jack kirby – Page 12 – Coke & Comics

Avengers #15

Now, By My Hand, Shall Die a Villain!

Featuring: Avengers
Release: February 11, 1965
Cover: April 1965
12 cents
Script: Stan Lee
Layouts: Jack Kirby
Pencilling: Don Heck
Inking: Mickey Demeo
Lettering: Artie Simek
20 pages

Previous	#333	Next
Fantastic Four #38	Reading order	Avengers #16
Avengers #14	Avengers	Avengers #16

For several issues, Avengers had become a Lee/Heck production and was much the worse for it. Last issue had everybody working at Marvel pitch in. Now, Kirby is on hand with the layouts. Recall, we’re basically talking positioning of characters, but with that comes the storytelling, and this story is a cut above the last several issues. That’s likely Kirby’s hand. He’s been the missing ingredient. He’s back to do layouts for two issues, and they’ll be two of the best Avengers stories of the era.

Ordering is funny, as continuity is getting tight. Everybody is embroiled in multi-issue arcs, stories are flowing into each other; Avengers is always tricky continuity because it needs to be fit around the solo titles; and there’s a wedding any day now.

That’s why we already skipped ahead 5 months in our X-Men reading and are so far behind in our Dr. Strange and Hulk reading. Trying to fit it all together. This is the February issue of Avengers. We’re already mostly on to March, but about to read the January Thor. I think it all makes sense. This issue for significant reasons plainly takes place after the July issue of X-Men.

Fantastic Four #38

Defeated by the Frightful Four!

Featuring: Fantastic Four
Release: February 11, 1965
Cover: May 1965
12 cents
Writer: Stan Lee
Illustrator: Jack Kirby
Inker: Chic Stone
Letterer: S. Rosen
20 pages

Previous	#332	Next
X-Men #13	Reading order	Avengers #15
Fantastic Four #37	Fantastic Four	Fantastic Four #39

My sincerest apologies, faithful readers. Been a few weeks now since we covered the epic battle between the X-Men and the unstoppable Juggernaut. That’s life nonsense getting in the way of my priorities. Let’s pick up our reading with the Fantastic Four.

I’ve teased for years now that at some point this title goes from “good” to “transcendentally great”. The precise transition point is unclear and I’ve repeatedly noted some key issues that seemed to step up the quality. I feel like that transcendentally great era is now here. I could maybe hear an argument it begins with issue 44, but I feel like it’s here now.

We’ll talk about 44 when we get there, as there is a notable change that issue. This issue also represents a change. This is Chic Stone’s final issue of Fantastic Four.

Stone has inked the last 10 issues of Fantastic Four, and it’s now hard to remember the title without him. Prior, it had been Roussos or Ayers, and the difference is just night and day. The only standout prior to Stone was the couple issues inked by Joe Sinnott. (Hint, hint.)

The art popped under Stone. He highlighted the melodrama Kirby was infusing the stories with. He didn’t soften the exaggerations of Kirby’s faces or poses. He outlined them; he leaned in to just how over the top–and larger than life– Kirby wanted this all to be. And you see this across titles, just as evidently in the Thor stories, for example. The action and tension and emotion and drama are all just illustrated to the max under the Kirby/Stone collaboration. It will be sad to see him go.

This isn’t goodbye forever to Stone. He did a couple other titles this month we’re yet to read, and he has the odd cover or fill-in issue still to come. But here we bid goodbye to his work on Fantastic Four.

X-Men #13

Where Walks the Juggernaut!

Featuring: X-Men
Release: July 1, 1965
Cover: September 1965
12 cents
Story by smilin’ Stan Lee
Layouts by jolly Jack Kirby
Penciling by Jay Gavin
Inking by Joe Sinnott
Lettering by Swingin’ Sam Rosen
20 pages

Previous	#331	Next
X-Men #12	Reading order	Fantastic Four #38
X-Men #12	X-Men	X-Men #14

We are jumping a bit ahead with X-Men, as issues 11-13 all take place the same day, but the comic is bi-monthly. In general, we are still in March 1965, which is when X-Men #11 was released.

Last issue sort of introduced the Juggernaut. We mostly saw him in shadow and marveled at how easily he broke through the X-Men’s defenses. He was revealed in the last panel. Most of the issue had been about Xavier’s youth. Now, we meet Juggernaut properly.

We also had the legendary Alex Toth on art, as Kirby is moving off X-Men. Kirby has often been the go-to guy for getting series started, but then usually soon handed off the reins. Fantastic Four is the only series he’s really stuck with so far. Though he’ll do a decent stretch on Captain America, and his recent return to Thor is for the long haul.

