Moon 3 Page 1 Pencils…. Evil Wears a Furry Face

Moon 3.1.1

So, it’s that time again. The third instalment of Moon is beginning to hove into view. With it is the introduction of a very special kind of evil. Revealed briefly in Moon 2, BunBun Warmheart is a villain that had everything going for him. Now his crimes against humanity mean not even his cute little face can get him off. Our hero, Moon and Shades will be facing this little bleeder directly. What will they find out? What will they glean from this little furry bastard?

This is very much the start of the first story arc for Moon. The introduction is over – now it’s all about the investigation! Moon and his new partner, Shades Rodriguez are about to start dog paddling in dangerous waters, and there be sharks there. Heavily armed, laser guided, furry faced sharks that want to bite their legs off. With guns. And things. Threats will come from directions you’d never expect. You have been warned.

Evil is back. And it’s sitting on a raised chair in an interrogation room at the heart of the Agency.

DAH-DAH-DAAAAAAAAAH!

Moon 3.1

Advertisements

Practitioners 9: Grant Morrison

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: Global comics megastar and frustrated visionary; Grant Morrison.

All Star Superman 6 (DC, 2006)

Grant Morrison is a scottish comic book writer and playwright born 31 January 1960 who harnesses and embraces the full power of literature, psychology, history, science and mixes it all with an acute awareness of readership and popular culture. Sending Frankenstein to a land at the end of human experience and standing Wolverine and Sabretooth at the urinals of the Hellfire Club in the pursuit of perfect storytelling in comic books, drawing on a bewildering array of sources to bring forth writing that elevates and encourages its readership with rich language and deep, irony laced ideas of impossible futures and near unrecognisable presents, outer dimensions and the end of many worlds. Due to leave comic books at the end of his run with Batman, Morrison’s legacy will be one that lasts.

All Star Superman

Never scared of the poignant or the difficult Morrison has the canny knack of shifting seamlessly from the scientific explanation of a Voyager Titan mentally preparing to be launched into deep space for centuries in All Star Superman to the very real failure of Scott Summers to retain his marriage in the wake of post traumatic stress he is unable to express in New X-Men. It his acknowledgment of the need to ground – at least to the degree required for a readers’ mind if not in real terms – absurd statements and events with less abstract and more concise human situations and scenarios, underpinning everything with realistic and recognisable reactions.

He achieves this while still understanding the bare bones of comic book storytelling – still revelling in the idea of superheroes and extreme science fiction and (occasionally) magic. Elevating the subject matters though he does, he knows at all time who he is speaking to – and speaks as one of them, only with greater authority and verve.

He recognises, as all great writers perhaps do – no matter how many stars and space cannons are exploding around the main characters – that it is the individual humanity carefully identified by the writer that each character demonstrates that pins the story to the ground and allows it to resonate with the reader. In the same way that horror relies on the reactions of the participants, Morrison crafts insane worlds that are either (mostly) wholly accepted by its participants or accepted begrudgingly by them. The level of disbelief is relieved most of all by Morrison’s dialogue in which central, authoritative figures matter of factly describe high end science fiction ideas in lyrical and poetic language that causes the reader to wish it were so and, more subtly, believe it is possible. Using real science, meticulously applied and expanded upon, Morrison creates ephemeral worlds on solid foundations, allowing a degree of believability. The idea that Lex Luthor keeps a trained Baboon dressed as Superman in his cell for instance relies on the idea that reinforces Luthor as a genius, capable of manipulating his environment and the malign patience required to train a baboon and the influence to get the materials required. This falls into Morrison’s third greatest trick; an astonishing array of subtext and context to all of his characters. This is demonstrated beautifully, with the realisation that Luthor has a cavernous escape route available at any time through a trap door in his cell. His character is yet further reinforced as Kent is met at the base of stone stairs by an ambiguously aged girl in mild S&M uniform, piloting a Gondola on an underground lake. The iconography involved draws in sexual ambiguity (what is Luthor’s relationship to the girl – later uncovered as his niece, possibly for matters of taste), themes of power and influence and the mythology of the river Styx, as the innocent Kent is slowly taken back out to the living world. This may seem overly detailed and analytical but Morrison is at least that referential. His notes to his artists perhaps second only to the great Alan Moore.

