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Jack Kirby

American comic book artist (1917–1994)

Jack Kirby August 28, 1917 – February 6, 1994), born Jacob Kurtzberg, was an American comic book artist, writer, and editor widely regarded as one of the medium's major innovators and one of its most prolific and influential creators.

Quotes

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Superheroes may be superhuman in stature but inside they’re human beings and they act and react as human beings. It doesn’t matter whether you’re doing legendary characters like Hercules or modern characters, you’ll find that humans are humans and they’ll react the same way in certain situations.
  • I feel that story, first. I know those people, first. When I put them down they've already lived.

1970

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"Jack Kirby interview" (1971)

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Jack Kirby, "Jack Kirby interview", Train of Thought #5, (1971); February 1990, posted May 23, 2011 in issue 134 of "The Comics Journal", now on TCJ Archive

 
If someone took control of your mind and you were not able to think as yourself any longer, you would no longer be yourself. You'd be something in his command. You as an individual would be dead. That's Anti-Life. In other words, if you gave yourself to some cause, and gave up everything as an individual and you were at the beck and call of some leader, you would be dead as an individual. And that's what Darkseid wants. He wants control of everybody. If it was snowing outside and you weren't wearing any shoes and it was 38 degrees below zero and this guy says, "Go out and get me a bologna sandwich," you have to go through all that; you obey him automatically, you obey him meekly. You walk out without a coat and you freeze to death. He doesn't care. You do it anyway despite the fact that you don't want to do it. You're dead as an individual. You have no choice. You can't object and you have no stature as a person. You're dead. A slave is a dead man.
 
I feel that nonviolence coupled with some kind of sustaining influence can work in comics. I don't feel that you have to show blood and gore and guts. I think it's repellent. I've seen enough of it in its reality, and it's just as repellent when it's drawn as in reality. I see nothing of any value in anything that has what you call shock value. I see nothing in that except using that sort of thing to prove a point. In other words if you're making an anti-war document or if you're trying to tell the truth about a certain subject, and the blood and gore was a part of that subject, I wouldn't omit it. If I were going to make an exposé on anything I would show anything connected with it. For instance, in a gangster movie I would show the results of being a gangster-the life activities as well as the end and death. I would show exactly how it is they ended.
  • Darkseid is very evil. He's the equivalent of a mass murderer, but he wouldn't waste his super-powers on just one individual. He wouldn't go out of his way just to kill one man; it would be ridiculous. He wouldn't do it. He'd just walk away. That's how my villains think.
  • If someone took control of your mind and you were not able to think as yourself any longer, you would no longer be yourself. You'd be something in his command. You as an individual would be dead. That's Anti-Life. In other words, if you gave yourself to some cause, and gave up everything as an individual and you were at the beck and call of some leader, you would be dead as an individual. And that's what Darkseid wants. He wants control of everybody. If it was snowing outside and you weren't wearing any shoes and it was 38 degrees below zero and this guy says, "Go out and get me a bologna sandwich," you have to go through all that; you obey him automatically, you obey him meekly. You walk out without a coat and you freeze to death. He doesn't care. You do it anyway despite the fact that you don't want to do it. You're dead as an individual. You have no choice. You can't object and you have no stature as a person. You're dead. A slave is a dead man. That's what Darkseid wants. Darkseid wants complete subjugation of everything at a word - his word. He wants every thinking thing under his control.
    I believe it's an evil concept but he doesn't think so.
  • The right idea to Darkseid is anything that benefits him. He isn't going to worry about you. He sees the world from where he sits, and of course what he sees is big. He's a big man. Darkseid is a tremendous, powerful, evil figure, and he's going to see everything in a cosmic view. He's not going to see a view of the candy store around the corner or what's playing at the Palladium next week. Darkseid is going to see everything in an over-powering cosmic view, and of course what else would he want but complete subjugation of everything? Earth is included in that everything, and my concept is that somewhere on Earth is someone who can solve the Anti-Life Equation, and Darkseid is after that poor soul.
  • Darkseid considers anything evil that's going to stop him. If you stop me, I consider you evil.
  • I don't classify gods as far as their power goes. I classify them as far as their personality goes. Each god, if he used his power right, could defeat another god. If I used my power right I could defeat anyone on Earth if I wanted to. As a man, if I used my physical strength at its best, I could overpower anybody I wanted to. If I did it right. It's the same way with the gods. If they used their super-powers right, they could defeat any other god. Darkseid is no different except that Darkseid is an evil guy with a lot of class. He's the kind of guy that might outthink you, and with super-powers involved it could be in a very dangerous and earthshaking way.
  • I feel that nonviolence coupled with some kind of sustaining influence can work in comics. I don't feel that you have to show blood and gore and guts. I think it's repellent. I've seen enough of it in its reality, and it's just as repellent when it's drawn as in reality. I see nothing of any value in anything that has what you call shock value. I see nothing in that except using that sort of thing to prove a point. In other words if you're making an anti-war document or if you're trying to tell the truth about a certain subject, and the blood and gore was a part of that subject, I wouldn't omit it. If I were going to make an exposé on anything I would show anything connected with it. For instance, in a gangster movie I would show the results of being a gangster-the life activities as well as the end and death. I would show exactly how it is they ended. I would show the bullet holes because it's part of the picture, but I wouldn't exploit it for its value alone. I see no entertainment in that sort of thing.

