Jek Kirbi - Jack Kirby

Jek Kirbi ismli boshqa odamlar uchun qarang Jek Kirbi (nomutanosiblik).
Buni chalkashtirib yubormaslik kerak Jek Kilbi yoki Josh Kirbi.

Jek Kirbi
Jek-Kirbi jek-kirbi san'ati wyman-skaar.jpg
Kirbi 1992 yilda
Tug'ilganJeykob Kurtzberg
(1917-08-28)1917 yil 28-avgust
Nyu-York shahri, BIZ.
O'ldi1994 yil 6 fevral(1994-02-06) (76 yosh)
Ming Oaks, Kaliforniya, BIZ.
MillatiAmerika
Taxallus (lar)Jek Kurtiss
Kurt Devis
Lens Kirbi
Ted Grey
Charlz Nikolay
Fred Sande
Teddi
Qirol
Taniqli ishlar
Kapitan Amerika
Fantastik to'rtlik
Thor
Qasoskorlar
Temir odam
Xalk
Qora Pantera
The To'rtinchi dunyo sarlavhalar
Kamandi
Manxunter
Newsboy Legion
X-Men
Chumoli odam
Manguliklar
MukofotlarXiyobon mukofoti
Shazam mukofoti
Inkpot mukofoti
Will Eisner Shon-sharaf zali
Bill Finger mukofoti
Turmush o'rtoqlar
Roz Goldstein
​
(m. 1942)​
Bolalar4

Jeykob Kurtzberg, eng yaxshi tanilgan qalam nomi, Jek Kirbi (/ˈk.rtsb.rɡ/; 1917 yil 28-avgust - 1994 yil 6-fevral), amerikalik edi chiziq roman rassomi, yozuvchi va muharrir, ommaviy axborot vositalarining asosiy ixtirochilaridan biri va eng samarali va ta'sirchan yaratuvchilardan biri sifatida tanilgan. U Nyu-Yorkda o'sgan va hajviy chiziqlar va tahririy multfilmlar belgilarini kuzatib, multfilm figuralarini chizishni o'rgangan. U 1930-yillarda yangi paydo bo'lgan komikslar sanoatiga kirib, turli xil chiziq romanlarini boshqacha chizgan qalam nomlari, shu jumladan Jek Kurtiss, oxir-oqibat Jek Kirbiga joylashishdan oldin. 1940 yilda u va yozuvchi-muharrir Djo Simon juda muvaffaqiyatli yaratdi superqahramon belgi Kapitan Amerika uchun Vaqti-vaqti bilan komikslar, oldingi Marvel komikslari. 1940-yillarda Kirbi muntazam ravishda Simon bilan birlashib, ushbu kompaniya uchun va u uchun ko'plab belgilar yaratdi Milliy komiks nashrlari, keyinchalik bo'lish DC komikslari.

Xizmat qilganidan keyin Evropa teatri yilda Ikkinchi jahon urushi, Kirby DC Comics uchun ish olib borgan, Harvi Komikslari, Hillman davriy nashrlari va boshqa noshirlar. Da Crestwood nashrlari, u va Simon janrini yaratdilar romantik prikollar va keyinchalik o'zlarining qisqa muddatli hajviy kompaniyasini tashkil etishdi, Asosiy nashrlar. Kirbi Vaqtinchalik 1950-yillarning takrorlanishida ishtirok etgan, Atlas prikollari Keyingi o'n yil ichida Marvel bo'ldi. U erda 1960 yillarda yozuvchi-muharrir rahbarligida Sten Li, Kirby kompaniyaning ko'plab asosiy belgilarini, shu jumladan Fantastik to'rtlik, X-Men, Thor, Xalk va Temir odam. Li-Kirbi unvonlari yuqori savdoni va tanqidchilarning olqishiga sazovor bo'ldi, ammo 1970 yilda, asosan, mualliflik krediti va ijodkorlarning huquqlari sohasida unga nisbatan adolatsiz munosabatda bo'lganini his qilib, Kirbi kompaniyani raqibi DC ga tark etdi.

DC da, Kirby uni yaratdi To'rtinchi dunyo bir nechta komiks sarlavhalarini qamrab olgan saga. Ushbu seriyalar tijorat jihatdan muvaffaqiyatsiz bo'lgan va bekor qilingan bo'lsa, To'rtinchi Dunyo Yangi xudolar ning muhim qismi sifatida davom etdi DC Universe. Kirbi 1970-yillarning o'rtalarida va oxirlarida Marvelga qisqa vaqt ichida qaytib keldi, keyin u bilan shug'ullanishga kirishdi televizion animatsiya va mustaqil komikslar. Keyingi yillarda "the." Deb nomlangan Kirbi Uilyam Bleyk komikslar ",[1] kariyerasida erishgan yutuqlari uchun asosiy matbuotda katta e'tirofga sazovor bo'ldi va 1987 yilda u uchta boshlovchining biri bo'ldi Will Eisner komikslar shon-sharaf zali. 2017 yilda Kirbi vafotidan keyin a Disney afsonasi Li bilan nafaqat nashriyot sohasida, balki ushbu ijod uchun asos bo'lganligi sababli ham Uolt Disney kompaniyasi moliyaviy va tanqidiy jihatdan muvaffaqiyatli media-franchayzing Marvel kinematik olami.

Kirbi Rozalind Goldshteynga 1942 yilda uylangan. Ularning to'rtta farzandi bor edi va 1994 yilda 76 yoshida yurak etishmovchiligidan vafotigacha turmush qurdilar. Jek Kirbi mukofotlari va Jek Kirbi shon-sharaf zali uning sharafiga nomlangan va u vositaga ko'plab ta'sirchan hissa qo'shgani uchun komiks muxlislari orasida "Qirol" nomi bilan tanilgan.

Ilk hayot (1917–1935)

Jek Kirbi tug'ilgan Jeykob Kurtzberg 1917 yil 28 avgustda, 147 da Esseks ko'chasi ustida Quyi Sharqiy tomon ning Manxetten u tarbiyalangan Nyu-York shahrida.[2] Uning ota-onasi Rose (Bernstein) va Benjamin Kurtzberg,[2] edi Avstriyalik-yahudiy muhojirlar, va uning otasi a sifatida pul ishlagan kiyim zavod ishchi.[3] Yoshligida Kirbi o'z mahallasidan qochishni xohlagan. U rasm chizishni yaxshi ko'rardi va san'at haqida ko'proq bilib olish uchun joylarni qidirdi.[4] Aslida o'z-o'zini o'rgatgan,[5] Kirbi uning ta'siri orasida kulgili chiziq rassomlar Milton Kaniff, Hal Foster va Aleks Raymond, shuningdek, tahririyat karikaturachilari kabi C.H. Sayks, "Ding" azizim va Rollin Kirbi.[5] U tomonidan rad etilgan Ta'lim alyansi chunki u Kirbining so'zlariga ko'ra "ko'mir bilan juda tez" rasm chizgan. Keyinchalik u ko'cha bolalari o'z hukumatini boshqaradigan Sharqiy 3-ko'chada joylashgan "miniatyura shahri" bo'lgan Boys Brotherhood Republic gazetasiga multfilmlar chizish orqali o'z mahoratiga ega bo'lgan vositani topdi.[6]

14 yoshida Kirbi o'qishga kirdi Pratt instituti yilda Bruklin, bir haftadan keyin tark etish. "Men Pratt qidiradigan talaba emas edim. Ular abadiy biron bir narsada ishlaydigan odamlarni xohlashardi. Men biron loyihada abadiy ishlashni xohlamadim. Ishlarni oxiriga etkazishni niyat qilgandim".[7]

Komikslarga kirish (1936-1940)

Kapitan Amerika prikollari #1 (muqovalangan 1941 yil mart). Kirbi va Djo Simon.

Kirbi 1936 yilda Linkoln gazetasi sindikatiga qo'shilib, u erda gazetalar prikollarida va bitta panelli maslahat multfilmlarida ishlagan. Sog'ligingiz birinchi navbatda !!! (ostida taxallus Jek Kurtiss). U 1939 yil oxirigacha, filmda ishlashni boshlagan paytgacha qoldi animatsiya kompaniya Fleischer studiyalari sifatida inbetweener (asosiy harakat ramkalari orasidagi harakatni to'ldiruvchi rassom) bo'yicha Popeye 1935 yilda bir vaqtning o'zida multfilmlar. 1937 yilda Fleycherning ish tashlashidan oldin u studiyani tark etdi.[8] "Men Linkolndan Flisherga bordim", deb esladi u. "Fleycherdan men shoshilinch ravishda chiqib ketishga majbur bo'ldim, chunki men bunday narsalarni ololmadim," uni "otamning fabrikasi kabi bir ma'noda zavod. Ular rasmlar ishlab chiqarishgan" deb ta'rifladilar.[9]

O'sha davrda Amerikadagi chiziq romanlari sanoati jadal rivojlanayotgan edi. Kirbi komikslar paketiga yozish va rasm chizishni boshladi Eisner va Iger, nashriyotchilarga talab asosida komikslar yaratadigan bir nechta firmalardan biri. Ushbu kompaniya orqali Kirbi o'zining birinchi kulgili kitobi sifatida eslagan narsasini qildi Wild Boy jurnali.[10] Bunga "Doktor Xeyvardning kundaligi" (taxallusi ostida) ilmiy-fantastik sarguzasht kabi chiziqlar kiritilgan Kurt Devis), the G'arbiy jinoyatchilik xususiyati "G'arbning Uiltoni" (sifatida Fred Sande), the chayqovchi "Monte-Kristo grafigi" sarguzashtlari (yana Jek Kurtiss rolida) va hazilda "Abdul Jons" (xuddi Ted Grey) va "Socko the Seadog" (kabi) Teddi), barchasi uchun har xil Jumbo komikslari va boshqa Eisner-Iger mijozlari.[11] U birinchi marta Kirbi familiyasini taxallus sifatida ishlatgan Lens Kirbi G'arbning ikkita "Yolg'iz chavandoz" hikoyalarida Sharqiy rangli matbaa "s Mashhur kulgular # 63-64 (1939 yil oktyabr - noyabr).[11] U oxir-oqibat Jek Kirbi ismiga o'rnashdi, chunki bu unga aktyorni eslatdi Jeyms Keyni. Biroq, u yahudiy merosini yashirish uchun ismini o'zgartirishni taklif qilganlarga xafa bo'ldi.[12]

Jou Simon bilan hamkorlik

Kirbi chiziq roman nashr etuvchi va gazeta sindikatatoriga o'tdi Fox Feature Syndicate, o'sha paytda o'rtacha 15 haftalik ish haqi olish. U komiks bilan super qahramonlarning hikoyasini o'rganishni boshladi The Moviy qo'ng'iz, 1940 yil yanvaridan martigacha nashr etilgan, unda taxallus bilan yaratilgan personaj ishtirok etgan Charlz Nikolay, Kirbi uch oylik chiziq uchun saqlab qolgan uy nomi. Shu vaqt ichida Kirbi karikaturachi va Fox muharriri bilan uchrashdi va hamkorlik qila boshladi Djo Simon, uning xodimlaridan tashqari, frilanserlik faoliyatini davom ettirgan. Simon 1988 yilda shunday eslagan edi: "Men Jekning ishini yaxshi ko'rar edim va birinchi marta ko'rganimda ko'rgan narsamga ishonolmas edim. U biz bilan birgalikda erkin ish olib borishni iltimos qildi. Men juda xursand bo'ldim va uni kichkina ofisimga olib bordim. Biz ikkinchi sonidan ishladik Moviy murvat orqali ... taxminan 25 yil. "[13]

Foxni tark etganidan va premerasi sonida hamkorlik qilganidan keyin Fawett komikslari ' Kapitan Marvel Sarguzashtlar ([Mart] 1941),[14] ilgari taqdim etilgan superqahramon uchun birinchi yakkaxon unvon va Kirbi uchun yaratuvchiga taqlid qilish kerakligi aytilgan C.C. Bek rasm chizish uslubi,[15] duet xodimlarga yollangan pulpa jurnali noshir Martin Gudman "s Vaqti-vaqti bilan komikslar (keyinchalik Marvel Comics-ga aylandi). U erda Simon va Kirbi vatanparvar super qahramonni yaratdilar Kapitan Amerika 1940 yil oxirida.[16] Kirbi badiiy direktor sifatida ishtirok etgan kompaniya muharriri bo'lgan Simon, ushbu filmdan olingan duetning 25 foiz daromadini olish uchun Gudman bilan muzokara olib borganini aytdi.[17] Ning birinchi soni Kapitan Amerika prikollari, 1941 yil boshida chiqarilgan,[18] bir necha kun ichida sotilib, ikkinchi sonining nashr etilishi milliondan ortiq nusxada bo'lib o'tdi. Nomning muvaffaqiyati jamoani sohada taniqli ijodiy kuch sifatida o'rnatdi.[19] Birinchi son nashr etilgandan so'ng, Simon Kirbidan kompaniyaning badiiy direktori sifatida Vaqtli xodimlarga qo'shilishni iltimos qildi.[20]