His pacing and use of character is impeccable as he inhabits the mindset and responses of all of his characters – no matter how peripheral. It is in these reactions as Lex Luthor remains steadfastly oblivious to the possibility that Clark Kent has saved him as a prison riot rages around them in All Star Superman – assuming, naturally, that he has the situation well under control when in fact Kent continues to use an array of powers beyond his notice to ease his passage and even save him from a blundering Parasite. Kent remaining true to the honest and unassuming character of Superman to great comic effect.

Arcadia Byron of the Invisibles (Vertigo)

Morrison’s first published works were Gideon Stargrave for the brilliantly titled Near Myths in 1978 at the age of 17. Soon followed Captain Clyde, an out of work superhero for the Govan Press, a local newspaper in Glasgow, plus various issues of DC Thomson’s Starblazer, the sister title to the companies Commando title and the New Adventures of Hitler. He spent much of the early 80s touring with his band The Mixers, putting out the odd Starblazer and Zoids strip for DC Thomson.

In 1982 he submitted a proposal for a storyline involving the Justice League of America and Jack Kirby’s New Gods entitled Second Coming to DC. It was dismissed but his fascination of the New Gods no doubt formed the skeleton of the enormous Final Crisis saga in which Darkseid launches armageddon on an unsuspecting world in a second age of the New Gods using Earth and its inhabitants as hosts and demonic incubators. His desire to write DC’s primary superhero group was no doubt sated with his long run on JLA in 1996 to revamp the team and bring it up to date which he pulled off with Rock of Ages, Earth 2 and World War 3 (in no particular order).

At every stage he proved time and time again that he expanded the material handed to him – writing for 2000AD with Big Dave, Future Shocks and the unusually superhuman for 2000AD – Zenith under his wing before his tenure at DC.

The Filth with Grant Morrison and Gary Erskine (2003)

Upon crossing the Atlantic he demonstrated immediately his capacity for reinventing fringe characters and enhancing them beyond the original idea – taking the near unknown fringe character Animal Man and not only imbuing his character with the real reactions of a man who could channel the powers and thoughts of animals nearby to him but forced him to look through the fourth wall at the reader – breaking the indefinable rules of the medium in the process to brilliant effect.

Morrison is known for treating mainstream established titles in the same way as fringe titles and this has earned him a status as the great re-inventor in Modern comics. He was the man to make Scott Summer’s cool again as he took hold of the X-men universe and rang the life out of it – a process he tried to make un-reconnable – Killing 16 Million Mutants and giving Professor Xavier an unborn, evil sister who returns as a mind slug and unleashes the Shi’ar navy all over the mansion. Introducing a cavalcade of new Mutants some as hilariously and poignantly useless as ‘Beaky’ the featherless, beaked bird boy who batters in the head of the newly uber-feline and faux gay Beast. Jean Grey dies but for once is given no reason to return – as psychic hyper-bitch and new headmistress of Xavier’s Emma Frost sways Scott Summer’s exhausted heart, filling the emotional vacancy usually left by Phoenix every time she summarily carks it. Magneto is beheaded after destroying half of Manhattan and Xavier’s approaches an actual curriculum and focusses on its students for the first time in its history.

Jean and the Beast (New X-Men, 2002)

Morrison often – whether intentionally or not – represents the discussion boards and blogs of the fans – testing theories that are discussed hypothetically on public pages that no one expected to see them on. Batman is killed and returned and given a son in Morrison’s watch. Jason Todd effectively returns breaking the almighty unwritten rule of comic books – partly you suspect out of sheer bloody mindedness. Morrison finally being characteristically brave to investigate the reality of Dick Grayson under the cowl.

