Kirby - Marvel Appellate Document Record Volume 7

Case 11-3333, Document 78-1, 01/26/2012, 509518, Page1 of 97
CASE NO. 11-3333

UNITED STATES COURT OF APPEALS
FOR THE SECOND CIRCUIT
Marvel Characters, Incorporated, Marvel Worldwide, Incorporated,

MVL Rights, LLC,
Plaintiffs-Counter-Defendants - Appellees,
Walt Disney Company, Marvel Entertainment, Incorporated,
Counter-Defendants - Appellees,
v.
Lisa R. Kirby, Neal L. Kirby, Susan N. Kirby, Barbara J. Kirby,
Defendants-Counter-Claimants - Appellants.
APPELLANTS’ JOINT APPENDIX, VOLUME VII OF X
Appeal From The United States District Court for the Southern
District of New York,
Civil Case No. 10-141 (CM) (KF), Hon. Colleen McMahon
TOBEROFF & ASSOCIATES, P.C.

Marc Toberoff
mtoberoff@ipwla.com
22631 Pacific Coast Highway #348
Malibu, California 90265
Telephone: (310) 246-3333
Facsimile: (310) 246-3101
Attorneys for Defendants-Appellants,
Lisa R. Kirby, Neal L. Kirby, Susan M.
Kirby and Barbara J. Kirby
CASE NO. 11-3333

UNITED STATES COURT OF APPEALS
FOR THE SECOND CIRCUIT
Marvel Characters, Incorporated, Marvel Worldwide, Incorporated,

MVL Rights, LLC,
Plaintiffs-Counter-Defendants - Appellees,
Walt Disney Company, Marvel Entertainment, Incorporated,
Counter-Defendants - Appellees,
v.
Lisa R. Kirby, Neal L. Kirby, Susan N. Kirby, Barbara J. Kirby,
Defendants-Counter-Claimants - Appellants.
APPELLANTS’ JOINT APPENDIX, VOLUME VII OF X
Appeal From The United States District Court for the Southern
District of New York,
Civil Case No. 10-141 (CM) (KF), Hon. Colleen McMahon

Marc Toberoff
mtoberoff@ipwla.com
Telephone: (310) 246-3333
Facsimile: (310) 246-3101
Lisa R. Kirby, Neal L. Kirby, Susan M.
Kirby and Barbara J. Kirby
TABLE OF CONTENTS
JA Docket Date Description Pages

Volume No.
VII 95-15 3/25/2011 Exhibit O – Article “Kirby’s Gamma 1682
Rays: Alpha to Omega! – An Ultra-Rare
Find from 1962!”
VII 95-16 3/25/2011 Exhibit P – July 7, 2006 Agreement 1690
between Lisa Kirby and Marvel
Characters, Inc.
VII 95-17 3/25/2011 Exhibit Q – December 23, 2008 1692
Agreement between Lisa Kirby and
Marvel Characters, Inc.
VII 95-18 3/25/2011 Exhibit R – November 3, 2008 Agreement 1704
Characters, Inc.
VII 95-19 3/25/2011 Exhibit S – “Article “Fantastic Four #108: 1713
Jack’s Way”
VII 95-20 3/25/2011 Exhibit T – March 21, 1965 “Request for 1723
Payment” from Don Heck to Western
Printing and Lithographic
VII 95-21 3/25/2011 Exhibit U – Excerpts from “Five Fabulous 1726
Decades of the World’s Greatest Comics:
Marvel” by Les Daniels
VII 95-22 3/25/2011 Exhibit V – Excerpts from “Alter Ego 1737
Presents: John Romita … and All that
Jazz!” by Roy Thomas and Jim Amash
VII 95-23 3/25/2011 Exhibit W – Excerpts from Jack Kirby 1746
Checklist Gold Edition
VII 95-24 3/25/2011 Exhibit X – Excerpts from The Art of Jack 1763
Kirby
VII 95-25 3/25/2011 Exhibit Y – Article “Kirby Gets Cracked” 1776
VII 95-26 3/25/2011 Exhibit Z – Article “The Monster of 1781
Moraggia”
i

Volume No.
VII 95-27 3/25/2011 Exhibit AA – 1974-1975 Checks to 1791
Richard Ayer
VII 95-28 3/25/2011 Exhibit BB – 1986 Check to Jack Kirby 1817
VII 95-29 3/25/2011 Exhibit CC – Article “Would You Like to 1820
See My Etchings?”
VII 95-30 3/25/2011 Exhibit DD – Attached as Exhibits 36 and 1828
37 to the Declaration of Randi Singer
VII 95-31 3/25/2011 Exhibit EE – Draft Agreement between 1831
Jack Kirby and Marvel Comics Groups
VII 97-1 3/25/2011 Exhibit FF – Artwork by Jack Kirby 1842
VII 97-2 3/25/2011 Exhibit GG – Excerpts from Article “A 1850
Failure to Communicate: Part Two”
VII 97-3 3/25/2011 Exhibit HH – Excerpts from Article “Jack 1860
Kirby”
VII 97-4 3/25/2011 Exhibit II – Excerpts from Article “Hour 1863
Twenty-Five”
VII 97-5 3/25/2011 Exhibit JJ – Excerpts from Article “Jack 1865
Kirby Interview”
VII 97-6 3/25/2011 Exhibit KK – Excerpts from Article 1869
“Wow-What an Interview”
VII 97-7 3/25/2011 Exhibit LL – November 12, 1980 1872
Declaration of Donald S. Engel and
Exhibits C, D, E, attached thereto from
Gerber v. Cadence Industries Corporation,
et al., Case No. 80 3840 DVK, in the U.S.
District Court for the Central District of
California
VII 97-8 3/25/2011 Exhibit MM – Excerpts from “Stan Lee: 1899
Conversations”
VII 97-9 3/25/2011 Exhibit NN – Excerpts from Article “Jack 1904
Kirby A Celebration”
ii

Volume No.
VII 97-10 3/25/2011 Exhibit OO –Article “Jack Kirby 1907
Interview”
VII 97-11 3/25/2011 Exhibit PP – Article “Kirby and Goliath: 1909
The Fight for Jack Kirby’s Marvel
Artwork”
VII 97-12 3/25/2011 Exhibit QQ – November 19, 1985 Letter 1917
from DC Comics to The Comics Journal
VII 97-13 3/25/2011 Exhibit RR – Handwritten Notes of Jack 1919
Kirby
VII 97-14 3/25/2011 Exhibit SS – Excerpt from Article “A Talk 1924
with Artist-Writer-Editor Jack Kirby”
VII 97-15 3/25/2011 Exhibit TT – Article “Jack Kirby 1926
Interview”
VII 97-16 3/25/2011 Exhibit UU – Excerpts from “Superhero 1929
Women” by Stan Lee
VII 97-17 3/25/2011 Exhibit VV – Excerpts from “Interview 1933
with Stan Lee” from ign.com
VII 97-18 3/25/2011 Exhibit WW – Excerpts from “Son of 1937
Origins of Marvel Comics” by Stan Lee
VII 97-19 3/25/2011 Exhibit XX – Excerpts from “The 1942
Fantastic Four” by Stan Lee
VII 97-20 3/25/2011 Exhibit YY – Excerpts from “Alter Ego, 1946
No. 74”
VII 97-21 3/25/2011 Exhibit ZZ – Excerpts from Article “Jack 1950
Kirby – The Master of Comic Book Art”
VII 97-22 3/25/2011 Exhibit AAA – Excerpts from Article 1953
“Stan Lee Interview – WBAI Radio NY –
August 12, 1986”
VII 97-23 3/25/2011 Exhibit BBB – Excerpts from “The 1956
Incredible Hulk” by Stan Lee
VII 97-24 3/25/2011 Exhibit CCC – Excerpts from Article 1959
“The Goldberg Variations”
iii

Volume No.
VII 97-25 3/25/2011 Exhibit DDD – Excerpts from Article 1962
“Stan Lee Interview – WBAI Radio NY –
March 3, 1967”
VII 97-26 3/25/2011 Exhibit EEE – Article “Jack Kirby: 1965
Prisoner of Gravity”
iv
INDEX TO APPENDICES
Joint Appendix

Volume No.
I N/A 1/9/2012 Docket for Civil Case 1:10-cv-00141- 1
CM-KNF as of January 9, 2012
I 1 1/8/2010 Complaint 19
I 9 3/9/2010 Notice of Defendants’ Motion to 36
Dismiss for Lack of Personal
Jurisdiction and Failure to Join
Necessary Parties
I 10 3/9/2010 Defendants’ Memorandum of Law re: 39
Motion to Dismiss
I 11 3/9/2010 Declaration of Lisa Kirby re: Motion to 67
Dismiss
I 12 3/9/2010 Declaration of Neal Kirby re: Motion to 71
Dismiss
I 13 3/9/2010 Declaration of Marc Toberoff re: Motion 75
to Dismiss
I 18 3/26/2010 Declaration of Alan Braverman re: 78
Motion to Dismiss
I 19 3/26/2010 Declaration of Eli Bard re: Motion to 80
Dismiss
I 20 3/26/2010 Declaration of James Quinn re: Motion 84
to Dismiss
I 23 4/6/2010 Reply Declaration of Marc Toberoff re: 87
Motion to Dismiss
I 24 4/6/2010 Reply Declaration of Lisa Kirby re: 91
Motion to Dismiss
I 27 4/14/2010 Order Denying Defendants’ Motion to 95
Dismiss
I 30 4/28/2010 Answer to Complaint and Counterclaims 111
v

Volume No.
I 43 10/14/2010 Order re: Deposition of Mark Evanier 140
I 50 12/6/2010 Answer to Counterclaims 142
I 60 2/25/2011 Notice of Plaintiffs’ Motion for 150
Summary Judgment
I 61 2/25/2011 Plaintiffs’ Rule 56.1 Statement re: 152
Plaintiffs’ Motion for Summary
Judgment
I 62 2/25/2011 Plaintiffs’ Memorandum re: Plaintiffs’ 186
Motion for Summary Judgment
I 65 2/25/2011 Declaration of Randi Singer re: 214
Judgment
II 65-1 2/25/2011 Exhibit 1 – Excerpts from the May 13, 226
2010 and December 8, 2010 Depositions
of Stan Lee
II 65-2 2/25/2011 Exhibit 2 – Excerpts from the October 327
21, 2010 Deposition of John Romita
II 65-3 2/25/2011 Exhibit 3 – Excerpts from the October 378
26 and October 27, 2010 Depositions of
Roy Thomas
II 65-4 2/25/2011 Exhibit 4 – Excerpts from the January 7, 422
2011 Deposition of Lawrence Lieber
II 65-5 2/25/2011 Exhibit 5 – Excerpts from the June 30, 448
2010 Deposition of Neal Kirby
II 65-6 2/25/2011 Exhibit 6 – Excerpts from the July 1, 497
2010 Deposition of Lisa Kirby
III 65-7 2/25/2011 Exhibit 7 – Excerpts from the October 515
25, 2010 Deposition of Susan Kirby
III 65-8 2/25/2011 Exhibit 8 – Excerpts from the November 531
9, 2010 Deposition of Mark Evanier
III 65-9 2/25/2011 Exhibit 9 – Excerpts from the December 553
vi

Volume No.
III 65-10 2/25/2011 Exhibit 10 – Excerpts from the January 581
10, 2011 Deposition of John Morrow
III 65-15 2/25/2011 Exhibit 15 – August 31, 2009 Press 599
Release from the Walt Disney Company
III 65-20 2/25/2011 Exhibit 17 – May 30, 1972 Agreement 603
between Jack Kirby and Magazine
Management Co., Inc.
III 65-21 2/25/2011 Exhibit 18 – 1981 Interview with Stan 609
Lee by Leonard Pitts, Jr.
III 65-28 2/25/2011 Exhibit 25 – November 1, 1998 629
Agreement between Stan Lee and
Marvel Enterprises, Inc.
III 65-29 2/25/2011 Exhibit 26 – August 6, 2007 Interview 640
with Lawrence Lieber by Daniel Best
III 65-30 2/25/2011 Exhibit 27 – January 9, 1963 Letter from 671
Stan Lee to Jerry Bails
III 65-31 2/25/2011 Exhibit 28 – Excerpt from Kirby: King 674
of Comics by Mark Evanier
III 65-32 2/25/2011 Exhibit 29 – “Stan Lee Made Up the Plot 677
… And I’d Write the Script” by Roy
Thomas
III 65-33 2/25/2011 Exhibit 30 – Two-page synopsis of The 692
Fantastic Four
III 66-1 2/25/2011 Exhibit 31 – Interview with Stan Lee by 695
Dan Hagen
III 66-2 2/25/2011 Exhibit 32 – Transcript of Interview with 715
Stan Lee by Eric Leguebe
III 66-3 2/25/2011 Exhibit 33 – Excerpts from Origins of 724
Marvel Comics by Stan Lee
III 66-4 2/25/2011 Exhibit 34 – June 11, 2007 Affidavit of 758
Stan Lee
vii

Volume No.
III 66-5 2/25/2011 Exhibit 35 – March 7, 2006 Agreement 774
between Stan Lee and Marvel
Entertainment, Inc.
III 66-6 2/25/2011 Exhibit 36 – May 19, 1978 Agreement 777
between John Romita and Marvel
Comics Group
III 66-7 2/25/2011 Exhibit 37 – June 1, 1978 Agreement 779
between Roy Thomas and Marvel
Comics Group
III 66-8 2/25/2011 Exhibit 38 – April 28, 2008 Letter from 781
Gene Colan to Marvel Comics
Enterprises
III 66-9 2/25/2011 Exhibit 39 – Excerpt from The Art of 784
Jack Kirby by Ray Wyman, Jr.
III 66-10 2/25/2011 Exhibit 40 – January 9, 1966 Article 787
“Super-Heroes With Super Problems” by
Nat Freedland
IV 66-11 2/25/2011 Exhibit 41 – Interview with Jack Kirby 794
and 66- by Gary Groth
12
IV 66-13 2/25/2011 Exhibit 42 – Excerpt from Jack Kirby 826
Collector Fifty-Four
IV 66-14 2/25/2011 Exhibit 43 – Interview with Jack Kirby 829
by Mark Herbert
IV 66-15 2/25/2011 Exhibit 44 – July 12, 1966 Affidavit of 841
Jack Kirby
IV 66-16 2/25/2011 Exhibit 45 – Renewal Copyright 853
Registrations signed by Jack Kirby
IV 66-17 2/25/2011 Exhibit 46 – March 24, 1975 Agreement 874
between Jack Kirby and Marvel Comics
Group
viii

Volume No.
IV 66-18 2/25/2011 Exhibit 47 – June 16, 1986 883
Acknowledgement of Copyright
Ownership by Jack Kirby
IV 66-19 2/25/2011 Exhibit 48 – June 16, 1987 Agreement 886
between Jack Kirby and Marvel Comics
Group
IV 66-20 2/25/2011 Exhibit 49 – May 12, 1987 Letter from 898
Joseph Calamari to Jack Kirby
IV 66-21 2/25/2011 Exhibit 50 – October 3, 1986 Article 901
“Response: Jack Kirby replies to Marvel
Statement”
IV 66-22 2/25/2011 Exhibit 51 – November 19, 1997 Letter 904
from Stephen F. Rohde to Joseph
Calamari
IV 66-23 2/25/2011 Exhibit 52 – Interview with Stan Lee by 908
David Anthony Kraft
IV 66-24 2/25/2011 Exhibit 53 – Interview with Stan Lee by 925
Clifford Meth and Daniel Dickholtz
IV 66-26 2/25/2011 Exhibit 55 – September 22, 2009 Article 931
“Who Created Spider-Man? [Kirby
Lawsuit]” by Al Nickerson
IV 66-27 2/25/2011 Exhibit 56 – Excerpt from “The JACK 934
F.A.Q.”
IV 66-28 2/25/2011 Exhibit 57 – Excerpt from “The JACK 939
F.A.Q.”
IV 67 2/25/2011 Notice of Plaintiffs’ Motion to Exclude 945
the Testimony of Mark Evanier
IV 69 2/25/2011 Declaration of Sabrina Perelman re: 947
Plaintiffs’ Motion to Exclude the
Testimony of Mark Evanier
IV 69-2 2/25/2011 Exhibit 2 – Excerpts from the December 950
ix

Volume No.
IV 69-3 2/25/2011 Exhibit 3 – Excerpts from the November 995
IV 69-4 2/25/2011 Exhibit 4 – Excerpts from November 16, 1008
1999 trial proceedings in In re Marvel
Entertainment Group Inc., et al., Case
No. 97-638-RRM, in the U.S. District
Court for the District of Delaware
IV 69-5 2/25/2011 Exhibit 5 – Excerpts from the October 1014
12, 1999 Deposition of Mark Evanier in
In re Marvel Entertainment Group
IV 70 2/25/2011 Notice of Plaintiffs’ Motion to Exclude 1017
the Testimony of John Morrow
IV 72 2/25/2011 Declaration of David Fleischer re: 1019
Testimony of John Morrow
IV 72-2 2/25/2011 Exhibit B – Excerpts from the January 1021
IV 73 2/25/2011 Notice of Defendants’ Motion for 1077
Summary Judgment
IV 74 2/25/2011 Declaration of Mark Evanier re: 1080
Defendants’ Motion for Summary
Judgment
V 74-1 2/25/2011 Exhibit A – November 4, 2010 Expert 1088
Report of Mark Evanier
V 74-2 2/25/2011 Exhibit B – Excerpts from Kirby: King 1116
of Comics by Mark Evanier
V 74-3 2/25/2011 Exhibit C – 1972 “Jack Kirby’s Gods” 1125
Portfolio
V 74-4 2/25/2011 Exhibit D – 1969-1971 Presentation 1132
Pieces by Jack Kirby
V 75 2/25/2011 Declaration of John Morrow re: 1135
Judgment
x

Volume No.
V 75-1 2/25/2011 Exhibit A – November 4, 2010 Expert 1140
Report of John Morrow
V 75-2 2/25/2011 Exhibit B – Fantastic Four: The Lost 1161
through Adventure #1
75-4
V 78 2/25/2011 Defendants’ Rule 56.1 Statement re: 1229
Judgment
V 82 3/25/2011 Supplement Declaration of Randi Singer 1235
re: Defendants’ Motion for Summary
Judgment
V 82-1 3/25/2011 Exhibit 58 – Excerpts from the October 1238
Roy Thomas
V 82-3 3/25/2011 Exhibit 60 – Excerpts from the January 1249
7, 2011 Deposition of Lawrence Lieber
V 82-4 3/25/2011 Exhibit 61 – Excerpts from the June 30, 1252
V 82-6 3/25/2011 Exhibit 63 – Excerpts from the January 1259
V 83 3/25/2011 Opposition to Local Rule 56.1 Statement 1277
re: Defendants’ Motion for Summary
Judgment
V 85 3/25/2011 Declaration of Marc Toberoff re: 1295
Testimony of John Morrow
V 85-3 3/25/2011 Exhibit C – Excerpts from the January 1299
xi

Volume No.
V 85-5 3/25/2011 Exhibit E – “Battling the Kirby Bug” by 1315
John Morrow
V 85-6 3/25/2011 Exhibit F – Cover of Challengers of the 1317
Unknown, No. 1
V 87 3/25/2011 Declaration of Marc Toberoff re: 1319
V 87-3 3/25/2011 Exhibit C – Excerpt from Kirby: King of 1323
Comics by Mark Evanier
V 87-5 3/25/2011 Exhibit E – Excerpts from the December 1325
V 87-6 3/25/2011 Exhibit F – Excerpts from the October 1342
V 87-7 3/25/2011 Exhibit G – Excerpts from the October 1348
Roy Thomas
V 88 3/25/2011 Declaration of Mark Evanier re: 1356
V 89 3/25/2011 Declaration of John Morrow re: 1359
Judgment
V 90 3/25/2011 Declaration of Mark Evanier re: 1364
Judgment
V 91 3/25/2011 Declaration of Richard Ayers re: 1372
Judgment
V 92 3/25/2011 Declaration of Joe Sinnott re: Plaintiffs’ 1378
VI 93 3/25/2011 Declaration of Neal Adams re: Plaintiffs’ 1384
xii

Volume No.
VI 94 3/25/2011 Declaration of James Steranko re: 1390
Judgment
VI 95 3/25/2011 Declaration of Mark Toberoff (Part II) 1397
re: Motions for Summary Judgment
VI 95-1 3/25/2011 Exhibit A – September 16, 2009 1408
“Fantastic Four” Termination Notice
VI 95-2 3/25/2011 Exhibit B – Excerpts from the November 1424
VI 95-3 3/25/2011 Exhibit C – Excerpts from the December 1437
VI 95-4 3/25/2011 Exhibit D – Excerpts from the January 1477
VI 95-5 3/25/2011 Exhibit E – Excerpts from the January 7, 1513
VI 95-6 3/25/2011 Exhibit F – Excerpts from the October 1532
VI 95-7 3/25/2011 Exhibit G – Excerpts from the June 30, 1559
VI 95-8 3/25/2011 Exhibit H – Excerpts from the October 1602
VI 95-9 3/25/2011 Exhibit I – Excerpts from the May 13, 1611
2010 Deposition of Stan Lee
VI 95-10 3/25/2011 Exhibit J – Excerpts from the December 1621
8, 2010 Deposition of Stan Lee
VI 95-11 3/25/2011 Exhibit K – Excerpts from the October 1653
27, 2010 Deposition of Roy Thomas
VI 95-12 3/25/2011 Exhibit L – Plaintiffs’ December 20, 1660
2011 Response to Defendants’ First Set
of Requests for Admissions
VI 95-13 3/25/2011 Exhibit M – Attached as Exhibit 17 to 1668
the Declaration of Randi Singer
xiii

Volume No.
VI 95-14 3/25/2011 Exhibit N – Jack Kirby Pencil Drawings 1675
of “Thor”
VII 95-15 3/25/2011 Exhibit O – Article “Kirby’s Gamma 1682
Rays: Alpha to Omega! – An Ultra-Rare
Find from 1962!”
VII 95-16 3/25/2011 Exhibit P – July 7, 2006 Agreement 1690
Characters, Inc.
VII 95-17 3/25/2011 Exhibit Q – December 23, 2008 1692
VII 95-18 3/25/2011 Exhibit R – November 3, 2008 1704
VII 95-19 3/25/2011 Exhibit S – “Article “Fantastic Four 1713
#108: Jack’s Way”
VII 95-20 3/25/2011 Exhibit T – March 21, 1965 “Request for 1723
Payment” from Don Heck to Western
Printing and Lithographic
VII 95-21 3/25/2011 Exhibit U – Excerpts from “Five 1726
Fabulous Decades of the World’s
Greatest Comics: Marvel” by Les
Daniels
VII 95-22 3/25/2011 Exhibit V – Excerpts from “Alter Ego 1737
Presents: John Romita … and All that
Jazz!” by Roy Thomas and Jim Amash
VII 95-23 3/25/2011 Exhibit W – Excerpts from Jack Kirby 1746
Checklist Gold Edition
VII 95-24 3/25/2011 Exhibit X – Excerpts from The Art of 1763
Jack Kirby
VII 95-25 3/25/2011 Exhibit Y – Article “Kirby Gets 1776
Cracked”
xiv

Volume No.
VII 95-26 3/25/2011 Exhibit Z – Article “The Monster of 1781
Moraggia”
VII 95-27 3/25/2011 Exhibit AA – 1974-1975 Checks to 1791
Richard Ayer
VII 95-28 3/25/2011 Exhibit BB – 1986 Check to Jack Kirby 1817
VII 95-29 3/25/2011 Exhibit CC – Article “Would You Like 1820
to See My Etchings?”
VII 95-30 3/25/2011 Exhibit DD – Attached as Exhibits 36 1828
and 37 to the Declaration of Randi
Singer
VII 95-31 3/25/2011 Exhibit EE – Draft Agreement between 1831
Jack Kirby and Marvel Comics Groups
VII 97-1 3/25/2011 Exhibit FF – Artwork by Jack Kirby 1842
VII 97-2 3/25/2011 Exhibit GG – Excerpts from Article “A 1850
Failure to Communicate: Part Two”
VII 97-3 3/25/2011 Exhibit HH – Excerpts from Article 1860
“Jack Kirby”
VII 97-4 3/25/2011 Exhibit II – Excerpts from Article “Hour 1863
Twenty-Five”
VII 97-5 3/25/2011 Exhibit JJ – Excerpts from Article “Jack 1865
Kirby Interview”
VII 97-6 3/25/2011 Exhibit KK – Excerpts from Article 1869
“Wow-What an Interview”
VII 97-7 3/25/2011 Exhibit LL – November 12, 1980 1872
Declaration of Donald S. Engel and
Exhibits C, D, E, attached thereto from
Gerber v. Cadence Industries
Corporation, et al., Case No. 80 3840
DVK, in the U.S. District Court for the
Central District of California
VII 97-8 3/25/2011 Exhibit MM – Excerpts from “Stan Lee: 1899
Conversations”
xv

Volume No.
VII 97-9 3/25/2011 Exhibit NN – Excerpts from Article 1904
“Jack Kirby A Celebration”
VII 97-10 3/25/2011 Exhibit OO –Article “Jack Kirby 1907
Interview”
VII 97-11 3/25/2011 Exhibit PP – Article “Kirby and Goliath: 1909
The Fight for Jack Kirby’s Marvel
Artwork”
VII 97-12 3/25/2011 Exhibit QQ – November 19, 1985 Letter 1917
from DC Comics to The Comics Journal
VII 97-13 3/25/2011 Exhibit RR – Handwritten Notes of Jack 1919
Kirby
VII 97-14 3/25/2011 Exhibit SS – Excerpt from Article “A 1924
Talk with Artist-Writer-Editor Jack
Kirby”
VII 97-15 3/25/2011 Exhibit TT – Article “Jack Kirby 1926
Interview”
VII 97-16 3/25/2011 Exhibit UU – Excerpts from “Superhero 1929
Women” by Stan Lee
VII 97-17 3/25/2011 Exhibit VV – Excerpts from “Interview 1933
with Stan Lee” from ign.com
VII 97-18 3/25/2011 Exhibit WW – Excerpts from “Son of 1937
Origins of Marvel Comics” by Stan Lee
VII 97-19 3/25/2011 Exhibit XX – Excerpts from “The 1942
Fantastic Four” by Stan Lee
VII 97-20 3/25/2011 Exhibit YY – Excerpts from “Alter Ego, 1946
No. 74”
VII 97-21 3/25/2011 Exhibit ZZ – Excerpts from Article 1950
“Jack Kirby – The Master of Comic
Book Art”
VII 97-22 3/25/2011 Exhibit AAA – Excerpts from Article 1953
“Stan Lee Interview – WBAI Radio NY
– August 12, 1986”
xvi

Volume No.
VII 97-23 3/25/2011 Exhibit BBB – Excerpts from “The 1956
Incredible Hulk” by Stan Lee
VII 97-24 3/25/2011 Exhibit CCC – Excerpts from Article 1959
“The Goldberg Variations”
VII 97-25 3/25/2011 Exhibit DDD – Excerpts from Article 1962
“Stan Lee Interview – WBAI Radio NY
– March 3, 1967”
VII 97-26 3/25/2011 Exhibit EEE – Article “Jack Kirby: 1965
Prisoner of Gravity”
VIII 97-27 3/25/2011 Exhibit FFF – Article “Jack Kirby: A 1968
By-the-Month Chronology”
VIII 97-28 3/25/2011 Exhibit GGG – Article “The Highs and 2006
Lows of Henry Pym”
VIII 97-29 3/25/2011 Exhibit HHH – Article “They Were 2011
Aces”
VIII 97-30 3/25/2011 Exhibit III – December 24, 1980 2014
Declaration of Stephen Gerber and
Exhibit 3, attached thereto from Gerber
v. Cadence Industries Corporation, et al.
VIII 97-31 3/25/2011 Exhibit JJJ – Excerpts from “Nimmer on 2037
Copyright” (1963)
VIII 97-32 3/25/2011 Exhibit KKK – August 5, 1986 Letter 2049
from Joe Sacco to Paul Levine and
enclosure
VIII 98 3/25/2011 Opposition to Local Rule 56.1 Statement 2056
re: Plaintiffs’ Motion for Summary
Judgment
VIII 99 3/25/2011 Redacted Declaration of Gene Colan re: 2146
Judgment
IX 108 4/8/2011 Reply to Local Rule 56.1 Statement re: 2152
Judgment
xvii

Volume No.
IX 110 4/8/2011 Reply Declaration of Sabrina Perelman 2286
re: Plaintiffs’ Motions to Exclude the
Testimony of Mark Evanier and John
Morrow
IX 110-1 4/8/2011 Exhibit 1: Excerpts from November 16, 2288
1999 trial transcript in In re Marvel
Entertainment Group
IX 114 4/8/2011 Reply Declaration of Marc Toberoff re: 2292
Judgment
IX 114-1 4/8/2011 Exhibit 1: Excerpts from “Five 2296
Fabulous Decades of the World’s
Greatest Comics: Marvel” by Les
Daniels
IX 114-2 4/8/2011 Exhibit 2 – Excerpts from the December 2302
8, 2010 Deposition of Stan Lee
IX 114-3 4/8/2011 Exhibit 3 – Excerpts from the December 2313
IX 114-4 4/8/2011 Exhibit 4 – Excerpts from the October 2319
IX 114-5 4/8/2011 Exhibit 5 – Excerpts from the October 2325
Roy Thomas
IX 116 4/8/2011 Reply to Local Rule 56.1 Statement re: 2332
Judgment
IX 121 7/28/2011 Order Granting Plaintiffs’ Motion for 2367
Summary Judgment and Denying
Judgment
IX 123 8/8/2011 Judgment 2417
IX 124 8/15/2011 Notice of Appeal 2419
xviii

Volume No.
X N/A Transcript for the May 13, 2010 2421
Deposition of Stan Lee (requested by the
Court and submitted by Plaintiffs on
June 6, 2011)
Confidential Appendix
CA Docket Date Description Pages

Volume No.
I 103 3/25/2011 Declaration of Gene Colan re: Plaintiffs’ 1
I 103 3/25/2011 Exhibit A: March 22, 1975 Agreement 7
between Gene Colan and Marvel Comics
Group
I 103 3/25/2011 Exhibit B: May 30, 1978 Agreement 15
Group
I 103 3/25/2011 Exhibit C: April 28, 2008 Letter from 16
Gene Colan to Joe Quesada
I 103 3/25/2011 Exhibit D: May 31, 2008 Agreement 18
between Gene Colan and Marvel
Characters, Inc.
I 103 3/25/2010 Confidential Declaration of Marc 28
Toberoff re: Plaintiffs’ Motion for
Summary Judgment
I 103 3/25/2010 Exhibit 2: July 26, 2002 Agreement 33
between Stan Lee and Marvel Enterprises,
Inc
I 103 3/25/2010 Exhibit 4: March 20, 2006 Agreement 35
between Silver Creek Pictures, Inc. and
POW! Entertainment, Inc.
I 103 3/25/2010 Exhibit 5: May 2, 2008 Agreement 39
between Silver Creek Pictures, Inc. and
POW! Entertainment, Inc.
xix

Volume No.
I 103 3/25/2010 Exhibit 6: December 31, 2009 47
Agreement between Catalyst Investments,
LLC and POW! Entertainment, Inc.
I 103 3/25/2010 Exhibit 7: December 18, 2009 59
Agreement between Silver Creek
Pictures, Inc. and POW! Entertainment,
Inc.
I 103 3/25/2010 Exhibit 8: June 11, 2007 Agreement 72
between Marvel Entertainment, Inc. and
Stan Lee.
I 103 3/25/2010 Exhibit 9: Excerpts from the January 7, 77
I 103 3/25/2010 Exhibit 10: March 22, 1975 Agreement 82
Group
I 103 3/25/2010 Exhibit 11: September 1, 1974 91
Agreement between Roy Thomas and
Marvel Comics Group
I 103 3/25/2010 Exhibit 12: August 27, 1976 Agreement 99
between Roy Thomas and Marvel Comics
Group
I 103 3/25/2010 Exhibit 13: February 24, 1978 Letter 110
between Cadence Publishing Division
and Roy Thomas, enclosing March 7,
1977 Agreement between Roy Thomas
and Marvel Comics Group
II N/A Transcript for the October 21, 2010 115
Deposition of John Romita (requested by
the Court and submitted by Plaintiffs on
July 12, 2011)
III N/A Transcript for the October 26, 2010 395
Deposition of Roy Thomas (requested by
July 12, 2011)
xx

Volume No.
III N/A Transcript for the October 27, 2010 601
Deposition of Roy Thomas (requested by
July 12, 2011)
IV N/A Transcript for the December 8, 2010 705
Deposition of Stan Lee (requested by the
Court and submitted by Plaintiffs on June
6, 2011)
Special Appendix
SA Docket Date Description Pages

Volume No.
I 123 8/8/2011 Judgment 1
I 121 7/28/2011 Order Granting Plaintiffs’ Motion for 3
Summary Judgment and Denying
Judgment
I 27 4/14/2010 Order Denying Defendants’ Motion to 53
Dismiss
xxi
Case 11-3333, Document Document
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page24Page
Filed 03/25/11 of 97 1 of 8
EXHIBIT O
JA1682
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page25Page
Filed 03/25/11 of 97 2 of 8
JA1683
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page26Page
Filed 03/25/11 of 97 3 of 8
CONftNfS
OPEMIHG SHOT . . . .. .. .2
(Kirby's Unleashed all aver
again)
UNDER THE COVERS . .4
(extenSive looks at oor cover
images)
JACK F.A.O.s . . ... 10
(Mark Evanier on Jack's
c T 0
views of penciling and
\ ' \'(; I"\ t+- 1;- 1
- /A~/cc s . 1 - <~ :;-;r;;; c?OG/J ?' //A J // .tJc:,: ,:;p ST~7ue
-----
CJP ·ni!/1./ ( '-<.}/) jANIJS - - }Y/f/1/j ' -'..J (,/' / /F_Y /i'":.~;, / M7 6=-
writing for Marvel) ~\~J...
NEW GEN£SIS .. 16 IVIT/I k2 et:;O C!r -<:.J,I)i?J) 'Y ·': >l)U/ ! VICAJ!'--
(a new Dark Horse comic
with Kirby art!)
CRAFTINESS . .19
(a lettering machine named ---r i ; ·· l ;---- ·
I
'
"Royer")
PAPER TRAIL . . . . ..... 20
(a tale of two Kirby contracts)
I \/ _,..' 1\ ( -~ -~ I I
ANALYSIS .
(Jack didn't follow the
equation for success at
.23
~L " I
I
1970s Marvel)
INCIDENTAL ICONOGRAPHY .. 25 I
(from Paste-Pat Pete
Trapster)
to the I
KIRBY OBSCURA .26
(Bany Forshaw digs up more
obscure Kirby gems)
GALLERY 1 . .28
(covering 1970s Marvel)
Unused splash page, meant for Fantastic Four #102 (Sept. 1970).
KIRBY AS A GENRE .. . .. .40 The issue was shelved when Jack left Marvel for DC. and later chopped
(Adam McGovern on what
up to make issue #108 (March 1971). but this splash was discarded.
might have been)
Charactm: TM & CZ004 MaM1 Charactm, lnc.
ANIMAffiRS . . .... . ... .42
(the man behind the 1966
Kirby-inspired (swiped?)
Marvel Super-Heroes 'toons)
GALLERY 2 . . . . . .48
(a smattering of the best of
Kirby's '70s Marvel work)
TRIBUTE . .59
{the 2004 Kirby Tribute Panel,
with Mark Evanier. Steve
Rude, Paul Ryan, Walter
Simonson, Mike Royer, and
Dave Gibbons)
UNEARTHED . . .. .. 71
(a most amazing find: 1962
Kirby Hulk pencils!)
COLLECTOR COMMENTS . .78
(missives on Kamandi and
OMAC)
PARTING SHOT . . .80
(some nut on a surfboard)
Front cover inks: DICK GIORDANO
BaCk cover inks: MARK SCHULTZ
Cover cOlors: TOM ZIUKO
Photocopies of Jack's uninked pencils

from published comics are reproduced
coortesy of the Kirby Estate, which has
our thanks for their continued support.
COPYRt~ 2001 Chi¥3dm, Angel, .A'Ier.gm. Bl!ast 8l.adl

&lli~. Black Panttler. Blacl!. WtO/:M. Slxky, Captaan America
Olampmos, O!'vi! Dioosauf. Of Doom. Dr. (Koom!Oruid . E~ma's.
Fajcon. f<I~tastic Rxif. Gaiactus. Grey Gargoyl e, Hellcat
HerCUles, Ku!k, Hulk. Human Tordt. Iceman. !kalis. lll'o'aders,
lnii!Slblt Gin. Iron Ftsl tron Moo. Ivan the Terrible. Kro. li~
L99ioo. loki. Ma:hlne Mal. Makani. Madusa Modok. Moonboy.
ML Fantastic. Night Ay t'f. No:wa. Paste-Pot Pete. Rt:d Skoll. fkk
~ . Scarlei.Witdl.Slf.SilverS\Jrfer.Spider- MM, Squadron
SUp(eme. Stilfman. Suo-Marinlllf, Ten-For. Thena. Thmo. ThOf.
rtgra. foro. Tlapst&r. lkuon .Jadt, Vis~ . 'N~ Three, Wasp,
Watd'll!r, Wi tar d. YelloNjad<.et TM & 02004 Marvel CMfactars..
me • Ama, Batman . Big Banja_ Dafks~. Demon, G!ffil krow.
Gteen Larrtetn. Jimmy Olsen. KamandL Ug~~tray. Metron, Mr.
Mtrae!e. New QlQs. ()-ion. Superman. Watchmer1 . Wonder
Woman TM & trno4 DC ~- • Galaty GcoMn. Kilby
:.kllemt~ ed ill1. Sl<y Mastm . True [)iv(Jrc:e C<ms TM & Cl2004
Ja'::-1( Kirby Esrete. • Gala1lc Boonr,- Hun!Ms TM & 02~-~
IGrtJy [state and Genesis Wtst. • Qool TM & 02004 Wa:ll.n
Wood Estate.
JA1684
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page27Page
Filed 03/25/11 of 97 4 of 8
UN&IItftt&O
by john Morrow bandaged from some kind of battle. There's no evidence of such
a battle in any of the published Kirby issues (#1·5). Also, the
I
magine my shock. as I'm shooting the breeze with an original pages show Rick jones engaged in a basketball game with a
art dealer at Comicon International: San Diego this summer, gang of thugs disguised as teenaged opponents. When the
and he casually says. "By the way, I've got some '60s Kirby gangsters start playing dirty. Rick uses his mental link wi th the
Hulk pencils to send you for the magazine." Hulk to summon ol' Greenskin to save the day and put the
Kirby Hulk pencils? punks in their place. There's no evidence of any basketball
ALT MN-N MILES ~ROM Those are nearly as rare as game, or the mustachioed lead villain, in any of the published
&OM& ZERO, DR . &RUCe hen's teeth, considering he issues, so this must be from an unpublished story (probably
&ANNER. I& ~HS) IN TWE on ly drew five issues in 1962, meant for #6), right?
~ULL FOAC8 OF THe plus a smattering of Avengers Yes, except for one detail: Rick's mental link with the Hulk.
MVSTG~IOOS GAMMA A.AVS/ and Tales to Astonish issues He gained the link in Hulk #3, and lost it in #4, never to return
(t he latter mostly layouts) during the Hulk's original six-issue run. So either (a) Stan
with the Green Goliath in and/or jack decided to give him back the mental link in #6, (b)
them. Needless to say, my Stan or Jack simply forgot the link was gone and put it in by
curiosity was piqued! (This mistake (and maybe that's why these pages were discarded), or
kind of thing is why I go to (c) these are pages intended for an earlier issue. If you look back
the San Diego Con every at Hulk #3, there's a weird transition between stories. Pages 12·
Summer!) 15 are an oddly-inserted three· page recap of the Hulk's origin,
"They're from Hulk #6," followed by a splash page for the Ringmaster story that fills
the dealer continued. "Can't the second half of the issue. However, the pages are numbered
be." said I, immediately continuously. not starting over with a new Page 1 for the
remembering that Steve Ringmaster splash page (as would happen in issues #4 and 5,
Ditko, not jack Kirby, which both contain two separately numbered stories). Even
penciled that tina! issue of more telltale is the first story in #3, which starts with a big "Part
the Hulk's initial run. r· on the splash page; but "Part 2" never appears! Are these
"No, no, these were in actually pages from a discarded sequence in #3? Did Stan elimi·
Larry Lieber's closet all these nate this sequence to make room for an origin recap. to get new
years, and were supposed to readers up to speed on the Hulk's beginnings? Or is this truly
be for issue #6," the dealer from an unseen Kirby-drawn issue #6?
opined. 'Til mail 'em to you Perhaps the only way we'll know for sure is if other pages
when I get back home." You ever turn up. If you spot any clues that I missed, be sure to write
wouldn't believe how quickly and let me know. But regardless, this is a remarkable fi nd, and a
I pulled out a business ca rd great opportunity to see jack's first generation of pencils on a
with our new mailing character he co-created.
address on it! (conlinued on page 75)
A few weeks later, a package arrived FO~ . ALTH O UGH gRUCE

BANNER CANNOT COPE
(above) Cover pencils with the dealer's return address. and I WITf-4 Tt-1!:: WRECKER,
from Kamandi #32 ripped it open. There inside is the kind of Dr< THE F'A.NTASTIC F'OUt:l ...
(August 1975). the thing that makes doing this magazine so
double-size issue worthwhile: Three pages of heretofore
featuring a reprint unknown Kirby Hulk pencil pages, sans
of Kamandi # 1. dialogue.
As you can see here . they're pages 11·
(next fou r pages) 13 of an ea rly 1960s Hulk story. But were
Pencils from the first they really meant for issue #6 of t he Hulk's
issue of Kamandi.
mag? Larry Lieber's all eged recollections
Characta~ TM & eztl04 DC aside, the answer's not 100% certain.
Carnics
TIH USf fOR &AGAINST

ISSUf #6
The pages show a sequence where
the Hulk is hospi ta lized. with his head
7t
JA1685
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page28Page
Filed 03/25/11 of 97 5 of 8
c~,..__,
Cw .
.'---~ '
~ '" -·~~
72
JA1686
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page29Page
Filed 03/25/11 of 97 6 of 8
~-------- ---- --~-
! _____ _ __ .___
i
JA1687
73
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page30Page
Filed 03/25/11 of 97 7 of 8
I
I
I'
-I -
74
JA1688
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-15 509518, Page31Page
Filed 03/25/11 of 97 8 of 8
By way of contrast, take a look at jack's tina! tie the Etemals series directly to the Marvel stating that there was a "real" Hulk in the Eternals'
shot at a Hulk story. from Etmwls #16 (above). The Universe. so as a compromise. he had them battle a continuity). Some people loved it, lots hated it, but
legend goes, jack was encouraged (some same cosmic-powered Hulk robot (}aek's premise being it gave us one last chance to see jack handle the
forced) by Marvel to add classic Ler/Kirby charac- that college students built a robot based on their Hulk in a story, and the pencils here show how far
1ers to the series to boost sa les. jack didn't want to favori te comic book character. never explici tly *
his style had evolved in fifteen years.
75
JA1689
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-16 509518, Page32Page
Filed 03/25/11 of 97 1 of 2
EXHIBIT P
JA1690
I I itf~ ~ I I ( il ~~iiJI ~(ltll( ~~ if

i ·I ~ f • iL IH I. U~~~i ~ ~ !ij ~i
Case 1:10-cv-00141-CM-KNF Document 95-16

1 1
~~~ I J I,
~~~ ]J•t·~-r 1 f '(
lli'f • •fhtfh ~ r. t ~~~
II
l II ij
I ,. .. ~- ~
II
If J•'
l > I. a.
•i II l
a~
'II
r·
I
I '- l
Filed 03/25/11 Page 2 of 2

' ~ 1 t;J
4
:;t 1I ·ill I l ~~
t l a. if 1t [ • ai · .1
"...
0
,I I~ ·I. I, ...., gf~.t
I I.
If
8' ,1rl·lB· It
f[ 8
f1II n
a. a_
,&:~..
......
......
JA1691
Case 11-3333, DocumentDocument
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
95-17 Filed Page34Page
03/25/11 of 971 of 12
EXHIBIT Q
JA1692
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 972 of 12
I
II
( o'r;Y Aa'lWORK TIWI&n.R a owmJI.SJIIP AGREUMENT
. . ~~ ma ddl Zlrd dll¥ ~ Dec;a•!bel, 2001. bl' • betwOM Mlrwl ~ mo., _.n• •
.,.
I
oBJc». 92+2 B&mlrty ~ 311hD J-'0. BeYm)' HJlJI. CaUbaJa 90210 ~., aad Lila R. Kirby. . .
iDdiviclmel haviaa • Wdr... • 179 attaw. stre.t, v---. CA 93001, • ackuiuiatr** attbo ~ ot Ja
~\~
WHERP.AS AdmiDtllriD il die ~ OWil8' of anata amwork ~ pmduc:ed by Jadt Kirby,
aa.eNd ._., • ~ A (dw ..Artbt') t.cd upaa llld uriJtztnllilaary tD1/~ dille .PI~ OWDCd b)'
Marwl (tbe ..Adwodt");
WHPJt.BA.S, Mlmll dlllnll10 pwct r Ill JiflbiiiiUI iDI8'CSt iD the AnwcR &c.D ~.
NOWiHJiiU:iFORB. tt.. s-ti- . - u Yowl:

rn cc• .......... afMirVd <WdstDI Ole~ aom AdmiDtllriD- peyiDa ~.sum oqual
1.
to NiM Hwdr.t .__,..Fiw Dc&n ($97~.00) b: dlrw (3) Pilei of Anwolk. AdmtAttlraSar IMnby
...... to w.wt ....... iiiiDII to . . AltwadL ~tar c::Kia SIIIJdR lWIIII:Y (20)- rwsd;y..(WO (22) p88ll
u.mn
IDd
cam11e bol* ilme pial c:DWW, «the.....,.._~ ofptpe dMnal(the "'uW', ar ~vdy, ada ~·1
.fbriNahia diD AnWadc, AdmiDtllriD slulll allo be Clllitled to ,-aap.. iD Marvtl'a .aadlrd mo.tiw JliOilWO ia
.&at It tt. am. of publiclelo. of mdl t.ua A copy ot dlo IIIDISa'4 iDI:adiw P"'O'AA ia ..,...,.... blnfo •
SdwhleA.
2. ~ expealy ariiJIIID Maw& ia.,...,.....,

.U worldlrido ripe~ ol ay ki1Jd md DldUI1: ill IDd to
the Artwortl .... ..,.,. tbllt II bllwoaa ~ IDd ~ M8nlei ia D IO&e 1M ~ oopyriabt
~ tb.nof IIIIo pout tt. wodd.. Mind lblll be be to ~ clillribul8, ~. dUb derMiive
~ aad oct.wiJe U. D explcit. ill 811)' - t all foaDiibt, DOW kacJwD Q' bmriaafta' deVeloped. my aiJd aD rfahts.
iJl ..ct to 1b8 A.rtwc8. wi1hoal ~ c:c•••""Mfim
« ooaenlttlioa Mda AdmiDittnleor. AdmiDi.ldnltm also bclreby
W'lliYCie _, al all ~ fndudtna lOY 1110111 J1&biS, ill and to die Artwadt which Mcindta..- may acquire
pu:rwuut to tbia Aareem-t «by opoi . . . . oflaw.
3. Admildlll'lrGr pelpCiftaaDy -ar-: (i) DOt tD CIOIStM U.V•l'• ~ ~ ..s ~ OWDa'Silip

in llld 10 lbe Altwodc, (ii) JIGlto cllim lilY owwlblp in dl8 Artwmlc, (iii) DOC to ~ « ..pcit ar dlim tho ri8f:tt 10
1118 c. eacp&oit . . Allwork ia .., maoaca. - (iv) DOl to objecr fO ..., arpl«>iWiao « \1le of . . Artwork « to , . ,
cb•• 1DfJdltlcatircw or~ 1ID tt. Anwolk Jmdo by ar ~ bdllilt of MIMi AdmiDistntar cJWI aecute
... dc1iwr to Mllvlll. wttboul ~ oouicllnriCJa, nola dooo.......... ttom dmD to tlmo .. Marvel may
reque.t Cot tho pwpu• of c.oa1bmtaa Marvd's n,hta ill ad to tbe Artwork. Marvel may sip tbctc doc:un1cnts
in .Admini.cntcr' • ...,. aad mMe .,..-upria1ID dflposjdoaa ora.. same.
4. Ad"4nl1ft. . . llftllll 1Df ~ dill Mawl slulll J.ft dJo rf&bt Dl sball UJe aD ,....,.,...,.
0011 4 •wcialefbt.IU UIO Anilr'S1111DD iD PIIPMW tWa wi1Ja dJe .AJtwcd .u/or 81JY ri&bb piiJ1IICI henurJder. withOUt
compeasetiOD to Admi:aiJenlmr OD bdq1f of Anilr. lfowevcr. MlrwJ'1 &iJura to UM Artilt'a DIIIIDO sball not be II
b.radl ofdlit Aat-n.....,
5. Admi:aiJenlmr bcnby rqns&:a~~llld l!riD'IIlfll tluf 1M il tbe tdminmoidUi of tho.-.. of Am• lll1d as such
b8l the riabt ad audJarity to Cllbr into tbia Aji'M•WW AdmtDistndDr tepJaeata . . . W&J&Ita that dlo Artwork wiD
be C31&Dl aad not bentoiare publithed. . . ft.. ~ w. produced by At1ilt. - thtldt• Altwmk will not
viole lilY rf&Ja ofprtvecy or pablicity, ~ or tr'lldem.dc « CUl.tialas ~)'. obtcale 01' UD1awfu1 mau.
or: oth.rWo violaleD 01' intdDse lilY pencaal or~ risla of my ptnca, finn or~.
0. AdDUDiltrator sb8ll d.c.ad. indanmifY and hold harmlen Marvel aad its officen, directors, cmpl~
succeaon. ltceDJeel IDd aa:iaa- &om IIDcl ._.u..t _,. IIDd aU 1iabWty or loss. fDcJudala rnsno.ble att.or'My '•
j{)()Oel491 OA}
K 01502
JA1693
Case 11-3333, Document 78-1, 01/26/2012, 509518, Page36 of 97 \ ·'
~..
s i~f~ E ~ lp l~lf.fiJiF t~tp ~~ ~ li~ if
~

