Mark evanier
Jack F.A.Q.s
A column answering Frequently Asked Questions about Kirby by Mark Evanier f all goes well—and how often does that happen in this world?—my next column for this magazine will be about how I’ve decided, for whatever it’s worth, that the first two issues of Fantastic Four were inked by George Klein. This has long been a mystery among Kirby fans and a lot of us have had other answers to the question, including a gent named Christopher Rule. I used to say it was probably Rule, perhaps assisted by Klein. Now I think it’s just Klein and next issue, I’ll tell you why I think that. For now, let’s get on to other mysteries, starting with this one from Jeff Pearson about another Kirby inker...
I (center) Chic Stone during his Marvel Bullpen years in the 1960s.
(below) Stone inked this amazingly detailed poster art for the shortlived Captain Nice TV show, over Kirby pencils. Captain Nice TM & ©2006 the respective owner.
In a recent issue, you mentioned my favorite Jack Kirby inker, Chic Stone. Could you tell me a little more about him? Why did he stop inking Jack’s work? The more interesting question about Stone is why he started inking Jack’s work. Chic was a longtime comic artist who was in the field almost from Day One. In later years, he recalled his first job as a strip called “Booby Sox” that was done for the Jacquet shop in 1939. There are even earlier comics that just might be his work, including some from the Eisner-Iger shop. His first identifiable art for Timely/Marvel seems to have been a 1943 strip called “Eustace Hayseed and Choo Choo” that ran in Joker Comics. But doing work for Jacquet and Funnies, Inc. as he did, he was probably in some comic published by Martin Goodman even before that. He worked for Fawcett on Captain Marvel and for Fiction House before settling in as a Marvel staff artist in the late Forties. For a time in the office, he had the drawing table next to Mike Sekowsky’s—a location coveted by those who enjoyed Mike’s caustic humor and shunned by those who became the target of his intermittent anger. Stone considered Mike a good friend and mentor. And Stone considered himself an artist, not an inker. He did ink (mostly) during this stint at Marvel, in part because they were short on inkers and in part because he felt intimidated by the pencilers working there then, especially Sekowsky and Syd Shores. In the Fifties, he was like a lot of comic artists, in and out of
comics. There were periods when there wasn’t enough work and he found jobs in the art departments of various non-comic magazines. He also tried publishing one called Boy Illustrated, which lasted all of two issues. When it flopped, there was an extended period when the only work he could find was for Charlton... which considering their pay rates at the time, paid about as well as being unemployed. In the Sixties, he was working for the American Comics Group and Dell when he heard Stan Lee was hiring and decided to see if there was work available there. He went up to the office around the middle of 1963. In later interviews, he remembered it as 1964 but he was off by a year. He walked in to find Stan going over the pages Kirby had penciled for the Thor story in Journey Into Mystery #102. The story had come back from the letterer and was ready for the inker. As Stone later recalled, “When I saw Jack’s pages, my jaw dropped. I knew Kirby’s work was great from the printed comics but I don’t believe I’d ever seen his pencils before that day.” Lee let Stone study the pages while he put in a call to the inker—probably George Roussos—to tell him to come pick them up. Apparently, the inker had a conflict because when Stan got off the phone, he said to Stone, “Chic, would you like to ink this job?” “Well, my knees turned to Jell-o,” Stone later explained. “That’s how intimidating it was. I never in a million years would have gone in there and said, ‘How’s about letting me ink Kirby?’ But I left there with the pages, very much afraid I would not do justice to this man’s magnificent artwork. I hope I did.” Many fans thought so. Though some faulted Stone’s bold, forceful brushwork for lacking sensitive detail, most felt he brought forth all the energy of the pencil work... or at least as much as anyone ever managed. Kirby liked it just fine and he personally hired Stone several times during this period when in need of an inker for an outside project—the poster for the Captain Nice TV show and a short comic story for Esquire Magazine, to name two. Stone embellished a number of other stories for Stan during this period over Don Heck, Dick Ayers and others, but he never really enjoyed inking someone else’s work, eventually even Jack’s. “I learned a lot inking Jack,” he told me. “But it wasn’t what I wanted to do with my life.” Alas, he was unable to get Stan to give him penciling work. Which brings me to one of my own mysteries... namely, why not? As I’ve mentioned here before, Stan was short a couple of pencilers during the 1964-1965 period. Once he’d gotten as much as possible out of Kirby, Ditko, Heck, and Ayers, there were still comics to be drawn and the others he tried—Bill Everett, Joe Orlando, Bob Powell, and a few others—just didn’t work out. They generally either couldn’t work from a plot outline and/or couldn’t deliver the kind of dynamic art he wanted in order to set his books apart from the DC product. So how come he didn’t give Chic Stone a try? Years ago, I had a theory that Stan had Paul Reinman inking Kirby on X-Men and Stone inking him on other strips as a way of breaking them in to pencil for Marvel. That would have been consistent with Stan’s modus operandi and it would have been a 19