Kapitan Amerika personajining muvaffaqiyati bilan Saymon Gudman juftlikka va'da qilingan foiz foizini to'lamayotganligini his qilganini aytdi va shu sababli ikkalasi uchun ish izladi Milliy komiks nashrlari (keyinchalik qayta nomlandi DC komikslari ).[17] Kirbi va Saymon o'z vaqtida ishlagan 75 va 85 dollaridan farqli o'laroq, ularga haftasiga 500 dollar to'laydigan bitim tuzishdi.[21] Gudman agar ular Milliyga ko'chib ketishganini aniqlasalar, ularga pul to'lamasliklaridan qo'rqishdi, ammo ko'p odamlar ularning rejalari haqida bilishar edi, shu jumladan o'z vaqtida tahririyat yordamchisi Sten Li.[22] Oxir-oqibat Gudman buni topgach, Simon va Kirbiga ishni tugatgandan keyin ketishni buyurdi Kapitan Amerika prikollari #10.[22]

Kirbi va Simon birinchi haftalarini National-da o'tkazib, yangi belgilar yaratishga harakat qilishdi, kompaniya esa juftlikdan qanday qilib yaxshiroq foydalanishni qidirdi.[23] Bir nechta muvaffaqiyatsiz muharrir tomonidan berilgan sharpa topshiriqlaridan so'ng, National's Jek Libovits ularga "faqat xohlagan narsangizni qiling" dedi. Keyin juftlik Sandman xususiyati Sarguzasht prikollar va super qahramonni yaratdi Manxunter.[24][25] 1942 yil iyulda ular Bola qo'mondonlari xususiyati. O'sha yili boshlangan xuddi shu nomdagi "bolalar to'dasi" seriyasi ijodiy guruhning o'z nomini tamomlagan birinchi milliy xususiyati bo'ldi.[26] Bu oyiga milliondan ortiq nusxada sotilib, Milliyning eng ko'p sotilgan uchinchi unvoniga aylandi.[27] Ular uydagi bolalar guruhi bilan zarba berishdi Newsboy Legion, ichida Yulduzli spangled prikollar.[28] 2010 yilda DC Comics-ning yozuvchisi va ijrochi Pol Levits "Yoqdi Jerri Sigel va Djo Shuster, Jou Simon va Jek Kirbining ijodiy jamoasi sifat belgisi va isbotlangan tajriba bo'ldi. "[29]

Ikkinchi jahon urushi (1943–1945)

Ikkinchi jahon urushi davom etar ekan, Libovits Simon va Kirbi bo'lishini kutgan edi chaqirilgan, shuning uchun u rassomlardan ular yo'qligida nashr etiladigan materiallar ro'yxatini tuzishni iltimos qildi. Bir yillik material yaratish uchun juftlik yozuvchilar, siyohdonlar, xatlar va rangdorlarni yollagan.[27] Kirbi safga chaqirildi AQSh armiyasi 1943 yil 7-iyunda.[30] Da asosiy mashg'ulotlardan so'ng Kamp Styuart, Jorjiya shtatining Savanna shahri yaqinida u F kompaniyasiga tayinlangan 11-piyoda polki.[31] U qo'ndi Omaha plyaji yilda Normandiya 1944 yil 23-avgustda, ikki yarim oy o'tgach Kun,[31] garchi Kirbining xotiralari uning kelishini atigi 10 kundan keyin amalga oshirishi mumkin edi.[30] Kirbining so'zlariga ko'ra, leytenant komiks rassomi Kirbi uning buyrug'ida ekanligini bilib, uni shaharlarga yurib, rasm chizadigan skaut qilganini esladi. razvedka xaritalar va rasmlar, o'ta xavfli vazifa.[32]

Urushdan keyingi martaba (1946–1955)

Yosh romantik №1 (1947 yil oktyabr). Kirbi va Simon.

Urushdan keyin Simon Kirbi va o'zi uchun ish tashkil qildi Harvi Komikslari,[33] bu erda, 1950-yillarning boshlarida, duet bolalar guruhi sarguzashtlari kabi nomlarni yaratdi Boy Explorers prikollari, bolalar to'dasi G'arbiy O'g'il bolalar fermasi, superqahramon komiksi Kaskadyorva uchun moda bilan moda 3 o'lchamli filmlar, Kapitan 3-D. Saymon va Kirbi qo'shimcha ravishda erkin kelishdi Hillman davriy nashrlari (the jinoyatchilik kulgili Haqiqiy maslahat jinoyati) va uchun Crestwood nashrlari (Adolat aybdorlarni tuzoqqa soladi ).[11]

Jamoa urushdan keyingi davrda o'zining eng katta yutug'ini yaratish orqali topdi romantik prikollar. Simon, ilhomlanib Macfadden nashrlari 'romantik-iqror jurnali Haqiqiy hikoya, g'oyani kulgili kitoblarga ko'chirdi va Kirbi bilan birinchi sonli maketni yaratdi Yosh romantik.[34] Buni Crestwood bosh menejeri Mauris Rozenfeldga ko'rsatib, Simon kulgili daromadning 50 foizini so'radi. Crestwood nashriyotchilari Teddi Epshteyn va Mayk Bler kelishib oldilar,[34] ijodkorlar oldidan hech qanday pul talab qilmaslik sharti bilan.[35] Yosh romantik №1 (qoplama sanasi - 1947 yil oktyabr) "Jek va Joning so'nggi yillardagi eng katta hitiga aylandi".[36] Kashshof nom, nashrning 92% ni hayratda qoldirgan holda sotdi va Crestwoodni uchinchi nusxada chop etishni ko'paytirib, dastlabki nusxalarini uch baravar ko'paytirishga ilhom berdi.[37] Dastlab ikki oyda bir marta nashr etilgan, Yosh romantik tezda oylik unvoniga aylandi va spin-offni ishlab chiqardi Yosh sevgi - Simonning so'zlariga ko'ra, ikkala sarlavha oyiga ikki million nusxada sotilgan[38]- keyinroq qo'shildi Yosh kelinlar va Sevib qolgan, ikkinchisi "to'liq metrajli romantik hikoyalarni o'z ichiga olgan".[37] Yosh romantik Timely kabi nashriyotlarning o'nlab taqlidchilarini tug'dirdi, Favett, Sifat va Fox Feature Syndicate.[36] Sayg'oqlarga qaramay, Simon va Kirby ishqiy nomlari oyiga millionlab nusxalarini sotishda davom etdi.[36]

Achchiq Vaqti-vaqti bilan komikslar 1950-yillarning takrorlanishi, Atlas prikollari, 1954 yilda Kapitan Amerikani yangi seriyasida qayta boshlagan edi, Kirbi va Simon yaratdilar Jangovar amerikalik. Simon esladi: "Biz ularga kapitan Amerikani qanday qilishni ko'rsatib beramiz deb o'yladik".[39] Boshlang'ich asar bosh qahramonni an anti-kommunistik dramatik qahramon Simon va Kirbi seriyani ikkinchi masala bilan super qahramon satirasiga aylantirdi. Armiya-Makkarti tinglovlari va AQShning senatoriga qarshi kurashgan jamoatchilik Jozef Makkarti.[40]

Simondan keyin (1956-1957)

Crestwood sotuvchisining taklifiga binoan Kirbi va Simon o'zlarining komiks kompaniyasini ochdilar, Asosiy nashrlar,[40][41] Leader News bilan tarqatish bo'yicha bitimni ta'minlash[42] 1953 yil oxiri yoki 1954 yil boshlarida do'stlaridan bo'sh joyni to'ldirish Al Xarvi "s Harvey nashrlari 1860 yilda Broadway.[43] 1954 yildan 1955 yilgacha bo'lgan asosiy yo'nalish to'rtta nomni e'lon qildi: G'arb Bullseye: G'arbiy skaut; The urush kulgili Tulki teshigi chunki EC Comics va Atlas prikollari urush komikslari bilan muvaffaqiyat qozonishdi, lekin ularni haqiqiy faxriylar yozgan va chizilgan deb targ'ib qilishdi; Sevib qolgan chunki ularning ilgari romantik komiks Yosh sevgi hali ham keng taqlid qilinayotgan edi; va jinoyat komiksi Politsiya tuzog'i, bu huquqni muhofaza qilish organlari xodimlarining haqiqiy hisobvarag'iga asoslangan deb da'vo qilgan.[44] Ikkilik eski Krestvud haqidagi hikoyani qayta tiklagan va qayta nashr etganidan keyin Sevib qolgan, Crestwood jamoaga pul to'lashdan bosh tortdi,[45] Crestwood moliyaviy tekshiruvini o'tkazmoqchi bo'lganlar. Ko'rib chiqilgandan so'ng, juftlikning advokatlari kompaniyaning so'nggi etti yil ichida qilgan ishlari uchun ularga 130 ming dollar qarzdorligini aytishdi. Crestwood ularga yaqinda kechiktirilgan to'lovlardan tashqari, 10 000 dollar to'lagan. Kirbi va Simonning sherikligi keskinlashdi.[46] Simon bu sohani reklama bilan shug'ullanish uchun tark etdi, Kirbi esa erkin ish faoliyatini davom ettirdi. "U boshqa ishlarni qilishni xohlardi, men esa komikslar bilan tiqilib qoldim," - deb esladi Kirbi 1971 yilda. "Yaxshi edi. Hamkorlikni davom ettirish uchun hech qanday sabab yo'q edi va biz do'stlarimizni ajratdik".[47]

1950-yillarning o'rtalarida Kirbi avvalgisiga vaqtincha qaytdi Vaqti-vaqti bilan komikslar, hozir Atlas Comics nomi bilan tanilgan, to'g'ridan-to'g'ri o'tmishdoshi Marvel komikslari. Inker Frank Giacoia ish uchun bosh muharrir Sten Liga murojaat qilib, "Kirbini bu erga ba'zi narsalarni qalamga qaytarish uchun olib kelishini" taklif qilgan edi.[48] Milliy komiks nashrlari uchun freelancing-da, kelajak DC komikslari, Kirbi 1956 yildan 1957 yilgacha Atlas uchun 20 ta hikoyani chizgan: Besh sahifali "Minalar maydoni" dan boshlab Jang maydoni №14 (1956 yil noyabr), Kirbi qalam bilan qalamga olingan va ba'zi hollarda siyoh bilan (xotini bilan, Roz ) va hikoyalarini yozgan G'arbiy qahramon Qora chavandoz, Fu-manchu o'xshash Sariq tirnoq va boshqalar.[11][49] Ammo 1957 yilda tarqatish bilan bog'liq muammolar "Atlas implosioni" ni keltirib chiqardi, natijada bir nechta seriyalar tashlandi va ko'p oylar davomida yangi materiallar tayinlanmadi. Kirbi yangi paydo bo'lgan Marvelga qaytib kelguniga qadar keyingi yil bo'ladi.

Shu vaqt ichida DC uchun Kirby yozuvchilar Dik va Deyv Vud bilan birgalikda kuchli bo'lmagan sarguzasht kvartetni yaratdi Noma'lum chorlovchilar yilda Vitrin # 6 (1957 yil fevral),[50] kabi antologiyalarga hissa qo'shganda Sirli uy.[11] 30 oy davomida DC uchun freelancing paytida Kirby 600 sahifadan biroz ko'proq suratga tushdi, ular 11 olti sahifadan iborat edi Yashil o'q hikoyalar Dunyodagi eng yaxshi komikslar va Sarguzasht prikollar juda kamdan-kam hollarda Kirbi o'zini siyohga oldi.[51] Kirbi kamonchini ilmiy-fantastik qahramon sifatida qayta tiklab, uni Batman formulasidagi ildizlaridan uzoqlashtirdi, ammo bu jarayonda Green Arrow-ning hammuallifini chetlashtirdi. Mort Weisinger.[52]

U rasm chizishni boshladi Kosmik kuchlarning osmon ustalari, aka-uka Vudlar tomonidan yozilgan va dastlab aloqasi bo'lmaganlar tomonidan muhrlangan gazetadagi chiziqcha Uolli Vud.[53] Kirbi National Comics Publications-ni asosan muharriri bo'lgan shartnomaviy nizo tufayli tark etdi Jek Shif, Kirbi va Vud aka-ukalarni jalb qilishda ishtirok etgan Sky Masters Shartnoma bo'yicha, u Kirbining striptiz foydasidagi ulushidan kelib chiqqan holda mualliflik huquqi olgan. Shiff Kirbini muvaffaqiyatli sudga berdi.[54] Ba'zi shahar muharrirlari uni "otliqning botinkasida poyabzalning chizig'ini" chizmaslik va tub amerikalikning "otini noto'g'ri tomondan o'tirganini" ko'rsatish kabi badiiy tafsilotlar tufayli uni tanqid qilishgan.[55]

Kumush asrdagi Marvel komikslari (1958-1970)

