jack kirby Archives - Robot 6 @ Comic Book Resources
If you were to make a list of the greatest gadgets dreamed up by Jack Kirby, the Mother Box would undoubtedly rank somewhere near the top. It’s the Ginsu knife of (sentient) comic book tech: it can open and close boom tubes, absorb and project energy blasts, communicate telepathically, control non-sentient machines … It probably even slices and dices.
And soon, you can get one of your very own. All right, DC Collectibles’ Mother Box Prop Replica won’t open any boom tubes, but all the noise and lights will make you think it can. Just check out the video promoting its July release, below.
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
Jack Kirby’s work from the early 1960s on is so indelible and influential that the enormous amount of work he did with Joe Simon in the years prior often seems to take a back seat to his more recent work. As a result, it often appears as though several chapters in our appreciation of one Kirby’s work and career are missing.
Thankfully, effort has been made lately to rectify that perception. Publishers like Titan Books and Fantagraphics have made an attempt to get some of these pre-code comics under readers’ noses.
Now Abrams has jumped into the ring with The Art of the Simon and Kirby Studio, a lavish, oversize compendium of stories and art (scanned from the original pages) offered in stores in time for the holiday rush.
By the way, the emphasis in that title should firmly be on the word studio. For while Simon and Kirby’s art is well-represented here, editor Mark Evanier takes considerable care in highlighting stories by other artists who worked for the studio, most notably one Bill Draut, a clean-lined Milton Caniff-styled cartoonist whose work I was heretofore unaware of (other featured artists include Angelo Torres, George Tuska and Mort Meskin).
IDW Publishing will follow Jack Kirby New Gods: Artist’s Edition with a 192-page collection of the legendary creator’s work on Mister Miracle.
Part of the early-1970s “Fourth World” saga that also spanned DC Comics’ Superman’s Pal Jimmy Olsen, The Forever People and New Gods, Mister Miracle introduced not only escape artist Scott Free and the warrior Big Barda, but also the likes of Oberon, Granny Goodness and the Female Furies, who lived well beyond the series’ 18 issues.
All-New X-Men #33, Fantastic Four #12, Inhuman #7 and Wolverine and the X-Men #11 include the phrase “Created By Stan Lee and Jack Kirby,” while Death of Wolverine: Deadpool & Captain America #1 states, “Captain America Created By Joe Simon and Jack Kirby.” The credits pages can be found below.
Added with no fanfare, the credits follow a settlement agreement announced last month, ending the five-year-old fight between Marvel and Kirby’s children over the copyrights to 45 characters created or co-created by their father — among them, the Avengers, the X-Men and the Fantastic Four.
Neither side has commented publicly on their agreement beyond the joint statement, issued even as the U.S. Supreme Court was expected to decide whether it would consider an appeal by the Kirby heirs: “Marvel and the family of Jack Kirby have amicably resolved their legal disputes, and are looking forward to advancing their shared goal of honoring Mr. Kirby’s significant role in Marvel’s history.”
Conventions | Ahead of New York Comic Con, George Gene Gustines shares producer Michael Uslan’s program from a 1964 comics gathering in New York City; it actually was released after the show, and includes some thoughts on how things could be improved, mainly by shifting the focus from buying and selling comics to bringing in creators so the fans could meet them personally. Nonetheless, Steve Ditko was there, and the list of registered participants included George R.R. Martin. [The New York Times]
Creators | Roberto Aguirre-Sacasa talks about taking Sabrina the Teenage Witch to the dark side in her new series, a Riverdale horror story in the same vein as Afterlife With Archie. In this case, rather than zombies, Aguirre-Sacasa is drawing inspiration from the 1960s film Rosemary’s Baby. [Hero Complex]
Nearly one month after what would’ve been Jack Kirby’s 97th birthday, the announcement was made: Concluding a five-year copyright battle, and decades of contention about credit and compensation, Marvel and the Kirby family revealed Friday that they had reached a settlement, just ahead of a conference to decide whether the U.S. Supreme Court would take up the case.
