Ulik, MODOK and the future Adam Warlock were all part of another great year for the King.

In celebration of Jack “King” Kirby’s 100th birthday, we’re reviewing the man’s legendary creations with a year-by-year examination of his unparalleled career at Marvel Comics. Read on and witness the work that made him comic book royalty.

By 1967, Marvel editor Stan Lee knew exactly where to use his top artist, Jack Kirby. Together, “The Man” and “The King” whittled Jack’s output down to two main titles that year, with two main side-projects just to make things interesting. One might say it became a true “Summer of Love” between the Marvel creators and their fans at that time.

Stan and Jack continued to infuse FANTASTIC FOUR with way-out wonders and swingin’ splendors in ’67. They kicked off the year with a multi-issue tussle between the FF and Doctor Doom, and then wasted no time tossing them into a battle with the Negative Zone’s Blastaar in FANTASTIC FOUR #62, and the alien Kree Accuser named Ronin—another stand-out Kirby design—in FANTASTIC FOUR #65.

Though the fans might’ve been unaware of the history-making events occurring in FANTASTIC FOUR #67, Stan and Jack introduced another great concept in that issue’s “Him.” Jack’s visuals on the golden-skinned godling seemed a bit subdued and minimalistic, perhaps, but the character continued on to transform into Adam Warlock a few years later, one of Marvel’s most enigmatic yet engaging stars.

In the pages of THOR, Jack’s other blockbuster assignment, the Thunder God met his physical equal in Ulik the Troll in THOR #137, Kang and his Growing Man in THOR #140, and the Kirby tour-de-force of the Super-Skrull in THOR #142. Thor himself suffered under an almost-complete loss of his Asgardian powers in THOR #145, allowing Jack the opportunity to portray the majesty and grandeur of the character in an Earth-bound, civilian-dressed form.

After a break from Captain America’s adventures in TALES OF SUSPENSE, Jack returned to the strip along with Stan in TALES OF SUSPENSE #92 to kick off a storyline that illustrated the great depth of feeling from Cap for Agent-13, one of Nick Fury’s valued S.H.I.E.L.D. agents. After that, Cap met MODOK, surely the most unique Jack Kirby-designed character of the entire year, in TALES OF SUSPENSE #94, and temporarily retired to try and live a “normal life” in TALES OF SUSPENSE #95.

Apart form all the danger and drama delineated by Jack in 1967, he also poked some fun at himself and the rest of the Marvel pantheon through Stan’s latest brainchild, NOT BRAND ECHH, a comedy-parody mag. Utilizing Jack sparingly, but effectively, Stan included his star artist on the introduction of the Silver Burper in NOT BRAND ECHH #1, Sore, Son of Shmodin in NOT BRAND ECHH #3, and the ever-lovin’ origin of none other than Forbush-Man in NOT BRAND ECHH #5. What a way to go-go!

Stay tuned to Marvel.com for more on Jack Kirby and join the conversation on all of our social channels with the hashtag #Kirby100.

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The King helps introduce the Silver Surfer, Galactus, Black Panther and much more!

In celebration of Jack “King” Kirby’s 100th birthday, we’re reviewing the man’s legendary creations with a year-by-year examination of his unparalleled career at Marvel Comics. Read on and witness the work that made him comic book royalty.

Imagine a year in which the entire comics industry changed, and for the better. While the rest of the world danced to the beat of the British Invasion, thrilled to spy adventures on the big screen, and smiled ear to ear from the high camp on their televisions in 1966, Jack Kirby stood in the middle of a bonafide revolution in comic books.

In FANTASTIC FOUR #48, Jack and Marvel editor-writer Stan Lee brought a silver star down from the heavens to change the life of their family of super heroes forever. Legends tell of Lee’s astonishment to see a silver man on a surfboard in Jack’s art for the issue, and asked who it might be. The artist figured their bran-new cosmic baddie, Galactus, needed a herald of sorts, and the Silver Surfer sprang to life before the writer’s eyes. Soon, the herald would eclipse his big, purple master in popularity, and Jack’s simple design would go down in comics history.