Bir necha oy o'tgach, DC bilan bo'linib ketganidan so'ng, Kirby, Atlas uchun muntazam ravishda mustaqil ish boshladi (Li vaqtincha noshir Martin Gudmanning rafiqasi amakivachchasi) haqida salbiy fikrlarni yashirganiga qaramay, Kirbi 1940-yillarda u va Simon yashirincha bo'lganligi haqida o'z vaqtida xabar bergan. National uchun loyihada ishlash.[56] Sahifa stavkalari yomon bo'lganligi sababli, Kirbi har kuni uyda rasm chizish stolida 12 dan 14 soatgacha vaqt o'tkazar va kuniga to'rt-besh sahifa badiiy asar yaratardi.[57] Uning Atlasda nashr etilgan birinchi asari "Men uchar likopchalarning sirini kashf etdim" nomli yetti sahifali hikoyasining muqovasi va G'alati olamlar №1 (1958 yil dekabr). Dastlab Kristofer Rule uning doimiy siyohchisi sifatida va keyinchalik Dik Ayers, Kirbi romantik romanlardan tortib urush romanlariga, G'arb komikslariga qadar barcha janrlarni o'z ichiga olgan, lekin birinchi navbatda gigant ishtirokidagi g'ayritabiiy-fantaziya va ilmiy-fantastik hikoyalar bilan iz qoldirgan, kirish filmi kabi ismlar bilan uslubdagi hayvonlarni Groot, X sayyorasidan olingan narsa;[58] Grottu, hasharotlar qiroli;[59] va Fin Fang Foom kabi kompaniyaning ko'plab antologiya seriyalari uchun Ajoyib sarguzashtlar, G'alati ertaklar, Ajablanadigan ertaklar, Shubhasizlik haqidagi ertaklar, va Fantaziya dunyosi.[11] Uning qudratli, g'ayritabiiy jonzotlarning g'alati dizaynlari o'quvchilarni hayratda qoldirdi. Bundan tashqari, u erkin ishladi Archie Comics Shu vaqt ichida, Jou Simon bilan qisqa vaqt ichida birlashib, seriyani rivojlantirishga yordam berdi Uchish[60] va Xususiy kuchli ikki kishilik hayot.[61] Bundan tashqari, Kirbi ba'zi masalalarni chizdi Klassikalar tasvirlangan.[11]

Aynan Marvel-da yozuvchi va bosh muharriri Li bilan hamkorlikda Kirbi super qahramon prikollarida yana bir bor o'z qadamini urdi, boshlangan Hayoliy to'rtlik №1 (1961 yil noyabr).[11][62] E'tiborga molik seriyalar qiyosiy ko'rsatkichlari bilan sohani tubdan o'zgartirdi tabiiylik Va oxir-oqibat, Kirbining cheksiz tuyulgan tasavvuridan xabardor bo'lgan kosmik kosmos - bu ongni kengaytiruvchi bilan yaxshi mos keladi. yoshlar madaniyati 1960-yillarning.[63][64] Deyarli o'n yil davomida Kirbi Marvelning uy uslubini taqdim etdi, Sten Li bilan birgalikda Marvelning ko'plab qahramonlarini yaratdi va ularning tasviriy naqshlarini yaratdi. Lining iltimosiga binoan u tez-tez Marvelga yangi kelgan rassomlarga "buzilish" tartibini taqdim etdi, ular Marvel qiyofasi bilan tanishish uchun qalam surishdi. Rassom sifatida Gil Keyn tasvirlangan:

Jek kompaniyaga qo'shilgan paytdan boshlab Marvelning boyliklarini o'zgartirishda eng ta'sirchan shaxs edi ... Bu amalga oshirilayotgan belgilarning aksariyatini faqat Jek o'ylab topgan emas, balki ... Jekning nuqtai nazari va falsafasi rasm chizish butun nashriyot kompaniyasining va nashriyot kompaniyasidan tashqari, butun sohaning boshqaruv falsafasiga aylandi ... [Marvel] Jekni olib, uni [primer] sifatida ishlatdi. Ular rassomlarni oladilar ... va ular ularga ABC-larni o'rgatishgan, bu esa Jek Kirbini o'rganishni anglatar edi ... Jek Muqaddas Bitikka o'xshar edi va ular shunchaki og'ishmasdan unga ergashishlari kerak edi. Menga aynan shu narsa aytilgan edi ... Shunday qilib, ular barchaga qarshi bo'lgan barcha munosabatlarni bitta asosiy nuqtai nazardan yarashtirishga o'rgandilar.[65]

Li va Kirbi hamkorligining muhim voqealariga quyidagilar kiradi Xalk,[66] Thor,[67] Temir odam, asl nusxasi X-Men,[68] Doctor Doom, Uatu kuzatuvchisi, Magneto, Ego Living Planet, Odamlar[69][70] va ularning yashirin Attilon shahri va Qora Pantera,[71][72] chiziq romanlarning birinchi qora super qahramoni va uning Afrofuturist millat, Vakanda.[73] Dastlab Kirbiga birinchi qalam berish vazifasi topshirildi O'rgimchak odam hikoya, lekin Liga birinchi olti sahifani ko'rsatganda, Li esladi: «Men nafratlangan qanday qilib u buni qilar edi! U buni yomon qilgani uchun emas - bu men xohlagan xarakter emas edi; bu juda qahramonlik edi ".[74]:12 Li keyin o'girildi Stiv Ditko paydo bo'ladigan voqeani chizish Ajoyib fantaziya # 15, bunga qaramay Kirbi muqovani qalam bilan qalamga oldi.[75] Li va Kirbi yangi yaratilgan bir nechta belgilarni jamoaning nomiga to'plashdi Qasoskorlar[76][77] va kabi 1940-yillardan eski belgilarni qaytarib beradi Sub-mariner[78] va kapitan Amerika.[79] Keyingi yillarda Li va Kirbi bu kabi ijodlari uchun kimga munosib bo'lishganiga qarshi kurashishdi Hayoliy to'rtlik.[80]

Fantastik to'rtlik № 72 (1968 yil mart). Kirbi va Djo Sinnott, tasviriy Kirbi Krakl.

Hikoya Li va Kirbining eng yaxshi yutug'i sifatida tez-tez tilga olinadi[81][82] bu "Galaktus trilogiyasi "ichida Fantastik to'rtlik # 48-50 (1966 yil mart-may), kelishini yozib beradi Galaktus, sayyorani yutmoqchi bo'lgan kosmik gigant va uning e'lonchisi Kumush sörfçü.[83][84] Fantastik to'rtlik # 48 raqami # 24 sifatida tanlangan Barcha zamonlarning eng buyuk mo''jizalari 2001 yilda Marvel o'quvchilarining so'rovi. Muharrir Robert Grinberger hikoyaga kirish qismida shunday yozgan edi: «To'rtinchi yil sifatida Fantastik to'rtlik yaqinlashdi, Sten Li va Jek Kirbi faqat isinishayotganga o'xshaydilar. Orqaga qaraganda, bu, ehtimol, Marvel davrida har oylik unvonlarning eng serhosil davri bo'lgan. "[85] Komikslar tarixchisi Les Daniels "dostonni egallagan mistik va metafizik elementlar 1960-yillarda yosh o'quvchilarning didiga to'liq mos tushganligini" ta'kidladi va Li ko'p o'tmay bu voqea kollej shaharchalarida sevimli bo'lganligini aniqladi.[86] Kirbi vosita chegaralarini kengaytirishni davom ettirdi, foto kollaj qopqoqlari va interyerlarini yaratdi, yangi rasm chizish usullarini ishlab chiqdi, masalan, endi energiya maydonlarini tasvirlash usuli "Kirbi Krakl "va boshqa tajribalar.[87]

1968 va 1969 yillarda Djo Saymon Marvel Komiks bilan Kapitan Amerikaning egaligi to'g'risidagi da'volarda qatnashgan, Simon o'z kapitan Amerika mualliflik huquqini yangilashni o'z nomidan ro'yxatdan o'tkazgandan keyin Marvel tomonidan boshlangan. Simonning so'zlariga ko'ra, Kirbi kompaniyani sud jarayonlarida qo'llab-quvvatlashga rozi bo'ldi va Kirbi noshir Martin Gudman bilan tuzilgan bitim doirasida Marvelga ushbu belgiga tegishli bo'lgan barcha huquqlarni imzoladi.[88]

Shu bilan birga, Kirbi Marvel-da ishlashdan tobora ko'proq norozi bo'lib qoldi, Kirbi biograf Mark Evanierning ta'kidlashicha, Lining ommaviy axborot vositalarida obro'siga g'azablanish, ijodiy nazoratning to'liq yo'qligi, noshir Martin Gudman tomonidan qabul qilingan va'dalarning buzilishidan g'azablanish va umidsizlik Marvelning hikoyasini chizganligi va xarakterdagi ijodlari va hammuallifliklari uchun uni alohida maqtamaganligi.[89] U Marvel uchun "Insonlar" kabi ba'zi bir ikkinchi darajali xususiyatlarni yozishni ham, chizishni ham boshladi Ajoyib sarguzashtlar ikkinchi jild,[90] shuningdek, antologiya sarlavhasi uchun dahshatli voqealar Zulmat xonasi, va buning uchun to'liq kredit oldi; ammo 1970 yilda Kirbiga qonuniy qasosni taqiqlash kabi noqulay shartlarni o'z ichiga olgan shartnoma taqdim etildi. Kirbi e'tiroz bildirganda, rahbariyat shartnomani o'zgartirish bo'yicha muzokaralardan bosh tortdi.[91] Kirbi, garchi u yiliga kompaniya uchun frilansdan 35000 dollar ishlab topsa ham,[92] keyinchalik Marvelni 1970 yilda tahririyat direktori lavozimida raqibi DC Comics-ga topshirdi Karmin Infantino.[93]

DC komikslari va to'rtinchi dunyo dostoni (1971-1975)

Yangi xudolar№1 (1971 yil mart) Kirbi va Don Xek.

Kirbi DC Comics-ga o'tish uchun ikki yilga yaqin kelishuvni muhokama qildi,[94] 1970 yil oxirida u yana ikki yilga variant bilan uch yillik shartnoma imzoladi.[95] U adyol ostida bir-biriga bog'langan bir qator sarlavhalarni yaratdi sobriket "To'rtinchi dunyo ", unda yangi unvonlarning trilogiyasi - Yangi xudolar, Janob mo''jiza, va Forever People - shuningdek, mavjud bo'lgan Supermendan Pal Jimmi Olsen.[11][93][96] Kirbi oxirgi kitobni tanladi, chunki seriya barqaror ijodiy guruhsiz edi va u hech kimga ish haqi talab qilmoqchi emas edi.[97][98]

Kirbining uchta kitobida u ilgari mifologiyaga bag'ishlangan narsalar haqida so'z yuritilgan Thor. Yangi xudolar bu yangi miflarni o'rnatgan bo'lar edi Forever People Kirbi atrofini kuzatgan yoshlar hayotini afsonalashtirishga urinardi. Uchinchi kitob, Janob mo''jiza ko'proq shaxsiy afsona edi. Mark Evanier Kirbi o'zining cheklov tuyg'ularini unga yo'naltirgan deb taxmin qiladigan bosh qahramon. Mister Mo''jizaning rafiqasi xarakteriga ko'ra Kirbining rafiqasi Rozga asoslangan edi va u hatto Sten Lini kitob sahifalarida shunday karikaturalar qildi. Funky Flashman.[99][100]

To'rtinchi dunyo seriyasining markaziy yovuzi, Darkseid va to'rtinchi dunyo tushunchalarining ba'zilari paydo bo'lgan Jimmi Olsen boshqa to'rtinchi dunyo kitoblari chiqarilishidan oldin, yangi nomlarga potentsial xaridorlarga katta ta'sir ko'rsatishi mumkin. Kirbi tomonidan chizilgan Supermen figuralari va Jimmi Olsenning yuzlari qayta chizilgan Al Plastino, va keyinchalik Merfi Anderson.[101][102] Les Daniels 1995 yilda "Kirbining jargonlar va afsonalar, ilmiy fantastika va Muqaddas Kitobni aralashtirib yuborishi juda yaxshi kayfiyatni yaratgan, ammo uning tasavvur doirasi saqlanib qolgan".[103] 2007 yilda komikslar yozuvchisi Grant Morrison "Kirbining dramalari Jungning xom ramzi va bo'roni vistalari bo'ylab sahnalashtirildi ... To'rtinchi dunyo dostoni Jek Kirbining cheksiz xayol kuchi bilan jaranglaydi" deb yozdi.[104]

Badiiy sa'y-harakatlaridan tashqari, Kirbi komikslar uchun turli xil yangi formatlarni taklif qildi, masalan, to'rtinchi dunyo hikoyalarini to'rtburchak shaklidagi kitoblarga to'plashni rejalashtirmoqda, keyinchalik bu format " savdo qog‘ozi, bu oxir-oqibat sohada odatiy amaliyotga aylanadi. Biroq, Infantino va kompaniya uni qabul qilmadilar va Kirbining takliflari faqat bitta o'qli oq-qora jurnallarni ishlab chiqarishga qadar bordi. Ruhiy dunyo va Mob kunlarida 1971 yilda.[105]

Keyinchalik Kirbi kabi boshqa DC seriyalarini ishlab chiqardi OMAC,[106] Kamandi,[107] Jin,[108] va Kobra,[109] va "kabi mavjud xususiyatlar ustida ishlagan.Yo'qotuvchilar "ichida Bizning jangovar kuchlarimiz.[110] Sobiq sherigi Djo Simon bilan birgalikda so'nggi marta u yangi mujassamlashda ishladi Sandman.[11][111] Kirbi jurnalning uchta sonini nashr etdi 1-sonli maxsus antologiya turkumi va yaratilgan Buyuk atlas,[112] yangi Manxunter,[113] va Xavfli ko'chaning dingbatlari.[114]

