Jack Kirby (2001)

Of course I also followed the #WakeUpAndDraw campaign on Twitter, which you see here:

(Dig this Hollywood Reporter article about #WakeUpAndDraw!)

Congratulations to Jillian Kirby and her family for leading the charge on Kirby Day! As far as I’m concerned, it’s now a genuine holiday. 🙂