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THE UNTOLD STORY

Go ahead, ask a question.   Images are an online-only supplement to the book MARVEL COMICS: THE UNTOLD STORY (plus occasional unrelated arcana )
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"A WILD-RIDE ACCOUNT" —The Hollywood Reporter
"EPIC" —The New York Times
"INDISPENSABLE" —Los Angeles Times
"DEFINITIVE" —The Wall Street Journal
"SCINTILLATING" —Publishers Weekly
"AUTHORITATIVE" —Kirkus Reviews
"GRIPPING" —Rolling Stone
"PRICELESS" —Booklist
"ESSENTIAL" —The Daily Beast
"REVELATORY" —The Miami Herald
"AS FULL OF COLORFUL CHARACTERS, TRAGIC REVERSALS AND UNLIKELY PLOT TWISTS AS ANY BOOK IN THE MARVEL CANON" —Newsday

twitter.com/seanhowe:

    "Brooklyn’s Comic Artists" at the Brooklyn Museum, 1974:
A Community Gallery Exhibition of the work of 13 Brooklyn professionals, Brooklyn’s Comic Book Artists includes original drawings and layouts by the creators of such popular comic books as “Batman” (Carmine Infantino), “Green Lantern” and “Spiderman” (Gil Kane), “Captain America” and “Fantastic Four” (Jack Kirby), “Little Anny Fanny” (Harvey Kurtzman), “Richie Rich” (Dom Sileo), and “Flash Gordon” (Al Williamson). Other comic books represented are “Deadman” (Neal Adams), “The Spirit” (Will Eisner), “Tommy Tomorrow” (Lee Elias) , “Archie” (Victor Gorelick) “Tarzan” (Joe Kubert), “El Diablo” (Gray Morrow) and “Creepy Comics” (Angelo Torres). A photographic essay explains the process of comic book production from conception to newsstand delivery. Organized by Phil Seuling, a Brooklyn high school teacher and founder of the annual New York City Comic Art Convention, the exhibition was installed by Richard Waller, Coordinator of the Community Gallery, with the aid of a grant from the New York State Council on the Arts.

    "Brooklyn’s Comic Artists" at the Brooklyn Museum, 1974:

    A Community Gallery Exhibition of the work of 13 Brooklyn professionals, Brooklyn’s Comic Book Artists includes original drawings and layouts by the creators of such popular comic books as “Batman” (Carmine Infantino), “Green Lantern” and “Spiderman” (Gil Kane), “Captain America” and “Fantastic Four” (Jack Kirby), “Little Anny Fanny” (Harvey Kurtzman), “Richie Rich” (Dom Sileo), and “Flash Gordon” (Al Williamson). Other comic books represented are “Deadman” (Neal Adams), “The Spirit” (Will Eisner), “Tommy Tomorrow” (Lee Elias) , “Archie” (Victor Gorelick) “Tarzan” (Joe Kubert), “El Diablo” (Gray Morrow) and “Creepy Comics” (Angelo Torres). A photographic essay explains the process of comic book production from conception to newsstand delivery. Organized by Phil Seuling, a Brooklyn high school teacher and founder of the annual New York City Comic Art Convention, the exhibition was installed by Richard Waller, Coordinator of the Community Gallery, with the aid of a grant from the New York State Council on the Arts.

    — 2 weeks ago with 12 notes
    #brooklyn museum  #carmine infantino  #gil kane  #steve ditko  #jack kirby  #harvey kurtzman  #dom sileo  #al williamson  #will eisner  #lee elias  #victor gorelick  #joe kubert  #gray morrow  #angelo torres  #phil seuling 
    highway62:

Intrapanel updated with the shakes.
intrapanel:

Wherein Wally Wood delineates the DTs quite effectively.
THE SANDMAN #6 (v.1)
1975, DC Comics
Michael Fleischer script, Jack Kirby pencils, Wally Wood inks




Surely the panel owes a debt to this scene from Melville’s LE CERCLE ROUGE?

    highway62:

    Intrapanel updated with the shakes.

    intrapanel:

    Wherein Wally Wood delineates the DTs quite effectively.

    THE SANDMAN #6 (v.1)

    1975, DC Comics

    Michael Fleischer script, Jack Kirby pencils, Wally Wood inks

    Surely the panel owes a debt to this scene from Melville’s LE CERCLE ROUGE?

    — 1 month ago with 19 notes
    #jean-pierre melville  #jack kirby  #michael fleisher  #Wally Wood 
    Ant-Man will give it to you.From Fantastic Four #16, April 1963. Art by Jack Kirby and Dick Ayers. Words by Stan Lee.

    Ant-Man will give it to you.

    From Fantastic Four #16, April 1963. Art by Jack Kirby and Dick Ayers. Words by Stan Lee.

