By Jack Kirby, Vince Colletta & Mike Royer, with Murphy Anderson, Neal Adams, Al Plastino & various (DC Comics)
ISBN: 978-1-84576-746-4 (TPB/Digital edition)
This book includes Discriminatory Content produced in less enlightened times.
For nearly nine decades, Superman has provided excitement, imagination and fun in more or less equal amounts. Although unnamed, since Action Comics #6 (November 1938), a red-headed, be-freckled plucky kid worked alongside Clark Kent & Lois Lane and enjoyed a unique and special relationship with the Metropolis Marvel.
We saw him called by his first name in Superman #13 (November/ December 1941). Jimmy Olsen became a major player on The Adventures of Superman radio show from its debut on April 15th 1940: someone for the hero to explain stuff to for the listener’s benefit and the closest thing to a sidekick the Man of Tomorrow ever needed. That partnership transferred to the comics. Following a string of hit movie chapter plays, when the similarly titled television show launched in the autumn of 1952, it was a monolithic hit and co-star Jimmy was in constant attendance. Thus, National Periodicals began cautiously expanding their precious franchise with new characters and titles. First up was the gloriously charming, light-hearted escapades of an impetuous, naïve but capable Daily Planet cub reporter/photographer forever onward saddled with the cognomen Superman’s Pal. Jimmy Olsen, which launched in 1954 carrying a September/October cover date. For 20 years the comic blended action, adventure, wacky comedy, fantasy and science fiction in the gentle, wry, exceedingly popular manner scripter Otto Binder had perfected in the 1940s at Fawcett Comics on the magnificent Captain Marvel.
Over those years, one of its most popular plot-themes (and most fondly revered and referenced today by Baby-Boomer fans) was the unlucky lad’s appalling talent for being warped, mutated and physically manipulated by fate, aliens and even his supposed friends. Latterly, however, Leo Dorfman had begun the process of remaking Jimmy as a more competent action hero and serious investigative journalist in tune with the rebellious era when the worlds of DC forever altered on the pages of what was then considered one of their least appreciated and poorest-selling titles.
According to fan myth & legend, none of it apparently mattered when Jack Kirby – hot from making Marvel the top company in the business – took over. By all popular accounts, he had asked for DC’s worst performing title to prove what he could do, and used it to spearhead a wave of changes whilst adapting grand schemes his old employers were too timid to countenance on their pages…
Jack’s first issue was #133, cover-dated October and on sale from August 25, 1970.
Jack Kirby (28th August 1917 – 6th February 1994) was – and, more than three decades after his death, remains – the most important single influence in the history of American comics. There are innumerable accounts of and testaments to what the man has done and meant, and you should read all of those if you are at all interested in the bones and breath of our medium. Kirby was a man of vast imagination who translated big concepts into astoundingly potent, instantly accessible symbols, thereby creating an iconography for generations of fantasy fans. If you were exposed to Kirby as an impressionable child, you were his for life. To be honest, that probably applies at whatever age you jump aboard the “Kirby Express”…
Synonymous with larger-than-life characters and vast cosmic imaginings, he was an astute, spiritual man who lived through poverty, prejudice, gangsterism, The Great Depression and World War II. He experienced Pre-War privation, Post-War optimism, Cold War paranoia, political cynicism and the birth and death of peace-seeking counter-cultures, but always looked to the future while understanding human nature intimately. Beginning his career in the late 1930s, it took a remarkably short time for Jack and creative collaborator Joe Simon to become the wonder-kid dream-team of the newborn comic book industry. Together they produced a year’s worth of influential monthly magazine Blue Bolt, dashed off Captain Marvel Adventures #1 for overstretched Fawcett, and – after Martin Goodman appointed Simon editor at Timely Comics – launched a host of pivotal characters including Red Raven, Marvel Boy, Mercury/Hurricane, The Vision, Young Allies and million-selling mega-hit Captain America. When Goodman failed to honour his financial obligations, Simon & Kirby were snapped up by National/DC, who welcomed them with open arms and a fat chequebook.
