We’ve written about the Jack Kirby Museum and Research Center project a few times before, most recently a week ago when we mentioned it was finally opening a physical presence, in the form of a pop-up in the artist’s native Lower East Side Manhattan called “Prototype: Alpha.” That name strikes me in itself as being a particularly Kirby-esque flourish.
The location opened Monday, and the last few days we finally saw tantalizing glimpses of what to expect on the museum’s walls leaking out via social media (via the museum’s Facebook page and the What if Kirby Twitter account). Here are three behind-the-scenes shots of work being installed into the Delancey Street space:
The Jack Kirby Museum and Research Center, which has been without a physical home since its founding in 2005, will materialize next week — if only for seven days — on Manhattan’s Lower East Side, the neighborhood where the artist was born and raised.
According to the museum, its temporary home at 178 Delancey Street was made possible through a successful Kickstarter campaign launched by Made in the Lower East Side, an organization dedicated to transforming unused storefronts into “vibrant community hubs” on a short-term basis.
With just nine words — “It is hereby ordered that the petition is denied” — the Second Circuit Court of Appeals on Tuesday seemingly ended a four-year effort by the children of Jack Kirby to gain a copyright stake in many of the characters their father created or co-created for Marvel.
As Deadline reports, the Kirby heirs had petitioned for rehearing, either before a panel of the Second Circuit or the full bench of judges, of whether they had the right to file 45 copyright-termination notices in 2009 for some of Marvel’s best-known, and most lucrative, characters, including the Avengers, the X-Men, the Fantastic Four, Iron Man and the Incredible Hulk.
Quickly responding to those notices, Marvel (later joined by then-new parent company Disney) sued to invalidate the heirs’ claims, arguing that Kirby’s creations for the publisher were work for hire, made at the company’s direction and expense, and therefore weren’t eligible for copyright termination. A federal judge agreed, ruling in July 2011 that, as works for hire, the copyrights to those characters belong to Marvel.
The Kirby family appealed, but in August 2013 a three-judge panel of the Second Circuit upheld the district court’s decision, reaffirming that the heirs had no termination rights. The judges also upheld the lower court’s exclusion of expert testimony offered by John Morrow and Mark Evanier on behalf of the Kirby heirs, agreeing that “their reports are by and large undergirded by hearsay statements, made by freelance artists in both formal and informal settings, concerning Marvel’s general practices towards its artists during the relevant time period.”
Digital comics | IDW Publishing released its first batch of digital comics on the motion-comics platform Madefire this week. The selection includes partially animated My Little Pony, Star Trek and Transformers comics, which sell for $1.99 each. Jeff Webber, IDW’s vice president of digital publishing, noted that because Madefire has a partnership with DeviantArt, the books are being exposed to “an incredibly broad network of illustration fans.” To commemorate My Little Pony’s Madefire debut, Dave Gibbons drew the image at right “to show that Friendship IS Magic!” `[Publishers Weekly]
Passings | Cartoonist Jack Matsuoka, who chronicled life in the Poston, Arizona, internment camp in his book Camp II, Block 211, has died at the age of 87. , Born in the United States to Japanese parents, Matsuoka was a teenager when his family was sent to internment camps in Salinas, California, and then Poston. After leaving the camp he was drafted and served as an interpreter for the U.S. Army in occupied Japan. He went to college on the G.I. Bill and worked as an illustrator and cartoonist for many years. Camp II, Block 211 was based on sketches he did while living in the camps and set aside for many years; his mother found them and encouraged him to share them with the public. They were put on exhibit in San Francisco and then collected into the book, which was first published in 1974. A revised edition was released in 2003. [The Rafu Shimpo]
“If you’re an aggressive individual and you want to make this your field — and there is no school. You make your own school. You make your school. I say that you borrow arms and legs and heads and necks and posteriors from anybody you can. In comics, which is a peculiar field, every man — every artist — is the other artist’s teacher. There’s absolutely no school for it. People can teach you the mechanics of it, which is good. I can see a good reason for that. But drawing a good figure does not make you a good artist. I can name you 10 men, right off the bat, who draw better than I do. But I don’t think their work gets as much response as mine. I can’t think of a better man to draw Dick Tracy than Chester Gould, who certainly is no match for Leonardo Da Vinci. But Chester Gould told the story of Dick Tracy. He told the story of Dick Tracy the way it should have been told. No other guy could have done it. It’s not in the draftsmanship, it’s in the man.