.1; .f ·rJt ~ > .I
IJ (j t ~ ~~~~~1 ~J. i ~~ I ·. 1
Jf J1t. ~ra:!fr·I(J l.~ itJ.r (•· ~ H !i
a
.. ~a sf...~R al e ._§ I
~
. , 1l·~-.~· ~~~. !! f I!1'-\ h

r"' .~ : ~

J •. q
• t i :· ~ 1!-l r
2. r I !fB:
~ t l•~~jtjr a~~-~ ~ art ~
J f I ti•t~~~r J J ! l
&
.I "
~ t£1!1-!ai 1 ~~~ a.
t i, ltiif~tf t~, ~
i
"
0
~
I it
~1s~rt~r ~Ia I J[
I~
(J'I
0
w
JA1694
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 974 of 12
MA.RVU. COMICS STANDARD TALENT INCENTIVE riAN- 1003

_--.:·ve &w .Publi~ oa Sale., ofFebru
rw'!.-.. I 2003
5JNCLI:IIftlll COMICI
AD mc-tive will be s-i4 fCw H0ta \lllit told ovw tbo min1Dl111111l« UDit lovel based OD tbe cov• pice of the
comic book as followl.:
ConrPrtee
Lw+fll lfD« umta (wtdla cover pric:e of$2.25 book) eolcl 75,000
wen:
IAN tho millimum .act uait lovcl ot
N« Wlita tbr cllculatioa: 25,000
l:aontive oalculation: 25,000 unill X .06' per unit • S1.6ll (incenti.,. paymeat)
Bs•m• lfut Wtita {wid& a 00'\'CI" priec o£1'3.99 book) sold 7~.000
~ w~
Less fhe mjnjmum DCt unit level of. -50.QOQ
Net unita for caJculMioa: 2-',000
Incentive calculltioa: 25,000 UDita X S.lU pc uait ... 52,17-' (incentive paymeut)
Ia . . . . . . bymdye . . . . . . - ...... "lee•

117S,. 11.7!%
Plot Script
ts•• t3s Unct. Exlmple ~Ill, Talent would share tbo l.ncemtvc paytll8Dt of 51,625 u follow•:
·Writ« (b ~ot .t: script): 37.5% x S1,62-' • $609.38
- Peacilar (b pau:ils- layout): 37.S% X 51,62' - $609.38
=
• Inkl (fix inb): u" x S1.62s S24l.7.5
- Coloritt: 1~ x Sl,623 = Sldl.-'0
There tn c:«tai.D cues where the puaral split dosc:ribed 1D Example lf3 will be modified beHd oa the
actual productioa oftt. book. Hero U"' two cxmnpln:
K 01504
JA1695
Ii ~~ J e i :g I
~ ~~ f. ~ ~i Jr .. ·Ir.rr

ti
~~
i: ~
'iII. -.... -~ I.~
~ I· 1o r t•.·
·I't ~I l If~-~ --~
~.
r
H :t
•
~
ll-•
·I. gf a-J-tfrr
i I ,f
-~ll
~~ a· lfttl· a: u
~~§t~ I I. J lia.Jtt !_lf~i ..
• • • •
b'U!! . :1
i
~u .. "
. • •
If ~~ ij, ~ !JJ ~~ ! 1Hn1 :f'l

Ej !
i rt ..
h1
U i .-H··
I ~ ~ a i If .
~ ls I I ffU~
l? tri~ JIJr. 111 ~!!! ~ ~
~~~w
~~;~
l
ti ~ ~!~~ ~
1·
1
1
l ~~
:r ra: E.f
~· 1~ sl;: ~ ~ j : p
n

l
I.! f
•
lf I• t•
. g
i
J~ }; f ~~"'I
1S:o~
... j
a.
~.... .(
1!:
- - ·
~!~
. ""I
~=-a_
a.
ft
8
•. J
· e
r rf 't.
j.
s. N w
• Jt i .-\;f~
I ;;.-·15 e.!
111 •
~
f 1
~: . ! I' rh 1heIs f·· lt 7J It ' '
I[
~
0
! I 1i
1 1
l. ;il fj 1~ ii l}.
~
(J1
0
(J1
JA1696
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 976 of 12
CinpbJc Novel lncentiVOI • Prim lltm X COVCI' Price X 4.,,.
l••lkfZ:
• Tot.l c.opiel anpbic aoval copies printa4 = '·000 copl•
• S14." CO'M awtce
'·000 copte.le:u 1',.... rn. ba of3.150 copiea
Ao iDoaati"Ve peymeet it tJ.. 011Jou1atec1 by ueiq the formula: 17~ x Sl£. 0! x •. 5~ • SlSl2.11
The anp111o DOWI ~ ~ wUJ be lUnd by T11ar 1lllq dao spUt !lbOW1labove tbr Dqle-iAUO
comlc:a 1114 wtD be u.dl b e-.. tb:lo wi1tlia bar (4) moJllh aftor ... IDOIIda die tide ia iDitiaJiy 0111 .....
&!w+.. U1ld.r Ex..... tl7, dLe

n,.522.11• tbOaws:
T.._ woald dun tbe pspbic DOYel iDcea.ttve paymaat of
- W'Jts. (tbr plot. satpc}: 3'7.,,."

SZ.-'22.81 - $946.0,
• Pa1ai1ar (b poacilt & layout): l7..S~ x $2..522.11 - 1946.05
• Inb (a iab): 1"' x Sl,.sn.at • 1371.•2
• Co1orilt (fcx- colon): 1~ X $2.,22.11 • W2.21
BJPIINT MADBJAL: (SiDal..U.U. m4'w coqrilatioa n:prillt comic~ iD ofbimata O'l'l-fEa THAN paphic
D.OYGb, c&octroaio pabtiellllliau 01' ott..~ pubticatiou.)
(a) Ita tiUe is aepdutlod widdsa t1nllve (12) n:JOndll ttoaa orfpa.J publfcaUoa. oi111« • a siu&Je-iuue COIIUc
or a nw-aaMpbic DQWI ~ compil.-ioa c.- c:oJldoa, IUdl oc:~111Ji• sold . . lddDd 10 die 1lllit volume 1tom
the title'• oripaal..a.IIDII a ~ ia pic~ it the totlll sal• (orip.l IIIMl npriat) of .acia titlo moca
eliF"bi.lity for mcelive. Jo the caa of campilatice or c:oUec:doa c:omic. ncla • '"Marvll Mult Haw", the total
number oflllt 1lllia sold wtD be lllllldpUod by a pro rita 5b8IO oftbe number of peen of comic matrlrill c:.raa1IMl
a
by c:adl partic:ulllr .m.t gr wrinwllll4 ac;Uuaed S8la numbers will be addod to dleunit volume of the title's
oripu.l Mlot tbr iaoeatiw c.Jculedco puspo--.
II•* ft: S~illue RJII!riDt

• lllidal puhltoedoa of a sJnale-issue tltJo Jdls 47.000 D«uaitl: no inceDtivo payment bl made bec.auae the
II j11j n i l e - ' aaJt levelw.a J10t I'OIICiled.
• F'awiDODtba JM., 30,000 aeprirlttcl oopi• ofth....,. .......uuo title .-o told. The additiaaal30,000
tmitl of 1epiat&d ccpiea Dd wou14 ba a.d&W to tb. Ud1ia111111Dber ofut 'UI1iU aol4 f« t:bar aiql•it~Ue
tide:
... {llepriatlod oopi• IGld) - (Now net lDiitlliOld)

+ 30.000 - 77,000
• The DOW liCit unitl h f:bG stqto.lJsao thle iJ 77,000.
l..W. l7,000 ut =·
- The mioimum IMt aait t.vel of .50,000 would th011 be subtl ..b:d from dle 71,000 (new ner units)
of thlt title ,.,.. mc-tive oalwletiou.
- TaJSIC woaJd be Glll:i1led to • mceadve oa 21 000 1mjb
"£:="' Ot CoUeorioG R.cpial

• Initial publiceoa of a~ tide ..US -47,000 ftCit UDits; no i.ru;cutive paymcm is made bec1tue
tbe minjmnm Ulllit lew1 - · DOt reached
• .P1vo JDOIItbs Jar. the s.me sinale-isloo title mal8riaJ ia repinted iDa 72 pt~p "Marvel MWit Han"
oollOCitiOD (titlo OOD:Ipi-. 24 oftbo 72 pqea) md 30,000 oopfea otmcll ""Marvel Must Have" are IOld.
K 01506
JA1697
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 977 of 12
(II ofM.nl Mu.t Have uaita sold) X <" ofhpl) - (Addidalll Unft1 Sold)
30.000 " ll.l~ - 9,990
-1'1lts alloc:.arxllddlt1oD819.990 UDitJ. of Marvel ..Must Havel.. oold. woulcllha be lddecl to the initial
munbciF olactllllitll sold tbr' m. Dale-iuue tide (47,000 unhl), so tba dus naw lOtll net uuft amount
.a. daat . . . . . . title woU4 be 5',990 1IDita.
-Tile mjnj11• ne Mt uait level of'~,OOO would tJa.. be tabtrac:tecl &om the 56,990 (Dew ut uait.t)
teavtaa cs.m aec 1lldll ottblr ....,.._. ti1Ja a mc-tive ~
- T.Jc:at woul4 be emlded to • IDctlldw em 6.9?0 UDiiL
(b) lfmmrial it tepriDt.ed twelve (12) ll'lilllltM «IliOn after itl orisinal publioecioa, . . . . •liaale·iaue
comio or a ncm-taiiplde DOYOl ftlrmat c:ompttatioa or caDecd"D, a repriat pap r.. will be paid at the ra of
bty·4w (S4') doUin pew PliO.
b=!!leftl:
lfl2 Piau n RlpJinbld ~ (16) montha after ita orisiMl puhlicadoa, tt.. following reprint fcc
woulclbepejd:
22 paao1 X $4, - $990 (np::iat ibe)
Tbe repriJit tee will be ....._. by TaJ.t 'O.IIiq tM s-o rata f'crmula lhowo above b siqlo-issuc ~c incem:tve
JniYIDEtS· Ifnpr'lal Aelare plicl DO otber tnceativ• apply.
ljumple Mtl: UDder Purnple ~10, the Talat woalclw.r. tbo reprint &o of$990 as toUows:
- Wdtll' (.fi:Jr plot .t: script)! 37,5% X $990- S371.2J
- P'lnldls' (tbr p:III.Cill & IIIYout): 37..5%" S990- $.371.2$
• lab (fbr iDb}: 15,." S990- 1148.30
• Coloritt (fell' colon): 1~ x S990- $99.00
GINIJM.a
* 'I1JU P1aa IIJJPM to prinNd proda« prodqc;cd, sold aad dilaibu~ by Marvel Comics. a diviaoa o£
Marvel Batertammont &Dd doea J1Cit i.Gc.lw» 811)' int.ro«ional puhlishiD&,
pacbpd paodutu.
liccasma
apeemal11 or JJWI ma:rtot
• No ,...uat fM c:. inccativc ..nJl bo paid 1br uae ot comic material printed fbr puxuuti-·• advettiains
ex IDIIr:kCIIiaa ~ ..,.....
.. * R~ oftbD um•Jbc alU1d1110ld.. COIDic titJea IIIUit be profitable (• detwmiDcd by M.rvel) to

be e!i8Jhlo for moeauw ~
• AllY PIYIJ1Mila made for .~lcwiac uruA. dlia iuocatiw p)alball o.nJ.y be patd 1br colarina wade
ccmplcad. tbr ~ iiiD~ comfCilDltiany oa sale oa,.. .a. tbe .silotiw date of this Inc:cmive .PJaa. Colorlsts
fc:. ~ ~ wuo ClOmiC:a shall abo tlllnt iD tbe Onpbic Novel inceati'"' plu aa oadined ia the Ontpftic;;
Novel mcea~ above. Marygl +•P makp the Opel dcgmdnation Qfwbiph T•1mt jf agy. will bt paid punuw
to !bl• Iru;mtiya PJop
K 01507
JA1698
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 978 of 12
• Pa)'IDIIIII!mdo UDder 1biJ lDc:adiw PlaD wiD be pad to die . . . .,...., dull OOII!Ipl.-.1 tb. oripw
~in . . pGblbdal.
• E.tJildiw Febcury 1,2003, u:poa the dltda ofbdat (dofiaecl u ci1h« a Wria, Pendlar, Inker or
DtaJ.tal Painter). Mevll sblll contiJlue to make iDccati.ve payma1S u prcvidad roc ia thit pt. f« • period of
dvc (') yCIII11bllowtq dle date oCTaleot's death to t1ut utata of the dece-.d t&1ea.t, coorinact dull:
• Talcat'a Clltlilee JJDii1la. MlrVel orTaJau·a demise wtdlfn abc mcmtU tom daa
cia ottaJ.aa•• ~
• T.._.l estllll ~ to w.rwilllly aod .U doout••tatiOII that Ma'vel may rcquca
• proatot-* ~·· cleldl:
- Upoa ~ ofs.A cb::WIIdlmdcll, wem·a _.. lbtJllnltrw:t M.wl u to wboaa
taCh a...~ peyaMida -.ud be pdd.
•11dl mc.odw- wtiJ be reviewed ftom time to time lit MGW1'1 aole diiOI'WtiClll to d4coc rmb• tbo
iippiOpl~ ot'Uioaatiw pJaa nd1ll ad pnMataa& Marva reraiDs tbcl riaht to IIIDI!IId ar cmc.l aay or all
a
pll1ll of this iDceatiw pi• lit lilY t:Uu. • do cti8araian.
K 01508
JA1699
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 979 of 12
'lllrec (;f) papa of A..tw.dla oee (1)

X-~,....._... a4 o. (1)
eowr,... to a PutMde Fo• f-"JWialtioa, oee (1)....., pqe to :~a
en•,.. • a11aor peWJca.._
K 01509
JA1700
Case 11-3333, Document
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
Document 509518,
95-17 Filed Page43
03/25/11 of 9710 of 12
Page
K 01510
JA1701
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
Document 509518,
95-17 Filed Page44
03/25/11 of 9711 of 12
Page
JA1702
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
Document 509518,
95-17 Filed Page45
03/25/11 of 9712 of 12
Page
..
1
K 01512
JA1703
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page46Page
Filed 03/25/11 of 97 1 of 9
EXHIBIT R
JA1704
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page47Page
Filed 03/25/11 of 97 2 of 9
· A,~ l,<s
/1 r. ~~ ~ AllTWORK TRANSmlA OWNDSBIP AGJlUEMBNT
AOREEMENT made tbia Jrd dl:v of NOV1:IIIlber. 2001. by aacl bct.WCc:a Mln'el Cbarai:Un. Inc .• wt1h liD
otlloo • 9242 Bc'vody Booleva'd, S1dre 3'0, Bev.ty Hilll. c.u.tmUa 90210 ('"M.-n:t") sad Li• R. Kirby. m
iodividwal bavins a oddrcu at 179 Ottawa Street, V•tura, CA 93001, u ~ ofdte .-..of Jack
Kirby('"~j.
wtmJU!.A8 AdiDIDIIIrll« JJ l:be wmmt owuer or ccnaan stWCrk previouslY )X'OdWled by Jack Klrtly,
astacbad h.-, aa Bxtumt
A (the "Aida") baled uplD aad ntiUdna 1i1Drary aucVar lll"tUiic popatia owned by
Marwl (the ..Anwolk")~
~Marvel desire~ to purcbllo 111 dahts IDd munst iD ibe Artwuk ftml Acmnistramr.
NOW nJERBF'ORE, dlo ~ acroc as fbllowa:
1. In conJidenlim ofMind ~the Artwalk hm Admi:nillntor and~ AdmiDist:nttar • sum equal

to One "l''1ouuDt NtDo HuDdrccl Fitly Dollars (11,"0.00) tbr six (6) paps ot .Artwolk. A.dmini8tral« benb)'
tniDd:n cmd a.aip to MatYd all Jis1a in aocl to tbo lutwwk. AdditiaDIIIly b" _.... IJIII1dall ttnmy (20) • twenty•
two (l:z) paae oocrDo boak itaue plus cov., «the equiwleat 1l\UI1ber ofpeps th-.of(the "1'-w'. or colloctively,
each '1uuoj felltW'iDa the ArtwcD:. Achninitdlllfar lbal1 mobe entftJecf to ~JIIIb!l in M..,..'tltaDdard mc.rt:iw
PIOIDIID in etft!ot a tho ti.mO ot pubUcadOil of sudl IIIUCII. A cqJy ot die 911Ddarc1 inceattve progmm. is attached
hc:l:ao u Sc:bedalo A.
2. ~ mcpreuly 8fantl to u.n.t ill~ aU worldwide righb of lOY kiad aod natl.mt in IIDd to
tbe AnwcR mel llftlCII dJat u between Adm.tDistndar ad ~ M..vel ia the 80le llld aduave copyriaht
~ tbtRaltbroup.our lbe wodd. Mlrwl SbaU be 1tee to rcp'Oducc. diJttibute. display. rnak.c derivative
oopiee. ..d ~ uae ead ecplal\ ill any ad all t'crmMa, now knowa ar ~developed, Ill)' and all riaha.
iD md to the Artwork, widsout fbrtber ~CID ar OCCl.wtatioa widl A~. Ac:lmiaUtntor al10 heRby
waives lilY and an riahtl. iDcludina my mana1 risl*. mUld to the Artwo& which Admilli8tratot may ~
punuiDf to 1his ~or by opendoa otlaw.
3. Admiaistntar perpetually ...-; (i) DOt to OOIIl-.t Ma-wre exoluaive, coq>leta and Ulll"eeUiotecl OWDCII"'IUp
in ancl to tbe Artwork. (ii) nat to claim any OWDell"'lbip iD the Artwork, (ill) not to UM ar aploit or claim the risfrt to
tue or explOit d1e ArlWOI.'k tn aay JDIIIJDer. IDd Ov) DOt to oqea to my axpJoibti,., c. use ottbe Artwod&: 01' to any
ahengcs, ~ or tcvisi0111 to 1flo AmYtJ1k u.de by Cl' 011 behalf of Marvel Administrator sbaU C'Xecute
ad deliv« to Merve1. without additioaal oonaiclcntioa, sueh dowmcmts trom time to time as Marvel may
request for die pwpose of canfumiua Muvel' • rishts in aDd to the Artwork. Marwl may sign thoac documents
in AdmfniSO'Itor'l name and make appropriate dispotitions of tho N.me.
4. AdmiaUtratar ...,_ aad adalowlodgel tb.a Marvel sball have tho riabt 8Dd sbaU. UIO all reasonable
cc••hlwoialef!Orts to u.e Artilt's nam. in OOIIIleOCiolll with tho ArtwoJk l&ldlar my ri,gbD pwned bt:rculder, without
compeolldica to Admillistrator oo behalf at Artist. HoweY.-, Marvel'• fWhu. to uae Artiat'• u.De &ball aot bo a
bRech ofdU.t Aaacaoent
!. Admilli8tratot -.by lCipCOIICiltW Ed W8l'l'8llta tbllt sbo ie tho~ of the CIIUim or Anisr and as suc.b
b.. 1bo riabt 8lld authority to eater iDto 1his A&«- Mat ~ npaaoma 8DCI wa•aau dsat tbo Artwork will
be origimal md 1101 b«crottn publisbed. 1ll8l tbe Artwcdc WM producecl by Artist, -.4 tUt the Artwork will not
violelo eay right ol):lll'iv1q or publicity, copyright Ql' lf8demadc ex ooo.stitute clc!fioJI(ory. obscene ex un1.aw:fW matter
or oda....U. violate ot in:frinse my peraoual ar prapriecary riptJ of aay pcno11. firm ar COIJ)OJ"'!ioo.
6. Administrator shall defend. indemnity and hold hannleca Marvel and its officers, ciUootors, cmployr:.,s,
suoocs.an, liCOiiUOICII md auigna from and against any and all liability or loss. including reasonable attomtJy' &
K 01485
JA1705
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page48Page
Filed 03/25/11 of 97 3 of 9
feel, which th.y « my of them may suf&r or illCdl' by reasca of tbe 1:R8ch of any of AdminJ8Ualor's
warrmttes. repreteDiatioU or COWDall1l herounder.
7. No waiver by M.vel al aay t1rm, conditioa « ooveoat oom.ined in tbil Apeanout «of any bteach
of tbia Agreemmt by Admiaiatratot dWl be held to be a coatinuin& wliwr of tbe same or my otber tmm.
condition or covcunt hcnof or u a waiver of IDY subsequem breadl by Admblil1rltor.
8. This~ oeaoot be..,.,..... or modified aoept in a wri1iJ1e siped by all pGti&
9. This Aarecmeat may bo cxccutcd ill two ar IIXd COUDta'PIIU. each of wbidllball be doc:meclan mama~.
bot an oflVbidllaloda lbaJl coasdha oae 2lld the . - ioiiNIDCilt.
10. Tha IIXIIGUtica of daia ~...at hal not beea iadnoed by any ~ ~ ,.,.....m. ot
....,..,.. other tt... thole :qw rrr:~ haeiD. This~ rmhndia 1he SJtire Ulldentlad.i:n& oftbe JBtie&,
wtdl rcspoct to tbe subject IDIItRir hinDI. IDd there n no ftlniler aaroemcnta ar UlldCt9laldinal writtcll ar oral, In
eflb:t bclweao 1be pl1la reladq 10 the subjclc;c IDIItta" hc:I'Oof otbGr 1han tboec t efta ep;od hcnin.
11. 'I"'u. Asr-m-t abaU be gov.ued by md mt.pnt.d ill ac:cc.dazu:e with the law. of the State of N...,
Y<U applicable to aareementa cnteaed into ancl to be pecftanied wholly in New York. without reftmlnce to its
cboice of law princ:ipln. AdmiDiltnltor Unby cxnucnt1 to the cxo~ jurisdic:tion of any Sta~ or Fc:dcral
oourt widajuriadiodon to anforoe thia ~ill New York County and waive liD)' objection thereto oa tho
beai8 of J*SOGal juri.Jdiction 01' WDU. s~ of l:lly paper or pleadina may tuoh actioa may be e:&ot.d by
maiJina a copy tb.ereofby 0\'CI'Iligbt mail to AdminiJtnllor•a addrea u lta!ed below. Aay p8l*' or pleadins so
so.rved shall be deemed served oo tbe rec:tpiem witb lbe same lep11brce aud etlbct u itpersonaJJy served upoa
tho rooipiom within Now York County. New York. Tho parties horcby waive aay ripts thqr may have to a trial
by jury in retpeot of my litisatioa beNd oa or iD OOIIDeotion wi1h thia Agoemoat.
12. ThJs .Aarccmcat sball bo 'bbldiDa up:m s4 inure to the benefit of dJe patics hereto and to the benefit of
Man-d. 8114 thetr feii*Clve hdrs. succ:euc:n. ada:dDillnron and aslia;nJ.
In WITNESS WHEREOF, tbe pa1iea hemo haw er:ucuted dWI ~ 11 ofthe data fim above writtaL
MAaVEL CIIARACTEilS, INC. LISA R. XIRBY,

Ae Adminittnllor of the Estabt of Jaok I<i:lby
By: _________________
NauJG:_____________
- - - - - - - - -__
-
~~3.~:~
n~:
~: ____________________ Date: ,,_ L{-. 0~
(0006168% OAt
2
K 01486
JA1706
---------------------------------------------- ------
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page49Page
Filed 03/25/11 of 97 4 of 9
MARV&L COMICS STANDAilD TALENT J.l'ltC1".NnV& PLAN -lOOJ

(Etft!c;d!e tbr ~0111 OD Sale • ~f'~ 1, 2003)
]
SINGLI-IE!I COMICI
AD izacentive wiJJ be piMI Aw eacla u:ait sold owr die minimoAD 1111 llllit level blled Oft dae t::llriWI pric:o of the
eamic book •lbllaws:
CewwPrb
••+ fJ• Itllllt 1llliU ('lrida e oov• pno. ofS2.2S ·book) aold. 7~,000
were:
LMI dae ndnlmmg DCUidt ll:veJ ot -30.QOO
Net UDit1 far Cllcabdoa: 15,000
~ c*oaJ.tiOD: 2!.000 uoiil X .065 per 1ll1it - $1.625 (inoeatiw ~)
'iieeP'C Ifn« wdtl (witb a cover price ofS3.99 book) ?.old 75.000
Sa Wm'CI
t...l me mbrinmm DICit uait lno1 of: ·50.®.2
NcltlllliU 1br calcullldoD: 23.000
lp · - - . . . . . . ., . " ' . . . bt • • • .......
11.,,. 11.7"' ~
Plot Script Colorist
11•• Qa t1Ddcr Example #1. Taleat would shire the iDceative paymeat of$1,625 u followa:
• Writclr (1br plot 4: IICriJX): 37.'" X $1,62' • $609.38
- P ;ilcr (b ponciJa &layout): 37.~1)6 x S1,62' • $609.31
• Jab (b iab): u" x st,6lS- S2-t3.75
- Co1oriJt: lo-KI x Sl,62S • $162.50
'iJepfw • ""= •y•tl • •

There are cataiD CMe& where the s--al tplit d.on'bed ill ~ ltJ will be modified based Oil the
MXUal procluedoD ottbe book. Hare are two examples:
_, ____________________________ ----------
K 01487
JA1707
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page50Page
Filed 03/25/11 of 97 5 of 9
JJ•+ M Qiptel Pejptjps if the book wu digiblly painted iDstead of iDbd, the .Uott!d portima
of tbD inamtive for iDkiDa will be slulred equally by the pc~~ctler and the dqital painter.
Talont would sbiRt tho inceo'dve psymant of$1.625 as follows:
18.Z,% 18.mt 18.751)6 26.25" 2M* 17.50'*
P1Dl Scripc Layouu Pencils Inkl Colortsc
=
• Writer (lbr plat & scripr): 37.~" X Sl.625 5609.31
·PeDdler (Cc:l' peactll&layout): 4'" X S1.62' • S 731.2'
• Diptal P.mtar (few diptal CDbaa.ccmant): 17.5%" Sl.625- $2&4.38
rx-• p;tnker.BPn•h 'Pcaci'•llld fiaiebpd

oC11lo
Jho llloopl gmtiCII.
lnkJ. ifttw book had peDcillayouta ac1 finich• by m
ipqmtiyo tbr pcmclta will bo sbemd J:ty !tto ln1w md 1ho
1aygu.t ll1ia. Talcat would sblro tbD inGcatiw paymc:ot of$1.625 11 tbBows:
1J.75% li.?S% ~
Plot Script Colorist
- Writ• (for plot & script): 37.5% x S1,62S - $609.38

• ~(fell' lll)'cut): 24.4% x $1,625 • 396.SO
·~(for fiDilhed iab): 28.1% X $1.625 • S4S6.62
=
- Colorill Cftlr coloriq): 10% x: Sl.C52' S162.,0
(a) lbo JIUIIJber of net unita IOld i• the COIDbiood total ofuu.ita &Old in the fullowiq distribution olwulela:
• Dtaa • clometdc a UK diatributtoa to dlo direct comic book ~- net of lilY ntunu or credita.
ThiJ would iDcludD tile initial salCI ftlr lbe moad1 the dtlc lOCI on sale plus any reorder activity for a
p.iod o£60 dayt a.t'W tho ond of tho JQOQtb oo Mlo.
• NIPH' 1 ,. eatinuultd ut uait wet fOr new.._d nwkot. Thill would ioalude pou 'Uilits
diltributed leu a resa"Ve for retums based oa the ov.aD r-.ve percentap :&.- all titles fbr each
DCIWIIUIIlcl dlaaibUior.
• hhesrhrftw - subxription unitl paid in tbll.
(b) The incentive wiU be caloullltod at the end of tho sooood calcu.dar month following tho mondl tho title
iDiUaiiy went 00 sale md pe.yment will be made witJUD 60 daya ~.
(c) There will~ oaly one mcrmtve payment made for each month. Payment will be ll1llde within sixty (60)
daya e1bw the dat. of oaloulation.
JtyeWH:
• A titlo initially is on Silo in Apr1l 2003;
- The oalwlatioll would iDotudc tho tOUCJWins unit salos:
· April initialll8l" plua May IlliG J'IID8 reorder ealcs for the c.ii.roct market;
· April estim.ted salea fix all new•taDd mukett A April paid llllbioriptioos;
• Tho tncendve paymem to be made by Auaust 30, 2003.
QAPWC NQ}'ILSt (A .,..teot bound coUcc:tioo of crtb.- roprintcd comic book stories or Oli,iinal content.
usually ranain8 in lCIIlgtb from 96 to 200 p88ft or more.)
The fOllowing term.t shaU be used to calcu1ate arap.blc novel inccutive.:

- "'Prblt Rua" - Quantity of copies printml )Qu 2'"
(for adDUnimarivc ovet1lead and account balancins);
Qrapb.ic Novel Incc:ntives will be calculated u.ius the followins formula:

{00061682 DA}
4
K 01488
JA1708
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page51Page
Filed 03/25/11 of 97 6 of 9
Oraphic Novell:DceDtivel • PriDt llml x Cover Price x 4.!%
·""'*17;
.:lw copies ppbic DOYel copia .,..mt.d • !.000 copi•
- Sl4.9S cover price
,,000 copies less 2j%== P'riDt Run ofJ,"0 c:opte~
• An iuca1ivo ~ ia tbea t:alcuJatod by usiq tbD fbmmla· 3"0 X Sl4.93 X 4.~% • $lj22.81
lbo 8fiPbic novel iDceDttVe paymeat will be slw..s by Ta.t.at u.me

the aplit llhowa 8bow few siql...._.
com1cs 11114wm.,. made ttw eecb. ttt1o wtddn tbur c•>
tDOD1bl after tho IDOilih the title ia iDitially Clll w..
'r=*.$2,522.11•
UDder g,....,. tn, the Toleat woald slulro tbo p-apbiG aavd im:cmfve
fbllowt:
peymrJGt of
• Writs' (b' plot .t ampr): 37.!% X $2,522.81 • $!U6.0$

- hDoiler (for~ 4: layout): 37.3% X $2,.522.81 =$946.05
-Jab (tbr iab); 15% ll 12,$22.81 - $378.42
.. Colorilt (Cor colon): l()9(.x Sl.$22.81- $252.28
(a) If a tide it tepl'int.t wi1hin ~ (ll) lllOJltbs &om orisineJ publicatioo. citba: u a sinale-isaua comic
or a JlOil-lriPhic novel tbnuat compilatioa or coUectioa, mch ut UDita told are addN to tho Ullit volUUlO 11om
tba tide's mgtaat lllaiDdaaiDceadve is paid tftbe total sale~ (origiDal md reprint) of IIJCb tid• mnta
.Otibility fblo illoelldve. ID tho caG ofc;capilwtioa or collecdoa ~such u "'Marvel Muir Have... the total
anmber ofaet uoita IOld will be nwltiplied by • p.'O nda slum of1h. num"- ofpaaoa ofcoaUc material c:roamd
by eacll panlculll' artiJt or writer IDd tbe adjulted . . . ~will b. added to the umt volumo ofthe titlo's
oriJimd WCII tbr incentive caltulad<ll purpoliCII.
"w*lt. SiDtl•iuu•a.piJat
• lDitial ~of a~.._ title Mil• 47.000 net UD.ita; uo iAocDtive prymcut ia made because the
miaimum net UDtt level Will aot readwl
- Fivo DIGIIdlllarar, 30,000 reprizned c:opia oftbe same ~issue title ~re sold. Tha additional 30,000
uuia ofteprimod oopics 80icl wouJd be .tdod w the blidal number of net 'IDlitiiOld f« that s:inglo-iuue
title:
(IDtdal 'I# net UDits sokt) + (R.cpdnted copies sold) =(New tm umtiiOid)
41,000 + 30.000 = 77.000
- The DeW . . . uuits tOr that cinp-iuu ti~ it 17,000.

• lbo ndniiDDI"D n« unit level of 50.000 would thea be IUbcl ~ ftom th• n ,000 (new net units)
lcaviq27,000 ner wdll otd:laa tide tbr mcentivo calculatioas.
• T&l•t woulcl btillltitled toea ~ oa 27,QOQ gg1g
h a W IIQ· Collccbca RepiDt

-l:Dh:t.l pa.blicatiOIIl of'aliqle-illae title lelll47,000 net units; no inc.a.tive p&)'miGt is made~
the minimum tuait lc:vcl wu nor~
- Five moat:blllder, the sam. ~o-iuac tide mataial iJ reprinted fn a 72 paae ..Marvel Must Have"
co11ectim (title compritet 24 of the 72 PBS•) end 30,000 copies of such "Marvel Must Have"' arc eold.
K 01489
JA1709
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page52Page
Filed 03/25/11 of 97 7 of 9
(# otMarvel Mua Have units sold) x (%of Paps) "" (AdditiMal Uaits Sold)
30.000 X 33.3% • 9,990
-Tb.la alloadld ldd.itional 9.990 UDitl. ofMarvel "Miut Have~• ao1d, would tha be add.d to the init:i.-1
tlDIDbor ornec md1l sold 1br tbat siqto.illuc title (4 1.000 unitl). so that the aew totalu.et unit IIIIIOUilt
b dull~-- titJo would be "·990 1Uii11.
• "''M minimum Mt uait levti ol SO,OOO would t1lca bo subta actod i'om the 56,990 (new net uuits)
leaviq 6,990 net uaita oftlult .mp..iMwt title far ino«div• oalcolatiou.
• Talellt woalcl be endUed to an inceDtive on 6 9CJQ 1mig.
(b) Ifmtdlritll is ,..pdated twelve (ll) lllOiltha or D:lr'O after ia original poblicadao, ctmer as a sbt&le-tuuc
comic or a DOil-enphic aove1 fOrmat compilariOD. or coJlectjoa, a repriDt pqo fcc will ba paid at tba rmc ot
tbrty-dve (S4'l doUm pc paae.
hw+ftll:
Ifll pap~ are~ sixtMD (16) moatbs dclr ita original publi~ tho 1bllowinc reprinl fee
woul4 be paid:
22 P81CI X $4, • S990 (rellriDt file)
n. reprint r.. will be lllwed by Talont uaiq thcl pro na tbrmula sbown above fbr JiDale.-tquo comic illoentive
paymentt. If reprU:it tee& •• paid, no otiur' inceDtivoe apply.
IJ•+ ftt2: Under Example #10. the Talent would sb8te the reprint fee of$990 as fuUows:
- Writ« (for plot A IOript): 37.5% X $990 - $371.2'
• Pcmciler- (for pencila Alayo\u): 37.S%x $990-$371.25
·Inks cror illks): u" x S990 • Sl48.SO
• Co1ortJt (tbr colCII'S): l~ X $990 =$99.00
GJNUAL:
• TbiJ Plan applies to printed product produced. sold ad disaibut.t by Marwl Comioe. a ctivisioct of
Marie} Eotoctainmcnt and docs not iucJudo any iDternadonal publlsbJDa. licensing asreementa Ot IDUI market
~ed produote.
• No reprint fee or incentive will be p.id for uu of oomic m.ateri.aJ p:inted for promotional, advcnisinl
or markctiq .JJUlPOII".
• ~ oftbe nusnber of'Uilia sold, oamic; titles JDUJt be protltlble (as dcte:rmintJd by Marvel} to
bo eliaible 1br inccative payments.
• Ally poymc.1J.tl made 1br coJorfna Ullder tbis incentive plan llhal1 only be paid fur' ooloriaa WOik
completed fell'~ isaue comic• iuitW.ly on saiD on or aft« the Cftbcltvo date oftbillnceDtive .Plaa CoJan.t.
for these sinJle issue comica alWl also .bare in th• <kaphio Novol incentive plan u ou'dined in tbe Graphic
Novel inl:coUve above. Marvd lh•ll make tbe ftnel dwmpinabon ofwbich Talent, ifagy. will be oaid nursuant
to tbislp«mdve Plg,
K 01490
JA1710
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page53Page
Filed 03/25/11 of 97 8 of 9
* Paymoo.ta Jnllde unci« thi• Incentive PI• will be paid to the ume party that completed the orieinal
work in the public.tioo.
• Effective F'ebruaey 1. 2003. upon tho death of went (dcnncd u either a Writer. Pcnoiler.lnker or
Diaital Paintct), Marvel shall continue to mako incentive payments u provided form thie pl• for a period of
6vc (5) ye.n followiq tha claw ofTalot'• d..dt to tho estatll ofth. deceued talent. cnrrtinaeat mat=
• Talcat'a estate aotifiet Marvel of Talent's dcmiao within sbt mootbt 1\'om the
date of talent's demise;
• Talent's esaue deliva'1 to Marvol any and all documcatation that Marvel may request
u proof of such taa.at's deeth;
- Upon dalivery of such documenbdiOft,. talent's estate shllJ tnsuuct Marvel as to wbom
such future incentiVe payments should be paid.
• This inccmtive phm will be rcviowod fiom time to time at Marvel's sole discretion to detennin• the
tsppropriatC!Ilese of incentive plan J'UN and provision._ Muval maina the risht to anend or cancel any Of' all
patta ofthit incentive plm at any time at its sole discretion.
K 01491
JA1711
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-18 509518, Page54Page
Filed 03/25/11 of 97 9 of 9
JXIUBlT A- Artwork
(abl <'>,...of Artwork............, the ear•• WJ'Jior"')
{0006168l DA}
8
K 01492
JA1712
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 971 of 10
EXHIBIT S
JA1713
· ----------·------ -- -~------ ·-----------~----------------

Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 972 of 10
FULU'
AUT~IZED
$21.95
8>' Tt-i6 In Th~ US
KIABY
ESTATE
C 0 L L E T 0 R
REPRINTING ISSUE:S #f-9, PLUS /VcW /11,4/cR/,4~.'
JA1714
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 973 of 10
C 0 L L E
CELE6~ATING THE LIFE AND CA~EE:~ OF TNt K//VG.'
FULLY AUTHORIZeD 6Y THe KIRBY ESTATE
JA1715
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 974 of 10
THE COLLECTED JACK KIRBY COLLECTOR, VOLUME ONE

1 TWOMOAROWS ADVERTISING PROOIJ<.IKJ!i 111 ASSOC~rm WITH IHE KIRBY ESTATE m:rw B• JOHN MORROW
!lfS:Gn & :J>Ocr r; JOHN & PAMELA MORROW ?ROtlfl'iJll!Wi Br RICHARD HOWHL :av:..fl W.OR !'I TOM ZIUKO
Gill11lfficlfl'S D. BRUCE BERRY AL BIGLEY MARK EVAHIER DAVID HAMILTON LARRY HOUSTON RICHARD KOlKMAN
JOHN lfVIANOOWSKI BRET MIXON MARK PACElli STEVE ROBERTSON MIKE ROYER GREG THfAKSTON
smwnt~.m 10 MARK EVANIER RANDY HOPP£ RICHARD HOWELL MARK PACELLA STEVE ROBERTSON GREG THEAKSTON
MIKE THIBODEAUX TOM Z!UKO All THE WONDERFUl CONTRIBUIORS fROM TJKC 11-9 'Of r:w<sl ROZ KIRBY
This volume reprints issues !11-9 of The Jad; Kirby Collector; plus new material
01997 TwoMorrows Advertising. 1812 Park Drive. Raleigh, NC 27605. USA 919-833·8092
First printk1g • Printed in Canada
DIDIUIIDTO:
·My beautiM. charming. and wonderfully lolerant
wife Pam. Without you, The Jack Kilby Collectrx-
and all o1 the other meaningful things in my Me -
wouldn't mean a thing.
(OPYRJbHTS:
Agent 13/Sharoo Carter, Alicia Masters. Ant-Man. Ardina. Balder, Black Knight, Bisel< Panltler. Bud<y,
Captain AmeriCa, Captain Bri1ain, Daredevtl. Dr. Doom, Dr. Strange, Dum-Dum Dugan. Fa/coo, Fantastic
Four (Mr. Fantastic. Human Torch, InviSible Girl, Thing), Fin Fang Foom, Galactus, Giant-Man. Grey
Gargoyle, Haag, Herbie, Hercules, Hu Sak, Hulk, Hydra, lkaris, lnhumans (Biacl< Bort. Medusa, Gorgon.
Karnak, Trition. Maximl!S, Crystal, LOCkjaw). Iron Man. Ivan The Terrible. Janus, Ka-Zar, Kamifla, Kid Colt,
Leader, Loki, Mad Tlilnker. Magneto, Mole Man. Molocule Man, Nid< Fury, Odin, Pi/door. Princess
Python, Psycho-Man. Puppet Master. Rawhide Kid. Red Ghost, Red Skull, Ringmaster, SH.I.E.L.D.•
Sentinels, Sentry, Sif, Silver Surfer, Skrufls. Spider-Man, Sub-Mariner, The lodestruc!ibfe, Thor, Ulik,
Warriors Three (Hogun. Fandrall, Volstagg). Wasp. Wyatt Winafoot. X-Men (Cyclops, Beast, Angel,
Iceman, Marvel Girt). and Young Mies are "" & e Marvel Entertainment Inc.
Apokollps, Atlas, Batman, Big Barda, Blac!< Racer. Boom Tube, Bay Commandos, Brother Eye, Buddy
Blank, Bug, Clark Kent, Darkseid, Demon, Desaad, Devllance. Dingbats Of Danger Street. Dr. Bedlam,
Dubbllex, Esak. Female Funes (Mad Harriet, lashina, Stompa, Bemadeth). Forever People (Vykin. Mark
Moonrider, Big Bear, Serafin, Beautiful Dreamer). Four-Armed Terror, Glorious Godfrey, Guardian. Head.
High/ather. Himon. Hoogin, Hunger Dogs, In The Days Of The Mob, Infinity Man, Jed, Jimmy Olsen,
Kalfbak, Kamandl, Kobra. Ughtray, Losers, Mantis. Metron, Mr. Miracle. New Genesis, Newsboy LegiOn
(Gabby, Scrapper, Big Words. Tommy. Flippa-Dippa), Oberon, OMAC. Orion, Robin, San Diego Five
String Mob, Sandman. Scott Free, Seal Men. Shazam/Captain Marvel. Shield, Sonny Sumo,
Steppenwoll, Sultan, Superman, and Whiz Wagon are '" & C DC Comics, Inc.
Boy Explorers, Boy Heroes, Boys' Ranch. Fighting American & Speedboy are 0 Joe Simoo & Jacl< Kirby
Caesar, Captain VICtory, Dr. Hammer. Dragon, Floyd Custar, Galaxy Green, Jupiter Plaque, Klavus.
Ramses, Robot Defender/Death Rash, Silver Star. Sky Masters, Star Cats, and Tarin are 0 Jacl< Kirby
Argosy® is a trademark of Richard Kyle • Broom Hilda is C ChleB90 Tribune - New York News Syndicate
• Li'l Abner and Daisy Mae 0 Capp Enterprises. Inc. • Prisoner Q lTV • Sensei 0 Genesis West • Snoopy
and Linus are 11:1 Unitoo Media Services
All artwork is @Jack Kirby unless otherwise noted • All oortorial matter is@ the respective authors
Title page photo by Susan Skarr
SUBMIT SOMHHING, AND 5UBMJsSKJH GoiD£UMES:

Submit artwork In one of thew forms:
GET fRH ISSUES Of THE 00 1) Clear color or b!acl<-&-whlte photocopies.
2) Scanned images - 300ppi IBM or Macintosh.
KIRBY (OllKTOR! 3) Originals (carefully pacl<ed and insured).
The Jack Kirby Collector is a not-for-profrt Submit articles In one of these forms:
publiCation, put togeltler with submissions from 1) Typed or laser printed pages
Jacl<'s fans around tt>e world. We don't pay for 2) E-mail to: twornorrow@aof.wm
submissions. but ~ we print art or articles you 3) An ASCII tile. IBM or Macintosh format.
submit, we'lt send you a treo copy of !hat issue 4) Photocopies of previously printed articles
or ex1end your subscription by one issue. So get OK
creattve, and get writing' And as always, send We'lt pay return postage and Insurance for
us coptes of your Kirby artl ongtnals - please write or call first.
K 00578
JA1716
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 975 of 10
Till lACK KIRBY COllECTOR #6 ALPHABETICAL INDfX Of NfW

CONTINTS (fourth World tht·m<' i"ue)
The Nnt• c;,,J., Pr>rtJdio
Ste1·e Sherman Interview
.. ~ll
~4
.. %
Kirby's Fourth World: An Appreciation ... 1(~)
KIRBY ART IN THIS VOLUME
8001(
lntroJuction by John .Horrow .. 4 \like Royer Interview. Part 1\vo .. .10:.1
Cuflla:n Amcrim
rorewonl b)• Mark Evania ...... . The Captain \'ic1ory Connection 105 .17
# 101, page 4 pend!~ .
:-;,.w I'•Jrtfolio Section . .I
Tlw Hunga Ollgs You Never Saw .lOti .17
#193. page 23 pencils
"l;lory BoaC Pencil., ... _!()g
THf JACK KIRBY COUKTOR #1 .21
Hell Hath No Furies .. .. 110 Cnplain Victory
lhe ,\fart•dllltlllta Portfulia .24 .ll2 #J, page 1 pencil\ ... .!i
Mark Evanier Interview ...
llLl~ts
frolll the Past .... . . . .25 .123 #4, page R pmdls .. ... 18
'l11e last(?) Word ..
rhc Enwlope, Please ... . .25 The Man Who :-iewr Met jack K1rby . , . .124 iffi. pages 5·6 pencils .... 1%
Sothehy'~ Auction .26
Pourth World P\>ncils .125 #9. pat,>e 6 pencils ... 18
Kirby On Tour .28 #9 (K!avus back-up). page 2 pencils .. .19
Hunger /Jogs Inks .126
Kiot)y l'o,ters .. ..29 #10, page 3 pencils .......... , .. 19
. ,,, 30
Mvn,ters. :\lagic & The King THf JJ.(K KIRBY COWGOR #7 Comic Umdrr
[ tw Kirby Clone .. .. .32
(Kid Gangs thernc issnl') . 127 #100 cover pencils ... 7
Cracking Tiw Kirby Code ' .. 34 I !ow "Strcct Code" Came Tolle .129
Jack Kirby- Master Of Comic Book Art ... 130 Fantaiilic Four
Till WJ( KIRBY COUKTOR # 2 ' .. 35 Rare Kirhy Item Discovered ..... , .......135 #181 cover pencils ........ .236
A Sllndmml Sleeper ..... . .38
Simon & Kirby's Kids Go To War I .. 136 Fantastic Four Animali'd Series
Conwrsations With jack Kirby ' .4()
In Search Of.. The Boy Explorers) ........ 140 Storyboard p;-ncils ...... , .......... 20. 238
,\iarvl'lmania Pnrtfi,/ia Sbowcast' .... ' . .42 Down On The Ranch . . . ....... .144
Kirby On Display ..... . . . .44 Hungu Dags Graphic Novel
The Unsung Heroes . . ...... 146
The Spinner Rack . .45 Page 13 pencils ........................ J :l
X Marks The Spot . . . . ............. 148
jack Ruby Esquire Art " .... .46 EXTRA! The Newsboy Legion! .... , ...... 149 Page l3 inks (Royer, unaltered) ...... 126
Kirby Kuriosities ....... , ..... . . .47 Page 35 pencils ......................... 11
The Dingbats Of Danger Street .......... 153
Marvel Letter-Writing Campaign ......... .48 The Missing Issues . . . . ............. 154 Page41 pencils.............. . .... 12
Dingbats Art ......................... .156 Page 4lluks (Royer, unaltered) . , ... 126
THf JACK KIRBY COllECTOR #J Collector Comments .......... .158
(Captain America tlll:me issue) ........ ' .. 49
foumey Into Mystery
Kid Gang Art . . . .. . .. . . . , ........ 160 #117, page 14 pencils .................... 16
Christie's Aurtion ..... " " ..... " .52
Kirby Quiz #2 ... .. ......... 53 THE JACK KIRBY COLUOOR #8 New Gods Reprint Series (new story in #6)
Jew Simon Interview . . . . . . . .54 (Convention issue) . . . . ...... 161 #6, page 9 pendls .......... ,..... .13
Historic Kirby ........................ .56 "The Man Who Was King" hy Steranka ... 164 #6, page 40-41 pencils ..... , ............. 14
My Jack Kirby Story ............ , ..... , .56 John & Pam's Excellent Adventure ........ 168 #6, page 44 pencils ...................... 13
1964 ' . ' ' ....... ' ' .... ' ' ' ..•...... ' . ' .57 The Kirt:>y f Was Destined To Own .... , ... 171
Cap Says The DarnJest Thing., .. , ........•57 The Prisottet
1972 Comic Art Convention Luncheon .... 172 Page 7 pencils . . .. .. . . .. . .. . . . . . .10
The Ultimate Nazi ............ , ....... , .58 Jack Meets Paul M\Cartnfy ....... .177
C.1pWin Amah·a Art . . . . .•.. , .59 Page 10 pencils . • . . .. . .. . . . . . .. . .10
Captain Amtrim Pencils . . . .......... 178 Page 11 pencils . . . . . . .11
A1arPrlmrwia Portfolio Showcase ........... 60 jack Kirby Interview ..... , .............180
More Captain ;\mcrica Art ... 62 The Kirby Tribute Panel ....... , , ....... 182 Strange Tales
Jack Comes To AcmeCon '85 ...•........ 193 #141, page 4 pencils . . ..... .16
THf JMK KIRBY COUKTOR #4 . ... 63
Collector Comments ............ , ...... 194 #141, page 8 pencils ........ , .......... .167
Comic Images Cards Reviewed ........ , ...65
Captai11 Victary Pencils . . . .195 Superman s Pal.jimmy Olsen
~~~~ ·········· .M 1}KC #8 Cover Pencils . . . . .196
.............68 #147, page 22 pencils ...... , ............. 15
Marl't'ima11ia Purtjiilio Showcase .. , . , . . ' ..70 #148, page Iii pencils...... . . , ... 15
THf 00 KIRBY (OlU(JOR #9
Mike Royn lnt~r~iew, Part One ..... . . . . .72 ... 197 Thor
(F"ntastic Four theme i~sn~) ..
Convention ~vtenwries . . .75 #147. page 2 pencils . . . .8
:-Jot-So-Trivial Pursuits . , ..... , ... .200
Th,, .\rt .76 #147. page 3 pencils . . .8
The \'iorld\ Greakst Cnmic Magazine! ... 202
Graphic Story Review .203 #157, page 4 pencils . . .. 9
THE 00 KIRBY COlLECTOR #5 .77
An Inhuman ,\ct .208 # Hi6. page 20 pencils . . . .. 9
Es,ential Kirby . .80
The Galactns Trilogy: :\n Appreciation . .21(1
Kirby At (oll;ge . . .82 IUJJSTRAJIOHS PAGf
Black Panther: An Archetype.
hirhyrnanial .. .84 The Bug (inks from New Gods #9) . .4
Not A Stereotype .215
Art lrnitat es Life . .86 Self-portrait/Biography .... .5
What The Black Panther Means To Me ... .217
Thl llig Moment .... , .87 Captain America (pencil)
Unused Fanta;lu Fuur Jl20 Cover .218
·1 he Kirby· Beatles ( 'onnection .Sil ... 139
Joe Sinnott Interview .... .no Boys City ........ , ... ,
Tlw Jupiter Plaljtle .. .88
The Fl' & the S~cret Hi,torv of the 'tiOs . .2l0
Patriotic Hero \rt 1\9
r-;wtaslir Ft>ur #108: Jark\ Way . . .2:11
Jack\ runny rarm .90
(r,Uector Cornmrnts . .23fi
Fmnl mver inks: lvfike R,~l'ff
FF .\nimatcd Strit•J Storyboards .. '.238
(IJI-rr mlor: /i7fn Liuko
tIn used FF Pin·\ :p .. 2)9
Slil'er Surfer Crap hie 0!0\el Cover .. .240
3
K 00579
JA1717
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 976 of 10
hy john Mormw
f
antastk Fvur # 108
has quit~ a history
behind it. It was
originally me;~nt to be SPIAS'V ~
#102, but SUp[XIsedfy
someone at Marvel f~lt it
wasn't Jia!ogueable. So
?
Afi~M:f
,\1an·el ran the art for

