Shawn Gilmore
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gipperfish.bsky.social
Shawn Gilmore
@gipperfish.bsky.social
Teaching Assistant Professor at UIUC, Editor of the @vaultofculture.bsky.social (https://www.vaultofculture.com/), Executive Secretary of the Comics Studies Society, NTFC Local #6546 steward, comics scholar, and a ton of other stuff. Views own.
After Break, we will pick up with the last comics works , along with a few comics that incorporate Kirby and Lee as characters or extend their work. Students will finish their critical projects: prose criticism, a course proposal, a comics collection, or creative criticism. #comicsteaching
November 21, 2025 at 5:03 PM
Finally, we looked the mid-1980s fight over original comics art and Kirby's legacy, stemming from the 1976 copyright law that went into effect in 1978 and rise in prominence of comics creators. Most comics artists went to bat for Kirby, including younger ones like Alan Moore. #comicsteaching
November 21, 2025 at 5:03 PM
We compared the climaxes of each, including the final confrontation between Kirby/Lee stand-ins Silver Surfer/Galactus, and the collaged destruction of New Genesis and wounding fo Apokalips, attempting to close off the narrative (and perhaps prevent other creators from taking it up). #comicsteaching
November 21, 2025 at 5:03 PM
Both feature some of Kirby's trademark idiosyncracies, though SS:UCE is a contained story, repurposing some of Lee/Kirby's earlier work with the character, while Hunger Dogs attempts to polish off the Fourth World. The color work and paper quality allow for some real innovation. #comicsteaching
November 21, 2025 at 5:03 PM
In the back part of the week, and just before our Fall Break, we compared the final big works by Kirby for Marvel and DC, both graphic novels with better printing--Silver Surfer: The Ultimate Cosmic Experience (1978), his last real collaboration with Lee, and Hunger Dogs (1985). #comicsteaching
November 21, 2025 at 5:03 PM
Kirby then got wrapped up in the Canadian Caper, the successful effort to save some of the hostages being held in Iran in 1979 via a fake sci-fi film project, Argo, which needed concept art, which Kirby provided, based on Roger Zelazny's Lord of Light, producing even more ideas. #comicsteaching
November 21, 2025 at 5:03 PM
The 2001 series landed on X-51/Machine Man, a Westworld-style android given sentience, allowing an out for a series that couldn't escape the trappings of the film. Machine Man then got his own series (and presumably toy possibilities) before being moved to over to the Hulk series. #comicteaching
November 21, 2025 at 5:03 PM
In comparison with Kirby's adapation of Black Hole, we talked about the need to adhere to the source material's narrative and visual tropes, which then were carried over into the subsequent 2001 series (continuing Kirby's version of the story, not the sequel novels or film). #comicteaching
November 21, 2025 at 5:03 PM
We also compared the Bowman's psychedelic esperience with monolith abover Jupiter--Kirby alters most of the film's imagery, centering Bowman's helmet (and exprience) in his version of cosmic experience, comparable to his other cosmic experiments, including his illustrations of God. #comicsteaching
November 21, 2025 at 5:03 PM
We discussed Kirby's use of key moments from the film, including the encounter with the Moon monolith, discussing HAL's faults, and the attempt to destroy HAL (born right here in Urbana) from within. Kirby reorients the film's images and condenses the narrative in interesting ways. #comicsteaching
November 21, 2025 at 5:03 PM
The adaptation incorporates collages that merge elements from film stills and publicity art, alongside very straightforward drawn version of the film's beats. Note the that Kirby's Moon-scape is much closer to those in the Fourth World or The Eternals than the film. #comicsteaching
November 21, 2025 at 5:03 PM
Kirby's 2001 narrativizes many silent portions of Kubrik's film (seemingly drawing from the novel and script), tracing the path of Moonwatcher's (and his tribe's) encounter with the monolith and its effects. Kirby integrates elements of his style (light rays, crackle) throughout. #comicsteaching
November 21, 2025 at 5:03 PM
Comics of Kibry and Lee, Week 13: Kirby's franchise work and last big works, one with Lee, one solo. I grouped together Kirby's 2001 adaptation and follow-on series with his newspaper version of Disney's Black Hole, and we focused on the adaptation choices. #comicsteaching
November 21, 2025 at 5:03 PM
Jack Kirby, “Even Gods Must Die!” in New Gods vol. 2 #6 (1984)
November 20, 2025 at 1:42 AM
Finally, we examined Kirby's uneasy fit in 1970s Marvel world, which had radically changed from its 1960s incarnation, as dramatized in Fantastic Four #176 (1976). His return to Black Panther, after the successful McGregor run (Killmonger, vs. the Klan) stands in for this tension. #comicsteaching
November 14, 2025 at 4:37 PM
Along the way, we noted the integration of various 1970s motifs--paranoia, conspiratorial cabals, Kissinger--and other thematic elements Kirby had addressed before: media stoking animosity, romantic interludes, and overt symbolic juxtapositions at the story's climax #comicsteaching
November 14, 2025 at 4:37 PM
We spent most of our time with the "Madbomb" arc (Cap #193-200), looking at the narrative sequencing and symbolic tensions, including the fight over what counts as legitimate patriotic symbolism as the series approaches the Bicentennial, under the threat of the Elite's "Big Daddy." #comicsteaching
November 14, 2025 at 4:37 PM
In the back half of the week, we compared Scioli's Kirby and Lee biographies, which portray very different experiences of the mid-1970s. With Kirby's return, Marvel put out a reprint of Lee/Kirby Cap stories and Kirby's time-hopping Bicentennial Battles in its Treasury line. #comicsteaching
November 14, 2025 at 4:37 PM
Kirby's Devil Dinosaur, participating in on the many waves of dinosaur popularity, is a lesser title, but also deals with a rewritten pre-history and sometimes spectacular imagery and cosmic elements. Both The Eternals and DD include Kirby essays laying out some initial premises. #comicsteaching
November 14, 2025 at 4:37 PM
We discussed the Celestial (gods), Eternals (superhumans), Humans (man), Deviants (monsters) schema, which Kirby has been playing with/rearraning for decades, now with new stakes. The story concerns --per Hatfield's Hand of Fire--"life under judgment" instead of a struggle for power. #comicsteaching
November 14, 2025 at 4:37 PM
I split up Kirby's late-1970s Marvel projects into categories, first on The Eternals, which repurposes elements of the Fourth World, merged the then-popular ancient alien speculation. Issue #2 declares that the series is "more fantastic than Chariots of the Gods!" #comicsteaching
November 14, 2025 at 4:37 PM
Comics of Kirby and Lee, Week 12: Marvel expands its fan outreach with FOOM, announcing Kirby's return in 1975. We looked at Marvel's merchandising and licensing efforts (posters, calendars, toys, and eventually more tv shows and movies) with Lee as dealmaker and promoter. #comicsteaching
November 14, 2025 at 4:37 PM
Hey--Phrasing! "You've been pounding 'em on the wrong end! I'll show you how it's really done!" Jack Kirby, Captain America #195 (Marvel, March 1976)
November 13, 2025 at 8:27 PM
Panels that go hard: “Somehow, the Nazi ghost never seems to die within man. It marches with insane pride… respecting nothing… taking everything and ignoring the pain of others. Cap sighs in resignation. He will have to fight for his shield.” Jack Kirby, Captain America #196 (1976). Be like Cap.
November 12, 2025 at 3:21 PM
Always a delight to have something in print—my piece on Mutual Academic Defense Compacts for AAUP’s @academemagazine.bsky.social, also available online. #MADC www.aaup.org/academe/issu...
November 12, 2025 at 12:48 AM