Dick Grayson as Batman (Batman, 2009)

The content of his independent titles have become mainstream – for good or ill – leaving many readers of Final Crisis utterly confused as to what was taking place – an abstract Superman tale in which he passes through multiverses in order to combat an abstract thought form made real in storytelling in an ephemeral world populated by reality vampires via a limbo championed by an indifferent Woody Allen-alike in a jesters outfit in order to save Lois Lane in between her penultimate and final heartbeat borders on the lunatic – but is incredibly detailed and worth the three reads it takes to fully grasp the deliberately overlapping realities thrown at it.

Morrison clearly found a like mind in penciller Frank Quitely, bringing to life the inner workings of Professor X’s mind in New X-Men, the gnarled and diseased but lithely libidoed geriatric in Lust for Life from Jamie Delano’s 2020 Visions (Speakeasy comics, 2005), scraping by each other by two volumes of the Authority – Morrison on Volume 4 with Gene Ha and Quitely on Volume 2 with Mark Millar, empowered the new JLA with a little much-needed modern sheen in the book of the same name in the early naughties and reinvented the greatest super hero of them all in All-Star Superman.

But it was WE-3, the story of three prototype ‘animal weapons’ as they flee the project that ‘enhanced’ them encapsulates the creative partnership. Morrison was meticulous as ever with his descriptions and insisted on consistent and protracted revisions of minute details from Quitely in order to produce a work of rare and fine quality. This certainly was achieved as it was released via Vertigo imprint in 2004 to public and critical acclaim. Morrison’s subtlety and nuance of character supplied each of the fleeing and desperate central characters; a rabbit; a cat and a dog a bewilderingly believable character each recognisable as an individual and the drives and psychology of the animal in question. Morrison’s capacity for invention supplied the narrative with a relatively basic speech pattern simulator for each of the animals allowing them to emote through limited cognitive language in a way not human but beyond its species. The effect is a dizzying, gripping and poignant story of extreme science inflicting havoc and chaos on three innocents’ lives – each reacting in their own very specific way. In many ways WE3 is exceptional and as near perfect as a comic book can get because it uses – perhaps most transparently and as such to best effect – Morrison’s greatest creative methodology – to recognise inherent and recognisable characteristics in vulnerable and capable beings and then inflict seven hells of pseudo lunacy on them – in whatever form seems most fun!

We3 (2004, Vertigo) by Grant Morrison and Frank Quitely

Most recently, Morrison has become devoutly lambasted for his incredible work in the Batman titles; killing Batman himself, replacing him with Dick Grayson, who struggles with the responsibility of the cowl. The hardened purists in the DC readership continued to make life harder and harder for Morrison to ply his trade. That, combined with his increasingly bizarre statements about his influence and involvement in the comics industry have begun to slow the genius down. His ideas were beginning to outgrow a perhaps more commercially minded DC as it tries to keep up with it’s Red banner rival, Marvel. Increasingly limited in the titles he has been permitted to write, Morrison announced recently that he will be leaving the comics industry behind, citing specifically the antagonising nature of the hardened fan – who actively denounce any major creative changes in the writing of any major character – irrespective of sales or popularity among the general public. This is an enormous loss to the industry and should not be underestimated. Wild card though he was, Morrison was a comic book loving wild card, determined to bring innovation and broad ideas to a fairly staid and unchanging medium. This is the man who finally killed Batman, deified Superman and killed 6 million mutants in 1 issue. Let his comics epitaph read; ‘went down fighting, but took a lot of characters with him.’

The Solar System is Doomed and so are you

XKCD’s Randall Munroe’s piece on the utter futility of getting up in the morning (or indeed watching fatuous entertainment news shows) really gets into the guts of what it’s like in the endless velvet nothingness of existence. In a universe made almost entirely of the absence of something, punctuated with violent and cataclysmic birthing pools of giant Hydrogen atomic balls, firing deadly radiation everywhere and nuturing only a very tiny number of miniscule globules of detritus, all of which are unlikely to be able to sustain the absurdly specific requirements of our fragile and ultimately rapidly aging forms, frankly the end (while maybe not nigh) is bloody obvious.Best to simply shrug and resign your ancestors to the cold and lonely death in open space or the fiery annihaltion of a Supernova.

