Notable works,,,,,,,,,,, Awards Alley Award, Best Pencil Artist (1967), plus many awards for individual stories, Shazam Award, Special Achievement by an Individual (1971) Spouse(s) Roz Goldstein m. 1942) Children 4 Jack Kirby (; born Jacob Kurtzberg; August 28, 1917 – February 6, 1994) was an, writer, and, widely regarded as one of the medium's major innovators and one of its most prolific and influential creators. Kirby grew up in New York City, and learned to draw cartoon figures by tracing characters from comic strips and editorial cartoons.

He entered the nascent comics industry in the 1930s, drawing various comics features under different, including Jack Curtiss, before ultimately settling on Jack Kirby. In 1940, he and writer-editor created the highly successful character for, predecessor of. During the 1940s, Kirby, regularly teamed with Simon, created numerous characters for that company and for, later to become. After serving in the in, Kirby produced work for DC,,, and other publishers. At, he and Simon created the genre of and later founded their own short-lived comic company,. Kirby was involved in Timely's 1950s iteration,, which in the next decade became Marvel.

There, in the 1960s, Kirby and writer-editor co-created many of the company's major characters, including the, the, and the. The Lee–Kirby titles garnered high sales and critical acclaim, but in 1970, feeling he had been treated unfairly, largely in the realm of authorship credit and creators' rights, Kirby left the company for rival DC. At DC, Kirby created his saga, which spanned several comics titles. While these series proved commercially unsuccessful and were canceled, the Fourth World's have continued as a significant part of the. Kirby returned to Marvel briefly in the mid-to-late 1970s, then ventured into and. In his later years, Kirby, who has been called 'the of comics', began receiving great recognition in the mainstream press for his career accomplishments, and in 1987 he was one of the three inaugural inductees of the. Kirby was married to Rosalind Goldstein in 1942.

Adobe Photoshop Elements 12 Free Download For Windows 7 on this page. Connecting the Dots: A Handbook of Bible Prophecy Ron Graff and Lambert Dolphin Revised and updated from the popular Internet book.

They had four children, and remained married until his death from heart failure in 1994, at the age of 76. The and were named in his honor, and he is known as ' The King' among comics fans for his many influential contributions to the medium. Contents • • • • • • • • • • • • • • • • • • • • • Life and career [ ] Early life (1917–1935) [ ] Jack Kirby was born Jacob Kurtzberg on August 28, 1917, on the of in New York City, where he was raised. His parents, Rose (Bernstein) and Benjamin Kurtzberg, were immigrants, and his father earned a living as a factory worker. In his youth, Kirby desired to escape his neighborhood. He liked to draw, and sought out places he could learn more about art.

Essentially self-taught, Kirby cited among his influences the artists,, and, as well as such editorial cartoonists as,, and. He was rejected by because he drew 'too fast with charcoal', according to Kirby. He later found an outlet for his skills by drawing cartoons for the newspaper of the Boys Brotherhood Republic, a 'miniature city' on East 3rd Street where street kids ran their own government. At age 14, Kirby enrolled at the in Brooklyn, leaving after a week. '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'. Entry into comics (1936–1940) [ ].

Captain America Comics #1 ( March 1941). Cover art by Kirby and. Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First!!! (under the Jack Curtiss). He remained until late 1939, when he began working for the company as an (an artist who fills in the action between major-movement frames) on.

'I went from Lincoln to Fleischer,' he recalled. 'From Fleischer I had to get out in a hurry because I couldn't take that kind of thing,' describing it as 'a factory in a sense, like my father's factory. They were manufacturing pictures.'

Around that time, the American comic book industry was booming. Kirby began writing and drawing for the comic-book packager, one of a handful of firms creating comics on demand for publishers.

Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the adventure 'The Diary of Dr. Hayward' (under the pseudonym Curt Davis), the crimefighter feature 'Wilton of the West' (as Fred Sande), the adventure 'The Count of Monte Cristo' (again as Jack Curtiss), and the humor features 'Abdul Jones' (as Ted Grey) and 'Socko the Seadog' (as Teddy), all variously for and other Eisner-Iger clients. He first used the surname Kirby as the pseudonymous Lance Kirby in two 'Lone Rider' Western stories in 's #63–64 (Oct.–Nov. He ultimately settled on the pen name Jack Kirby because it reminded him of actor. However, he took offense to those who suggested he changed his name in order to hide his Jewish heritage.

In the mid-1940, Kirby and his family moved to Brooklyn. There, Kirby met Rosalind 'Roz' Goldstein, who lived in the same apartment building.

The pair began dating soon afterward. Kirby proposed to Goldstein on her eighteenth birthday, and the two became engaged. Partnership with Joe Simon [ ] Kirby moved on to comic-book publisher and newspaper syndicator, earning a then-reasonable $15-a-week salary. He began to explore narrative with the comic strip The, published from January to March 1940, starring a character created by the pseudonymous, a house name that Kirby retained for the three-month-long strip.

During this time, Kirby met and began collaborating with and Fox, who in addition to his staff work continued to freelance. Simon recalled in 1988, '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 through. About 25 years.'

After leaving Sun and landing at publisher 's (later to become ), Simon and Kirby created the patriotic superhero in late 1940. Simon, who became the company's editor, with Kirby as art director, said he negotiated with Goodman to give the duo 25 percent of the profits from the feature. The first issue of Captain America Comics, released in early 1941, sold out in days, and the second issue's print run was set at over a million copies. The title's success established the team as a notable creative force in the industry. After the first issue was published, Simon asked Kirby to join the Timely staff as the company's art director. With the success of the Captain America character, Simon said he felt that Goodman was not paying the pair the promised percentage of profits, and so sought work for the two of them at (later renamed ).

Kirby and Simon negotiated a deal that would pay them a combined $500 a week, as opposed to the $75 and $85 they respectively earned at Timely. The pair feared Goodman would not pay them if he found they were moving to National, but many people knew of their plan, including Timely editorial assistant,. When Goodman eventually discovered it, he told Simon and Kirby to leave after finishing work on Captain America Comics #10. Kirby and Simon spent their first weeks at National trying to devise new characters while the company sought how best to utilize the pair. After a few failed editor-assigned ghosting assignments, National's told them to 'just do what you want'.

The pair then revamped the feature in and created the superhero. In July 1942 they began the feature. The ongoing 'kid gang' series of the same name, launched later that same year, was the creative team's first National feature to graduate into its own title.

It sold over a million copies a month, becoming National's third best-selling title. They scored a hit with the homefront kid-gang team, the, featuring in. In 2010, DC Comics writer and executive observed that 'Like Jerry Siegel and Joe Shuster, the creative team of Joe Simon and Jack Kirby was a mark of quality and a proven track record.' Marriage and World War II (1943–1945) [ ] Kirby married Roz Goldstein on May 23, 1942. The couple had four children together: Susan (b.

December 6, 1945), Neal (b. May 1948), Barbara (b. November 1952), and Lisa (b. September 1960). With World War II underway, Liebowitz expected that Simon and Kirby would be drafted, so he asked the artists to create an inventory of material to be published in their absence.

The pair hired writers, inkers, letterers, and colorists in order to create a year's worth of material. Kirby was drafted into the on June 7, 1943. After basic training at, near, he was assigned to Company F of the. He landed on in on August 23, 1944, two-and-a-half months after, although Kirby's reminiscences would place his arrival just 10 days after. Kirby recalled that a lieutenant, learning that comics artist Kirby was in his command, made him a scout who would advance into towns and draw maps and pictures, an extremely dangerous duty. Kirby and his wife corresponded regularly by, with Roz sending 'him a letter a day' while she worked in a lingerie shop and lived with her mother at 2820 Brighton 7th Street in Brooklyn. During the winter of 1944, Kirby suffered severe on his lower extremities and was taken to a hospital in for recovery.