    — 2 months ago with 72 notes
    #ant-man  #fantastic four  #jack kirby  #dick ayers  #stan lee 
    INSIDE THE BAXTER BUILDING by Jack Kirby, 1963Click here to enlarge and print out.
Then color and put on your wall. And smile.

    INSIDE THE BAXTER BUILDING by Jack Kirby, 1963

    Click here to enlarge and print out.

    Then color and put on your wall.

    And smile.

    — 2 months ago with 369 notes
    #fantastic four  #stan lee  #jack kirby  #baxter building  #maps  #pogo orbit plane 
    Finally saw Captain America and... →

    timetokvetch:

    Everyone was right. It was a really decent movie. My brother goes to Bates College, so he asked me to wait to see it until he came down to Boston. We went to a matinee screening, so the theater was pretty empty and we could scream “Go, Joe!” as much as we wanted. We didn’t actually, but of course…

    Joe Simon’s granddaughter weighs in on Captain America: The Winter Soldier. (Spoiler: she liked the movie, did not like the buried Simon & Kirby credit.)

    — 3 months ago with 48 notes
    #joe simon  #jack kirby  #captain america 
    Late-1965 ad for Fantasy Masterpieces #3. "See the early work of Kirby, Ditko, Heck, Ayers and Sinnott! Prefaces by Stan Lee!"

    Late-1965 ad for Fantasy Masterpieces #3.

    "See the early work of Kirby, Ditko, Heck, Ayers and Sinnott! Prefaces by Stan Lee!"

    — 3 months ago with 42 notes
    #fantasy masterpieces  #jack kirby  #steve ditko  #don heck  #dick ayers  #joe sinnott  #stan lee  #house ad 
    S.H.I.E.L.D. Vs. The Horrors Of The Modern World
(Panels from STRANGE TALES #151, December 1966. Layouts by Jack Kirby. Illustrations by Jim Steranko. Words by Stan Lee. Lettering by Artie Simek.) Suddenly almost everything in the Marvel Universe was reaching some kind of critical juncture, a point of no return. Nick Fury’s modern-day S.H.I.E.L.D. adventures in Strange Tales merged with Captain America’s missions in Tales of Suspense as the heroes teamed against high-tech organizations like A.I.M. (Advanced Idea Mechanics) and HYDRA for a kind of sci-fi paramilitary feedback loop. Here, too, science bounded forward at a dizzying, almost alarming rate—even the flurry of good-guy gadgets like Life Model Decoys carried disconcerting post-atomic associations of that which humanity is not ready to harness. A.I.M.—which consisted of shady industrialists outfitted like futuristic beekeepers—created the Super-Adaptoid and brandished a talisman known as the Cosmic Cube (“The ultimate weapon! The ultimate source of power! The only such artifact known to man—which can convert thought waves—into material action!”), which fell into the hands of the Red Skull, who’d just reemerged from the rubble of the Führerbunker after two decades. All you could pray for was to have the Orion Missile, or the Matter Transmitter, on your side.
Text from Marvel Comics: The Untold Story

    S.H.I.E.L.D. Vs. The Horrors Of The Modern World

    (Panels from STRANGE TALES #151, December 1966. Layouts by Jack Kirby. Illustrations by Jim Steranko. Words by Stan Lee. Lettering by Artie Simek.)

    Suddenly almost everything in the Marvel Universe was reaching some kind of critical juncture, a point of no return. Nick Fury’s modern-day S.H.I.E.L.D. adventures in Strange Tales merged with Captain America’s missions in Tales of Suspense as the heroes teamed against high-tech organizations like A.I.M. (Advanced Idea Mechanics) and HYDRA for a kind of sci-fi paramilitary feedback loop.

    Here, too, science bounded forward at a dizzying, almost alarming rate—even the flurry of good-guy gadgets like Life Model Decoys carried disconcerting post-atomic associations of that which humanity is not ready to harness. A.I.M.—which consisted of shady industrialists outfitted like futuristic beekeepers—created the Super-Adaptoid and brandished a talisman known as the Cosmic Cube (“The ultimate weapon! The ultimate source of power! The only such artifact known to man—which can convert thought waves—into material action!”), which fell into the hands of the Red Skull, who’d just reemerged from the rubble of the Führerbunker after two decades.

    All you could pray for was to have the Orion Missile, or the Matter Transmitter, on your side.

    Text from Marvel Comics: The Untold Story

    (Source: seanhowe, via seanhowe)

    — 3 months ago with 70 notes
    #S.H.I.E.L.D.  #hydra  #nick fury  #captain america  #winter soldier  #cosmic cube  #jim steranko  #stan lee  #jack kirby  #artie simek 

    Over the weekend, author Saladin Ahmed posted images from the a story in The Eagle #2 (Fox Publications, 1941). I guess others have noted Spider-Queen and her web-shooting bracelets before, but I’d never even heard of the character.