Remember: Between the sky and the ground and sea is our Fishbowl. We are the fish. Good luck out there people.

(Unless we redesign ourselves like the first Guardians of the Galaxy – that’d be awesome).

Doctor Who Trailer – Return in the Autumn

The Doctor is back and he’s seemingly more budgeted than ever. Cyborg gunmen, heavily armour plated suits, a million Daleks and the apparent loss of his current assistant at the hands of them will bear little relationship to what we are about to see happen in the new series to return this Autumn (or Season / Fall for our American Cousins). Certainly looks like the popularity of the good Doctor is fuelling some high end ideas ‘Dinosaurs on a Space ship’ for instance but is this going to unbalance the wish fulfillment / saving the universe with a matchstick charm which made the Doctor so successful before?

Too much ‘I’m the Doctor,’ going on. The old Doctor never needed to mention his name – he did things that proved it, that was the ultimate joy. Will Matt Smith’s Doctor be increasingly a passenger in his own series – most likely in at least one episode that doesn’t feature him that occurs in every series – or is this the one where things start to happen!!

The Angels and Daleks are back – the Silence are nowhere to be seen. The US seems to be playing a big ol’ part in it all now, California or Nevada and apparently Alaska if the snowy bits are anything to go by. Much to be revealed. We’ll see what happens….

Star Wars: Return of the Farting Jedi

Yoda is a very old man / Brussel Sprout. In his years of solitude he has been eating a lot of Swamp Radish, even gained a cheerful taste for the stuff as it grows low making it easy for the old feller to get his hands on it. The force has to be reserved for pulling X-Wings out of bogs of course. But given his Sprout heritage it is perhaps unsurprising that the elder members of his species create increasingly large clouds of noxious gas prior to death. Being 600 years old he couldn’t give a rats ass.

The guy who posted this video is as mortified by it’s popularity as we are about finsing it funny. I defy you to watch it the whole way through without a childish snigger.

RIP Ralph McQuarrie: The man who showed us Star Wars

Ralph McQuarrie (1930-2012)

Ralph McQuarrie was the visionary artist who developed the look of one of the most easily recognisable moments in cinema history. Twin suns in the sky over Tatooine, A-wings sailing passed destroyed ATAT’s on the icy surface of Hoth. A young adventurer named Starkiller against an enemy named Darth Vader. All of these concepts had been brought to life long before a crew of hundreds started work on production of Star Wars. Lucas himself was quoted as saying ‘when I run out of ways to describe what I want – I point to Ralph’s work and say – like this.’

The Darth Vader suit was a combination of Samurai armour, Nazi uniform and gas mask. To stand in a room with it represents a real moment of awe. Combining aspects of mechanised war, machine, ancient warrior, vampire lord and dark magician – McQuarrie created an image of unsurpassed power and contained evil. His vision of Darth Vader, completed with the voice of James Earl Jones the most recognisable vision of evil and power in fictional popular culture in the 20th Century.



Anyone who loves the Millenium Falcon or Darth Vader should remember Ralph McQuarrie. King of concept artists – but much more than that – a man who brought dreams alive for an inexperienced director and ultimately the whole world. A true visionary.

Thank you Ralph McQuarrie. Dream maker.

To do the same thing again Lucas employs teams of visual artists for every scene. McQuarry did it effectively alone with one man’s ideas in his head.
The very definition of visionary.

Ralph McQuarrie (1930-2012)

Practitioners 49: Jack Kirby (Part 3)

In November 1961 The Fantastic Four #1 hit the newsstands across America. The story of four uniquely powered individuals related to each other as relatives, in friendship and purpose, revolutionised the industry. Although clearly reminiscent of hundreds of Sci-fi books before this had a comparative naturalism to it that hadn’t been seen before blended with a cosmic purview informed by boundless imagination. It was powered by Marvel Editor-in-chief Stan Lee and seasoned comics artist Jack Kirby.