#103 in #102, and put •
this art on the sh~!f for a
few months. Then they
chopped Jack's originals
up, rearranged panels,
added some John Buscema filler art, changed the end-
ing. sent the whole thing to Joe Sinnott to ink, and
published it (not so coincidentally) the same month
Jack's New Cvds #1 came out at DC. The end result
was a real mess that didn't make much sense.
But just how bad was Jack's original story? Judge
for yourself. Presented here is our attempt to put the
story back into its original fonn, using the Kirby art
that didn't make the cut. Mitch ltkowitz came across
many of the discarded pencils in the Marvel files a few
years ago, and had them returned to Jack. A few panels
are still missing (most notably the spla~h page), and
you'll see those indicated by question marks. Sinn•
jack's original story and the published version had
major differences, we deleted the published dialogue
and page numbers to avoid confusion. In quotes(" ")
accompanying the pencil panels are Jack's original
margin notes tor Stan Lee to dialogue by (these are
llnmbered to coincide with the panel numbers). With
just the few margin notes here to accompany Jack's
powerful art, it's ea~y enough to get an idea of the
(continw:d on page 38)
P~2
/. "EVEN ANCIE'NTS POND€1'i:ED PROBLEM THAT
STILL PLAGUES MAN "JVClO.t.' 2. "THIS ~ADIATION
TEST WILL PROVE ~TE CONCLUSIVELY." ~. "THe
RAYS REACT" 9. IHIS INTE:NSITY METE~ PLACES
STATUE AT 4000 B .C.' 5. "THAT FlE:RCE FACE - -
THANK GOODNESS WEVE PRO~SSED ~y·
6. (FP:OM FF "'lOB, PAGe I. PANEL WAS CROF'P6D
WHEN PIJ8LI~D.)
PA6't:S ~-?
(AS PUBLISHED IN FF "'108, PAGES 2-6.)
i
----------------- --
'!31
j
K 00805
JA1718
PAf!i6' 'f
a:::-~~ .<~ F 11<1013, PAGE: 15,
,_ .. z....,
~~'J~_ PAllia(
.-- ,_ ~
;jNG PANeLS,
SHOWlNG SUE<

- .- - i PLANTING AMINI·C~A
0
~ ·::·.-•c.:. .. · ··!. ~ (~
HOUse.)
···-•-'-'-0 PANEL
'F •106, PAGt:i 15,
?
?
i
• I
f:H- i •
0 ~-
1!!1'.r•'•~,
: -,,,
~- -
, .~ ~t ?
•
? ?
...,. • •
'""

"
0
0
00
P~6
1-:1. (FROM FF • 108, PAGE 7, PANEaS 1· 3 .) " · •seN SAYS WE BLEW IT· · THE GtJY GOT
AWAY WITH A MIU..ION S!.ICKS." 6. (M IS51NG PANSL) 6. "Ye.Ari··HE'S NOW NUMBER ON5··
PA!f#.C
J•Z.. VWS51NG PANeLS. PROBA&.Y SHOWING SUE: PI..ANnNG A M INI · CAMSRA IN JANUS'
HOUSE.) :1. •ReeD IS AMAZED AT MILDI'IESS OF PROF, WHO IS comf'I.ETE OFPOSITE
Q ON THE TEN MOST WANTeD FELONs•• 7. WE CAN'T STAY HERE! LeT'S GeT HIM · .• OF SEN'S ~IPTlON.' ~ (MtS5!NG PANSL) ~. •MeANWHILe:, THe PROF'S eVlt. eRaTH·
0) •REE<D SAYS C O OL IT· · He'S FOLLOWING A LeAD.' eP: HAS BSEN WATCHING--t-Ie SA>'S RICHAADS MUST 6E FlA6BEAGA.STED.. 6. "PRRF
SAYS· ·WHY DID '10\J HAVE lO COME AF'TEP. ALL THS!oe ~s ."· "eeCAUSE ~I.I'RE< A
~ COVeP: MOTHE;A ···
-JA1719
~
······ · ······· · - - - - - - - - - -
·'- ·s.-. ·""'::·-:-:~~:l>t,-,·~ ·:~~;:"t:-c•¥.~ ~~~, :~~· ':'.-"~J~:~:...:t>~-~""':'~~,"~~~~~~~~~\f~,f:~~\,'<1".~-'t\~~~~)'~\<~?~H¥.~·~~-:~~";~:<'t~t~'~~)~'f""\~;,· ·. ,~·~·~, """':v.'-/,\'\ ' :'::·, ·~·•:;r'.'< '
~

"'....
w

PAStFH
~ "lYE SEEN AWA"f f'E'I'IFE'CTING ~GA-POWE'!'I, NOW--I'LL 6AIN MONEY·POWE'I'I." 2- P~/2617
"YOU WONT TALl<. THE' TOWN WONT TALK--OF\ ITS CURTAINS!'~. ·~;nCI< WITH ME, WITH (THIS PAGe WOt.J(..Dve; 6EieN SPLIT INTO TWO HALF PAGeS, WITH AOS RVNNING l.JNOE'I'I
I\\6GA-POWE~·-I MAY E'V!EN HELP 'tOU WAU< AGAIN." 'I- 'RIGHT NOW I'M~ TO 6Ei THIEM--A PRACTICS THAT GOT A 20-PAGe $"Tl::>RY OUT OF Olllt..Y I'? PAGeS OF AAT.)
6USY IN LA6. ~ICHAADS DIDNT GO AWAY WITHOUT 6UGGING THe HOUSEi." 6. ,VS: GOT 1-Z.. (FROM FF •t08, PAGe 8, PANeL 2 AND 3.) ~. (AAOM FF ttt06, PAGe 8, PANEL. e.)
INSTI'IUI\\6NT$ TO TI'IACS HIS 6UGS AND DeSTI'IOY THEM. NOW LEAVE 1\\6.' 6. 'YeS-·MY ""·(FROM FF IN08, PAGe 9, PANel. 1.) I. "WHAT HAI"f'SNED~ '86N SAYS·-ReE:D'S MINI ·
"
0
0
()0
PLANS DONT STOP HeRe:- -I'LL E:iMPTY THAT WHOI..e CITY OF ITS MONEY." T. (AAOM FF
•108, PAGe 7, PANeL 6.)
CAME'I'IA Bl.EW UP IN OUFt FACS$··THATS WHAT'' 6. "THAT WAS NO MALF\.lNCTION·-
THAT WAS MIEGA-POW!ER. l.ISTe:N 5Ue··l HAVEi A NUTTY toeA···
0
.......
JA1720
(wntinucdfrom -- · ··· -- ...,, ~
pugdS) 1\«i~ il ~ - j,
~·I

-.--... j·--,·.. t
story he set out to
teU originally. ~ Ji lt.-
r-~·~-- .,_~ ~ .,.;~
Some of the
-~: 'r
later pages were I .,., Q • ~' \ ... ,
renumbered more ! ..,. ...: ·. ",!!l 1':1•.,.
than once, making J·-
.. " : :-:-: .-::
i lL . ·) <v-.,:q
. ~..Y: · c."' •. c a
reassembly a difil- ~'-
'
.· :-,. --:~r
,,_ ·-i
. .
-~-;
I
tt
~:\~:<,:
_;::.A;,,.:f';~."'_:
cult task (apparently.
the hatchd job went I 1t · . , , .l,
through several • o ·o· ~ . . ',f • ·~ " ;

~. . ; ' (\ . ..t ,.. ·- ·: ~ ..
re,·isions). One
PAtSC,. PASE-'6
thing that helped (AS PU8U5HED IN FF ~-z. (FROM FF «108, PAGE 13, PANel 1- 2.
immensely in IHOf!, PAGE 10.) ORIGINALS WERE' CROPPeD.) .7-7: (FROM
FF •t08, PAGE 14, PANeL Hi.)
reassembling this
story was the fact that Jack worked on a grid .
By simply foll owing his standard FF grid from _;-_ . , _, . . . -- : 'r"T
that period. you can tell if panels were falling in ;. ., P~~ (.....,~..
' ,,,r•J.~
~ -'. ~• :;'".;;;;~
--- : J "~'?:'li.'
. ,t!tl' .
the right place on a given page. r,.. - ·. -~ . ,... :. j;~
Then• were some major differences in the
two versions. Just what is going on in the intro-
~2"~ :~·..;-~·- " t• - - ··
- ..i..:
duction on page 2 is unclear (especially without
,.- ~
~ .....
t~ a splash page to get the ball rolling). and maybe ;;.i\ --~
~
this confusion at the opening of the story is the -:: i~' -
"\! ·..... vi · • .
reason Marwl dedded it was unusable. Unlike

thr published version of this story. Jack's ver-
sion dealt with a force called Mega-Power. not