Let’s look at the credits. Jay Gavin is a new name, and not even a real one. Jay and Gavin are the names of the sons of Werner Roth, our new artist. Werner Roth is not quite the legend that Alex Toth is. He is probably most notable for this stint on X-Men, where he is unfortunately stuck being “the guy that followed Kirby”. He got started in comics later than many peers, already 30 or so before working regularly. He’s already 44 at this point as he takes the reins on X-Men. He died tragically young at the age of 52, never quite having set the world of comics on fire.

X-Men #12

The Origin of Professor X!

Featuring: X-Men
Release: May 4, 1965
Cover: July 1965
12 cents
Stupifying story by: Stan Lee
Spectacular layouts by: Jack Kirby
Slam-bang pencilling by: Alex Toth
Sensational inking by: Vince Colletta
The usual lettering by: Sam Rosen
Kibitzing by: the whole blamed bullpen!
20 pages

Previous	#330	Next
X-Men #11	Reading order	X-Men #13
X-Men #11	X-Men	X-Men #13

Happy Labor Day. Thanks to all the workers, past and present, for all they have done to shape this nation by the fruits of their labors.

We just read X-Men #11. And by just, I mean over 2 weeks ago. Sorry, life stuff got in the way of my comic reading priorities. That issue ended with alarms warning the X-Men of what Xavier called the most deadly danger they had ever faced approaching. Seeming to ignore the fact that they’d just faced a godlike alien being.

I’ve left us hanging with that cliffhanger for 2 weeks now. But it’s better than kids in the 60s had it. They had to wait 2 months to meet this new menace, and then perhaps be disappointed to learn we don’t actually glimpse him until the very final panel.

Before we get to the story, we must ask questions about the credits: Why are there so many artists? And who is this Alex Toth? What’s this bullpen?

This is the second time Stan has referred to the “bullpen” in the credits, and the second time he has credited them with kibitzing.

Happy Birthday to the King!

Happy birthday in Heaven to Jack Kirby, born on this day in 1917. The artist and creator and writer on more than his share of the comics we’ve been reading, and the King of Comics.

X-Men #11

The Triumph of Magneto!

Featuring: X-Men
Release: March 4, 1965
Cover: May 1965
12 cents
X-traordinary script by: Stan lee
X-travagant art by: Jack Kirby
X-ceptional inking by: Chic Stone
X-emplory lettering by: Artie Simek
20 pages

Previous		Next
Strange Tales #134	Reading order	X-Men #12
X-Men #10	X-Men	X-Men #12

The basic tension of the series is that every mutant that comes along, Magneto wants to recruit them to be evil. And Professor X wants to recruit them to be not evil. General agreement that no third option is acceptable; every mutant must join either the X-Men or Evil Mutants. When Blob tried to do neither, the X-Men attacked him and tried to mindwipe him. The only fine print there is the word “mutant”. Occasionally, someone such as Ka-Zar turns out to not be a mutant, in which case they are not obligated to join either team.

Now we meet a man who describes himself as a Stranger. He is very powerful. Is he a mutant? If so, they must recruit.

Tales of Suspense #65, Story B

The Red Skull Strikes!

Featuring: Captain America
Release: February 12, 1965
Cover: May 1965
12 cents
By: Stan Lee and Jack Kirby
Inking: Chic Stone
Lettering: S. Rosen
10 pages

Previous		Next
Tales of Suspense #65	Reading order	Amazing Spider-Man #24
Tales of Suspense #65	Tales of Suspense	Tales of Suspense #66

As with the last two issues, this is closely based on a story from Captain America Comics #1. As with the last two issues, Joe Simon is not credited.

We at this point are well versed in the Red Skull stories of the 1940s and 50s. We are now primed to see the modern take on the Red Skull, beginning with this retelling of his first adventure.

There are significant changes, many with the effect to sanitize the story, make it less violent and more kid-friendly. For example, in this version the Red Skull is not a killer. The plot of the original was all about him murdering people.

I’ll note the shared story beats common to the stories.

The story begins with Private Rogers and Mascot Barnes escorting Major Croy. They warn him it’s not safe to be alone, but he dismisses them any way.
The Red Skull attacks Major Croy.
Red Skull’s henchmen loot a bank.
Captain America and Bucky track down the Red Skull, but the Skull escapes them.
Mr. Maxon is observing a test of his new plane. Private Rogers is present. When the plane crashes, likely due to sabotage, Maxon expresses concern, but not for the lives lost, which upsets Rogers.
Red Skull attacks a General, and then is revealed to be Mr. Maxon.

