This book was reviewed for and originally published on The Nerd Daily.
Who deserves credit for the meteoric rise of Marvel Comics? Was it Stan Lee, writer, eventual publisher, and Marvel mascot, a man whom nerds across the globe revere? Or was it artist extraordinaire Jack Kirby, whose contributions went uncredited and underappreciated for decades?
Although Jack Kirby: The Epic Life of the King of Comics does not explicitly set out to answer this question, it nevertheless makes a solid argument on behalf of Jack Kirby. The 200-page graphic novel recalls the legendary artist’s life from conception to death in the master’s own medium.
A matter of perspective
Although strictly biographical, writer and artist Tom Scioli uses first person narration, telling the story from Kirby’s own perspective. The tale begins with Kirby’s birth and youth as a Jewish boy in New York. It recounts his fascination with comic strips, his artistic ambitions, and his eventual partnership with Joe Simon. The two creators worked on countless books together and co-created Captain America.
A draft into World War II tempers Kirby’s initial success. Upon his return, comic books experience a post-war downturn in sales.
A complex life
The book also recounts Kirby’s complex history with both Marvel and DC, to this day the two biggest comic book publishers. The book depicts Kirby as often frustrated due to the lack of credit he receives as a writer in favor of Stan Lee at Marvel. Still, he is willing to let things slide in order to keep his job and support his family.
Along the way, Kirby works with some of the all-time greats in the comic book industry, falls in love, raises children, and struggles against publishers to execute his creative vision on a number of projects. The book reaches its climax with the death of Kirby and an emotional collage of moments illustrating the increased awareness and appreciation of his work.
The student becomes the master
Comic book creator Tom Scioli is a bit of a unicorn in the world of comics. He’s one of only few mainstream comic book artists who draws, colors, and hand-letters his own work. In many cases, such as with his biography of Jack Kirby, he takes on writing duties, as well.
In Scioli, Kirby has found the perfect artist to tell his story. Scioli is, without a doubt, an artist whom Kirby has deeply inspired. His work on Godland with writer Joe Casey, for example, is Kirby-esque in both subject and artistic execution.
In a 2005 interview with “Newsarama”, Scioli admitted as much: “I’m working in the Kirby tradition…No one else’s art does for me what Kirby’s does. Everything else looks limp and flat by comparison. He found a new way of doing things. I want to follow his lead.”
In Jack Kirby, Scioli wears this influence and deep appreciation on his sleeves. The art evokes Kirby and Golden Age comics with its near-strict adherence to a six panel grid. Even the colors and letters evoke a by-gone era of comics.
Deep research and smart choices
Scioli also makes the fascinating artistic choice to give Kirby himself large, almost manga-style eyes. This makes Kirby the most expressive character in the whole book; he emotes at a completely different level than the other characters.
One of the standout sections is Kirby’s time fighting in World War II. These pages bleed authenticity and emotion. The pages leading up to the war are interesting, but carry little emotional weight. Here, however, Scioli hits his stride and forges s strong bond between Kirby and the reader.
Scioli’s work here is also meticulously researched. The back of the book features an extensive notes section, a bibliography, and an index. Even small moments from Jack’s youth, such as his pal Morris’ obsession with aviation and Kirby’s subsequent chance to fly for the first time, have their chance to shine.
A rare misstep
There are really only two moments that don’t fully work. Both deal with jarring perspective changes. When Kirby meets and begins to date his future wife, Roz Goldstein, the narration inexplicably switches from Kirby to her for a couple of pages. The same again occurs when Kirby returns to Marvel Comics, now under the leadership of Stan Lee. Here, the narration briefly switches to Stan Lee. These two moments feel out of sync with the rest of the book, which firmly stays in the head space of Kirby himself.
As for the age-old “Lee vs. Kirby” debate, Scioli seems to come down squarely on the side of Kirby. He is shown bringing in many of his own ideas and concepts to Marvel Comics and seeing them only slightly reworked. Spider-Man, usually credited to Stan Lee and Steve Ditko, is shown to be a reworked concept of Kirby’s, for example. His frustration with receiving no writing credit in favor of Stan Lee, who primarily wrote dialogue and captions, is both palpable and sympathetic.
A triumph of the medium
Ultimately, Jack Kirby: The Epic Life of the King of Comics is a worthwhile read for anybody who appreciates art or is even remotely interested in the history of comic books or its characters who rule the silver screen today. Scioli’s art is pitch-perfect for this project; his love and appreciation for Kirby leap off the pages. Although neither the Jack Kirby Estate, nor Marvel Comics or DC Comics authorized this book, it is hard not to feel that Kirby himself would have enjoyed seeing his life rendered in art.
If you enjoyed this review, check out more Byword comic book coverage.
Kris Hale