Nega-Power, and had nothing to do with the
Negative i':one. And the villain Janus doesn't die
in tlw end (a plot twist that I always thought PA<SEn
i-Z. (FROM FF #108, PAGE' 14, PANEL 6-7.)
s ~em e d very un-Kirbylike) . .7.-5. (FROM FF •108, PA Ge 15, PAN!:L 1- 3 .)
6.-1'. (FRO/VI FF •tOO, PAGe lb, PANEL 3·4.)
This story didn 't break any new ground.
but thert> are some rea ll~· nice bits that got left
on the l:l ullpen tloor: those simple. down-tt.>- -· . . t:---::-· . •
~~~~®
earth touches li ke Reed and Sue's casual dothes
on page 2 and Lht> Thing\ swea tt'r on pagt> 8.
and Sue taking baby Franklin from Crystal on
·~ll
·-··- -r---- .~ ---'.-- _.,
page 2. These seemingly minor details make the
FF seem like real people. and were a big part of
the sense of fa1nily you felt reading the books.
The very lack of th Ls type of storytelling detail
is ont of the reasons the FF h a~ never reach ed
:::-:; the heights it attained while jack was on it.
0 !lut rather than dwt'll on the negative. let's
0 simply e 1~ny this look at onf ofJack's final PAtSC~
gg elfotts on the /·F. as he originaUy intentied it to t-ft. (F~OM FF •toe, PAGE ff, PAN!?!.. t- q.) 5. (FROM FF •t08, PAGe tZ, PANCL 2.) 6. "HE:
SEES F'LANC ' I CAN'T LEAVe WITHOLJT A PARDNG SHOT--· P~ltl
CO b~ sten .t'~) ~-z. (~OM FF <H08, PAGE 16, PANel :7-6.)
.7.-1'. (FRO/VI FF • 108, PAGe 17, PANEL 1-5.)
JA1721
": f--{"--..~':.07 t :--~·· ·:'>~t•··:·..-. ...~~~:.-~r" '"": :·.::v,.,'"--~~:> ~:::~~"'t>t".>te:~~~(lf<W9-t~~~';:;~~~x,~~~~~Y";\·~·~:'.,:,_':;· ' · '··fr';.'4~.~··,,,: •?- ·.~flv'""?'.,w,;:,.~~'~'":"l"""":''}.-':"~

"'t:;
Filed 03/25/11 Page 10 of 10

? ? ~
/SSU/f:.·
• •
P~I'V
t (FROM FF 1t1Q8, PAGE' 17, PANel. 6.) 2.-$. (NO MARGIN NOTE'S VlSISU::.) '1. "SH& GRABS PAIS&20
GUN BeFORE TWIN CAN REACH FOR IT." "REED SAYS-·U$ GUN 1t) COVeR 6AO TWIN, I. (MAfi;GfN NOTeS HAllE: sa!N I::RASEi'D.) 2. WHO CAN Tf:LL WHAT Mf;GA -POWf:R CAN
SVE!" !i. "><:&ED SAYS TO GOOD TWIN-YOU'Re A FOOl. YOU KNOW. THe CRJMINAL'S PATH DO?'$. "DDN'T TRUST HIM' GeT HIM WHil& YOU CAN' I'LL HANOlE THE G IRL !• (NOT&
"
0
0
())
IS NO SOWTI ON." 6. (MARGIN NOTES A RE' f;;RASE:D. ) ~ "Reeo TOUCHE'S GOOD TWIN'S
FeE:T WITH TP:I66ER .' (TH& PAGE NUMSa'! ·rr HAS BeEN e;p;ASEq &JT IS 1/ISISLE:.)
THE: SCALLOPED CORN6RS, INDICATING Tt-US WAS CONSID6Re:D FOR A FLASME!ACK
~IN FF ~08.) ~ (MAfi;GIN NOTeS HAVE Be6N ERASE'D.) !i.-7. (MISSING PANeLS)
0
<D ~
JA1722
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-20 509518, Page65Page
Filed 03/25/11 of 97 1 of 3
EXHIBIT T
JA1723
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-20 509518, Page66Page
Filed 03/25/11 of 97 2 of 3
.·• ~~:~~~·~trt:!~~~~:t"±..t~~~~~c~~ ~ ,..

. ,_...,_ ~~·':; anolht ~)ltf'i~~~~.~~!*i'.,~~·t!IIJ............,O'f~GA·~Of _.;rk/M
Qjllf~.··•u~~·Att.'*~. ~.".W"',.•.•.. ~
.. ~·~.·~._'"'".·~ ···.··~·..-."""d!t111«¥.....,...., ....... G<!C~*
......
~·~-~llf·~·~it<W~IItifl:t""""'*~·~....-.. ~lilcf'ul.f<w'o*M'W'Iifli:.~,Of'·Cifll<ll
"""¥.~·~~Iii ~~~w·~·~·tl\f,._..~>~111·.~·· c' '(., •• ~:~ ' ••..• ·• 0 ' ,·· · ·•
·, ~w·~~·IMJf·~u..·~
~ ... ~ /Utm.. .............
4f
~ ~.-:•.....t·~~:~.~"*t~. 1r1: ~., "'lldr4·"' ..mw.
ita.dlilct#t;ri; ........ ,.,"""'"' 1ft~~"""-
~ ...U...i cir .~.-. qt t'IW ~<~m~~:·
_...,. *"*It w_;., infll ~· ~JW;, ww-
noM~>, • ~ ..,_, -
=·~·..,"*'.~d ww.f be~-~ r.-.~~~- &ilkt l>trfWrit~···~·..- ~.oboft IJr'·~ or
., .ort~~t. wltlfllll(
..
.....,...,..,..,.,~ ~.O!iWr-- ~ obOo<to
-•.lllf• mr ........,..
-.IU
I--~,:,-'"*""'~' a101i O:l ~!hat- bit~ ... l)rO!Iif . - . ~-(

'M>rfl; ~ ""· or''•
_,.,.,.""'*
~ t~.t• Wttr...,., II ...ld Att
W«ll. lndloii!W ~ 01 -,.,_.at~~·~.,. _..,..1ft.~ willt..,., cllaHictw . . - br Or undo!<
~·."-·'N.I«-. w..-t. __.!II'~ fill' ...... ~.·,. IW pnpn.--w~o. .... alr'FQ:h.lfcoBioed or -..;liOd ~
I ~ ihof-. ~ ~~ 4 ~Ill ....tl.owt)ed llr lldtlto4 -w~.Orlii;F<Ini, ncthntltltd. ff clolnt ~ OIIOi, fwltw, 1 ~ ..of to
""*- CII'IY P14>11ct ~otmr ~ wlli' IIM;It- wl~ W.ot'ltn'lt wrltM!!• ~.
1 ~ t1u>t lOhi M W~ ~!pi; • ~ _ . indlcor.d ~ It cinoS Wilt.~· orleiJo!l wllf, .,. 0114 flW .,......,.. ot ""f ....,. •ffort.. - tluK the!
-shalf be fte. ~ .... ciOinl o4 - tllltd ' - ot J)QtT\1<
~ !lit.rAK,. TRANSfllt ANI) ~ ihOII. CO<II ...... ftOM date toe Ill& enol of ~.-- . . . , _ r-. and 10< ot,.c Ill eo!- YO<>< th-ft«,
on4 &hall out....,..llc:olly ~ f;c.,. r- to ~ 1~ <OC'IO. ~ PQttY notlfl• tn. otl'lo( lrJ ...mr.,. I ~ tnot Wott""' moy Of OtTY time - •
to otdot M Wri., ~. M otl>et -*'tnd~abOwr to. be P<-..0 by - It>!' delllti!tr 10' W~ but thlo lh<IJt 1\Ct offact ~ r - . ,
auiOIIIMnf ot cc14' riQhtJ; ...,...,..,.,. ..,. ~Art WOrk. ~. or o~~Mt -+< ~ .....,.. 1>1-.cl- dol(v...., by ,.. to W""- .. oi'Graold. -
and
I
tr_,_
l!*lfleal" .-stGn6 thot ott rlQftllt aa 11<>1«1 ......... to """ lwf Wont. ~. "" .,.,._ _ . in<flo:oiW ..,.._ thri lo -1«1 by W.ottm >holt - rnm
to m.· .,. o ....,., ot _, -iMIJDI> IMteot. • · ·
on .............................,~~., ....... -...... _.... -.......... . via ...........................................................................

Pori,~., ..
Signed
(/1'L
. ~
~jf;-Ok__
f}:,, ._ .....................
t~RTANTt Ali ,.._ . . . . lt!fortaari.. - k hor. . . . . aoo4 thlo fo.• - ......... ...,..._ " ' - ' caot be ,...._ i'!Uw Uat ,.. " ' - ttoaa l lo•
04l .act....- .
' . .Jt-.. i........u.tely- ....... con_, tWa a..-. Ttaulw &JNf Aulp-at fo WESTERN PRINTING Al'ID LITHOGRAnfiNG COMPANY, llltltb Go
I llepiflM De,art-t. Raclole. w•-•
I NY N2 3675
K 01790
JA1724
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-20 509518, Page67Page
Filed 03/25/11 of 97 3 of 3
WESTrN i"RINTING AND t..ITHOGRAPHI~ CO POUGfoiKUPSIIl. N Y No 20139

Trt~s.lltooa ~~':.~~=
I V
" ... ·:..7: GRQU AMOUNT
oiiC:OtiN"l --.-- I
l
NllT AMOUNT
I . ~·f'!t 41i0 AL.t..O'WA~~
t vou• ;t 08423 01'-21-5 3675 03-30 56th00 56o.oof

I
IMVOICil
z, YQ~JI
I
'
!I
CR(DIT !ClMO '
3. OUII OEIIT ''
i
111110 I
I
•· OUR ClltiiT
I
11(110
t. "!CIA&. :
YOUCIIU
:
-
IHCOitlftC:T :
' I
"PLUS( IUtTU RM '

I
'
II
' •LL ~AFIU AT ' '
! ONCE. I
If .
;
[
I
I ·--
.
PlEASI PI!TACH 8EFOR(
.
DEPOSIT/Hill.- ronl.l FOS ™" 'AYiftMT _______.. SlHf;;.OO' 560.00
l~·T!WtSnl ~ ASSJGNMINT' f'Oj AA1' WOU.OJt'.. MAtiUSQIIPT

lli-bv r~ ,_;..,.,~ ~ 19 ~ l'rJMinc and 1.1~~10 ~ ~·~ ~ Nllflhlrlo Coon-, Inc;. CIMrrildftw - et Wet-.
l8t.., .. Qt, ·~· ~ J~ .....-...... ~ ~ ~· ,.._ ~ ~~--lw,.,.. ~·tfoll; .............. ~IQIItw all riQht'J: <It M<V ktncJ..
arid ~~!¥Or 10 Art Wcri, ~fstt ~ ot~>a:'-" ~~ wtticn.l. t - ~ -~· Oi ~I mar~ 11J ~ end~. to\.
w-. ~-tHIIW4 h - ~,_.~Itt~ - . n t ~o!W ~ ..,.....k~· lit fWl· w tow. Art
-.., ~· .....,, otiC! Ia 1M .CIII--otlolt fet t!Wt rfiiM" ~writ Ql1ll1fN. t.. ~. · '
~illt• .,. oiNt w--.
I~ OOieit tfl<lt;W~I!IIt~ ,_til. loll Worll. ~; • otllot ~ lni:IIQQI<o6....... ..,.~ IOOII·~·ilt ~- irl port,"' fdl""'""
clt'!Ad= at ~ fOnllo w..t.rli; 4t {ftl ~- , . ...... "'" ,........ In ~ .ofII! ~ ....... tOW Ad Worioii MonUio'l;t,, .,. ollw _ . lndll:ciHd .......
_..,. ftlot. II W..w"> P10hrlol~ all- Of' ~ ...,. of lt.. • - w..tw,.. """' not 111M 11M mlf• - ... ·fl>e< liQ _ , . ot att1tt wllt1out my CIII>Mnt;.
-'"'*· 1 c-
Notl\fno n.r.il\ cw.t"'.od oholl !If .,.,...,_, w ob!IO<Mino' w.u- to use' Klkl Art Wottr, ~ ~ ot1>et ~ lndlcaNd abo-.. « a!IOptotlona ., ......., .. •
to·
W<1<lto> ~-
1 1 - • w,m.,.fi; ~lMt
_t...,.,.
0t '11""'' lttor1<. k-1~ ~ «· Cll\lj! ~ at rMUib IIW..., f1tolw-•
1 ~u thot my war1t tflwoby -

.-..-oft
¢ pcilrt of IUCb - . . ! ar I~ moteofol, and· I -
01'-
ariel ~>it - ' - t11at me:~~~ bill - , Ot ~ waonllt"" Wttt41ft't ~and..-~ tl'oer100t 111 w..tem. 11 wld Att
UMd Ill·~ with. an, chor«t.. -...d by Of undot
....,.._101/lty ,., ~ ~ ,., to .,....... ~ , _ . , . 110 uo~nt· 01\l'· ....n tlunsed at controlled <h<l<-. -
....,. ontl!W fo cf4lllt ~lp and, fyrttlu, I ~ to ""'>
mcU onY publk ~ of my -..-!loti· with .,th ,_without w.t•n'l writl1lft ~
I offlriw thot lOki Art Wllflt. """"*"li>t, « otflw WOtft indlcatM ~ lo - ..UI bll wiQ!nal wllfl ,., """ ltw P<O<id of my own olfortt, oNI thot' rile'
- shall. be. ft.. til <II'IY c1o1ra ot onv tllltd I>"BBOI or porty,
Thlit R~ TAANSfU ANC AS.SIGNM£Hf alloU ~- lr- dat. 10 ~ onct 6f tt.. ~ cal. . . . ytOt 01111 !of one fll colondot y - thoriGfN<.
end lholl a<Jf<trmol"""'f (OI'Itfnue ftOI'II y_. to - thet'Oofter um.. • - ~ notlfla 1M 9thw In wrltinv- t und.,.tond tlldt Walcm moy ot onv time -
to order Att Wilrk. MGR~stcrlpt, or ottlw WOtft indleo~ oboYw to be. - e d by - ,., d.u--, to w_.._
INt !hit slw!W not offoct tho rei....., trGMfW onlf
~ of ll4l<t rio"'- tw....W. Oft' 011)1 Att Wori<, Mcrlulaipt, or or.._. won. ll'>dkoted abc!W _ , . . , onct <Niw..d by mo to West...,. ""' ctote.kl. Ofld I
II)KIIIcally ""'*ttorwi tllot . . riQMI Gt stctecl , _ . to <11\'f Att wan..
~. 01 otn.r WOtft lndlcottoof <~bow- !hot '- oc~ b)' Wat., sholl not rO'r.rt
to - oe o ,_It of _. te<mlnatlol\ 1\et...,,
00 . '> ' • • ...................... ·,o;,;-,. .................................... via ..........................................................................

U'~lt Poet, bpi-. ot~
Signedb
)01~ ~~.
....
~ :c:~L .
fMfOilTANTI AO< ,,.. .k~ i..W...ariott .,wit be fv......., all4l thM form IIHid . . ......., &olen pay- c.ttt &• ma.M. pt...,. u,t rut mor• tf.aro
Oft e6dl reqllftf.
fAietwa lm .....la..ly - ........ coPJ of tftl• Re!Q ... Trartaln _. Aas1;11m. .t ,. WISTERN PRINTING AND UTHOGitAP'HING COMPANY, Rltfo
R~alt* o.pa,tm•t, Radtae, ~IlL
NV NQ 3675
K 01789
JA1725
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 971 of 11
EXHIBIT U
JA1726
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 972 of 11
7'f!)t:) ~
lt£V$~Arl~./
FANTilf~TIC !iUPEA
NERO l¥/t:IFILE$.'
IIEHINP-THE-~ENH
~PYENrl/IIE$.1
JA1727
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 973 of 11
JA1728
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 974 of 11
Art Direction: David Kaestle, Inc.

Designer: David Vogler
Assistant designer/Production artist: David Wilson
Editor : Judy Fireman
Cover art and chapter dividers: John Romlta
Title lettering: Alex Jay
Comic lettering: Ken Lopez
Super hero profile coloring: Gregory Wright
Endpapers: Tom Morehouse
Archival photography: Eliot R. Brown
Location photography: Michael Melford and Jim McCrary
Merchandise photography: David Arky
Ubrary of Congress Cataloging-in-Publication Data
Daniels, Les. 1943-

Marvel: Five fabulous decades of the world's greatest comics
Les Daniels: introduction by Stan Lee.
288p. em
ISBN 0-8109-3821-9 (cloth)
I. Marvel comics group. 2. Comic books, strips, etc.-United
States-History and criticism. I . TiUe.
PN6725.DJ95 1991
741. 5' 0973-dc20 91-8783
ISBN 0-8109-2566-4 (pbk.)
Copyright ©1991 Marvel Entertainment Group, Inc.

All Rights Reserved under International and Pan-American copyright conventions.
All Marvel characters, all character names and character likenesses

are trademarks of Marvel Entertainment Group, Inc.
Every effort has been made to trace the ownership of all illustrated copyrighted
material for the purpose of giving proper credit. In the event of any question arising
as to the use of any material, we regret any inadvertent error and will be pleased to
make the appropriate acknowledgments in future printings.
Batman, Superman and related indicia are trademarks of DC Comics Inc.

All rights reserved. Used by permission.
Paperback edition published in 1993 by Harry N. Abrams, Incorporated, New York.

A Times Mirror Company. All rights reserved . No part of the contents of this book
may be reproduced without the written permission of the publisher.
Clothbound edition published in 1991 by Harry N. Abrams, Inc.
Printed and bound in Japan
JA1729
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 975 of 11
78 COMICS IN CKISIS/ MARVEL
and -white magazine exempt from Code censorship.

Atlas hung on bv a thread.
•
Atlas Shrugged
For a while. Atlas was able to stave off the worst
POKER
ACEt
effects of the general di saster. Becau se Goodman
I
was hi s own di stributor. he wa s independent of the
nervous bu sinessmen who kept some other comic
book companies from getting their book s to the
't' Artist Don Heck's early newsstands. As a result, many of the industry's
work at Marvel Included top talents drifted over to Atla s, but most of them
this series of we ll-crafted
maritime adventures.
didn't stay long . Declining sales meant fewer
From Navy Combat Ill books and lower rates for free-lancers. ''Every time
I'
(June 1955). I took another job I took another cut in pay," says
~~·=~%~e!
»-t \NOQI..C WAR It, THE •SARIU.C:UOA'"'
ANO ns GAU..ANT CREW CH"uc:eo uP
A GR'fA.T RECOQ'D, AND WWEN 'lHE
SUB 'S ilN FISH 6TiiUJCK HOME, YOU
COULD Be SUI2E: "iORPEDO" 1AYl.CQ
WAS ON THE .JOe Ai iHE- f'I"IQJNG
COOlliZOL..~ !
"- Science fiction and fantasy art by Jack Kirh~· (atw_ve)

and Steve Ditko (below) we re Marvel mainsta~·s dunng
the late 1950s. -
JA1730
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 976 of 11
80 COMICS IN CRISIS/ MARVEL
John Romita.
Many artists were forced out of the field by eco-
THE VILLAIN TO BEAT: nomic pressures. Bill Everett took a job with a
THE YELLOW CLAW greeting card company. John Buscema, and then
To capitalize on the specter of a Com- Gene Colan, drifted into advertising. "It was a very
munist conspiracy haunting American bad time ," says Colan. "I had the full catastrophe.
minds during the 1950s, Stan Lee I had a house and a family and l just had to do
decided to go all the way and create a whatever else I could." Romita held on as long as
comic book named after a Commie: The possible and then moved over to DC, where long -
Yellow Claw. "We fashioned him after standing conservative fiscal and artistic policies
Fu Manchu," admits Stan Lee, referring
had kept the company in comparatively good
to the famous villain created in 1913 by
British author Sax Rohmer. (In fact, shape. He stayed at DC "doing really dreadful ,
Rohmer also wrote a novel called Yellow mindless romance comics for about eight years."
Claw. but Fu Manchu wasn't in iL) Like By 1955 it looked like Atlas might be nearing the
his literary predecessor, the comic book end of the line.
Yellow Claw was a brilliant scientist; he Oddly enough, it was a group of recent arrivals
also dabbled in the occu lt and had creat Atlas who eventually turned things around.
ated an elixir that extended his life Artist Don Heck had arrived in 1954 and was soon
abnormally. enhancing the war books with his vigorous work
After the Korean war, the Red Chinese on characters like "Torpedo'' Taylor. In 1956, artist
were disliked perhaps even more than Steve Ditko brought his unusual drawing style to
the Russians, but The Yellow Claw
the toned-down horror books and turned out a
avoided blatant racism by making its
hero Chinese too. This evenhandedness series of atmospheric fantasies. Most important of
may have been one reason why the all, in 1956 Jack Kirby came back.
comic book lasted only four issues, but Recently separated from his longtime partner
then again, very few bad guys ever got Joe Simon, Kirby was one of the most creative
their own comic books in the first place. forces in the business and he needed the outlet
Revived in the 1960s, the Claw aban- that Atlas could provide. "When I got back they
doned Marxi sm and set out to rule the were practically taking the furniture out of the
world himself. If he hasn't succeeded place," he says, "and I had to stop them. I had to
yet, credit must go to Marvel heroes like have a place to work."
Nick Fury, Captain America and Iron But before things got better, they got worse.
Man, who in recent years have struggled
Atlas, Goodman's distribution arm, was gradually
to thwart hi s nefarious schemes.
becoming a liability. By 1957, because there
weren't many comics to distribute and expenses
were high, Goodman closed down Atlas and
arranged for a deal with the American News
Company, one of the country's largest magazine
distributors. To Goodman it seemed like a good
idea at the time. He didn't realize how far Dr.
Wertham's poison had spread, and he never sus-
pected that American News was itself on the verge
of collapse until suddenly it fell . Catastrophe
turned to cataclysm, and suddenly there seemed to
be no way at all for Goodman to get the comic
books to the customers.
Stan Lee was left alone in a small office with a
backlog of finished art. There was no work for any-
one, not even on a free-lance basis. ''It was very
tough ," says Lee. "These were all people that I'd
worked with. I knew their families. And I was
asked to let everybody go. I don't know why Good-
man kept me on. I guess he just felt that if there
was any chance at all he wouldn't give up the
comics completely."
The Thing that Lived

Top two covers by John Severin; Somehow the company survived , even though it
bottom cover by Bill Everett. was now nameless since the Atlas trademark was
Clutching Claw by Joe Maneely. gone for good. Ingeniously, Goodman made a deal
with rival publisher DC to get his few remaining
JA1731
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 977 of 11
88 THF: MARVEL AGE/MARVEL

---~---- ·~··-· " ... ______ ,_ .............._.........
~ When The Sub-Mariner

retumed, be was up to his
old tricks. Pencils: Jack
Kirby. lob: Sol Brodsky.
~ Introducing Doctor
Doom, one of the great
villaba (far right).
Pencils: Jack Kirby.
Inks: Joe Sinnott.
Fantastic: Foes teamed up with The Sub-Mariner to take on our

When The Fantastic Four weren't fighting among heroes. Namor, who ultimately rejected his more
themselves-which they did quite often-they corrupt cohort, was back again in issue nine,
needed enemies, and Stan Lee provided one of the gloating as The Fantastic Four went bankrupt due
best when he revived Bill Everett's classic charac· to bad investments-a kind of misfortune that had
ter from 1939, The Sub-Mariner. This time around, never happened to ordinary super heroes. And
Namor's hostility was caused by a nuclear test that Dr. Doom returned again in issues ten, sixteen
had destroyed his underwater kingdom. and he and seventeen. Although each tale was complete
complicated matters by developing a not entirely in itself, Lee and Kirby were also clearly establish-
unrequited passion for the Invisible Girl. The ing a super story that extended over months.
triangular relationship among Sue Storm, Reed Before long, only narratives that ran to several
Richards and the vengeful but noble Namor issues would be able to contain their increasingly
would continue for years. More significantly, in complex ideas.
The Fantastic Four #4. Lee and Kirby set the stage Very soon. The Fantastic Four were not alone in
for a reenactment of one of the company's great the stable of new Marvel super heroes. A whole
successes, and soon The Sub-Mariner and The crew of innovative characters had been created.
Human Torch were at each other's throats. just as and Stan Lee's career plans had changed. ''I never
they had been twenty years before. A sense of con- left. .. he says, "because The Fantastic Four sold
tinuity had been established: "I always loved the well, and next The Hulk sold well, and then Thor,
old characters.'' explains Lee. and then Spider-Man ......
The fifth issue's encounter, "Meet Dr. Doom ,"
introduced The Fantastic Four's most frequent
future foe, a crazed scientific genius who hid his The Green Giant
scarred face behind a metal mask. Formerly one For their second super hero, Lee and Kirby came
of Reed Richards' college classmates, Victor von up with another monstrous figure, who was in·
Doom had become the ruthless ruler of a small spired by the success of The Thing. and also by the
country who used his diplomatic immunity to numerous creatures they had been devising for
cloak his plans for world conquest. He was per- 1 comic books like Tales to Astonish. The result was
haps the ultimate refinement of Marvel's many The Incredible Hulk (May 1962).
megalomaniacal villains. and in issue six he even Clearly, The Hulk was derived in part from
JA1732
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 978 of 11
MARVEL/THE MARVEL AGE 99
shrapnel that is working John F. Kennedy, whose inauguration in 1961 had

its way toward his heart. infused the United States with a feeling of adven-
Stark is ordered to spend turous optimism. Stan Lee has never compared
his last days inventing J.F.K. to Iron Man, but he has speculated that the
new armaments for the Kennedy era's spirit provided the ideal atmos-
Communists; instead he phere for the introduction of new super heroes.
constructs a suit of tran- Kennedy's assassination in 1963 ended the era
sistorized armor that all too quickly, and signaled the advent of the tur-
also serves as a pace- moil that would characterize the rest of the decade. Iron Man clanks his way
maker to keep his heart Kennedy had encouraged the buildup of American into Tales of Suspense 139
beating. As Iron Man, troops in Vietnam, and as the war there became (March 1962) (below). By
issue #44 (left), Iron Man
he conquers his foes more deadly and more divisive, Iron Man began to had acquired a golden
and manages to escape. look even more like a symbol of The United States: glow. Covers by Jack
but he is doomed to he went halfway around the world to fight for what Kirby and Don Heck.
remain at least partially encased in metal until the
day he dies. Life as a Marvel hero was never a
bed of roses.
Don Heck had the honor of drawing the initial
Iron Man story, a rare opportunity in the days when
Jack Kirby seemed to get first crack at just about
everything. And, in fact, Kirby did have a hand in
Iron Man. "He designed the costume," says Heck,
"because he was doing the cover. The covers were
always done first. But I created the look of the
characters, like Tony Stark and his secretary
Pepper Potts." Over all, it was Heck's solid crafts-
manship that set Iron Man on the road to success.
Meanwhile, Heck was introduced to the intri-
cacies of The Marvel Method of comic book
creation. When he was first handed a story syn-
opsis, Heck told editor Lee: "You've got to be
kidding. I'm not used to that. I'm used to a full
script." Eventually Heck adjusted, and gradu-
ally came to enjoy the chance to contribute to the
stories, but he remembers that some artists "said
the hell with it and left." Some top talents in the
tield passed in and out of the company quickly
because they never adapted to Lee's revolutionary
method. "Stan would call me up," says Heck, "and
he'd give me the first couple of pages over the
phone, and the last page. I'd say, 'What about the
stuff in between7' and he'd say, 'Fill it in."'
Heck's solid background in war comics helped
him get Iron Man off to a good start, but he wasn't
vntirely pleased with the character's armor despite
his boundless admiration for Jack Kirby. "He was
terrific," says Heck. "He was always willing to
help somebody or tell you how to do something.
And as for the super heroes, the main reason they
··xisted was Jack Kirby. He used to call them 'the
>.;ttvs in the long underwear.'"
Kirby's original Iron Man suit, realistically bulky
g1ven the circumstances under which Tony Stark
had to build it, soon changed from forbidding gray
'I) gold. Later. it was streamlined into a red-and-
<' Yld design by Steve Ditko. Perhaps because the

·;uit is a machine. many artists have been tempted
t'l tinker with it, and over the years, Iron Man's cos-
tumed appearance has changed more often than
:hat of any other Marvel super hero.
Iron Man, a wealthy patriot with a war injury,
might have reminded some readers of President
JA1733
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 979 of 11
108 THE MARVEL AGE/ MARVEl

- --- ----- - - - --·
"'t-- · - -- --·~
' ·.. ~
• The elegant IJJmpUclty of and one of th€m wa s a black man named Gabe League. By late 1963 , Marvel had super hero stars
Jack Kirby's work Is Jones. The visual stereotypes once common in to spare, and some o f them were jo ined together to
evident In this penclled comics were no longer acceptable at Marvel , and fonn a new super hero group called The Avengers.
page, wbJCb WBII
neverthele. rejected In eventually Stan Lee was obliged to send a detailed The original Avengers we re Iron Man, Thor, The
favor of a different memo to the company that did the color separa- H ulk and Ant-Man, along with his female partner,
approach to the action, tions to make it absolutely clear that Gabe was a The Wasp. Includ ing the antisocial Hulk in the
Inked by Paul Re lnman. black man. group was an odd choice, even fo r a company that
from Avengers 13. Marvel's progressive attitude delighted most made a specialty of character conflict He quit in
readers, but annoyed at least one. Flo Steinberg the second issue, but returned in the th ird to battle
recalls opening a letter addresse d to the Sgt. Fury the remaining Avengers w ith the help o f the tradi-
staff that read, "You pinko commies! What have tionally testy Sub-Mariner. Jack Kirby handled the
you got against the Nazis? I'm going to come to penciling for the first eight issues - exactly as long
the office and shoot you all!" The FBI was called as he had stuck with Sgt. Fury - and then Lee
in, but nothing ever came of the threat. Clearly, turned the series over to ''util ity man" Don Heck.
however, the new Marvel style was making an The Avengers often had a c row ded look as multi-
impact on the reading public. ple villains showed up to fight the many heroes.
"It was easy enough for the writers," Heck notes,
"to say that six guys come i n from the left and six
The Super Group guys come in from the right, b ut the artist had to
By September 1963 it was easy enough for draw them alL"
Marvel to ful fi ll Martin Goodman's 1961 wish that Given the rambunct ious nature of Marvel's super
his company could publish a comic book as jam- heroes, it's not surprisi ng that over the years The
packed with popular super heroes as DC's Justice Avengers proved to be a singularly unstab le super
JA1734
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
Document 509518,
95-21 Filed Page77
03/25/11 of 9710 of 11
Page
~ARVEUTHF: MARVEL AGE 111

------- ----------~~---
~roup. Kirby, who often set the visual style for new simultaneously with The Avengers in September
IJ•}oks and then moved on, did stay long enough to 1963. Stan Lee had originally wanted to call the
draw once again the member who proved to be the team of teenagers The Mutants, but Martin
lleilrt of the group: Captain America. The great Goodman felt the name might baffle young
( iolden Age hero created by Kirby and Joe Simon readers, so Lee carne up with X-Men, which had a
111 1941 was revived in 1964 when The Avengers dis- nice hint of the unknown about it. The leader of
,·,Nered him frozen in the Arctic and thawed him the team was Professor Xavier, a wheelchair-bound
•Ji lt . He soon took command of the whole team, telepath who ran a school for gifted youngsters
;mJ by the sixteenth issue (May 1965), he was the who were all secretly mutants. Feared by ordinary
, mlv big star left. people, The X-Men were nonetheless in training to
Stan Lee has admitted that by this period the protect humanity from a gang of evil mutants
intertwined tales of The Marvel Universe were headed by the sinister Magneto.
lwginning to confuse even him. Keeping top The notion of mutants whose powers originated
ht.•roes like Thor active in The Avengers without in their genes was new to Marvel, although the
c•mtradicting the information in Thor's own series concept of the misunderstood adolescent was rem-
\\·as becoming a chore. A changing of the guard iniscent of Spider-Man, and the idea of bickering
\\iiS the result for The Avengers and Captain malcontents inevitably suggested The Fantastic Magneto X-Men II
.\me rica was soon leading a motley crew o f Four. At first, The X-Men seemed too busy to {September 1963).
rdormed villains like Hawkeye, Quicksilver and Penclb: Jack Kirby.
develop fully rounded personalities, especially Inb; SoJ Brodsky.
The Scarlet Witch. "It was difficult in the begin- when the six of them were battling five Avengers,
ning," says Don Heck, "like losing old friends." as they did in X-Men #9. In addition to Professor
There were eventual compensations, however. X, the mutants were Cyclops, whose eyes emitted
I fawkeye, an arrogant, sarcas tic archer for whom deadly rays; The Angel, who flew on huge feath-
) il~ck had done the original drawings in 1964, was ered wings; Marvel Girl, who moved objects
named the most popular hero of The Avengers in a through telekinesis; Iceman. a reverse Human
l ~J89 fan poll. Considering the competition- Torch who could freeze anything, including him-
almost every Marvel hero has been a member of self; and The Beast, whose erudition was masked
the group - this was quite a tribute. by the strength and contours of a gorilla.
Once again, Jack Kirby joined Lee as cocreator
of the comic book. "Jack was the best guy to work
Teenage Mutants with you can imagine," says Lee. "Any ideal
The X-Men, a comic book series featuring a very would give him, he could make it better. When
different sort of super hero group, made its debut Jack brought in the first story, it opened with all
~ In X-Men I 1 the teenage
mutants work out In The
Danger Room while their
leader Profe88or X
welcomes a new recruit.
Script: Stan Lee. Pencils:
Jack Kirby. lnk.s: PanJ
Relnman.
JA1735
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
Document 509518,
95-21 Filed Page78
03/25/11 of 9711 of 11
Page
1)2 THE MARVEL AGE/MARVEL

- - ---- ·--- · -··· -------··- -- - - ·· -- ··- ·-- ·-····-·-- ·- -- ·· - - - - ··--·---- - -- --- -·--·- -- ----
A Unpubllsbed COVent by The X-Men fighting in the place they called The make it long. And I had to dream up so many plots
Werner Roth, who followed Danger Room, where they were trained. That was that it was easier for me if l could continue them
Jack .KirlJy on The X-Men. Jack's idea. And it was the most brilliant opening over two or three issues." Some readers wrote in
Editor Stan Lee, who alao
served u Marvel'• art because it started with action and showed all their . to complain. suggesting that the serials were
director, often requested abilities immediately." Yet Kirby, who was working merely an artificial marketing device, but the
several venlona of coven simultaneously on almost everything. drifted away majority found extended narratives to their l iki ng.
u they were vital to saJea. from the series fairly soon, and Lee eventually Gradually, cliff-hangers became the norm. It was
turned the writing over to other hands as well. "I yet another Marvel innovation that has become
think maybe Jack and I should have stayed with it a standard in the industry.
little longer. to give it more push," Lee admits. With tongue in cheek, Lee began to describe the
The X-Men drifted along. erratic and occasionally comic books as " soap operas," a reference not
brilliant, but a decade passed before the series only to the serial stories but also to the portrayal of
began to achieve its full potential. suffering individuals that was one o f his main
strengths as a writer. The unresolved roman tic tri·
angle among Cyclops, Marvel Girl and The Angel of
Soap Opera The X-Men was a perfect example. Like soap
As the Marvel style con tinued to develop, the operas, Marvel sagas prompted a tremendous loy·
characters and stories became more and more alty in their audience. The tiny office where Stan
complex , until not even an entire comic book had Lee had stuck it out for so many years was
enough pages to contain a single adven ture. For expanded and then moved twice to accommodate
example, X-Men #4 concluded with a cli ff-hanger a growing production staff. Marvel was pulling
that went unresolved for two months. "To get a itself up by its bootstraps to become one of the
really good story going. " says Lee. "you have to giants of the comic book industry.
JA1736
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page79Page
Filed 03/25/11 of 97 1 of 9
EXHIBITV
JA1737
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page80Page
Filed 03/25/11 of 97 2 of 9
JA1738
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page81Page
Filed 03/25/11 of 97 3 of 9
JOH RO ITA
... AND ALL THAT JAZZ!
BY ROY THOMAS & JIM AMASH
INTRODUCTION BY STAN LEE
TwoMorrows Publishing
Raleigh, North Carolina
www. twomorrows. com
JA1739
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page82Page
Filed 03/25/11 of 97 4 of 9
John Rom ita ... And All That Jazz

by Roy Thomas & Jim Amash
Designed by Christopher Day

Front cover art by John Romita
Front cover coloring by Tom Ziuko
Proofreading by Christopher Irving
Dedication
From Jim Amash:

To my wonderful wife Heidi, who never complains-
and to my mother Genevieve,
and to my late father Joseph,
who I wish could have seen this book
From Roy Thomas:

To Dann, who knows how much these people,
and these memories,
mean to me
Special Thanks To:

Jack Adler, Heidi Amash, Daren Auck, Bob Bailey, Jean Bails, Nick Barucci/Dynamic Forces,
Michael Baulderstone, AI Bigley, Dominic Bongo, Jerry K. Boyd, Mike Burkey, Glen Cadigan, Nick Caputo,
James Cassara, R. Dewey Cassell, Michael Catron, Paty Cockrum, Tom DeFalco, AI Dellinges, Michael Dunne,
Mike Esposito, Danny Fingeroth, Greg Fischer, Shane Foley, Nancy Ford, Bruce Jay Friedman, Steve Giacomelli,
Stan Goldberg, Gary Groth, David G. Hamilton, Heritage Comics Archives, The Hero Initiative, Joe Kubert,
Alan Kupperberg, Bill Leach, Stan Lee, Bruce Mason, Yoram Matzkin, Bob Mcleod, AI & Judy Milgram,
Steve Mitchell, Brian K. Morris, John Morrow, Frank Motler, Jim Murtaugh, Barry Pearl, Joe Petrilak,
John Romita, John Romita, Jr., Virginia Romita, Alex Saviuk, Marie Severin, Jeffrey Sharpe, Keif Simon,
Don Simpson, Joe Sinnott, Anthony Snyder, Robin Snyder, J. David Spurlock, Britt Stanton, Aaron Sultan,
Marc Svensson, Greg Theakston, Joel Thingvall, Dann Thomas, George Tusk a, Jim Vadeboncoeur, Jr.,
Dr. Michael J. Vassallo, Hames Ware, John Wells, Robert Wiener, and the late Lester Zakarin.
Title page art ©2007 Marvel Characters, Inc.

(Thanks to Dominic Bongo)
Published by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614

wwwtwomorrows.com
Stan Lee text ©2007 Stan Lee; Roy Thomas interview ©2007 Roy Thomas;
Jim Amash interview ©2007 Jim Amash
Softcover ISBN 9781893905757 • Hardcover ISBN 9781893905764
First printing, July 2007 • Printed in Canada
JA1740
ROM nn"R.1
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page83Page
Filed 03/25/11 of 97 5 of 9
half a dozen issues of Rex by Gil Kane beautiful brown hair, I fo rget her
10 iront of me every rime r had to do name but she was adorable--.nd she
that dog! l used Gil's work fo r says, "John, l have to tell you that
a.nimating him. Gil had this great Stan say1 ro srop work on the
>bility ro twi3t h1s body- Western book bec;;~u se we're going to
cut down on • lot of titles.·
RT: He war one of the besr g uys
:~.round for dra~mg animab tn l said to her, "Well, l spent three
.1crion. So how did thm gs go bad for days on it. I'd like to get $100 for the
you al 1imely ? work., to tide me over.• Sbe said,
«Okay, I'll mmtion it :o Sun.• I
ROMITA: Around 1957 w;u when never heard another word about the
Stan lnd I were lt our lowest ebb in money, and I told Virginia, ~ If Stan
our relationship. In the !ast year, he cut Lee ever calls, :ell him to go to hell. •
my rate every time I turned in a story. (lAughs) And th:u was rhe last work I
He was not even talking to me chen. did for him until 1965.
He was embarrassed, because he had
given me raises for t wo yeus every RT: Stan told ~ char Goodman
time r went in, and then he took it aU would giv~ him the w ord co fire
away. I went from $44 a page to $24 a everybody, and then Goodman
page in a year. w ould go off to F~nda and plAy
golf (laughs)
RT: As Gil was fond of raying,
"Cornia gwerh and comtes Weth ROMITA: Oh, l understand Stan's
away. pain, because I went through that,
too, tow.lrds the end of working at
ROMITA: Virginia kept saying, "Well, M-.rvel in the '90s, and it was no fun.
bow long are you going to take the I remember I had just fought for and
cuts until you go somewhere else ?" gotten a raise for one guy in the
And !told her, 'T il hang on, I'll hang on.• Then, when it came time spring-and then in the summer we had to let him go. And I'm telling
that he ran out of money and had to shut down, or cut down to the him, aLsten, it's got nothing to do with your work. They're just
bone, I had done two or three days' work, ruling up the pages, cutting down everybody here.• But it was mortifying to have to do
lettering the balloons, and blocking in the figures on a story- and that. I had to watch him get this incredulous look o n his face, saying,
here comes a call from his assistant-she had beautiful bangs, "Are you kidding me?" But, yes, that's how the Timely thing ended,
Dod ThiPy C.IPI A 01\<0unt '

\•.1'" ,., .... , , .. ,... '•'\"f'1 !_,,.., ·w• f ,~ '!...., ,,.,'U ~Ml••••· •'"'""'J h .. t r•••• '•••• ~ ·lr•• I"'"'P f I _,..,,.,.AI
••• • u U..,r .. ••- '-<f .MI "t •• \ "''r' • '•l• '•'"'P'• S '•"""•" "'' • 1r i"T• l•r;•rl J '• '"' -r q·~l • ' ,.,.,.,,,,,
, • ...., •• •~·•,., I •rO' ...._. ... , ' , ••4•• .,.\ ~ :
34 ! FIFTY YEARS ON THE "A• LIST
JA1741
ROM 003~6
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page84Page
Filed 03/25/11 of 97 6 of 9
fl'•• ~"'I' '~'n Of ""'

! At-- •• • ,,_,.,. ' f ,._., ~•·'••' ' I••• f•l"'•
•'t' t f•••ll" •' ,,._.,, ... .....,.. t·••i'l t"r '.}~t •
...... ,I'll,.., a 1 . . . . . .. ....... • ,.d •', , ... , ··~~ r....... , •..... .., ..... ~,. ~.· • ... , loll ••
r•J•• o41f,,,.,~ ''' ; ..... , . •r v. •r .... ,,., 1 ·~·· ...,..., .... ,. 1 •• , • • , ,,, '".( •
trust Stan at that stage. I thought he v.rouJd go up and down

like a roller coaster. Frankly, I wanted to sta.y at DC, md l
wished I could do a hero strip, even a 'X'estern like "John ny
T hunder.• l was proud to tell people I was at DC. I felt like
DC was the Cadillac of the industry. I bought their line that
Marvel was crude-looking. l ne,•er read any of Stan 's stories.
l JUSt saw the covers.
I never read one Sp1der-Man book or even knew 1t

extsted until Stan came tn .,-tth a ptle of them and 5aid.
· How ?:ouid you hke to trv Sprde r- .Vf.m ) " T~e o nlv thtng I
;..n,:w ~nev were d otn~ '?11$ F.mtasltc FtJuY '\-'hen ne
, ilow ed
:ne )prder-.\fan. I 1.11d. ·· y,'-1 kn<)W. !hts .•K·ks i·Jnnv. ·: -bs
:.,c•r<s ;ike a : eer.a~eci C uk Kent. " ! •polo;;:zed :u ~kK.o
·:~ 1n iJter. i "'·as <~ rPn ~ ed ~o ilear :: .,..l.l 1 ~ c.·,, J ·<clli ng
f:ook!
RT: W'h_; i:<i ;he :Lorlt. •:m our ior .~ o:. .m d c. :hen .11 DC?
RO~II TA: 5o m~ btg-shot :.tp there founci a m ck oi
- tnve mory stones and an m ~he closet-lt~.tif : hev 1-:ad patd
llut L•t'1 Hoi Jorq~• Gw•n1 ;'Jr. !:>ut ne,·er used- •nd he satd. "\llhv :he nell <re 71e
c •••, ..... ·~ ......., "~ f"1 , ..... .... .., • ...., .... ....,
•"•If..; JPR~~ ?anng :housands oi do!lars ever.· rr.onth for ::e": ;:·Jif -.,·hen
I . . . •• .,t DDft ..., . .~ !~ . . . t ... .... , . r... ~ \ I... ' , , . -· ~ ~0~;. .::1"\set =·1B :-i 1:-:..,_.:'-:k r-:.:.r~ ?'' .\ 11J :ilc'/ ;ll.St ,;J tlt
t . ..... , . . ~l•••ec.,..... 1• 1 ,:1.i":\:n; ~Yer ·.+nci\' ~ r, :he :-<"'mdr.<:t ~~~a :- !m&r.t ;, 1s :et ~o .
.\nd u WlS :::ptcal. ~brtm Gc" >Jma; useJ tc. say :ne .; ~me
i4 i FI FTY YEARSONTHE "A" LIST
JA1742
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page85Page
Filed 03/25/11 of 97 7 of 9
Thr .lrft.II•"'J Andru .,..,.,

,.,,,.' .... ~. J',,.., .. t -·•·1·1 .. 1 -~ ' r••'""''• •'•~4··•,.i .. l• ·• •· '·• '''•r"··•·tt-,• • ... J, .. •·t ·••1L-rl• (.- .. •• 1 ,r• ·•rt •
......
0
, ~,1J I f- • "'' ... ,r ...... ''''' • \fo 0 .;,• lo , • 111 1\#ef •••I ···•••" --.,fOif t f 4lf ........ I I I ••f' Jt ·-···"· .. " ' ' ~.'1 ' .. l t• f
"'"'''· ' ' "lt"f'~ t _o•JA .. C' •,,.... • ,,,._,,.,, ,•-- nf••'-•' I 1 lf'• '''"' '•"I•• ~ t•e • 'r11 tr- .. ,·r•~ ... .._._,.,.._ ·-· J
thing to Sun y~ars ago: • 11 we've got inventory, then why are you enough. I'm going to get into advertising. •
buying new anv.-ork ? ~ So DC just closed down the romance original·
ut department, and I was out of work. I hul been talking to Mort Meskin, whom I had seen a couple of
times at DC. He h~d visited and had lunch With the guys; he was
RT: In othtr w ords, d on 't ear fo r su months and mayb~ we 'll gtv~ working at BBD&O [a major ~dvertising firm], doing story boards.
you work agam ? They did that wuh yo ung mystery writers m the He to ld me, "Comic artistS are in demand over there. They don't even
/a u '60s, whz.ch tS how we got Ma rv Wolfman, Gerry Conway, Len have ro show them anything. If vou tell them you've been making a
Wejn, and several other guys over .tt M a r Jt L living in comics for more than two years, they'll hire you on the
>pOt."
ROMITA: DC didn't even say that. When [editor] Jack \lliller told
me-and of course he was on the frying pan already-) remember And it just so happened that one of my neighbors and fe llow
asking him, "Could you Introduce me to some of the other editors(" ·; olunteer firemen was one oi the creative directors up thue. His name
And he said, "~ah, I don't thmk so----they aren't loo king for ""<5 Al Nomandi<.. He had been a famous panel cartoon•st, a very
anybody." He never even ~o1 off hi! ass to Introduce me to lnybody. imght guv. r o lleci him and he laJci, ·'Su re, :o me on In ... So I went 10
He told me, ''Lsten. you're l treelancer. You're not o n contract. on a Thursday, I thtr.k. and :hey h.red me. Thev were gomg :o pav me
You're free :o go m d get wcrk anywhere. ' l md, '''XfeiL ;et, !hanks.'' 525C a ').leek. It ·n s )75-SJJ: more a ..,·eek ~h an r was mak1ng :n
:!.::.Joths ~ ·•A i~er ~ • gh t y~ars oi be1n ~ t xC:us1ve 10 DC. • l sa1d, '':h ar ·~ a : ·.lmu.:s. I tcori: :r.e 1ob.
;; r ~t tv:·oiJ :h:r.g !O , ay.• He wd. ' L:sten, mv l;•nds u e : 1d. I . a;J ·;
~:·:e ·; ou .t;Jv :>:(.rK. " :\:;d I ;atd, ·r:..en wiw Jon't ·; ou :!ft :r.e an :\ ~d :hen ~; o r:~:;.hy. _; r{t: lf! .:i!Ot~ r -:v~nr .~V!:" !.0 So n. l n Ad
·dHt• r :'' :·~ e ne·.·er ;ns·.vued me. He 'Xl.S a r~ al c~; id :1sh ;:r~l J v:.-,d ~J m I "'OU10. ·.>rr:e .· ,·~r ;c .\b r·~ i. In fAct. i ha.:1 .:1kea
:-;,e .h e >'~<f n .r. er L!tor. i le(K, 1::c f' J :r.ked ~::e K:rb:: ;,y:u. .;r.a I
RT: B:.: ·,·ou .<t:if ..idn '! .t><t orr.an c.lily :lm1 R o,l go m J; n :er :o :.dk :o :c·:ed t!. "
\:.m . .iui .'.!o u r
RT: r:~at '.< :i1e K:rb;,·, (!:"(" ~ ::h ::,,a :n:u nn.g : ~g ;tre 'J; Kan'5?
RO:VUT:\: The truth IS, l ~.ci beer. somg ~ hrough l iiccle 01[ of a
'lump. an arnst's block. I ,.as nan n~ dan :>:hen ~ ;;ou,dn .t produce a RO:-.iiTA: i ~n:c·: c d :!-!:it ;ob. I to:d S:ar. I -,.·odd :cn·e ro ' '.1St :nk, bu t
:age. lt ~ed'.lceci me to rears a .:ourle ::.i :imes. ::ecat:$e I '-'lsn': "·hen ',e ~~ked me · o ;:>enc:l, I :l')id !urn, ·· :-lo. I .:ion·: :r.mk I :ar.. ·•
~ :"Jil~sns -1 n:: money tn. 1nC I -:vas :h,nktng, ··'X'h;it the tel!'> ~c·n:-~o. Ti:at's -:.:hen I ~ot :~e 10C, H BBO&O. But "-'hen I ,;ailed Jp Stan :o
-.:.!) ~ · ~;. . ~e ~1~-j _ --r~ ·-~ ~ - r. :r. ~ 1
~1 ~ o:- -.- .)~.: ~., :-!~c !-:
:.., pp e~ ~ ·· 5-..;~~pv,:, e l . . v...:!O ;.~\ cr ..iv dnu:: h-:r ,:(...r::' [i-: .l<.! : .n~s ~.::.(.!ll \Q ; '7
· : rri~'" :1~e. ~~a; "l."J:in·: ~~e Ka~d ~-,i :::·.r,· :c- :'.;rl.~ tt. So -:-.:~ ~r. :tis
:>.l;:openeci. ; tdc \'ir <::Jnia, 'l':n :;ot f;Clmg :o :'ir2n Lee. He·; !I<Jt p·:1r. ~
JOHN ROMITA<o . AND ALL THAT JAZZ' : .tS
JA1743
ROM 00407
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page86Page
Filed 03/25/11 of 97 8 of 9
JA: Were you were supposed to be the artist of «Captain America • Frankly, io the 1950s, I was suce comics were only going tO last
from the beginning( another year or 30. I even threw out my sketches back then, so you
can't go by what I thought. I picked up a photostat of a George Tuska
ROMITA: No. Mort Lawrence surted the story, and either he or page, which be inked with a number five brush. 1 pinned it to my
Stan was disappointed by the results. I happened tO be in the office, drawing table and used it for inspiration for about a year. I used a
and Stan said, "How would you like to be the artist o n 'Captain number 5 brush and was doing all this fine derail work with a fat
America' ?• I almost jumped out of my skin, because I was a Jack brush and a sb..up point, and as long as I wasn't tired, the lines came
Kirby freak. Stan showed me the finis hed page, and I even think a out just fine. As soon as I got tired, the lines came out ugly and thick.
cover was done.
JA: What made you think that comics weren't going ro last?
JA: Could chat have been the cover w Captain America #76, where
Cap has th.:~t e<:rtoony smile on his face< ROMITA: I was under that impression when I started in 1949. ghost-
penciling fo r Les Z...karin, who w a11 working for Timely and other
ROMITA: It was either that or the cover to You ng Men tt24. piaces. l figured I'd just do these stories to make a few extra bucks. I