The so-called “Galactus Trilogy” of 1966 showcased other Kirby art flourishes, such as Galactus himself, sporting a look that could only be described as Galactic Chic a la Jack Kirby. As the story continued into FANTASTIC FOUR #49 and FANTASTIC FOUR #50, readers marveled at Galactus’ “attack dog,” his mind-boggling personal spacecraft, and the ultimate weirdness of the Ultimate Nullifier, the one device that set the world-devourer quaking in his space-booties. It’s hard to imagine any other artist illustrating the tale and it creating an indelible mark on comics still felt to this day.

If that didn’t constitute a revolution, Lee and Kirby wasted no time in filling the rest of the year with such triumphs as the poignant “This Man, This Monster” story of FANTASTIC FOUR #51, the ground-breaking introduction of the Black Panther in FANTASTIC FOUR #52, and the return of the Silver Surfer in FANTASTIC FOUR #55. Lee, knowing Jack’s penchant for delineating Doctor Doom, also arranged to end the year with the newest assault by the Latverian monarch in FANTASTIC FOUR #57.

Across the Rainbow Bridge in fabled Asgard, Stan and Jack promoted their Thunder God into his own book with THOR #126, and in an effort to put their star through his paces, tossed him into the fires of Pluto’s underworld to rescue the wayward Hercules. Jack’s art never looked better as he fashioned incredible set pieces to make us believe in Pluto’s evil and the fiery world around him. Thor later met a living planet named Ego in THOR #133, and pondered the mysteries of the High Evolutionary—another fantastic Kirby design—in THOR #134.

Jack’s inventiveness and creativity extended past his art, of course, and over a few issues of Nick Fury’s adventures, he proved it by not only co-plotting a few stories with Lee and others, but handling full scripting chores along with his cover and layouts on STRANGE TALES #147.

Stay tuned to Marvel.com for more throughout Kirby Month and beyond! And join the conversation on all of our social channels with the hashtag #Kirby100.

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Two of the Fantastic Four tie the knot, Hulk fights Thor, plus more!

In celebration of Jack “King” Kirby’s 100th birthday, we’re reviewing the man’s legendary creations with a year-by-year examination of his unparalleled career at Marvel Comics. Read on and witness the work that made him comic book royalty.

Even a casual Marvel reader in 1965 might’ve believed that Jack Kirby worked on every single issue of every single title the House of Ideas published that year. The truth of it stands as something less than that, but Marvel editor and writer Stan Lee knew a good thing and ensured Jack’s presence across the line in varied ways, and with a concentration where the Kirby touch would bring comic book gold.

First and foremost, Lee and Kirby’s flagship book remained Jack’s true focus at the midpoint of the 1960s. In FANTASTIC FOUR #32, after a battle with the strange android Dragon Man, Reed Richards received the answer he’d hoped for from his marriage proposal to Sue Storm, setting up one of the true monumental moments in comic history: the wedding of Mr. Fantastic and The Invisible Girl in FANTASTIC FOUR ANNUAL #3 that summer.

Not to rest on their laurels, Stan and Jack also introduced the Frightful Four in FANTASTIC FOUR #36, brought Daredevil in for a guest-spot in FANTASTIC FOUR #39, and following Gorgon’s introduction in FANTASTIC FOUR #44, unveiled their next big idea, the incredible Inhumans, in FANTASTIC FOUR #45 to round out the year.

Over in Thor’s universe, Jack illustrated one of the greatest clashes of comics, the Thor-Hulk match fans clamored for, in JOURNEY INTO MYSTERY #112, as well as designing a villain for the ages, Absorbing Man, for JOURNEY INTO MYSTERY #114. In addition, Jack’s images of the robotic Destroyer impressed fans in JOURNEY INTO MYSTERY #118, but perhaps the real stand-out moment of the year in Thor’s world came in the introduction of Greek demi-god Hercules into the ongoing drama in JOURNEY INTO MYSTERY ANNUAL #1.