Kirbining vaqt bo'yicha ishlab chiqarish bo'yicha yordamchisi, Mark Evanier, DC davridagi siyosat Kirbining ijodiy impulslari bilan hamohang bo'lmaganligi va u ko'pincha o'ziga yoqmagan personajlar va loyihalar ustida ishlashga majbur bo'lganligi haqida aytib berdi.[102] Ayni paytda, DC ning ba'zi rassomlari Kirbining u erda bo'lishini xohlamadilar, chunki u kompaniyadagi mavqelariga tahdid qildi; Bundan tashqari, ular Marvel bilan oldingi raqobat paytida yomon qonga ega edilar va u bilan bo'lgan huquqiy muammolar. U Kaliforniyadan ishlaganligi sababli, ular Nyu-Yorkdagi ofisda qayta ishlash orqali uning ishiga putur etkazishdi.[115]

Marvel-ga qaytish (1976-1978)

Da chiziq romanlari anjumani Marvelcon '75, 1975 yilda, Sten Li Kirbi 1970 yilda DC Comics-da ishlash uchun ketganidan keyin Marvelga qaytib kelganini e'lon qilish uchun Fantastic Four panelidagi munozaradan foydalangan. Li oylik ustunida "Sten Lining sovun qutisi" deb yozgan edi: "Menda maxsus e'lon qilishim kerakligini aytdim. Jekning qaytishi haqida gapira boshlaganimda, umuman ishonmaydigan auditoriyaga Kirbi o'zi valsin bilan kelganida hamma boshini aylantira boshladi. "Bizni minbarga qo'shilish uchun yo'lakdan pastga tushing! Siz Marvelning eng buyuk chiziqlari yaratuvchisi bilan yana qanday qilib masxarabozlik qilganini tasavvur qilishingiz mumkin."[116]

Marvel-ga qaytib, Kirbi oylik yozdi va chizdi Kapitan Amerika seriyali[117] shuningdek Kapitan Amerikaning ikki yuz yillik janglari bir martalik katta hajmdagi xazina formati.[118] U seriyani yaratdi Manguliklar,[119] unda ajabtovur begona gigantlar poygasi namoyish etildi Samoviy yulduzlar, ibtidoiy insoniyatga parda ortidagi aralashuvi oxir-oqibat uning asosiy elementiga aylanadi Marvel Universe uzluksizlik. U filmning moslashuvi va kengayishini yaratdi 2001 yil: "Kosmik odisseya",[120] shuningdek, klassik teleseriallar uchun ham xuddi shunday qilishni abort qilishga urinish Mahbus.[121] U yozgan va chizgan Qora Pantera va chiziq bo'ylab ko'plab qopqoqlarni tortdi.[11]

Kirbining ushbu davrdagi boshqa Marvel ijodlari qatoriga kiradi Mashina odami[122] va Iblis dinozavri.[123] Kirbining Sten Li bilan yakuniy komikslari, Kumush sörfçü: yakuniy kosmik tajriba, 1978 yilda nashr etilgan Marvel Fireside Books seriyali va Marvelning birinchi deb hisoblanadi grafik roman.[124]

Film va animatsiya (1979–1980)

Hali ham Marvelning unga bo'lgan munosabatidan norozi,[125] va ish taklifi bilan Xanna-Barbera,[126] Kirbi animatsiyada ishlash uchun Marvelni tark etdi. Ushbu sohada u loyihalarni amalga oshirdi Turbo Teen, Barbariyalik Thundarr va televizion boshqa animatsion seriallar.[102] U ishlagan Yangi hayoliy to'rtlik animatsion serial, uni ssenariy muallifi Sten Li bilan birlashtirdi.[127] U Uolt Disney filmining moslashishini tasvirlab berdi Qora tuynuk uchun Uolt Disneyning Klassik ertaklar xazinasi 1979-80 yillarda sindikatlangan komiks.[128]

1979 yilda Kirbi film prodyuseri Barri Gellerning ssenariylarini davolashga moslashtirish uchun kontsept san'atini chizdi Rojer Zelazniy ilmiy fantastik roman, Nurning Rabbisi, buning uchun Geller huquqlarni sotib olgan. Hamkorlikda Geller Kirbiga Kolorado uchun me'moriy ko'rinish sifatida ishlatilishi mumkin bo'lgan dizaynlarni chizishni buyurdi mavzu parki ilmiy fantastika erlari deb nomlanishi; Geller o'zining rejalari haqida Amerikaning sobiq futbol yulduzi Kirbi ishtirok etgan noyabr oyida bo'lib o'tgan matbuot anjumanida e'lon qildi Rozi Grier, yozuvchi Rey Bredberi va boshqalar. Film o'z samarasini bermagan bo'lsa-da, Kirbining rasmlari ishlatilgan Markaziy razvedka boshqarmasi "Kanada Caper ", unda ba'zi a'zolari AQShning Tehrondagi elchixonasi, Qo'lga olishdan qochgan Eron Eron garovidagi inqiroz, o'zlarini kino joylashuvini kuzatuvchi ekipaj a'zolari sifatida ko'rsatib, mamlakatdan qochib qutulishga muvaffaq bo'lishdi.[129]

Yakuniy yillar (1981-1994)

Topps komikslari ' Bomba №1 (1993 yil aprel). Kirbining muqovasi.

1980-yillarning boshlarida Kirbi va Tinch okeanidagi komikslar, yangi, gazetalar bo'lmagan komikslar nashriyoti ushbu sohadagi eng dastlabki bitimlardan birini amalga oshirdi ijodkorga tegishli ketma-ketligi, natijada Kapitan G'alabasi va Galaktik Reynjerslar,[130][131] va oltita sonli mini-seriyalar Kumush yulduz (keyinchalik 2007 yilda qattiq qopqoq shaklida to'plangan).[132][133][134] Bu boshqalarning o'xshash harakatlari bilan birgalikda mustaqil komikslar kabi noshirlar Tutilish prikollari (bu erda Kirbi belgini birgalikda yaratgan O'rdakni yo'q qilish yordam berish uchun nashr etilgan komediya-kitoblar seriyasida Stiv Gerber Marvelga qarshi sud ishlarini olib borish),[135] ijaraga berish tizimi monopoliyasini tugatish pretsedentini yaratishda yordam berdi, bunda komikslar yaratuvchilari, hattoki frilanserlar ham o'zlari yaratgan personajlar uchun hech qanday huquqqa ega emas edilar.[136]

1983 yilda Richard Kayl Kirbiga 10 sahifali avtobiografik chiziq yaratishni buyurdi "Ko'cha kodi ", Kirbi hayotida nashr etilgan so'nggi asarlardan biriga aylandi. 1990 yilda Kaylning tirilishining ikkinchi sonida chop etildi. Argosy.[137] Kirbi 1980-yillarda DC Comics uchun davriy ishlarni davom ettirdi, shu qatorda 1984 va 1985 yillarda "To'rtinchi dunyo" dostonining qisqacha tiklanishi. Super kuchlar kichkintoylar[138] va 1985 yilgi grafik roman Ochlik itlari. DC rahbarlari Jenet Kan va Pol Levits Kirbi to'rtinchi dunyo belgilarini qayta loyihalashtirgan Super kuchlar toyline liniyasi uni DC-ning bir nechta ijodi uchun royalti olish huquqi sifatida.[139] 1985 yilda Kirby va Gil Keyn uchun kontseptsiya va dizaynlarni yaratishda yordam berdi Ruby-Spears animatsion teleseriallar Yuzboshilar. Shou asosida yaratilgan komikslar turkumi DC tomonidan ishlab chiqarilgan va o'yinchoqlar qatori tomonidan ishlab chiqarilgan Kenner.

Hayotining alacakaranlığında, Kirby Marvel rahbarlari bilan o'zining asl sahifalari taxtalariga egalik huquqi to'g'risida ko'p vaqt ajratishdi. Marvel-da, kompaniyaga tegishli bo'lgan ushbu sahifalarning aksariyati (mualliflik huquqining eskirgan va qonuniy shubhali da'volari tufayli) Marvel mijozlariga reklama sovg'alari sifatida berilgan yoki shunchaki kompaniya omborlaridan o'g'irlangan.[140] O'tgandan keyin 1976 yilgi mualliflik huquqi to'g'risidagi qonun rassomlarning mualliflik huquqlarini sezilarli darajada kengaytirgan komiks nashriyotlari asl ijodkorlarni ijodkorlarga qaytarishni boshladilar, ammo Marvelning ishida ular Marvelning mualliflik huquqiga egaligini tasdiqlovchi nashrga imzo chekishgan taqdirdagina.[140] 1985 yilda Marvel Kirbidan o'z san'atining ijaraga yaratilganligini tasdiqlashni talab qilib, Marvelga mualliflik huquqini abadiy saqlab qolishga imkon berib, Kirbidan kelajakdagi barcha royalti haqlarini qaytarishni talab qildi. Agar u shartnomani imzolagan bo'lsa, Marvel unga o'z san'atining 88 sahifasini (umumiy mahsulotining 1 foizidan kamrog'ini) taklif qildi, ammo Kirby bitimni buzgan taqdirda, san'atni qaytarib olish huquqini o'zida saqlab qoldi.[140] Kirbi Marvelni jamoat bezorilariga qo'ng'iroq qilib, ular o'zboshimchalik bilan uning asarlarini ushlab turishgan deb da'vo qilib, Marvelni tanqid qilgandan so'ng, Marvel nihoyat qaytib keldi (ikki yillik muhokamalardan so'ng) taxminan 1900[141] yoki Kirbi taxmin qilingan 10000 dan 13000 gacha bo'lgan sahifalarning 2100 sahifasi kompaniya uchun chizilgan.[142][143]

Ishlab chiqaruvchi uchun Charlz Band, Jek Kirbi filmlar uchun kontseptual san'at yaratdi Doktor Mortalis va Mindmaster, keyinchalik chiqarilishi mumkin edi Doktor Mordrid (1992) va Mandroid (1993) navbati bilan.[144] Doktor Mordrid Marvel Comics personajining rejalashtirilgan moslashuvi sifatida boshlandi Doktor G'alati, lekin Band opsiyasi muddati tugagan.[145][146]

Uchun Topps komikslari, 1993 yilda tashkil etilgan Kirby kompaniya "deb nomlagan bir nechta seriyalarda ishlatilgan belgilarga egalik huquqini saqlab qoldi".Kirbyverse ".[147] Ushbu sarlavhalar asosan Kirbi o'z fayllarida saqlagan dizayn va tushunchalardan kelib chiqqan bo'lib, ba'zilari dastlab o'sha paytda bekor qilingan Tinch okean komikslari uchun mo'ljallangan va keyin Toppsga litsenziyalangan ".Jek Kirbining maxfiy shahar haqidagi hikoyasi "miflar.[148] Fantom Force Kirbi o'limidan oldin ishlagan so'nggi chiziq roman edi. Hikoyani Kirbi Maykl Tibodo va Richard Frants bilan birgalikda sakkiz betlik pitch asosida yozilmagan, foydalanilmagan Bryus Li 1978 yilda kulgili.[149] №1 va 2-sonlar tomonidan nashr etilgan Tasviriy komikslar Kirbi qalamiga siyoh soladigan turli xil tasviriy rassomlar bilan. № 0 va № 3-8 sonlar Genesis West tomonidan nashr etilgan. Kirby # 0 va 4 sonlar uchun qalam bilan ta'minlagan. Thibodeaux Kirbi vafot etganidan keyin seriyaning qolgan sonlarini taqdim etdi.[150]

Shaxsiy hayot va o'lim

1940 yillarning boshlarida Kirbi va uning oilasi Bruklinga ko'chib o'tdilar. U erda Kirbi xuddi o'sha ko'p qavatli uyda yashovchi Rosalind "Roz" Goldstein bilan uchrashdi. Ko'p o'tmay juftlik uchrashishni boshladi.[151] Kirbi 18 yoshga to'lganida Goldsteinga turmushga chiqdi va ikkalasi unashtirildi.[152] Ular 1942 yil 23-mayda turmush qurishdi.[153] Er-xotinning to'rtta farzandi bor edi: Syuzan (1945 yil 6-dekabrda tug'ilgan),[154] Nil (1948 yil may oyida tug'ilgan),[36] Barbara (1952 yil noyabrda tug'ilgan),[155] va Liza (1960 yil sentyabrda tug'ilgan).[154][156]

Bo'lgandan keyin chaqirilgan ichiga AQSh armiyasi va xizmat qilish Evropa teatri yilda Ikkinchi jahon urushi,[157] Kirbi rafiqasi bilan muntazam ravishda yozishib turardi v-pochta, Roz ichki kiyim do'konida ishlagan va onasi bilan yashagan paytida har kuni xatlarni yuborgan[158] Bruklindagi 2820 Brayton 7-ko'chasida.[159] 1944 yil qish paytida Kirbi qattiq azob chekdi muzlash va shifo topish uchun Londondagi kasalxonaga yotqizilgan. Shifokorlar Kirbining qorayib ketgan oyoqlarini kesib tashlashni o'ylashdi, ammo u oxir-oqibat tuzalib, yana yura oldi.[160] U tayinlangan 1945 yil yanvar oyida Qo'shma Shtatlarga qaytib keldi Lager Butner Shimoliy Karolinada, u xizmatining so'nggi olti oyini avtoulovning bir qismi sifatida o'tkazgan. Kirbi edi sharafli ravishda bo'shatildi kabi Xususiy birinchi sinf olgan 1945 yil 20-iyulda Piyodalarga qarshi kurash nishoni, a Evropa / Afrika / Yaqin Sharq kampaniyasi medali va a Bronza yulduzi medali.[161][162]

1949 yilda Kirbi oilasi uchun uy sotib oldi Mineola, Nyu-York, kuni Long Island.[36] Bu keyingi 20 yil ichida oilaning uyi bo'lar edi, Kirbi kengligi atigi 3 metr bo'lgan (3,0 m) podval studiyasida ishlaydi, uni oila hazil bilan "Dungeon" deb atagan.[163] U 1969 yil boshida oilasini Janubiy Kaliforniyaga ko'chirgan, ikkalasi ham qizi Lizaning sog'lig'i uchun quruqroq iqlim sharoitida yashash uchun va Gollivudning Kirbi ish berishi mumkinligiga ishongan.[164]

Intervyusida Kirbining nevarasi Jillian Kirbi Kirbi "liberal demokrat" bo'lganini aytdi.[165]

1994 yil 6 fevralda Kirbi 76 yoshida vafot etdi Ming Oaks, Kaliforniya, uy.[166] U dafn qilindi Vodiy Oaks yodgorlik bog'i yilda Westlake Village, Kaliforniya.