Lawrence didn't do any covers after the C aptam Amenca tide had no plans to stay in comics. Everyone I spoke to thought we were
started. treading water. Even Stan said he was waiting for comics to get so
JA: Sa Mart Lawrence had already done a splash of his own? small that he couldn't make a living anymore, so that be could write
novels and screenplays. Everybody r knew felt they were io tt on a
ROMITA: I think so. Far as I rec.:Ul, Stan rook the two bottom ?•nels :emporary basis, including Davey Berg, who was doing mystery
from my first page and put them under the Lawrence splash. BuL it stories m d then war stories for Timely. He hadn't starred at Mad yet.
never occurred to me to ask for my [unused] original splash back. 1
was too young and innocent to even :bnk •bout it. I've made so As people like Dave, Jack Abel, and myself sat m the Timely
many mistakes of omission and gave away m many wonderful things waJting roo m for scriptS or art approval, we would talk. We all had
over the vears that I should have kept. the feeling that comics were a dying industry and wondered what
JOHN ROM ITA. .. AND All THAT JAZZ! I 65
ROM_00427
JA1744
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
95-22 509518, Page87Page
Filed 03/25/11 of 97 9 of 9
A•l·-•-••"'''••n "• 1:-#'~ 1 ...... , , ! • • •.,••Qh .. •••J ...

'•<- ~1 '"'• 'u ..... , .... J14._1 ··~ ...... ,... 1. 1 ....... -.. u ...
• '' .• -• ,,..., •• r • • "''•:• ""' I r-"'"' ••• .,., • .., """"•• • 1 •·•
•'r • 1••••""'f' e,., .. , g:.,J • · • • • • 1'•• p•r••, 1• •

: lt:k/, .. ~. • if lf."' ·~ ... .: p,. •. ,~· "·~~ .... l
ROMITA! Probably not, because I wanted w be a painter Utd an

illustnwr. I was doing Coca-Cola illustration.s for soda founcams at a
lithography howe. I was making a big $25 a week, but I did free! Utce
pencils for Les and tripled my salary. That's why I even decided to go
into comtcs.
Besides Timely, we also worked fo r a company named Trojan

Comics. The art direcror was • linle guy who wore a cowboy hat. I
swear, worlcing with him was like entering the Twilight Zone. 1 used
10 bring my pencils in and Lester used to ink them. In retrospect, I
realize 1was doing bondage covers. 1 only did three or four covers
for them and Les inked them all. I also worked for Sol Cohen at
Avon, but I don't think Les inked any of my swries there.
} A: G ercing back to chat f im HCapc.ain America • scory: I
compared the line work of the Xeroxes chal Roy sent me of the
1~~~~~ other pages of the story to what was pHblished, and J notrced
I. 1
some differences in lin e weights and dtt.ail.
ROMITA: Stan must have had someone touch those pages up. He
was notorious for that.
}A: The inking on this first story looks a little different than your
other "Cap» inks, even though your inks still show through. It
always seemed to m e chat maybe joe Manuly ~beefe d up" your
mks.
ROMITA: I wouldn't be surprised, because joe was close enough

in the office to help out in emergencies. Joe was the guy in the late
'40s and through most of the '50s who did wb>t I did for Stan in
we'd do next. People forget that, at the ' 60s and '70s, which was-whenever somebody's artwork carne in
that time, there would be one or rwo good years and the.n a b.d year, that w:un't quite what Stan wanted, he'd bring it in 10 me to do
where everyone was scruggling for work. And then there'd be another touch-ups. Frankly, 1 didn't want to do tkt stuff. I w•s always late on
good yeu, >nd then nuybe two bad years-bad enough that many of my Spider-Man deadlines, and the l.st thing I wanted to do was to
the guys left comics and wem into technical art or advertising. lose rime, so I wouldn't be surprised that many guys touched up my
artwork back in the 19SOs.
Gene Colan was working full-time in the Timely bullpen in 1948,
and then he was laid off. He satd it was the most traumatic thing tb&t Let me tell you so mething: the fint time I met Jack Kirby in the
had ever happened to him. You know, when you're 19 or 20 and Marvel offices, he was touching up a Steve Ditko cover~orrec ting
malcing a steady buck, ~d then you're told that the company's closing rhe pencils. That was not the first time. Even in the mid-'50s I used to
down next week, you feel terrible. So Gene had the bad bruit then correct stuff all the time. When my artwork was in there, pe~ple like
and once. again in 1957, when !1111ely temporarily stopped publish~g. C arl Burgos touched up my work mercilessly, ~nd I corrected others'
You can tmagme how those rhings made him feel. work when Stan asked me to. It was Stan's oonnal procedure.
Timely publisher Martin Goodman used to close shop at the drop Roy always lcids me about not inking the mcul>r stnpes in
oi a hat. If eJ:penses got too nigh, he'd say "the hell with it," and close Captalll America 's shield. I don't know where l got the nerve to do
shop. ~obod y had any protection beC<tuse there were no pensions, no that, but I did draw the fi rst c~rcl e with the star in it. I indicated in
severance pay or insurance plans, or savings plan.s . Everyone who pencil where the circled lines should go. so the colorist would have a
worked tn conucs were :lying by the stat of the•r pants. guideline. I don't know if Stan told me to do that, or if I decided to
do it on my ow0- The colorists used to mutilate :he job, and the
I remember the armosphtre tn the late '40s and early 'SOs- colors 11rent all o,·er rhe shield. It shows you how we were flving bv
especiallv the mid-'SOs. when Congress started to come down on rhe se~t of our pants. · ·
comics. We were all watchmg the hearings- they made us look like
butchers. You'd think we were killing children in every panel. I used ) A: The cover of Captain A merica 1176, that we mermoned before,
IS a scrange one. The re seem to be two, maybe rhree different artzsts
to tell my wite Virginia, "I'll only do comics for a while, and as soon
as it closes down, I'll get a iob in !\ew York, in a studio." Nobody I working on that cover. (See p. 29 for this cover.)
knew said. "I'm going to be in comics fo r the rest of my life." We all ROMITA: I didn't wo rk on th•t cover. I think Carl Burgos d!d most
figured we'd have to get nine-to -five iobs at some point. It was a verv of it, or u le~st penciled it.
negauve penod. ·
JA: I thmk so, too, but the CaptAm AmenCtl jigure u drawn by a
JA: We !~ •f tt hadn ': been forLes Zakarm, you wouldn ': have
<orally different arttst, pombly M orr Lau-rence.
gorren mro comzcs in the first place, would you?
66 I CAPTAIN AMERICAWAS A DIRTY NAME!
JA1745
ROM_00428
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 971 of 17
EXHIBITW
JA1746
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 972 of 17
JA1747
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 973 of 17
JA1748
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 974 of 17
CHECKLIST
- · _ ,,.,. _ ,_
~)
' Ito
~ lWoMofrows Publishing
.,~
Raleigh, North Carolina
._.....
,..
JM 00311
JA1749
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 975 of 17
We're proud to present this final Gold Edition of the Jack Kir~v Checklist. The
starting point for the original 1998 veTOion was the outstanding list compiled for
Ray Wyman & Catherine Hohlfe!d's book The Art OfJack Kirby. Kirby fans
around the oorld looked over that list and sent us their additions, deletions,
and corrections, resulting in the 1998 Silver Edition. In the ten years since
its publication, numerous corrections and additions have been submitted,
and all are incorporated into this cxpanderl, updated edition.
We hesitate to call this a ''final'' version; since Jack Kirby was so (·::·
prolific, we're bound to have missed any number of obscure Kirby
pieces. Also, a catalog of his animation work (storyboards, con- 1,> .~
cqx drawings, etc.) could easily fill a separate book this size, if !(1. ·
such a list were possible (and it's probably TJO!, since most of that
work will never be seen by the public). We've tried to include as
much of that work as is known, while focusing on improving the
original list of Jack's published comics wrk, to make it as complete as
possible. This list includes a cross-reference notation of where stories
have been reprinted, following the story's original liSting (so fans can
easily find inexpensive reprints of expensive original editions).
Lastly. we've added a catalog of the Kirby Pencil Archives,
listing all the pages of Kirby's work from the 1960s-1980s, of
which photocopies exist in their original pencil form. betore inking.
This Checklist will be continually updated at
H<ww.kirbJmuseum.org. so if you find omissions or ~~~~~~~
errors on this list, we encourage you to .'!!
send them in. We hope this will be a
valuable aid to Kirby fans every- -~~. ·-
~..:.-.: _-:.
where. Happy hunting!
_f,~
KEY
Published by: TwoMorrows Publishing • !0407 Bcdfordrown Drive • Raleigh, NC 276!4

Phone: !919) 449-0344 • e-mail: rwomorrow{':~;aol.com • web: www.I\\Dmortows.com
ISBN-13: 9781605490052 • First printing • July 2008 • Printed in Canada
Entire comenl) (:2008 TwoMorrows Publishing and the Jack Kirby Estate. This list is intended for the private use
of coil coors only, and may not be reproduced in any torm without permission rrom the copyright holders. Original
list fimn fl1e Art Of'Jv.ck Kir~v, published and ~t.> t993 by Blue Rose Press and the Jack Kirby E~;tatc. Research and
compilation: Ray Wyman. Jr.. Catherine L. Hohlfcld and Roben C Crane. Sources: Jim Vadcboncocur. Jr.. Greg
Theakston, Orerstreet's Comic Book Price Guide, George Olshevsky's Marvel Comic Index, and dozens of Kirby
fans and comic book collectors. List Editors: Hoh!fcld & Wyman.
Brm,rrful f>rr-amcr. RHY B11.Jt'f. B(;r CommanJ, ~'='. Hro-lt/rn. Dvrlts~rd nemon. f~ jr-ew·r r\'op~~. <,'uhhr HI1W-Am.ll!1. J!mmr Olst'n. KJmW14.fi, Kaf,n ifanhurrrer.
Clerlin. \fr lfimrle. 0 \f,!C Sandman. [ot/ T\1 & <::'t..:ri [>{ C•mun • 3-D .\fun. Annrm. Blurk l'rmt!.·~ CG(>t..! mrnw. Cmwl. !hi! D!nowur. Or
/him. 6i.harh. iioom. llcl\<kt"il '. 1/illf.. 1/uma" li;rr h. lwri<. i'VII Jlan. Ku·Zar. Kruwn.IJ>h ll<~<hm, \/,m, .\id fun .1:~1 Fur.•, \/ariel ~lu h. \il<er
iurlcr Sprder-lfan. ),,,., R•x_•n. ThinI'. Th<•r. ltd.•p. X- .\len Tll & <ur>~ \flllwl (harou m In< • Btdi<CJ~. S1unlm<M Til & \')1/iX .h~- .\'ii>WII iiJ!J ,l," k
Ktrh1 Fwrile • \f"''''"'llll. \t.w·,.. Rohol. Sr>uht•aJ, Tm/1.<T\1 & •.':'11>1 J,~; Kirhr F.,h,te • Ciman l\1 & <}(J(H ConJI! Pn1><'r1H'> · t~'..-en Home/.
2 "'!"''
( hurlw l ·;," 1.\1 & \'.'IJIJX m' I• lida '
JM 00312
JA1750
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 976 of 17
ArnoN COMICS
Natiooall't'riodk:al Publicatil>ru (OC COOJics) ~ Adwnlllrf! Comi<·s, ~ Supt:rman Amrwl
252 \iay 1959: ~The Mtnace Of MeW!o~ !Superman) 13p Kirov. (plct)(R: Superman 2 I7, Supernum Amrua/2)
.«9 Jul1975: (r ADY 252) "\ly>~ery Of The Giant Armw~" 6p :t (~ ADV 253) "Prisoners Of Dimensioo 0" 5p
638 Ftb 1989: Kirby/AU5tin · c t Demon: last work t()r OC)
ADVENTURE COMICS
'iational l't'riodical Publications f.[X" Comics) -~ ,;/1-Srar Comics. &st of IX Digest. DC Sper:ial 8/ue-Rihh<Jn f)ig61. JJC L'nivml>
Chrisrmas, Dt1tttiW? Comics, Hrsr [<,111' Speda/. fomrr !top/e. Grw!tsl Fifties Stories f:1't1' liJ/d. Grren Arrow by Jack Kirby,
!Jmited Colkctrn ·&lirion, Jficrocolour. N<!t!• God>, /()I) Page Super S,Xctacular. Sandman, Seem Origim ufdle IX .'iup<r-1 femes,
Sho~tase PrrsenL1: Grren Armw. Star-Spangled Cmrtics, Super-TNm Family, World's Fure.st Comics
72 \lar 1942: ~RiddltOfllle Slave \brktt~ (firsr s&K Sandman; first wOO: for OC) lilp Kirby:Simon- a(R: \!C)
73 Apr I942: ~;simoo- ~ (\f<mhunu:r) 1! 4lH: llw:lnl\ ~~ (frrst S&K ~ ocigin) 1~ Kiltry!Simlri- a (R: MC. NG 4) 1
"Relh: Of ~adn~sn (Sandman) lOp KirbyiSimon ·a (R: MCl
74 May I942: Kirby/Simon- c (Sandman) ;; "lH Mn Who K11ew All The Al!SMnn (Saruhruml lOp Kirty:Simon- a (R: ADV 498,
FP 9, MC) {GMdner Fo~ >eript R: AE V3421) 1' "Sn\·e~gtr Hont~ (ManhU!lter) 9p Kirby1Simoo -a (R: MC, ~G 5l
75 Jun 1942: KirbyrSimon- c (Sandman) i 1 ~Beware Of ltfr. Mtt!k~ !ManhU!lter) 9p Kirby/Simon- a (R: MC, "<G 6) ::
"Tht VillaiD From ValhaDt~ (Sandman •·s character nanltd "Thur"j lOp KirbytSimon- a (R: ADV 499, FP 6, \iC)
7~ Jul1942: Kiroy!Simon • c fSandmanJ ii "Mr. ~oall Ra!dslleTO'Ita~ (Sandman) lOp Kirby/Simon. a(R: \ICJ "
~rbe Legtnd Of The Siltnt Bear~ (\lanhunter) 9p Kirby/Simon- a (R: MC, NG 7)
77 Aug 1942: Kirby1Simun · c (Sandman) 1: "Dreanu Of Ooom~ (Sandman) I Op KirbyiSimon . a (R: ADV 496, FP 8. MC} t!
"Tbe Stollt OfVengtiD~" (J\.Ianhunter)9p KirbyiSimon- a (R: MC. \G 8)
78 Sep !942: KirbytSimon · c (Sandman) ;; "Tht Lady And The TlgeF (Manhwa~r) 9p KirbyiSimon- a (R: \iC. \G 9) J
"T~ Minu:k MaktF (Sandman) lOp Kirby1Simon- a (R: MC)
79 Oct 1942: KirbyiSimon. c (Sandman) rr "footpriDts h. The Suds OfTI-" {Sandmm) lilp KiroytSimon - a (R; MCJ i i
"Cobra! OF The l>ffp" (~anlnmter) 9p KirbyiSimon- a (R: DC 440. \IC')
80 S('N 1942: Kirl1j•'Simon • c (Sandman) /! "The Man Wile Couldll't Sleql~ (Sandman) I~ Kirby'Simoo- a {R: ADV 491, FP?. \i(') lt
"MaR Trap Island" (final S&K \1anhumer)9p Kirby!Simon- a tR: MC) !Se~ FIS 5{or las/ Kirby Jfanlmnrm
81 Ott 1942: Kirby: Simon· c (Sandman) 1.· "A Drama In Orenm" (Sandman) lOp Kirby:Simon ·a (R: IOOPSS OC-15, \!C)
U Jan 1943: KirbyiSimon - c (Sandman) ;I "'SSnll Front! ForTh Mob~ iSandrrum) lOp Kirty:Sirnoo- a (R: OCUC. LCE C-43, MC)
83 Feb 1943: KirbytSimon- c (Sandman) li "Thr Lady And Hr Champ~ (Sandman) 9 lt2p Kirby:Simon- a (R: '.1C)
84 Mar 1943: Kirby:Simon- c {Sandman) t! "Crime Camivtl~ (Sandman) lilp Kirby/Simon- a (R: :\DV 495, FP 5, MC)
85 Apr 1943: KKtySirrm · c (SandmanJ ·. '"The Vllboly ~ Of Genilmlu Jadt ISaOOrnn) I~ K~'Sinm -a {R ArN 492, FP 4, MCJ
86 May 19-H: Kirty:Siml.111 · c (Saooman) i 1 "The &y W\11 \1m Too lllg For H~ Breecb~~ (Sardnan) I~ KirbycSimon . a (R: MC)
87 Aug 1943: Kirby:Simon- c {Sandman) t :· ~, Hated T1lf SandliUin" !Sandman) lOp Kirby:Simon ·a (R: MC. WFC 226)
88 Oct 1943: Kirby/Simon- c (Sandman);; "The Crul§e OfTbr Cmceut~ iSa.rnhnan) Iilp Kimy1Simon- a (R: \!C)
8'1 Dec 1943: KirotSimon- c (Sandman) 1.' ~Prkonrr Of His Dream!" (Sandman) lOp Kirby-Simoo- a (R: ~C)
96 Feb l'/4.1: KirbytSimoo- c (Sandman) t:· "Sirepy Tim~ Crima" (Sandman) lOp KirbyiSimon- a (R: MC)
91 Apr 1944: KirbySimon · c (Sandman).': "Coange ab Carte" !Sandman) IOp Kirby/Sim011 - a t R: '.!C)
n Jun 1944: Kirby:SimO!l · c !Sandman) {R: \K')
93 Aug 1~44: Kirby.'Simm · c iSandmanHR: MC)
94 Oct l944: Kirby'Simon- c {Sarximan) {R: MC)
95 Dec 1944 Kiroy·Simon- c (Sandman)IR: MC)
96 Feb 1945: Kirby.·Simon- c (Sandman) (R: \1CJ
97 Apr 1945: Kirby· Simon· c /Sandman) (R: \1C)
9S Jun 1945: Kirby· c{p)(caveman figure only) (R: \fC)
100 Od l'l45: Kirby Simon- c !Sandman) :.· "Sweft5 For SMg" !Sandman; tirsr po:<~-WWII work) lOp Kirby· a(l) (R: MC)
101 Dec I945: Kirby:Simon - c (Sandman)
102 Feb 1946: ~·Simon- c (Sandnm) : ~l>reim Of Petrr Grm~" iSandmmil~ ~.SimtJJ· a lSI'>' .'.andmm I fiJr /art S&K :iln.::boonJ
250 Jul 1958: ~rbe G~n Arrfl'!-s Of The World~ !Green ArrOYi) 6p Kiroy Rosalind Kirby - J 1R: IX'SORD 21 Gi\JK, SPGAJ
251 ,\ug 1958; ~Tilt Case Of The Super-.\r1'01>'" !Green Art<}\\<) &p Kirov (!>Cripl) Kirhy Ra>.1lind Kirby- a tR: GAJK, SPG,\)
252 Sep 1q5s ~ne \1~rtery Of The GianL\r~"IGreen ArrwJ 6p KirbvtRtl>lllind K1tby- a
IR: A( .14q.lXSBRD 23. GAJK, GFSET. SPG.-\J
2.." Oct l'i:IS: ~l'rnmlm Of Dimtll>iun Zero~ (Gm:n .>.rrowl 6p Kirby Ro;alind Kirtw · a
iR: A( -l49i~rtial), IXSGRD 23. GAIK. GI'SET. SPGA)
254 \0'1' 1958: "Tbe GrND Arrow'1 Last Siand" (Green Arrow) 6p Kimy Rosalind Kirby - a (R: G,\JK. SPGA. sn·9)
~~ : ~~:;~ :~~ ~::~;;:::~~~~~~~;:~~=~:) ~"t2~i~;;~;:~n~~~~a-(: GAJK. SPGAJ r==

~·
(R: !XSBRD 9. G.\JK. SOIXSil. SPGA. WfC 187) . ~""71~~-' _.
Digtsr-siz~d lixmat " 491 · 503 /(If ..; ..
491 Sep !982: (r: ADV 80) "The Man 1\'ho Couldn't Sleep" lOp - ' <:::-.
492 0.~ 1982: tr: :\DV 85 l ·'The Lnhol~ Dreams Or Gentleman Jack .. IOp · .,.;; £ 1
~95 Jan tn3: (r: ADV X4) "(rime Carnrval" lOp ' .)
496 F~b 1983: 1.r ·\DV !( )"Dream; Of Doom·· lOp · '
498 Apr !9X3: (r \DV 74) ··fhe \lan Who Kn<:W ,\ll The .\n;wm" lOp ,,
~99 ~ay 1983: (r: ADV 75; - nlC Villain l'rom Valhalla" lOp
~3 Sep 19~3: t.r: SSC 71"\e\I·Sboy Legion" 13p
JA1751
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 977 of 17
ADVENTURES IN 3-D
Harvey Publications See Captain 3-D
2 Jan 1954: Mvertisl!mut Iunpublished Captain 3-D ~2 cO'ier · vs lnfmity'') lp Kirby- a(p)
ADVENTURES OF THE RY
Archie Publication.<; : Radio Comic> St-e Adventures of rhe Fi); Ardlie. .- irrhie .~!UirN~ Where Are rrJU', Artni~ Cumics Di)('t'SI,
Archie·_, Super-Hem .)fxt.iu!. Blue Rihix;n Comics, Double' life of Pril:ate Sirtlffg, Fl;: fl:.pet-Ciassics. Uule .4rd!ie Comb Digt'!ll.~nniJill
I Aug 1959: Kirby - c 1: ~nt Strange New World Of The Fly~ 6p Kirby. alp)fR: AAAWAY 8, AOTF, BRC V2~!) 11
~rile Ay Strikts~ 2p Kirlrj - af._pJ tR: AOTF, BRC V2#1 ) :; "The Fly DiKove" His BIIU Gn~ 5p Kirby- alp)
(R: AOTF. BRC V2~1) ;t "Comt Into 'oty Parlor" 7p Kirby - a(pJ (R: ACD 33, AOTF. BRC V2# IJ ;:
"SigD Of'fk Tri1nj!le~ lp Kirby- a(IJ (R: AOTF) (note: >eries edite.:l by Joe Simon)
2 Sep IQW K swipe from C:\C 7) :: "SntakAttack" (Private Str011g) 2p Kirby- alp) :; "'fan:o's E~ts" 8p Kirby- a(p)
(R: ,\OlT. ASHS I),, "The ~liner Of Junk·ri-ll" 6p Kirlrj- atp)(R: AOn: BRC V2dl)
ADVENTURES OF THE FlY

Archie Publications See Adven/utfs ufthe Fly
I 2004: (r. c. AOTF I) -The Strange ~ew World Of The Fly" 6p :i lr: AOTF I) "The Fly Strikes" 2p :; (r: AOlT I)
·'The Fly Dis<."OI'crs His Buzz Gun" 5p '' (r: AOTF I) 'i.'orne Into My Parloc" 7p il (r: AOTF IJ "Sign OfThe Triangle'' lp ti
(r: c AOTF 2 >1\iped fr001 CAC 7) :: (r: AOTF 2) "\18Ko·s Eyes- 8p q r. AOlT 2) "The \iast.er Of Junk-ri·lli" 6p
AIRBOY COMICS
Hillman Periodicals See Complr:Je Jack Kirby, Jack Kirby Reader
V4#4 \fay 1947: Kirby:Simon . qR: CJK 3)
V4#5 Jun 1947: ~Link Tlwn1r, The Flying Fooln (Flying Fool) 8p KirlrjtSimon- a (R: CJK 4)
\14#6 Jull947: "[)yn1mlte" (Flying Fool) 8p Kirby:Simon- aIR: CJK 4)
Y4#7 Aug 1947: ~vou C~n't Beat Capld" (Flying Fool) 8p KirlrjSimon- a (R: CJK 4)
V4#l! Scp !947: ~Hi~ Brother'~ Kteptr" (Flying Fool) Sp Kirby. Simon- a (R: JKR I)
V4#9 Oct 1~7: ~Lan:t~~y In Old Latt" (Flying Fool) 8p KirbyrSimon- a
Vmtl \"ov 1947: "Face ID The Storm" !Flying Fool) 8p KirbyiSimM- a (R: JKR 2)
\-'4#11 Dec 1947: "Puil Paradise" (flying Fool) 8p KirbyiSimoo - a
ALARMING TALES
Haney Publications (Wcs1em Tales) (series edited by Joe Simoo)
Sec Hy{YI'·Ciarsics. Jack Kirby Colledor, Jarir. Kir~r Reader, .Hodern Art; Shocking Tak.1 Digt!l·t, U11earrh(v S{Nctatulars
I Sep 1957: Kirby· C(p) ': Coatenl! lp Kirby- a(p) :! "Tht Cadmus Seed" Sp Kirby- a(pl (R: JKR 2. STD ! ) '!
~Logan's \txt Lift" 2p Kirby· a(p) (R: STD l, US 3) :, ~The Fo~rth Dimension !sA ~ao~· Splitttred Thiag~ 5p
Kirlrj- a(p) {R: .\flxiem Arl STD I) .'1 "The Lut Ertemy~ 6p Kirby· a(p) (n«e: Kaman<li prototype story) (R: STD l) '
~0onBtgaD'$1>llffy Cbllr" 4p Kirby- a(p) IR: SID I, TJKC -16) !See TJK(' 34: Black Cat Mysrm· W funpub. com1
2 :--itw 1957: ~Hnleln The WaU" llp Kirlrj- 3\p) IR: STD Il ''"The Blg Hunt~ 4p Kirby· a(p) tR: STD l p ·
~ne Flreballs" 5p Kirby· il\PI iR: STD I1;, "I Want To Be A ~liD" 5p Kirby- a(p) (R: STD l, T.IKC 40)
3 Jan 1958: Kirby · cipl' "Thl! World h O;r1" 5p Kirby- alp) IR: TJKC 45)
4 \lar 1958: "ForbiddeA Jommey" Sp Kirby -a
ALL FOR LOVE

Prize Publicatioo>
\'JII2 Aug 1959; ~Love For A Lifellme" 5p Kirlrj- alpI
ALL-NEW COMICS
Family Comics IHan·.:)· Publications) SN Boy Erplorr:rs Comid, SimoN & Kirht• Classi.·s. Stumman Comics
13 Jul1446: "Stuntmau Bill~ The Diamond Curse~ iStuntman) Bp Kirby·Simon. a tR: SKC I) ,
.\dvert~ment tS1untrnan) lp Kirby Simon- a., .\dvertisemut 1.Boy F.xplom; Comics 2) Kirby STmon- a
ALL-SLUG COMICS
(iraphic $t<10· Guild See ""' <Jods
5 19711 ligbtn~y 1p Kirby Mclaughlin - a
ALL-STAR COMICS
.\II-,\mcrican \ational Periodical PublicatitlflSI !X Comics) Ser fdremure ( oml<'· 0( All-Star 4rchile>
14 Dec 1~42: L:nritlffi 1Sandman)6p Kirny Simon- a tR: \SA}. \1()
15 F~b 1943: Ln!ltled tSandmanl6p Krrby Simon- a tR: ASA l \iC)
16 Apr IW: L'nrilled 1.Sandm:m) 6p Kirby,Simon- ~ 1R: ASA 4. \1()
17 Jun 1~43: ~rheTreelhat Gre~ \lone~· (Sandman) 6p Kirliy Simon- a 1R: ASA t \IC)
19 Win 1943: ~Jaws Of The L'nden<orid~ (Sandman) Sp Kirb~·Simoo · a tR: \!C. ASA Sl
ALl-STAR WEmRN
\ariollill Pcriodical Publications !IX ( umie> J
99 Feb 1~.\ &· -~mbush Ar Smoke f•n~'QII" 6p KirhrGia.:oia- a
6
JA1752
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 978 of 17
CAPTAIN VIOORY AND THE GALAOIC RANGERS

Jack Kirby Comics b!w formal
I Ju! 2000: l~ CV 12) c.hc (wrnparound) ,; (reconfigured l!ltWOrk repro li"om: CV 1.6.8.9,11.13 and re-writte11 by Jeremy Kirby) 28p
(llOie: pg. tg.! 9 top panel previously unpublished) i' Raam Ip Ki~ - an(p) I' Suptr Troopen tp Kirby- a{p)
2 Sc-p 2000: (r. be CV 7) (cover pastk~ Yignene r: CV 3) 1 / (r: be CV 4) be:: (l'el:oofigumi art.lud n:pro from: CVl-4.1 3 and
re-Mitten by Jeremy Ki~) 26p 'i Otmld !p Kirby- a(p)i.· Goorlebobbfr lp Kirtry - a{p) /i Maodlsaum lp
Kirl>y- alp):: ~1a!ti-Mao lp Kirtry -ll{p) !/ {r be CVQ) DirectocChusang lp
J 11!11 2001: (on li~M: vmion published at hnp;.iwww.kingkirby.corn)
CAPTAJN VIOORY: GRAPHITE EDmON

TwoMorrows b:w original pencil art format
I Jun 2003: Kirby: Royer- t !i ~cap!Bia VicUiry And Hfs Glbctk R.ugm~ 49p Kirby- a(pl (note: some Royer inks) II
"Captala Vkwy Al!d The Ughtniag Udy~ Jp Kirby1Shennan- (screenplay te.tt) !I Untitled be Kirby- aiPI
CHALLENGERS OF THE UNKNOWN

7\ational Periodical Publications (OC Comic,:) See Challengm ofthe Cnb!OK?! An11iw.~. DCComks Presents, Sl!vlffilSe. .')uptr DC Giant
Kirby writing on issue; 1<2-8
I Apr 195M: Kilby- c 1 btro lp Kirby<Stein- a (R: Cot! 78. COUA I. SOCG S-25, SPCOC) :! "TTre Mao Who '!Ampmd Wrtll
lnfmity" 14p ~".iidn- a (R: COVA I. Sf'('OO),i "The HUllWl ~~lOp Kirlly!Stein- a<R (()L; 79, COVA I, SPCCXJ)
2 Jun 1958: Kirby- c :: ~Tht Tr1itoron Cballt~~ger~ lOp KirbyiStein ·a (R: COU 76, COUA I, SPCOL') oi
"Tilt Mon.ster Make~ 14p Kirby.'Stein • a (R: COL: 79, COUA I, SPCOU)
3 ,\ug 1958: Kirby- c " ~The Seem Of The Sorcerer-'' Mimr~ 12p Kirby:Premiani - a (R: COU 7 6. COL!A 2, SPCOU) :;
~Mea~ Of The lnvi•dhlf Cllalltngtr~ l2p KirbyiKiein- a (R: COL'A 2. SPCOU)
4 Oct 1958: Ki~- c il "Tilt Wizard Of111111'" 25p Kirby' Wood - a (R: COUA 2, SDCG S-25, SPCOU) (Set: TJKC J 7)
5 De.: 1958: Kirtry - c ;; "The Riddlt Of The Stu·Stone" 25p Kirby Wood- a (R: COUA 2. Sf'('OUJ
6 Feb 1959: Kirby· c -'/ ~captivrs Of The Space Cimn" 15p Kirby:Wood- a (R: COUA 2. SOCG S-25, SPCOU) il
kThe Son:erm Of Forbidden Valley" lOp Kirby:Wood - a (R: COU 78. COUA 2, SPCOU)
7 Apr 1959: Kirby- c II "Tbe BeasB f'roml'lanet !'il~~t" l3p Kirby,Wood- a (R: COUA 2. SPCOu') !I
"Tbe Isle Of 'lo Rtturn" 12p Kirby• Wood- a (R: COU 78, COCA 2, SPCOUl
8 Jun 1959: Kirby/Wood-~ tf "Thdtan Wl10 Stole The Future" 12p KiroyiWood- a (R: COCA 2. SlXG S-25. SPCOU) 11
"The Prlwun Of Robot Planet" 13p KirbytWOO<f- a (R: COUA 2, SPCOU)
64 Octi96S: (r. Sf16: 1:2 story ) "The Se.Tets Of The Sormcr's Box" 12p
65 Dec 1968: (r: SH 6: 1:2 ;tory; relitlctl from "The Secre!S Of The Sorccrer's Box") "The Fr~zing Sun" 12p
75 Aug 1970: (r: c Sll 7; reprint of splash) : · (r: Sll7) ''Uihvac Is Loose" 25p
76 Oct 1970: (r. COL! 2) "The Traitorous Challenger" lOp :1 (r. COU 3) "The Secret Of The Sorcerer's Mirror" 12p
1i Dec 1970: (r: c, SH 12) "The Menace OfThe Ancient Vials" 24p
78 feb 1973: (r: c COU 7) t: (r. COU I) lntro 1p •' (r: COL; 7J ''The ble Of "lo Re!um" I 2p I,
"Rctum Of The Challengers" lp (artic!ep (r. COL 6) "The Sorceress Of Forbi<hk>n Valle)·" lOp
79 \<far \973: (r: COC 2) "The Monsler Maker" 14p '"Pen-Challs" I. 2p IKirby bioJ fi (r. COC I) ''The llwnan Pets" lOp
8& Jun 1973: (r: Slf I I) "The Day The Earth Bkw Cp" 24p
CHAMBER OF CHILLS
Marvel Comics Group See Taft's o(Suspeme. Tales to Asronish
II Jul 1974: (r. TOS 28) "Ba~k From The lx.Jd" 6p
18 Sep 1975: (r: TTA II l "I Foond Monstrom, The [)\\·tiler In The Black s~amp" 7p
19 N011 1975: (r TTA 26) "Look Out. llere Come TI11: Four-Anned \len'' 7p
22 \lay 1976: tr: TTA 26l "He Walked Through Walls" 6p
25 \iov 1976: (r: TTA 23. rctitled from ·'The Cnbdievablc Menace OfMoc>!llba") '·Moomba" Up
CHAMBER OF DARKNESS
\1i!f\el Comics Group .'li!e Gianr-Si:e Chillers. Tales ro Asronish. Tomh of Dorknr:ss Continued as .\{oltSim on rite Pn.JM/
4 Apr 19'70: ~The '-!oosttr" 7p Kiroy (script) Kirby Verpoorren - J tR GSC ) J !See TJK( 13!
5 Jun 1910: Kirby Evaett- c . "And Ft>~r Sb~ll Foil~- 6p Kiroy (;trip!) KirtwoVapoortell - o (R TOD 201
7 Oct I'f!r): t r TTA IJ) "I hrund The .-\born ill;lbie Snowman·· 6p
CHAMP COMICS
Worth Publi<hing Co. (HarYey Publications) (.,minut'd Jmm Champion Comics
18 \1ay 1942: Kirby- c (Libc'rty Lad>) (>igncl: -Jon Henri-)
19 Jun 1942: Kiroy- c (Liberty Lad>)
20 Jul 1942: Kirby- c
21 ..\ug 1942: Kiroy- c
23 Oct 1942 K:rby- ctp)
CHAMPION COMICS
Worth PuNi~hi ng Co. (lian·cv Publications) See Complm .lack Kir/n Comin~rd a.i Champ (o mio
9 Jui IQ40· Kirby Simoo - .: (IIU!Th'ln \1e<eorl: (Jl(>te: first Kirby cO\ er art ftrn S&K col lalx>ration: See liB J)\R: CJK IJ
I.W<' SK( !iJr hi'! S&K ml!tJhoration)
18 10 Aug 1~4() K1rby Simon- .: <!Iuman \1dcoo: Inot<: bon<ilge cover) !R CJK I)
JM 00328
JA1753
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012, 509518,
03/25/11 of 979 of 17
CHAMPIONS, THE
\iarvel Comics Grwp
6 Jun 1976: Kiroy:Giacoia - c (> s Rampage ) (R: Champions CIMsic.f II
CHARLIE CHAN
Cre"twood Publications IPriu) dl-5 : (harhon Comics #6
I Jun 1948: Kirby. Simon- c
2 .~ug 1948: KirbyiSimon- c '' "The Vanishing J~l Salnmu" lp l~pla.~- I pilllel) Kirby - a
3 Oct 1948: KirtJy'Simon- <
4 Oec 1948: Kirlly'Simon- qSta!Ue of The Golden Godd<:$~ )
S Feb 1949: Kirby Simon- c (Nazi War Criminal)
6 Jon 1955: Kirby, Simon - c
CLASSJCS ILLUSTRATED
Gilberton Publications Continued from Classics Comies
35 \-lar 1%1: 12ndeditioo: ll!l'li Ill I!; ~rht la!l DaYJOfPomptilft 45p Kirby,Ayers- a ;'
E<Manl Bulwer-l~ttom (teXt fearure spot illu~r.JtionJ Kirby' Ayers - a
35 Jan 1964: t3rd edition: IIRS 167): "The Last Days Of Pompeii" 45p i; Edward Bulwer-Lyttoo (illustration)
35 Jul1966: (4111 edition: IJRN 167): "The last Days Of Pompeii" 45p I! Edward Bulwer-Lytton 1illustration)
35 Spr 1970: 15th edition: IJRN 169); "The la>t Days Of Pompeii" 45p !! Edward Blllwer-LynotHillustration)
160 Jan 1961: (The Food of the v<Xis: llRN 159 or 160); Adm'tise~~~e&t IIJilPUblished Clas•ics lllurrrated 161 c~er. "<.'l~l l 4p
Kirhy-'Aycrs- a !See TJKC 19}
CLASSJCS ILLUSTRATED JUNIOR

Gilberton PubliQ!tion-'
570 Jan 1961: (The Pearl Princess): Advertisemrot {mlpUblisOOI CI<JSSics 11/tL\II'atrd J101ior 571 cover:
"I low Fire Came To The Indians~) 1."4 p Kirby!Ayers- a
CLASSICS ILLUSTRATED SPECA1. ISSUE

Gilberton Publil:.'l tions Su Jforld Aro101d Us, Wnrld 1//uslra/ed
162A Jun 1961: (War Bet\1-ten the States: HR.\I 161 ); ~war Bttwttn Tile Sljtts~ lp lspla;h) KirbyiAyen;- a //
"Apri~ 1861: Fort S ~mttr" 6p Kirby!Ayers- a'; ~Aprii-Jaly, 1862: The Peninsula~ 6p Kirby'Ayers- a il
"April-July 1963: Vkksbarg" 5p KirbyiAyo:rs - a .'/ ":"'O'I'tmbtr, 1864: 'ie111 York Cityft 8p Kirby' Ayer;- a
16SA IX'c 1961: (To the Stars: IIRN 163); "A Simple Tel~pt" lp Kirby't\ycr.; - a t1 "Li~ And Signakft lp Kirby,Ayer;- a !i
"'Vit'lling The Spednlmft lp Kirby'Ayers- a
CLUE COMICS
llillman Pc'fiodicah X<' Complete Ja,·k Kirhy Conti11ued tu R<al Clue Crime Stories
\'2#1 :VIar 1947: "King Of The BJnk Robbe"" 8p Kirby- a{R: CJK 3)
V2#2 Apr 1947: "A Clae For You" (Dctt:etive Pcmdl) 4p Kirby- a(p) :.· "'n Stage For :\turdtr" (De!t:ttiv~ Powell) 4p Kitty- a(p)
(R: CJK 3)' "The Short, lnnf:ermn Lift Of Packy Smith" !Gun 'vlasterJ 13p KirbyrSimon - a (R: ('JK 3)
Y2#3 \1Jy 1947: "The Barrie For Pack)' Smith" !Gun Master) 15p Kirtry:Simon- a (R: CJK 3) ; ~Fl~1:n For Roma" 8p
Kirby- a tR: ( JK 3) !1 "Tbe Case OfTbe Supmlitloas Slayrrs" 6p Kirby, Simon - a (R: CJK Jl
COCKEYED
White:-((lne Publi(ations Se~ Joel:. Kir~r Collrcwr
4 Apr 1956: ~Goy! And Dollsft 2p Kirby·Simon- a (R: TJKC 251
COMIC ART SHOWCASE

Quality Comic An J>r().]unions St•e Comics Reme. Complete Sh .\faslt'I.<, Sky \fastm ufthe Space Force
~!agazine l'onnat: lleW,paper comic <trip reprints
I l<l~O: Kirby Wuod - c Sky :'tbstfrs of tbe SpiKe Force 60p K irby ':\~'l'f5 - a
(JJilie~: Scr 22. 1959.. Jun 2 ~. 1960: 50m~ •trip~ omitted)
COMICS REVUE
\ lanu_.-.cript l'ress .\i•e Cnmic An Sho•wase. Cf/rnplete S~T ~frL,I<'rS, Skr .\ fastm of the Space Fnrce
Magazine format: b· w newspaper comic >trip reprint;
30 l ~gs: ~litton CaniffTribute IIW tribute by Kirlry) (R: TJKC 37)
124 1<1%: Sky \l~ters of the Space Force Kirby Wood- a (dailies: \lay~. 1959 Jun 3. 11}5Q)
12S 19%: Sk~ \1asters oftbe Space Force Kirby Wood- a tdailie$: Jun ~ . 1959 Jun 20. 1 ~59)
126 19%: Sk~ :'tla$ten oftbe Space Fon:e Kirll)•'l\ooo - a (dailies: Jon 22. 1959 - JuiS. 1'159)
127 19%: Sk~ .\lasters of tbe Spaet Fon:e Kirhy Wood - a (dailits: Jul9. 1959 · .lul l!. l<l5'J! ·
Sky \bum of tbe Spacr Foret Kirby Ros.Jiind Kirby- a tdaili<:s: Jui!J. 1'159 .·\u 4. 1'159J
128 I<l%: Sky \lasters of the SpiKe Fon:e Kirby Ro:<alind Kirb)-- a (dailie.<: .\ug 5. 1 95~· - .·\ug 21. i'}59)
129 19%: Sk~ \l>~Sten oflhe Space Force Kirby· Ayers - a cdaili<:$: ,\ ug 2~ . !'15!l Sep 21. 1 9~9)
IJO 199': Sk~· \lmm oftbe Space Force Kirhy Ayers- a (dailie,': Sep 22. 1959 ·Oct 17. 1959)
Special! 199~: Sky 'llastm of the Space Fora Kirby Ayers- a (daili~: Oct 19, 1959 . ~IN 13 , 1 9~ 91
131 l<l<l7: Sk~ :'11astm oftbe Sp:H:e Fgn:e 1\irhy Ayers- a rJailies: "io,· 1~. 1959 · Dec 10. 1~5~)
19
JM 00329
JA1754
Case 1:10-cv-00141-CM-KNF 78-1, 01/26/2012,
Document 509518,
95-23 Filed Page97
03/25/11 of 9710 of 17
Page
ir. CMA I) "Capt. \iarvel Battles The 'v'ampire'' I~ : (r. PC 8) "The Black Owl" 9p 1! (r. PC 8) "Ted 0''\eif' lip :t (r: BB ~J
"BIIll! Bolt" IIJv :; (r: PC 9) "The Black Owl" 9p 1 (r. PC 9) -T~ O'Neil" tip ii (r. c cAC 1J !p :1 (r: BB !OJ "Blut Bolt" lOp
V3 199~: (Mar 1947 May 1947):{r. c ABCV4ii4~ bc(r: c HC2.3)!'1r. SMC I)Advettis~mat / (r: c SMC 2){unuled wl';ioo) lp"
conilc snip: R<'d HotR~dr. c BC 21J lp : (BC 21rooghs. panels) il (r: CLL;EV2111) "King OfThe Bank Robber;" 8pil
(r: c, I!C Z3 J "The U;t Bloody Day> Of Babyface '-:dson" 7p 1: (r: HC 23) "The &ar Skull Trail To Death" 7p ::
(r: H('23) "Burned At Thr Stake" Wp i (r: HC 23) ''To My Valentine" ~p :: I r. llC 23) "Kilkrfn 'fk Kitchen" 5p ::
(r: c PC 63) I p :: (r: c PC 63 J"Rm1ania's Strangest Killer" 6p J (r: CLliE V2#2J "The Shoct, Dmgerous Life Of Padcy
Smith'' Up :: (r. CLlE \'W) "QJ Sta~ For Murder" 4p ': ir: PJ V2#9) "Rover The R=!" lp :; 1r TAP 3) ~fbe Isle \Vhere
~Rule" 8p :. (r. c ABC V#l) lp ii tr CLLF. V2#3J "The Bank FCY Pll.cky Smith" !5p :: (r: CLUE V2#3) -~l<Mm
Foc Rana" gp::(r. CLlE \f'Jf.l) "The Cas<: OfTh: Sup.:rltitirus Sla;m" ~ :; (r. c. Gil 39) "Rct Camp fu' Criminals" !2p 1:
tr. FRAXK 7) "Justkt Finds ACop Killer" 7p ;; (r. c. HC 24) ~~Sew England's Chain Munlercr" 9p :: (r: HC 24)
''\1ur<h ()J A Wavelength" 7p :: (r: HC 24) "Grim P:!y-OffForThe Pinml! Moo" lp ·; (r: HC 24) "A J+,;mtiJrn Pulls The
Trigger" 8p :: (r: HC 24) "Yw C~n't Forget A Killer" 8p :: rr: HC 24) "The Cas< Of The Floating Corpse" 4p :;
(r: PJ V2# 10) "lockjaw The Alligator" 7p
V4 2001· {Jun !947 -Aug 1947): ~ne E~ll Soas OfM. LtBl1nc~ lp Kirby:Simon- a (note: from unpublished S'r!C 3) .·:
(r. ABC V4#5) "Link Thome, The Flying Fool" 8p .1: (r. PJ V2qll)'i..ockjawTheA!!igawr" ~ ;: ir: PJ V2#4) "Mother Of
Crime" 8p 1: (r: RCCS \'2114) "The Trnil Oflhe GUf}oL~·ing Killer" 8pi! (r. RCCS V2#4) "Come With Me And Die"~ !/
(r. TAP 4) "The Isle \!.'here Women Rule" 6p ; (panial r. RFC 9) "Backselll Driver" 2p :. (r. ABC V.\il6) "Dynamite" 8p ;;
(r. I!C 25) "The IJasquerade Of Eddie The !))~!" 7p t: lr. HC 251 "Deaili Takes AHmcymooo" 7p /! (r: HC' 25 J"P:!y Up Or
Die" 7p!t (r. HC 25) "TheCa...eOfThe Focgetful Killer" 4p i! (r. MIX' I) '·My Date With Swifty Cln;e" 14p o.~ (r: MOC I)
"Dizzy Dale" lp :: (r. PJ V2#12) "Lockjaw The Alligatoc" 5p tJ (r. PJ V2#12)''The My\tay CrOC!'Jer'' 6p 11(r. RCCS V2#5)
"Gang Doct«" 7p 1/ (r: RCCS V2#5) '11le Terrible 'Mtyos" 8p :! (r. RCCS V2/15) "Wyatt Earp's Bluff' 4p 1 (r. RCCS V2#5)
"The Dummies J.)iaj Screaming" !5p ti (r: ABC V4#7) "Yw Can't Beat Cupid" 8p ~, (r. BCC 7) "Death-Trap Deluxe" lp !:
(r: RCCS V2#6) "lrt Me l'la1 Yoor \11.11W" 7p :!(r. RCCS V2116) "Jaifu'eak" 4p :: (r. RCCS V21!6J "ili \fc The Gc«len Gm" 15p
VS 2005: (Sep !947 ··Oct !947); (3 Flying Fool stori<S ; final Lockjaw the Alligawr st(){)' 'H~adline Comics !\~r Dare Comics)
COMPLETE SKY MAmRS, THE

Pure !rrnginatim s,_.., Comic An Shifl'W.<e. Comics Rt:>w, Sl:,v .\!asters of rhe Spacf fi>rr:e liC ' SC lJiw newSjXljl(J cocnic strip reprints
VI 1999: Kirby.·'\\00:1 · c :; "King Of The Comic Strips" lOp (article leatures comic snips: K's Kmceptioos ,rAbdul Jones :t
Lore Rider il Our Puzzle Coma. il Llughs hom '!be Day'; Ntws if Polhica! Cartooo.' Yrur Health Ccm!s First 11
Diary Of !X. l~1ll1i i! Wlltoo OfJb: We&) .'1 Sky \I:N.nofthe ~ Ftm 1958 (2 samples) Kirlly/Srcil- a 1~ .tXT 21 /-'
~ Ml.!'ll!n oitlre ~ Fortt (dailies: Scp 8, 1958--Jan 1961) Kirby•\\OOd- a (Sep !958 · May 1959):
Kirby'i\yer.>-a (May 195Q.-Fch 1961 ) ti (Sundays: Feb 8. 195<f.. Feb 1961); Kirby!Wood- a{Fcb 195<f..-May 1959):
Kirby'Aym- a (\fay 1959 feb I%J ){oote: some Ro;alindKirby inb)
&c AOJK. Comi<~ Re;-ue, Comic An Si!Otn·a.<e. JKT 2. KU Sky .\fastm ofrhe SJX1ce RJn:e. TJKC 15)
VI 1999: rllC edition: same contems ·adds 16 additional pages ofunsold comic strip~. and "The Sky '.iasters Curse" (article)
COMPLETE SPORTS
\farrvis Publications (Time1y :Arias t \1 arvcl) Simon & Kirby pulp illusLrntion
\'2#6 .~ug 194{): ~ne R.th R.th Slugger'" lp Simon- a
V3#2 Apr 1941: Glllr(illusuation) lp Kirby- a
CONAN THE BARBARIAN

\larvcl Comin Grwp
Giant-Size 5 1975: Kirby-Sinnotl1Romita- c r'kce CBA J)
CRACKED
'.fajor \lagazmes Magazine format
14 Jun 1%0: "Old Ideas For :'l'ew l'llnel Shows~ 5p Kirby- a ipeno:il and inks on duoshad<: board)
CRASH COMICS
Tern Publishing Co. See Complcre Jad Kirb1; 1/ol\Y'I /ie One-Shor
1 \iay 19-W: rtThe Sobr LegioB~ 5p Kirby- a tsign<!d: "Jack Cuni>s")( R: UK l,l!OLOS :<)
2 lun 19.!0· ·ne Slllar ~ion" 5p Kifb:.- a {signt'd: ·'Jack Cuni~"I(R: UK I. HOLOS 9)
3 Jul 11.1~0·. ~nt Solar Legion" 5p Kirbv ·a (sign~d : "Jack Curtis>"l (R: CJK I, HOLOS l01
~- \
:
CRAZY /
'J .•;
\1ar•cl Comics Grwp .'i<•e .Vor Brand hhh - ,,.
2 :\pr 1973: (r: \:llE 6) "The Human Scorch Has To \ieet The Family" Sp
3 Jun 1973: rr: \BE iJ "The Origin Of The Fantastical Four'' 12p
CRAZY
\farvel Comic> Group See Ama:ing Spidt!r-.\I1JJ1. Journt'l· imo .\!rsrcrr \1agaLinc fom1at
65 Aug 1980· 1,1: Jl\1 51 ~>irh nC\1 p;rody scnp1) "The Creatures in The Volumo'' 5p (note: mis-numbcrcd as o;(-,6 on cover)
82 hn 19~2 · ( r: AS\·f Rwith nev. parody script) "Spid<:r-\1an Tackks '!be Torch" 6p
85 Apr 19S2: (r: Jl\1 ~ re~itled from "Surtur. The f ire Demon" with new parody script) "Sunur The Tenant'' 5p
21
JM 00331
JA1755
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10011 of 17
DINGBATS OF DANGER STREET, THE r&e fimlssue Sper:ialj
DOUBLE·DARE ADVENTURES
Jlan·cy Publications s~e Black Cat .'.fystic
I l:kc 1966: (B- \1311 ): (r: B0 160) '·The Ant Ex1111ct" 5p
DOUBLE LIFE OF PRIVATt STRONG, THE

Archie Publications ; R3dio Comics (edi!ed by Joe Simon)
See .UI'fn/UI-es nfrhe fk Archie's Super-lfrro Spt'(ial, Blw Rihbon Cvmics. f1y, l~vper-Cirusics. J('P Feattws. T.II.U.N.D.ER. AgerrL<
I Jun 1959-. Kirby· c(pJ (cova b(lrder only) l.'ief TJKC 49i '' lntro lp Kirby;Simon ·a (R: ASilS I, BRC V2115) 1i
•ne Doubk Life Of Prh-.te Stroug" 4p Kirby.'Simon · a ( R: AS II S I, BRC V2'15) _, "Sjml'll Of The X Wortd" 6p
Kirby•Simon. a (R: ASHS 1. BRC V2115) :: ~r~ HH!e-Out" (fir.<! app. ofThe Fly) 2p Kirby!Simon - a
(R: JCPF ! . TA l) -'; ~M~11ery OfTht Vuisbed Wreckagt" 6p KirbyrSimon- a (R: ASHS 1. BRC V2#5) 11
•The ~1eDIC1: OfTlu Micro-Met" Rp KirbyiSimon · a (R: ASHS 2, BRC V2#5)
2 Aug !959: KirtJy,Simon- c:1 "Tbe l.'llrt-Sotk Spies" 6p Kirby:Simon - a (R: ASHS l) (note: Final S&K an collaboratioo )
ESQUIRE
f_~uire. Inc. (Arnold Gingrich) Magazine format
394 Sep 1966: "A Pel"!!ll Has To Hne latell:igt~~te To Rud Them" (article Jnostn~tioDS) -lp Kirb(Simou- a
(nO(e: Romita Spider-Man adJed) (See Action Flasher Rings, TJKC I 2)
402 \fay !967: ~46 Hours And 36 \liauttS In Tht Life Of Jack Roby" 3p Kirby:Sione- a: Kirby (coloring) fSee TJKC 31)
ESSENTIAL (SERIES), THE

:\IarYeI Comics Group See original SOW'<'fJ fur details b!w square-bound SC format reprint~
VI 19%: (Spldtr-Ma1): Ama:ing Fanlasr 15. Ama:ing Spider-Man 1-10. Ama:ing Spider-Man Annual /: include.<; CQ\'ei"S)
Vl 1997: (Spidet-Man): Ama:ing Spider-Man 21-43. Ama:ing Spider-Man Annua/2.3: includes CO'Iers)
VI 2002: (Ant-:1-lu I Giut-}laa): Tales IIJ Astnnish 27. .15~ (Am-Man); Tales to .4ston~lh 49-69 (Giant-Man): includes CO'Iers)
VI 1<198: (A~ugers) : A~·engm 1-24; includes covers)
\12 date?: (Avtal:\'n): Avenger>25-45. Arengm Sper:ia/1 : includes cov~)
VI 2000: (C3ptlll1 AIMrica): Tales of Suspense 59-99 !i Captain Amen·ca J{J(}.f04: includes covers)
\12 date'' : (Captaiu Amtrle~): Captain Amen·ca 105-12~; includes covers)
VI 2002: (Daredevil): fJaredl'l'il 1-25: includes ccvers)
V2 date'': (Dartdevil): Daredel-il 26-lli. l)arede.;l Special I '~ Fantasric Four 73: includes covers)
VI J9QS: (Faotutk four): Hmrastic FQur 1-20. Fanras1ic Four AnttUall: includes cover.;: omits back-up fetttures)
V2 1999: (J.'antJHtic Four): Fantaslic Four J1-•m. Fama.Hic Fbur Annual 2 /.' Srrange TalesAnnua/ 2;
{indudes covers: omits back-Ujl features)
\13 2001: {Fantastk foar): Fanrrutic Four 4 /-~J. FamtlStic Four Annwl 3.4: !includes covm: omits back-up features)
V4 date' : (Faotastk four): Fanlastic /-i)Ur 63-83. FanttlStic Four Special5.6: includes CO\"m)
vs date'' : (fanwtic fllllr): Fantastic l-our J/4-110. Fantastic Four Special?.,~: includes 'overs)
V2 date·>: (Ghon Rider): Glws1Rider 11·5~ includes cov~)
VI 199S: (Holk): Incredible /lulk 1-6 :, Tales to Astonish 61).91: includes c<JVel"'}
(Holk): Tales to A.<lonish YJ-101 ·t lnmdihle Hulk IIJl- 11 7; includes covers)
VI 2003: (Humaa Tortb): Strange Tah>s/01-1.14 '/ Strange Tales -~ nnua/2 (new story): includes covers)
VI 2000: (Iron '\1n): Tales o{Suspt'nse JV-i1: includes Cll\'e!S)
(lllNl \!111): Tal~ o/ Suspens<7.!-'19 !f TalRs toAsUJnish 112 :.- lrt>fl .\fan and Sul>-Mariner I :1lmn .Han J. J(t , includes c~ers)
VI date'' : (!1\(11'11): .\'ow l -15 :i-Ama:ing Spider-.\ fan I 7I ,/Jfarwl Tw,~ltf-One AllltU(I! J: includes cover;)
VI 199S: (Slim SurfeT): Silver Swfer I-III ·' Fanwslic f'aur S,xcial5 {Sil\·cr Surfer); includes COI'm)
VI 2001: (Ther): Journey info '>fr wm• ii3-1 12: mcludes .:u;m)
V2 date': (Thor): Jnwner into .\fn·rery· IIJ-II5 !1 Thor 126-136 .Oourney into .\lv.<JfT'r Annual I:; Thor Special J; include$ covers)
\'3 dare ': (Thor): nwr f3:'. ffii: includes c(IIICI'S)
VI 1999: (X-\tenr. X-_\fen /-14; u1eltub C(),'CfS )
Vl date!: (X·M~): X-.\fm !5-5.1: indudes .:(rl·m)
ESSENTIAL SHOWCASE, THE

IX' Comics See Shwmw
\"1 1992: !.r: c. Sll6J"The Secret$ Ofn~e Sorcerer's Box" 24p. tr: c Sit ?J lp -
tr: c. Sll Ill -The tf•y Tile Eanh Blew Cp" ~Jp tr: c Sit 12) lp
mRNALS, THE
\iarvell'omk:s Group s~~ f:lmmls f>r Jock Kirh:: .lfo1WI Iisionori<'s: Jack Kirlry Kirby writing on i>SU<!S •1-19. Annual!
I Jul 1976: Kirby•Giacoia - c -"Day OfT~e GO<b" 17p Kirby•Verpoorten · 3 tR: ETJKl
"Will Tbe Gods Retun Somed1_v:' lp ow fea ture by Kirby) t.'i<>e Comic Reriller 12!. Radion 61
Z ,\ug 1976: Kirtw,Royer · c ~nt Cclestials" !7p Kirby.Verpoorkn ·a tR: ETJKJ
·'Gods, 'r1~·t~ \nd lHh" lp ll~xt l(:ature by KirbyJrSee TJKC 151
3 Sep 1 ~ 76: Kirby Vcrpo..1rten - c ~ne Otvil lo 'iew \ ork" I7p Kirby.Verpo<.vten -a tR : ETJKi
4 Oct 1976: Kirby Giacoia - c ~'ilght OfTbe Dtmons" J7p Kirby·Vcrpoonen · a 1.R: ETJKJ
5 'iov 1976- Kirby (]i<Knia . c "' I~mpla " lip Kirby. Royer· a tR: ETJKJ IS.·e TJKC !~1
6 Occ 19~6 : Kirb~ Giacoia · c ~G uds .\ nd 'ten ,\t City College" 11 p Kirby Rom - H R: H JKJ 2S
JM 00335
JA1756
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10012 of 17
4 Jan 1943: K~·;Simoo · c ;; "The Loeesome Wolf" IHOU:Sedate Harry) 12p Kirby.'Simon ·a ;:
"A RaiJry Day With Houwdatt Hany" (Hoo.~ llarryl Jp Kirby,Simon · a
MY GREATEST ADVENTURE
'\ational Periodical Publkations (OC Comksl .'itt' House &j.l1yStfi'Y. Pulp ficn..n Lihrary: .w_vsrt'l)' in Spare. Real Fact Comics
15 \lay 1957: "I Foaad ACity t.;aderThe Sea~ 8p Kirby - a (R: PFLMISI
16 Jul I957: "lllied A fimnnd Times" 8p Kirby · a(p)
17 Sq! 1957: ~IDoomedTheWorfd"~Kirby - a(R: IlOM 199J
18 Dec 1957: Kirby· c i: ~1 Tracked The ll:uclear Crettort~ 8p Kirby· 3
20 Apr 1958: •( W~ Blg G1mt Oo Septune~ 8p Kirby • a(p)
21 )..1ay 1958: ~Wt Were Doomr<l By The MtW-f'.atlng Mouste~ 8p Kirby · a
28 Feb 1959: ~Tht ~icroKopk \fen~et~ 8p Kirby · a
43 ~ay I%0: (r: RFC IJ"The Rocket Lanes OfTomorrow" 2p
MY LOVE
Marvel Comics Group See T~tn-Age R11man<l'
16 \!ar 1911: (r: TAR 86 with added material) "He Never Even :-<01icro Sp
14 Nov 1971 : (r: TAR 86 with addtd mah:rial) ":\ TM~-Ager Can Also I!ate" 7p
IS Jan 1972: (r: TAR 86 '.lith added mat.:riali "For The Love Of Ricky Wilsoo" 6p
27 Feb 1974: (r: TAR 86 with added material) "ForTh: Love Of Ricky Wilson" lip
28 May 1974: (r. TAR 86 with added material) "He ~ever hen Soticed" Sp
MY OWN ROMANCE
Atlas Comics (Marvel Comics Group) See Our L(ll'e Stof!·
71 Sep 1959: Kirby<Rl!lc · c
72 Nov 1959: Kirby - c(p)
73 Jan 1960: Kirby:Collcna • c :: " I Luned Aboat Love Tht Hard WI)'~ 6p Kirby{'ollctta · a
74 Mar 1960: ~H e Wu Perfect, Ball Lost Him" 5p Kirbyl('ol!etta ·a (R: OLS 12)
~:;' "·····,
75 \iay 1%0: Kirlly'Colletta · c .,,
76 lui 1960: Kirby!Collcna - c \
MYSTERY IN SPACE
National Periodical Publications (IX' Comics) See Real Fact Cnmirs
4 Oct 1957: (r: RFC l) 'The Rockc:t Lanes OfTomoooo·" 2p
MYSTERY MEN COMICS

Fox Features Syndi,ate See [ omplete Jack Kirby
10 'vlay 19-«J: "Wing Turner" Jp Kirby - a (signed: "Floyd Kelly"I (R: CJK I)
MYSTIC COMICS
Tunely Comics (Marvel Comic> Group)
7 Dec 1941: Kirby.Simon . c (The Destroyer)
NATIONAL DETEcnVE CASES

Postal Publications. loc. {Timely Arias · Marvel) Simon & Kirby magal ine illuwation (Josc:ph Simon, An Director)
VJ#1 Mar 1941 : "ERigma OfTite Genuine Forgery" I '3p Kirby· a {ink and ~~.~ sh) <i
~ \fy~tery Of The Bashful Bride-Butcher" lp Kilby· a (ink aod wash)
V1#2 Mar 1941 : Pmel Cartoan ("I'm Applying for The Job") Kiroy. a (ink and wash; signed) ISc< TJKC 34)
Vl#3 Jul 1'141: ~r111il Of The T•lkln11 Sh oes~ 2p Kirby · a' • The Riddle OfTbe Five Wooden '.fatches" Uip Kirlly- a
NEW GODS, THE

\ational Periooi<:al Poblicatic•ns ([X' Comics) S<'e .4Jn•nturr Comics. g,,!' Commandos. DC Graphic .\'on·/. Forerer !'fop/e.
Ja<k Kir/>y ·~ fiwrir W.Jrid Omnihu;, .lark Kirbr ·, .\·<"< (iods. .1/i/l.:nnium 1-.'Jiriqn . .\fi.1rer J1imde, R~Cal Fact ComiC<.
Supt'rman 's (,irljriend 1/•i.' /.an<'. Superi1WJ1 s Pol Jimmy Olst•n, SJJpa Pu-..m Kirby 11-Titing on is>ues • 1-11
I Feb 1971: Ki~. Giacoia - c rcolklger 'i)rion F'tgbb Por unb~ (I~ :tpp. < 'iThe '~:.:w Gods: Oion · Lightrny llighlinha )AL'II'<lltl
!Jp Kirby:Coilena- a 1R: JKFWO UK~G. ME I. '<G IJ ·'.-\ Visit With Jack Kirby" lp ranide) IR: MF. I)
rSee SPJO /J4. TJKC ~.!6j
2 Apr 1971: Kirby{'ollella -.: (mllage) "'()' Offill~ Oarkseid" 22p Kirby ( ollena ·a tftnt app. of \hntis DcSaad: Sec aLt/J FP .')
tR: JKf WOI , JK\G. \ G II :: "To And h orn The Source" lp (I!Ctider
3 Jun 197 1: Kirby.('olletta · c (collage) . ~Deari h Tbe Black Rlctr~ 23p Kitby•Colletta- a !R: JKFWOI. JK!\G. \ G 21
4 Aug 1971 : Kirby·Colkna . c · ~rbe O'R)u Gan~ And The Imp Sil~ 23p Kirby Colletta· a (R: JKFV.-'02. JKNG, NG 21 .
Li~htrny lp Kirby Collena . a tR : JKFW02J , tr: c. ADV 731-The Secret OfTh< Buv.ard's Re-.enge" lOp ·.
Kalibak lp Kirby Colktta ·a (R: JKFWOI). · tr: IK 12) ·Coast Guard R~cunnai 5sancc" 3p
5 Oct 1971: Kirb} Royer ·,;. "Spawn" 22p Kirby Royer · ~ (l'irst Kirby .;omic 11i th Royer mks: I colil!g~ page)
iR: JKtW02. JKSG. :\G 31 (r. FP 41 Self Portrait lp Kirby.('ollctta ·a tr: ADV 74) "Smt-ngcr Hunt" 'lp ·
~rastbak~ t.Young Gods ,,r Supenownl .jp Kirby.(olkua ·a (R: JKJW02. JK:-iGI
6 Dec 1971: Kirhy Colletta· c ·. "Tbt Glory Boat~ ~6p Kirby. Rover- atR: JKFW02. JK:-iG. \ G 3) ·,
(r ADV 7 5; "&'l>arc 01' \-1r. \leek- t)p ~~ RFC It "The Rode~ Ll l!e:' OfTnmormw" 2p 55
JM 00365
JA1757
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10013 of 17
SATAN'S SIX
Topps Comics (Kirllyvcrsc) Sf~ Ball! Nsf. Captain Gf(Jry. Jack Kirby's S;tn:l Cif} ~iJ. Jack Kirl:n• s Tmwgrnts. .Vigltt Glider
I Apr 1993: Kirby:McFarlane- c :! "Salas's Six~ Xp Kirby ~~~) Kirby - a(p) (inls Austin ' Ditko : \1il!er. Royer: Sinool!) II
~Jack Kirby'~ Sal!;) Sit~ 2p (spread) Kirby- aip) ' ' (with Kirbychrome trading card) i&f C/1_13, TJKC 3/j
SOENCE COMICS
