Ebook Free Hand of Fire: The Comics Art of Jack Kirby (Great Comics Artists Series), by Charles Hatfield
Ebook Free Hand of Fire: The Comics Art of Jack Kirby (Great Comics Artists Series), by Charles Hatfield
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Hand of Fire: The Comics Art of Jack Kirby (Great Comics Artists Series), by Charles Hatfield
Ebook Free Hand of Fire: The Comics Art of Jack Kirby (Great Comics Artists Series), by Charles Hatfield
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From the Inside Flap
The first critical exploration of the work of a great comics creator
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About the Author
Charles Hatfield, Northridge, California, is associate professor of English at California State University, Northridge. He is author of Alternative Comics: An Emerging Literature. Follow his blog at http://handoffire.wordpress.com.
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Product details
Series: Great Comics Artists Series
Paperback: 304 pages
Publisher: University Press of Mississippi (December 12, 2011)
Language: English
ISBN-10: 161703178X
ISBN-13: 978-1617031786
Product Dimensions:
6 x 0.8 x 9 inches
Shipping Weight: 1.1 pounds (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
18 customer reviews
Amazon Best Sellers Rank:
#522,309 in Books (See Top 100 in Books)
Jack Kirby was one of the greatest creators of American comic book super-hero mythology. Sadly, the period of his career from the 1970's onwards seemed to be littered with failed attempts by Kirby to expand on his mythology. Hatfield focuses mainly on this post '60s era Kirby and gives us some insight as to why Kirby, despite still being highly creative in both ideas and art - if not necessarily writing - was not able re-capture the past glory of his Marvel era years with Stan Lee. The opening chapter gives an outline of Kirby's career before we enter into an analysis of Kirby's art in the second chapter. The second chapter looks at Kirby as a story teller who told stories mainly through pictures rather than words. Hatfield examines Kirby's creativity through the frame work of Charles Sanders Peirce's Semiotic Theory. It is odd to see the sometimes child-like boom, crash opera of Kirby comics combined with talk of Semiotics and philosophical issues such as whether a picture represents a real object, yet it enables an interesting look at the tension that existed in those later years of Kirby's career where many people seemed to have started to become alienated by the lack of realism in both his art and his story telling. Hatfield closes the chapter by emphasising how Kirby's art used intensified depictions of emotion and dynamic movement with stillness to create a pictorial narrative. The next chapter looks at Kirby's classic early work done at Marvel comics with Stan Lee. Here we enter into some familiar old territory regarding who really was the creative genius behind classics such as the Fantastic Four - Lee or Kirby? Hatfield argues that Lee's wry colloquialisms, used in his writing, contrasted nicely with Kirby's grand epic ideas and made the early Marvel comics a winner with the comic book buying audience. Added to this, Hatfield also notes that both Lee and Kirby used their experience with other comic book genres such as romance and sci-fi to give their superhero story lines more depth. For example, on one page the Fantastic Four could be battling god-like beings from out-of-space and five pages later they could be ruminating over problems with their relationships. The irony, Hatfield contends, was delightful for comic fans. Many of these ideas are elaborated on in the next chapter along with Hatfield's contention that the notion of continuity of story line between not only specific comic book titles but also between other comic titles created by Kirby with Marvel revolutionised the superhero comic. Hatfield further contends that Kirby was also before his time when he moved to DC and created his so-called "Fourth World" mythos as it was one of the first ideas to use a range of comic titles interwoven together to tell a grander over-all story - an idea that would become commonplace in later DC and Marvel comic productions. The next chapter discusses the most captivating aspect of Kirby's work - an aspect called the "Technological Sublime." Hatfield notes that past philosophers have identified the sublime with a sense of overwhelming awe and even danger. Kirby's elaborate and intricate depictions of wild and crazy technology capture this not only for the readers of the comics but also often for the characters depicted in the comics. Hatfield rounds out the book with a specific analysis of Kirby's story telling in his DC "Fourth World" publications and his final works at Marvel, the latter with an emphasise on Kirby's "Eternals" storylines (the Eternals were a personal favourite of mine). Hatfield is a great writer and at times comes close to doing the impossible - giving words adequate enough to describe the crazy and sublime pictorial story telling of Jack Kirby.