Badiiy uslub va yutuqlar

Brent Staples yozgan Nyu-York Tayms:

U hikoyaning yangi grammatikasini va kinematik harakat uslubini yaratdi. Yog'ochdan yasalgan belgilar bir kadrdan ikkinchisiga, hattoki sahifadan sahifaga kaskadlar bilan o'tib, kitobdan to'g'ridan-to'g'ri o'quvchining qo'yniga tushib qolish bilan tahdid qilar edi. Uloqtiriladigan zarbalar kuchi ko'rinadigan va portlovchi ko'rinishda edi. Hatto dam olish holatida ham Kirbi obrazida keskinlik va energiya ta'sirida xuddi shu belgilarning kino versiyalari taqqoslaganda statik ko'rinishga ega bo'ladi.[167]

Jek Kirbi uning uslubi Jon Karlin tomonidan tasvirlangan "uslubning super qahramoni" deb nomlangan Amerika komikslari ustalari "ataylab ibtidoiy va bomba" sifatida,[168] va boshqa joylarda taqqoslangan Kubist,[169] Futurist, Primitivist va begona san'at.[170] Uning hissalari hajviy kitob shakl, shu jumladan u yaratgan yoki birgalikda yaratgan ko'plab belgilar va ko'pchilik janrlar u ishlagan, uni aniq chiziq roman rassomi deb atashga olib keldi.[171] Hozir Kirbining badiiy asarlarini topish mumkin bo'lgan joylarning sonini hisobga olgan holda, uning dizayniga asoslangan o'yinchoqlar va ularning muvaffaqiyati filmlar uning ishiga asoslanib, Charlz Xetfild va Ben Saunders uni "Amerika tasavvurining bosh me'morlaridan biri" deb e'lon qiladi.[172] U mehnatsevar rassom sifatida qaraldi va uning faoliyati davomida kamida 20 318 bet nashr etilgan badiiy va yana 1385 ta muqovani jalb qilganligi hisoblab chiqilgan. U faqat 1962 yilda 1158 sahifa nashr etdi.[173] Kirbi komikslarni ikki davrda aniqladi. 1940 yillarning boshlarida uning ishi Djo Simon ustida Kapitan Amerika Ip, keyin esa uning 1960-yillardagi super qahramoni prikollari Sten Li da Marvel komikslari va o'z-o'zidan DC komikslari.[174] Kirbi avtobiografikadan tortib deyarli har qanday komiks janrida hikoyalar yaratdi Ko'cha kodi to the apocalyptic science fiction fantasy of Kamandi.[175]

Narrative approach to comics

Like many of his contemporaries, Kirby was hugely indebted to Milton Kaniff, Hal Foster va Aleks Raymond, who codified many of the tropes of narrative art in adventure kulgili chiziqlar. It has also been suggested that Kirby also drew from Burne Xogart, whose dynamic figure work may have informed the way Kirby drew figures; "his ferocious bounding, and grotesquely articulated figures seem directly descended from Hogarth's dynamically contorted forms."[176] His style drew on these influences, all major artists at the time Kirby was learning his craft, with Caniff, Foster and Raymond between them imparting to the sequential adventure comic strip a highly illustrative approach based on realising the setting to a very high degree. Where Kirby diverged from these influences, and where his style impacted on the formation of comic book art, was in his move away from an illustrated approach to one that was more dynamic. Kirby's artistic style was one that captured energy and motion within the image, synergizing with the text and helping to serve the narrative. In contrast, successors to the illustrative approach, such as Gil Keyn, found their work eventually reach an impasse. The art would illustrate, but in lacking movement caused the reader to contemplate the art as much as the written word. Keyinchalik kabi rassomlar Bryan Xitch va Aleks Ross combined the Kirby and Kane approaches, using highly realistic backgrounds contrasted with dynamic characters to create what became known as a widescreen approach to comics.[177]

Kirby's dynamism and energy served to push the reader through the story where an illustrative, detailed approach would cause the eye to linger.[178] His reduction of the presentation of a given scene down to one that represents the semblance of movement has led Kirby to be described as cinematic in his style.[179] Having worked at Fleischer studiyalari before coming to comics, Kirby had a grounding in animation techniques for producing motion. He also realised that comic books weren't subject to the same constraints as the newspaper strip. While other comic book artists recreated the layouts that format used, Kirby swiftly utilised the space a whole comic book page created.[174] As Ron Goulart describes, "(h)e broke up the pages in new ways and introduced splash panels that stretched across two pages."[180] Kirby himself described the creation of his dynamic style as a reaction both to the cinema and to the urge to create and compete: "I found myself competing with the movie camera. I had to compete with the camera. I felt like Jon Genri ... I tore my characters out of the panels. I made them jump all over the page. I tried to make that cohesive so that it would be easier to read ... I had to get my characters in extreme positions, and in doing so I created an extreme style which was recognizable by everybody."[181]

Uslub

Fantastik to'rtlik #51 (June 1966) p. 14. Collage and pencilled figure by Jack Kirby, inks by Joe Sinnott, letters by Artie Simek, dialogue by Stan Lee, illustrating Kirby's use of collage

In the early 1940s Kirby would at times disregard panel chegaralar. A character would be drawn in one panel, but their shoulder and arm would extend outside the border, into the ariq and sometimes on top of a nearby panel. A character may be punched out of one panel, feet being in the original panel and body in the next. Panels themselves would overlap, and Kirby would find new ways to arrange panels on a comic book page. His figures were depicted as lithe and graceful, although Kirby would place them thrusting from the page towards the reader.[182][183][184] The late 1940s and 1950s saw Kirby move away from superhero comics and, working with Joe Simon, try his hand at a number of genres. Kirby and Simon created the romantik prikollar genre, and working in this as well as the war, Western and crime genres saw Kirby's style change. He left behind the diverse panel framing and layouts. The nature of these genres enabled him to channel the energy into the posing and blocking of characters, forcing the drama into the constraints of the panel.[183]

When Kirby and Sten Li came together at Marvel komikslari, his art developed again. His characters and representations became more abstract, less anatomically correct. He would place figures across three planes of a panel's depth to suggest three dimensions.[185] His backgrounds would be less detailed where he did not want the eye to be drawn.[186] His figures would move actively along diagonals,[185] and he utilized foreshortening to make a character appear to recede more deeply into the panel, so that they appeared to move towards the reader, off the page.[184][187][188] During the 1960s Kirby also developed a talent for collages, initially utilising them within the pages of Hayoliy to'rtlik. U tanishtirdi Salbiy hudud as a place within the Marvel Universe that would only be illustrated via collage. However, the reproduction within the published comics of the collages, coupled with the low page rate he was being paid and the time they took to develop saw their use discarded.[189] Kirby would later return to the use of collage in his Fourth World work at DC komikslari. Here he used them most often in the pages of Supermenning Pal, Jimmi Olsen.[190]

Kirby's style in the late 1960s was regarded so highly by Stan Lee that he instituted it as Marvel's house style. Lee would instruct other artists to draw more like Jack, and would also assign them books to work on using Kirby's breakdowns of the story so that they could more closely hew to Kirby's style.[191] Over time, Kirby's style has become so well known that imitations, homages and pastiche are referred to as Kirbyesque.[192][193][194][195]

Kirbi Krakl, also referred to as Kirby Dots,[196] is Kirby's artistic convention of depicting the effect of energy. Within the drawing, a field of black, pseudo-fraktal images is used to represent salbiy bo'shliq around unspecified kinds of energiya.[197][198] Kirby Krackles are typically used in illustrations of portlashlar, smoke, the blasts from ray qurollari, "cosmic" energy, and outer space phenomena.[199] The advanced technology Kirby drew, from the Afrofuturistik holati Vakanda orqali Ona qutilari ning Yangi xudolar to the spaceships and design of the Celestials is gathered together under the collective term "Kirby Tech".[200][201] Jon Pol Leon has described it as "It's tech; it's mechanical even if it's alien, but it's drawn in such an organic way that you don't question it. It's just an extension of his world. I'm not sure who else you could say did that."[202] Kirby's depiction of technology is linked by Charles Hatfield to Leo Marks 's idea of the technological sublime, specifically utilising Edmund Burk ning ta'rifi Ajoyib. Using this definition, Kirby's view and depiction of technology is that of it as something to be feared.[203]

Working method

Jack Kirby's pencils for the splash page to Jin #1 DC komikslari (1972 yil sentyabr). The detailed pencil work Kirby created can be seen in this art

Unlike many of his contemporaries, Kirby did not use preliminary sketches, rough work or layouts. He would instead start with the blank board and draw the story onto the page from top to bottom, start to finish. Ko'plab rassomlar, shu jumladan Karmin Infantino, Gil Kane and Jim Steranko have remarked on the unusual nature of his method. Kirby would rarely erase while working, the art, and therefore the story, would flow from him almost fully formed.[204] Kirby's pencils had a reputation for being detailed, to the point that they were difficult to ink.[205][206] Will Eisner remembers even in the early years that Kirby's pencils were "tight".[207] Working for Eisner, Kirby initially inked with a pen, not confident enough in his ability to use the Japanese brushes Lou Fine and Eisner preferred.[208] By the time Kirby worked with Djo Simon, Kirby had taught himself to use a brush, and would on occasion ink over inked work where he felt it was needed.[209]

Due to the amount of work Kirby produced, it was rare for him to ink his own work. Instead the pencilled pages were sent on to an inker. Different inkers would therefore impact on the published version of Kirby's art, with Kirby himself noting that individual inkers were suited to different genres.[210] For a period during the 1950s, when work had dried up, it's been suggested by Harry Mendryk that Kirby inked himself.[211] By the late 1960s, Kirby preferred to pencil, feeling that "inking in itself is a separate kind of art."[210] Sten Li recalls Kirby not really being too interested in who inked him: "I cared much more about who inked Kirby than Kirby did ... Kirby never seemed to care who inked him ... I think Kirby felt his style was so strong that it just didn't matter who inked him".[212] Chic Stone, an inker of Kirby's during the 1960s at Marvel, recalled "(T)he two best [inkers] for Jack were Mayk Royer va Steve Rude. Both truly maintained the integrity of Jack's pencils."[213]

Hajmi badiiy kengash made a difference to Kirby's style. During the late 1960s the industry shrunk the size of the art board artists used. Prior to 1967, art boards were around 14 x 21 inches, being reproduced at 7 x 10 inches. After 1967 the size of the board shrunk to 15 x 10.[214] This affected the way Kirby drew. Gil Kane noted that "the amount of space around the figures became less and less ... The figures became bigger and bigger, and they couldn't be contained by a single panel or even a single page".[215] Professor Craig Fischer asserts Kirby at first "hated" the new size.[216] Fischer argues that it took Kirby around 18 months to negotiate a way of working at the smaller size. Initially he retreated to a less detailed, close up style, as seen in Fantastik to'rtlik # 68. In adjusting to the new size, Kirby began utilising depth to bring the pages to life, increasing his use of foreshortening.[216] By the time Kirby had moved to DC, he started to incorporate the use of two-page spreads into his art more. These spreads helped define the mood of the story, and came to define Kirby's late era work.[217]