Fox Features Syndicate See ( i;mplrte Jack Kirlr.
4 \lay 1940: "C~mk Ca~a~ Xp Kirby:Simon- a{ sign~ "\hchad Griffith") tR: CJK l )
SOENCE ACTION TIMES

Galileo Magazine, !nc. \1agazine fonna~ newspaper comic srrip reprints
Y1~ Feb 1980: Walt Disuy's Tre~~ry ~f Oa!!k T*s: Tht Black H61t 4p Kirby•Ri!fer- a
Yl#7 '\olar IWJ: Walt l>imt)'s Tre!l!ary of C!Jirnc Tt!H: Tilt Black Hole 4p Kirby'Royer- J
Yltnl Mrf 1980: W:tlt Oimty'1 Treasory of Oa~sic Ta~: Tbe Black Hille 3p Kirby. Royer· a
SECRET ORIGINS
\iatiO!llll Periodical Publications (OC Comics) See Showcase
1%1: lr: SH 6ipartial) "The Secrcts Of The Sorcerer~ Bo~" 6p
I 1998: (repliC<J edition); (r: SH 6 (panial) "The Secrets OfThe Sorcerer's Box'' 6p
SECRET ORIGINS
OC Comics
19 Oct 1987: Kirby/Anderson- c I Kirby p<'llcils Guardian figure ooly)
SECRET ORIGINS OF THE DC SUPER· HEROES

!lannooy Books (DC Corniest See Adven/ure Comics
VI 1976: (r. ADV 256) "The Green Arr~'s First Case" 7p
SENSATIONAL SPIDER-MAN, THE

\!mel Comics Group See Ama::ing Spider-Man
I Apr 1989: (r: ASM 8) "Spider-\olan Tackl~ The Torch" 6p
SCiT. FURY (and his Howling Commandos)

Manel Comics Group See A~~n~:ers. Jfarvell.imited: Fanrastic t--lrst.<, ,\farve/.\fa.lf~nwrh, .\farvel Tales AnnUlJI,
.Harvel fisionaries.· Jack Kir/>v, pedai.Han-el F.ditiotl, Srrange Tale.< , War i> Hell
!Kirby is primary co-plo«er by <irtue of the ·'Maml method": Story being pencilled tir>t ~ablishts >tory locations, now and pacing)
Kirby 'Ayers- c '! "Sgt. Fury Aad His He110·llng Comm11ndo~~ !first app. of Sgt. :-;ick Fury) 21p Kirby •Ayers ·a
(R: MAR\158. \1LF!'. MTA I (partial), SF 167) :: ~\lett The Howling CommandO!~ 2p KirhytAyers ·a
tR: \1AR\I 58. MLFE SFA I):, ~we.pon~ Of Warn lp Kirtlyu\ycrs- a IR: \fAR..\! 58)
2 lui 1963: Kirby:Aym- c ·' "Sevea Dll8med \len" 23p KirtJyiAym - a (R: \f:\R\1 5~. SF 95) •.:
"The Enemy That \lrH~ Jp Kirby•Ayro - a (R: \<!ARM 58);. "Weapon~ Of War" 1p Kirhy•Ayers- a (R: '.IAR\158)
3 Sep l%3: Kir~ Roussos - c ! "\1idnigbt On \famcre Monilia" 22p Kirby!Ayers- a (R: \fARM 5~. SME 5) '!
"Shopping List" lp Kirtry- alp) iR: :-.!ARM 58)
4 \uv 1%3: Kirby:Roussos- c ""Lord H•Ha'~ Lut La~gil" 22p Kltby:Rousws (Bell) {R: \!A~\1 58. SFA I).,
~we2pou Of War" lp Kirby · a(p) (R: MAR\! 58~·. Adnrfutment (A~enge~; J) 1p KirbytReinman- a
5 Jan 1964: Kirby. Roussos- c i ~At The Vlercy Of Baron Stn1cktr" 23p Kirby, Roussos !Bell)- a 1R: \1/\RM 58. SF/\ l) . ·
~weapon~ Of War" lp Kirby- alp) 1R: \:1/\R\158. SFS 5)
6 \far !964: Kirby:Roussos- c · · ~The fngs Of The lksert fm" 23p Kirby Roussos tBell )- a tR: \1AR~ 5~. \1 \'JK. SFS 5)
7 May 1964: Kirby.Roussos - c ·~The Court·\iutial Of Sgt. Fury~ 22p Kirby RollSSO> tlkll!- a tR: :-.IAR~158, SFS 5)
8 Jul 1964: Kirb{Aycrs • c 1R: \1AR'.f 58)
10 Sqll%4: Kirby Ayer~ · c (R: \1AR~f )8I
II Oct 1%4: Kirby. Stone- c !R: \fAR'.! 58)
12 ~ov :964: Kirhy Stone - c
13 Dec 1%1: Kirby SlOilC - c . "Captiin Amtrica And Ruck~" 2Jp Kirby .-\ycrs- a II Ct>l!age p:mci}(R: \1YJK 2. SME 1I) !SfdP,
14 Jan 1965: Kirby Colleua- c
15 Feb 1465: Kirby ,\yers - c
16 \lar l%5: Kirby Stone - c
17 Apr 1965: Kirby ColletLJ - '
18 \fay 1965: Kirby StLm~ - c ·. ~JUUl'dln Action" lp 1splash) Kirby StO!l<!- a: lp tlast page) Kirby ;\vet> Stooe-; tR: SFS 6, WlH ~ ~
19 Jun 1%5: Kirby.•Swnc - c t R: SF 121 J
20 .lull%5: Kirby Gix oia- c iR: SF I22)
25 !Xc 1%5: Kirby· dp! tR: S~ S5,127l
85 \lar 1971: tr: c SF 25 )
95 Feb 1972: tr: SF 2! "Seven Doo:l!llcd ~L'fl., 2..\p
121 Scp 1974: tr: c SF 19)
122 Oc't I 97~: ir: c SF ~0 wilh ad<led material)
127 Jul 1975: tr: c SF 25)
167 Dc'l: JQXJ: t, r:c. SF 1)"Sgl. Fury .\nd 1Ji;Howlinglomm•ndos"21 p 61
JM 00371
JA1758
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10014 of 17
31 Oct 1974: [r: ST 79} "The LivingS~" ?p

32 \o·c 1974: [r. SW l) ·1 DiS<:Q\oered The Secret Of The Hying Saocers" 7p
34 ~ar 1975: (r: TOS 3Z) "The 'Aan In Tk Be.:hive" 'p
35 May 1975: (r: c. ST 74) 'Gurgolla. The Living Garg{)l'le" Jp
36 Jul 1975: lr: ST 96) 11le lmpo;<sible TUll11el" 6p
38 Oct 1()75· l.r: ST 98) "\o Human Can !kat \le' 7p
WHERE MONSTERS DWELL

\1arvel \l()illters Groop .'Xe Tales to A;mnis!t
I Dec 2005: (r. TIA 10} "I Was Trapped ByTitaoo, The MoruterThat Time Forgot" 7p
WHO'S WHO: THE DERNmVE DIRECTORY OF THE DC UNIVERSE

OC CooU:s .1<-e Aih'f111tn: Comics, &y ( 'umman:Jas, Challengtrs oftht L'nhlo-.<n. funott furoiw COI!'.U:Y, ~ Ftopk. .lad< KirlJj• s £Oath
WurldOmtri~·. KmMtrii. Wi(lfr lfirode. .Ve.,.•C~<xis. OMAC Sniman, Sw .~ Comk.<.~:f ftdJimmyO/sen, World\ finest Comics
2 Apr 1985: "Betu.tlfal Dmmtr" lp Kirby:Theak1t011- a .; ~su Soter" lp Kirbyrrheakswn- a 1:
"Big Bania" Ip Kirby/Theakston- a:: "Big Bear" Ip KirbyfTheal:.slon- a
3 \lay 1985: ~BLick IW:u" lp Kirbytlneakston- a 11 "Th Boy Command~" lp Kirby:TheakSloo- a
4 Jun 1985: "Ch1llt&gen Oflht t:ukllown" lp Klrlr(Kesel- a
5 Jul 1985: "Cruy Q~ilt" I p Kirbytlhc:akston - a
6 Aug 1985: ~Oark!eid" lp KirbyiTheakston- a '1 "The Oetp Sll" lp Kirby!Theakston- a:: ~Th Demon" lp Ki!by 1Austin- a::
"'DeSnd" Ip Kirby:Tlleak>ton- a:; "Do«or BedLam" lp KirbyiMachlan- a
8 Oct 1985: •female Furies" lp Kirby!Theak>ton- a;/ "FOOtgtr" lp Kirby·TheakSlon- a /1
"The Fort"'er l'tilpk" lp KirbyiWray- a :1 ~Funky Allshman" lp Kirby:Wrny- a
9 \lov 1985: "Gioritlus Godfrey~ lp Kirby:Bob Smith- a:: "Gru~y Goodlle$5" 1p Kirby1Theakston- a.'/
~The Gu1nlbn" lp KirbyiTheakSlon · a
10 Dec 1985: "Higbfathtr" lp Kir\:rym~eahton- a
II Jan 1986: htllfinity '11an" lp KirbyTheakston- a
12 Feb 19i\6: "Kalibak" Ip KirbyiThe<lkstoo -a .'i "Kamandl" Ip Kirby/Theakslon- a
13 \lar 1936: "Ligktny" I p Kirby:Thcakswn- a
14 Apr 1986: ".'11anm" Ip Kirby!Theakston- a!· ""'ark .\{ooarider" Ip KirbyTheakston - a
15 \.lay 1986: "Metroo" Ip Kirby:Theakstoo- at: ~'11ister '11!radt" lp Kirby!Gi<lnlaoo- a
16 Jun 1986: "\!other Box" Jp Kirby,'Royer- a , 1 ~~ffl Ge&ni!i" lp Kirby:Theaksloo- a ;i "The New G001" 2p Kir17t-'l'hcl:.\lon. a::
"The \~y Legin" lp Kirby: Kesel - a
11 Jul l986: "0'11AC (One \tan Army Corp!.)" lp Kirby Theakston- a ' "'rion" Ip Kirbyt Theakston- a
18 Aug 1986: "'Tbe Punotr" Ip Kirby. Theakston - a
20 (kt I986: "The Sall!imali" lp Kirby:Sirmott- a .~. "Sandy, T1te Golden Boy" lp Kirby·'llleliston- a ;, "'Serifan" lp Kirl:rj·'\1arrm- a
12 Dec 1986: ~teppenwolr' lp Kirby!AuSlin- a
25 Mar 1987: ~Vin111n Vundabar" Ip Kirby/Rude- a :1 "\'yki~ Tile BllKk" Ip Kirby: Kesel - a i.' ''Wltcbboy" Ip Kirby(Theakston- a
WIN A PRIZE COMICS

Charlton Comics
I Feb 1955: Kirby~ c(p) 1 lntro lp KirlySimon- a < ; "The Embs.ry" 6p Kirby.·Simon- a /• Pin-up Ip Kirby Simon- a . I
"That Giveaway Guy• 3p Kirby;Simon- a
2 .\pr 1955: Kirby'Shoon- c '.·(Rtro lp lone ligure) Kirbv- a(p) •: "SirC1shb)· Of 'rfoneY'ult" 4p Kirby- a(p)
WITCHES' WESTERN TALES

Harn·y Publications See Boys' Ram-It, Hrrxr-Ocmics Continued as Hemrn Tales
2~ Feb 1955: (r: c. BR 4 (interior art).·.· (r: BR 4) Intra lp ·: lr: llR 4) "The Bugle Bkm' At Bloody Knife" 4p :.·
fr: BR 41 (crllerfold 2p i (r: BR 41 "right To The ~ini>h- lp (splash)
30 Apr 1955: lr: c. BR 5 (splash I·: (r: BR 5) Intra lp ' (r: BR 5) "Last !\tlail To Red rorl:." lp (splash) 1'
(r: BR 5) "The Rider.< Of The Pony Express- 2p .: (r: BR 5) "Bandit'. Bullets i\nd Wild. Wild Women" lp (splash)
WITCHING HOUR, THE

SatiooJl Penodical Public"tions (DC Comics) See Tales u(rhe L~~tprocd
18 lXc 1971: !r: TL: 13) " Th~ Face Behind The \1ask" 6p
WIZARD ACE EDmON

Wizard . \larvel Comics Group
nn 21~12: lr: c. ~F .fli) "The Coming Oil jalactus" 20p I note: replica editioo fearures n'""' C(J\'a. additional features)
no 21WJ3: 1r. c.:\\' ·fl "Cnptain America Joins The A'engm'' 23p tnote: replica edition btur~ n.;'l\' CO\Ct, additionalli:atures)
WORLD AROUND US, THE

G i l ~on Publication>ICI31SICS lii!Lilra!ed) .We Children:,, Dfgt'.<l, C/us;ics lilu>tra!ed Spetia/ l ssth', Hvrld 11/n' II'O!d
30 Feb 1961: (l·~ i\dvmnm: HR\ 1591; ~r~A!hentnre~~ lp Kift1.;:,\ycrs - a "The Ouer' (7 tc~l iliUSUlltit'ffit5p Kirbv- a
"Bin~ Skies" lp Kirby ,\vers, a
31 \lar 1%1: !Hunting: !JR.\ 161 ); "Huntin~" lp Kirby .\ycrs- a ~Eart~ Hnntm~ 6p Kirby Aycrs- a
~.\n End To Slaughter~ 5p Kirby :\ycrs - a IR: Children~· /)fJ:t'>'t \' 12P 11 6)
32 Apr I96 1· 1For Gold and Glory: II R\; 161 ): "Tht \fay~~· 2p Kirby Ayers - a ~omens Of E>iF 5p Kirby Ayers - a
80 ·~rt Tre115un:: Plrt 2- tnraffitillj1 The \lystery" ~p Kirtr;- alpl ~A Balancin2 \ct" lr Kirbv - a< pi
JM 00390
JA1759
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10015 of 17
35 Aug 1%1: !Spies}; ~Sky Spks~ 2p KirbyiAyers - a ii "Tht Businm OfSp}in~" lp KirbytAyffi- a::
~Trkks Of The Trade" 2p Kirby/Ayers- a
36 Oct. l%!: (Fight for Life); "QaatksAnd Qucktry" Jp KirbyiAyers - a i' ~ne Brandle. Of~edlci~" 2p Kirby!Aym. - a :1
"The hre S~bsra~teft 3p Kirby, Ayers- a'' ~ne War On ln~«ts" 3p K[r!JytAyer>- a :1
~ne Chal~~ OfSptct" 2p KirbyiAyers - a
WORLD ILlUSTRATED
Thorpe & Porter, Lui (UU See Classics lllustrated Special ftsue. Wvrld Around Us
SIS l%1: (The Sea: Wo..UUmUIId Ur 37: unpublish.:d in C.S.); "The Loae Voysgtr" 7p Kir\Jy:Aym- a ::
~Pathv.-ays Of The Sta" 3p KirbyiAym- a
WORLD OF FANTASY
Atlas Comics (\larvel Comics Group) S<'e Strange Tale~ Annual, Tvmb vfDarkness
15 Dec 1958: Kirby:Rule- c
16 Feb 1959: ~i'riM~a 2000 A.D." 5p KirbytRule- aIR: STA 2)
17 Apr 1959: Kirby:Ruk- c (Guanlian Stars)
18 Jun 1959: Kirby: Rule - c[Xom) /'"To Build A Robet" 4p KirlrpRule- a (R: TOO I I J
19 :\ug 1959: Kirby:·Ruk - c (Gargoyle from the Fifth Galaxy)
WORLD'S RNEST COMICS

'iational Periodicai PW.l!ications ([X' COOlies) S<v Adi'<'I111W Comic~. Bo_r Gmunandos. IX' Spf!tial Bl11e IGMon Digest. IX' Sperial Series.
Dete'Clil'e Comics, Flash rod. Glt?en Arro11 by Jack Kir&y, Jfous< of Seems, Wicr"O<·o/our, Sandman. SJw.<m-;e PresenJs Green Ari'O\<; Jfunted
6 Sum 1942: "ThAdvmtutOfTbe ~agk f&mt~ (Sandman) lOp K!rbyiSimon- a (R: \!C. Want.:d 9)
7 Fall 1'142: ~A .'<fodem Arabian :'iig~tmrt~ (Sandman) lOp Kirby, Simon - a (R: ~C)
8 Win !942: ~rite Luck Of The Upj>am" !J3oy Commandos) 13p Kirby/Simon - a (R: FB 38. ~CJ
9 Spf 1943: ~BattIt Of The Big Top~ (Boy Commandos) 13p Kirby•Simon- a (R: \1()
10 Sum 1'143: ~M~To M•rmusk" (Boy Commandos) llp Kirby.•Simon- a lR : M()
II Fall 1943: '"Sand D~a~ Of ~ti" (Boy Commandos) l2p KirbyiSimon- a (R: \1()
12 Win 1943: "Geldn VIctory" (Boy Commandos} t2p Kirby1Sirnon- a (R: \1()
13 Spr 1944: "A Wreath For Sir Edgar OfWimpltdownt" (Boy Commandos) I Jp Kirby- a( I) (R: M()
15 Fall1944: ~Iss \'e 'iot Der Supermen?" (Boy COIJUllJildos) 12p Kirby1Simoo- a (R: \lC)
21 \1ar 1946: "Brooklyn And Col~mbu! Oisrover Amtrka" (B<:rj' Commandos) 12p Kirby, Simon- a (R: \I C)
22 ~lay !946: "Boy CommandM 5,000,000 B.C." (Boy Commandos) 12p Kirby:Simon ·a (R: MC}
32 Jan 1948: ~KilltrWitb The Goldtn Vokt" (BO)' Commando;) 13p Kirby- afi)
38 Jan 1949: "Rip Carter, Fugith-e From AChin Gsag" !Boy Commandos) 12p Kirby- a(!)
'!6 Sep 1958: "l'ln CllleS To Oaager"' (Green Arrow) 6p K1rby- a 1R: GAJK, Si'G:\)
'Y1 Od 1958: '-Tbe \!enact Of The :-.fKhaaklll Octop~n~ (Green Arrow) 5 li2p Kirby- a (R: DCSS 23, GAJK. SPGAj
98 Dec 1958: ~ne tomuktd Arcbm" (Green Arrow) 5 li2p Kirby - a(p){R: fX SBRD 23. GAJK, SPGA. WFC 197)
99 Feb 1959: "Crimet t~dtr Glus" (Green Arrow) 5 l.'2p Kirby · a (R: G:\JK. SPGAJ
167 Jun 1967: tr. HOS 3) "The Three Prophecies" 6p
187 S.:pl%9: (r. ADV 256) "The Gw:n Arrow'sFirst Case" 7p
197 Oct 1970: (r. WFC 98) ·'The L:nrnaskoo Arch«s" 5 l·2p
226 ~0'>- !974: !r: ttDV 87) "I !latooThe Sandman" lOp
WOW COMICS
Fawcett Publications See Cumpletda£-k Kirh_r
aD (#I) Spr 1941: ~:\1r. Sclrlet" 7p Kirby:Simon- a (R: CJK 2)
WYATT EARP .' -~

,\tlas Comics (\larvel Comic:; Group)
22 Apr 1959 Kimy Rule - c
,_
' ~ :~ ; \~
14 ,\ug 1959: Kirby Rule· c

25 Oct 1959· Kirby Ayers · c (R: WE 33 )
26 !)« 1959- Kirby Rule - c
2'1 Jun 1960· Kirby Aym · c
33 ,\pr 1973: 1.r. c WE~ 11 nh added rnattrial)
X-MEN, THE
~!arvel Comics Group See Ama:ing .ld~·t>nrum, Avengers, Brin?. Back rhe Bad Gu_rs. Et>emM X-Men. Famaslic /-'our.
Ku-l.nr. _\fa~;nero ,{\'CCndanl, Jlarrd ColleuiM<' Classics: X-llt'n, lfarvd Umi/eJ: f'antaslic nr.ils. .\farw/ Jfa.nerlmrl:.<.
lfarrel _\li/eJ/one l'dilinn. _lfan't!l Super-!Innes. Harrel Toles AnmlliL ~fw.htv .\Jam/ Tt'am-l'p 71trill<11, Jlww/l i'iullllri~s: .i<Jcl: Kir/rr.
/i)Q Grral<'>l .\farw/s •![ .J/1 lim<'. Son o['Origirn nf .\/Jn-<'1 Comi"'· .\'-.\fen: Thr: l:'urlr )ran. X-.\len .llas renrc~rk5
1Kirby is primary co-p loner b: \!rruc of tile "\tarvd method": ,tory bemg peocilled fi~~>t ~stablisll<-~ story locations, now Jnd j)JCingJ
I S<.:p !%3: Kirbv Brod s~;.· · ' ~x-'oten" IIIN app. ,lfThe X-\kn \1agn<roJ 23p Kirt; Reinman. a
iR AA 1.1. F,X~1 I. ~t-\R\1 J. \1CCX. \iLFF. \1\1E. \1TA 2, 500, X\!EY I . X\1'v1W)
2 \lov 1%3: KirbtRdnman- c ""io One Can Stop The \'anisber~ 12p Kirby Reinman- a
iR : AA H ~XM I. MAR\13. \1CCX. ~1S!l21 . XMEY 2, XM~WJ
3 Jan 1964: K~· flroi4.-y · c . ~rt. The Blob" 2-lp Klrbv Reilm!ll- a 1R: AA 5.6. EX\1, \1AR\1 3. \ISH 22, X\1EY 3. X\1\1\\-) 81
JM 00391
JA1760
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10016 of 17
16 (Vl#l6) ().:;; 195(1: (m~bl:ro:t as V4J14) Kirby- «PJ 1: ~The Rl'fo~r" 8p Kittrt- il£p) 1! ~Problem Clinic~ 2p Kirby- a(p) ;:
~n e Girl! Left ~hflld~ lp (splrtih) Kirby- a(pl
17 (\2#11) Jan 195 1: Kirby- ' lP I': "The Quiet On" 5p Kirby - alp) :; ~wm You Help ~e?" Jp Kirby - alp)
IS {Vl#ll) Feb 195 1: Kirby- dpl :1 "l'I"'bbtm C1i1k" 2p Kirby - alp) ;' kwm You Help Me?" 3p Kirby- a(p)
I~ (V3#1J Mar 1951 : Kirby;Simon - c '' "Will Yeu Help ~t;"' 3p Kirtry - a(pJ
26(V3#2) Apr 195 1: Kirby"iimon - c 11 "Problem Clink" 3p Kimy- alp) ,., "'11y Old fume" 5 L 2p KirbyiSimon - a
21 (V3#3) \lay 195!: Kirby:SimO!J- c .:; "AUWerkAud :'io Levt" l lp Kirily - a(p)
l2 {V3#4) Jun !951 : Kirby;Simon- c 1; "Wffi You Help Me?" .\p Kirby - a(p)
23 (\'3#5)Jul 1951: ~rrobltm Cl!aic" 2p Kirby - a(p)
25 (V3#7) Sep 195 1: "'ff Limits To l.O\'e" 1Op Kirby - a( p)
30 (VJ#\2) Feb 1952 ·Problem Clink" 2 1!2p Kilty - Clip)
31 (V4#1) \lar 1952: ~Be '11y ValtDtiae" 6p Kirby - a(pl
36 (V4#6) Aug 195 2: ~Tw~Factd Woman" Sp Kirby - a(pJ
37 (V4#1) Sep [952: "\fr. KnlfW-It-AU FaU1I1 LO\'t" 8p Kirby- a(p)
39 (V4119) \tN 195 2: "Will Yoa Hdp .\fe?" 3p Kirby:SilllQn - a /:' ..My Feu Of "'ten~ 7p KirbyiSimoo - a
.w (V4#10) Del: 1952: "FaJitA Idol" 9p Kirby 1Simoo - a
41 (V4#11) Jan 1953: ~Forgtt :'ofe, Frsnkin" 8p Kirby:Sinwn ': "Probkm Olnic" 2p Kirby Simon- a
42 (V4#J2) Feb 1953: "The Oumder" 7 1'2p Kirby!Simon- a
43 (YS#I) Mar 1953: ~ree~·Aged WldtM" 12p Kirby- alp) !: "l'robltm CUnk" 2 J;2p Kirby- a{p)
44 (V5#2) Apr 1953: " UDSJ!6keD For" 9p KirllylSimon- a;, ~nee A Champion" 8p K i~ISimon - a
45 (VS#J) May 1953: "Mm Littlt C!pid" 2 11p Kilty- a(p) li ~Stab I~ The B.tck" 8p Kirby- a(p)
46 (V5#4) Jun 1953: "A1bamed To Face Him" 6p Kirby- a(pJ ' ·' "'ut Of Tilt Blnt" 5p Kirby . a(p)
47 tV 5#5) Jull95l ·Too Late To Tell Him" 6p Kirby- a(p) ! "Ftrewdl Sere" 4p Kirby - :l(p) :; "'ut All Ho~m" 7p KirtY,· - a(pJ
411 (V5#6) Aug 1953: "Dou't Walt For Me" 5 l!2p Kirby- a(p) II "The MaiT}ing Kind" 3 l!2p Kirby- a(p) i'
"Cold Sbot~lder For 11t11" Jp Kirby - a(p) " "Problem Ctiaic" 1 !.'2p Kirby - a(p)
49 (\15#7) Sep 1953: ~Riff-Raff"' 8p Kirby - a(p)
~(V5#8) Oct 1953: "WrddiDg Presta!" 6p Kirby- a(p) :i ·~orma, Q~eea Of The Hot [)og-!" 4p Kirby - a(p)
51 (V5#9) Nov 1953: "To Marry For Money" 6p Kirby - a(p)
55(\'6#1) \!ar 1954: "Th Baby Dol~" 7p Kirby- a(p)
69 (V7#3) Feb 1956: Kirby- c(p) '/ "How'! The Family?" 7p Kirby- a(p) 11 "The Lady ill The Jagaar" 6p Kirby - alp),;
"Secrets Of The Gim ~nt Door" 6p Kirby- a(pJ
70 (V7#4) Apr 1956: Kirby - c(p) !! ..Too utt For Leve~ 6p Kirby - a 11 ~Blg lns!ppoiatment" 8p Kirby. a !/
~A Week Ia Frnco" 5p Kirtry- a !I ~LO>"ety Little Copytat~ 6p Kirb}- a
71 (V7#5) Jun 1956: Kirby- c(p) 1:' ~Ea~y Way Out~ 6p Kirby -a
12 (V7#6) Oct 1956: Kirby- C(p) ,, "And My Heart Came Tumbliag Down" 7p Kirby- alp) ;: "l(IVe AndW~r" 6p Kiroy - aip) 'i
"Cinderella Story" 6p Kirby- a(p) I' ~1 Dream OJ Junnie" 6p Kirby- a(p l
73 (V7#7) Dec 1956 Kirby- d p) ;: ~rorrb Song" 7p Kirby- alp) ' kBu!t·ap" 6p Kirby- a(p)
YOUNG ROMANCE COMICS

Prize : Headline tFeaUJrc PublicalionsJ See Ja<k Kirh,v Reader. lfillenniwtl Edili•>n. Real U!W
I Sep 1947: KirlJy,Snnon- c ' "1'"\!s:\ Pkk-Vp" 13p Ki/cy•$irnon- a (R: :-.1E II ;, "M~ H~rt,. 7p Kirl1t!Simon- a (R: ME I ) ':
"Y9an~ Hurts SlngA Summer Slfug" 8p Kirby:Simoo- a (R: ME I)
2 'i(l'ol 1947: Kimy - c(p) ; "Boy Crazy" 14p Kirby Simon- a fR: JKR 2) ; "Her Tn~gic L~·e" Sp Kirby. Simon - a
3 Jan 1<14S: Kirby 'Simon - c · ·~brrlage Contract" IJp Kirby:Simoo- a ,; "Her~ Frind'~ s~eetllearC 8p Kirby6imon - a !!
"\fan-Hater" 7p Kirby·Simon - a
4 \1ar 1948: Kilty Simon - c ,: "Blind Date" lip KimtSimon ·a :: "fraaleln Sweethurt" 9p Kirby. Simon- a
5 'vlay 1948: Kimy Silnon - c ·; "I Fellin Lon Witb My Stu Pupil" IJp Kimy'SimM- a , "SSlamt" 7p Kirby Simon-alI ):'
"Juiou!y" lp (splash) Kirby Simon- a : "Cold Oigger" 9p Kirb)"Simon -a
6 Ju l 1948: Kimy.SilllQn - c.:. "DiS2ts«" l~p Kirby Simon - a
7 (\'2#1) Sep 194R: K1rby Simon - c: ~war Bride" 13p Kirby Simoo - a "I Stole For Love" 8p Kirby Simon - a
8 (\'2#2) 'i<11' 1948: Kirby Simon -.; ~ [-0>\' Or Pity~ 14p Kirby Sirnoo- J · ~My Big Sister·~ Beau" lp <spla.'oh) Kirby - alp).
·Lon Can Strik~ So Sadd ealy~ 9p Kirbv·Simon- a
9 (V1#3) Jan 1949 Kirby Simon - c ~wa1 L~~te To ~ '.fy S..criflct'!~ l5p Klrby Simm -a tR: RL )
10 (\2#4) \1ar 1949: Kirby Simon- c -'.fama's ~ · IJp Kir\Jy.Simon - a tR: JKR 2. RLJ "lnwntrd~ ?p Kirby Simon - a
I J (V2#5) \iay I949: Kirby·Simoo- c "The TiM·nAndToni ~MOB~ 15p Kirby Simon ~ a
12 (Y2114i) Jul 1949: Kirby Simon - c •[fYou Want '.fe" llp K irh~"S iroon- a
13 (\'3#1) Sep 1949 "S1ilor's Girl" 14p Kirby Simon - a
14 (\'3#2) Cki 1949 "Runaway Bride" l2p Kirb~- a dt JKR I)
IS (\'3#3) Nov 1949: "Back Door Low" l.fp Kirby - a I R: JKR I , RL)
16 (\'3#4) Dec 1949: "Dancr Hall Pick-lp~ li p Kirby Simon- a "The Girl! Left ~hind" 7 p Kirby - a(p)
17 (\'3#5) Jan 1950: ..Tbe Girl Who Tempted !\le~ 15p Kirby - a tR: JKR L RL)
18 (\ 3#6) Feb 1950: •Just \o Good" 1-+p Kirby Simoo - a "flight From Lon" (text illustrati<Jns) Kirby Simon - a
19 (\'3#7) \1ar 1950: "That Kiud Of Girl~ 13p K1rby. Simon- a
10 (\J#tl) \ pr 1950: ·Hands Off lucy" 14p Kirby. Simon . a
21 (\'3#9) \lay 1950: "I Want Your :\I a n~ 14p Kirby. Simon- a
22 (V3#10) Jun 1950: "He S!~'l~ In '.fe" 14p KirbyS imon - a
l' (\'3#11) Jul 1950: ·(;ug Swedltrart" l ~p Kirby Simon- a tR: RL) : kProblem CH~k" 2p Kirb;-·Simon - a
84 24 (\J#I2) ..\ug 1050: "Buy '1eThat 'In~ 14p Kirby. Simon- a
JM 00394
JA1761
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
Document 509518,
03/25/11 of 10017 of 17
2S (V4#1) Scp 1950: ~Tht Oaly ~ID Wko Could Thnll Mr" 12p Kirby!Simon- a •: ~Will You Help M e?~ Jp Kirby· alp)
26 (V4#2) Oct 1950: Kirby - c(p) ;: ~vour Mooey Or Year Love~ 12p Kirby•Simon- a
27 (V4113) ~ 1950: Kirby- c(p};, ":'lo ~aa Would Hrve Me" 12p Kirby- ii!P)
Z8 (V4It-IJ Dec 1950: ~Hot Rod Crowd" lp (splash} Kirby · a(r ): ·.'p Kirby · all)" '"WIU You Help ~e?" 2p Kirby · a(p) 1f
"Problem Cllaic" !p Kirby - s{p)
29 (V4#S) Jan 1951: "Yoa'rt :'<ot Tile Flrst" lOp Kirby!Sirnon- a:: '"Will You Help .,1e?~ Jp Kirby- a(p) ;I
"Problem Oiak" 2p Kirby · a(p)
30 (\"4#6) Fcl> 1951: "Dlffereot" 14p Kirby1Sim® - a tR: RLl
31 (\'4#7) \iar 1951 "'ne WI)' To Hold Him" 12p KirbytSimon. a (R: RL)
32 (Y4#8) Apr 1951: '"S<»dkr's Girl" 12p KirbyiSimon . a :f ~wm You Help Me~~ Jp Kirby - ~p l
33(V4#9) 'v!ayl951: Kirby. c(p) ii "What's In It For ~e?" lOp KirbytSimon- a
34 (V4#10) Jun 195 1 Kirby· c(p) it "Old F'.sbiollfll Girl" 12p Kirby.<Simon · a
35 (V4#11) Ju l 1951: ~Temptations Of A Car Hop" 12p Kilty:Simon • a
36 (V4#12) Aug 195!: ~love At Stske" 3p KirbyiSimon · a
37 (VS#I) Sep 1951: "I'll :'(e\'« S..t You Frw" lOp Kirby.Simoo- a :' "These Foolnb Things" 5 1:2p Kirby1Simon . a
38(VS#2) Oct 195 1: •family Troable" lOp Kirby!Simon · a
39 (VS#3) ~ov 195 I: "Too SMet To Be T111e" 9 i!2p Kirby - atp)
46 (VS#4) Dec 1951: "~obody Owu ~e" I Op KirbyiSimon · a
41 (VS#S) Jan 1952: "D~ngerou Companlo•" II 112p Kirby;Simon · a
42 (VS#6) Feb 1952: "~lracle For Nncy" 9 112p K.irby:Simon- a
43 (VS#7) 'vlar 1952: ·Fool Ia U!ve" 9 1!2p KirbyiSimon · a
44 (V5118} Apr 1952: "Forget ~e ~ot" Sp KirbyiSimon - a
-IS (VS#9} 'vlay 1952: "Tht Tblngs I Didn't KMw ..\boat Him" 9 t:2p KirbyiSiroon . a
-'6 (VS#I6) Jun 1952: "We Oaly Hln-t Today" 8p Kirby1Simon- a
47 (VS#Il) lui 1952: "A Mn For 'r1y Blrtiday" 8p Kirby:Draut - a.': "Drop Tile Handktrcbler 6p Kirby:Simon . a
52 (\'6#4) De.: 1952: "Soldier On Tilt TralD" llp Kirby:Draut · a
53 (\'6#5) Jan 1953: "Tile Girt In My Corner~ lOp Kirby;Simon · a
54 (V611(;) reb 1953: "Doubk Weddlag" 9p KirbytSiroon ·a
55 (V6#7) Mar 1953: "Problem Clinic" l 112p Kirby- a(p)
S6 (V6118) Apr 1953: "'n Your Hogor~ 9p Kirby, Simon· a
57 (V 6#9) \lay 1953 "Tile lilldmlOI!" 8p KirbyiRoussos - a (R: RL) It "Problem Cll1ic" I li2p Kirty- a(p) 11
.,
·. ~· .....
1., ,1·
"l'feping Tom" 6p Kirby · a(p)
······ .1.
S8 (V6#10) Jun 1953: "Too l11ocent To iffioe" II l/2p Kirby/Simon . a ... '• _,., '
59 (V6#1l) Jul 1953: "8oi1"0W A Boy Friend" 2 l12p Kirby · a<p) :i "A Family Affair" 9p Kirby · a(p)
. , )t:rl_o;;;;.::t.~.. ,
6(J (V6#12) Aug 1953: "So Charm lag, Se False" 6p Kirby · 31 p) ' . ,/·:··'
61 (V7#1) Scp 1953: "Let S~lng love Lif" Sp Kirby· alp) !1 "A Vel'}' lmportut Uwe" 4p Kirby . a(pl
62 (V7#2} Oct 1953: "The !\ly!itery Blonde Of lover's Line" 6p Kirby - a(pJ
63 !V7#3) :-Jov 1953: ~A Matter Of Pride" Sp Kirby/Simon · a
64 (V7114l Dec I953: "Beautiful frieod.!•ip" 6p Kirby· alp) 1i "The Hflrttreaktr" 6p Kirby . a(p)
65 (V7#S) );!J1 1954: '"The WronR Mr. Ri2ht" 7p Kirby · a(p)
66 (V71if.) Fcl> 1954: "ThOR We love" 6p Kirby:Simon · a
\ \.
67 (V7#7) \lar 1954: ~ate Tril:k" 6p Kirby · atp)
79 (V8#7) 0::1 1955: "Problem Clinic" 2p Kirby • a{p)
80 (V8#11) Dec 1955: Kirby· C(p) 1." "Pmooa.l M~ To Rlfth" 6p Kirby- a(p) i: "The Glagerl>read HOII!f" 6p Kirby· a(p) !I
"Old Enoogb To ~my" 5p Kirby - a(p) f.' "Lovesick" Sp Kirby · a(p)
81 (V9#3 ) Feb 1956: Kirby - c(p) ·1~The lady Asd TileT111ck Driver" 7p Kirby · a(pJ ·; "A Match far Lilld.l" 5p Kir!ry - alp) ;1
"Bring The Kid1" 7p Kirby - ~~ pJ
82(V9#4) Apr 1956: Kirby- ctp) .':' ~ Lost little lamb" 6p Kirey · a(pJ :; "Bundre From HM'en" 6p Kirby- a(pJ:
~wnd Flower" 6p Kirby . a(p) :' ~Repea t Perfonnaace" 6 1·2p Kirby. a(p)
83 (\9#5) J1m 1956: Ki~· · c lpl~ · "Only \oa" 7p Kirby!Simon ·a·' "The St>rio~i T~·pe" 6p Kirby·Simon. a.:
"The Lonely Hesrt" 5p Kirby.'Simon ·a · "Dancing Doll" 8p Kirby·Simon- a
84 (\'9#6) Oct I956: Kirby · c{pr.' : "'rlgch AdoAoout Lll'Vt" 7p Kirby- a(pJ ." ·Polson hyn (,p Kirby - :ljp) ··
"'S'Iftpt Off 'rly F«;tn 6p Kirby - afpi :· · Romro .o\nd Judy Ann- 6p Kirby . Jtp)
85 (VHJ#I) IXc 1956 Kirby · e~pi'?. "Uzzlt's Back In Ton" 7p Kirtly.Simon· a : "Lady's Cboken 6p Kirby·Simoo - ~ :
"Resort Romeo" 6p Kirby'Simon ·a ·· · ~ y ( oulln from 'rlilwaokee" 6p Kirby Simon. a
86 (\"10#2} Feb 195i: ·Rejett'' 3 I 2p Kirby:Simon · a
87 (VIO#J) Apr 1957· ..Girl Wilb Pussibilltles" 7p Kirby Simon· a.· "Rock 'n' Roll Sweetlltart• Sp Kirby Simon· a ·
~ ~hde 'rle Be.lutiful" 6p Kirby·Simon - a
88 (\"10#4) Jun l<l57: · TMy're Only ~en" lp Kirby·~cskin ·a
90 (V I0#6) Sep 1951: Kirby · ctpJ·> : "'Glr11q The ~Iiddle" 5p Kirby· a
91 (\'I 1#1) Dec 1957: "The WaltinR GaJM"' -lp Kirby· a(pl ,. · Tht Way They .\let" lp Kirby - alp)
92 (VII#2) F~b 1958: ·Running 'hies" Sp Kirby· a(p) · "The Happy Bachelor" 5p Kirby,Simon. a
93!VII#3) :\pr 1958: Kirby · c ·. "Jraklusy" 5p Kirhy Simon- a'! · •:\fnid Of lO\e,. Sp Kirby Simon- a(l)!
95 (\'11115) Aug 195S: Kirby· c(p) ~usteoi~g To LM<-e" 5p Kirby Simon · a
97 t\"12#1) Dec 1'158: Kirby·<:: ·IJearu And FIO'ilers" 5p Kirby. a ·t·niBlited Guest~ 5p Kirby. a
98 (\"12#2) Feb 1959: "Secret In \ly Hmt" 5p Kirby· a .. "A Husband For .\1~ Sliter" 5p Kirby - a
99 (VI2#3) .~ pr 19W •\lao Wanted" 5p Kirby·Simon · a · The Love I LMt" 5p Kirby Similn· a
101 (V12#6) 0::1 1959· "The Wouded Part~" 5p Kirby · a
103 (\'13#1) Dec 1959 Kirby· c ·Tbe \fao For 'rle" Sp Kirby · a · Lim In lO'te" 5p Kirby- a 85
JM 00395
JA1762
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
95-24 Filed Page8 of
03/25/11 1001 of 13
Page
EXHIBIT X
JA1763
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 1002 of 13
Page
MARVEL0018249
JA1764
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page10Page
Filed 03/25/11 of 1003 of 13
MARVEL0018250
JA1765
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page11Page
Filed 03/25/11 of 1004 of 13
MARVEL0018251
JA1766
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page12Page
Filed 03/25/11 of 1005 of 13
For Roz Kirby
MARVEL0018252
JA1767
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page13Page
Filed 03/25/11 of 1006 of 13
Written By: Ray Wyman, Jr.
Researched By: Ray Wyman, Jr. , Catherine Hohlfeld

with Robert C. Crone
Foreword By: Kevin Eastman
mn~:P.:=.:~The
~'!~~Blue
r~am~Rose
-Press
Published by The Blue Rose Press
The Blue Rose Press, Inc.
MARVELOO 18253
JA1768
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page14Page
Filed 03/25/11 of 1007 of 13
Text: Ray Wyman, Jr.

Research: Roy W,rran, Jr, Catherine Hoh~eld
ReS€0rch AssJSfance: Robe-t C. Cmne
Editing. Greg Baisden, and Catherine Hohlfeld
Technical Ed:ting Denise MacNeil
Design Terry label, Roy Wyman, Jr.
Cover fllustroffon; Jack Kirby and Kevtn Eastman
Caver De9gn· Andy Nishimoto and Jeff Grady
Porlrnrt Photogrophy of Jock Kirby: Susan Skarr
Portrort Photogwphy of Aufhors; Elena Roy
M Phofogmphy: William Moriiz, Ray Wyman, Jr., and Ernsc Gerber
Posi Procludion: rofor sepamhons and negdrves, J&L Color Service, Inc., Orange, CA; pnnting and
binding, Color :.itho, Gardena, CA, typesetting output, Orange County Typeselting, Santo Ana, CA
Venlum Publisher was used in the layout and typesetting of this publication.
------ --- -----
Library of Coo;~ress Cataklg Card Nurnrer. 92-85330

ISBN: G-9634467·0·3 (hardcover)
ISBN: G-9634467 1-1 (softoover)
Copyright 1.9 19921Jf Jack Kirby, Ray Wyman. Jr. and Catherioo HooWeld. Published IJf The Blue Rose Press. a
DBA of The Btue Rose Press, A California Corp:~ration. All rights reserved.
No pan of the book may be reproduced or utilized in any form or by any rooans, electronic or mechanicaL including
protocopytr.J recordiro;J, or by any intormaron storage and retrieval system, without pennissk>n in writing from the
publisher.
To copy or reproduce comiC IJod( covers, pages ex art contained here1n requires the permss1on from the copynght
owners ot each:
Doulie L;fe ofPrivate St!Vng, Adventures ofthe Fly, and all titles and characters ™& © Archie Publications. All
rights reserved.; The Diary of Dt: Hayward, The Count ofMorTie Cristo, Wilton of the /M?-54 TM &C0 Caplin -lger
Company, Ltd. All ng~ts reserved.; Adventure ComiCS, Black Magic, Blue Beetle. Boy Commandos, Cl7allengers of
the Unknown, The Demon, Doom Pairol, Forever Peo;Ye. House of A-&stery, House of Secrets Hunger Dq;s, Jus·
lice League ofAmerica, Kamandi. Lerjon ofSuper-Heroes, Mister Miracle, J!.o/ Greatest Adventure, M9w God;,
OMA C, Sardman, Sholtcase, Star Spangled Comics. Su(.e!TI7an s Pal Jimmy Olsen, Tales of the Unexpected,
YOfJr,g Love Young Romafl(.--e, and all titles and characters rM & © DC Comics, Inc. All rights reserved. Reprinted
by permisson of DC Comics, fnc.: Mid<ey Mouse. '"' & @ Walt Disney Productions, Inc. All rights reserved .
Last of /t',e Viking Heroes. and all titles and characters tM & © Genesis West. All rg 11ts rese!Ved., "War Between
the States," 1'; Glberton Publications, Inc. All rights reseiVed., A/armJng Tales. Black Cat J!.o/stic, Blast-Off, Cap-
tain 3·0. CharrpiiJn Comics, Champ Comtcs, Fghtmg Amaf!C3n, C:;reen Hornet, Race for the Moon. Stvntman. and
aK titles and characters '"' &© Harvey Plbfications, Inc. Alf rights reseiVed.; All personal sketches, all private
'ivOO<s induding "Argel." Captain Vwry and the Galactic Rangers, The Career ofKing Master.;, 'Chaos in Bal·
area,· Chip Hardy ·Faoes of Evil, ''(3alactlc Head," "lncan VISitation," "lnterpretauon of God Series,' "Kirby Dream
Mach1ne," "Mecllanoid," "Rameses: Sitver Star. Sky Masters of the Space Force "Space IS a Busy P1ace: #1 and
#2,' Stannan Zem SulfHunter, ·Tribes Trilogy," and all ttles and characters ™ &© Jack Kirby. All nghts re-
served.; Thundarr lfle Bar!Jarian 1~ &C\': Ruby·Spears Productions. All rights reseiVed.; Boys Rancfl, Bulls-Eye,
Foxhole. fn Love. Inky, Night Fighter. Police Trap, and al titk?s and characters ™& © Jack Kilby ood Joe Simon.
All nghts reseiVed.; Amazing Adventures. Amazing Spider-Man, The Avengers, The Bfack Rider Rides Again, Cap-
tam AITlellca, Cap!alr! A!!1131fc.a Com~ Daring Mystetr Com~ DeVJ/ Drnosaur, The Etemaf>, Fantastic Four, The
/rlcredible Hlik. Infinity Gaunlfet, !fOfl Man. Journey /{Ito J!.o/stf?ly, Kid Coir Outlaw, Love Romai7CBS, Machtr>e Man,
Ma;ye/ Mystery Com1cs, The Mighty Thor, Rawhide K!d, Red Raven, Sgt. Fury, Sgt. FUJY and His Howling Commari-
oas; Silver S/Jifet; Sirange Tales. Straflge Wortls, Tales to Astonish, Tales of Suspen.se, Two-Gun Kid 200 f. A
Space Cliy.>sey, USA. Comics, IMJib' of Fantasy X-A.fen, and all titles ard characters w & :;;; cy Marvel Enter·
tainment Group, Inc. All rights reserved. Reprinted IJf pe'llliSSIOn r:f Marvel Entertainment Group, Inc.; Popeye,
'M &© Max Fleischer Studio. All rights reserved.
Cover AI'.: Darkse10. Kallbak, Mister Miracle and Onon, '"' & @ DC Comics, Inc. All nghts reserved. C~tain Aroor-
tca, Dr. Doom, Galactus, Loki, Mr. Fantastic Red Sku 1, Silver Surver, ard Thor, 1M & !g~ Marvel Entertainment
Group, Inc. All nghts reseiVed
The Blue Rose Press, Inc., 13-" South Glassell, O'onge 1 California 92666
Pnnted and bour'd in the USA
First edition, first prir,ting.
MARVEL0018254
JA1769
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page15Page
Filed 03/25/11 of 1008 of 13
CONTENTS
ACKNOWLEDGEMENTS 1
FOREWORD 2
fly Kevin Eastman .
CHAPIER 1: JUST ANOTHER KID 4

From Kirby' s childhood to his ~ r;r iab ir corlnoning.
CHAPTER 2: WHEN TALENI'S ARISE 16

Kiroy' s eorly strip worl< a na the emergen ce of the comics industry.
CHAPTER 3z MEANWHILE, AT THE GATES

OF THE GOLDEN AGL.. 30
Kirby joins Fox Feat:Jres a nd meets Joe Simon. The new teom creates Captain
r\merica , Boy C o mmandos, and prepare foe war duty.
CHAPTER 4: ENTER, RIFLEMAN KIRBY 48

Kirhy's war d uty and his return rome.
CHAPTER 5: IT WAS A TIME OF CRIME,

ADVENTURE, LOVE AND HAPPINESS 60
Alter a slow start, the C reS'Wood era sta rts. Simon a nd Kirby introduce the first
ro mance titles.
CIIAP'nR 6: AFTER THE MONSTERS, THE COWBOYS

AND SUPERSTmON,. THE END OF ERAS 76
Simon and Kirby's good fortunes am halted by a sed uction nr-d other events.
CHAPTER 7: FROM THE ASHES, A SILVER AGE! 96

The Simon/Kirl:y partnersh ip sp lits up, bur C.:ha/:engers of the Unknown hw-
ald s a ~rst for the RA<lgling Silver Age a nd a new beg in ~ ing ior Kiely
CHAPTER 8: AND THEY CALLED HIM '"KKNG" 114

Kirby a nd Stan Lee rev:ta ilze Marve: Comics wit~ fle ::real on of thf> M or<ei
U.-,iverse: Fantmtrc ~"our, The Incredible Huik, X-/..1en, end ma ny oihers.
CHAPTER 9: THE FOURTH WORLD AND BEYOND 146

The Foc.rth World !ties lou ncres a bold ex::>erimert in comics. Kirby 's aniMa-
tio n ond lote comics worl<.
CHAPTER 10: FOR THE LOVE OF JACK 176

r\ retrospect onrl anclysis of Kirby's coreer.
GENERAL INDEX 181

APPENDIX 184
MARVEL0018255
JA1770
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-24 509518, Page16Page
Filed 03/25/11 of 1009 of 13
THE ART Of .lACK KIRBY
JACK KIRBY PUBUCATION 1'IMELINI
Compile.:! by R Crane. 'This is a chronological listing of is organized hy ye-ar of publication, then by month or ~cason
publication dates ha..ed on infonnatlon taken from me jack of issue. 1itles are listed alphabetic-.Uly foltowerl by the issue
Ktrby !Jookllst. Reprints and unverified entries in the bookiist number. Cornie strip or animation productions are not in-
were not included Although not noted in this list, many tides cluded In this list. Wherever possible. a special notation has
were the result of collaborative efforts with Joe Simon. Stan been made for fiTht publication, first character appearances
Lee and others. Refer to the bookllst fur more detail. This list and career milesrones.
_____ , ____
1938 1941 ~ Jui1t1

A:mm.lre ComiCS 74 AI Star Corocs t 7
'5p_!edHr C;w.a11 MdiVel Comes 01 :tl I Stlr·~iad Comics B D~ve Corrics 76
.lumbc 1 .At~y Stur Spang;~ Co:ncs2f
.: Arst K rby arl J:X-.ti!Shed trl con'ICS art form A~
~Bole
P.dvettUffl Comics 75 .!IJir
Marv91 l,jystwy ::Om<S 15
OcrD!Jf!! Oetectva CcmiCS 64 Ot:.teclive Comes n
}JmOO 2 PnzoComics S t Rrst Boy Commandos Slaf-Spal1glw Corrncs 22
C~.:~ Mystic Ccm(;s 7
ljpy_~~ A'1ll!§!
El;e 8ci9 Star,Spangied Corrir.,s 9
J;Olbo 3 At:Mlniue Cor11cs 87
MarveJ Mystery Ccm!CE 16
-Y1 De1ec1Ne Corrics 76
1939 Pnze Comes 9 Acventur&CVffilei, 78 S!af,Sparqiod Comi;s '13
!~ Deta-cttve CorrJCS 65
~ Siar,S"aogled Co11<a 10 ~
i;;amoos F J'YJ!E!:'> 61 Blw8oit10
iJetedlve Conics 79
:t Alti: OllglNI Q)ffllC$ art Capt'}~ Amenca co n,cs i August Star-~Corro;s24
::t Fi!Sl Captaw. tllll0!1Cil, E!I.Jcky, Ped Skul AmoenfLJre Cnm cs 77
~ ano T(i>~: th8 Cav'B Boy ~
Df1edNB Comh: 86
;:'amous FLn<1 es 62 Mar;el.1ystecl Can<S 17 Ad~~Bnt:•• Corrics 88
Star-Sparg:Ed Colll'(;s: f~
Detec11·J9 Co~ 80
O:rooer ~
Ciiotam Arreru CGrrw:s2 ~ s-ar-Spa"Q/00 25
F:lmNK Funt'lft"S R3 Adv•nttw Coll'<S 78
Donnq l.ly;ID<y Com"' 7 l'!!!.v_ermer_
N~ Delfctive CorntCJ 67
l®l'el t.lysie<y Comics IS DetG-ctve ComiCS 81
Famous Fllf1ries 64 Star Spangled Gomes 12
,v.,_.. Star·Spaflgled Cones 26
Oc!obe;
December ::;;ptc'll Amerta Conics 3 Deamber
Mvtntuw Coo~s 79
FarmJs ~unn!BS 65 Ma1~ Mystery Cowo::s 19 Adventure Co:n1cs 8fi
Champ ComiCS 23
JuM Dete<!Ne eoo-.:s B2
1940 Deted!'.le ::CrrJICS 68
St:u'· SpangiAd Cornia; 27
C3pt31P Amenca Conics 4
MJvem!:J8r
/f8r Charrp Comes -9
AcvtrJture Comics SO
Splr'fl
Crash C0.111eE 1 M.;.rv~l Mystery Com cs 20 BoyCo~rruo:los 2
t F<st So a•leg!oo De!ectve Cornics 69
.l!.(!y Work:l'sFinest9
My>ts-y 'Aao c:orrw;f: lO Star·Spaogled Corn.cs 13
Sci8f"Ce()}{f~).4
Marve Mystery Corr.K:S 21
O<g;l!lf5. ~
Boy::::.OnPfl<:ID'Xls3
~ Adwnh.J'e Com1cs 8 l
!!l!J!!. ~ArnsricaConcs5 All..Sta' Corrncs 14
W)l}j'sFb,'!St10
Ct.21np1on CO!'Illcs 8
Chalr!JComkos 2' Detective Comics 70 [Ji
t Rrst Kwby Cover
GreenHomet9 Star·3oangted Conics 14 Boy Commandos 4
:::rash Ccmics2
Marvel My.;tery ComiOl 22 W01fd'sF,r~eSt1f
3iar-Spang!ed Cones 15
~viy USA Comics I
31tJ·J Boi12
~mmer !>!""'
&P/eff'ber Sliel-j V'fl!afC COmiCs 7 AIIStarConw.:s 19
I I' rc; Smlon and <llby collanoratlon
Ca0taln Amer ca Corr(;s 6 World'sFinest6 Bcly Cornn""-r.dos 5
Chart-oicn ::.Ornics9
tAalvel Mystery Corwc; 23 Workj'sFrnest12
Crast>Comb3 F{!//
F!i.'il:xl.S Funnies 72 (1."(~[ All '1/lnoeffi Squad 2 1944
Capta'.1 A.fnl:!ocaO:lrrocs 7 Worrts FffK'St 1
~·s: \olar\!el~ystr:ryC()mlr..c:24 .kiJ!R1.'V
ae Rol!:3 w~ DetectNe Comics 83
t Ftr:1 &'7!011 lifll Ki'~ »te' ~_r Boy Commardos 1 Star Spa!1gleo Conics 21l
(ll<mlJIO!l Comes 10 Cap'irJ<n AmerG1 CMlSS 8 Worid':.Fn.::s'8
Ma 'Y9l Mystery CunJL'S 25 E_el][:E(f
F.1rr:oJS f-uones 73 1943 A""""e Com•cs 90
Fed Rave:t1 ~ Slaf Soangled Comic; 29
-;: F-rst ~lOt Tme'Y ',e:er ~me! Comics) Capfalfl Ameoca Comc.o; 9 ~
Ad'.'Erlure Co~m~ 82 ~4811.:1~
M~r ,-e Myst€T't' Ccn·rcs 26
Sty.\fc.fJ'iJer r:·Ptec:tve Comk:s 7~ Star-Soang/6d Conics ~8
flue l3o!t 4 ~pn;tg
S!Jf Sptng-ed COf'l!cs 16 lyJrll
Cr8s~ Ctr'11r;c;4 Wo.~i C:ofllrcs 1
February Affiter'ltJre C001K:s 11
Oaf)]' My5"e')' C•Jllct, 13 5£,filrner
tv::lven!ure C:or~'!ICS 83 Scar-Soangied Comes:; 1
f-qrnoushrnr-.::s71 A.l~ 'Ntrirlf:!fS ComiCS 1
,1\U<::;t<Jr C•J'1K!., 15 ,}J(!§>
F~ntastc Ccm-t"o 'C 1
((JI.fl\:)AI11CS1
Jetectve Comie5 T2 Ad·..-e'1ttl-e c.)ll'lic.s 92
1942 &ar-Spars~ec CDrrlcs ·: S!~.r·Spa.tgted Co'll!ce ,".j
~1Uil')' ~!!0 ~
::lmetiS Fu'"'i es 7S
C]ptat 1 Arne1 {.:ct Gcmcs i 0 t\dvmllifO (,ore res 84 Acvetture Co 11\cs 93
lltarwJ MyS'€ry ComiCS 12
Ca-nnq Mystery ({lrt11CS 8 Deredive Co11rcs 73 Star-Spar.g,ec Com;es ::ss
1_1qvww Marvel Myst~ CorlliCS 27 Sia'-S~Com/c;18
!i"J'fe'"i!!!
&t'"' edt 6 Ml!ch AM! Star-Spar~leo Ccn;s 36
Crdsh Comes 5
ll(tvonture Cot1cs 72 Ad\.'Wf1ureCCl!"m::S as
()dr;(;Jef
Fcw:ous runr!i'S 76 t l=i'"SI work fJr National Percdicals Pub1.ca- .Ai~SiarGomcs 13
.~reCcmiCS94
r. 1arl€! MVS!er1 Comics 13 ,cn<;; 1:C>C Com!C3l, ::t First S.mo"l ard K1rby' Oetect'•E Ccncs 74
::First Vstcr (·1e a!, en •ot the A'lerg¥) Satldlra1 Star·SpaogiedC·)f]lCS 19
Star·Spangied C'..cm~t~" ,TJ
""arge1 Comics i::J ~
"'E/ ,May
QepelTtJet ldventure C.c!T'ICS n St3J"·Spangkid r_,.,mc:s 1R
Adver1ur:: co-mes 56
BI.JA &#t 7 ::t Firs: Simor: ard f.irby k"<Jrh.m sr
1
{'}!0~
OetBC'tYe CarrieS 75
S·ar·S:>angled C«niCS 7 Ad\'er1tureComiGS gs
MJ~l Mystefy Colli..:-:,.1.:;. Slar-Span:ted ~~r.rwc; ?C
t F rsr \eV-IIDrlt Legler 2.rd :3uardan
F--nw Coole'.> 7 Sta""Soar-gled Comes 3!1
MARVEL0018462
JA1771
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
10 of 13
JACK KIRBY PUIIUCAnON TIMILINI
.Me .~
Sp:iTig ~
Arney Cones V4 ~7 .:ust>oo T<aro ne W!ty 10 ('12 #4) B:Ot-~Mt!glcVl ~
Boy Co1lllmC()S 6
Blacl< Gal CU<mics 7 B>ys Ranch 4
Wo!krs Fine6l 13 J_uft
Real GM Crr.s St«-es V2 J6 Headl1n& Cornts 36
YO<Jrq Gm20
Sum!!!!! Wf>SiemLCNG 1
Yo'rq Re<mr<e 32
Boy Cooml;lr<los 7 ?~
Ar.'OOy CO<rtc; V.< liS "tu19 Romaoco 12 1.!!1
!'!! 8cy CJilVTl3llOC•< 23 Yo-:;rg lew 21
Bey C«rmrms a ~
clead'l->eCoolo:s 26 "'-"bee TCl(!S ihE Guily 11 YOOOJ floo1ar<:€32
!'[_~ Li1!J;ji>CU<mics24 'iciJPQ tme<
Bey cw,,..ldoo 9 ~Dale CCMOCS2
~
Res! C... Cmffl Stories V2 t7 ~ 3lack fAaglc v. 1 i5
1945 HeadlneCorrics37 3oy's Aa1«~ 5
vauog Romar>ce I
Westen1lcvt 2 J;stice Traos !he Q.O'y 27
t~ t: Frn rorr.a1ee colllJCS
M:entute Comes~ Yoc'lq Romarw 13 fuJr!g L(J'JO 22
Q:1ci1er YOOOJ Romance 3<
(lEi Nrboy Corrics V.H& Ck:tJber
Ad\lertlJ(e Comc:s fJ7 ChaOO Chan 3
illaci<Ga!Corrics3
YoJrg fbrnaoc€ 14
·Ml'
,Cdo/!8[ .kl>tic6 T-aps lhe Gtil!y I Yo.mg Love 23
AE:tiertul'e C<lrics tOO PtJt.cn and Jo:l}' Co<rics '1.3 ,. """"'Ti;er
Young Roo-ance 15
Yrung A<:rn1Ce 35
/{OV6l'1bef
!J8ciKnb8r ~
Adveoture Comes tOt i\;rboy Col11lCS VH10 OeceiTiJer BlackW<g~V1 #6
Bey C~"lmandcs 24 C-harlie cran-4- Boy's Ranch 6
S/Kf'/118(
Heaoine Con'ics 27 YCOlJ Romance 16: YoungA~36
Boy coornandos 11
l.lyD:liB r.oon' 1950
E.aK Yoorg Romarce2 ~
fln:n and Judy CU<ncs V 1 N Young Gm25
~
YO:J'IQ Romance 37
1946 'fi<cy COOts VA 111
F\.lnchandJ:.tdyCcrncsV31t2 Ct:>:ib8r
~
BladcfAagicVU1
1948 YouriQ:Lcw7
YounqR~18 Young Roroor<c 38
~ ~ Novembf!r
MyDateCOflliCS4 MJ;ri1
l\dventtxe Comics 102 Heacfme com,cs 44
S!<Y·Spai\!;leo C«rics 53 World's F1nes\ 32: We:J:em Love 5
Y~JflQ Romance 19 Young Romanc• 39
Young Roma'1CO 3
Malr:h ~{§_mfJ!!r
lloyCOOlfTlllllOOs 14 ~®: Apni
Black Ma£!CV.2 112
Re-al Fact Corrucs I
-Comlcl28 Young L""' e
'T'o.laJ 'IDm3r:ce 2') Ycur-g Ro-nance 40
Star Spargleo Ccm<S 54 Malr:h
Young R"""""'4 1952
11{111 !.fffr
S!vlt'WI11 &.!II Young Love 9 /_irJii(ll)l
Headline Comb 29 Yoorg Rornaxs 21 Headline Ctmcs 45
¥!!f JIJs!lee Traps 11\eWiy 3 Young Romance 4I
Jum
Boy Commandos 15 Western Rghtels 1
Yeung RormroJ 22 Februlif;
lloyE>jJI:Jfern1
Real Fact Ccm1Cl2
Al!r fb;k tArlgc V2 ;3
JIJsuce T'aps !he Guily < ~
YDimg AomYICe 23 YourlJ LoV€ 30
JuM Yoorg Romance 5
Young Romar1Ce ~2
Stunlrran2 Jl!f!!! A<tpst
MiJfC/1
Chruie Chan C:mcs 1 Prize Comes Western &3
!E!J: Headine Comics 30 ~Lc-.. 12 Blocl<M"'icV2114
AJI-N9W' ComLCS 13 YMG L11te31
"otng Romance 24
.O.Paiool:a5 !!& YryJ"J Acmaoce 43
.lJsllco Traps il'e OJ!ty 5
SB{J!ol!fJ!f ~
Yeung Rorr.anca 6 JIJstk• Traps !he GUtty 1B 4prJ
BJy Comrra~dCiS i 7
August \trunil Lo,.13 B'acl< Ma~c V 2 !5
&1)1 hplor6fS2
Ch;'lrie Chan Conics 2 Y()JII{; Rcmance 25 Y01..rng Romarr.a 44
Decerrfr!r Headi!OO Coolies 31 Milf
TreastreCornics 10 Ct:~
S&(!IIHTber 81acHwgcV I #I BlaCk llagic V 2 #3
1947 Boy Ccrnmacd as 29 Boy's Ranch I Y<YJOQ Rorrance 45
Jvs:~ee Tr:~p:o; the Gt.i~y 6 1Jslce Trap; tf1€ Guity 19
MiliCh J~
You~ Rorr.ance 7 Yocnglc\'e ·4
Clue Comb V2 #1 "lock M)QIC V.217
Ct:ld!er Yocng Romance 26 Voung~nc€4€
Hea<Jiine Cornk:s 23
H<::adine Corrlai 32
Prize vJ(IliCS 63 M;wmt;er
Jd]:
Nnvern!JtY Young love 15 8lacl< Mag~ V.2 >€
.lJs>GB Traps !he Guilty 7 C/241) Your.g RonrulCe 27
Bladl Cat Com a: 5 Youn£ Rcrr,ance 47
Ym.nq Homance 8
Ck.Je CiJn,!CS V.'l #2 !J§i:<¥JVer At1)11.c;t
f'ucc!1 a~>J JcK!y (O'lrGS V2 09 ~ Eb:!dA31jic V. 1 111 ·
Headifle C001lCS 33 Black MagicV2 ;g
Terry am !he P1r:lie:O 3 Bo(s Raoco 2 S:;ange World ol YOt.r llrea·ns 1
1949 JustJCe Traps !he Gu!try 21 'locng Lwe 36
!.fffr PP.rtl VVAPJ Romances 5
ftJI'boy Con-es V 4 #4 Jantld/)'
'rbl..-f{J:.tJI/91!) ~
c,~eCtY11.:::sV2t3 JlislKA Tmps t'fB GUII!JI 8 N.2 ~) Elacl< Mag c V 2#10
Yet_rG Korr'12rK:e 28
(""eenl-lcrr'fffi 3.9 Wmtfs Hoost 38 .Sfraf{ie Work:t ot Ycur Crea·ns 2
H-.. comics 24 ~xng Rorrorce 9 1951 '{(lJ•~8(1ciBS1
Punc." and .>Jdy comes v2 ~10 AI.J<ualy J8'1iJ§Ij' l'J!Jr"f<J L0\'937
June j_i"ittr..a Trap; ttTe Guilty 22 a.!Obct
ktxJf Corrios V4/lfi 1-'-ealilr~ Ccr.~ m 34 YOLlgl.o've '7 31acl<l.ldgc V U1 1
Blacl\ Cat. Cofrks 6 Young Love 1 Yocrq RC~fr'ance 29
Punch arc Judy C.Omcs v 2 li 1 Mwr.l! ~~ve~ri;er
fp)J(r._~.,grr
Reai Clue Cnme Sto'lffl V? ¥4 &ly Cur·· r>andos 32 Blad< MaQlc v uo 2
3la;k \!age y 1 13 Slrarge 'N<X"kl oi Ycur Drea11s 3
cel1)'andttBPirates4 YCL·t:g P:,ynance ., 0
lloy's ,,,,;n 3
.july "lJttl .ustice Tr:tp;;lhe GI.Jrlt·y 23
Nrboy Comlt~"i V4 ¢16 Yeung Love 18
H;Jildlfne CJrtlK;S 25 Pnze G:vnr:r, Western 75 "oong n.cfl"c..nce 30 D&y?_j!_'iJi!!.
!.lyOaleCcmcs 1 Young LC'IU2 eta::~t Ma¢c "3 ~1
Pt:nch 3fldJudyCoor}:; V? #12 Ma!l;i) Yeung Lc·Je 40
~ Ywr{:L:wa19
Real Cue Cfl!:e SIOl•66 V2 1f5 Heullfr<b Wn:::s ,;5 Yrung Romar<e 52
Youns F~Y"'lal1~ 3'
Real Fad CU<nic; 9 ":::..mg Hoour;Ce 11
MARVEL DO 18463
JA1772
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
11 of 13
THii ART Of JACK KIRBY
1953 G<.laoer s,p.-,mber /,fatt:!>

!l!lls.f)'ll2 FOsllcw61l i\lamll'iJTa~4
J:muary
FI\]OMg Ameocan 4 H·School Romarces 55 ,.._Scllool Romances 73
lk:l< Magic V 311< !r love Z Love Prcblems ard MJice ili.Jslra!ed 41 fi:J<seotMys~oryn
Shange Wotlo o' "our Oleam' 4
~ QciOOel ~lor:ileMo0111
Yourg Bides l
Yot.n;i LO<;e41 Black M<li}C V.S 113 Frt&Lco.-e6S Tales oi the Ur<>xpacted 23
Yt> Jf9 flornarGe 53 Po"" Tr302 H'ScOOoi Aomarols 56 jp:!
1:1!<~ True Bride-To--Be A00l311CaS 20 Challr>ngen; cl111e Urlu'<r"" 1
F~
BJ!~·Eye3 YC>JrQt.own 1 f'rst Slrw Age Dc tBam l:ook
Pl'I"J< Mage V 3 tl
Figmg A"lQ'ICan 5 Y<X.OJRomanc,e&< My Gteate~ M.""""' 21:1
Y<YJfl!J low42
Fc<llcP-2 ,'lowmi;Jer Tatoo oflho Uoo>peded 24
YO<Jfl!J Romaoco 54
lnLOI'C3 n.-stLOV9 70 <~a:r
M8!rfi Ptk.v Trap 3 fi.Sonoot Romar.:es 57 Alamling Tales 5
lllzc< Magic V3114
Lev~ ?rr~ ar·d Advice ltlustraied 42 MyGr-Adv!!'11Ura?1
Yocrq8Mes4 1955
YocrJ Low43 ~ #r
FI/IJ>1"'J
Yct.tl><; Ffrmnca55 A.90f'll$:t',lrg56 Mven!t.<• Comra; 250
!lulsi'ye4
~ Fm SMr Age""'' a1 flaN~ Clla ler.go-. ·:>1 the LinkiOJWrl 2
!lgff fight 19 A1rer~n 6 Fitst Aoolal'll".l:! Miig<k'1fl~ 43 Gunsm::>ke ~ffls!e"' 47
BlacH~lQ"' v3 •s fo>IIOie 3 H-Sfficol RcrntmM 58 How;• of \lystery 75
v0!.61QLmt! Poice Trap4 s""'l<' Tales o1 the lJrusuaJ: A_'1/fl§l
Yrung~AI1f"R:15 Mn APl\ze CArnes V.l #1
1
Yelow Claw 2
Advanurec.rnra;?51
¥§1' ~~
Blood.lagicVollfi
1957 ~of :oo Unknown 3
Buls·EyoS
YOJ") Romance 95
Yeung la;e 4E Young Brides 21 ·WuJrx
Y~:~Jng Rom:wce 57
4l'rl Yourg Love 73 ~
YO<mg Romaoce 85 M.<e'l!ure Cooucs 252
./!!IJB Fighnng Am6r1:an 7 HoossoJ Mjstery 78
Black 14agr; V.4#1 Forilc~ 4 F~
Hru>JofSecrets12
'fmr-.g love4€ Vt.~n APrize Corrt;s 2 Ouck TtOJ9er Wesleln 18
Race for 1he Moon 2
Young R01mr<:e 58 ~!§I
Sholltasa6
t First Chru~r~r>rs of 111e UrOoown, the lin:t Wa1rort34
/!if &JJs·Eye 6 St1er Age D.C.~"' ·earn WO'id'9 Anes1 96
Y•.ng Br~es6 ln Love 5 YellowGiaw3
iou1g LCM::147 Qctd>er
Ji.J/'Je Ya<Jng Pootance 00 AC>entue Comics 253
YO<J"J Rornaoce 59 C~arl.aCharr a lj;yE!. eta ~ngers of the Unknown 4
AJ!fl!!'! House oJ Mystery 79
~ Hoos•ofSecrnts3
Yocng Love 48 Fo>Mie 5 Wol1d's FOOS1 97
Yeung Romr.:e 60 Atxif
Pcice 7rap5 House of MysEry €I ~
,'Y!!!J..."!J<!r ~~e Ccrncs254
~ Showcaoo 7
lllaci< MaQ!c'IH2 llulo·Eye 7 Tales D! the Uoo>paeted 12 Race for the Moon 1
'rour~ &ides 2 IV.2 w) YeJowCiaw4 Worldolfar!as;' 15
T=l'()(l1 Here ki 'nS2.n fy 11
Yooog love'9 YOIIrl'J l_ove60 Young Rcrrtlria=' Rl Decerrt!Br
'!ounf rtofl'ance 51 Advonture eoo,.,. 255
~ ~
CX;{qlJI![ Fo~hoe I) 1-iouse of Secre~ 4 CMlenge<s ol theiJrknown 5
YOtA>;J !fides 8 IV 2 #2J 1Love You 7 My C,rrotet;t At,4~Cfl~ure 15 Strarqe Worti; 1
You~ Love 50 Worid'sFir¥.J.3.t98
P(JI<Ce Tr3p 6 Tal as. ottne U'la~pected 13
v:xx~g Rorrar.ce 6-':: Ycunq Rof1l8'1Ce 97
O:irJtJ6r Jvna
l'!!?!:_t!fE~ Wes:r:'rn rates 31 "ioL'SEOl MysJ!jfy 53 1959
EJacl< Mag.c V.4 <3 Ycx1ng RJrrnmce 88
v"'mg Bnctas g r12 113, Novem{)_§[ Ja!l',;_ary
vour.g lc...e51 Yot;no 800es 25 .hly Ad'J8n'!Jre Corrncs 256
~y Groatcst Advenrure 1:3 Tale!> ro Astorish 1