Doctors considered amputating Kirby's legs, but he eventually recovered from the frostbite. He returned to the United States in January 1945, assigned to in North Carolina, where he spent the last six months of his service as part of the motor pool. Kirby was as a on July 20, 1945, having received a, a and a. Postwar career (1946–1955) [ ]. Young Romance #1 (October 1947).

Cover art by Kirby and. Simon arranged for work for Kirby and himself at, where, through the early 1950s, the duo created such titles as the kid-gang adventure Boy Explorers Comics, the kid-gang, the superhero comic Stuntman, and, in vogue with the fad for,. Simon and Kirby additionally freelanced for (the comic Real Clue Crime) and for ( ). The team found its greatest success in the postwar period by creating. Simon, inspired by ' romantic-confession magazine True Story, transplanted the idea to comic books and with Kirby created a first-issue mock-up of.

Showing it to Crestwood general manager Maurice Rosenfeld, Simon asked for 50% of the comic's profits. Crestwood publishers Teddy Epstein and Mike Bleier agreed, stipulating that the creators would take no money up front.

Young Romance #1 ( Oct. 1947) 'became Jack and Joe's biggest hit in years'. The pioneering title sold a staggering 92% of its print run, inspiring Crestwood to increase the print run by the third issue to triple the initial number of copies. Initially published bimonthly, Young Romance quickly became a monthly title and produced the spin-off —together the two titles sold two million copies per month, according to Simon —later joined by Young Brides and In Love, the latter 'featuring full-length romance stories'.

Young Romance spawned dozens of imitators from publishers such as Timely,,, and. Despite the glut, the Simon and Kirby romance titles continued to sell millions of copies a month, which allowed Kirby to buy a house for his family in,, New York in 1949, which would be the family's home for the next 20 years, working out of a basement studio 10 feet in width, which the family referred to as 'The Dungeon'. Bitter that ' 1950s iteration,, had relaunched Captain America in a new series in 1954, Kirby and Simon created. Simon recalled, 'We thought we'd show them how to do Captain America'. While the comic book initially portrayed the protagonist as an dramatic hero, Simon and Kirby turned the series into a superhero satire with the second issue, in the aftermath of the and the public backlash against the Red-baiting. After Simon (1956–1957) [ ] At the urging of a Crestwood salesman, Kirby and Simon launched their own comics company,, securing a distribution deal with Leader News in late 1953 or early 1954, subletting space from their friend 's at 1860.

Mainline, which existed from 1954 to 1955, published four titles: the Bullseye: Western Scout; the Foxhole, since and were having success with war comics, but promoting theirs as being written and drawn by actual veterans; In Love, since their earlier was still being widely imitated; and the Police Trap, which claimed to be based on genuine accounts by law-enforcement officials. After the duo rearranged and republished artwork from an old Crestwood story in In Love, Crestwood refused to pay the team, who sought an audit of Crestwood's finances. Upon review, the pair's attorney's stated the company owed them $130,000 for work done over the past seven years.

Crestwood paid them $10,000 in addition to their recent delayed payments. The partnership between Kirby and Simon had become strained.

Simon left the industry for a career in advertising, while Kirby continued to freelance. 'He wanted to do other things and I stuck with comics,' Kirby recalled in 1971. 'It was fine. There was no reason to continue the partnership and we parted friends.'

At this point in the mid-1950s, Kirby made a temporary return to the former, now known as, the direct predecessor of. Inker had approached editor-in-chief Stan Lee for work and suggested he could 'get Kirby back here to pencil some stuff.'

While freelancing for National Comics Publications, the future, Kirby drew 20 stories for Atlas from 1956 to 1957: Beginning with the five-page 'Mine Field' in Battleground #14 (Nov.1956), Kirby and in some cases (with his wife, Roz) and wrote stories of the hero, the -like, and more. But in 1957, distribution troubles caused the 'Atlas implosion' that resulted in several series being dropped and no new material being assigned for many months. It would be the following year before Kirby returned to the nascent Marvel. For DC around this time, Kirby co-created with writers the non-superpowered adventuring quartet the in #6 (Feb. 1957), while contributing to such anthologies as. During 30 months freelancing for DC, Kirby drew slightly more than 600 pages, which included 11 six-page stories in and that, in a rarity, Kirby inked himself.

