Tuesday, May 23, 2017
This weirdly attractive watercolor from 1976 is the second of three titled the "Tribes Trilogy" produced by Jack Kirby. The third will appear tomorrow. For more on a special opportunity to own all three check out this offer from the folks over at The Jack Kirby Museum.
When Iron Man debuted in Tales of Suspense #40, like the Incredible Hulk he was gray. The gray color was logical and reinforced the "Iron" part of his name, but pretty quickly it was deemed necessary to give the hero a bit more of a dashing appearance and in his second appearance he quickly updates his look.
And so is born "The Golden Avenger". Iron Man has been called that ever since, but truth told he was "golden" a relatively short time. In fact here are most of the comic covers (both those for Tales of Suspense and The Avengers) on which he is shown in that vintage armor which earned him the nickname.
In Tales of Suspense #48 Iron Man gets a makeover and he adds red to his golden look as well adopting a sleeker armor design. The armor will be adapted and revised again and again over the years and ever after he will be called "The Golden Avenger", even though truth be told, he's only a little bit golden.
But that original golden look doesn't disappear completely as a few later issues of Iron Man's lengthy original run shows.
Monday, May 22, 2017
This enigmatic watercolor from 1976 is one of three titled the "Tribes Trilogy" produced by Jack Kirby. According to one source these three paintings depict what human culture might look like if man had lived alongside dinosaurs. The other two will appear in the following days. For more on a special opportunity to own all three check out this offer from the folks over at The Jack Kirby Museum.
I was much saddened to read of the passing of Rich Buckler. Buckler and I started in comics at about the same time, he as a professional and me as a fan. It was clear from the very beginning that Buckler had consummate skills as an artist and that he had absorbed the lessons of many many comics by the great artists.
In this early days at Marvel, Buckler was called upon to use his skills at mimicry to offer up a style similar to John Buscema on The Avengers and to Jack Kirby on Fantastic Four. He also had a knack for making his artwork resemble that of Neal Adams and it was a somewhat fresh take on that style which cleaved most closely to what I assume was his own distinctive look which he broke out on his creation Deathlok the Demolisher.
One of my favorite characters from Buckler is "Demon Hunter", a character who first showed up at the short-lived Atlas-Seaboard and then in an independent form called "Bloodwing" and later still at Marvel but going by the name of "Devil-Slayer". Three names but a distinctive look and mission that clearly identified this peripatetic character as the same guy, a man who stood between this world and dark menacing supernatural one.
I got to meet Buckler once at a local convention. And while I have spent more time talking to someone in the checkout line at a grocery, I still remember my interaction with him. He seemed polite but somewhat weary, like a lot of the pros I met that day. Solid talents in their day who had seen the industry leave them behind a bit. As a guy who is closing in on retirement myself, I very much identify with that emotion. Rich Buckler struck me as a talent who was equal parts artist and craftsman, who hit his marks and produced quality work on a regular schedule, the ideal talent for the comics industry.
Here is a gallery of some of my favorite Buckler covers.
Rest in peace Mr. Buckler.
Sunday, May 21, 2017
Today kicks off a new daily feature (hopefully) here at the Dojo. Don't expect a lot of gab in these "100 Days of The King" posts, but do expect to see some staggeringly exquisite Jack Kirby artwork as we march proudly to the "King's" one hundredth birthday exactly one hundred days from now. It begins here and now with this delightful self-portrait of Jack Kirby (with Vince Colletta inks) done as a lead in of sorts for the reprints which populated the "Fourth World" books when DC jumped to a twenty-five cent price for a while. Aside from some Cap stories in Fantasy Masterpieces these reprints were my first glimpse of vintage Simon and Kirby. Sandman, Manhunter, Newsboy Legion, and Boy Commandos -- all were fantastic!
The saga of Galactus, which to this point had almost exclusively been told within the pages of the Fantastic Four, switches over to the pages of Jack "King"Kirby's other opus, The Mighty Thor. At this point in the storytelling it seems clear that Kirby is telling the stories he wants to tell and getting into the saga of Galactus allows him to flesh out the World Eater within a context which will support such cosmic doings.