Bursting with ideas these staid industry leaders were never really comfortable with, the pair were initially an uneasy fit. Awarded two moribund strips to play with until they found their creative feet, they turned around both Sandman and Manhunter virtually overnight and, once safely established and left to their own devices, switched to the “Kid Gang” genre they had pioneered at Timely. Joe & Jack created wartime sales sensation Boy Commandos and Homefront iteration The Newsboy Legion before being called up to serve in the war they had been fighting on comic pages since 1940. Once demobbed, they returned to a very different funnybook business, and soon after left National to create their own empire…
S&K ushered in the first age of mature American comics – not just by inventing the Romance genre, but with all manner of challenging modern material about real people in extraordinary situations, only to see it all disappear again in less than eight years. Simon & Kirby had established their own publishing house, creating comics for far more sophisticated readerships, but found themselves in a sales downturn and awash in public hysteria generated by an anti-comic book pogrom. Their small stable of magazines – generated for an association of companies known as Prize, Crestwood, Pines, Essenkay and Mainline Comics – blossomed and as quickly wilted when the industry contracted throughout the 1950s, but had left future generations fascinating ventures such as Boys’ Ranch, Bullseye, Crime Does Not Pay, Black Magic, Boy Explorers, Fighting American and the entire genre of Romance Comics…
Hysterical censorship fever spearheaded by US Senator Estes Kefauver and opportunistic pop psychologist Dr. Frederic Wertham led to witch-hunt Senate hearings. Most publishers caved, adopting a castrating self-regulatory straitjacket of draconian rules and guidelines. Crime & Horror titles produced under the aegis and emblem of the Comics Code Authority were sanitised, anodyne affairs in terms of mature themes, political commentary, shock and gore even though the market’s appetite for suspense and the uncanny was still high. Crime comics vanished as adult sensibilities challenging an increasingly stratified and oppressive society were suppressed. Salaciousness, suspense and horror were dialled back to the level of technological fairy tales and whimsical parables…
Simon left the business for advertising, but Jack soldiered on, taking his skills and ideas to safer, more conventional, less experimental companies. As the panic abated, he returned to DC Comics, working on bread-&-butter anthological mystery tales and revamping Green Arrow (at that time a back-up feature in Adventure Comics and World’s Finest Comics) whilst concentrating on a passion project: newspaper strip Sky Masters of the Space Force.
During this period Kirby also re-packaged a superteam concept that had kicked around in his head since he and Joe closed their innovative, ill-timed ventures. At the end of 1956, Showcase #6 premiered Challengers of the Unknown and following three further test issues they won their own title with Kirby crafting the first eight. Then a dispute with Editor Jack Schiff exploded and the King was gone…
He found fresh fields and an equally hungry new partner in Stan Lee at the ailing Atlas Comics outfit (AKA once mighty Timely Comics), launching and spearheading a revolution in comics storytelling. However, after just over a decade of a continual innovation and wonderment, Kirby felt increasingly stifled. His efforts had transformed a dying publisher into industry-leader Marvel, but success had left him trapped in a profitable rut. Thus, he moved back to DC to generate another tidal wave of sheer imagination and pure invention. The result was experimental adult magazines Spirit World & In the Days of the Mob followed by a stunning reworking of Superman’s Pal Jimmy Olsen – and by the time he had finished, all DC continuity. The latter was a prelude to his landmark Fourth World Saga comprising interlinked and contemporaneous titles Forever People, New Gods & Mister Miracle: the very definition of something game-changing and too far ahead of its time…
Incidentally, on many levels Jimmy was an ideal match for the King and not an incongruous display of breast-beating or do-or-die audition. Olsen was an idealistic, heroic young man in the thick of the incredible at all times, and Kirby had a long history with such boy heroes. He and Joe Simon had invented the comic book “kid gang” subgenre and for the next two years Kirby revived it with a new take on The Newsboy Legion… albeit interlaced with a future-embracing backstory, and aspirational wonder, rather than the poverty, privation and ongoing war of survival embodied by the Forties iteration…
In last non-Jack issue, Jimmy had been abducted by gangsters convinced he knew Superman’s secret identity, before battling a soviet champion for sovereignty of a floating island (as you do…) but everything abruptly changed with Superman’s Pal Jimmy Olsen #133. Suddenly readers were thrown into a bravely strange new world where, out of nowhere, extremely shady incoming Daily Planet owner Morgan Edge gifts Jimmy with a fantastic supercar – the “Whiz Wagon” – and demands that he and his previously unseen pals ‘The Newsboy Legion!’ (actually the “New Newsboy Legion” comprising the sons of Tommy, Big-Words, Gabby & Scrapper, with the addition of African-American, scuba diving addict Flipper Dipper) deliver an exclusive scoop on a strange counterculture movement living in the wilds outside Metropolis. The mysterious subjects are all weird hippie-types and don’t trust anyone over age 25, so he needs youth and experience…
