Jack Kirby created this iconic cover of the first meeting between the Hulk and The Fantastic Four in 1963. It would be the first of many, many epic fights between the Thing and The Green Goliath.
The late Mike Machlan takes Jack’s moment in time, and brilliantly adds a second or so to show what happens when the heroes actually come upon each other. One thing is certain — that cave will never be the same.
Machlan loved classic comics, and his recreations and reinterpretations can be found on the Comic Art Fans website and elsewhere. His professional career was much too short.
Original Machlan art and published page from Marvel Fanfare #41 as posted previously:
30 years ago, I had the good sense to snap this fantastic photo of Jack Kirby and Gil Kane at the 1993 San Diego Comic-Con. (Jaunty Jim Salicrup, the Topps Comics EIC, is the happy fella in the middle.)
Fantastic, but, as it turned out, bittersweet: This was the final time these two legends had a chance to greet each other. (Jack passed away the following winter.) I’m not sure they were both scheduled at the Topps booth at the same time, so it may have been a very happy coincidence.
I’ve discussed Topps Comics (and trading cards) numerous times in previous posts — it was a wild ride with many great moments. This was one of my favorites.
And did I say good sense? Hardly. If I did, I would have handed off the disposable camera to someone else and jumped in the photo as well.
Kane and Kirby both delivered for Topps; we launched the “Kirbyverse” with unused and under-utilized concepts from Jack’s files, and Gil Kane drew the Jurassic Park adaptation and prequel. And both provided art for our massive Star Wars Galaxy series, which featured more than 400 cards — with art from nearly that many individual creators.
I was a huge fan of the Planet of the Apes Franchise, and when I first saw the promo image (The Comics Reader, probably) for the cover of issue #1, I became miffed.
Why would Jack rip off POTA? Was the King finally out of original ideas?
Ah to be that young and foolish again. Kamandi quickly became a favorite. And little did I know that the Statue of Liberty “end of human civilization trope was already a SF trope by the time Rod Serling incorporated into his brilliant POTA screenplay. (See below.)
And, if you’re going to end human civilization with one breed of animals develop advanced intelligence, why not do it with all of them.
Heh.
That’s why the King is the King.
And, it gets better. Turns out Jack was incorporating some similar ideas he had previously used in a short story in Alarming Tales, 15 years prior to Kamandi. (Also, see below.)
So, what did I know? Not much, apparently. Like I said, to be that young and foolish again.
This page is the final issue Mike Royer inked, and the first that D Bruce Berry (working apprentice style) had a hand in. He took over solo the following issue. Tom Kraft of the Jack Kirby Museum believes both worked on this specific page.
Kamandi, apes and tigers — all on one page. What more could I ask for?
Now, or then.
A post apocalyptic and buried (land or water) Statue of Liberty had appeared at least three times prior to the first POTA film. (I’m not exactly sure when the reprint of After The Rain first appeared, but the cover art is much stronger this time around.)A destroyed Statue has appeared countless times since Planet of Apes.Before and after comics; the dreadful Mighty Samson (1965) & John Byrne’s Doomsday + 1 (1975) cover that pays homage to Kirby and POTA.Kirby’s original tale (pun intended) of advanced animal species fighting. with each other in a post apocalyptic world first appeared in Harvey’s Alarming Tales #1 (1957.)
After a five-year hiatus, the legendary Jack Kirby original art presentation returns with nearly 1,000 high-res images* featuring some of the King’s most important pages and covers. Join myself, the legendary Walter Simonson, the incredible Scott Dunbier (at least 80(!) IDW Publishing Artist Edition collections under his editorial belt — I’ve lost count) for a Kirby tribute unlike any other.
Baltimore Comic Con 9/8-9/10, exact time and panel room location TBD.
(*Yes, nearly 1,000. It’s an hour-long presentation, so if you blink, you’ll miss a few.)
In the meantime, I’m fortunate enough to personally own a few pages of Jack’s original art and have covered most of them previously in the blog, but here they are in one place for the first time.
If you want to see them and much more, simply enter “Jack Kirby” into the blog search bar.
John Cassaday’s great art from Captain America seems like a good way to celebrate Independence Day.
And that makes me Captain Obvious, so that’s all I have to say about that.
Have a great 4th of July! (And if you see me, yes I will be wearing My Captain America shield shirt.)
I don’t know if this is an apocryphal quote or not from Captain America’s co-creator, and don’t much care, because from what I know about Jack he certainly could have said it. Like they say: “When the legend becomes fact, print the legend.”
Thirty years ago this month — April 1993 — saw the launch of Topps’ “Kirbyverse.” (I genuinely can’t remember who thought of that phrase – EIC Jim Salicrup or myself, so we will each take have to take co-credit.)
Although Jack was not directly involved in character or story development, he did enjoy being kept in the loop and, from the feedback we received, he enjoyed our efforts.