For almost a decade, Kirby provided Marvel’s house style, co-creating with Stan Lee many of the Marvel characters and designing their visual motifs. At Lee’s request he often provided ‘new-to-marvel artists ‘breakdown’ layouts, over which they would pencil in order to become acquainted with the Marvel look. As artist Gil Kane described:

‘Jack was the single most influential figure in the turnaround in Marvel’s fortunes from the time he rejoined the company … It wasn’t merely that Jack conceived most of the characters that are being done, but … Jack’s point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field … [Marvel took] Jack and use[d] him as a primer. They would get artists … and they taught them the ABCs, which amounted to learning Jack Kirby. … Jack was like the Holy Scripture and they simply had to follow him without deviation. That’s what was told to me … It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view.’

Highlights from the House of Ideas other than the Fantastic Four include: Thor, the Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, Uatu the Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city Attilan and the Black Panther – comic’s first black superhero – and his African nation Wakanda. Last year and 2010 Thor, Iron Man and the X-Men grossed worldwide ($1,425,062,845) One Billion, four hundred and twenty five million, sixty two thousand, eight hundred and forty five dollars (A combination of $623,933,331 for Iron Man 2, $448,512,824 for Thor and $352,616,690 for X-Men: First Class). This was begun by two men, one of which was Jack Kirby. They cemented the concepts so clearly that while developed, the core values remain. All of them have the best writers, directors and actors vying to be a small part in the development of these ideas formed 51 years ago. Decades of the most talented artists have looked to Kirby for inspiration. His ideas as only presented more clearly, barely changed from the original concept design – perhaps drawn, in one case, on a table in Brooklyn many years before – with thoughts of war he hadn’t yet been called on to fight in his mind.

In March 1964, Simon and Kirby’s Captain America was also incorporated into Marvel, Kirby approving Lee’s idea of partially remaking the characters as a man out of his time and regretting the death of his partner. The suit returned almost exactly as it had been 23 years before. Last year, Captain America made $368,608,363 at the box office as Kirby’s suit stepped, again almost unchanged close to 70 years after the day it was designed on the back of Chris Evans.

In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.

Kirby continued to push the industries boundaries, devising photo collage covers and interiors reminiscent of ’80s artists in England playing with sellotape and photocopiers. Developing new drawing techniques such as the method of depicting energy fields known as ‘Kirbydots’ and other experiments. Able to handle high detail, explosive composition, emotion, perspective, conceptualisation and design – it was Kirby’s sense of scale that blows many artists away. Alien engines dwarf figures in certain panels, coils, springs and rivets collected together in such ways that they seem to be an optical illusion. Perspective twists in some of his environments such as Mr Fantastic’s lab in a way that somehow bends the eye. Many generations of artists have dismissed Kirby as dated or unsophisticated until presented with his depictions of machinery and the Silver Surfer.

A character of incredible simplicity, divinity and … just … cool. The concept of a humanoid riding the waves of space at incredible speeds highlights the natural beauty and associations with divine advancement incorporating the universe around it and the increased simplicity it brings. But none of that is said. But all of it is inherent. A perfectly formed, universally accessible character made even more interesting by Stan Lee by being a good man acting as herald to a being of unimaginable power. Again, the genius of the character is that it is a perfect template that can be adapted into anyone’s style. Much like any Kirby character you can mention. The simplicity and intuitive details he applies are often so universal that they are only more interesting with each new reinterpretation. While Iron Man had to inevitably change as technology developed, Thor still carries the same Hammer and wears the same white riveted top, Captain America still has his Red, White and Blue, the star on his chest and the skull cap design applied to him in the newest incarnation, the Ultimates, by Bryan Hitch is a throwback to Kirby’s original design, Hulk remains Green (as he was in his second appearance) and even had a Grey countenance as Peter David’s Joe Fixit in the ’90s – a nod to the original design. Black Panther, Magneto, The Inhumans and Attilan have also only ever been refined – never redesigned. This is the testament to the lasting influence of Kirby. Even the X-Men have retained the yellow and blue of their original uniforms for more than 45 years. Somehow Kirby just knew. Wiser than the rest of us what he put down on paper worked and generations of artists have never cracked how to improve on his original designs.