Exhibitions and original art

Kirby's art has been exhibited as part of the Masters of American Comics joint exhibition by Hammer muzeyi va Zamonaviy san'at muzeyi from November 2005 to March 2016.[218] In 2015 Charles Hatfield curated the "Comic Book Apocalypse" exhibition at the Kaliforniya shtati universiteti, Northridge San'at galereyalari. The exhibition focused on Kirby's work from 1965 onward.[219] In 2018 "A Jack Kirby Odyssey" was organised by Tom Kraft. The exhibition displayed photocopies of unpublished Kirby's pencils for stories intended for publication in the 2001 yil: "Kosmik odisseya" comic book adaptation series as well as reproductions of the published work.[220] 1994 yilda Multfilmlar Art Trust organised an exhibition inLondon of Kirby art, "Jack Kirby: The King of Comic Books", in the wake of Kirby's death.[221] In 2010 Dan Nadel and Pol Gravett curated "Jack Kirby: The House That Jack Built", a retrospective of Kirby's career from 1942 to 1985. The exhibition was part of the Fumetto xalqaro komikslar festivali ichida bo'lib o'tdi Luzern, Shveytsariya.[222]

Kirby's original art regularly sells at auction, with Heritage Auctions listing the cover of Shubhasizlik haqidagi ertaklar #84, inked by Frank Giacoia as realising a price of $167,300 in a February 2014 auction.[223] A large portion of Kirby's art remains unaccounted for. Work created around Ikkinchi jahon urushi would have been reused or pulped due to paper shortages. DC komikslari had a policy of destroying original art in the 1950s. Marvel komikslari would also destroy art, up until 1960, when it stored artwork prior to a policy which saw art returned to the artist. In Kirby's case, it's reported he was returned roughly 2,100 pieces of the estimated 10,000 pages drawn. The whereabouts of these missing pages are unknown, although some do turn up for sale, provenance unknown.[224][225]

Kirby's estate

Keyingi nashrlar

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 Belgisi iz a six-issue cheklangan seriyalar, Jek Kirbining "Galaktik ne'mat ovchilari", featuring characters and concepts created by her father for Kapitan G'alaba.[156] The series, scripted by Lisa Kirby, Robertson, Thibodeaux, and Richard French, with pencil art by Jack Kirby and Thibodeaux, and inking by Scott Hanna and Karl Kesel primarily, ran an initial five issues (Sept. 2006–Jan. 2007) and then a later final issue (Sept. 2007).[226]

Marvel posthumously published a "lost" Kirby/Lee Fantastik to'rtlik hikoya, Fantastik to'rtlik: Yo'qotilgan sarguzasht (April 2008), with unused pages Kirby had originally drawn for a story that was partially published in Fantastik to'rtlik #108 (March 1971).[227][228]

2011 yilda, Dynamite Entertainment nashr etilgan Kirbi: Ibtido, an eight-issue miniseries by writer Kurt Busiek and artists Jack Herbert and Aleks Ross, featuring Kirby-owned characters previously published by Pacific Comics and Topps komikslari.[229][230]

Mualliflik huquqi bo'yicha nizo

2009 yil 16 sentyabrda,[231] Kirby's four children served notices of termination to The Walt Disney Studios, 20th Century Fox, Universal Pictures, Paramount Pictures, and Sony Pictures to attempt to gain control of various Silver Age Marvel characters.[232][233] Marvel ushbu da'volarni bekor qilishni xohladi.[234][235] In mid-March 2010 Kirby's children "sued Marvel to terminate copyrights and gain profits from [Kirby's] comic creations."[236] In July 2011, the Nyu-Yorkning janubiy okrugi bo'yicha AQSh sudi chiqarilgan qisqacha hukm Marvel foydasiga,[231][237] tomonidan 2013 yil avgust oyida tasdiqlangan Amerika Qo'shma Shtatlarining Ikkinchi davri bo'yicha apellyatsiya sudi.[238] The Kirby children filed a petition on March 21, 2014, for a review of the case by the Amerika Qo'shma Shtatlari Oliy sudi,[239][240] but a settlement was reached on September 26, 2014, and the family requested that the petition be dismissed.[241] While the settlement has left uncertain the legal right to works governed by the Copyright Act of 1909 created before the 1976 yilgi mualliflik huquqi to'g'risidagi qonun came into force, the Kirby children's attorney, Marc Toberoff, said the issue of ijodkorlarning huquqlari to reclaim the work done as independent contractors remains, and other potential claims have yet to become ripe.[242]

Meros

  • Glen David Gold wrote in Amerika komikslari ustalari that, "Kirby elevates all of us into a realm where we fly among the beating wings of the immortal and the omnipotent, the gods and the monsters, so that we, dreamers all, can play host to the demons of creation, can become our own myths.[243]
  • Maykl Chabon, in his afterword to his Pulitzer Prize-winning novel Kavalier va Kleyning ajoyib sarguzashtlari, 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."[244] Direktor Jeyms Kemeron said Kirby inspired the look of his film Chet elliklar, 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. Absolutely. And he could draw machines like nobody's business. He was sort of like A. E. van Vogt 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."[245]
  • Several Kirby images are among those on the "Marvel Super Heroes" set of esdalik markalari issued by the U.S. Postal Service on July 27, 2007.[246] Ten of the stamps are portraits of individual Marvel characters and the other 10 stamps depict individual Marvel Comic book covers. According to the credits printed on the back of the pane, Kirby's artwork is featured on: Captain America, The Thing, Silver Surfer, Ajoyib o'rgimchak odam #1, Ajoyib Hulk #1, Kapitan Amerika #100, X-Men # 1, va Hayoliy to'rtlik #3.[167][246]
  • 1990-yillarda Supermen: Animatsion seriya television show, police detective Dan Turpin was modeled on Kirby.[247]
  • In the 1998 episode "The Demon Within" of Batmanning yangi sarguzashtlari, Klarion bor Etrigan break into the Kirby Cake Company. Both characters were created by Kirby.
  • In 2002, jazz percussionist Gregg Bendian released a seven-track CD titled Jek Kirbi uchun rekvizit, inspired by Kirby's art and storytelling. Titles of the instrumental cuts include "Kirby's Fourth World", "New Gods", "The Mother Box", "Teaneck in the Marvel Age" and "Air Above Zenn-La ".[248]
  • Various comic-book and cartoon creators have done homages to Kirby. Bunga misollar O'smir mutant Ninja toshbaqalari Mirage Comics series ("Kirby and the Warp Crystal" in Donatello #1, and its animated counterpart, "The King", from the 2003 cartoon series ). The episode of Supermen: Animatsion seriya entitled "Apokolips ... Now!, Part 2" was dedicated to his memory.[249][250]
  • As of June 2018, Hollywood films based on characters Kirby co-created have collectively earned nearly US$7.4 billion.[251] Kirby himself is a character portrayed by Luis Yagüe in the 2009 Spanish short film The King & the Worst, which is inspired by Kirby's service in World War II.[252] U tomonidan tasvirlangan Maykl Parks in a brief appearance in the fact-based drama Argo (2012), about the Kanada Caper.[253]
  • A play based on Kirby's life, King Kirby, by Crystal Skillman and Nyu-York Tayms bestselling comics writer Fred Van Lente, was staged at Brooklyn's Brick Theater as part of its annual Comic Book Theater Festival. O'yin a Nyu-York Tayms Tanqidchilarning tanlovi va keng ommalashtirilgan Kickstarter kampaniyasi tomonidan moliyalashtirildi.[254][255]
  • The 2016 novel I Hate the Internet frequently mentions Kirby as a "central personage" of the novel.[256]
  • To mark Jack Kirby's 100th birthday in 2017, DC komikslari announced a series of bir martalik involving characters that Kirby had created, including The Newsboy Legion and the Boy Commandos, Manhunter, Sandman, the New Gods, Darkseid, and ending with The Black Racer va Shilo Norman.[257]
  • In May 2004, in Fantastic Four issue #511 (written by Mark Waid and penciled by Mike Weiringo), Reed, Sue, and Johnny travel to Heaven to recover the soul of the deceased Ben Grimm. After passing a trial, they are allowed to meet God himself, who is depicted as Jack Kirby. God explains that he is seen by them as what he is to them, and that he considers the fact that they see him as Kirby to be an honor.

Filmografiya

  • Kirby guest starred in the episode "Bounty Hunter" of Starskiy va Hutch as an Officer.
  • Kirby made an un-credited cameo appearance in the episode "No Escape" of Ajoyib Hulk. He can be spotted in the hospital scene as a police sketch artist who is recreating, from the a witness's description, a picture of the man he claimed to have saved his life. Instead of resembling the live-action Hulk, this illustration is instantly recognizable as the Hulk as he appeared in the original comics.
  • Kirby appeared as himself in the episode "You Can't Win" of Bob.

Mukofotlar va sharaflar

Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Xiyobon mukofoti for Best Pencil Artist.[258] The following year he was runner-up behind Jim Steranko. His other Alley Awards were:

  • 1963: Favorite Short Story – "The Human Torch Meets Captain America", by Stan Lee and Jack Kirby, G'alati ertaklar #114[259]
  • 1964:[260]
    • Best Novel – "Captain America Joins the Avengers", by Stan Lee and Jack Kirby, from Qasoskorlar #4
    • Best New Strip or Book – "Captain America", by Stan Lee and Jack Kirby, in Shubhasizlik haqidagi ertaklar
  • 1965: Best Short Story – "The Origin of the Red Skull", by Stan Lee and Jack Kirby, Shubhasizlik haqidagi ertaklar #66[261]
  • 1966: Best Professional Work, Regular Short Feature – "Tales of Asgard" by Stan Lee and Jack Kirby, in Thor[262]
  • 1967: Best Professional Work, Regular Short Feature – (tie) "Tales of Asgard" and "Tales of the Odamlar ", both by Stan Lee and Jack Kirby, in Thor[258]
  • 1968:[263]
    • Best Professional Work, Best Regular Short Feature – "Tales of the Inhumans", by Stan Lee and Jack Kirby, in Thor
    • Best Professional Work, Hall of Fame – Fantastik to'rtlik, by Stan Lee and Jack Kirby; Nik Fyuri, S.H.I.E.L.D agenti., by Jim Steranko[263]

Kirby won a Shazam mukofoti for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, Yangi xudolar, Janob mo''jizava Supermendan Pal Jimmi Olsen.[264] U qabul qildi Inkpot mukofoti 1974 yilda[265] and was inducted into the Shazam Awards Hall of Fame in 1975.[266] In 1987 he was an inaugural inductee into the Will Eisner komikslar shon-sharaf zali.[267] He received the 1993 Bob Clampett Humanitarian Award at that year's Eisner mukofotlari.[268]

His work was honored posthumously in 1998: The collection of his New Gods material, Jack Kirby's New Gods, edited by Bob Kahan, won both the Harvi mukofoti for Best Domestic Reprint Project,[269] and the Eisner Award for Best Archival Collection/Project.[270] On July 14, 2017, Jack Kirby was named a Disney afsonasi for the co-creation of numerous characters that would comprise Disney's Marvel kinematik olami.[271]

The Jek Kirbi mukofotlari va Jack Kirby Hall of Fame uning sharafiga nomlangan.[272][273][274] He was the posthumous recipient of the Bill Finger mukofoti 2017 yilda.[275]

Bilan Will Eisner, Robert Crumb, Xarvi Kurtman, Gari Panter va Kris Uar, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Yahudiylar muzeyi in New York City from September 16, 2006 to January 28, 2007.[276][277]

Asteroid 51985 Kirbi, discovered September 22, 2001, was named in his honor.[278] A krater kuni Merkuriy, located near the north pole, was named in his honor in 2019.[279]

Bibliografiya

Asosiy maqola: Jek Kirbi bibliografiyasi

This is an abridged listing of Kirby's comics work (interior pencil art) for the two main comics publishers, DC Comics and Marvel Comics. For his work at DC it lists any title Kirby worked on for eight or more issues between 1970 and 1976. Of his Marvel Comics work, it lists any title Kirby worked on for eight or more issues between 1959 and 1978.