Do not expect any light reading. This is a serious scholarly work that approaches Kirby's art through the lenses of artistic and literary analysis, and examines Kirby's contributions to the comics industry. Dividing his work in eight chapters, Hatfield takes pains in revealing Kirby, the artist, to readers. It is important for him to point out that Kirby created his narrative from his artwork, and not vice versa. This is because it is often said that Lee was the brainchild behind the stories they wrote, when in essence, it was Kirby who provided the imagination through his artwork. Secondly, and most importantly, Hatfield, through a well-balanced narrative of Marvel in the sixties, shows readers Kirby's rightful contributions to that company. Admitting that Kirby did not have the entrepreneurial spirit to create the mega-company that Marvel is today, Hatfield does point out that he "generated the raw material of Marvel. His contributions effectively re-formed and revitalized the company, which without him would not have become the Marvel we know." Later on, Hatfield contends that "Kirby warrants recognition as Marvel's signature artist and founding conceptualist... Kirby stands as Marvel's co-founder." He also elaborates on how Kirby changed the superhero genre, first, by making the superhero the predominant genre in the comics industry; secondly, by creating a pantheon of superheroes and super villains; and thirdly (although without planning), he suffuses the superhero story with soap opera elements.Hatfield pursues Kirby's authenticity as an auteur in comics by exploring Kirby's fascination with the mix of technology and magic, something that is always signature Kirby. Hatfield calls this the "Technological Sublime," a concept that Hatfield explores thoroughly through literary criticism, and with examples of Kirby's own works. After this, he examines Kirby working independently, making connections with his previous experience at Marvel (working on the Fantastic Four and Thor) with his DC creation, the Fourth World. Later, he applies artistic and literary theories to two outstanding stories from the Fourth World saga, "The Pact" and "Himon" to show us how Kirby used his narrative art to explore serious philosophical issues, such as freedom and duty. Finally, Hatfield makes a thorough analysis of why Kirby's Eternals, his last creation with Marvel after his comeback failed to survive in a world that he had helped create, precisely because of the "continuity" concept which was fundamentally Kirbyesque.After reading this work, two major things inevitably happen: first, a reappraisal of Kirby as comics artist and innovator; and secondly, a reexamination of his contributions to the world of comics, positing him as a major player or "founding father" of the modern world of comics, where the present styles of Marvel and DC flourish under his influence. In addition, works such as these show that comics can be as serious as painting, poetry, or literature, and thus, it is a subject to be discussed, analyzed, and investigated.There is an appendix of works created by Jack Kirby and about Jack Kirby. Five thumbs up.
Hatfield's book is a remarkable piece of comics scholarship, but I would emphasize that this IS a piece of Scholarship, albeit with very interesting & engaging writing and Analysis of the work of the remarkable Jack Kirby.But it is NOT for those who are just looking for a good satisfying Comics-ead of vintage brilliance. On the other hand if you are intellectually engaged by a satisfying read of Analysis of that vintage Comics brilliance, Hatfield's book is a wonderful place to begin.
Jack "King" Kirby is Here! As a child, I read the Fantastic Four, The Hulk, Thor, Capt. America, X-men, The Avengers, later it was New Gods and Forever People... just to name a few. There was something about these comics that develped a mania in me. I never stopped reading and re-reading them. My appreciation never wained. Here it is 40+ years later and I have, mainly, one man to thank: Jack Kirby. After reading this book, I have a deeper understanding of what creative processes were involved. I, like most people "into" comics, thought Stan Lee was responsible for creating the Marvel Universe. He was not. He was a "shaper" and an "interpreter" otherwise known as a scriptor. Rarely was he a creator. That was the most "eye-opening" information. Kirby was "the Genius" behind most of the comics I have come to appreciate and love. HAND OF FIRE sets the record straight.
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