However, the one who can’t be trusted is Edge himself. He has undisclosed connections to crime combine Intergang and a chilling stone-faced alien called Darkseid…
After very publicly surviving an assassination attempt, Clark Kent goes into hiding allowing Superman to take off after Jimmy and the boys as they probe a fantastic unsuspected region dubbed the Wild Area. Here Olsen survives trial by combat to become leader of futuristic biker gang The Outsiders, and is sucked into their quest for meaning by hunting a moving mountain inhabited by techno-pacifists “The Hairies”…
Linking up with the Man of Steel as tremors rock the organically grown refuge city of Habitat, Jimmy and the Newsboys chase the ultimate test of existence alongside all the other motor nomads, unaware that pal Superman already knows the secret they’re all seeking. What Jimmy isn’t aware of is that Edge has boobytrapped the Whiz Wagon to satisfy his master’s desire to destroy what might the next step in human evolution and a threat to his own schemes…
Although Kirby and Inker Vince Colletta put their hearts and souls into the job, and despite Publisher Carmine Infantino’s promise of strict non-intervention, meddling with the concept began early with regular Superman art staff redrawing Superman and Jimmy’s faces. We’ll never know what they tried to do to the overall story arc…
Without pause for breath, exposition or recap Superman’s Pal Jimmy Olsen #134 saw Jimmy and his biker wild bunch catch up to monstrous mechanised white whale ‘The Mountain of Judgement!’ after astoundingly taking out Superman with weapons casually discarded by inveterate tinkerers the Hairies. Thankfully, Edge’s bomb is easily defused by the techno-hippies who all share an incredible secret – one Superman is fully aware of. In short order Jim and the lads are briefed on “The Project”: the US government’s cracking of the human genome and extensive duplication and experimentation of life forms. This has already resulted in cloning the deceased, mass-producing soldiers and staff and, most incredibly, meddling with/reconfiguring chromosomal structure to create new life forms: “D.N.A.liens” like the pacifist techno-wizards called Hairies…
Moreover, the Project is run by none other than slum-kids made good the original Newsboy Legion!
Although commonplace now, the notion of cloning was practically unknown in 1970 and Kirby took the idea and ran with it: blending eternal questions about Life itself with Spy Fi tropes, gansterism and Bond movie settings, all packed with freaks and monsters and underpinned by a constant threat posed by a mysterious mastermind and his own experimental devils. The inspired auteur was also pulling out all the stops visually and his experimental concepts were backed up by equally innovative art and photo collages.
In SPJO #135 we meet Simyan & Mokkari, whose raid on the Project’s genetic storehouse provides raw material to constantly reproduce wilder and wilder versions of our heroes in their own hidden ‘Evil Factory!’ Being utterly without restraint or ethical scruple, their goal of destroying the Project for Darkseid is well-advanced, and – as previously stated – Jimmy’s genes are a particularly promising medium for random transformations…
Their control of what they make is less impressive however, and a superstrong, giant Jimmy infused with Kryptonite is teleported without a plan into the Project simply to save Simyan & Mokkari being killed by their own experiment. Although it almost kills Superman and his pal, the day is saved by the Senior Newsboys’ passion project – a new iteration of their murdered WWII superhero patron Jim Harper – the (Golden) Guardian – in concluding, action-packed background-filling expository chapter ‘The Saga of the D.N.A.liens!’ (cover-dated March 1971 and leading into the launch of Kirby’s opening Fourth World titles Forever People and New Gods #1. We’ll be covering those and final plank Mister Miracle later in the year).
With the scene set, Jimmy’s further exploits are generally Fourth World adjacent: a forge and funnel for concepts linking Superman to the ongoing narrative of Gods and Armageddons whilst exploring Mankind’s dangerous tendencies and corruptible natures. In Superman’s Pal Jimmy Olsen #137, as the Newsboys and Jimmy learn more about their own (utterly non-consensual) contributions to the Project (without their knowledge Scrapper has been mass-produced as soldiers and guards in different sizes from six feet to six inches, and innumerable Gabbys man switchboards and communications consoles!) the Evil Factory strike again.
As Jimmy meets The Project’s emergent telepath/resident D.N.A.lien Dubbilex, elsewhere Darkseid demands results and Simyan & Mokkari unleash another Olsen variant on the hidden science citadel. Gifted with astounding strength and uncanny energy powers ‘The Four-Armed Terror!’ has been bred to feed on nuclear radiation and carves a wave of destruction that extends into the Wild Area on its path to the Project’s atomic power plant. Superman and the boys are easily disposed of and discarded, with the crisis escalating even further after Simyan & Mokkari lose control of all the other quadra-killers and beam the entire rampaging herd into the subterranean Project’s tunnels, forcing Superman to pull out all the stops to get free and save everything in cataclysmic closing chapter ‘The Big Boom!’