1990

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  • I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done.
    • "'I've Never Done Anything Halfheartedly'". The Comics Journal. Seattle, Washington: Fantagraphics Books (134). February 1990. Reprinted in George, Milo, ed. (2002). The Comics Journal Library, Volume One: Jack Kirby. Seattle, Washington: Fantagraphics Books. p. 22.

Gary Groth interview

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I knew this much — that everybody voted Democrat down my way. If you were poor, you voted Democrat and if you were rich you voted Republican.
 
The romance genre was all around us. There was love story pulps, and there was love story sections in the newspapers. There was love stories in the movies. Wherever you went there was love stories! That’s how we got our new material, and it suddenly struck me that that’s what we haven’t done. We haven’t done any romance stories!
February 1990, posted May 23, 2011 in issue 134 of "The Comics Journal", now on TCJ Archive
  • The romance genre was all around us. There was love story pulps, and there was love story sections in the newspapers. There was love stories in the movies. Wherever you went there was love stories! That’s how we got our new material, and it suddenly struck me that that’s what we haven’t done. We haven’t done any romance stories!
    No, we didn’t do horror in the sense of haunted houses or people with masks the way you might see them today; something lurking in an anteroom. Our stories were more like peasants sitting around a fire. We had the “Strange World of Your Dreams”. Ours didn’t run to bloody horror. Ours ran to weirdness. We began to interpret dreams. Remember, Joe and I were wholesome characters. We weren’t guys that were bent on the weird and the bizarre. We were the kind of guys who wouldn’t offend our mother, who wouldn’t offend anyone in your family, and certainly not the reader. So we knew that we had to depart from adventure and that there were other ways to go and we came up with the “Strange World of Your Dreams”.
  • I was a young man. I was still growing out of the East Side. The only real politics I knew was that if a guy liked Hitler, I’d beat the stuffing out of him and that would be it.
    I knew this much — that everybody voted Democrat down my way. If you were poor, you voted Democrat and if you were rich you voted Republican.
    Oh, communism! That was a burning issue. It was an outrageous issue. To be termed a communist would damage your whole family, damage your whole world — your friends wouldn’t talk to you. I’m talking about other people — because I wouldn’t go near the stuff. Sure, I was against the reds. I became a witch hunter. My enemies were the commies — I called them commies. In fact, Granny Goodness was a commie, Doubleheader was a commie.
    Anything radical was dangerous to me, as it was to the average American. Nobody knew where a thing like that would lead and we were always afraid of chaos. So communism became the doorway to chaos, and the doorway to chaos was the doorway to evil. Your family might be hurt. Your friends might be hurt. You didn’t want to see a thing like that.
    I enjoyed working on any story. I’m essentially a storyteller. You name the subject, and I’ll give a good story on it.
  • I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge — what kind of monster would fascinate people? I couldn’t draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn’t faint dead away. There was nothing disgusting in his demeanor. There was nothing about him that repelled you. My monsters were lovable monsters.
    To make the [reader] happy was not my objective, but to make the [reader] say, “Yeah, that’s what would happen” — that was my objective. I knew the [reader] was never happy all the time. You take the Thing, he’d knock out 50 guys at a time and win — then maybe he’d sit down and kind of reflect on it: “Maybe I hurt somebody or maybe we could have done it some other way” like a human being would think, not like a monster. In other books the guy would knock out the gangs and that would be the end of it. You would see the guys in jail, and that’s it. Or it would say, “Wait until next week.”
    The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists.
    I know all about Thor and Balder and Mjolnir, the hammer. Nobody ever bothered with that stuff except me. I loved it in high school and I loved it in my pre-high school days. It was the thing that kept my mind off the general poverty in the area. When I went to school that’s what kept me in school — it wasn’t mathematics and it wasn’t geography; it was history.
    The Hulk I created when I saw a woman lift a car. Her baby was caught under the running board of this car. The little child was playing in the gutter and he was crawling from the gutter onto the sidewalk under the running board of this car — he was playing in the gutter. His mother was horrified. She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car.