With that corresponding outline, there are heavy differences.

PRELUDE: Captain America Comics #7

The Case of the Red Skull and the Whistling Death

Featuring: Captain America
Release: August 4, 1941
Cover: October 1941
10 cents
Art and editorial by: Joe Simon and Jack Kirby
13 pages

Previous		Next
Young Allies #1	Prelude	Captain America Comics #16, Story D
Sgt. Fury #16	Reading order	Tales of Suspense #65

We’re well into Captain America’s adventures, but it’s worth noting this still predates America’s entry into World War II.

The Red Skull’s modus operandi has all been variations on a theme so far. Originally, he had a death gaze; he killed you by looking you. (It turned out he was also injecting you with a poison while he looked at you.) Then, the death touch; he killed you by touching you. (It turned out his glove was electrified and shocked his victims to death.)

Now… the tune he plays on his flute is deadly.

This time, the explanation is simpler. Red Skull whistles Chopin’s Funeral March, but then just shoots the guy.

PRELUDE: Young Allies #1

The Coming of Agent Zero/The Red Skull and the Graveyeard of Doom!/Voyage to No-Man’s Land/Trapped in Nazi-Land!/Outwitting the Bloodthirsty Tyrants!/Captain America and the Human Torch to the Rescue!!

Featuring: Young Allies
Release: July 23, 1941
Cover: Summer 1941
10 cents
57 pages

Previous		Next
Captain America Comics #3	Prelude	Captain America Comics #7
Sgt. Fury #16	Reading order	Tales of Suspense #65

The table of contents lists Joe Simon as “Art editor” and Jack Kirby as “Art director”, while recognizing Carl Burgos as the creator of Toro. No hints as to who actually wrote or drew the comic are given. The GCD credits Otto Binder, Charles Nicholas, and Syd Shores, noting Jack Kirby supplied art for some of the chapter-opening splash pages. The cover is by Jack Kirby and Syd Shores.

We also take the on-sale date from the GCD, which disagrees with the July 10 date given in Mike’s Amazing World, but also offers an explanation for the discrepancy.

An ad shows an earlier version of the cover (and gives the July 10 release date). Notice in the original cover, Stalin is one of the villains (along with Hitler, Tōjō, and Mussolini). This comic was released in July 1941. Between its original advertisement and publication, Germany invaded the Soviet Union, so Stalin was now a good guy, and couldn’t be depicted as evil in the comic. The USSR was now part of the Allied forces.

America remained neutral in the war, but you couldn’t tell by the comic books.

We read the introduction of the Young Allies, a painfully long 57-page adventure. Our motivation is that this is the third appearance of the Red Skull, who was presumed dead in an explosion in Captain America Comics #3.

This comic is pretty rough reading. The most infamous part of it is the character of Whitewash Jones, a painful stereotype of an African American child, whose portrayal somehow keeps getting worse as the issue progresses. Even leaving aside that racial sentiment has evolved in 80 years, the other kids are also pretty awful characters. Tubby, the obese child, is portrayed no better. Nor is Knuckles, the street-tough kid. Jefferson, the nerd, probably comes off the best.

The history of cartooning is built on caricature and exaggeration, but these four kids just push it into the absurd and unreadable.

PRELUDE: Captain America Comics #3

The Return of the Red Skull

Featuring: Captain America
Release: March 17, 1941
Cover: May 1941
10 cents
By: Joe Simon and Jack Kirby
17 pages

Previous		Next
Captain America Comics #1, Story D	Prelude	Young Allies #1
Sgt. Fury #16	Reading order	Tales of Suspense #65

We’ve visited Captain America Comics #3 before. We read the text story, notable for being the first story written by a young Stan Lee.

The issue also contains three other Captain America adventures, a Tuk story, and a Hurricane story.

There’s a cool feature called “Amazing Spy Adventures” which tells a loosely accurate historical story from ancient Greece, about a secret message tattooed onto a bald head, then hidden as the hair grew. Perhaps the world’s first example of steganography. You can read more about the story here.

What interests us today though is the second appearance of the Red Skull. I’m just as confused as you are, because I also remember him dying in his first appearance. Let’s read on. Maybe they’ll explain.

Ah, so it seems that the Red Skull–unmasked as George Maxon– was immune to his own poison. That makes sense. And Captain America and Bucky did just run off leaving the body in the previous story. But then we clearly saw FBI agents at the scene standing over the body. Now, the Red Skull stands up in an empty room and runs off. Hard to reconcile these things.