Kirby recast the archer as a science-fiction hero, moving him away from his Batman-formula roots, but in the process alienating Green Arrow co-creator. He began drawing a newspaper,, written by the Wood brothers and initially inked by the unrelated. Kirby left National Comics Publications due largely to a contractual dispute in which editor, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff successfully sued Kirby.

Some DC editors had criticized him over art details, such as not drawing 'the shoelaces on a 's boots' and showing a 'mounting his horse from the wrong side.' Marvel Comics in the Silver Age (1958–1970) [ ].

#4 (March 1964). Art by Kirby and. Several months later, after his split with DC, Kirby began freelancing regularly for Atlas despite harboring negative sentiments about Lee (the cousin of Timely publisher Martin Goodman's wife), whom Kirby believed had disclosed to Timely back in the 1940s that he and Simon were secretly working on a project for National. Because of the poor page rates, Kirby would spend 12 to 14 hours daily at his drawing table at home, producing four to five pages of artwork a day.

His first published work at Atlas was the cover of and the seven-page story 'I Discovered the Secret of the Flying Saucers' in #1 (Dec. Initially with as his regular inker, and later, Kirby drew across all genres, from to to to, but made his mark primarily with a series of - and stories featuring giant, -style monsters with names like, the Thing from Planet X; Grottu, King of the Insects; and for the company's many anthology series, such as,,,, and.

His bizarre designs of powerful, unearthly creatures proved a hit with readers. Additionally, he freelanced for ' around this time, reuniting briefly with Joe Simon to help develop the series and. Additionally, Kirby drew some issues of.

It was at Marvel, in collaborating with writer and editor-in-chief Lee that Kirby hit his stride once again in superhero comics, beginning with #1 (Nov. The landmark series became a hit that revolutionized the industry with its comparative and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination—one well-matched with the consciousness-expanding of the 1960s. 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 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 of Lee/Kirby collaborations, other than the Fantastic Four, include: the,,, the original,,,,, the and their hidden city of Attilan, and the, comics' first known superhero—and his African nation of. Kirby drew the first story intended for publication in #15 but Stan Lee chose to have redraw the story.

Lee and Kirby gathered several of their newly created characters together into the team title The and would revive characters from the 1940s such as the, Captain America, and. The story frequently cited as Lee and Kirby's finest achievement is the three-part ' that began in Fantastic Four #48 (March 1966), chronicling the arrival of, a cosmic giant who wanted to devour the planet, and his herald, the. Fantastic Four #48 was chosen as #24 in the poll of Marvel's readers in 2001. Editor wrote in his introduction to the story that 'As the fourth year of the Fantastic Four came to a close, Stan Lee and Jack Kirby seemed to be only warming up. In retrospect, it was perhaps the most fertile period of any monthly title during the Marvel Age.' Comics historian noted that '[t]he mystical and metaphysical elements that took over the saga were perfectly suited to the tastes of young readers in the 1960s', and Lee soon discovered that the story was a favorite on college campuses. 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 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 expand the medium's boundaries, devising covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as ', and other experiments.

Kirby grew increasingly dissatisfied with working at Marvel. Vba Auto Increment File Name Too Long To Copy on this page. There have been a number of reasons given for this dissatisfaction, including 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 frustration over Marvel's failure to credit him specifically for his story plotting and for his 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, and received full credit for doing so; but in 1970, Kirby was presented with a contract that included such unfavorable terms as a prohibition against legal retaliation. When Kirby objected, the management refused to negotiate any contract changes. Kirby, although he was earning $35,000 a year freelancing for the company, subsequently left Marvel in 1970 for rival DC Comics, under editorial director. DC Comics and the Fourth World saga (1971–1975) [ ]. The New Gods #1 (Feb.–March 1971) Cover art by Kirby and. Kirby spent nearly two years negotiating a deal to move to DC Comics, where in late 1970 he signed a three-year contract with an option for two additional years. He produced a series of interlinked titles under the blanket ', which included a trilogy of new titles —,, and — as well as the extant.