“Marvel and the family of Jack Kirby have amicably resolved their legal disputes,” they said in a joint statement, “and are looking forward to advancing their shared goal of honoring Mr. Kirby’s significant role in Marvel’s history.”
This is, without question, excellent news, and cause for celebration.
As is typical with settlements, the terms of their agreement aren’t made public, and the one-sentence statement gives no indication of how Kirby’s significant role in Marvel’s history will be honored.
Those close to Kirby’s family have been reserved with details. In some instances, they don’t appear to know any more than we do.
Law.com has an interesting follow-up to the surprise settlement last week in the five-year-old legal battle between Marvel and Jack Kirby’s heirs, noting that the larger copyright issue at its center remain unresolved.
The children of the legendary artist filed 45 copyright-termination notices in September 2009, seeking to reclaim what they saw as their father’s stake in such Marvel characters as the Avengers, the X-Men, the Fantastic Four and the Incredible Hulk. Marvel, joined by its then-new parent company Disney, responded with a lawsuit, setting the dispute down a path that ultimately saw the Second Circuit Court of Appeals affirm Kirby’s contributions to the publisher between 1959 and 1963 were “work for hire,” and therefore not subject to copyright termination.
Under a clause in the 1976 U.S. Copyright Act, which extended the duration of copyright, authors or their heirs can reclaim rights transferred before 1978 after a period of 56 years. However, if a work is determined to be “for hire,” meaning it was created by an employee as part of his employment or specially commissioned as part of a larger work, then the publisher (or movie studio, record label, etc.) owns the copyright, and it is not subject to termination.
He’s gathered a Murderers’ Row of great contributors and collaborators to tell the life’s stories of 16 cartoonists, in the most obvious format to do so — comics, of course.
But what, exactly, constitutes a cartoonist? Some of those included might have worked at one point in the field, but made their greatest marks in other areas: people like Walt Disney, Theodor “Dr. Seuss” Geisel and Hugh Hefner (whose inclusion will likely be the biggest surprise to more readers; and, make no mistake, the book is made as much for the casual reader as the expert, armchair or otherwise). Others you might not think of as cartoonists at all, like Edward Gorey or Al Hirschfeld.
And changing the world — the whole world?! — is a pretty bold claim, certainly bolder than changing, say, a genre, or a medium or an industry. Certainly Disney and Osamu Tezuka qualify, as do Jerry Siegel and Joe Shuster, who introduced the superhero as we know it, and Jack Kirby, who reimagined the superhero, made countless contributions to the form and who created or co-created characters and concepts that today make billions of dollars.
But what about Harvey Kurtzman, Robert Crumb and the aforementioned Hirschfeld? Are their influences and innovations on equal footing?
In what other medium can a someone get an original work of art made just for them by a creator whose career they’ve followed? Not movies, television, music or fine art, unless you’re a millionaire. But in comics, many of today’s artists are for hire to fans looking to own a piece of their work — and even commission something especially for them. Comics are crazy that way, but that’s a good thing.
It’s nothing new, of course. The idea itself goes back into the roots of fine art, but with the advent of conventions and now the internet it’s available to virtually everyone — with some creators even reaching out to fans to make it happen.
Following the launch of the third annual Kirby4 Heroes campaign, The Hero Initiative has announced of the “Wake Up and Draw” and in-store events planned for Aug. 28 in celebration of Jack Kirby’s 97th birthday.
The nonprofit organization, dedicated to providing a financial assistance to creators in need, has recruited more than 40 artists to “Wake Up and Draw,” with their drawings featured in a special gallery at ComicArtFans.com; they’ll be auctioned later on eBay, with proceeds benefiting The Hero Initiative. Follow #WakeUpAndDraw on Twitter and Instagram on Aug. 28 to see the drawings as they’re posted.
Phil Hester has set out to do a staggering 97 drawings for Kirby’s birthday, which you’ll be able to check out on his Twitter stream. He’ll also have details on where you can purchase the drawings.With Fan Expo Canada kicking off Aug. 28 in Toronto, artists including Kaare Andrews, Greg Land, Joe Prado, Ty Templeton, Jill Thompson, Richard Zajac and more will “Wake Up and Draw” with The Hero Initiative, while in San Francisco, Paolo Rivera will appear at the Cartoon Museum.