The challenge at the time of course, is that the consumer marketplace didn’t enjoy our efforts quite as much as he OR we did. Four Kirbyverse titles launched in April 1993, plus a freebie. Total circulation of the group: About one million copies. (That is not a typo.)
But our titles launched purposely with retro styling, (see the ad below) and, at that moment, the market was mostly uninterested in classic styling. Younger readers gobbling up Image’s Youngblood and Spawn weren’t that versed or interested in Jack Kirby.
From the moment we launched, sales of the Kirby titles dropped each month. By the time we had reached 1994, we were sunk.
That said, it was a hell of a launch, and Jim managed to reunite the classic Marvel bullpen (or at least some of it) one last time.
And well-known Kirby superfan and Image co-founder Erik Larsen was kind enough to “lend” us Savage Dragon for the first issue of Jack’s Bombast one-shot.
So, there was that.
More on the Topps Comics “30th anniversary (albeit a few months late) in the next few weeks.
Did I manage to squeeze enough info into this one ad? Did the design team hand draw the “Kirby Crackle” in the background? Hint, those are both rhetorical questions.
Jack Kirby’s Satan’s Six was developed as part on an unrealized “Kirby Line” of comics in 1978, shortly after Jack’s final tenure at Marvel had ended.
Jack drew a cover and eight story pages, plus a character concept and design page. Mike Royer was hired to ink some of those pages as samples, but when the concept for a “Kirby Line” dissipated, the pages sat in a drawer unused for nearly 15 years.
Enter my old home, Topps Comics, the fledging publishing line from the trading card and confectionary giant. Topps signed a deal with Jack in 1992 to produce comic books based on new, and (primarily) previously unused concepts. It was essentially a second chance for a “Kirby Line.” With the King in declining health, however, others would have to create content around Jack’s ideas.
What became of Satan’s Six? Tony Isabella’s stories based on Jack’s high concept of a lovable group of misfits too mischievous for Heaven, but not evil enough for Hell seemed wackily appropriate enough, but the art definitely was a challenge from issue one.
Especially issue one.
Kirby’s eight original pages are scattered throughout the full story with the rest of the art from John Cleary, making for a dizzying juxtaposition of styles.
And Cleary’s “contemporary” (1993) art here, and through the remaining three issues, was simply not enticing enough to sustain interest. The book was cancelled with issue #4. You can read a complete illustrated overview of the series here.
Satan’s Six has yet to return to comics. They remain in… Limbo.
But still…Happy 30th anniversary to the “Kirbyverse!”
Mike Machlan adds his own flavor to the classic match-up of The Avengers vs. the Space Phantom (Avengers #2) in this published pin-up from Marvel fanfare #41. Mike did a few of these classic interpretations as a portfolio in this issue, each with a different inker. (John Beatty provides finishes here.)
I’ve always enjoyed Machlan’s art. I understand that health reasons cut his career short, which, goes without saying, is a terrible shame.
Separately, I’ve gone on record saying that the first four issues of the Avengers are the craziest (in a positive way) and most colorful start to any series in the Silver Age — if not ever:
Issue #1 —The Avengers (Ant-man, Wasp, Thor Iron Man, Hulk) form to fight Loki, and despite Hulk’s reticence they agree to become a team. Wasp provides the name “Avengers.”
Issue #2 — Ant-Man is now Giant-Man, and this time the Space Phantom (instead of Loki) manipulates the Hulk (and the rest of the group) — and after a big fight, ol’ greenskin gets angry and runs-off.
Issue #3 – The remaining Avengers chase after the Hulk and run into the Namor the Sub-Mariner along the way. Iron Man wears new armor, everyone gets into a big fight, and the Hulk runs off. Again. Namor escapes to the sea. Cameos by Spider-man, The X-Men and The Fantastic Four.
Issue #4 — Namor, now really, really angry, starts hurling some icebergs around, and it turns out Captain America is frozen in one of them, although Subby swims off before he can discover that. The Avengers revive Cap (good thing they have a submarine), and after they tussle, and he comprehends he’s been in suspended animation for 20 years, he joins them.
Here’s a fun mashup of two early Jack Kirby Marvel Silver-Age images: Hulk, from the title splash of Avengers #2, and Iron Man from the cover of Tales of Suspense #39.
About 10-12 years ago, Angel was drawing some Kirby-recreations and original reinterpretations, and offering them online. He included this specific art with some other items I acquired from him, with this inscription. Very lovely, especially since I like to think he was really thanking Jack here, not me.
And I like it better that way.
It’s also the appropriate art to segue into a celebration of the Avengers 60th anniversary, coming in February.
Classic Iron Man vs. Magnus: Robot Fighter, Commission, 2001
Mankind advances more than 2000 years into the future, and the greatest superhero of the era apparently can’t distinguish between a robot and a man in a suit of armor?
No matter, it’s a superb piece of art by the terrific Paul Smith. And a perfect way to honor both characters’ 6oth anniversary.