1993

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Attributed

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If somebody wants to kill you, they make you a scout.
 
I don’t think there was one state that wasn’t represented there. The experience helped me appreciate the variety of the country, in the people, the language, and culture.
  • If somebody wants to kill you, they make you a scout.
  • Before setting off for duty, the auteur cranked out an increased flow of comics, stating that he wanted “to get enough work backlogged that I could go into the Army, kill Hitler, and get back before the readers missed us."
  • There were mostly women and some men; they looked like they hadn’t eaten for I don’t know how long. They were scrawny. Their clothes were all tattered and dirty. The Germans didn’t give a shit for anything. They just left the place; just like leaving a dog behind to starve. I was standing there for a long time just watching thinking to myself, ‘What do I do?’ Just thinking about it makes my stomach turn. All I could say was, ‘Oh, God.’
  • …I don’t think there was one state that wasn’t represented there. The experience helped me appreciate the variety of the country, in the people, the language, and culture. It is incredible to think that we are as diverse as we are and how we have held together as one culture. Really, it is the one clear fact of this country that makes it unique to the world.

About Kirby

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Whether stressing the multi-ethnic makeup of America or revising racist preconceptions of Africa, Kirby’s work challenged comics’ unremarked upon WASPiness and white supremacy in quiet and not-so-quiet ways. ~ Saladin Ahmed
 
Many people have fought for freedom in the military; many others have done it through art. Few have waged the war for freedom on two fronts quite like Kirby. ~ Mark Peters
 
He created a new grammar of storytelling and a cinematic style of motion. Once-wooden characters cascaded from one frame to another—or even from page to page—threatening to fall right out of the book into the reader's lap. The force of punches thrown was visibly and explosively evident. Even at rest, a Kirby character pulsed with tension and energy in a way that makes movie versions of the same characters seem static by comparison.
The frenetic action and the rooftop fighting so common on the superhero set did not just materialize out of nowhere. Mr. Kirby remembered much of it from his Depression-era youth on New York’s Lower East Side, where, he once told an interviewer, the incessant fights among rival gangs were often staged up and down fire escapes and during running battles across tenement rooftops. ~ Brent Staples
  • Jack Kirby’s massive contributions to comics are common knowledge. His influential pulp-epic motifs. The revolutionary dynamism of his art. But here I’d like to talk about a more specific set of “King” Kirby’s innovations—his use of “minority” protagonists. Whether stressing the multi-ethnic makeup of America or revising racist preconceptions of Africa, Kirby’s work challenged comics’ unremarked upon WASPiness and white supremacy in quiet and not-so-quiet ways.
    • Saladin Ahmed, "Saladin’s Sundrarium: Four of Jack Kirby’s Most Ethnically Adventurous Creations", Tor, (Oct 12, 2011).
  • Even when he was given someone else's idea, he would build it into something unbelievable and new, like a man who was asked to repair a vacuum cleaner but instead built it into a functioning jet pack.
  • Unlike other comic book creators who were given either stateside or way-behind-lines assignments, and perhaps because Kirby understood Yiddish, the Jewish German dialect spoken by his family, he was sent as a scout behind enemy lines to draw maps. He endured and survived many harrowing violent experiences during his service, almost losing his feet to trench foot. He had no time for fascists or racists.
  • …Jack took a call. A voice on the other end said, ‘There are three of us down here in the lobby. We want to see the guy who does this disgusting comic book and show him what real Nazis would do to his Captain America’. To the horror of others in the office, Kirby rolled up his sleeves and headed downstairs. The callers, however, were gone by the time he arrived.
  • "I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt through ... about 25 years."
    • Joe Simon, "More Than Your Average Joe - Excerpts from Joe Simon's panels at the 1998 San Diego Comic-Con". The Jack Kirby Collector. Raleigh, North Carolina: TwoMorrows Publishing (25). August 1999. Archived from the original on November 30, 2010.
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