Thor is contacted by Tana Nile of the Colonizers of Rigel and goes with her to confront a threat to Ego, the sentient planet. Galactus has discovered Ego and despite the almost godly power of the living planet he plans to consume him to fulfill his insatiable hunger. Meanwhile the Recorder is dispatched from Asgard and finds common cause with Thor as they travel together from Rigel to the scene of the galactic conflict.
Ego and Galactus battle it out, each using the enormous power at their respective commands. The Recorder and Thor are lucky to survive the conflict as they deal with the refugees called the Wanderers, a weary race who have long traveled through space after Galactus destroyed their world.
Eventually Thor is able to use their technology combined with his own Uru hammer to create a force which so threatens Galactus that the Demi-God withdraws to preserve himself. Ego is spared and offers the Wanderers a new home.
The Recorder returns to the Colonizers of Rigel and Thor returns to Asgard, but there Odin is not done with Galactus.
He uses his great powers to reveal a devastated world and the desperate souls who attempt to protect it in its final moments as in the space above a cube opens and Galactus is revealed to the universe for the first time.
This glimpse into the origin of the World Eater is shown to empower Thor's mission to again confront Galactus, but that confrontation is forestalled when a threat to Sif on Earth is discovered. After some battles with the Greek god Pluto and the awesome Him, Thor will once again seek out Galactus to learn the rest of the story.
Saturday, May 20, 2017
When the Silver Surfer is stranded on Earth after serving his master Galactus a second time, we get to see what he does in his very own series. This series though was not a Lee-Kirby production. Despite the evident fact that the Silver Surfer was completely the creation of Jack "King" Kirby, Stan Lee developed a proprietary interest in the character which would last for many years. For whatever reasons (Kirby's workload, Kirby's less sanguine attitude towards Marvel and Lee) the series was drawn by John Buscema. This was just one of the many slights Kirby felt toward the end of his famous tenure at Marvel.
"Big" John Buscema would become Kirby's replacement as Marvel's high-profile go-to artist when the King left a few years later. And his Silver Surfer is a wonderful variation on a theme, and to my eye a superior one to that of Kirby. Whereas Kirby gave the Surfer a shiny magnificence, Buscema chose to make him more nimble and this more agile sleeker Surfer actually fits the name better to my mind. Galactus only figures in one issue of the eighteen issue run. In the giant-size debut issue we get a look at the origin of the Surfer and learn his real name for the first time.
We meet the Surfer as flies across the Earth encountering humanity in all its myriad forms, sadly most of those violent and self-destructive. He escapes to the Himilayas where he discovers a lost city and there he muses about his own past. The planet Zenn-La was a technological paradise but citizen Norrin-Rad was disappointed that this people seemed to have lost the drive and ambition which brought about the wonders they reveled in every day. He is a brooding man who is less than fully appreciative of the love of the beautiful Shalla-Bal. The arrival of a mysterious ship throws the placid society into chaos and when it is revealed that Galactus has come to Zenn-La even their greatest weapon is no match for his power.
Desperate to save his people, Norrin-Rad gets a ship and confronts Galactus and makes a bargain that he will serve as his herald if the World Eater will spare Zenn-La. Galactus agrees and transforms Norrin-Rad into the Silver Surfer imbuing him with the power cosmic and gifting him his mighty board. The Surfer says farewell to Shalla-Bal and begins his long service to Galactus, a service which led him eventually to the Earth and his current fate.
Also in this dynamite debut issue is a story by Stan Lee and Gene Colan which tells again the origin of the mighty Watcher. This late Silver Age refreshing of the story of the Watchers and how they learned the error of carelessly empowering other species and how they chose their destiny of merely recording the events of the cosmos is a humdinger. The tie between the Watcher and Galactus is to some degree reinforced yet again.
The Silver Surfer's first series is ultimately a critical success but eventually falls victim to poor sales and is cancelled. Oddly Jack Kirby was asked to step in at the last minute to attempt a reboot in the last issue but that doesn't seem to have moved the needle. Soon Kirby is gone to DC and Stan determines that only he will write Silver Surfer stories from that point on. Sometimes the Surfer shows up in other comics as part of a team, but Stan's prohibition does mean that the Silver Surfer will have to wait a long time to get another shot at his own run.
But before all of that Stan and Jack tells us the origin of Galactus himself. That begins next time.