DC komikslari

Marvel komikslari

Adabiyotlar

  1. ^ Morrison, Grant (2011 yil 23-iyul). "My Supergods from the Age of the Superhero". The Guardian. London, Buyuk Britaniya. Arxivlandi asl nusxasidan 2012 yil 24 fevralda. Olingan 23 iyul, 2011.
  2. ^ a b Evanier, Mark; Sherman, Steve; va boshq. (2008 yil 20 mart). "Jack Kirby Biography". Jack Kirby Museum & Research Center. Arxivlandi asl nusxasidan 2013 yil 17 sentyabrda. Olingan 24-fevral, 2012.
  3. ^ Hamilton, Sue L. Jek Kirbi. ABDO Group, 2006. ISBN  978-1-59928-298-5, p. 4
  4. ^ Jons, Jerar (2004). Ertangi erkaklar: Geekslar, gangsterlar va hajviy kitobning tug'ilishi. Asosiy kitoblar. pp.195–96. ISBN  978-0-465-03657-8.
  5. ^ a b Mark Evanier, Mark (2008). Kirbi: Komikslar qiroli. Nyu-York, Nyu-York: Abrams. p. 34. ISBN  978-0-8109-9447-8.
  6. ^ Jons, p. 196
  7. ^ "'I've Never Done Anything Halfheartedly'". Komikslar jurnali. Sietl, Vashington: Fantagrafik kitoblar (134). February 1990. Qayta nashr etilgan George, Milo, ed. (2002). Komikslar jurnali kutubxonasi, birinchi jild: Jek Kirbi. Sietl, Vashington: Fantagrafik kitoblar. p. 22. ISBN  978-1-56097-466-6.
  8. ^ [1] at Cartoon Research.com.
  9. ^ Intervyu, Komikslar jurnali #134, reprinted in George, p. 24
  10. ^ Intervyu, The Nostalgia Journal #30, November 1976, reprinted in George, p. 3
  11. ^ a b v d e f g h men j k Jek Kirbi Grand Comics ma'lumotlar bazasida.
  12. ^ Jons, p. 197
  13. ^ "More Than Your Average Joe – Excerpts from Joe Simon's panels at the 1998 San Diego Comic-Con International". Jek Kirbi kollektsioneri. Raleigh, Shimoliy Karolina: TwoMorrows nashriyoti (25). 1999 yil avgust. Arxivlandi from the original on November 30, 2010.
  14. ^ Captain Marvel Adventures #[1] da Katta komikslar uchun ma'lumotlar bazasi.
  15. ^ Mendryk, Harry (November 19, 2011). "In the Beginning, Chapter 10, Captain Marvel and Others". Arxivlandi asl nusxasidan 2018 yil 29 mayda. Olingan 29 may, 2018.
  16. ^ Sanderson, Piter; Gilbert, Laura, ed. (2008). "1940-yillar". Marvel Chronicle Bir yil tarixi bo'yicha. London, Buyuk Britaniya: Dorling Kindersli. p. 18. ISBN  978-0756641238. Simon and Kirby decided to create another hero who was their response to totalitarian tyranny abroad.CS1 maint: qo'shimcha matn: mualliflar ro'yxati (havola)
  17. ^ a b Ro, Ronin (2004). Ajablanadigan ertaklar: Jek Kirbi, Sten Li va Amerika chiziq romanlari inqilobi. Bloomsbury, AQSh. p. 25. ISBN  978-1-58234-345-7.
  18. ^ Markshteyn, Don (2010). "Kapitan Amerika". Don Markshteynning Toonopediyasi. Olingan 9 aprel, 2012. Captain America was the first successful character published by the company that would become Marvel Comics to debut in his own comic. Kapitan Amerika prikollari #1 was dated March, 1941.
  19. ^ Jons, p. 200
  20. ^ Ro, p. 21
  21. ^ Ro, p. 25-26
  22. ^ a b Ro, p. 27
  23. ^ Ro, p. 28
  24. ^ Ro, p. 30
  25. ^ Uolles, Doniyor; Dolan, Xanna, ed. (2010). "1940-yillar". DC Comics Year to Year A Visual Chronicle. London, Buyuk Britaniya: Dorling Kindersli. p. 41. ISBN  978-0-7566-6742-9. Hot properties Joe Simon and Jack Kirby joined DC ... [and] after taking over the Sandman and Sandy, the Golden Boy feature in Sarguzasht prikollar #72, the writer and artist team turned their attentions to Manhunter with issue #73.CS1 maint: qo'shimcha matn: mualliflar ro'yxati (havola)
  26. ^ Uollas "1940-yillar" Dolan, p. 41 "The inaugural issue of Bola qo'mondonlari represented Joe Simon and Jack Kirby's first original title since they started at DC (though the characters had debuted earlier that year in Dedektiv prikollar #64.)"
  27. ^ a b Ro, p. 32
  28. ^ Uollas "1940-yillar" Dolan, p. 41 "Joe Simon and Jack Kirby took their talents to a second title with Star-Spangled Comics, tackling both the Guardian and the Newsboy Legion in issue #7."
  29. ^ Levits, Pol (2010). "Oltin asr 1938–1956". 75 yillik DC komikslari Zamonaviy afsonalar san'ati. Kyoln, Germaniya: Taschen. p. 131. ISBN  9783836519816.
  30. ^ a b Ro, p. 33
  31. ^ a b Evanier, p. 67
  32. ^ Ro, p. 35
  33. ^ Ro, p. 45
  34. ^ a b Simon, Djo, Jim Simon bilan. Komikslar yaratuvchilari (Crestwood / II, 1990) ISBN  978-1-887591-35-5; qayta chiqarilgan (Vanguard Productions, 2003) ISBN  978-1-887591-35-5, 123-125-betlar
  35. ^ Evanier, Komikslar qiroli. p. 72
  36. ^ a b v d e Ro, p. 46
  37. ^ a b Howell, Richard (1988). "Kirish". Real Love: The Best of the Simon and Kirby Love Comics, 1940s–1950s. Forestville, California: Eclipse Books. ISBN  978-0913035634.
  38. ^ Simon, p. 125
  39. ^ Ro, p. 52
  40. ^ a b Ro, p. 54
  41. ^ Beerbohm, Robert Lee (August 1999). "The Mainline Story". Jek Kirbi kollektsioneri. Raleigh, North Carolina: TwoMorrows Publishing (25). Arxivlandi asl nusxasi 2011 yil 26 mayda. Olingan 26 mart, 2008.
  42. ^ Teakston, Greg (1997). The Complete Jack Kirby. Pure Imagination Publishing, Inc. p. 29. ISBN  1-56685-006-1.
  43. ^ Simon, Jou; with Simon, Jim (1990). Komikslar yaratuvchilari. Crestwood/II Publications. p. 151. ISBN  978-1-887591-35-5. Reissued (Vanguard Productions, 2003) ISBN  978-1-887591-35-5. Page numbers refer to 1990 edition.
  44. ^ Asosiy yo'nalish Grand Comics ma'lumotlar bazasida.
  45. ^ Ro, p. 55
  46. ^ Ro, p. 56
  47. ^ "'I Created an Army of Characters, and Now My Connection with Them Is Lost". Evanston, Illinois: interview, The Great Electric Bird radio show, WNUR-FM, Shimoli-g'arbiy universiteti. May 14, 1971. Transcribed in The Nostalgia Journal (27) August 1976. Reprinted in George, p. 16
  48. ^ Ro, p. 60
  49. ^ Kirby's 1956–57 Atlas work appeared in nine issues, plus three more published later after being held in inventory, per "Another Pre-Implosion Atlas Kirby". Jek Kirbi muzeyi. 2007 yil 3-noyabr. Arxivlandi 2012 yil 9 iyuldagi asl nusxadan. In roughly chronological order: Jang maydoni #14 (Nov. 1956; 5 pp.), Ajablanarli #56 (Dec. 1956; 4 pp.), G'ayrioddiy g'alati ertaklar #7 (Dec. 1956; 4 pp.), Tezkor-g'arbiy #16 (Feb. 1957; 5 pp.), Sariq tirnoq #2–4 (Dec. 1956 – April 1957; 19 pp. each), Black Rider Rides Again #1, a.k.a. Qora chavandoz jild 2, #1 (Sept. 1957; 19 pp.), and Ikki qurolli g'arbiy #12 (Sept. 1957; 5 pp.), plus the inventoried Gunsmoke Western #47 (July 1958; 4 pp.) and #51 (March 1959; 5 pp. plus cover) and Kid Colt noqonuniy #86 (Sept. 1959; 5 pp.)
  50. ^ Irvin, Aleks "1950-yillar" Dolan, p. 84: "Kirby's first solo project was a test run of a non-super hero adventure team called Challengers of the Unknown. Appearing for the first time in Vitrin #6, the team would make a few more Vitrin appearances before springing into their own title in May 1958."
  51. ^ Evanier, Mark (2001). "Kirish". Yashil o'q. Nyu-York, Nyu-York: DC komikslari. All were inked by Jack with the aid of his dear spouse, Rosalind. She would trace his pencil work with a static pen line; he would then take a brush, put in all the shadows and bold areas and, where necessary, heavy-up the lines she'd laid down. (Jack hated inking and only did it because he needed the money. After departing DC this time, he almost never inked his own work again.)
  52. ^ Ro, p. 61
  53. ^ Evanier, King of Comics, pp. 103–106: "The artwork was exquisite, in no small part because Dave Wood had the idea to hire Wally Wood (no relation) to handle the inking."
  54. ^ Evanier, Komikslar qiroli, p. 109
  55. ^ Ro, p. 91
  56. ^ Van Lente, Fred; Dunlavey, Rayan (2012). Comic Book History of Comics. San Diego, California: IDW Publishing. pp. 46–49, 100. ISBN  978-1613771976.
  57. ^ Jons, p. 282
  58. ^ Christiansen, Jeff (March 10, 2011). "Groot". Marvel koinotining qo'llanmasiga ilova. Arxivlandi asl nusxasidan 2013 yil 13 noyabrda.
  59. ^ Christiansen, Jeff (January 17, 2007). "Grottu". Marvel koinotining qo'llanmasiga ilova. Arxivlandi asl nusxasidan 2013 yil 13 noyabrda.
  60. ^ Markshteyn, Don (2009). "The Fly". Don Markshteynning Toonopediyasi. Arxivlandi asl nusxasidan 2014 yil 14 avgustda.
  61. ^ Markshteyn, Don (2007). "Qalqon". Don Markshteynning Toonopediyasi. Arxivlandi from the original on April 12, 2013.
  62. ^ DeFalco, Tom "1960-yillar" Gilbertda (2008), p. 84: "It did not take long for editor Stan Lee to realize that Hayoliy to'rtlik was a hit ... the flurry of fan letters all pointed to the FF's explosive popularity."
  63. ^ Krensky, Stephen (2007). Comic Book Century: The History of American Comic Books. Minneapolis, Minnesota: Yigirma birinchi asr kitoblari. p. 59. ISBN  978-0-8225-6654-0. Readers ... liked seeing Reed and Sue bicker, Johnny annoying everyone, and Ben being grumpy. ... Kirby's vivid illustrations created a whole new style for Marvel. Together, Lee's natural dialog and flawed characters appealed to 1960s kids looking to 'get real, while Kirby's imaginative art matched the colorful, loose style of the time.
  64. ^ Mercier, Sebastian T. (2008). "'Truth, Justice and the American Way: The Intersection of American Youth Culture and Superhero Narratives". Iowa Historical Review. Ayova universiteti. 1 (2): 37–38. doi:10.17077/2373-1842.1010. Arxivlandi asl nusxasidan 2017 yil 7 yanvarda. Amerika madaniyatini liberallashtirish superqahramon hajviy kitoblariga 1950-yilgi tsenzuraning ortidagi taxminlarni rad etishga imkon berdi. ... Marvel o'zlarini nashriyot maverikasi sifatida tuta oldi. Ularning bir nechta yangi qahramonlari, shu jumladan Fantastic Four va Amazing Spider-Man real hayotdagi sezgirlik va muammolarni aks ettira oldi. Yengilmas temir odam va Kumush sörfçü kabi boshqa qahramonlar 1960-yillarning siyosiy manzarasini o'rganib chiqishdi. Yoshlar madaniyati bilan yaqin aloqalar, superqahramonlar o'zlarini Amerika milliy ongiga qaytarishlarini anglatadi.
  65. ^ Gil Keyn 1985 yil 6-iyulda Dallasdagi Fantaziya yarmarkasida forumda so'zga chiqqan. Jorjda keltirilganidek, p. 109
  66. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 85: "Ularning hamkorligi asosida Hayoliy to'rtlik, [Sten] Li Jek Kirbi bilan ishlagan. Ammo an'anaviy Marvel hayvonlar bilan kurashadigan jamoaning o'rniga Li bu safar u qahramon sifatida yirtqich hayvonni namoyish qilmoqchi ekanligiga qaror qildi. "
  67. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 88: "[Sten Li] har doim Norvegiya xudolarining afsonalariga hayron bo'lgan va u ushbu ertaklardan qudratli Thorga bag'ishlangan yangi seriyasiga asos bo'lishi mumkinligini anglagan ... Bu qahramonlik va jozibali uslub ... Jek Kirbi [edi] Thor uchun juda yaxshi edi. "