Young Rooanoo 63 IJ_ecomb&r
Crazy Man. Cmzy V.2 #I T'"" ol tte Une,qoected 15 F_el!nxuy
o.c&mber
(:;.tr.;tam3-D 1 Young Romance ao Aufrs Challel1ge.-s of the Urt'.mwn 6
Yowq Br,OOs tO {V2 14) House of MySery65 My Greatest Advermre 28
1956 Tal% of the ltrexpocte<J 16
Yrnng Rorrance 64 Strange Ta:es 67
~ SBpl8f"!Jer. WC>'IC cf Fantasy 16
1954 Wartro:lt28 A'arn11g Tales: W<>~'s Finest99
J~ Yomg Bndes 26 (:J 4 #2) Blad< Cat utsic 59 Voung RJ!I\31lCS 98
Blacl< Ma"~ V 4 ff4 Fe!Yr/JI1/)' Blad<flider Rides~ 1 Miillfl
-
Youfl!J B!des 1· ('12 #5) Houseof~66 (illnsrnol<e Weswn 51
Young low69
Young 11omaoce 55 MyGreatest.A,dve:~tJTe17 House of Mys\er1 04
YoJng Romance Bf
Talesoft!eUnex~:J'7 Jou~r•y ir,fD Mys\Grr 51
Fo!J;"§JX
Yoot)J Brides 1 2 {V2 #6) Two-Gun Wes:em '2 K~ Colt Oullaw 83
Love Prfhems arr:: Advice !ll:strated J8 Wartront:JO LO>Il Rcmances BC
voung lo'Je 54
-
WestemTales32 Octobar ~altis of Su~nse 2
Yourg R<>n<He 66
Ma,'Cfl
Ycvng 300es 27 ('·4 #J: Ta:es cftM Une~:pe-ct&d 18 ~
tlacK ~Aag.c VA 15 !j:<i/ Hi>JSB oJ My!'J"V BS
Yotng Romance ti r 5~cl<Ca!l.tf~<et7 Ararmr~ Tales 2 Sttafl!JS ~alef,fiB

True End& lc-Be Roo1.1nces ~ 7 BI"'J< Ca1 Myslic 00 3tl'2rlQeWMds3
~ 'ID_.~ Roo'('ll(_il 82 V'Jorldo! ;::&-Jiasy 17
Fig1tmg Amer .can 1 Wartren:Ji
tC,rs-~1
·~"Iyail Earp 22
.lby
YCXXlg Romance 99
l.!s.r Y:J:Ur.j Bride'S28
Sac~ W-age 'J.:. #6 May
.J:!;e Chst!engers of 1'ie l.n.kr)O'olt'Tl 7
.f.Y!!l CrazyM.11. Crazy >'2 f!'.! r-;Lnsnoke .v~ 52
FIQt"ng American 2 Y)urq R&,anr.:e &1 1958 Jour'1C~ nto Mv;;:ery 52
,!:& January Tales of Suspeose 3
B<acl< M3gic V.E #I ·"& Ta!estoAstont$113
Blae< Cat My~~ 5B lllanr rg TaPS3
~ '.Vrtoct 29 f-ousa ot Mys±B'Y 70
Bulls.frCrf:ts 8
WestemTales33
Fightrg AMe·cao 3 Ycu1g Booes 29 (VA- #'5} Showta.~12 Challengers ol1he lA1Iu1a.m 8
In LO•i9 1 Ta.es ut U·e UrtetJ;tc'ed 21 Double Ute ol 1'<1 Strong 1
Jq;u$1 .tFirs! Fly
Septeni!i!r Febrznty
F1tst Lcve 67 Sta1ge Tal% &9
~M:tgcV5#2 All Sklr W'":;;te11, 99
fwc:t Romance ~r;gazr'le ,:.1 Stra.,ge Wortds 4
~oxOOe 1 Ta,es cl tl'e Jnexp:cteG 22
Tn.:t! &l!:i€-To-8€ Romances !9 \fiord :Jt ~=antasy 18
<;}00::8" --r::>p 1 Y)Utl:J Aomar,ce 92
xxvll
MARVEL0018464
JA1773
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
12 of 13
JACK KIRBY PVBLICAnOH TIMIUNI
My
Gu~Weslem53
'~
Gu<smoi<€ W&&ar> fiJ
~
AmaZlfi)A~'!!!l!U'eS3
JJurr.ey trtc MfSiery 80
Kid Gel OJtlaw '04
J1cJ!lF)'IIloiA'(.llcry53 Joor1&;1nto fAyste!y 60 .Jmrneylr1cM~"'"i 71 lo..e flcmances99
Kid Col! OJII:M 35 KJ(! Colt C<Jtlaw 92 Rawhide Kid 23 Slrar.geTales96
Strange WoOds 5 Tales ot SJspensa I' Slra>JgeTales87 Tates ol SUsi»'!Se 29
•"""' ot Suspense < Tale£toAs:o""h11 -:-ales o• &tspense 20 Tates 10 AS!Or!Sh 3 I
TalestoA-4 TalestDAsmioh22
~ /r;oo
The 'Hor>i Around lis 35
~ Jovrlllyno ~fr5tery 61 .klt<ney hto Myste'Y s·
.OCienUJresotthe n, t Kid cor Ourz... 93 ~ RawPide K<J 28
MForl<J.o&V.3t2 Rav.tude Kid tB ~maz!l<JM.oolu!es4 ~Tales97
lla:tie65 S!mnge Tales 7i Gunsrm1<e We9lem 66 Talesot SJSP€MO lJ
Doct<e Life ot ?·~ Stror~ 2 l<WSio Asloco;h 12 JC<JnBy lrto Mysiery 72 Talest>~.<!Mish32
Sl'>1';!8 Tales 70 TNO-GwnK!d56 Kid Coil Oullaw ' 00
W(Jijj ol Fantasy 19 Slra1jj0 Tales 88 &Y
~ F.1ntasbc FOI.J' 5
wvatl Ea']l24 Tillo<oiS<Jspens.l~
GIJ<1smoi'£ Western 61 t F.'& Dr Doom
Jcurney no Myslety 62 Tales13 Asioo!Sh 23
~ Gt.r-UTd<2 -_vf!!i.err 71
Mv..,..esottheF~2 KidCoi!Ou!l"" 94 Octoi>lif
!ncredmle Hul<. 2
./rum&; ""' Mystery ;;< S!mnge Tates 78 Ama;or1·'""'""'"' 5 c.OOrney lnb Mystery a:>
lew Roo·aoo.s 83 i>~sctSispell:lO 12 .burney !n;.o Mys:ery 73 KidCoitC<J:~aw t05
t.ly Own Rorm>;e II ''lle5tdslonish 13 Raw!l<JeKod24 lwe Ror1ar<:es l 00
TakrscfSJ~5 S'<df<J" Tai>s 89
~ StrangeTaJ-s98
TaiestoAston;st:5 J.:xrney lnlc ~)Siery 63 tal% ol Scf'oi)OOSC 22 Tales ot SUspense 31
Kid Cot Oullaw 95 Tales to ft.Y.ooiSI' 24
~'ilt'! Tales 10 Astoosn- 33
f)jjli;66 R:.wh'ce -«1 19 The W<:<d Atwnd us 3€
A11]0Sl
Wyal!. E3']l25 Slt3r>ge Tales 79 ~
Ama1i1g Fantac;y 15
Yotng Romar,;e 102 TalestoA£1oosnC4 Amalir>g A<I'JetnJces 6
t Frn Spr<ler Uoo
j-
NcveJTI:w T1..xlu<.!<io 57 r antasOC Four 1 Journey no '-lyslery 83
t R'St Sit\:e< Ago~ team OO<:k. Map t Frn Tror
Jcurney no M)Sle!y 55 1961 pearance o1 Reoo Richards. SUe Slorn.
KidCoi!OUtla~87 LcweR~iO'
Johr.ny Slcrm. Ben Griom'. and the Mole Mar
Lovs Romances 84 Gt.msr'"IOKe WestEm 67 Pawll~e Kid 29
-r-al% of 9.Jq:oense 6
CiassiCS llltJShln:t 160 Strange Tilles 99
,.wrney 100 Mystary 74
Tales tc Astonish 6
Gunsrc<Jke We31ern 61 ~ales of Suspense 32
KidCOit0tJ:1aw101
.burrwtlnto MyJt"ry S4
LOVBAortWlt'hS96
t Flrst Sauik the SO!'"OO!'er :or ~ange oro~r>
Dacerriler Kid Col OJtlaw 96 tyoo)
!iafl~ 67 Stwnge TJies 90
W;e Rcmarces 91 TalescoAsi:>rish34
~tr:v1~Ti1/esT1 lal-es cf Suspense 23
Strange Tales 80 Sap!Hmber
Wyatt>:arp26 Tales i<l kiorish 15
Tales ot SUspoo;e 13
Yoong f-kf11af1Ce 103 Teen "'Je Rcmaoce 84 Farte.stic Faur6
Tates., Aslonisll 15 t Fir31 MerveJ villain team-up (Cr ;:)oom and
TwoGuniGd 60
1960 Febr<!Bfi Sub·lkr«r)
Dec-ember Gunsmoka Western 72
Jcurfllly Into Mystary 65
~ Casslcs lllcstrated 1S5a tHAN 163) lncrO<Jil~ Hul<3
C"01SIT'(lke~n56
Rawtllde Kid20
Jolmey illc Myslery 75 .lx<ney 'rmo Vysre-y 84
..b.Jmey Into My5ttlry 56 &rangs Trtle;e; 81
RaiiJI1,de Ki:l25 I'Jd Co!t Oc11aw '0€
i<'J(! Cui OJ! law 88 Tales of Susperloo 14
Strange ~ales 91 Shang€ Tales IC~
Love Rorna~ces 85 hies 10 A&onsn 16
Tales of Svspense 24 Ta~ofSJSp911S9 33
Tates ot SUspense 7 T~t::~-Gun Kid 58
Tales to Aoonlsh 26 Tales to AsiDn1fl' 35
TalestoA~oosU
The Worl:l ft.JIJt.lfJl Us 30
fR"St Arrtm;m mcosturre
AI<'«::t 1962
F~
Classics i'luslrated 35 (HRN 161)
Strange Tales 73 ~ Can!!tsllcfi:Jur7
ilattle68 Gunsrroke We~ em 63 Fantast~ F·::~ur 2
Journey Into Wyslert66 tFr~SI<ruls Jocmey Into Myst!!l)' 85
Marcf7 Kid Colt OUtlaw g7 1
Gunsrrcl.e 1/edem 68 t Rrst LOO and Hel11dat'
Gl.JT\smoke Western 57 Slf'lnge Tales 92 .lltJney 1b Mys:ary 76 Rawhide K~ 30
Journey Into Mystary 57 Talesot&ispense 15 KJ(! Co!! Outlaw 102 3trang& Taos 101
Kid Colt OUt aw 89 l'a.Jss to Astonish 17 tO'.I€ ~mi1ri(,R~ 97 Ta~e.s ol Suspen9e 34
My Own RCli-E:nca 7.1 The W0<M1 Aloor<l Us 3' Strange Ta~& 92 Ta'es 10 Astomsh 35
Tales c1 Susperloo 8 Ta~s cl SUspense 25
A[Jfl Nov&n'JJer
TaiBsto A.ritorls'l B T<:_les to Aslonst '2.1
Journey 'ntc Mystery 67 t Firs;Anl:mar Fantastic Four 8
A{J'fl t Rrst Puppet Master an::l /\llcJJ ~1.a:.ters
Rawh100 Kk121 Ter'l Age Romance Bf
SlrmJB T:~le;; 74 GunsfflOI.ie Western 71
Sl:anga Tales 83 Two-Gu1 l<ld 61
'tN0.01J11 Kd 52 Tales of S<Jspense 18 l~eHulk4
Ba\11;69 F~hrr;~
t nrst Matai<J (Iron M2l1 p'OI!ltype) Jocrney Into My.;tery 77
Journey Into MY'i"'Y 86
M!y Talesbft£ien~h 16 tRrstCXIin
'la-I'Jd2G
Gl.nsrrlolmWestem58 TviO-Gt.fl Ktd :l9 l<kl Colt CNUJH I 07
3trange Ta,es 9'3
J::ltJtncy Into ~','f.lNy' S8 fOO Wor-d Amul"ld Lk;:)2 l<>ie Romances · 02
Tales of Suspellse 26
I<~Coi!C\rtlaw'IO
S1ra1ga Taffis H2
May l:f,BSkJAsiDfl'.h 28
l<Mf Rorren:cs 87 Tal.;~s o' Susp6nse 35
Gt.P${f(llo;e'.N~errfA
~C>.<n Ro'l1al'Ce75 'ales to AstOflSh 37
JJur'li.:!V 11lo My5iery 68 Farla&OC Four 3
Tales of Svspvf!W J Kd CM Outl&w 98 Ci>J'!Smoke Wes1er1 59 Cacember
TalestoAs>xish9 Slrnnqe TE.i<s 84 JJumey lnlo Mysle<y 78 Fan!EsilcFct.r 9
Jl..me TaesofSw~i7 Kid Co/t();tlaw 103 Journey lMo M~stery 87
St"df9' Tak)s 75 Ta-estoAs1Msh19 LM Romances~ Ra;mo;, Ki:13f
T',.,.Cur Kid 54 Strange ;-diH-s 94 Strange Tale£ '03
hi<
Wyatl E3<]l19 Tales of 3\Jsper-se 27 Tales of St. specS€ l6
f'llnazng PcventlJr"f'!!, i
Tal&S!o~29 TaiestoAs!onlsh38
Battle 7D t t-r·rt Maf"'o.I€M Aq4 wpBf'herc i0" Drooml
Class<cs Illustrated lo2a (HPN t6t) T:x-n /tr_...e Rona'JJ! 86
Mf .<Jtrney lrrtof.Ar'Jeryffi .•loni
1963
Gr..msmoke westerr: 59
~<-whlie K1d 22 J0Vl'neylrtc Mystery 79 Sl""'9" Tales Anrca ?
.burfley il'lto Uystery 59
s.trar'§e Ta'·es 85 Ra~"'d< Kld'l?
>.~ Cc~ Oct~w 91 J80081)'
TaJ~sot Suspense 18 Strarg;.> Tal2$95
:..ove Romances 88 T:JJ~::-, lo ,\<;i<)f!l;)h 20 Tales )f Suspenw 28 Fa'itastcFoJr 10
Vy Own Romance 76 Tales :o Astonish 30 t).Jr.srr;c-kB~9ffl74
Taleso!Suspense10 0!!1: rr.cred:b!e Hua< 5
'rr amg Adventures 2 !lp.r
l~l~toASLO'l£1' 10 Joumey lnlD Myswy 88
Gurts:rrd\e W•Jslem 65 Farnastic FoJr4
AUf)IJ!II Jx1mey !nkl M~Siery 70 +First Si'oH PqeAppew<JJ 1.1:: of S.iJ-M,tr:lB,.. K1d CotOLtlaw 108
Rawrkle K~ 17 K<JCollC<Jtlawfl9 C':ttl(lSfi"'Dk~'Nffi.Atn70 LrJ'J8 Romanca& 103
SlranGe Tales 7G D-ange -ales 86 lr1crec•t,le f-kJk" SI.J<:WQ€ !;-l€s 1C4
To~io-G'.Ml l<"d £5 ~ales or St.L.spM~ 19 t f1rs1 Appeararce of H.Jik, Bruce Bar:1er, T;-l(SO!S·IS~37
-3/!¥.;-nA~2't Betty Ross, ar-d ·3e'l. ThllfKler:dt Ross Tc'f:'~ lo AS·tiliSh 39
xxviil
MARVEL0018465
JA1774
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
13 of 13
THE ART OF JACK KlltBY
~ Jourroy toto l.lystB!y 96 Talesoi~N;eB5

5i!'i
C!Yl!aSilcF<l\Jrl1 SglFUiy4 f1les to AsknSl fi1 Ac/engeo;15
j Fi~llrq:losslble!Jan St-ange Ta1os 1: 4 Two-Gon K!O 7~ F'lfiaSicFw37
JOCrMylrto~8S TalesofSlspenso47 X·MB'JS Joo:10j' ~110 Myst."')' ''"
Rawhide K<l32 Taleslo~stoni5h49 Rawt.iOOI<>C45
AvgtJSt
Strar~Tales1·l5 X-Mon2 Sgt.Fury 17
A....-.gm7
Ta& ol Susponsa 38 Tales ol Suspense 64
TaleS kl Aston £;'140 ~ Dared<Ml3
Fantzs!IC FoJr2i Fantasti::FOUf29 Tales 1<> A~o:vsl16€
Marcil c.k::ur-ey lrto ~ry 99 Jouml!)' lrtoMystery 107 >.1§1'
Amanng S,.da:-Man 1 Rawh<fsKi:J37 -~4' A,e,..16
Fantasfi.:::F:::cJr 12 Tales ol Suspi>'\00 48 5<}. Fu')' 9 Fantasx FoJI" 38
J f-t.& awe-a·s ·r f r£t Ma!VU cr~r Tai<Jstoi\sl00sh50 Sttar~Tales123 ~IIC11o~l16
Gur~moke l.'fflsterr 70
SUrr.mer Tales of SUsper>:o 56 Kfy 00
Fal1tas:icF""r,!m;al1 Tales t o - 5 8 Sgt FU!)' 16
Kld C<li Ou!U,.t1C9
LO'-" Romances I04 1964 ~ s7arQO 1ales 1 32
Tolos Ill Suspeose 65
Strllf9' Tak!s 1Cil
.W>wfy Av~:.r~ Tates ro Astor:is/167
TatesoiSuspH18039
Amadng S?Oer-MI¥1 8 Fartast~c ~00f3J Tl'ro-Gun K~ 75
jF181"""M'"'
Tales ID Astlmsh 41 ~venQ*HS 3 him9y l'i"'ro PAy~ery 108 X-MM11
TIO>-Gun Kd 62 -Frur22 5<}. Fury 10 Jll/1e
Jovrrey Into .iys!e!y 100 Tales lo Asioo9159 Avengere17
lpt:i T.,.Guf1 Kid 71
Ki:JColiO;;tlaw 114 fanfasoo Frur 39
Farr.astJc Fou" •3 x-~Aen 7
t Rrst Watc1er ar~ ned Ghost ~FIYY5 Joomey !rio Mystery 117
Jourreylml l.'ys1ery91 Strango Ta"'' 116 a:toi:lf!r "''IA1ide Kid 46
Rallll~e Kld33
Tales of Suspem& 49 Avengers 9 Sgl f,J)' 19
S!r.l"JS TalliS 107 Td.les to As!Mttli 51 Oar€rlevil4 Sllarjje Taies 133
Tales of 5Lspenoo40 T'loiCl-Gu'1Kid67 FantasOC Four 31 rales o! Suspense 66
f'11ns fo A..<'it:'lrlSh 4?
X-Men 3 Journey lrto l.ly~ery 109 Tales to Astomh 68
jF·rst- Sgt Fury il
,l(ar ~
FantaS11c Foer 14 ~ S~rang& Tales 125 A¥.r.gen 18
Farttastic F:u 23 Tales of Suspe= 58 F.-Fw4C
Gunsn"dw Wes:ern 76
..b!r'Bj Into 'lyslery 101 TaiBs1oASIOrishOO JccD"'f bto Mystery 11B
,oorney 1n1o Mystery ~2
Rawhtde KiJ 38 l.Jover.J:'ff Kid Co.\Outlaw123
Kk1 Colt Outlaw 110
Tales ol Suspense 50 Sgt Fury 20
Love R:xrarlO'?S 105 A""r~rs10
Tales to Asklnish 52
Sgl. Fury· FMJtastt:; Folr 32 S!rarga Thies 134
I F~r~ Eled< Kn>gn
j Rrst Nick Fu')' and his H0111lif>;j Comman- JoJ!nO)'Intol.l,~ery 110 TalesofSuspense67
dos ~ Kid Coli Oullaw 119 Tales toA~on.n 69
Strange Tales 108 Amaz ng Spider-Man I 0 Sgt. fury 12 Two-Gun Kid 76
TaiBs of Suspense 41 Av~ngers 4 Strnnge Ti1~ 1?6 X-Men 1?
Ta~ iJ Astonish <3 I Fltsl S:>er kJe Captln ~-C'16rica Tolesoi~S9
T'No-G<.~n Kkl €3 Farr.asx Four 24 t Rtst Jarvis ~ne 8-J.tler ~
Journey Into Myste)' 102 Tales to Astooiot 61 Avengers 19
~ tFr31 sr Fantastic Four41
Fantastic Four 15 Two--·31111 Kid 72
KiJColtW!aw 115 X-Men 8 JOUrT1€ylnlo \,lySI€ry 119
-llcrooy Into M)ull!y 93 Sgt. Fury6 Hirst Warriors Three
Rawhide Ktd 3' S!rangoTales11o lJrx:ernb& Rawo<!eKi:J47
Strange Ta.es 109 ;aJ>"~<: ot Suspente 51 AI'BflQefstl Strctnge Tales 135
T~le<Of Sus"""" 42 Tales to l\storlsh53 Darl3de'JI: 5 I First Nid< Fury Agem cl S.H IE l 0
!!& X-Men4 Fantastic FM33 Tales Ill Sc,.,.,nse 68
0 '1n!asllcCoor16 ; firm Brolhertood ol Evi Mui<:v'ls. Scarlet Journey l'to Mystery '11 TiJles to Asl:onlftl 70
Gurt:.:no~e We&an 77 Wilcll an:d C\JICksi!ver Rawticll 1\<J 43
Sey:!ember
JJu!ooy Into Mystery94 -'10111 Sgt Fury 13
StrarogeTales 127 Avengers 20
t<Jd CJ1 OL1law t~i OarOOM 1
Famastic FO\Jr42
LO'..e Romances t06 ! FirSt Daredev~ Taleso1Su""""""60
Talei: !o AEtoll::'_.h 62
Journey !roo Mystery I20
Sgt FLry 2 FantastC Fm.. r 25
Strange T~es 136
Strange Tales 110 Joorr"'y Into Mystery I03 Summgr T~es of Suspense 6ll
Tales of Suspense 43 Rawhice /IJd 39 Fa·llasffG Fl}ljr Anrt;al2
Strartge Tales 119
Ta 1tffi to Astonish n
Two-Gt.:rt i-jd 64 X·Men 13
Tales of Susperse 52 1965
@fM/
Tales 1o Asoosh 5d Jan(jiVj Od<iJ<lr
fer.:a~tk: FJUr 17
Journey Nc
Raw11da Kd 35
'""'&')' 95 ~
A...engersS
A~engers 12
Farrta:>l:lc Four 34
Avengors 21
Blast-01!1
1=antasticFoor26 ,Joorr<y lnlo Myotwy tl2 fantasic Foor 43
St~nge Tales -(11
TalesoiSLsp<lnse "4 .kiL rrey Into Mystery 104 Sg: Fury 14 Jourrey Wo "ystary t21
!'JdCoHNiiaw 11€ Slrarge Tales :2S Sgl. Fur123
Seo!811'be[ Tal~ :)1 St.:spense61 Slrar9'J Tales 137
3gt Fcry i
AvengBrs 1 falosofSuspense?O
:::.FlfStA'.cef1!;ars
Stta11ge Tales 12Cl 'aiBs:OAstonish63
lil""oiSuq~s:J X-Mao9 Ta16stoASjorrtSf 72
~artlstc Fcwr 1B
; F<r~ SJP'< S\nJII Tale:s to Astr•Kil 55 Rtbtvi!/f _,_
Jr>t1rney lntc '-'ys1ert 96 f\YQ-(~un Kld68 A'.-ffgers 13 Men<)efS22
Ki:J l;o!t(l\rtlaw il2 H1en5 Fal•t<J!:.:licFot.' 35 FantasticFour44
Sg! Fu'y3 ,;_"'!"! JOJITie'y"lntO M<t&er( 113 Journey Into Mystery -22
S'rc.rqe ~ales 112 Dat!XiB'.tll? Rawfllle KJj 44 Sfran;je Tales 136
Sospen.._"e 45
-a:Ji:>..-SC' Fantast'C F"our 27 ~ "JrY'5 Sgt Fury 24
-ale., :o Astor1sh 47 3traoggTales1Zl
""'"'' nto llys:"Y I05 Tales oi SuspMse 71
Twesof~62
....wo.-G.tn f<Jd 65 Rawhtde Ki:i40 T.res to Astcnst! 73
Tctles 1o Astorwsll64
X-W'ff'l i S:range Tales 121 Hlen14
l >rst Prof X, Cyc<>ps. Beast, MJel \!3Nei Tales o1 S!Jspeose 54 l.Urdl : F1rst Semi"'*<
Gir: Iceman ard fJag'sto AV&f1913fS 14
Tales to Aston1Sl156 December
Ccroor-:~ ~wo-&mK-d69
Fantastic rour3€
::: Intastic Four 19 t R'StFnghtft.l Four Wizarc ar,d Paste PO( .4'ter-ge"323
My Pele Fl3f'1tastic FOt..r 45
,ocrooy ln!O Myst"J' 97 .Joutwy Into f.(ys!ery 1; 4 t First lntnJfnans
A~~!t~ Sasters of Evil
5
jTa~s c! As.jard series beg.,;
KlE1CD!tO!J\i;!W111 JOUrTl€'/ lnlo Mystery 123
RawhideK~JO
Tal€s ci S;spanse 4-6
Fanasoc four 28 Sgt fc~ 16 Sgt. ruryzs
Journey lntc .. '/Sier111JB Stn:r:g-e Ta.es 12(1 S1ra'19" Tales 139
MJI.;yrJ[)r?{ !GotMOuti:w.'117 !ales ol Suspense 63 Tales of Suspense 72
Avw;gers 2 Tales tl A~~O'l'f:ll65 Talesto.I\&.()(JSh 74
I h'S: Spce Phan!Orr Tvte-Gur VJd 74 X-Men ·s
Fa:Rasbc.. FoJt 20 X-Men 10
MARVEL0018466
JA1775
CaseCase 11-3333, Document 78-2,
1:10-cv-00141-CM-KNF 01/26/2012,
Document 95-25 509518, Page21 of
Filed 03/25/11 1001 of 5
Page
EXHIBITY
JA1776
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1002 of 5
Page
JA1777
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1003 of 5
Page
1· ,-,·r:l"11l r -,-·r·l·'~ r~ r:r·, r_\, /.' L_r Tr:r J.t. h k•cL'•i Ci•Lt, 1 ~-11J-. "'"' •·r"'t-"
J'')':-. -I'>',A.j.: rc"t., ~~:~'·d-;--·,; 1,_,_<,,- Bt<Jtv,J;,_,\'.:. lrr,H Ha,(·r9'' iJ'- .:'?f,J·l US.!,~~.-~ 4.<co-c:;.:.:;
Frrs' f'"':t:n·") • Prrr,te.) 111 ::=:11,+1·<
w~~~~~~~~~- -~~~~
r-
~-
I DfDIC.UED TO: [1
j HH,rrt-Hr 'l', ,c,rq,~tdaugtr'L'Tr,.,,, 1 ~~
I 'l 1qjy ~~P~III. ~llt StiCK, lrftl' frqo''l' Oft fl, f<ll[,
l cr,rrllr:eo I he{,-~ yo<'• II w:.nt tc, recld a lb•. OW' dn';' 11
lL . ---~
COPYRIGHTS:
An1Hno:-, BaZc<Oi\..."1 Boot:;. 81'cJ Ug!y Bornbast. Cal Cuna, Capt Glor:,r Captarrr Vrctory ancr lht: Lrghllw:·,'
Lad',' Cl:hrton MiliCh, Cybel":, Darruo,_ Drurnr1, Dark [Hj!T,a'•''- De-'ll's Art,ccv-...-ate_ Eyes of Marc:t-r, Farr;-;t,
Frel·ze PelilceL Fnendc. of F;md<Jrr, iHI Galr.xy Green, Gild,-,, tmJP~-truct•blt: Jayne- Davrdsur, lnsectr•no
Ja•;c,,, 8VHKhdrrJ Jet f~rder Karren Kl<o~vus Lab-_,r L~iunr:~,, MaraurJH Mekanr-Krrrg. Orcs, Ornrz, Rahllilir
trw Invade• f-luag RohDI. Sr:J-11Zu1tl ~1elr-,el Sr!vPr Star, Sk·_1 Masll"rs of ti'.e Spau~ force Sl>:!y~.<m,~ Slond
GlrUpr Ttre f:xt,l-xler Tire 01!-,erc Hrur,der Fr:Jr_-,t, Tr·,,mder Hunters, Topps Villa•ns, Wcmror Won-,Efr,, W!117
Kvl 1M & fJ)?flU6 Jack l<,rrby [stale
Ag<Jtho Harl--.ncsc' Aliua Masters. Ant-Mar· Ardrrra Arn11T' Zoia, Baron Zemo. Bell)' Ross. Black Bull
;-, Biac;J._ Panther Black Talon. Blu£· Dramor.d, Bucky_ Capta:n Arnerrca Chrlr. Crystal. Deslro)'e:, DevranLs
Dev1l Dmosaur, Don Blakt:o, Dorrs Nelson'V\'risoro, Dorms Dr Doorr,_ Dr Faustus, Enchantress, Eternills,
Falcor-,_ Fant<:tslic Fr,ur Fnghtful Four. Galde'.us Gril.n',-Mdrr Gourr._ Gorgurr_ Helct_ Hercules, Hulk, Hum<orr
Torch. lcemar, !Karrs, lnhumrHr~; iTntorr, lnvrsrhlo:- G1rl Iron Man, Jane Fosret Jrmmy Woo_ Karnak,
Karnrllrl, Ltbertv Lt:gr;jfl. LOCkJaW) Lo~.r. Magnelc, Mc.rgo Darnran. Marve: G:rl MeduS-ct, M,llre the Mod('l
Mrracle Man, Mise: Amem:E, Mole M2.11. Moonbov, Mr Fantastrc, Odrn, Pa!rrot. P•ldorr. Prrmus, Punrsrrer
Rarroac. Red Raven, Red SJ.:ui!, Rrngmaster, Ronan, S:tguur, Sandmarr. Scarlet Wrtdr_ Sentry_ Scrsr
Sharon Carle!,.Agf'nl 13, Sri, Silver Surim. Skrulls Sprder~Man, Sle•Je RocJers. Sub-Manner, Suwart Tann
Nrle, Thrn Man Thing, Thor, Torn, Trapster_ Ulrk, Vrs1on.lfolstagg. Wasp, Watcher, Wrzard, X-Mct-., Yellow
Claw TM & @2006 Marvel Characters Inc
Aquamarr Beauttlul Dreamer, Ben Boxer. Bemadeth, Brg Barda Black Racf'r, Boy Commandos,
Brarn•ac. Coun', Orc~gorrn, Crazy Quilt Darkse1d Deep Six, DBmon, Desaad, Drngbats of Dang.:or Slreel.
Dr BDdlarn, Dr Canus. Enw;sari€;_;, ForBver People. Four·Armed Terror. Glorrous Godfrey, Good,, Rrckels,
Grandmaster. Granrr1• Goodness GuardlaT<. Hames, In T~1E:- DBJ!S Of The Mob. Jimmy Olsen, Joker
Kamandr Kantc. the Assas£m, KolJra. Lashrrrz., Laura C-r)rT\IJd)i, Lex Luthor. Lrghtray, Lupek, Mad Hamel,
Manhunte1. Metron. Mokkari, Morgan Edge, Mr. Bleak. Mr Mlfacle, ~~ewsbov Legron, Oberon, OMAC.
Orrorr. Pengum. Professor Bram·....-ave. Archard Dragon. Rrp Carter Scott Free. Simyan , Sonny Surno
Stompa, Superman, Trgra, To.d the Wurld Killer, True Drvorce Caseoo. Vrrrnrn Vundabar. Wrllte Walker
Wonder Woman TM & r~QOOC DC Com res
"Back·Door Love", "D1Herenr. ·'Gang Sweetheart', "Mama's Boy' "lhe G1:1 Who Tempted Me' Amazon
Women_ Blue Bo!l, Frghlrrrg American. Green Sorceress. Mother Delilah. Sa:1dra Syfvan_ SpPedbOy
S!unlman. Sluntwoman TM & 1f'2006 Joe Srmc•n & Jack KnbJ'
Caplatn Ntce TM NBC· TV • Hrddf'n Harry<(· Ruby·S[)Bars Pmductror.:, • The Prrsoner ~'lTV • BlocVJnd<k
TM & © Grl Kane • Acwmpany:ng rllustratr:Jno are @ Crad;eo Magaz1ne • Dark Hor·se Presents IS TM
Uark HorS-€ Comics • Baccnus and assoCiated characters are TM & <f' Eddie Campbeh • Jus!1ct Mach!nr-
~' Brll Remhold • Heliboy TM & ~J Mrke Mrgnola • Pupej'e TM & ©2lY.Jf Kmg FeaturE'S • The AvenqeT H!,
& ILI2006 C-onck r~ast Publtcat,or.:;
SUBMIT SOMETHING, AND SUBMIS510H GUIDUINEI:

Submit artwork In one of these forms:
GH fRH ISSUES Of HIE JACK i) Clear colm cr biack·&-Whik pt--.otGcor•ec
21 Scanned rmages - 300;::;pr IBM c;1 Ma-::,rr 1oc;!;
KIRBY COLLECTOR! 3_r Orrgmals (care!ully pad:ecl anci rnsured'
Submit articles In one of these forms·

Tne JacJ.. Kirby Co/lecrcr rs a noHor-profT!
11 Typed O' laser prrrrted pageo,
pub=ICat•on_ put together Will! subrnrs.srorrs from
2) E·r-,;_,,r tc.- t'Ncvm.• rrow·l'i ao:.com
JarXs lar,s arc.•und the wvld Wt: don't Pd\-1 l01
31 AL ASC:IIIrle_ 18/A 0' M:;c1ntosh lormrtr
submissrons_ b>)l rl W'-' p:rnt an or artrdes yo<)
41 Pho!ocop:e•. ol prevro.;~ly· ~·rrntf'd ar1;cle~
sub:-;],(, wto'lt senrJ you a lree cr;pf of tiro'! rS~'tiC·
or e,dend ·yuut subscrlpt:on br one issuco Sc' g_et
OK
JA1778
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1004 of 5
Page
AlPHABHICAL1NDfX Of NfW
TABLE Of CONTENTS KIRBY ART !H THIS 'IOlUMf
300K PAGE
l , f,
'' I
.·., ·v ' 1 •
fHf lACK KIRBY (OUfCfOR 1120 THE lACK KIRBY COlUCfOR #22
' j .• , • • ·-
; I ' - I ~ '• I : '
'. \
; ; I : ' : ,t • l '1 I ~
: :, I : ,\_ , , •'·' I ' ~ \ ','' , . ','' • : . 1'' , ', l 'l·
' J: t
;, \' .. ,,
.:: ; ··-. .·_, i'
- I
·-•. ' +' ' j w~ : )I I ' 1 ! ~ I ', ' ' , 1° >
, ,_. "! • .
·I .l .- • ' '1 '1 ,

" j I C> ' , i '>'f , :!,
'· t : '. ' ' ! · ] ,t 11 . , :, . ; ,, l '•' l :: ' , • . '"~' I ; r. ~, 1 1·!, ,-_ 1 •• ; J~
I~
I' ' ·-'
, ,,) 1 •', 11 I l,, / :. -' I •· '

.. ,
' . '., ; ~ '_ : I t I I ' J . ;,•,\
-; q
;: • ,
j ' . ,:•·
]'
! ~ ~-
~ :..'V i [+( ~ ~ ~- ~ l \
I)(\ t-.
1
.
" :.!<" 1 ~ -·~ I ~' l ;
; I ' '. . I : " • ( lJ '. I ~ -. ' . . ; I - \ II,

• •' •• . · , ' t •,l : o• < / \ (,
: - - ~ ~~· • l . · t· ( , ~~ ~~ ll • t 1:;·, , _ ' T· ! . It • : ~I j 1·. : · • 'I :

l ; ;__ • ~ ..: :.. " ·.; • :r i
[Hf lACK KIRBY COllECTOR #21 ' ~I . ( l ! , ' ll j t' ':t ·-
:·.1 . l•l
., ,:,
L·
:; t l
I II
._.., . ...:. ~. ~ :( ,,. : j ·. .I
•. ~ ' 11: ; ( t '·I I!-, : ' I I I . • I \ ._
' .,, ' '• l '
.; . ·. ·• ' .·-
,I
-~. r 1 , ,
,,
JA1779
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1005 of 5
Page
!'hev al~olw?(an l'"ltdUl'tlllg dangtTil\l.~, tnrbiddtn <·:-..perinwnts. This
bring~ the Sentry. who fnmcs to \\ant tht'Hlll! tht> ri\k and danger, :mJ
THAT WOULD Bf IHftUMAH! attt·mpts to halt ir. but he arriH·~ ton late. l :pon this rcali7Jti on, the
)ark', [nhwnan~ pretty fllUfh srt•med to lw <H ie ot'hh evolving St'ntrv warm tht•m th3t tht'v 1viiJ be ~hunrml hy their t(>l],,w man; in
,,e;!lion-;. It began ~~·i t h rmt' ,·h;Jractt•r. .\h·Ju.'k!, en·ntuaHy \t>gueing t'ssen:·e th~y on• no longer h;II!Jarl hut lwn• m;td~ th('m'>t'lws In-human.
Ill!<> the lnhlltl!;lll~ ;tlJOot J \"('<lr latN. l!n,tlly leading to thPir llrigins
.\s far as the Sentry i\ cu nn•rned. thi, wa~ a tailNI Kr~r '-''<perimrnr.
.1hnut m o l<·ars later.. \l!lH;ogh jack did ~;ive J. brid.one page Sl'mi- Lee, fi1r what~wr rc·ason, l'hange<> tlw basic~ "fthe '>tory. The
urigln in Ff' ,.,Hi, h•· would rvt'ntually expand orl.this tt> giw ;I mort- Sentrv is unknown ttl the lnhumam; it is he who irliont\.'> thrm ot
dl'tJtied "rigin Jttl'r th e rrPati<m of one ot his other rJct-~-the their link to the Krre fo r the first tinw. It was the Knee who \eparated
l\rt>l'----<'0ll!;ecting thr Psn rar<'s through qorv. jark introdurt'd his the race frnm the other races. Thf' Sentry is Llwre to nbserw tor tht'
tJh on the !nhll111ans in the hark-up str1ry section <lf lhor (ald10ugh
1\.rt>e. H1· witnt>sses thr rt-sult'> of the advanced rart>'s exptriments and
tlwrt-\ L'\id;:nn· tu \U)!gf~t that Jack origina!ly Jid one long story filr is pleJst·d: dubbin).'. them lnhumans, !w (onsider-; the Kree t>xperiment
the first i~\llf nf a prop.lst·d l~ltiOs lnhumam wmir , :md wht'n it was to he sucres~ful.
\h elvt-J, tht' \torv was 'p!it up to make these rh,•r hark-ups}. The Thus tor the -;ake ofJram;l (or vanity'?), Lee tums a tale nfhJreboding
,tury prill!ed hl'~t' \\"JS originally published in Thor 4"147 and i~ part of into a succe~s filr the grt:~rer glory of the advancement of mankind.
b ck\ multi-part lnhurnans origin story. Wht>re Kirby's Srntry wams. Let>\ t>ncourages--two rakt'S on one -;tory.
.-\~his margin notr\ bear out, jack intended t()r the !nhurnans to be Was it that important to c"ha nge the meaning ofJack's story \imply
.dr~ady h1lly al\-~ff of rheir origins. They know rhat they are advanced tl1r thf ~ke nfoptimistic drama? You be the juJge. If :mything, it
lnm1a n~. desn·nded fr<nn the Krt>e (through U:·('hllt)!ogy). They knew dearly shows twd p<>ople "collaborating" in dilft>rent directions!*
·.~hJt rhe St>ntn· 11as and hav.: dealt with it hrtc>rt'. The Kree ex periment
dwt t hangt'd h~mam hto!o(afl w go awry when the advanted mc-e ~paratt'd (.Vnt issue: l'arl fwo ,Jf)vftkt''s st'n.nji1CU.\t'S on thf dij/erem:es and •imi-
tht'm~l'IH'~. r:lth~r than dev'dop along with the n,m-advanced races. /,mtti'S in Si<in :~ ,uul /;ltk'r ~·crsiom of ( ;aJactu5 and the Sih·er SurfaiJ
!(•aturt d artist. One ran imagine Brodsky offering Kirby regular work
at ( 'radr'd, hut hy the time he l'<mtributed his one piece to the magazine
Kirbv was husv drawing western, romance ;mJ monster comics t("lr a
nl:'wly reinvigorated Atlas, and ju~t a tintr Ol'tr a year away !Tom creating
the hmtastic Four, rherebr ushering in the :V1arvd Age of Comics.
Tht> "pane! shows" oftht> title reftrs tn the popular game shows of
the era like "What's My Line" and "1{) Tt'll the Truth" which ft>atureJ
guest celthrities \itting on a panel. Kirby w;ls a tine cariraturist, and in
this pit>n' he was ahlt> to work in over a dozm prr>on alitit's involved in
frantic Kirby action, inrluding Rork Hudson . jackie< ;!nson, ( 'harlton
!leston, I >t-an 'vhrtin, Ed Sullivan, St('ve :\Jim. and even \\'alter ( ·ronkite.
Frank Sinatra, in hi\ skinny days, appt:ars in J stretchy pre-:V1r.
Fanta\tic canlt'o. I. ike his From !fa( to lmaflily ,..-nrk. Kirby inked his
own ~rt nn duo-~hadc· paper that prm·ides c;u~l'ra· rendv rros~-hJtching
t<Jne~ when a (ht•micll is ~pphed to it.
.-\s Editor-in-Chief nt'Crrlt'Krd from l:-IHS to El90, it wa'> my
t'xtreme good li>rtune tu work \\ith arti\ts iikr Sevtrin. )H' \e Ditku.
Dm1 :\lartin. (;en~ Colan. Jnd "ilwr comi" tavoritt'S, but it was my
KIRBY GITS (RACKID! li1• .\fort ](<dd

main regret that I cnulJn·r get jatk Kirbv b8ck into the told.
F()nunait>Jy there :.tre plrnty ofl\.irby pag<'s existC'n! that " ·ill mntirHt(·
w amuw and L'ntertain m and hlr ti.nurt f(f'llt>r:Jtions to enjny. *
<Jm'lr ha~ ah>avs b~<'ll ~n ('!tment of his stcJr}klling, evident in
H 1hrn•~t <'Wrv n;mit 1\irhvlt.l\ dra\\11; t>sp<>rially inrmttrast Ill grin l

"r tell\<' -;iH;atiPns. \\'hilt- nwl\· an· aware nfhh v.-ork in .Vat Brand
,'i hh :1nd Fr,Jill lim· to /n.-.:,ullt\', thl'rf' j<; a :).page _i•Jb th at lu :; m·ver iw.t:'n
!i)it'd .lll\ \\ li Hl'. Th(' \tory :t ppt>:lrfd in ( rwk,·d lvfdga:mr ::t14 (June
i'l<,rfl. :u1d j.; titled "t)ld [, lP:I\ 1nr '\<''-' P~nd .)ht!"·s." !twas m n~t
~ik,• ll IHJttl'n In· Paul! .1ikin. who r <'~nr~irat<·d the .;rtid r manv titllt~
:•·. <cr lnr 1 !'il t lr./ and tlllwr \1' < ,,•n t Lll;Hn puhldwr-; ''urn· in~ to <' 'ij!tl<llizt' <'ll
I I ) r:t: o ft hP li r\ 1, .t: td ].,II ~t·st la \1 ill~. l:i ( ra.-J.:uf. \\ hk h Hl J ~)<ji) IS
,_,_ :, hrMing ;,~ .[l)th '<':J f. lit dll- ia!t' l;IS'h. \\ ith <'O!lllf S \:t l~~ !!l a majnr
-it:r 11p. nH;~t .t rti\1 \ ·~; >und ilwmwh co; ll!h!rn·nLplo: ,.d .11Hi I\ l'rt' trrin).!
', .:rl 1'"'k l,ft ,·:t···,·r :h,·l «nlid li nd iLl ·HH(lllll(' \tb> .l:hi \l.~nel
1
.q) ,j ,-, ,r.ttfn ':<ll l\rn,J,h· :q.lpr•ladJ<·d nwn·, ~:r :lJ.!:tJinl' pui>Ji, licr tZo lwn
\p;•llll ill i ~l i:- ·.·. nh .\lll<ka fqr :t .ILd- ii kt• tl l:t>::ll.i nt · Jnd 1 /·,:,1:,·.{;::[
-' :r-. rd (a_,,.,J ·. ,·!til_, · c•.·-r d.!h' ,,ll ' hn uty \brr h l! J:)i\.
<!p Ji.J\k\' '- ' .!' ,.,jj [,•l" !;tr t!!L' l]f\1 1\\o ' '',If\ ·Hid <"111f!l lll~d 11\.JJJ\" .-\ tJ.i S
I : ,~j ( \ . 1~ 1i ~h i:)! !! ~~Hn~ \ ~ i iJ!,lln\o JL 1·· 1rn•·,_ Li!}~ -P. \\-~)lq·rtP IL f lt~;n h.
'.C <'l'!t. B ur~'''· .<It"'''' 11 1d 11111\l ~ ~- ~l :•bi_\ !elm \t·l <·ri;:. 1d1o ii \till <he
i } 'l
JA1780
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page26Page
Filed 03/25/11 of 1001 of 10
EXHIBIT Z
JA1781
· ··-----·····----- - - - - - - - - - -- - -

Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page27Page
Filed 03/25/11 of 1002 of 10
• I
!HE
.. ~
CC/~~6CT6!?
• ~ I
)
c 0 L L T 0
JA1782
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page28Page
Filed 03/25/11 of 1003 of 10
0 L L 8 T 0 R
CEU;BRATING THE LIFE

AND CAREER OF THe K/!VG.'
1
K 00979
_,.
.,.-~-. w-nntW:"""<-Wr'l'
. U..,&NmllliOt1""-iiE""--""'",..'"oe""'w""'u',...""_"_",_ _ _ _ _ _ _ _ ,____ . --··· JA1783
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page29Page
Filed 03/25/11 of 1004 of 10
THE COLLECTED JACK KIRBY COLLECTOR, VOLUME THREE

A TWOMORROWS PUBLISHING ~ • ISSOCIATIOII wrTH Ill!: KIRBY ESTATE mm:o BY JOHN MORROW
OCSUj & LAYOUT llY JOHN & PAMELA MORROW f'ROI)'R£AOIJIG B'r' RICHARD HOWEll COVI:R coulll BY TOU ZIUKO
C!llfRMUTOIIS JIU AMASH D. BRUCE BERRY STEVE BISSETTE DAVID HAMILTON RICHARD KOlKMAII
BRIAN PEARGf. STEVE ROBERTSON STEVE RUOE MIKf THIBODEAUX SProAt flWII<S ro MARK EVANIER
RANDY HOPPE RICHARD HOWEll ROBERT KATZ MARTY lASICK UARK PACELLA MIKf THIBOOEAUX TOU ZIUKO
THE CONTRIBUTORS FROM TJKC #13-15 & ~ COORSt THE KIRBY ESTATE FOO 1lOl COOIIllll«i SiJOOlT oc !U! ElfOOS
Th•s volume reprints issues # 13-15 at The Jack Kirby Co//octor, plus new material
© 1999 TwoMorrows Publishing, 1812 Park Drive, Raleigh. NC 27605, USA. 919-833.-8092
First printing • Printed in Canada
DIDIUTED TO:
The thousands ol devoted Kirby fans. whose support
and encouragement turned The Jack Kirby Collector
from its humble beginnings into a magazine worthy of
Jack's memOf)'. We couldn't do ~without you!
COPYRKdiTS:
Absorbing Man, Ajak, Arishem, Balder, Barney Bates, Boomerang, Captain America, Celestials,
Colossus, Crystal, Deviants. Devil Dinosaur, Diablo, Don Blake, Dr. Damian, Dr. Doom, Elek1ro,
Enchantress, Eternals, Fandral, Galactus. Giant-Man, Googam, Goom. Green Thing, Haag, Heimdafl.
Henry Pym, Him. Hogan, Hulk, lkaris, Iron Man. Jane Foster, Karnil!a, Kro, Laufey, loki, Mangog, Margo
Damian, Monolith, Monster in the Iron Mask, Mr. Machine/Machine MarVX-51, Mr. Porgia. Mummy, New
Seed, Odin, Pandora. Plunderer, Rawhide K1d, Recorder. Red Skull, Repficus. Sazzik the Sorcerer,
Sentry, Sharon Carter, Sit, Silver Surfer, Spider-Man, Sporr, Sserpo, Stone Men From Saturn, Surtur,
Tagar, Ten-For. The leader, The Monster, The Spider, Thermal Man, Thing, Thor, Thorr, 2001: A Space
Odyssey, Ulik, Vision, Volstagg, Wasp, Watcher. Wrecker, Xemnu the Titan . Zarko The Tomorrow Man,
Zuras TM & ©Marvel Characters, Inc.
Asmodon, Batman, BrOOklyn, Count Dragorin, Darkseid, DC Thor, Demon, Desaad, Dr. Fate, Farley
Fairfax, Four-Armed Terror, Glenda Mark, Goody Rickels, Green Lantern, Guardian, Harry Matthews,
Hunger Dogs, Infinity Man, Jason Blood, Jimmy Olsen, .Kobra, Lonar, losers, lupek, MerRn, Mr. Miracle,
New Gods. Newsboy Legion, Orion, Pisces, Randu Singh, Reincarnators, Richard Dragon, Kung-Fu
Fighter, Sandman, Sandy, Soul Love, Stone Sentinels of Giant Island, Superman, Toxl , Wonder Woman
TM & © DC Comics Inc.
Black Magic, Starman Zero, Strange World of Your Dreams and afl associated characters are Q Joe
Simon & Jack Kirby
Bat-Guy, Blackmass. Bloody Marrien, Captain Victory, Danny Martin, Dr. Royer, Future Mom. General
Hascomb, Genie. Holly Martin, Kfavus, leader Guy. Ronin Rocketeers, Silver Star. Sky Masters, Solar
Legion, SPQR, Tarin© Jack Kirby
Race For The Moon © Harvey Comics • Honeycomb Kids 0 General Mills • Rincon and all associated
characters © Genesis West • The Prisoner is TM lTV • Thundarr TM & © Ruby-Spears, Inc. •
Thunderground is a trademark of SEGA • Dr Wonder is© Old Town Publishing • Prince Valiant is King e
Features Syndicate
Nl artwork rs © Jack Kirby unless otherwise noted • All editorial matter is© the respective authors
SUBMIT SOMHHIMG, AND SUBMISSION GIJIDEUMES:

Submit artwork in one of these forms:
GH fRE£ ISSUES Of THE JACK 1) Clear color or black·&-white photocopies.
2) Scanned images • 300ppi IBM or Macintosh.
KIRBY (OLL£(JOR! 3) Originals (carefully packed and insured)
Submit articles in one of these fonns:

The Jack Ktrby Colledor rs a not-for-profit
1) Typed or laser printed pages.
publication. put together ~ submissions from
2) E-maij to: lwomorrow@aot.com
Jack's fans around the world. We don't pay for
3) An ASCII file, IBM or Macintosh formal.
submissions. but il we print art or articles you
4) Pholocop~es ol previously printed articles
submit, we'll send you a lree copy ol that issue
OK.
or extend your subscription by one rssue. So get
creative. and get wrrting' And as always, send We'll pay return postage and iflSurance for
us copies of your Kirby art! originals - please wrrte or call first.
K 00980
JA1784
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page30Page
Filed 03/25/11 of 1005 of 10
ltllABETICAL INDfX Of MEW

TABLE Of CONTENTS
-
-ART IN THIS VOLUMf
Introduction by St m Bis.!dtt ....... . . ... 4 SofT}(' Observations on Thor ............. 96 Amazing Aihrnturn
Foreword by jim Amtult . . .. 7 (Marvd$ answrr to Supmnan?) t6 splash page . ......5
New Portfolio Stction ........ .. .....8 journey Into Mystery JIOI Per1cils . . 98
(a hy issue. btjorr rnkJI} Captain America
Late-lkea.king Kirby News! ..... . ....26
J103, page 9 pencils .... . .. ...._.,;8.
Ominous Prophesies . 103 1103, page 10 pennis .. . . ..... : ...... .9
THE JAa KIRBY C<ll.KTfj IB (how Thor umnects to New C:ods)
1210, page 16 pencils .. ....•.. ; ... :'.'16~
(Supt'm:ltural issue) .... ·., ...... . .28 Pros & Cons of Vince Colletta .........•. 104
(jans' vu•ws of a much-mal((',nrd mku)
#210, page 17 pencils .. ...... :., ..... ,m'·
The Kirby Ftles .................... . .30
(an o•uvtew offad's ocrult thcm(s) Demon
Kirby As Artistic Craftsman . . . . . . . . 106
(a study of Kirby's Thor energy) #I, pagt> 5 pend Is ... ........ : ......,-u·.,
4.
The Golden Age Vision .......... . 33
(a look at S&Xs suprrna/1Jiai Juro) The Gods & Jack Kirby . . . . .. .. . .. . 109 Eternals
Monsters from Tales ofSuspmu . 37 (a Chmtian srdig10us view a{ Thor) #4. page 5 pencils . . ...............18
(relive jack's greatest Mo11$1u yams) Walt Simonson Interviewed.. .Ill
#4, page 6 pencib .... ...............19
Were They Prototypes? ................. 41 New Gods For Old . . ..... 116 Kobra
(one collector's wncmit about dralm) Uad learnfdfrom Thor's mistnlcfs) it! unused (inked by jim Amash) ... , •.• ~ • •_:']. .
Dick Ayers Interview • , ................. 42 End Of An Era . . . .. 118 Machine Man '.''·'...;·'.
(the vetnan Kirby inllrr speaks) (the original vmion afThor 1169) #6, page 6 pencils .... . .... ........ ~:.fi;
The Demon .... , :. , , .·,>•· ............. 46 Now You've Done ft, Kirby! ............. 123 #6, page 7 pencils .... . . ........... :,\lie~:
Uack's IX Mr:ror ht1ot aplorrdJ (how JIM If117 afficted afan's lift) .. · ~;;·~!~7 ..
Ntw Gods Reprint Series .. . .. ,, . , /
The Monster ofMoraggia ,.•........•.... 50 Collector Comments. . ........ 124 #6, page 6 pencils .................... : • .25 ··"'
(an 1111published 1969 Xirllt hof!or stmyfrom #6, page 8 pencils .................... /~;25 ~ ,;
O!a~r of Darkness 14) ·
Til JA£1 KIRBY (OI.LKTOR #15 Our Fighting Forces ..-;"; ::'
<•.-.
Speak of the Devil ... , ..... , .... : ....... 55 (Sci-Fi ISSue) ..................••..••• 127
(tlit oft-maligrred D~il Dinossur) #159, page 10 pencils ................... , lS .,.:·
Tile Great Kirby Sci-Fi Concepts .....·.... 130 #159, page 11 pencils ....................15
Young Werewolves In ~I .. ; ........... 56 {an ovmiew ofjack's 1960s· '70s idras)
(dtive into that old Bltd.lt!a!)c) 71u Prisontr
Let's Visit! By She! Dorf ................ 136
Kirby & Gibson Interview,!.,';.'; ........... 60 (She/ speaks to jack in this obscure 1975 inter· page 13 pencils .........•............ , ..21
(]tUk mats thecrtator fJj uu.Sfodow) view) page 14 pencils . . ................... ; ..21
The Secret Origin of the Hulk? : .•.• , ..... 65 Starman Zero & Tiger 21 ............... 138 Richard Dragon, Kung·Fu Fighttr
(Scott Shawl gives us hi! theory) (how _soocl was fad's unused comic strip propos- 13, page 3 pencils .......................14 ·
Spirit World ..................•....... 66 al oJ the latr 1940s?) #3, page 5 pencils ..................... ;._l4~
(secrets ofjack's b&iv DC magazine) Solar Legion .......................... 140 Soul Love ("Diary ofthe Disappointed Doll") ·.-:: ·
Kirby's Monster Mash .................. 69 (Kirby :rforgotten huoes oftlu 1940s) page 2 (inked by Tony De Zuniga) .. ; ..... J.1,
(a review ofjimmy Olsen 1142·143) Kirby, Physics & Harvey Comics . . ..... 141 page 3 (inked by Tony DeZlliliga) ......• : •.11' ~j
Spotlight on: Kirby Costumes .....•...... 70 (how llugo Gernsbark started jad on a Race page 4 (inked by Tony DeZuniga) ......•.. 3ih:.
(hert's afew we bet you've n~er sun) Far The Moon) page 5 (inked by Tony De Zuniga} ... , .... :;.12
An Audience With The King .. , , ......... 72 Interview with Al Williamson ........•.• 142
(the EC Comics irgend diJt"usses jack, Wally Superman's Pal.jimmy Olsen
(a jan's dual encountmWithfad.:) lt139, page 3 pencils ...
Wood, and sciji) .....•. ' .. 13
Jack's Back? ........................... 74 #139, page 16 pencils ....... 13
(duyuu belkve in reincamation?) Silver Surfer Graphic Novel . . .......... 146
(thr ultimatr msmic disappointment?) Toles To Astonish
Contest Winners! ...................... 74
The Story Behind Sky Masters .......... 14 7 #31 splash page ... . ............ 1
Collector Comments .................... 75 (jack:i brhind-the·sancs legal battle examined Thor
in·dqJth)
#166, page 12 pencils .. .. .... 10
THE IJCI KIRBY ClllKTrJ 114 Two-page spread: Eltrnals #4 Pencils ..... 152
(Thor issue) . 78 2001: A Space Odyssey
Kirby's New History Of The World 154 page 46 pencils . . .... .20
Tht' Journey Cosmic ........ . 80 (tht Eternals r:rplored)
(an avfrview ojjack's Thor)
The Man Beyond The Machine . . . . 160
"Real" Tales of Asgard . . . . .. . .. . . . . . ... M (a aitica! lt>ok at Machine Man)
(a look ai the ancient Nom ltg{flds) Futurt Mom animation concept ....24
Kirby's Space Oddity . . . . . . . . .. 163
Evolution ofThor & the Stone Mtn .......... 86 (Houston, we've,got a pmblrm .. ) Vader animation concept . . . . . ..... .24
(they d;dn't start in 1962)
jack Kirby's Infinite & Beyond .. 164 Thundarr Newspaper Strip pencils ...... 22·23
Chic Stone Speaks ...................... 89 (an exammation of the 2001 mmiC)
(thr classic Mam-1 inktr intervitWed)
Interview With Mike Thibodeaux . 166
A Provenance of jiM Art .. .. . . .. . . . . . . 92 (Jack:rfrimd and mka spmh)
(whit·h pages still r:riJJ?) Front cover inks: jac/.: 1\irby
Captain Victory & Pacific Cornie~ . . 173 (originally done for the M~n·elmama Thor postn)
'\ Lesson In Kirby Magic . . . . . . . . . 93 (Stevf Schanes ttlIs how they both
ljad and the NVPD) came to be) · Bod cover inks: Stn·e Bissette
Jack Kirby: Prisoner of Gravity . 94 Cnlleftor Comments 174 Cnver 1 olor- T11m Ziuko
(a '92 Kirby TV intervirw transmbed)
3
K 00981
JA1785
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page31Page
Filed 03/25/11 of 1006 of 10
ORAGGI
Examining Marvd's rmsions to jack's story for Chamber of Darkness 14. by jon B. Cookt
(Editor's Note: l suggest you read the pmciled story on tht following pages pages from the published story and he graciously loaned the originals
BEFORE you read this article. to keep from spoiling jack's surprise ending!) to TjKC for e~tioo. The differences in the stories were devastating.
n what set out to be a standard article_ a sidebar. really_ on The sheer mvennveness was diluted out of Jack's original its grandiose
I Jack Kirby's pair of stories fur Chambtr of Darkness #4 and #5. an

interesting mystery unravelled. During an interview that mostly
concerned Spmt World, I asked Mark Evanier, longtime Kirby associ-
ate, what he knew about those tales. Here the article really begins.
action reduced to parlor room gunplay. and the finale seemed half-
hearted. There was evidence of major revisions, and the final boards
showed it. Entire pages were discarded panels cut and rearranged, and
remnan~ of original pen~~ could be detected under redrawn panels.
. Evanier told a.story (one he will elaborate on in his forthcoming Jacks ongmal submiSSIOn confinns that Stan Lee was intended to
b10graphy of the King) that related one of several events that might dialogue the story. hopefully with "a touch of less standard pontifical
have led Jack to quit Marvel Cornics in 1970. When Evanier and Steve ?r~~ion" asJ~ck's margin note requests. Oack apparently plotted the
Sherman visited Jack in Irvine. California during the summer of '69, mttial story smce he had to explain to Stan that they were the witches).
Jack told his guests that "he wrote a story that he was in love with,· After being rejected, Jack got the art back and made changes, erasing
Evanier said, "that Roz thought was the best story that he had ever most paneh and rearranging others, even cutting up his art boards.
done, and he sent this thing off, and he was very proud of it. He got St~n apparently was responsible for the replotting, since the final art's
back a call from some editorial assistant, whose name to this day is ongmal- but past~d over- credit box lists Stan Lee as "plotter."
unknown, that was very rude, telling him how he felt he should But cun?~sly: Jack did do the dialogue on this version, as proven by his
re~ri~e his story. 'We don't like it this way ... change this, change handwntmg m the balloons, and his erasing the original margin notes.
thts ... and Jack took the eraser and just destroyed this story he loved, But the meddling didn't end there; someone at Marvel redrew the
and turned it into the version that they wanted. • ~aces of the Monster and the mannequin. The revised pencils were then
That version was !he Monster." a seven-page horror short from mked by John Verpoorten, and lettered with Jack's dialogue. This begs
Chamber Of Darkness #4, April, 1970. As printed, it is an unremark- ~~ .questlOn: .Why were the faces redrawn? According to one of Severin's
able tale of ugly, misunderstood Andreas Flee (the "Monster"). an IO!tial (but reJected) cover designs, the Monster's face is shown as Jack's
arrogant Eastern European nobleman, whose mysterious ways and "Hunchy" version but depicts a scene from the Lee-plotted story of the
contemptuous treatment of neighboring villagers provoke the lethal chara~er walking through the village. (Could the face change have come
wrath of the townsfolk seeking jlL~tice for a perceived abomination. about m fear of a Comtcs Code Authority rejection-or was the
Kirby histo~ Greg Theakston was contacted in hopes of tracking Monster's face too similar to another Marvel hunchback character, the
down photocoptes of the unaltered story, and while they couldn't be CCA-ap_rroved villain 'from the Fantastic Four Annuals, Quasimodo?)
founcl he remembered seeing copies in the '70s. !his was one of the . Wtt~ the final revision, someone changed Jack's already-lettered
I ·
; ·! ,:
best horror jobs l had ever seen him do,• Theakston said, "and yet com- dialogue m places, and whited out details on the Monster's face.
pletely corrupted in print." In comparing photocopies to the published Changes are not rare in the comics industry. (Severin mentioned one
version, Theakston opinecl "It seems remarkable to me that [Marvel] X- Men cover that was recolored jive times.) But what ultimately con-
put so much effort into changing what amounted to a perfectly fine cerns us, as Evanier said. is that Marvel transformed "a story that Jack
story- there's no rea~on wh~ it couldn't have run as it was. • He sug- was very. proud of... into something he thought was lousy." Subjectively.
gesteq contactmg Mane Sevenn who worked in the production depart- many mtght agree that Jack's original was better and this chain of events
ment at Marvel during the affair, and was cover artist for COD f4. may indicate more about a strained relationship between collaborators.
A serendipitous chain of events then took rapid succession: Severin rather than a substandard comics story.
d!scovered original photocopies. along with her cover designs. and very Our investigation, as gratifying as it is to Wlcover past mysteries
kindly shared them with TjKC. adding pragmatically that "I was and am of Jack's career, was not without poignancy. In the original's final
in awe of Jack Kirby. but even he was subject to changes and re-writes." panel, the narrating "witches" (reminiscent of the EC horror comics
It was then discovered that Mike Thibodeaux was in possession of four (continued on page 28)
Here are Marie Severin's two

attempts at a Chamber of
Darkness 14 cover layout based
on jack's story. and ha final
cover inked by Bill Everett. Marie
comments, "There au many
stories that hm·e ban redrawn,
replotted. etc. We made timefor
thm things and Stan was the
boss, and he must have been
I
t
'
doing something right. So many
people have no idea how much
there is to produce a comic. and
it was possibk then for the editor
lin this case Stan) to control his
product from plot to coloring--
and he also was and is a pro."
50
JA1786
· - - - - - ·--- - - --- -- . -
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page32Page
Filed 03/25/11 of 1007 of 10
,.,.,.. .. ..
r• , ., '
51 K 01029
JA1787
~:I"P£.·~·""""-~·-
· ----- · ---~--- - ·
' -~- ----- -
.
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page33Page
Filed 03/25/11 of 1008 of 10
I ~~
!
~~
~~
~~
t~~
Ro ~
~
~'t;
i~~ Ri~
~l~
§\-
~~
c
e
~~
~8 ~~~
R.
'\) .... ~~
;)~
~~ : ~~
I ~:
~;
~w·
~~R l~~ ~·
~~~ ~~\j ~
~1;;~ ~~~ "'~
~<{ ...
" ~ '~1\l'i.
!~t ::s~
I
~ ~
~
~~ ~ ~
~~
'
1
I
§
~
JA1788
. ····· --·---- · - ------------ - - - -- - - - - - - - - -
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-26 509518, Page34Page
Filed 03/25/11 of 1009 of 10
· r··. . , , ~
"\
-.
•
.!
JA1789
- ---------- - -·····
==-==-======·~-- :-· =::=======---:----=~
i J--=
· =-
I!
' I
I ;<J6W 7'0 .P/?ee'