Despite those promises of non-interference, DC editors and promotional staff perpetually sought to “goose up” the Kirby flagship title. Always a team player, the King acquiesced to a guest-appearance by currently-hot comedian Don Rickles and oddly – in the manner of Marmite – it either worked uproariously or appalled readers. I thought it was a genuine hilarious hoot. Further undercutting the narrative, the saga was bifurcated by a reprint 80-Page Giant of pre-Kirby Olsen escapades in SPJO #140 and not included here.
Nevertheless #139 and 141 ( July’s ‘The Guardian Fights Again!!!’ and September’s ‘Will the Real Don Rickles Panic?’) is a compelling tale of Edge’s unfolding evil, Intergang’s growing influence and the creeping menace of Darkseid, who allows his tech to be used to send Clark Kent into hyperspace destined for Apokolips whilst Jimmy and the Golden Guardian are poisoned by slow-acting incendiary poison Pyro-Granulate: a slow death that will turn them into human torches unless they find an antidote. Slowing them down is equally doomed Galaxy Broadcasting staffer Goody Rickles whom Edge wants gone because he looks like the star Edge wants to sign up… and is really, really annoying…
With Kent saved from a modern hell by New God Lightray, Kirby next addressed the rise in horror and supernatural tales via another two-parter that began in #142 with ‘The Man from Transilvane!’ Here, apparent vampire Count Dragorin and his wolfman assistant Lupek target and “turn” Edge’s PA Laura Conway in their desperate hunt for long-missing mad scientist Dabney Donovan: a planetologist who apparently built worlds in his laboratory and shaped civilisations by screening movies in their skies. Like all sensible scientists, Donovan planned to end his research project on a certain day and set up programmed measures involving his ‘Genocide Spray!’ with no consideration of the beings he had made and discarded… but Jimmy and Superman certainly did…
Elsewhere, the Newsboy Legion had their own case, one that again led to Intergang but also the thug who murdered the original Jim Harper/Guardian…
In SPJO #142, Kirby began adding short background-enhancing vignettes and here 2-pager ‘Strange Stories of the D.N.A. Project!! “Hairie” Secrets Revealed!!!’ offered a glimpse of the techno-hippies and their Mountain of Judgment, whilst the next issue added drama to fact-finding as ‘Strange Stories of the D.N.A. Project!! The Alien Thing!!!’ details the terrifying results of creating the first non-human clone…
More much-needed laughs underpin a return to and imminent ending of Olsen’s involvement with the Evil Factory and Apokolips after Edge sends the lads to Britain on a snipe hunt to find and film ‘A Big Thing in a Deep Scottish Lake!’ in Superman’s Pal Jimmy Olsen #144 (cover-dated December 1971). Sadly, it’s just another baroque attempt to kill the pesky, interfering kids, but Edge’s delightfully outré assassins are not up to the task and actually facilitate the Whiz Wagon wonders finally finding the long-sought Evil Factory…
Back in Metropolis, as Superman, the Guardian and Dubbilex visit a discotheque and accidentally uncover a connection to the Project and the New Gods, the back of the book discloses ‘Strange Stories of the D.N.A. Project! – The Torn Photograph!’, hinting that not all the mysteries of the top secret base were created by modern scientists…
Jimmy at last gets transformed himself as the Newsboys encounter a menagerie of uncanny creatures in ‘Brigadoom!’ (#145, January 1972) before falling victim to Simyan & Mokkari’s tender ministrations. Unfortunately for them, reverting Olsen to primal revenant ‘Homo Disastrous!’ opens the door to chaos and their own destruction, even if it does add a (semi-) friendly monster to the team in affable escapee “Angry Charlie”…
Issue #146 also added a little lore to Superman’s personal canon after ‘Tales of the DNA Project! Arin the Armored Man!!!’ reveals how the geneticists found a way to safeguard the man of Steel’s precious and potential deadly cell cultures and decoded genetic structure from potential abuse…
An issue later, heavily-edited down from his original idea, and inked by Mike Royer rather than Colletta, SPJO #147 saw ‘A Superman in Supertown!’, completing a plot thread begun in Forever People #1, wherein the one-&-only Man of Tomorrow accidentally ends up amongst his “own kind” on paradise planet New Genesis, only to realise he cannot rest until his work is done. An example of that carries over into Kirby’s final issue as Jim, the Newsboys and Angry Charlie head across the Atlantic for a confrontation with Morgan Edge and are abducted in mid-air by purely earthborn menace Professor Victor Volcanum.