  68. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 94: "X-Men # 1 professor Charlz Xaver va uning o'spirin talabalari Cyclops, Beast, Angel, Iceman va Marvel Girl bilan dunyoni tanishtirdi. Magnetizm ustasi va yovuz mutantlarning kelajakdagi rahbari Magneto ham paydo bo'ldi. "
  69. ^ Kronin, Brayan (2010 yil 18 sentyabr). "Ajoyib komikslar yili - 261-kun". Komikslar manbalari. Arxivlandi asl nusxasidan 2010 yil 23 noyabrda. Olingan 29 sentyabr, 2010.
  70. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 111: "Insonlar, 25000 yil oldin insoniyatdan ajralib, genetik jihatdan rivojlangan yo'qolgan irq."
  71. ^ Kronin, Brayan (2010 yil 19 sentyabr). "Ajoyib komikslar yili - 262-kun". Komikslar manbalari. Arxivlandi 2011 yil 8 iyuldagi asl nusxasidan. Olingan 29 sentyabr, 2010.
  72. ^ Parker, Rayan (2018 yil 15-fevral). "'"Qora Panter" ning hammuallifi Jek Kirbi film hodisasini hayratda qoldirgan bo'lar edi, deydi oila. Hollywood Reporter. Olingan 10 iyun, 2018.
  73. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 117: Sten Li birinchi qora tanli super qahramonni yaratib, o'z hissasini qo'shishni xohladi. Li o'z g'oyalarini Jek Kirbi bilan muhokama qildi va natijada ko'rindi Fantastik to'rtlik #52.
  74. ^ Theakston, Greg (2002). Stiv Ditko o'quvchisi. Bruklin, Nyu-York: Sof tasavvur. ISBN  1-56685-011-8.
  75. ^ Manning, Metyu K.; Gilbert, Laura, ed. (2012). "1960-yillar". O'rgimchak odam xronikasi 50 yillik veb-slingingni nishonlamoqda. London, Buyuk Britaniya: Dorling Kindersli. p. 15. ISBN  978-0756692360. Kirbi O'rgimchak odamni chizishda belanchak olgan birinchi qalamchi bo'lish sharafiga muyassar bo'ldi. Garchi uning sahifalari uchun rasmlari Ajoyib fantaziya # 15 ni oxir-oqibat Stiv Ditko qayta tikladi, Sten Li Kirbining Spideysi unchalik yosh emas deb qaror qilgandan so'ng, qirol baribir masalaning tarixiy qopqog'iga hissa qo'shdi.CS1 maint: qo'shimcha matn: mualliflar ro'yxati (havola)
  76. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 94: "Bir nechta ajoyib vizual harakatlar bilan to'ldirilgan, Qasoskorlar # 1-da juda oddiy bir voqea bor: Norvegiya xudosi Loki Hulkni buzg'unchilikka boshlash uchun aldadi ... Qahramonlar oxir-oqibat Lokining ishtiroki to'g'risida bilib, Xalk bilan birlashib, Qasoskorlarni yaratdilar. "
  77. ^ Fazilat, Graeme (2017 yil 28-avgust). "Kapitan Amerika, X-Men, Temir odam, Qasoskorlar ... Jek Kirbi, komikslar qiroli". The Guardian. Olingan 10 iyun, 2018.
  78. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 86: "Sten Li va Jek Kirbi Marvelning eng mashhur" Oltin asr "qahramonlaridan biri - Sub-Mariner - Namorni qayta tanishtirdilar."
  79. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 99: "" Kapitan Amerika yana yashaydi! " ning muqovasini e'lon qildi Qasoskorlar # 4 ... Cap qaytib keldi. "
  80. ^ Batchelor, Bob (2017). Sten Li: Marvel ortidagi odam. Lanxem, Merilend. p. 73. ISBN  978-1-4422-7781-6.
  81. ^ Xetfild, Charlz (2004). "Galaktus trilogiyasi: minnatdorchilik". To'plangan Jek Kirbi kollektsioneri 1-jild. p. 211. ISBN  978-1893905009.
  82. ^ Tomas, Roy; Sanderson, Piter (2007). Marvel Vault: Marvel dunyosidagi noyob kollektsiyalar to'plami bilan kitobga qo'yilgan muzey. Filadelfiya, Pensilvaniya: Matbuotni ishga tushirish. p. 93. ISBN  978-0762428441. So'ngra barcha nashrlarning sonlari paydo bo'ldi, tez afsona, trilogiyasi Fantastik to'rtlik O'quvchilarni hayajonga solgan (# 48-50) darhol "Galaktus trilogiyasi" ni suvga cho'mdirdi, bu nom o'n to'rt yil o'tib ham tan olingan.
  83. ^ Kronin, Brayan (2010 yil 19-fevral). "Ajoyib komikslar yili - 50-kun". Komikslar manbalari. Arxivlandi asl nusxasidan 2010 yil 4 mayda. Olingan 29 sentyabr, 2010.
  84. ^ DeFalco "1960-yillar" Gilbertda (2008), p. 115: "Sten Li Galaktus bilan yakunlangan ijodiy munozarani boshlagan bo'lishi mumkin, ammo Kumush Sörferning kiritilishi Fantastik to'rtlik # 48 sof Jek Kirbi edi. Kirbi Galaktus singari mavjudot uchun ham xuddi shunday ta'sirchan jarchi zarurligini tushundi. "
  85. ^ Greenberger, Robert, ed. (2001 yil dekabr). Barcha zamonlarning eng buyuk mo''jizalari. Marvel komikslari. p. 26.
  86. ^ Daniels, Les (1991). Marvel: Dunyoning eng buyuk komikslarining beshta ajoyib o'n yilligi. Nyu-York, Nyu-York: Garri N. Abrams. p. 128. ISBN  9780810938212.
  87. ^ Foley, Sheyn (2001 yil noyabr). "Kracklin 'Kirby: Kirby Krackle paydo bo'lishining izi". Jek Kirbi kollektsioneri (33). Arxivlandi asl nusxasidan 2010 yil 30 noyabrda.
  88. ^ Simon, p. 205
  89. ^ Evanier, Komikslar qiroli, p. 126-163
  90. ^ Sanderson "1970-yillar" Gilbertda (2008), p. 146: "Marvel komikslar qatorini kengaytirar ekan, kompaniya ikkita yangi" split "kitobni taqdim etishga qaror qildi ... Ajoyib sarguzashtlar va Ajablanadigan ertaklar. Ajoyib sarguzashtlar genetik jihatdan yaxshilangan Inhumans va "Qora beva" razvedka agenti haqida turkumlarni o'z ichiga olgan. "
  91. ^ Evanier, Komikslar qiroli, p. 163
  92. ^ Braun, Shoul (1971 yil 2-may). "Shazam! Mana tegishli kapitan keladi". The New York Times jurnali. Olingan 18 yanvar, 2012.
  93. ^ a b Van Lente va Dunlavey, p. 115
  94. ^ Ro, p.139
  95. ^ Ro, p. 143
  96. ^ McAvennie, Maykl "1970-yillar" Dolan, p. 145 "Har biri o'ziga xos ohang va mavzuga ega bo'lgan to'rtinchi dunyo o'zaro bog'liq unvonlarning oilasi yozuvchisi, rassomi va muharriri sifatida Jek Kirbi o'zining merosini katta miqyosli hikoyalarning kashshofi sifatida mustahkamladi."
  97. ^ Evanier, Mark. "So'z." Jek Kirbining to'rtinchi dunyo omnibusi; 1-jild, Nyu-York: DC komikslari, 2007 yil.
  98. ^ McAvennie "1970-yillar" Dolan, p. 141 "Biron bir ijodiy jamoaga rejalashtirilmaganligi sababli Supermenning Pal, Jimmi Olsen, "Komikslar qiroli" Jek Kirbi bu sarlavhani shaharni boshlash nuqtasiga aylantirdi va yozuvchi / rassomning o'chmas kuchi va g'oyalari komiksning har bir paneli va so'z shariga singib ketdi. "
  99. ^ Rafael, Iordaniya; Spergeon, Tom (2004). Sten Li va Amerikaning hajviy kitobining ko'tarilishi va qulashi. Chicago Review Press. p. 218. ISBN  9781613742921.
  100. ^ Evanier, pp172-7
  101. ^ Evanier, Mark (2003 yil 22-avgust). "Jek Kirbining Supermeni". POV Online. Arxivlandi asl nusxasidan 2012 yil 8 martda. Olingan 22 aprel, 2012. Plastino yangi Supermen figuralarini va Olsenning boshlarini taxminan bir xil pozalarda va pozitsiyalarda chizgan va ular san'at asarlariga yopishtirilgan.
  102. ^ a b v Kraft, Devid Entoni; Slifer, Rojer (1983 yil aprel). "Mark Evanier". Prikollar bilan suhbat (2). Badiiy kitoblar. 23-34 betlar.
  103. ^ Daniels, Les (1995). "To'rtinchi dunyo: gazetalarda yangi xudolar". DC komikslari: Dunyoning oltmish yillik sevimli qahramonlari. Nyu-York, Nyu-York: Bulfinch Press. p. 165. ISBN  0821220764.
  104. ^ Morrison, Grant (2007). "Kirish". Jek Kirbining to'rtinchi dunyo Omnibus birinchi jildi. Nyu-York, Nyu-York: DC komikslari. pp.7–8. ISBN  978-1401213442.
  105. ^ McAvennie "1970-yillar" Dolan, p. 147: "Komikslar vositasi rivojlanishini davom ettirish uchun yangi formatlarning zarurligiga ishongan Kirbi o'zining" Gapirish-chiqish seriyasi "deb nomlangan jurnalni ishlab chiqarishni nazorat qildi: Ruhiy dunyo va Mob kunlarida ... Afsuski, ushbu noyob jurnallar hech qachon kerakli auditoriyani topa olmagan. "
  106. ^ McAvennie "1970-yillar" Dolan, p. 161 "In OMAC birinchi soni, muharriri / yozuvchisi / rassomi Jek Kirbi o'quvchilarni "Bu dunyo keladi!" deb ogohlantirdi, bu kelajakda bugungi kunda deyarli qo'rqinchli darajada haqiqiy bo'lgan vahshiy tushunchalarni o'z ichiga oladi.
  107. ^ McAvennie "1970-yillar" Dolan, p. 153 "Kirbi allaqachon shunga o'xshash kontseptsiya va belgilarni taqdim etgan edi Dahshatli ertaklar №1 (1957) ... Kirbi o'zining "G'orlarning Kamandi" gazetasi bilan nashr etilishi bilan birlashganda, "Buyuk ofat" tomonidan vayron qilingan va gaplashuvchi hayvonlar tomonidan egallab olingan olamni kezib chiqdi. "
  108. ^ McAvennie "1970-yillar" Dolan, p. 152 "Uning" To'rtinchi Dunyo "opusi pastga tushganda, Jek Kirbi galaktikaning eng chekka qismida emas, balki Do'zaxning eng chuqur chuqurlarida paydo bo'lgan keyingi ijodini tasavvur qilish bilan band edi. Etrigan deyarli odatiy Kirbi qahramoni emas edi."
  109. ^ Kelly, Rob (2009 yil avgust). "Kobra". Orqaga nashr!. Raleigh, Shimoliy Karolina: TwoMorrows Publishing (35): 63. Ehtimol, bu Kobra afsonaviy Jek "Qirol" Kirbi tomonidan yaratilganligi sababli edi, u birinchi nashrning "Kobraning tishlari!" Hikoyasini yozgan va qalam bilan yozgan.
  110. ^ McAvennie "1970-yillar" Dolan, p. 161 "Jek Kirbi, shuningdek, doimiy ravishda o'rnatilgan DC belgilar guruhini o'z zimmasiga oldi, ular yo'qotadigan narsalari yo'q edi. Natijada bir yil davom etgan natijalar Bizning jangovar kuchlarimiz aksiyalarga bag'ishlangan, shaxsiy va Ikkinchi Jahon Urushidagi eng sevimli komikslar orasida bo'lgan ertaklar. "
  111. ^ McAvennie "1970-yillar" Dolan, p. 158 "Yozuvchi Djo Simon va rassom / muharrir Jek Kirbining afsonaviy tandemi Sandman ishtirokidagi bir martalik otish uchun qayta uchrashdi ... Nashrning mashhur bo'lishiga qaramay, bu Simon va Kirbining so'nggi hamkorligi bo'ladi".
  112. ^ McAvennie "1970-yillar" Dolan, p. 162: "Buyuk Atlas bilan debyut qilish, yozuvchi va rassom Jek Kirbi taniqli qahramonga o'z spinini qo'yish imkoniyatidan yelkalanmagan."
  113. ^ McAvennie "1970-yillar" Dolan, p. 164: "Garchi 1-sonli maxsus birinchi navbatda DC-ning forumi bo'lib, u yangi qahramonlar va voqealarni namoyish etdi, muharrir Jek Kirbi serialni o'zi va yozuvchi Djo Simon 1940 yillarda mashhur qilgan Manxunterni yangilash uchun imkoniyat sifatida ishlatdi. "
  114. ^ Abramovits, Jek (2014 yil aprel). "1-sonli maxsus Yo'q edi Vitrin (Lekin bu hech qachon bo'lishi kerak emas edi) ". Orqaga nashr!. Raleigh, Shimoliy Karolina: TwoMorrows Publishing (71): 40-47.
  115. ^ Ro, 12-13 boblar.
  116. ^ Bullpen byulletenlari: "Shoh qaytdi! 'Nuff Said!", Marvel Comics-da 1975 yil oktyabrda nashr etilgan, shu jumladan Fantastik to'rtlik #163
  117. ^ Sanderson "1970-yillar" Gilbertda (2008), p. 175: "Yarim o'n yillik bo'lmaganidan so'ng, Jek Kirbi Marvel Komikslariga yozuvchi, qalamkash va Jo Simon bilan birga 1941 yilda yaratgan seriyasining muharriri sifatida qaytdi".
  118. ^ Pauers, Tom (2012 yil dekabr). "Kirbi Amerikaning 200 yilligini nishonlamoqda: Kapitan Amerikaning ikki yuz yillik janglari". Orqaga nashr!. Raleigh, Shimoliy Karolina: TwoMorrows Publishing (61): 46-49.
  119. ^ Sanderson "1970-yillar" Gilbertda (2008), p. 175: "Jek Kirbining 1970-yillarda qaytishi paytida Marvel uchun eng muhim ijodi uning epik seriyasi edi Manguliklar"
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