For a rundown of in-store appearances, art auctions and retailers who have agreed to donate a portion of sales on Aug. 28 to the organization, visit The Hero Initiative and the Kirby4Heroes Facebook page.
To help celebrate what would’ve been Jack Kirby’s 98th birthday, Shmaltz Brewery in Clifton Park, New York, will debut a limited-edition King Kirby Ale as part of an Aug. 28 fundraiser to benefit The Hero Initiative. A limited number of cases will be available for purchase at the event.
Approached by local artists about holding an event, the brewery went a step further and created the exclusive ale (available as both pale and dark), which features a label designed by Paul Harding. “I tried to capture Kirby from an angle that few have seen before,” the Clifton Park artist said in a statement, “in a way that people can actually look up to him and get a sense of his artistic power.”
The Jack Kirby Museum & Research Center denies the allegation it stole more than 3,000 photocopies of the legendary artist’s pencil work, insisting they were donated by illustrator Greg Theakston, not loaned.
“After examining the evidence of the interaction between the two parties, we are confident the Museum has done no wrong,” the organization’s board of trustees said in a statement posted Monday.
A pop-culture historian and a friend of Jack and Roz Kirby, Theakston announced last week that he intended to file a stolen-goods report against the museum regarding the Xerox archives given to him by the Kirbys. Theakston, maintains he allowed museum trustee Randy Hoppe to borrow those copies with the understanding that “I would want them back someday.”
Jack Kirby’s granddaughter Jillian has kicked off the third annual Kirby4Heroes campaign to help creators in need.
On Aug. 28, what would’ve been the legendary artist’s 97th birthday, comics stores across the country will donate a portion of that day’s sales to The Hero Initiative, a nonprofit organization dedicated to providing a financial assistance to creators. (An in-progress list of participating stores can be found on the Kirby4Heroes Facebook page.)
Legal | Attorney Tom Goldstein, co-founder of the respected SCOTUSblog, has joined with Marc Toberoff to represent the heirs of Jack Kirby in their appeal to the U.S. Supreme Court of the Second Circuit’s affirmation that the artist’s contributions to Marvel between 1958 and 1963 were work for hire and therefore not subject to copyright termination. In a response filed this week to Marvel’s brief urging the high court to decline review, Goldstein and Toberoff again challenge the Second Circuit’s “instance and expense” test and its definition of “employer,” and argue, “Many of our most celebrated literary and musical works were created before 1978 and signed away to publishers in un-remunerative transactions. Termination rights were ‘needed because of the unequal bargaining position of authors.’ It would be hard to find a better example of this than the prolific Jack Kirby, who worked in his basement with no contract, no financial security and no employment benefits, but without whom Marvel might not even be in business today.” [Hollyqood, Esq.]
Retailing | Memo to politicians: You don’t win friends and influence people by taking up five spots in a comic store’s parking lot with your campaign bus on a Wednesday — especially when it’s Batman Day. [The Clarion-Ledger]
Marvel has urged the U.S. Supreme Court not to review a petition from the heirs of Jack Kirby in a copyright-termination dispute that could have implications beyond comics, extending into film, music and publishing.
In papers filed Monday with the high court, and first reported by Deadline, Marvel insists the case doesn’t “remotely merit” review, as, “It implicates no circuit split, no judicial taking, no due process violation, and no grave matter of separation of powers.”
Kirby’s heirs have argued, so far unsuccessfully, that the legendary artist’s contributions to the publisher between 1958 to 1963 — among them, the X-Men, the Avengers, the Fantastic Four and the Incredible Hulk — weren’t produced as “work for hire” and, therefore, are subject to a clause in the U.S. Copyright Act that permits authors and their heirs to reclaim rights transferred before 1978. Marvel and Disney dispute that claim, saying Kirby’s output was indeed work for hire, a position supported in 2011 by a federal judge and last year by the Second Circuit Court of Appeals.