Kirby picked the latter book because the series was without a stable creative team and he did not want to cost anyone a job. The central villain of the Fourth World series,, and some of the Fourth World concepts, appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers. The Superman figures and Jimmy Olsen faces drawn by Kirby were redrawn by, and later. Les Daniels observed in 1995 that 'Kirby's mix of slang and myth, science fiction and the Bible, made for a heady brew, but the scope of his vision has endured.' In 2007, comics writer commented that 'Kirby's dramas were staged across Jungian vistas of raw symbol and storm.The Fourth World saga crackles with the voltage of Jack Kirby's boundless imagination let loose onto paper.' An attempt at creating new formats for comics produced the one-shot magazines Spirit World and In the Days of the Mob in 1971.

Kirby later produced other DC series such as,,, and, and worked on such extant features as ' in. Together with former partner Joe Simon for one last time, he worked on a new incarnation of the.

Kirby produced three issues of the anthology series and created, a new, and the. Kirby's production assistant of the time,, recounted that DC's policies of the era were not in synch with Kirby's creative impulses, and that he was often forced to work on characters and projects he did not like. Meanwhile, some artists at DC did not want Kirby there, as he threatened their positions in the company; they also had bad blood from previous competition with Marvel and legal problems with him. Since he was working from California, they were able to undermine his work through redesigns in the New York office. Return to Marvel (1976–1978) [ ] At the Marvelcon '75, in 1975, Stan Lee used a panel discussion to announce that Kirby was returning to Marvel after having left in 1970 to work for. Lee wrote in his monthly column, 'Stan Lee's Soapbox', '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 the monthly Captain America series as well as the Captain America's Bicentennial Battles in the oversized treasury format. He created the series, which featured a race of inscrutable alien giants, the, whose behind-the-scenes intervention in primordial humanity would eventually become a core element of continuity. He produced an adaptation and expansion of the film, as well as an abortive attempt to do the same for the classic,.

He wrote and drew and drew numerous covers across the line. Kirby's other Marvel creations in this period include and. Kirby's final comics collaboration with Stan Lee, The Silver Surfer: The Ultimate Cosmic Experience, was published in 1978 as part of the series and is considered Marvel's first. Film and animation (1979–1980) [ ] Still dissatisfied with Marvel's treatment of him, and with an offer of employment from, Kirby left Marvel to work in animation. In that field, he did designs for, and other for television.

He worked on animated series, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie for syndicated comic strip in 1979-80. In 1979, Kirby drew concept art for Barry Geller's script treatment adapting 's science fiction novel,, for which Geller had purchased the rights. In collaboration, Geller commissioned Kirby to draw set designs that would be used as architectural renderings for a Colorado to be called Science Fiction Land; Geller announced his plans at a November press conference attended by Kirby, former star, writer, and others. While the film did not come to fruition, Kirby's drawings were used for the 's ', in which some members of the, Iran, who had avoided capture in the, were able to escape the country posing as members of a movie location-scouting crew. Final years and death (1981–1994) [ ]. ' Bombast #1 (April 1993).

Cover art by Kirby. In the early 1980s,, a new, non-newsstand comic book publisher, made a groundbreaking deal with Kirby to publish a series,, and the six-issue miniseries (later collected in hardcover format in 2007).

This, together with similar actions by other publishers as (where Kirby co-created in a benefit comic-book series published to help fight a legal case against Marvel), helped establish a precedent to end the monopoly of the system, wherein comics creators, even freelancers, had owned no rights to characters they created. 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 miniseries and the 1985 graphic novel The Hunger Dogs. DC executives and had Kirby re-design the Fourth World characters for the Super Powers toyline as a way of entitling him to royalties for several of his DC creations. In 1985, Kirby helped to create the concept and designs for, along with. A comic book series based on the show was published by DC and a toy line produced. In the twilight of his life, Kirby spent a great deal of time sparring with Marvel executives over the ownership rights of original artwork.