Jack’s penciling duties for 1965 also extended into Captain America’s solo series in TALES OF SUSPENSE. For the first part of the year he produced covers and simple layouts for others to follow, but for his and Stan’s powerful team-up between Cap and Nick Fury in TALES OF SUSPENSE #78, he provided full interior art. From there, the duo planted dynamite under Cap’s world with the return of The Red Skull in TALES OF SUSPENSE #79, and the amazing Cosmic Cube saga beginning in TALES OF SUSPENSE #80.

Speaking of Nick Fury, Jack’s visions of technological wonders expanded exponentially when he and Stan promoted the sergeant into their newest concept, S.H.I.E.L.D., in the landmark STRANGE TALES #135. For the next several issues of the mag, Jack would do layouts and covers, helping guide his former World War II star into the Swingin’ Sixties.

Jack relinquished penciling chores on AVENGERS in 1965, but also helped out with layouts and covers, same as with SGT. FURY and TALES TO ASTONISH. Over in UNCANNY X-MEN he worked to illustrate the memorable meeting of the young mutants and the Avengers to fruition in X-MEN #9, and introduce the savage Ka-Zar in X-MEN #10.

Stay tuned to Marvel.com for more throughout Kirby Month and beyond! And join the conversation on all of our social channels with the hashtag #Kirby100.

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Captain America returns, Hulk battles Thing, plus so much more!

In celebration of Jack “King” Kirby’s 100th birthday, we’re reviewing the man’s legendary creations with a year-by-year examination of his unparalleled career at Marvel Comics. Read on and witness the work that made him comic book royalty.

As the House of Ideas scored more hits in the first few years of the still-young Marvel Universe, Jack Kirby’s project load began to transform. By 1964 he no longer spent time on romance books and Westerns represented a very small percentage of his output. The words of the day became super heroes, and perhaps the greatest example of that among Jack’s 1964 successes stood with the return of Captain America.

Jack’s 1940s patriotic co-creation with Joe Simon exploded onto the swingin’ 60s scene in a fitting place: AVENGERS #4. Kirby’s big hit, along with writer-editor Stan Lee, represented the biggest and the best heroes around, so Cap fit right in. Once the team pulled him from the ice he’d been stuck in since the end of World War II, the Star-Spangled Sentinel of Liberty set off to the races and it seemed like Jack’d never stopped drawing him in action.

Together with Earth’s Mightiest Heroes, Captain America faced off against the Masters of Evil in AVENGERS #6, Kang the Conqueror in AVENGERS #8, and the mysteriously powerful Wonder Man in AVENGERS #9. And if readers couldn’t get enough of the returned crusader, Jack and Stan spun him off into his own solo adventures later in the year with TALES OF SUSPENSE #59.

The duo’s other big hit, FANTASTIC FOUR, entered into its third year with a big bang provided by The Thing battling The Hulk in FANTASTIC FOUR #25, and the entire cast of the Avengers joining in the fun in FANTASTIC FOUR #26. Artistically, Benjamin J. Grimm’s visual look continued to evolve and it became evident that the scrappy, sarcastic Thing stood as a stand-in for his artistic co-creator.

Over in JOURNEY INTO MYSTERY, Jack returned to providing the interior art for Thor’s adventures with JOURNEY INTO MYSTERY #101. From that moment on, he and Stan launched a long stretch of stories that took the Thunder God beyond mere earthbound menaces and into the fabled realm of mythology and beyond. JOURNEY INTO MYSTERY #103 provided a look at Jack’s designs for the wily Enchantress and her bodyguard The Executioner, and JOURNEY INTO MYSTERY #109 shared the story of Thor’s clash with Magneto, sworn enemy of another group of the artist’s super hero creations.