Yet, Kirby grew increasingly unhappy at Marvel. The reasons given for this included resentment over Stan Lee’s increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman and at Marvel specifically for lack of credit for his story plotting, character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as “The Inhumans” in Amazing Adventures, as well as horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.

Spending nearly two years trying to negotiate a three year contract with the option of staying on a further two additional years. In 1970, at the age of 53, Kirby joined DC and immediately started creating a ‘Fourth World’. A trilogy of New Titles – New Gods, Mister Miracle and The Forever People. He took on Superman’s pal Jimmy Olsen because the series was without a stable creative team and he didn’t want to be responsible for losing anyone their job. The central villain of the Fourth World, Darkseid, and some other Fourth World concepts appeared in the pages of Jimmy Olsen before being launched as their own series, giving greater exposure to potential buyers. Jack Kirby remained an incredibly shrewd operator, still demonstrating the guile and forward thinking that is expected of great creative directors. Though here he was without a company, working as he had always wanted to. As a creative.

Kirby had a lasting effect on DC too, leaving characters that have recurred or consistently remained in the DC Universe, though not as centrally as the Marvel Universe. These included OMAC (seen in the Final Crisis crossover of 2009), Kamandi, The Demon, The Losers, Dingbats of Danger Street, Kobra and together with old partner Joe Simon for one last time, a new incarnation of the Sandman.

But it had to be said that rather than Kirby having Marvel blood in his veins, Marvel ran on Kirby Engine Oil and the company would always have taken him back. In 1975, Stan Lee used a Fantastic Four discussion panel to announce that Kirby was returning to Marvel. Ever the showman, Lee wrote in his monthly article ‘Stan Lee’s Soapbox’ that “I mentioned that I had a special announcement to make. As I started telling about Jack’s return, to a totally incredulous audience, everyone’s head started to snap around as Kirby himself came waltzin’ down the aisle to join us on the rostrum! You can imagine how it felt clownin’ around with the co-creator of most of Marvel’s greatest strips once more.”

Back at Marvel, Kirby both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention in primordial humanity would eventually become a core element of Marvel Universe continuity. Kirby’s other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey, as well as an abortive attempt to do the same for the classic television series, The Prisoner. He also wrote and drew Black Panther and did numerous covers across the line.

Still dissatisfied with Marvel’s treatment of him and with the companies refusal to provide health and other employment benefits, Kirby sadly left Marvel to work in animation. In that field, he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney’s Treasury of Classic Tales syndicated comic strip in 1979-80.

In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish a creator-owned series Captain Victory and the Galactic Rangers, and a six-issue mini-series called Silver Star which was collected in hardcover format in 2007. This, together with similar actions by other independent comics publishers as Eclipse Comics (where Kirby co-created Destroyer Duck in a benefit comic-book series published to help Steve Gerber fight a legal case versus Marvel), helped establish a precedent to end the monopoly of the work for hire system, wherein comics creators, even freelancers, had owned no rights to characters they created.
Though estranged from Marvel, Kirby continued to do periodic work for DC Comics during the 1980s, including a brief revival of his “Fourth World” saga in the 1984 and 1985 Super Powers mini-series and the 1985 graphic novel The Hunger Dogs. And in 1987, under much industry pressure, Marvel finally returned much of Kirby’s original art to him.
Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed “The Kirbyverse”. These titles were derived mainly from designs and concepts that Kirby had kept in his files, some intended initially for the by-then-defunct Pacific Comics, and then licensed to Topps for what would become the “Jack Kirby’s Secret City Saga” mythos. Marvel posthumously published a “lost” Kirby/Lee Fantastic Four story, Fantastic Four: The Lost Adventure (April 2008), with unused pages Kirby had originally drawn for Fantastic Four 108 (March 1971).
On February 6, 1994, Kirby died at age 76 of heart failure in his Thousand Oaks, California home. He was buried at the Pierce Brothers Valley Oaks Memorial Park, Westlake Village, California.

