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Captain Jack - The Greatest Hits Rar _VERIFIED_

Conor Hughes-- I think we can agree to disagree about the two "failures." For me, the failures confirm that what Kirby does is difficult-- he can't just draw arbitrary squiggles and rely on them to work out. Unless he pays attention, his abstractions can crash and burn. It proves his liberties aren't just random. I do think we have to be careful about the excuses we (meaning a number of commenters) make for Kirby. Sure, we can say Colletta didn't follow the pencils well, or that his wife Ros had no prior experience with inking or that convention drawings don't count or that Kirby didn't have the reference to rely on that other artists use, or that he deserves some credit for the fact that he had to work at lightning speed. But these are all reasons why critics of comic book art turn up their noses at this medium. They say, "OK, perhaps this artist could have done a great job if he weren't working with so many disadvantages, but why should we waste our time on a medium with so many disadvantages for an artist? Who wants to see a race horse run with 200 pounds of lead weights on his back? If we want to see what an artist is truly capable of, why not not turn to an art form that isn't so hostile to quality?" The greatest comic artists, it seems to me, make their peace with the limitations of the medium and find a way to achieve excellence regardless of the deadlines, reproduction issues, etc. I think Kirby did this. PS-- I'd say that if an artist finds that doing three pages per day interferes with their quality, sometimes it's their artistic duty to do only two pages per day. Back when Bernie Wrightson was inventing Swamp Thing, he put an insane amount of effort into each page. It couldn't have been very lucrative at the time, but decades later they are still a rock solid foundation for his reputation for excellence.Richard wrote: "David, can you elaborate on power with some specifics?"I agree that the Stuntman cover does not help Kirby's case at all. But I do think that Kirby's anatomy is genetically engineered around power. He draws thighs like tree trunks. They have unnaturally extended femurs. In place of the lines that a normal artist would use to convey leg muscles (vastus lateralis, rectus femoris) Kirby uses thick black slashing brush strokes, a compromise between speed lines and descriptive lines. In fact, most of his his body lines are streamlined, like reflections in chrome-- a technique he apparently perfected while creating the silver surfer and later applied to most bodies. I think this technique suggests a metallic strength, as opposed to the fragility of organic tissue. If you look at how Kirby applies that approach to back and shoulder muscles, his squiggles don't relate to ordinary anatomy, but enable him to heap up convex lines to exaggerate power in a way that Curt Swan could never do with Superman. His hands are often oversized, like blunt instruments. But more importantly, in his later years (the years that impress me the most, from FF #48 on) he was the best in the comic book biz at simplifying and amplifying power in his compositions. Bodies like coiled spring, blows delivered with great release. I was looking at a satirical story by Kirby the other day from Marvel's "Not Brand Echh" series. Kirby's efforts to draw "funny" were simply dreadful but the moment there was a blow delivered, you saw his real talent at work. There is a scene where a flying surf board hits Doctor Doom in the back of the head and drives his face through a tree, that is absolutely beautifully rendered. ( -brand-echh-first-issue-the-silver-burper/jack-kirby-stan-lee-not-brand-echh-fantastic-four-10/ ) Yet, the drawings immediately before and after it are puerile.

captain jack - the greatest hits rar


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