Editing Jack Kirby (section)

===Style===
[[File:Fantastic Four issue 51 page 14.jpg|thumb|left|''Fantastic Four'' #51 (June 1966) p. 14; collage and pencilled figure by Jack Kirby, inks by Joe Sinnott, letters by [[Artie Simek]], dialogue by Stan Lee, illustrating Kirby's use of collage]]

In the early 1940s Kirby at times disregarded [[Glossary of comics terminology#Panel|panel]] borders. A character was drawn in one panel, but their shoulder and arm would extend outside the border, into the [[Glossary of comics terminology#Gutter|gutter]] and sometimes on top of a nearby panel. A character may be punched out of one panel, feet being in the original panel and body in the next. Panels themselves would overlap, and Kirby found new ways to arrange panels on a comic book page. His figures were depicted as lithe and graceful, although Kirby would place them thrusting from the page towards the reader.{{sfn|Hatfield|2012|pages=24–25, 69–73}}{{sfn|Hatfield|Saunders|2015|page=11}}<ref name=RCH>{{cite book |last1=Harvey |first1=Robert C. |title=The art of the comic book : an aesthetic history |date=1996 |publisher=University Press of Mississippi |location=Jackson |isbn=0878057587 |page=[https://archive.org/details/artofcomicbookae0000harv/page/33 33] |url=https://archive.org/details/artofcomicbookae0000harv/page/33 }}</ref> In the late 1940s and 1950s Kirby moved away from superhero comics and with Joe Simon worked in a number of genres. Kirby and Simon created the [[romance comics]] genre, and working in this as well as the war, Western and crime genres saw Kirby's style change. He left behind the diverse panel framing and layouts. The nature of the genres enabled him to channel the energy into the posing and blocking of characters, forcing the drama into the constraints of the panel.{{sfn|Hatfield|Saunders|2015|page=11}}

When Kirby and [[Stan Lee]] came together at [[Marvel Comics]], his art developed again. His characters and representations became more abstract, less anatomically correct. He placed figures across three planes of a panel's depth to suggest three dimensions.<ref name=AC>Hatfield (2005), pp. 54–55</ref> His backgrounds were less detailed where he did not want the eye to be drawn.<ref>{{cite web |last1=Fischer |first1=Craig |title=Kirby: Attention Paid |url=http://www.tcj.com/kirby-attention-paid/ |website=The Comics Journal |publisher=Fantagraphics Press |access-date=May 31, 2018 |date=November 21, 2011 |archive-date=June 12, 2018 |archive-url=https://web.archive.org/web/20180612144100/http://www.tcj.com/kirby-attention-paid/ |url-status=live }}</ref> His figures moved actively along diagonals<ref name=AC /> and he utilized [[foreshortening]] to make a character appear to recede more deeply into the panel, so that they appeared to move towards the reader off the page.<ref name=RCH /><ref>{{cite book |last1=Feiffer |first1=Jules |title=The great comic book heroes |date=2003 |quote= Muscles stretched magically, foreshortened shockingly. | publisher=Fantagraphics Books |location=Seattle, Wash. |isbn=978-1-56097-501-4 |page=59 |edition= 1st Fantagraphics Books}}</ref><ref>{{Citation|title=Conversations With Jack Kirby|editor=Morrow, John|isbn=1893905020|magazine=The Collected Jack Kirby Collector|publisher=[[TwoMorrows Publishing]]|date=2004|volume=3|page=40}}</ref> During the 1960s Kirby also developed a talent for creating [[collage]]s, initially utilizing them within the pages of ''[[The Fantastic Four]]''. He introduced the [[Negative Zone]] as a place within the Marvel Universe that would only be illustrated via collage. However, the reproduction within the published comics of the collages, coupled with the low page rate he was being paid and the time they took to develop saw their use discarded.{{sfn|Evanier|2008|page=171}} Kirby would later return to the use of collage in his Fourth World work at [[DC Comics]]. Here he used them most often in the pages of ''[[Superman's Pal, Jimmy Olsen]]''.{{sfn|Hatfield|Saunders|2015|pages=89–99}}

Kirby's style in the late 1960s was regarded so highly by Stan Lee that he instituted it as Marvel's house style. Lee would instruct other artists to draw more like Jack, and would also assign them books to work on using Kirby's breakdowns of the story so that they could more closely hew to Kirby's style.{{sfn|Hatfield|2012|page=9}} Over time, Kirby's style has become so well known that imitations, homages and pastiche are referred to as Kirbyesque.<ref>{{cite journal | title =Generally Speaking | journal = The Comics Journal | issue =107 | page=37 | date=April 1986 | issn=0194-7869}}</ref><ref>{{cite book |last1=Sabin |first1=Roger |title=Comics, comix & graphic novels |date=2001 |publisher=Phaidon |location=London |isbn=978-0-71483-993-6 |pages=110, 134 & 150 |edition= Repr.}}</ref><ref>{{cite book |author1=[interviews] by [[Roy Thomas]] & Jim Amash; introduction by [[Stan Lee]] |title=John Romita --and all that jazz! |date=2007 |publisher=TwoMorrows Pub. |location=Raleigh, N.C. |isbn=978-1893905757 |page=155}}</ref><ref>{{cite news |title=The Rick Veitch Interview |url=http://www.tcj.com/the-rick-veitch-interview/ |newspaper=The Comics Journal |date=May 24, 2013 |publisher=Fantagraphics Press |access-date=May 31, 2018 |archive-date=August 25, 2013 |archive-url=https://web.archive.org/web/20130825201617/http://www.tcj.com/the-rick-veitch-interview/ |url-status=live }} Originally published in ''The Comics Journal'' #175 (March 1995)</ref>