Kirby’s legacy is enormous. Grant Morrison’s Final Crisis crossover hinged on Kirby’s Fourth World – specifically Darkseid himself – inflicting themselves on Earth, Captain America still leads the Avengers / Ultimates in colours picked out for him by a man he could have fought in the war with. The Hulk continues to smash, the Surfer continues to glide through the Marvel Universe. Artists around the world look to Kirby’s example of steadfast, unfussy iconography, simple, effective design and dizzying compositions. A generation of Marvel artists were trained by him. But more important than that, Jacob Kurtzberg of Suffolk Street, New York City built dreams others could build upon while simply building his own. He has influenced and inspired thousands of creatives (including this one) and built a House of Ideas that millions of people continue to enjoy. Kirby is a true legend to those who know, possibly the greatest comic book artist who ever lived. Responsible for the Incredible Hulk, Iron Man, Captain America, Thor, Mr Fantastic, Invisible Woman, the Thing and The Human Torch. If they existed, all of them would have visited the grave of Jack Kirby. The Hulk would have stood in the rain over Kirby’s resting place, a giant over a small guy’s crypt and simply said ‘Goodbye Dad’. With that, the broad shouldered goliath would turn and launch himself up into the sky, disappearing into the distance. If Kirby, lying where he was could see it he’d have thought ‘Good angle, but perhaps it could be just a little tighter…’

The Lost Jedi: Jedi Master Ca De Nas

Ca De Nas (Cristian Cadenas) is a master of arms for the Jedi. One of the foremost trainers of Lightsabre technique in the galaxy, Ca De Nas is based on Coruscant at the time of Order 66. A trainer of Anakin Skywalker in the years prior to the Clone Wars, Ca De Nas tried to impart the wisdom of open hand techniques in battle and introduce mercy, guile and non-fatal attacks. Anakin struggles to fight his teacher for a time, until fury takes hold. Ca De Nas instinctively held back some of the techniques taught to all Padawans at Master Yoda’s request and Obi Wan’s agreement until he had demonstrated greater control of his temper. Ca De Nas’ capacity for guile and adaptability make him a difficult opponent and a respected warrior in the Jedi ranks.

Epic Jedi Street Battle!!

… and if the post from two weeks ago (Revenge of the Jedi A-holes) ain’t sharp enough for you here’s an Epic Jedi Gang Fight on the streets of Los Angeles courtesy of Sam Macaroni via Shaycarl on Youtube. The man also responsible for this mess in a backgarden…

BTB Investigates: Is Thanos the real Avengers movie bad guy?

The previews for The Avengers movie next year reveals the expected obliterated New York / Chicago / Seattle streets and the various Avengers charging into battle looking pouty and slightly impractically dressed and the suggested central bad guy, Thor’s half brother, Loki, flailing about in a cloak looking fairly imposing in a way an impish theatre actor might in a storm scene on stage. While we’re looking forward to the Avengers movie based on what we’ve seen – I can’t help but think that there’s an absent power behind the throne on this one. There’s a few reasons for this one:

  • Joss Whedon, assigned to direct this little number, is not one to work on a one threat script. Whether it’s Firefly or Buffy or Angel, it’s the initial threat, usually controlled by a shadowy puppet master and then often revealed to be a cosmic threat of unimaginable power. Not just that, he has a wry sense of humour and an acute understanding of what audiences like. He’s also a populist. Unafraid to do what is cool and follow expected narratives, he is a creature of loose habit. His plot structures have always incorporated big and very charismatic entrances of large scale bad guys. He’s also got a history of abstract and old school sci-fi and horror influences in everything he does, usually taking the source material and advancing it to be acceptable to TV/ Movie audiences.
  • Marvel has shown increasing bravery in bringing forward obscure characters from it’s ranks in it’s current spate of films and dealing with broad and fun themes rather than taking themselves too seriously. They also stick pretty close to source material and introduce figures that represent the proper threat for the development of the character.
  • The Avengers themselves have to be facing a threat on a scale that tests them well enough. Thor alone beat Loki. Loki is not a threat. The Hulk is clearly being held in reserve until the effects are finished but who is he going to face?
  • Mark Millar’s Ultimates is informing the Avengers. While there is an invasion of fantasy hordes in Ultimates 2 which may well fill the gap, it’s been well done and may still happen without undermining the theory that it’s Thanos that’ll step into the fray. An Alien invasion isn’t discounted either as appeared in Ultimates 1 and the Nazis might still be involved. Hard to say. Point is extra terrestrial or god attack, it doesn’t matter, Thanos is attached to both.
  • Rumours state that Thano’s glove from the Infinity Gauntlet series is visible on the Avengers set photos. Thanos brought the entire Marvel Universe to a standstill in the early ’90s as he took hold of the Infinity Gauntlet and threatened to destabilise the universe. A threat easily big enough to justify a call out at Avenger’s towers.