Like I say, a tool is dead. A brush is a dead object. It’s in the man. If you want to do, you do it. If you think a man draws the type of hands that you want to draw, steal ‘em. Take those hands.
Jack Kirby, the legendary artist who, with Joe Simon, created the genre of romance comics before going on to co-found the Marvel Universe with the likes of Stan Lee, Steve Ditko and Don Heck, would have turned 96 today.
If you’ve enjoyed stories about Captain America, the Fantastic Four, the Avengers, Challengers of the Unknown, Thor, Etrigan the Demon, Nick Fury, the X-Men, Klarion the Witch Boy, Black Panther, Ant-Man, the Wasp, the Incredible Hulk, Darkseid, the Red Skull, Kamandi or Mister Miracle — in comics, in film or on television — you should thank Kirby, who created all of those characters (and many, many others) either in collaboration with Simon or Lee, or on his own.
But most people reading this blog already know that. What you may not know is what’s being done today to celebrate Kirby’s birthday — and how you can help.
Legal | Archie Comics Co-CEO Nancy Silberkleit is in court again, this time claiming sexual harassment by former friend Sam Levitin, who was her liaison to Archie after her legal feud with the company and C0-CEO Jon Goldwater was settled last year. Levitin has responded that Silberkleit “lacks functional communication skills and has an unstable temperament” and has a “venomous and destructive effect” at the company. Levitin asked the court in December to remove Silberkleit as a trustee of the company, and she responded in April with the allegation of sexual harassment against both Levitin and Archie Comics. An outside firm hired by Archie determined that her claims were “unfounded,” and the publisher is not a party in the latest lawsuit. [New York Daily News]
Legal | Jeff Trexler takes an in-depth look at the copyright battle between Marvel and Jack Kirby’s children. [The Comics Journal]
Rarely will you find an artifact of comics history that is as simultaneously amusing, bewildering and infuriating as this 1947 Timely Comics feature that purports to recount the creation of a comic strip — specifically, Captain America. Posted by cartoonist Max Riffner (via The Marvel Age of Comics), who attributes the writing to a young Stan Lee, the piece becomes the Martin Goodman story, playing up the role of “the young brilliant magazine king who is today one of the greatest names in the comics magazine world” while not even mentioning Jack Kirby and Joe Simon.
If we’re to believe this account, Captain America and Bucky were actually assembled by committee from the odds and ends of an open call, or possibly willed into existence by the dogged resolution of Martin Goodman. Read part of the account below, and see how it all ends on Riffner’s blog.
Following last week’s launch of the second annual Kirby4Heroes campaign, The Hero Initiative has announced details of “Wake Up and Draw” and in-store events on Aug. 28 to celebrate the 96th birthday of Jack Kirby.
The organization, which provides financial support to creators in need, has recruited more than 40 artists to celebrate the day by drawing “birthday cards” to Kirby. Their illustrations will be showcased at ComicArtFans.com and auctioned at a later date, with the proceeds going to The Hero Initiative.
On that same day, retailers across North America will hold special events to mark Kirby’s birthday, with some pledging to donate a percentage of profits to the organization. Here’s a partial list of participating stores: Jesse James Comics, Glendale, AZ; Flying Colors Comics, Concord, CA; Lee’s Comics, Mountain View, CA; Alakazam Comics, Irvine, CA; Mission: Comics and Art, San Francisco, CA; Golden Apple Comics, Los Angeles, CA; The Secret Headquarters, Los Angeles, CA; A&M Comics, Miami, FL; Chimera’s Comics, Lagrange, IL; Aw Yeah Comics, Skokie, IL; Graham Crackers Comics, Plainfield, IL; Alternate Reality Comics, Las Vegas, NV; Paradise Comics, Toronto, Ontario; Floating World Comics, Portland, OR; and Austin Books & Comics, Austin, TX.
Kirby4Heroes was established last year by Kirby’s granddaughter Jillian Kirby, who’s been sharing vintage photos and her grandfather’s art on the campaign’s Facebook page.
Sure, everyone gets worked up about turning comics into movies, but what about the other way around? Cartoonists have been attempting to cram great works of literature or art into tiny panels since the birth of Classics Illustrated. But many of these adaptations, despite the noblest of intentions, fall horribly flat or fail to evoke a tenth of the original work’s greatness.