[[Kirby Krackle]], also referred to as Kirby Dots,<ref name="Keith">{{cite encyclopedia | title=Kirby, Jack | encyclopedia=Encyclopedia of Comic Books and Graphic Novels | publisher=ABC-CLIO | author=Crowder, Craig | editor=Booker, M. Keith | year=2010 | location=Santa Barbara, CA | pages=353}}</ref> is Kirby's artistic convention of depicting the effect of energy. Within the drawing, a field of black, pseudo-[[fractal]] images is used to represent [[negative space]] around unspecified kinds of [[energy]].<ref name="Foley">{{cite magazine|last=Foley |first=Shane |url=http://www.twomorrows.com/kirby/articles/33krackle.html |title=Kracklin' Kirby: Tracing the advent of Kirby Krackle |magazine=Jack Kirby Collector |issue=33 |date=November 2001 |access-date=April 30, 2015 |archive-url=https://web.archive.org/web/20101130183009/http://twomorrows.com/kirby/articles/33krackle.html |archive-date=November 30, 2010 |url-status=live }}</ref><ref name="Mendryk">{{cite web |first=Harry |last=Mendryk |url=http://kirbymuseum.org/blogs/simonandkirby/archives/3997 |title=Evolution of Kirby Krackle |publisher=Jack Kirby Museum: "Simon and Kirby" |date=September 3, 2011 |access-date=April 30, 2015 | archive-url = https://archive.today/20120604171405/http://kirbymuseum.org/blogs/simonandkirby/archives/3997 | archive-date = June 4, 2012 | url-status=live}}</ref> Kirby Krackles are typically used in illustrations of [[explosion]]s, smoke, the blasts from [[Raygun|ray guns]], "cosmic" energy, and outer space phenomena.<ref name="Duncan-Smith">{{cite book | url=https://books.google.com/books?id=M_bRZ_et8BIC&pg=PA413 | title=Icons of the American Comic Book: From Captain America to Wonder Woman: From Captain America to Wonder Woman | publisher=ABC-CLIO | author=Duncan, Randy | year=2010 | location=Santa Barbara, CA | pages=353 | isbn=978-0-31335-747-3 | author2=Smith, Matthew J. | access-date=May 31, 2018 | archive-date=June 17, 2016 | archive-url=https://web.archive.org/web/20160617053344/https://books.google.com/books?id=M_bRZ_et8BIC&pg=PA413 | url-status=live }}</ref> The advanced technology Kirby drew, from the [[Afrofuturistic]] state of [[Wakanda]] through the [[Mother Box]]es of the [[New Gods]] to the spaceships and design of [[Celestial (comics)|the Celestials]] is gathered together under the collective term "Kirby Tech".<ref>{{cite book |first1=Adilifu |last1=Nama |title=Super Black: American Pop Culture and Black Superheroes |date=2011 |publisher=University of Texas Press |isbn=978-0-29274-252-9 |page=48}}</ref><ref>{{cite book |editor-last1=Duncan |editor-first1=Randy |editor-last2=Smith |editor-first2=Matthew J.|title=Icons of the American comic book : from Captain America to Wonder Woman |date=2013 |publisher=Greenwood |location=Santa Barbara, Calif. |isbn=978-0313399237 |page=368}}</ref> [[John Paul Leon]] has described it as "It's tech; it's mechanical even if it's alien, but it's drawn in such an organic way that you don't question it. It's just an extension of his world. I'm not sure who else you could say did that."<ref>{{cite book |editor-first1=John |editor-last1=Morrow|editor-first2=Jon B. |editor-last2=Cooke |title=Kirby100: 100 Top Creators Celebrate Jack Kirby's Greatest Work |date=2017 |publisher=[[TwoMorrows Publishing]] |isbn=978-1605490786 |page=184}}</ref> Kirby's depiction of technology is linked by Charles Hatfield to [[Leo Marx]]'s idea of the technological sublime, specifically utilizing [[Edmund Burke]]'s definition of the [[Sublime (philosophy)#Edmund Burke|Sublime]]. Using this definition, Kirby's view and depiction of technology is that of it as something to be feared.{{sfn|Hatfield|2012|pages=144–171}}