Liar, Liar

 Presented as the alternative to decades of propaganda.

As I predicted long ago, with the death of the corporate shill known as Stan Lee, the truth about his career in comics is coming out at a more rapid pace than when he was still breathing. But while it's easier to get the word out concerning his moral crimes, it's no easier to deal with his fans when one is telling the truth about him.

I can only describe his fan base as religious fanatics. They have been fed a line about his divinity and if you challenge this line you are at risk of the same kind of attack you would expect from a crazed fundamentalist, or from a rabid animal. When you tell what really happened at Marvel after Jack Kirby and Steve Ditko transformed the publisher from a faltering outfit into a tremendous success the Liar's true believers will descend on you with knives out.

Here, then, are the basic truths:

What we know of today as the Marvel Universe was created mainly by Jack Kirby. To a lesser extent it was also given commercial success by Steve Ditko. There were additional contributors such as Bill Everett, Wally Wood, Dick Ayers, Don Heck, and others; but the mass of the modern fables emerged from the minds and talents of Jack Kirby and Steve Ditko.

The big liar we call Stan Lee (Stanley Lieber) was the editor for the comics arm of a publishing company started by Martin Goodman. Lee was cousin-by-marriage to Goodman, so his installation into the company was an act of pure nepotism. No talent was involved, and no meritocracy was at work. A relative was shown the ropes and was provided with a steady paycheck at a very young age. Lee's lack of talent is obvious in that he never left the employ of his relative and stayed there over the years, never venturing forth to find gainful employment elsewhere, and never proving himself as anyone valuable enough for a head hunter to come calling. It's often said that Lee was a good salesman, but I always found him to be on a level with a scamming used car salesman. His personality was odious, at best.

But what service did he provide for Martin Goodman? After Jack Kirby and Steve Ditko were allowed to create new titles to cash in on the superhero craze of the early 1960s, Goodman needed a salaried employee whose name could be attached to the intellectual property to cement the company's claim to that property. And, as the only salaried employee at the comics arm of Martin Goodman's corporation, Lee fit the bill.

So: the liar's name went on every book as writer. Later, Lee claimed to have created all of the titles and characters at the early Marvel Comics. He claimed to have created the Fantastic Four, the Incredible Hulk, the Avengers, the Uncanny X-Men, Daredevil, the Mighty Thor, Dr. Strange, the Amazing Spider-Man, Iron Man, Giant Man, Ant Man, etc. In fact, though, there is zero evidence that Lee invented any of the characters which he claimed to be writing. Also, there are credible claims that he wasn't even writing the parade of successful books appearing from the likes of Kirby, Ditko, Ayers, Wood, Everett, Heck, Romita, and company. Keep in mind that before the explosion of creativity provided from Kirby and Ditko, Goodman's most profitable enterprise was publishing a line of men's adventure fiction magazines. There was a  constant parade of talented writers in and out of the  building who were only too happy to expand dialog already provided  by the artists who were actually not only creating the characters, but plotting and writing them. For a couple of hours work these ghost-writers could earn grocery money. No big deal that another man's name went on. For in those days comic scripting was held in lower esteem than even the pulp fiction they were producing for Martin Goodman. Who cared if a no-talent bum put his signature to it?

Over the following months and years as Marvel's fortunes expanded Goodman sought to sell the company. I can imagine what he was thinking. He'd already seen his comic book business go through a boom and bust cycle from the early 1940s and through the 1950s, and he could have figured he was riding another wave that might soon crest and fall. He wanted to get out while the company was a ripe crop ready to be harvested and sold. Therefore, more than ever he needed a corporate shill that enabled him to claim ownership of the intellectual property that rightly resided with the men who had sweated it out: mainly Jack Kirby and Steve Ditko. For that purpose alone, Lee's lying presence was invaluable.

Eventually, Goodman did sell Marvel. For enough cash so that he was able to retire to Florida as a wealthy man. What he never considered was that the value of Jack Kirby's creations was far more than he ever could have dreamed. The publisher never figured that his connivance with Liar Lee was a theft that would someday be measured in tens of billions of dollars. I cannot think of another theft of intellectual property that rivals what was stolen from Jack Kirby and Steve Ditko. The monetary value of the likes of X-Men, Spider-Man, Iron Man, the Avengers, Dr. Strange, etc. staggers the imagination. And as that wealth has increased, so did the lies of the man whose professional existence was provided for that sole purpose. And also continued the willingness for the various corporate owners to go along--they still needed that lie to live on.

In fact, though, we all know who created the characters. Kirby, Ditko, Everett, and others did. Who wrote the books? The artists who illustrated it were expected to plot and also write them. The editor placed his name on the credits page as "writer" when there is zero evidence he ever wrote anything other than poorly rendered promotional blurbs and columns, and an occasional butchering of dialog and scripts in some issues. The corporations claimed ownership for everything because of the existence of a sole salaried employee.

