“The mass production of instruments of comfort - all revolutionary, according to the publicity handouts - has given the most unsophisticated of people the right to express an opinion on the marvels of technological innovation in a tone as blase as the hand they stick in their pants. The first landing on Mars will pass unnoticed at Disneyland.”
(Panel by Jack Kirby, Mike Royer et al, from (OMAC #1, 1975)
What the man said.
Here’s the “mission plan” from the project:
For the next three weeks, 4CP is going to be all Kirby, all Seventies. It’s an area we’ve hardly touched until now, because Kirby mostly abandoned the traditional comic book detail in the Seventies, and at 4CP we generally scan very tiny areas of the printed comic book page.
Scanning Kirby this month, we’ve concluded that:
In the Seventies, Kirby drew less, but he drew it larger, and as he did this, his style increasingly became the content.
Sure, I’m over-generalizing, but when I went looking for isolated images that define what is particular about Kirby in the Seventies, that’s how it felt to me. In purely practical terms, I had to scan larger areas of the frames to capture recognizable illustration. When you isolate one square inch in a Seventies Kirby comic, the result will often be pure abstraction. In his Sixties work, “frames within frames” abounded.
Paul Pope’s “cover” of issue one of OMAC: One Man Army Core, from his issue of DC’s Solo.