At Marvel, many of these pages owned by the company (due to outdated and legally dubious copyright claims) were given away as promotional gifts to Marvel clients or simply stolen from company warehouses. After the passage of the, which greatly expanded artist copyright capabilities, comics publishers began to return original art to creators, but only if they signed a release reaffirming Marvel's ownership of the copyright. In 1985, Marvel issued a release that demanded Kirby affirm that his art was created for hire, allowing Marvel to retain copyright in perpetuity, in addition to demanding that Kirby forego all future royalties. Marvel offered him 88 pages of his art (less than 1% of his total output) if he signed the agreement, but reserved the right to reclaim the art if Kirby violated the deal. After Kirby publicly slammed Marvel, calling the company thugs and claiming they were arbitrarily holding his creations, Marvel finally returned (after two years of deliberations) approximately 1,900 or 2,100 pages of the estimated 10,000 to 13,000 Kirby drew for the company. Kirby retained ownership of characters used by beginning in 1993, for a set of series in what the company dubbed '.

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 ' mythos. Phantom Force was the last comic book which Jack Kirby worked on before his death. The story was co-written by Kirby with Michael Thibodeaux and Richard French, based on an eight-page pitch for an unused comic in 1978. Issues #1 and 2 were published by with various Image artists inking over Kirby's pencils. Issue #0 and issues #3 to 8 were published by Genesis West, with Kirby providing pencils for issues #0 and 4.

Thibodeaux provided the art for the remaining issues of the series after Kirby died. According to an interview with Kirby's granddaughter, Kirby was a 'liberal. On February 6, 1994, Kirby died at age 76 of heart failure in his home. He was buried at the Pierce Brothers Valley Oaks Memorial Park,. Kirby's estate [ ] Subsequent releases [ ]. Kirby in the 1980s Lisa Kirby announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, planned to publish via the Marvel Comics a six-issue,, featuring characters and concepts created by her father for Captain Victory. The series, scripted by Lisa Kirby, Robertson, Thibodeaux, and Richard French, with pencil art by Jack Kirby and Thibodeaux, and inking by and primarily, ran an initial five issues (Sept.

2007) and then a later final issue (Sept. Marvel posthumously published a 'lost' Kirby/Lee story, Fantastic Four: The Lost Adventure (April 2008), with unused pages Kirby had originally drawn for a story that was partially published in Fantastic Four #108 (March 1971). In 2011, published Kirby: Genesis, an eight-issue miniseries by writer and artists Jack Herbert and, featuring Kirby-owned characters previously published by and. Copyright dispute [ ] On September 16, 2009, Kirby's four children served notices of termination to,,,, and to attempt to gain control of various Silver Age Marvel characters. Marvel sought to invalidate those claims. In mid-March 2010 Kirby's children 'sued Marvel to terminate copyrights and gain profits from [Kirby's] comic creations.' In July 2011, the issued a in favor of Marvel, which was affirmed in August 2013 by the.

The Kirby children filed a petition on March 21, 2014, for a review of the case by the, but a settlement was reached on September 26, 2014, and the family requested that the petition be dismissed. While the settlement has left uncertain the legal right to works governed by the created before the came into force, the Kirby children's attorney,, said the issue of to reclaim the work done as remains, and other potential claims have yet to become. Legacy [ ] Brent Staples, in a piece written more than a decade after his death, said of Kirby: 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., in his afterword to his -winning novel, a fictional account of two early comics pioneers, wrote, 'I want to acknowledge the deep debt I owe in this and everything else I've ever written to the work of the late Jack Kirby, the King of Comics.' Director said Kirby inspired the look of his film, calling it 'not intentional in the sense I sat down and looked at all my favorite comics and studied them for this film, but, yeah, Kirby's work was definitely in my subconscious programming. The guy was a visionary.

And he could draw machines like nobody's business. He was sort of like and some of these other science-fiction writers who are able to create worlds that — even though we live in a science-fictionary world today — are still so far beyond what we're experiencing.'