There are exceptions of course; comics that not only manage to capture or add to the spirit of the original work, but in a few cases are the equal or better of the source material. Here then are six such examples. Feel free to include your own nominations in the comments section.
Publishing | Douglas Wolk uses a classic comics trope — who would win in a fight between Marvel and DC Comics, or rather, Batman and Iron Man? — to talk about the strengths and weaknesses of the two companies and how their business models have evolved. [Slate]
Comics | Archie Comics Co-CEO Jon Goldwater and writer and artist Dan Parent talk about the latest story arc, which takes the Riverdale gang to India for an encounter with Bollywood. [The Times of India]
Manga | Charles Brownstein, executive director of the Comic Book Legal Defense Fund, spoke about manga and the importance of freedom of expression at the most recent Comiket, the world’s largest comics event, in Tokyo. [CBLDF]
For the second year in a row, Jack Kirby’s youngest granddaughter Jillian is commemorating the legendary artist’s birthday by spearheading the Kirby4Heroes campaign to help creators in need.
On Aug. 28, what would have been Kirby’s 96th birthday, fans are asked to donate to The Hero Initiative, the only industry organization that provides financial assistance to creators who have fallen on hard times.
Some retailers have also pledged to donate a percentage of their profits on that day. Writing on Hero Complex, 17-year-old Jillian Kirby says some stores will host “birthday parties” for her grandfather and auction off original art to benefit The Hero Initiative. This year’s goal is $10,000, nearly double what was raised in 2012.
“I started the Kirby4Heroes campaign as a way to connect with my grandfather, who died the year before I was born,” Jillian writes. “I’ve grown so much closer to him through my endeavors in this area. I have to admit I’m astounded by him as an artist, family member and just a kind human being. Raising funds for those in the comic book industry in need of financial and medical assistance is a cause my grandfather Jack would have championed. He never turned his back on a person in need.”
There are certain artists who prove that their work only gets better with each new project and new issue. Such is the case with Nick Dragotta on East of West, his new creator-owned ongoing series with Jonathan Hickman.
I relish any opportunity to interview Dragotta, particularly in the same week that East of West 5#. His ability to lay out some spectacular action scenes continues to be a given in this Image Comics series, but I have also grown to appreciate his ability to develop distinctive architecture as well as engaging, yet more sedate, scenes.
In addition to discussing East of West, Dragotta also brought me up to date on Howtoons, which we talked about in our first interview in 2011. As the father of a kid who loves do-it-yourself activities, I appreciate the involvement of the artist and his wife Ingrid in a project that fosters fun, educational activities for children. To learn he has gotten creator favorites of mine, such as Fred Van Lente (no stranger to educational entertainment), Jeff Parker and Sandy Jarrell involved is just icing on the DIY cake.
Back to East of West, the artist and I also got a chance to (hopefully) satiate Comics Should Be Good’s Greg Burgas’ curiosity regarding the East of West creative process that he broached in a recent essay on reviewing the art in comics. In addition, Dragotta was kind enough to share an unlettered page from East of West #5 as well as unlettered pages from issues 2 and 4. With the first trade (collecting issues 1-5) set for release on Sept. 11, we also discuss its potential impact on audience growth. Full candor: Dragotta blindsided me with his Rob Liefeld fan club confession. Seriously, though, it is refreshing to see a talent such as Dragotta reveling in the opportunity to do creator-owned work.
Welcome to “Report Card,” our week-in-review feature. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is typically a look back at the top news stories of the previous week, as well as a look at the Robot 6 team’s favorite comics that we read.
So find out what we thought about The Bunker, Detective Comics, X-Factor and more.
The Second Circuit Court of Appeals handed Marvel a significant victory this morning, upholding a 2011 ruling that Jack Kirby’s contributions to the publisher in the 1960s were work for hire, and therefore not subject to copyright reclamation by the artist’s heirs.
However, as Tom Spurgeon first reported, the appellate court vacated the New York district judge’s summary ruling against two of Kirby’s children, California residents Lisa and Neal, on jurisdictional grounds; the judgment against Susan and Barbara stands.
Secondarily, the Second Circuit upheld the lower court’s exclusion of expert testimony offered by John Morrow and Mark Evanier on behalf of the Kirby heirs, agreeing that “their reports are by and large undergirded by hearsay statements, made by freelance artists in both formal and informal settings, concerning Marvel’s general practices towards its artists during the relevant time period.”