But why Thanos? 

Thanos is a being of credible bad that has sulked, skulked and schemed his way around the backwaters of Marvel’s cosmic universe, occasionally bringing the whole thing into doubt with his plans. Lover of the dubiously aged Death and as such effectively immortal, he is a corrupted Titan, a shrugging destroyer of time, space and any sentient being stupid enough to wander into his path. He’s Marvel’s Lobo. He has a death grin, incurable curiosity for how much chaos and death he can cause and how brilliantly he can destabilise the powers of the universe. For fun.

  • He’s a cosmic being and a god. Thor made it clear that Valhalla was a realm in space, responsible for galactic peace. Thanos is a deity on par with the Frost Giants. A corrupted and deformed child of gods. As the story goes according to Marvel.com – On Saturn’s moon of Titan lived a colony of Eternals, and Thanos was born as one of the last sons of the original colonists, Mentor and Sui-san. However, he was born misshapen and monstrous in comparison to the other Eternals, particularly his handsome and carefree brother, Starfox.
  • He is a collector of Cosmic Cubes. The one connecting link between all of the films (excluding Iron Man) is the Cosmic Cubes. The Red Skull was killed by it, underestimating it’s power in Captain America while the Cosmic Cube was cared for by Odin and stolen by Loki at the end of Thor. Thanos has long been associated with the cosmic cubes – which he aquires and uses regularly to keep causing trouble.
  • He’s just returned to the Marvel Universe in a plot involving a cosmic cube. Guardians of the Galaxy, while a lesser known title outside the industry is critically acclaimed and one of Marvel’s most consistent books. Returning wild and beserk, Starlord effectively punches him in the face with it to bring him down. But the fascination with the Cosmic Cube is obvious in the character and clearly a fundamental aspect of Thanos from the view of Marvel.
  • Abnett and Lanning aren’t writing him in the usual way. Thanos has never been hailed or fanfared like a galaxy spanning threat, narratively. Thanos is a tinkerer and walks in from the side lines to see what he can get away with. That wry curiosity and mischievousness was always the defining characteristic of Thanos. Even when associated with the destruction of butt loads of planets, Thanos is intellectually involved but never held up as a purveyor of all-hell-breaking-loose. But Thanos has been elevated this time. He’s not stronger, Thanos was always tough. He’s not more imposing, or larger. But the way he’s being written this time round suggests a greater awe, as if this character is just about to lift beyond his station in Marvel. It’s not uncommon, Iron Man, Thor, War Machine have all had massively increased status in the universe since seeing celluloid. Is Thanos gonna get the same treatment?

Thanos is a great bad guy and although the natural resistance has been removed now that Marvel is under the Lassetter banner of Disney and internally responsible for it’s own brand there would be sensible resistance at using an obscure, radiator chinned, purple god with a chip on his shoulder as the central pivot for a major blockbuster that’s never been tried before. Abnett and Lanning’s response is likely a reply to the existing rumours that Thanos almost got a big screen appearance.  The contrivance of plot that would be needed to introduce a second disgruntled child of the Gods when any sensible writer can apply the same emotional palette to the existing character without dropping a stocky, purple, alien gorilla face with 1980s shoulder pads into the action. But it’d Thanos. Against the Avengers. Directed by Whedon. Keep wishing guys but in all liklihood it’s just too cool to risk.