Incongruously backed up by one last revelatory episode of ‘Tales of the DNA Project – Genetic Criminal’ with cloned killer Floyd “Bullets” Barstow apparently answering the question of whether evil is an inherited trait, the tale of a Victorian-era supergenius who made himself immortal by distilling the essence of volcanoes wrapped up Jimmy’s Kirby-Era. Volcanum had ended a lengthy period of solitude and isolation by attacking the modern world with robots, death-rays and an advanced flying gondola in his efforts to become ‘Monarch of All He Subdues!’ (SPJO #148, April 1972). His first mistake was capturing the Whiz Wagon riders, but when Highfather of New Genesis graciously dropped Superman into his ongoing campaign, the writing was on the wall.
Of course it had been for Jack for some while. Happy to be deprived of the poison chalice of the committee-mindset governing every aspect of all Superman titles, the King soldiered on with his original intention of creating a timeless saga of celestial drama, passion and mind-bending scope – but there too he would be ultimately thwarted and frustrated. Basically and as was always the case, management wanted New and Different, but didn’t like or understand it when they got it…
Almost overnight and in one broad flourish, Kirby had created one of the most powerful concepts in comic book history. His Fourth World inserted a whole new mythology into the existing DC Universe and blew the developing minds of a generation of readers and especially those who would become the next generation of creators. Who know what could have happened if the publishers had had a little more courage, patience and vision?
Kirby instinctively grasped the fundamentals of pleasing his audience and always diligently struggled against the appalling prejudice regarding the comics medium – especially from industry insiders and professionals who despised the “kiddies world” they felt trapped in. After his grandiose, controversial editorially unappreciated Fourth World was cancelled immediately prior to his long-planned grand finale, Kirby explored other projects that would stimulate his own vast creativity yet still appeal to a market growing ever more fickle. These included supernatural stalwart The Demon, traditional war stories starring established DC team The Losers, OMAC: One Man Army Corps and even a new metaphysically mighty Sandman – co-created with old pal Joe Simon and his biggest hit since science fictional survival saga Kamandi. However, although ideas kept coming (Atlas, Kobra, a new Manhunter and Dingbats of Danger Street), once again editorial disputes took up too much of his time. Reluctantly, he left again, choosing to believe in promises of more creative freedom elsewhere…
As early as 1974, worn down by a lack of editorial support and with his newest creations inexplicably tanking, Kirby considered returning to Marvel, but – ever the consummate professional – scrupulously rode out his contract and carried out every detail of an increasingly onerous, emotionally unrewarding DC contract. The Demon was cancelled after 16 issues and he needed another title to maintain his Herculean commitments (legally obliged to deliver 15 completed pages of art and story per week!): Kamandi – The Last Boy on Earth had found a solid and faithful audience. It also provided further scope to explore big concepts as seen in thematic companion OMAC. Both series granted Kirby’s darkest assumptions and prognostications free rein, and his “World That’s Coming” has proved far too close to the World we’re frantically trying to fix or escape from today…
It’s hard to see these stories – supplemented in this edition by ‘Mother Box Files’ culled from 1986’s Who’s Who: The Definitive Directory of the DC Universe #16 and glorious pages of pencils featuring ‘The Art of Jack Kirby’ – isolated from the original Fourth World titles, and to be honest Jimmy plays a back seat role in most of the tales here. When not driving, being chased by or turned into assorted monsters, he’s Superman’s sounding board and supervising adult for the new Newsboy Legion, but at least he’s treated as a clever and competent active player rather than charming directionless idiot…
Once Kirby left the book things changed slowly. The Newsboys and Angry Charlie stuck around for a while and characters like The Guardian, Morgan Edge and the Project became fundamentals of the Superman universe and continuity. The ongoing continuity repercussions of Kirby’s passing were mostly addressed in, of all places, Superman’s Girlfriend Lois Lane, so much as I’d like otherwise, there’s little chance of seeing collected curated editions of those…
Here though is Kirby at his finest and most iconoclastic, doing what he always did: telling stories of wonder, verve and unparalleled imagination. What more could you possibly want?
© 1970, 1971, 1972, 1986, 2019 DC Comics. All Rights Reserved.
Carl Barks died today in 2000. If you want to learn about him, our most recent review of his magic can be found here.
Released in March 1985 as DC Graphic Novel #5, wildly experimental, deeply philosophical, potently profound parable The Hunger Dogs explored the consequences of power lost and repercussions as fascism inevitably collapses. Set on Apokolips in the aftermath of a failed prophecy (that Darkseid would die at the hands of his son in the pits of the world’s gigantic slum sector Armagetto) it traces the efforts of eternal rebel dreamer Himon and his daughter Bekka in the face of the Dark Lord’s seeming total triumph.