Besides loaning Magneto to Thor’s title, the X-Men continued to enjoy Jack’s artwork in 1964. UNCANNY X-MEN #3 introduced the blustering Blob, and in UNCANNY X-MEN #4 the Master of Magnetism unveiled his Brotherhood of Evil Mutants, which just happened to include Quicksilver and The Scarlet Witch, who’d soon embark on a path of heroism that would lead to the Avengers’ door.

Stay tuned to Marvel.com for more throughout Kirby Month and beyond! And join the conversation on all of our social channels with the hashtag #Kirby100.

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Celebrate the King’s career in a year-by-year look at his Marvel work!

In celebration of Jack “King” Kirby’s 100th birthday, we’re reviewing the man’s legendary creations with a year-by-year examination of his unparalleled career at Marvel Comics. Read on and witness the work that made him comic book royalty.

Though Jack Kirby’s history with Marvel Comics stretches back to the early 1940s when he co-created Captain America, the dawn of the 1960s saw “The King” help form the foundation of the Marvel Universe—and ultimately catapulted him to the legendary status he holds today.

The introduction of Captain America—which Kirby spearheaded alongside his partner Joe Simon in 1941—also occurred around the same time that Jack met a young man named Stanley Lieber, a budding creator who’d one day rename himself Stan Lee. Little did the two know that 20 years after their introduction, from late 1962 through the end of 1963, Jack and Stan’s collaborative output would stagger the industry in its unprecedented longevity and depth of creativity.

It all began, of course, with FANTASTIC FOUR #1. Jack designed characters for a new team that emulated facets of books he’d worked on in the years before—choosing to include elements of suspense, romance, and most importantly, monsters. The series whipped up wildfire among readers, with Stan and Jack wasting no time in filling each issue with expansive concepts and the underpinnings of a larger universe.

FANTASTIC FOUR #2 introduced the shape-shifting Skrulls, FANTASTIC FOUR #3 gave the quartet of heroes costumes and equipment, and FANTASTIC FOUR #4 revived Golden Age character Namor the Sub-Mariner as a villain. Once FANTASTIC FOUR #5 unveiled a new baddie named Doctor Doom, Stan and Jack immediately teamed him with Namor to inaugurate Marvel’s first bona-fide super villain team-up.

Jack stayed with the monster theme—thanks to the Thing’s instant popularity in the pages of FANTASTIC FOUR—and offered up a not-so-jolly green giant to complement Stan’s prose with INCREDIBLE HULK #1. The series bravely asked readers to allow a brutish behemoth to act as a hero in his own adventures—and Jack endowed the beast with not only the features of a Frankenstein Monster, but also the soul of the scientist trapped inside.

Larger-than-life central protagonists seemed the way forward for Marvel, so Stan and Jack looked to their fondness for mythology for the next bold idea in 1963. They converted the long-running thriller series JOURNEY INTO MYSTERY into a vehicle for a new version of the Norse god Thor, and in doing so, gifted Jack with far-flung realms to draw that would dovetail with his grandiose imagination. After Thor debuted in JOURNEY INTO MYSTERY #83, the sky served as no limit as to where the creative duo might go.

After telling the tale of a simple man trapped in an underground world in TALES TO ASTONISH #27, Stan and Jack decided to fashion the character into a super hero, complete with the power to shrink and control insects. Ant-Man stepped into the ever-growing Marvel Universe in TALES TO ASTONISH #35, sporting futuristic technology and yet another unique Kirby costume.

Incredibly, beyond these fantastic firsts, Jack still maintained his regular art chores in 1962 and 1963 on such books as KID COLT OUTLAW, TALES OF SUSPENSE, and more than one romance title, making him one of the most prolific creators in all of comics.

Stay tuned to Marvel.com for more throughout Kirby Month and beyond! And join the conversation on all of our social channels with the hashtag #Kirby100.

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