    The Spider-Queen stories are credited to one Elsa Lisau. There seems to be an online consensus (no idea where it came from) that it’s a pseudonym for Louis and Arturo Cazeneuve.

    Bear with me for a moment while I backtrack to tell you about Cazeneuve.

    In 1940, Fox Publications editor Joe Simon gathered some of his colleagues to moonlight on a project with Martin Goodman’s Timely Comics (which would later become Marvel Comics). Red Raven #1 included an adventure starring the title character—a collaboration between Simon and Louis Cazeneuve—and two stories by Jack Kirby, in his Timely debut.

    Red Raven bombed—replaced on the schedule, I believe, by The Human Torch—and months later, Cazeneuve was still working for Fox, where Spider-Woman was published.

    But within a few months Simon and Kirby soon delivered a new hero and began working exclusively for Timely/Marvel.

    The hero, of course, was Captain America.









    — 3 months ago with 203 notes
    #golden age  #fox features syndicate  #spider-queen  #spider-man  #steve ditko  #jack kirby  #joe simon  #stan lee  #louis cazeneuve  #elsa lineau  #captain america  #silver spider  #harvey  #timely 
    HOW AN UNDERGROUND NEWSPAPER CHANGED MARVEL COMICS (part 1 of 4)
The following essay, by D.A. Latimer, appeared in the East Village Other in March, 1969.
Comics make a lot of money, they sell better than the Reader’s Digest, the Daily News, and Fiery Crashes Monthly put together. They have to make this kind of money, or else it wouldn’t be worthwhile publishing them at all—from the publisher’s standpoint, anyway. The trouble is, for the last fifteen years or so, they just haven’t been worth publishing from the reader’s standpoint. You see, back in the mid-fifties sometime, this very perverted cat named Dr. Frederic Wertham published one of the all-time great works of erotic fiction, under the guise of critical comment of comic books: he called it—now sit tight, fellow pedophiles—Seduction of the Innocent, larded it with carefully cropped, blown up, and retouched cartoon panels, and accompanied these with vast slobbering reams of pseudo-psychosexual case histories about sadists, arsonists, and father-rapers who had got that way from reading Little Lulu and Millie the Model. Wertham was a pornographer of the old school: he sold his thing to all these people who wouldn’t dream of jerking off like common perverts, and they became so inflamed with a sensation that they could only cool off by tromping on the comic book industry. And the industry became so uptight at the prospect of losing money that it commenced printing tripe—but tripe—and has done nothing of any account for the last decade and a half.
Lately, though, it appears that the permissiveness fostered by eight years of Democratic government has infiltrated even unto such as Stan Lee and Carmine Infantino, moguls of Marvel and DC Comics respectively. Comics over the last few years have been mincing apprehensively back into contact with the world, which is a most encouraging development for what McLuhan appropriately terms the coolest of all possible mediums. They need encouragement. And just to warn the Werthams of the world that social relevance does not necessarily entail depictions of graphic sexual activity, this week I’d like to sketch out a short history of The Token Negro In American Comic Books. For the purposes of this discussion, we’ll consider only DC and Marvel adventures comics. Archie Comics some while back dabbled uncomfortably with a brawny young hunk of black-haired beefcake called Angelo Angelino—he was Mr. Lodge’s groundskeeper for an issue or two—but they seem to have discontinued this disturbing element (which is pretty much alright, since it turns out, after their debut on television, that the Lodge family has a crackerish southern accent). And to go into an investigation, at this late date, of why the world of Mickey Mouse was kept carefully segregated from the world of Donald Duck, well, that would be disrespectful to the shade of Disney. So we’re hung with Marvel and DC, and we’ll dig Marvel first.
The only black character with anything like top billing in the Marvel lexicon is a cat named T’Challa, one of the Avengers. On a kind of sabbatical from the chieftainship of an African tribe called the Wakanda, T’Challa works with the Avengers in the guise of—now dig this—the Black Panther. No, no—while the Panthers have been around longer than T’Challa, the gentleman in no respect resembles Bobby Seale. He doesn’t even come off like Moms Mabely for Blackness, and he sure got nothing even in common with Jomo Kenyatta. You ever once hear a spade talk like this, outside of Othello: “If words were actions, rash one, I should long since have perished in my native Africa.” PVUNK! Another super-baddie bites the dust. Wakanda (not the river in Kesey’s Oregon, fool) is a super-city located in an artificial under the African veldt, and the Wakanda tribesmen are super-spades who run around in loincloths, toting stun-guns. Like I say, it’s encouraging to see comics coming back in touch with the world.
(Continued here.)

    HOW AN UNDERGROUND NEWSPAPER CHANGED MARVEL COMICS (part 1 of 4)

    The following essay, by D.A. Latimer, appeared in the East Village Other in March, 1969.