Today, as I said, the truth is emerging. We now know who created the characters and wrote and illustrated the stories. It wasn't the lying editor.

But telling this simple truth can still be a tough row to hoe. One has to deal with the army of zealots who believe the fallacy that a slimy grifter created the characters they love. These fans equate the face of a gleaming, grinning slug with their beloved comics. And there are the professional sellouts working in the comics industry who still feel the urge to kiss corporate ass after the lying bastard they once worked for is dead and rotting. Hopefully, these prostitutes will come to their senses and find enough dignity to stop lying for a dead thief and the corporate master he served. Maybe that will happen. But I doubt it.

ACCORDING TO JACK KIRBY by Michael Hill. Highly recommended.

The Amazing Spider-Man. Created by, plotted by, written by, penciled by, inked by Steve Ditko.

FANTASTIC FOUR ANNUAL #3

I loved this comic when I was a kid. Classic Kirby.

What's amazing is to look at the cover and all of those fantastic characters that appealed to so many kids primed for the kinds of superhero comic books that only Jack Kirby could create, write, and illustrate.

Of the crowd of characters on that cover Jack Kirby created all but four. The few there who were created by other writers or artists were:

Kid Colt Outlaw, created by Pete Tumlinson and Jack Keller.

Sub-Mariner, created by Bill Everett.

Spider-Man, created by Steve Ditko.

The Human Torch, created by Carl Burgos.

Daredevil is featured, but as he was based on character sketches by Jack Kirby (and name stolen from the Lev Gleason character created by Jack Binder, one of the amazing Binder brothers). So it could be said that the Marvel Comics character Daredevil was co-created by Jack Binder, Jack Kirby, and Bill Everett.

This particular issue was a promotions bonanza for Marvel Comics. First of all, it featured the wedding of two of the members of the Fantastic Four: Reed Richards (Mr. Fantastic) and Susan Storm (the Invisible Girl). Using the wedding, Kirby was able to concoct a story wherein almost every major comic book superhero and supervillain managed to make at least a one-panel appearance. It was a brilliant marketing tactic and amazed many a comic fan (including me). I'm sure a lot of kids who weren't buying some of the titles featuring some of the other heroes were spurred to start picking up those other books.

It remains one of the single favorite of the comic books of my childhood. Pure Kirby, all Kirby, nothing but Kirby.

My copy of FANTASTIC FOUR ANNUAL #3.

Kirby Does the Human Torch

The inclusion of the character the Human Torch into the Silver Age Marvel Universe was done to keep dibs on the name and iconography connected to that name. The character was, of course, created wholly by Carl Burgos and claimed by Martin Goodman as spoils of his company, which published the character. Along with the Sub-Mariner, the two are actually the oldest superheroes in the Marvel pantheon (circa 1939). And both were taken from their creators (Burgos in the case of the Torch, and Bill Everett in the case of Namor, the Sub-Mariner).

Later in his life, Burgos tried to present a legal challenge to Marvel and reclaim his intellectual property, but he was far too poor to mount an effective effort and the suit wilted on the vine, abandoned. This is usually the way of things when regular folk try to struggle against corporate power. The one who can throw the most money at the courts wins by default.

While Goodman was not as hands-on as some publishers, he did send down his wishes through his proxy, Stan Lee. You can tell from the publishing end of things that he must have wanted the Human Torch as an ongoing character to protect what may have been a problematic copyright. To that end, the Torch was, for several years, featured prominently in his own adventures as the cover feature every month in Strange Tales. He was also frequently popping up in stories that featured the Amazing Spider-Man. It was obvious that they were trying to create a star, forcing the matter and trying to make the readers adore a character who was actually just a co-star, at best.

Of all of the characters that Kirby wrote on a regular basis, the Torch always seemed to me to be the weakest of them all. I can almost hear the editor constantly nagging. "Make him a teenager. Make him hip. Make him all Rebel-Without-A-Cause. Make him like hot rods. Make him go through girlfriends." Blah blah blah. I think Kirby obviously tried to comply, but to no real success.

The only time the character seemed to click with readers was as part of a kind of comedy team, serving as the hot-head foil for the otherwise stoic Ben Grimm. In the sometimes funny, sometimes pathetic, sometimes heart-warming exchanges between the two, the character worked well. But outside of that combination, the fans just didn't seem to give a damn about the Human Torch.

I think the last time Kirby tried to consciously push the matter and to force the readers to embrace the Human Torch as an upper echelon character for Marvel was during the period when this cover appeared, for FANTASTIC FOUR #54. It's almost as if Kirby was saying, 'Okay, guys. Here it is. I'm going to give it one last shot.' And he tried. And he failed. The Torch was just not first flight material in the Silver Age.

My copy of FANTASTIC FOUR #54.