    Comics make a lot of money, they sell better than the Reader’s Digest, the Daily News, and Fiery Crashes Monthly put together. They have to make this kind of money, or else it wouldn’t be worthwhile publishing them at all—from the publisher’s standpoint, anyway. The trouble is, for the last fifteen years or so, they just haven’t been worth publishing from the reader’s standpoint. You see, back in the mid-fifties sometime, this very perverted cat named Dr. Frederic Wertham published one of the all-time great works of erotic fiction, under the guise of critical comment of comic books: he called it—now sit tight, fellow pedophiles—Seduction of the Innocent, larded it with carefully cropped, blown up, and retouched cartoon panels, and accompanied these with vast slobbering reams of pseudo-psychosexual case histories about sadists, arsonists, and father-rapers who had got that way from reading Little Lulu and Millie the Model. Wertham was a pornographer of the old school: he sold his thing to all these people who wouldn’t dream of jerking off like common perverts, and they became so inflamed with a sensation that they could only cool off by tromping on the comic book industry. And the industry became so uptight at the prospect of losing money that it commenced printing tripe—but tripe—and has done nothing of any account for the last decade and a half.

    Lately, though, it appears that the permissiveness fostered by eight years of Democratic government has infiltrated even unto such as Stan Lee and Carmine Infantino, moguls of Marvel and DC Comics respectively. Comics over the last few years have been mincing apprehensively back into contact with the world, which is a most encouraging development for what McLuhan appropriately terms the coolest of all possible mediums. They need encouragement. And just to warn the Werthams of the world that social relevance does not necessarily entail depictions of graphic sexual activity, this week I’d like to sketch out a short history of The Token Negro In American Comic Books. For the purposes of this discussion, we’ll consider only DC and Marvel adventures comics. Archie Comics some while back dabbled uncomfortably with a brawny young hunk of black-haired beefcake called Angelo Angelino—he was Mr. Lodge’s groundskeeper for an issue or two—but they seem to have discontinued this disturbing element (which is pretty much alright, since it turns out, after their debut on television, that the Lodge family has a crackerish southern accent). And to go into an investigation, at this late date, of why the world of Mickey Mouse was kept carefully segregated from the world of Donald Duck, well, that would be disrespectful to the shade of Disney. So we’re hung with Marvel and DC, and we’ll dig Marvel first.

    The only black character with anything like top billing in the Marvel lexicon is a cat named T’Challa, one of the Avengers. On a kind of sabbatical from the chieftainship of an African tribe called the Wakanda, T’Challa works with the Avengers in the guise of—now dig this—the Black Panther. No, no—while the Panthers have been around longer than T’Challa, the gentleman in no respect resembles Bobby Seale. He doesn’t even come off like Moms Mabely for Blackness, and he sure got nothing even in common with Jomo Kenyatta. You ever once hear a spade talk like this, outside of Othello: “If words were actions, rash one, I should long since have perished in my native Africa.” PVUNK! Another super-baddie bites the dust. Wakanda (not the river in Kesey’s Oregon, fool) is a super-city located in an artificial under the African veldt, and the Wakanda tribesmen are super-spades who run around in loincloths, toting stun-guns. Like I say, it’s encouraging to see comics coming back in touch with the world.

    (Continued here.)

    — 3 months ago with 149 notes
    #marvel comics  #black panther  #t'challa  #wakanda  #falcon  #stan lee  #jack kirby  #angelo angelino 
    seanhowe:

Jack Kirby poses as Captain America

Seems like a good time to dig this one out of the archives.

    seanhowe:

    Jack Kirby poses as Captain America

    Seems like a good time to dig this one out of the archives.

    — 3 months ago with 757 notes
    #captain america  #jack kirby  #joe simon  #photos 
    Cover to Daring Mystery Comics #6. Cover by Jack Kirby.

    Cover to Daring Mystery Comics #6. Cover by Jack Kirby.


    — 4 months ago with 38 notes
    #daring mystery  #jack kirby  #race relations  #marvel boy 
    Jack Kirby. Photo by Al Ortega, Wizard magazine.

    Jack Kirby. Photo by Al Ortega, Wizard magazine.

    — 5 months ago with 30 notes
    #jack kirby  #al ortega  #photos  #wizard 

    boomerstarkiller67:

    Strange Tales Monsters - art by Jack Kirby, Steve Ditko and Dick Ayers (1961)

    (via atlas-tales)

    — 5 months ago with 572 notes
    #strange tales  #monsters  #Marvel Monsters  #jack kirby  #steve ditko 
    From Journey Into Mystery #83.

    From Journey Into Mystery #83.

    — 5 months ago with 93 notes
    #thor  #jack kirby  #stan lee  #don blake