/!IS 5t-41/C'S -,P"~M
/"1¥'5 15 /7,eJI 7/'H~

t/t_.wCfiY I f r/17- · ~ / ..U .MAAJY )61/}!. JY,I./(B hosts and the then-current ~O.U.OW M£, MEN/ TI-l
IAtti- - #15 f:n//& ourSI£)1J1l5 _.y~ver o:w trend to have artists narrate TIME WE'VE CAU6NT
~ tales of terror - all the
TI-4S MONSTeR IN ~IS
T~A~I=IC WITH TI-lE
I
I """"'
rage in COD and its sister &VII. t:M/E !-IIMSELF.'

i comic, Tower of Shadows),
I are unhooded ·to reveal-
surprise! -a cigar-chomp-
II ing Kirby and his partner,
Stan Lee. The team's
I
I appearance hearkens back
to happier days of their
visits in the pages of
Fantastic Four, etc. and
shows equal collaborators
sharing a story of inspired
horror. Obliterated from
the final version, what
i remains in the final panel
A
I
is an empty, steaming pot
on a barren hill.
And, after all, wasn't ,&'~1 ~~~ ~~s~ ~ 0""~ ;qo;J~ . . . QP' ,MO;E:AGG.'A
the true essence ofJack's (7/.J(f 7/'IO W/7'C/,Id'S AltB'"Wt ~- ~ore' ~ .t:. I W
Sae.AA/.Je (?JI¥N6- • 7MJ "-(,ttY Pilfr .P~ ~ GV" t.-6!9
original story about acre- S~.A4R.P~l~ ~-----
ator, however misshapen,
who reveled in his art and
simply wanted to be left
alone, to create things "to
keep my life from being
Filed 03/25/11 Page 10 of 10

empty," but who tragically
I would not be left in solitude
by outside, ignorant forces?
I There is little doubt it

'took more than Marvel's
gerrymandering of this
single story to force Jack to
quit the House ofldeas. "It
was," Evanier said, "an
example of one of the many
fights he had." Combined
with his reluctance to share
new characters, and evi-
dence of similar, arbitrary
interference with other
Marvel stories, there (top) The left panel shows published dialogue, ,md the right shows Jack's
-"
0
0
w
N
A.{}/! 7?,1/S /f •Y-.
appears a pattern that
might prompt anyone, at
the peak of their artistic
abilities, to seek another
outlet that just might be
original wording, which was whited-out and relrttaed.
(middle) jack's margin notes from page 1 whirh wm obscured.
(bottvm)The origim1/ art for page 5 of the published version
contained a surpriu: Two ofjack's origmal pmcil pantls war pmrrved
undtr the bottom, pasted-down panel!
more appreciative. 08
~--rr.J~ /AS ~/!lff?tJT .......
N R£l>VL,A1/;Jtl _7~/i!-
JA1790
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-27 509518, Page36Page
Filed 03/25/11 of 1001 of 26
EXHIBIT AA
JA1791
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-27 509518, Page37Page
Filed 03/25/11 of 1002 of 26
~he he~k of ...
I
From '
:
• BARRY KAPLAN
.
- (:
f,
/fJ"f 7/f?.J fl~~ ~

~.,~~·?d.
~~~
·· .-· :.·<:>.
..
·. ·...
.:•·
. ·)
CONFIDENTIAL MARVEL0014596
JA1792
' . Case 11-3333, Document Document
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-27 509518, Page38Page
Filed 03/25/11 of 1003 of 26
.:
(
~
[
'·
(
,
c ---------------------------------
--------- ·-~---- - ---------
f
0~0 SALAHCE
PIJ£
._..·.
i
'
\
I
'
CONFIDENTIAL MARVELOO 14597
JA1793
Case 1:10-cv-00141-CM-KNF.
78-2, 01/26/2012,
Document
'
95-27 509518, Page39Page
Filed 03/25/11 of 1004 of 26
MARVEL COMICS GROUP
. 5-39
\
DIVlSIOS OF CADENCE INDUSTRIES CORP.
575 MAO!SON AVE. NEW YORK, N.Y. 10022
1iO
. -. l
Tf<l! FIRST NATIONAL BANK
OF BOSTON
80STOII, MASS.
PAY
'1'0
T'"'lt
OROt:R --·~--~·o~t•'+·
OF
,. .
' ..· .
, ~ '"t7
. , - ' ' .4
,. • .. .
... .
.
• • • :J
·.
•
'• . ...
-.. :
• .. ~ .
<
'.
·- ...
. '.
I
~~ "' - .. _.,..: __ ·'\"
; .... ~~~~·· ---~--- -·--- -~- __...............__-
•
.. ... -~
<·-..~
~
I J• ::..
1 .rl' {:::
r·
I )
i lh <) ,..;
• -·1
~
~
i ltl
I
..j.
I_.,
-·,· .•---------· t
'
JA1794
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-27 509518, Page40Page
Filed 03/25/11 of 1005 of 26
- - - - - - - - - - - - - - - · --·"·----··"-•"" ----------~ !.'_
MARVEL COMICS GROUP
.· DIVISION OF CADENCE INDUSTRlES CORP .
575 MADISON AVF- NEW YORK, N.Y. l002l
4-752
..Ji . . 8 74
THE FIRST NATION AI. BANK
OF BO~TON ·"
eonoN, o.cus.
PAY.
TO
THit
O~OEA
01"
,.
I'
I ",'
.
.· . . ,.
, '. ~·
,•
, .· ... . ••
•'
I .·
.- ,'
.. I ,,··· , -.· ... ~ ''..

.. ..;. .
·.: ~ - .· .·
.·
.· .· .·
..
' '
.. ·
' .. .· .· . '
.·
,'
... •'
.· ..
.· .·
.·
I
.. .· .;;" .·
I
- "
, .·I
r
"',_,
J
I
..
JA1795
Case 1:10-cv-00141-CM-KNF 78-2,
.
01/26/2012,
95-27 509518, Page41Page
Filed 03/25/11
·-·- -- ------------ -···· •..
---.---:-·~--·- ·~
of 1006 of 26 -----~ ·•
MARVEL COMICS GROUP 1

DIVISION OF CADENCE INDUSTRIES CORP.
A953
&{_
S-19
"lTO; jI
575 ~ADISON AVE. NEW YOf{l{. N.Y. 10022
IIJR.• 26 74 l
THE FIRST NATIOiofAI... SANK
OF BOSTON I 2 !.
eosr011 .... ~ss.
.
r '.
PAY .fXACTLY£;~/.j
.£2388 •
2. O'""i'
·~
,...1 /' i''.'
. ... , . •''" ...... ~···
j '· .: I, 1,. , •· $:Y'~tr·<-:
TO
THE
....
ORO!!: A
01'
..
I .'· I
I
: I
I
• f I
I:
J •
.:· r.
·~.
,
I ' .:
.~'
~ .....
..
!
1
1
ri
I
.· t
JA1796
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-27 509518, Page42Page
Filed 03/25/11 of 1007 of 26
MARVEL COMICS GROUP

575 MADI&>N AVE. NEW YORK. N.Y. f002l
•
THE FIRST NATIONAL 8ANK
. OF BOSTON . .. ·.
r.:a2 I I .Ml;>:r Cl crs
90STOH, MASS.
PAY I ... fUCTLY

· · lUll t!ftJ · "'% W , -. "... · ..... -~
. TO
THt!l
ORQER
..
OF
. ,. , . .
•
... ~
• t~
. .·-·
~ ' .
t
.' 7'<- b:r-"'
... 1 ·~ ·r,;·
•
·. ~
7
...
.
'. ·. •• .J
j
••
.... ''
"·
.0:.
• t'·
·~ .• .
-'··
' '
.· 'J~l,
.• '·
..
A
:
..
-"(
r --~·:.;·--- ··--- ................ .---·
·'·. .. ··-··
...........
~ ~ ..
I
1-
oJVrmiJ\i\l
~
•• (• .
''P,;,.' J '•• • II o,
•'
'1
1
j_ .,
/
...j
~
.-------- t!
1
.. :'
., .
.-
·" '
i
l
t
JA1797
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-27 509518, Page43Page
Filed 03/25/11 of 1008 of 26
...
••
'
).
-~.,L---;~
. MARVEL COMICS GROUP
ntVISION OF CAOEN< 1·:. lNDtJSTRIES CORP. -5:-h •'·
54'8~2•o·':~
5aM"DISU~ AVE., NEW YOHK, N.Y. 10022
l'H£ FIRST HATIOHAl. BANI(
01" BOSTON
•• J ... ..:. ,, ..
MA(· t7 74
IOSfOII, MASS. + No. . ·:I
PAY ~
.._
. ' ,...,
t!O'lt ltOwOO ;aqe: Saq •.,? lt~.~~~·

'
.~ ' '·
100.000 :iOOOO,,
I
- ·--;--- -----:----- -~::-r~ --~- -t•·•
'I ' i,
: II
., f
t
'•
•
I
;; .-l
I ,.
: ~ ' • I ;'
'
':.·
I
t
•
.... ~·~ .... ~ -~
~-
~
' '
~ .l 7~
I
K.·
(J N' ti:,
..... c
~
... •
' '
r~
........
~-:.I<i
I
-{
,
24
(
Dl
....
N
' ' l
I
'cu
r
,..
I
.,
'
':o
• I
I I
lr i" f
I
I
CONFIDENTIAL MARVE LOO 14602
JA1798
1
· r'··rl· ":- ·· ;.o~~ ""~' ... ,~. • "-""'r'"'"'"''j ~~ ·-. ' #ktiikl!N 'a .,,_...,il_."!tW".t;r:~. .\\IIIWd:·~,. . ·-·~- ·'"'"' • · ...~..,::.__:·~l
~
C')
c
(
c..
•
, ·. . ;cluc/!£ tZJ3c.z__-:-
& --
endorsemEnt of this
0
<:0
"<t
.......
0
0
.... u
check. I. th~ J'?..;:ee. -ack- \.
-l
(,
w
,......_
0J '' nowlGc'g-0 full :pa.yT:lent for '
>
0:::
0 0
': .• ,._. ~ <(
-:!tz my er:mlo:~•'mt by 1lagazina ~
0
......
,0 .. MD:.er~,:o'T'ent C0. a~d for my
'' ,. '
·!If ~r.- ar"'.' ....,..~':\:'lt to~ it tr any ••
oro; "r :~ ecp;. ri ...r.t. t ..aderr.a.rk and
l
.. .
·/ i
.. I V;~ li;~; r,+~:-;!' r5r;·tts in or re-
;...... : ' ...
·~ .!
.. - +"
,(;,tr.d •. •·J..,... "·-;::;... 0 . . 1'"'1
·;. ·-· !~.)~ ' • ·~ 1
~','I
'
. ., ' ·~; :~ :,_
!':.·
"'"'
"··~c.--"'-~<~·
.. i.:~ I" 1 .. ..) ; ,. '". ·• -......; •
"" ,
~ ,,.... ~·
'(_ ;;.~
•..:-:- ' .. ·J u,,Q. I ~~-<--·~~·-c.: l'q~SS_l~-
,..._ ::l..N ... ·. ·d
'i lnGn t · 0 f r.;.ny rurh ts" to re-
- ' ~0
o:=:~· ti' , ... r-"·
r.e:we.l;· 9tr:-~~·t-ight..
~:;. ·'
r"' ...: >: . ·.-. -..,:.!
...:
'-iF ~
.•.
.,
.
.r.·
••
.,.,_ .. .' ..
. . 't ·, '; ~ 1J.;~·. ..-:.. ': S:.,_. ~- "'·.:
·1
..... -
..., ;: 7.
'Ia ~ .~.
'!: • j ·,
0
~ z>
:;:X:
00. "'·""
-""
ltd ,_·..r. ...
~
z
" f
•=
~:.'l
"""'=-e---.
-~l
1"'
1 I
~ " ; ·" - ...,,. ....: •'* r...,

••• ~ .:•.~:
. w - t.·~ ·"~1 ..........
;••J !t t ~.:. !~ ~:"I~ ~ r~ ~\ . ~
i • . -J
,..... r..\J..,,' • 0
.... :. :
,
-:~~.--
~ c •·;}
,>
~~
f1 t j .1·1
0 o.;z; •••
' .:...,
t:.a.i
.. _ ! .....
~ :~:
0 c:;.:,;
1 (, :: . :~ ... 1. .. ; .,. cr.
--~
~
.....
.• ~- ~C..
, .. "' . , fl:.\ . ' ~~l :: :'
r. ·'
'I
-<:>~-~.!~ -:i;::. r.~ 1\_,,, ·/· ,, .. , . -.-Jj 0 I' "'\1 ._ .. , 1 -- I I' '
...J ;.;< 0..,
.N. .c: .. ·.·.·:t . .' •\ ;.·<f\''Lh 1 £ ~.~- , ·rI
til ~ :i Ma.l ! ; .., ._ ; "')
........ ~ &1 -~ ~'... ~
,. zc; u..~~
\:','~· '·' / :· "' .... ' j - i
"~..:-·
.: ··1.
O· •.. .. :C.. t '-
J
..... >"'
"!!i
!!~
- ....
~ o.,..
0
! "··.j
··J·
"'0"
p
lC
-....
0
o.
'
' b, ' . (•,.
t. ~~ -
i.)}i ': ,.
Sj1 cl
~4.
z
-<
Ill
...
' - .
•• '
•• t--:_,
q;r '• I 2 ·r-~·t !.P ;
~z·:
oo ..
->-'): ., .. ....
i
i ~ ,~; ~ .~:·
~s
.
........
zliiO
~oi
z ·~. . :•
~
-(l.
:..- 0)
~:;: ~ ~ ~~
;s; ; : ~:'. :·
\
4. " ;.:) ..:.&.._ •:
....., a: ...... -~-.-:s I l
o"'"' ...
>- ":t.oo
..
:r -<
Q. ... ~
~lfj . 'L
"<>::;,c
'' .. . ~·· .. '

."
.....
-~
~-,.»--- ~. :---.,-·;· \-- ...

•
'.
-l
<(
i=
..
\
z
.. w
0
iL
z
JA1799
0
0
. ·' :7"":·;. "';': ;. -.: .....

~"r-
"1'
(
Oil 0 00 4
~ /' .
·:.
0
<0
-:t
'1<=0'). ~ 0 r-
0
. M . i,l ( 0 0
- -
..J
0
Filed 03/25/11 Page 10 of 26
-
w
~
(.0 0
''
i' >
....... 0
By endorsement this of~ .•. 0:::
<(
N')o 0 check, I, the pa;:;ee. ack- . ·,
~'
. ~
NZ 0 : nowledge full. payment for \
:·-.
("'
D
0
i
.• " ,...:./:~ my employment ey t!a.~az ine ~· ~ _ (. . 'f t
!'. , ~· r
'=J ;.
r.
./
'\ Management Co • .janQ.l for;' my : 1..1. J
"' ass-ignment to ·1 t of any ' I
• copyright, tmde~ark a.'1d ·- ·· I
...
; .
<f.r<
......:
\_~ \ f\~ ~·-' ~>,
.... '. :
} .: ·:; i,-~: .'1 any other·rir:ht;.; in or re:_ · , . \
; lated to the_: m9.tfr:a1, ._, ! .. ~_: ~
tf '•'
' •'
•Q.. 'N
1
l ""' ;.~ ;:;,
'•"'\
,...._.:l..N
~J!:O'
. ·.:; :I and including Trry, B.?Slgn- <·J 1
· .. ·.. ,',) ,.,.,
o-c::~
.. '
""'"'
\J~
(
I
.'
--~
. t•. ••
(;
;
:_-;. • . ,,:l·' ment of MY rigbts· to re, · ' l' ··' "" :· .
;~:'
.. Anewal cop~ightc;.. .·
• t.
I
a:::.~
, .... t.:,. -t)!,. --: ..
:!'
- l · • -- t
: ~ "
? 11 d
"".~ i ·1\r~
i1) ;: lli
=::;:
() ~
.... ...
: .
iA0,'1t
';
. ..
,
.....
1 •
!d'-ta .~ ' _j
1 ,
r~
•
. ~ .~ ! '
...., ::::0 .
"':'4 !: >-.
loli'4 ••• ~
~ ~:.t.: ~
...
J
['-
_..!.-: . .
v
·...~.,.. __:....~ . - , .. -.. .....
.zz ; ~ o·;.f3 .s-?-,4; 7
1 ~~
'' .
0 ~ : I
I '
...., (5:...1
'•'
.J '-' o(
-o::> ......
~., IT
~ ..,.• ,, -- ~ .,,. ,.. '.,,,""\I' T ., •l ~ r ,.. !"'
C:tl :::~
> ~z
0: -o·
U""
eN
liC . .
L&.J
,1
. -
••
rr
rM
......
:>
\
'
~ ~f
..
'V
-·
:- . ~
.• I_..:-...............
; ~!. "'; 0t:;
•
__...
':.1 I ~ •
ZIIJS& •
j.
.,_
.... ~;: o .. ··
""' > 0
""
V'
~
--J • • , ....
of!!; _,..._
·I
....
0
.....
)ft!'~
.~~Jt_,.
I
r.,.._~-.7"'.-.:
••
- :>l •, i t,. .. ,.,. _.;·-..···

'' '•
-
0
% )
.
< ••
Gl
_, J'
'
.
~ c%_,;
zo"'
2,..~ ·•'
~. -. ',
~Cl:i
.,.
\
AI ·~
........
:xm~
~og 't,
''
a: '
lI,
II..
>-
Ill
,..:r: <
a..
o"'"'IL
.... ~~0 ·~ \
0 ,J :;
jiJJJt ._, ·. -·- •
.,
.
·. ••
i ·;,- "'~o
'\
'\.·------
,1 - · - - • ._. . _ .---- - - - - - - -
..J
<(
i=
z
·. ·. ••
••
w
0
i:L
·. z
JA1800
0
0
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
11 of 26
..---------·-----------~--------·------·----~-------
MARVEL COMICS GROUP

J)f'iiSt(l~ OF CAfJFN( E' INIHISTIOES CllRP.
')7') MADJSON AVE., NEW YORK, N."t. IOOU
THE FIRST !lA rtONAI. BANK ,·J ~ ~
OF !JOSTON
80ITOIC, MASS.
~ -
PAY
'1'0
THE
ORO!i!~
01"
•·.
·•'00000 10000.•'
'·
.. _..• ; .
. .....~·
-... - ___,
-'
• . ..
··- •
• ·' .
...
•
: .
•
•
.,..---.
I
'
.. t
1
BANK '! '
1....
,.~
1.....v r'\ • J - -
!(,
;·
i
r•: • 0
••~ ... 7'

~
• '~ ·~
-, ·-~
'r
' .. (/~
~ ,,
'-,
:•
.---------
li
~.
-·: I I I ' I
"
,.
~. ....
~
..

JA1801
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
12 of 26
...., . '
•
MARVEL COMic's GROUP
DIVISION OF CADENCE JN()IJSTRIES \.ORP.
575 MAO.ISON AV~ •• NF.W YUHK, N.Y .. IOQ.22
..
.
. .. . . 2
.,. .
'Sf.P.' 27
..
---··
S-39
·~
.:\
-
' .~,.
THE FIRST NATIONAl. BANK

OF BOSTON . ·No.
BOSTON, 1.411SS. ' .. ' ....
PAY E\~1~: €:~3.3¢.·~? Q ~ft~.

_.
,.,
,,,
'>:'•
.
."'
'
', ..f> ~
- ~
'
'I
' .~ .
;
'-
•.•ooooo :1 :~ooo.~·
'
.·
.. .
I
: ,,
I ..,. :
.· ... . - .. ' ~
..
·'·' •' .· ..•.
:
,
,. i
.. L '
..__ ..------
.
f
l
CONFIDENTIAL
MARVEL0014606
JA1802
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
13 of 26
. "
.MARVEL, COMICS GROUP
:
·. .• l>IV!SION 01' CADENCE INOUSTRII'S COHP.
57HIADISON AVE., NF.'I YORK, N.Y. 10022
r; .. ; ·.•. . I J.
WJY. .. 8 74
TH! nRS'I' NATIONAL BANK
0, BOSTON
•":'' , . ")
. No. 7975
:..: ;; _.-..E xE'-~cl't8ll'f t:~ :;·..::r ,>~7 crs.
IO&TON, t.AAS~. . ·'I"
PAY .
r:::.:a
':J
r- .f!J
I \!I
t.. ' .,,jC,~.t.n> t ' • '
·.
•·.
j?:2~·:/·::··(:\
l:,.'{'·' '·r--.........;. r '
· .... · - . .1·•~-· ·; ·- ..
·. .
·.
·.·, ·.
·.
•, ·... ••
·•.
-.
' ·~
..,
.... .....
.,
•• . I'
~ ·~
·~:;e- .. -..... -_
·.
·.
"' ' ·.
••
.. .. ·. '•
·. .....;, .. ·. ~; ··~
• .. 1.,
'• ·. ·.
·. ·..
~·,:.,
. 1
'-:
c;
'"': 0
.)
~··
••
.....,
·1 .,,
A-·~
~
(;· ~. ·•'
'{ •
...
f
'~<.
f• I
,._ .
-...
., "
NOL/
• >, ~
·~
· '
··. . -----·
.
~-...--
- .·~~
1 ) - "· .J _,-.. \
:·

JA1803
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
14 of 26
/"""--~----~---------~-
•
-=---------- --~·--
MARVEL COMICS GROUP S-39 1
DIVlSlON OF CADENCE INDUSTRlES CORP. 1iO

575 MADISQN AVE. NEW YORK. N.Y. 10022
THE FIRST NATIONAL BAHIC 7 .,
0" BOSTON
IIOSTOtl. MASS.
- ... ""
PJ.Y [UCTlY£1~330 ~-::t'.i'/:'t'~··
. nn•~ . . ..........:.
TO
Tl'tlt
OROE"
0,.
<
'
:; .;,
.....
.,
..
.
- :;')
n-;~···
•:o J. J.OmOO 31:11: S-0 q,~? J. t.. J.n•
.. '· .1 ~
. '·
' '
' . r. •
-
' ..
,
... ••
• I',
·-',
1',
, .. • f : : '•- ....~~~.
"' '·
•
"· '·
' .
_........._ ____ ~--~- -~---

•
~-· ....-
__._~ -·-
.
~.
__.._ - · - --....... . - · - L
. .
__ ;, r;!:/.-~ ..... -«...-_.:_.-_.- .'. ~-- ---~ .. -~~
·. .....
.
I
··f1
. I
J~
0
,.....~ ..) i
I
... ! '· I
.._ ......
·.
])
1 .ill
c+
0
c.
,.,, . '·
\
\
·\,

JA1804
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
15 of 26
l
•
•,.
·*/ •
~~-.---:---
--------------------~-------------------------~-
MARVEL COMICS GROU~
DlVISlON QF. CADENCE INDUSTRlES CORP.
S7S MADlSOH AVE. NEW YORK, N.Y. J002l 00{237
THt: fiRST NATIONAL !!lANK
Of BO$TOH .
MOV. 27 74
. PAY
60STOH, t.t..US •.
. .
. <"•
.'J
~~ <""•
o.;1>
- .
t-""l.
.-,..
. >
'"
\
··'
':.:
...!
.....
-, -·
r'"')
~~)
1
I • .•"00000 ~ lOOOa•'
! ;.
rn~ ·:,...:.·.,
3 V..,,
·+
• "
.= :
I •. .:J
• -,: I
~ .'-! J _.
..
.. •
I :
.:.:: :
; : 1.
f :
: '
'•
_;;.u.../_,
• /
lrl •• 1
,. '
-
1 ~ f1 I'
·' .. - '1 !:1 't:a
i
(l
~·
C)
!4
;_,
"' 0
·:
t:r<.<
,1)
rl I r
'. >-" r ,,
,..J (l
;.:,...
;:1 ~- '-"~
t
. (-',
:·"
!I)
0..
"-..! " ... ·' H "
= - ..)., "'·
1
j
t..-
j
·" . ~
""
..::;:-
- ..
·~:~
,.,. ·-,.
~
'.[
, <
~ _.....:---- ~ . }
'•
,.)
-.... ... _,
)
_, "~
"'~
'
~
.,:)
'
.tJ
J
-
-' 0
'
.+
" .l ~~
I - ·f
0 r:
Co f'•
"'$ :Jot; "
·"
l
I
..0 ro :.J ......
I I . c •.
'
(. '
i J'
11
.'
CONFIDENTIAL
MARVELOO 14609JA1805
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
16 of 26
•
·', ...
.• ,
"
,
MARVEL COMICS GROUP
.
•oF • llf&. lil6 1 ' { t) 3
·.; DIVISION CADENCE INDUSTRIES CORP.
515 MADISON AVE. NEW YORK, N.Y. 100'22 .I I • f·~ ...
THI!: l"IAST lfATIOHAl. 9AHK
ov eosroH ·-
).
IOSTOII, MAS5,
. f.UOTLt t::~
El!U t:'::/.
l ,r- ;:::: ~· r·
\:} ¢' . : ,. \ I
t"'') ,
' J ~ • t. • • • . ·: ' '
TO . ,,,.. .,. •"' ........

THC. !,_•. ,' ~
0"011: ..
OF >
.. :
'.
1
.'
,;
. ,
.,•ooooo • b sao.··
'{· :. ,. .- ...... ·-·
• •
'
•
... ; " \ y
..• ..... /
•·· .. •' ,
_; ..
-·-·~
·' ~-
•
'' '· .
:"·
'. ~"
!•·I
1
• I
.,
~
l
• '. 1\
,.i
!
/
I
I
\
l
""''' I
1 f ,:~I j ·~
MARVEL0014610
CONFIDENTIAL JA1806
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
17 of 26
: . .- ~
. .t .•··
.
,._·
.:.·
..... -- ·' ·'· ·
;~;~ .
....
,! .
\
j
.... ·_'.;-_,-:. . ·;
;;,:<;7t'J
. •_. . . j - ·-
; ~~·: . . ,~•®ooo ~· jooo,,.:

·'
~t
.
. . . -
•>
- ~~·~ -
~·
.. ·~ ..
.: , ;,-
-;~~:-·
.:i~~ :··· -.~
'•L'··
q. i,
-:··. -~ . · ...
. \
~ .,
.
.• f'
-··.:'-'
,
,.,,.
~..:J
DEC .. .
~
f
... •
.. . ·
( ·.
--
N
~- ·
....., -
'I
•
.
1~1
.· ""'
! ''
; )
..
"t-J ·
1- ~.;
- .lO~:>'' hJ ~e=- ~ -:: -·~iJ

~~ .~ ':. . ~ ·'):t-_:
.-~ ~_.... .. . :A: .
~· ..
~:.: ~
CONFIDENTIAL
JA1807
MARVEL0014611
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
18 of 26
' •!
MARVEt.. COMfCS GROlJP

'· 't. DIYIStON OF CADENCE lHDUSTRlES cbi~.
' ·" :: '
TH£ FIR$T HA'PIOMI\L 8~H'IC . :'._...

:.~:· ' ..
.57~ MADISON AVE. NEW YORK. N.Y. 1(1(122
.•
•I
~;·:,..,
!'·~"
· : ·::oF BOSTOJ1 1>·. · : ~....
~tosTOII, MA~'
·.;:.... r -
.-.;
~ft· ·':··fJ~~ ..
...
':
.
..... , ---~·
,-... -"t--r';':"~'
.; . ~ ~
"'
• ,i: •, ', ~:-J',t' I
I ~
', ~
.·~ ... . .. =~
~-- ·
·-.;.··
:.--.,., \
......
.•·· ..
--ft111f
... .
~
w
,~
I'
o4t
""
',
CONFIDENTIAL
MARVELOO 14612
JA1808
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
19 of 26
----~-·--·~--·---------------------
f
j
.J
l
I
I
I
•
• ·' I
I
I
I.
l.~;
I
JA1809
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
20 of 26
•
MARVEL COMICS GROUP
~ S-39
-no
DlVlSlON OF CADENCE INDUSTRIES CORP.
575 MAD~SON AVE. NEW YORK, N.Y. 10022 II'J141154
t.Jl~, • 7
THE FIAST WATIOHAL SANK
,
01" BOSTON
3 aQ r«•t rJ~
BOSTON. MA$'J.
.. [UCTl.Y £:~3 0
$330.~
t:
PAY E231 I ••
• ... ... .... .. .........lr
. ,•1' 1...
...
~-
":.,.~,..a::t....o:~~O!ood......G!J-..,zi:::::..:~..;:::::!~,.O..~~:.......--------- ~~!.:::: . .
:::(:.'
,.£..-...~~...s;.....,e.~~~------- tb:_·'
' I
...
• '· ' .
. '·
'
•
••
-~' -
i'
•
t
- ~-.:
1
.... ~"'-- - .... -"' 4 --. - - - --'!,.... ~ --.->< -- - . ~--· . ·~-:.Jr.C:..: ·~ --~- -. ~ --- ~ ·--~--~ --- --
,.,....£L- -~ '2r--~ -: rz
1- ' \
1'-
JA1810
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
21 of 26
•
MARVEL COMICS GROUP
DlVlSlON OF CADENCE INDUSTRIES CORP.
S7S MADISON AVE. NEW YORK, N.Y. l002::Z
tQ505
THIE FIAST NATIONAl. BANK
"23 75
01' BOSTON
..
r:::Att::) 0 a·o ,""'t .(' r1~.
IIOITOtl. MASS.
PAY
EXACTLY
~E2JU 1!~:7tM. ~
t ': ·....
~ ~'"" 1 -·
_, .... ' ,•
TO
THI.
ORO~ft
Of'
.
~ ''
.
I
' ..
' ., ' '
~
·......
• ~
. ·.... ·
I : t
" I'
r-."-'-'1
; .;::S ~ :, :: ~-~'
..
,·
••
i '
~::
. '. ,,
I:.
• ~-·~ - • - ~. • ' ··-·- .1~ • ' . I -W~ .~." - - ...:~·- -
\
·. ./
.,
.•.
APR
./
·.
,
'!-'' ..
CONFIDENTIAL
MARVEL0014615
JA1811
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
22 of 26
MARVEL COMICS GROUP S- 39
DIVISION OF CADENCE tiiiDUSTRlES CORP.
S75 MAD,ISON AVE. NEW YORK, N.Y. 10022 09679
THE FIRST' HA TIONAL BANK
OF 805TON
r-m ·:26. 75
: ! ·• .
.·
PAY ,•
TO
THIE .... ·-
1
I
OROI:R
9ir .
... . .,. :·
~ .
e:o ~ ~Qu•QO l'1•: 50'1·• 11 ? J. t. J.n•

•••• f .... .. · ........_ . ··-·~· -· -·~ ....'
-·
.· ... .· .. · • r •"
.· .: ,
.·.- ,.
~.·
.·
..... •... ......·.
.·
.·
.·
.· ·.· .. .·
..
.· .·
,·
.· ..
..
; .
.~
'
"
'i
I
I
:. t
t;
'
-· ;:
.• J<
' ,.._-:
~
""
~ _,;
-
_c~ {,
.. ,
t
JA1812
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
23 of 26
MARVEL COMIC~ GROUP S- 39
D!VJStON OF CADENCE INDUSTRIES CORP.
S7S MADISON AVE. NEW YORK, N.Y. 10022 89556 --no: '
THe: FIRST N4Tt0NAI. SANK
OF BOSTON
805TQN, MASS.
tW.. · 19. 75
PAY
TO
THil
Of<OEA
0,.
... '
•:o ~qe: 50~ ... ? ~~. ~~~·

I ' ·~
: - :
....
. ~;~
' j.OutQO
I
1"·
;
I
: .. : .
• .r
..
,
·~
'.i
··;
:
#
'·
I i :
:
..
I
:
I :1
I
. ..
llo •:
..·..
.
-- -...-:.. . • :: .,._,A
~
J . I
J
: :
-~ :
..
I 'I
:
I
j,
/
~::1 t-;
I
24 -. ) ~·
. ...;.-.._-
' -- 24··. ,_;')
l.o -
,J
~ -- . :

JA1813
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
24 of 26
.·
MARVEL COMICS GROUP • S- 39
\

575 MADlSON AVE. NEW YORK, N.Y. 10022 eg 2 0 9 ""'i10:
TH£ FtRST NATIONAL. BANK EB:: '5 76
01" BOSTON
IOSTOJI, MAU.
.·
•E.UCTLY t:f,.#.2 2 OJ"'9 t:r Ct.J. S~a.
PAY
TO 1%318 1:~:7 ......... '"""'""
THit
O~Oit~
01'
J
'.
J''. • ... '

.-
.' .. '•'•
..•
......
, ·~ ~ ..
•
..
J '
. . ...
;i
·~:·.. "·.,.
........
I
I
...... ~· '•
>· ~ .• .o;..r. ;;.j~..... --...._.:.~ ~ :
~·
·-
I
··'
iill ,.• f •
,.,::. .
I -
., .:l
~/:&.·
j•
~i
I
{
"'· ----- ----- ",:.
:'\ ~
. ...
.,
·.
...
i
JA1814
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
25 of 26
-· ) ~
MARVEL COMIC~ GROUP S- 39
'
DIVISION Oft CADENCE INDUSTRIES CORP.
575 MADiSON AVE. NEW YORK. N.Y. 10022 :i .oe:; 47 ------
I
\10
THE FIRST NATIONAL SANK

,tAll 15 75
OF BOSTON
I!OSTOit, MASS.
PAY' $
TO
33ct.
TH!t
OROER
011'
eL_
;~ ~:~ ::·:.~:;-:<J.
...
,...,~,.......--_
-: _i..f.---·
_
\.
•
.-,.
•.'
':t
• t
7 •
..
- J
} .
... • ...
.. • . t.
... ...... ~.. .• . ·.·.;
··~. .. '.,. '........,.. ~ ,.
•
•
> •
~:' ..
1 •.•:
·'.,·....._
~ ...... --··
•
~-----------·-"'.~ ...............
..
•
,I
.• I
~
. . . ., ' ·
...
...
..
JA1815
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
26 of 26
MARVEL COMICS GROUP
• '
.•
DlvtSlON OP' CADENCE INDUSTRlES CORP.
S75 MADISON AV£. NEW' YORK. N. Y. 10021 T)8754
THI! "AST HA TIONA I. BANK
0,. BOSTON
.J-Ul: .3 i5
IOITO• . ...AS I.
PAY
TO'
T>1K
ORIDI!fl
0~
· ~ ·-
I ,. .·
-.
', -' :- ...
.· . - _,, J
. \
..
•
, ,,
'· .......
... . .. '
••
.'
_ ...... ··.: ··- _

..· · ... .• .
..
.
~ ·-:
;....·. .
.... - .
. ·,
"• . • (, '
.J- ~-- -"'»- - - -

•.• • :.-:- •
.4 :
. _...... ~ . . . , - - - -- ~ -.. -..:. ........,~.
- ~-~;; _ .~- -·J- .. .. ~;.:; ... --· ....:.-..- .
••
. c;
i
• . :~
. 1-PA.Y ANY ' B~NK • ·. -
r-c
., , •
Jf ..r
' ,....... .I.C. ·
R B BOS~ON · -~- ;;:..
ti /
u')
.J
--·
-··;
I
'
L
·.
!
MARVEL0014620
CONFIDENTIAL JA1816
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1001 of 3
Page
EXHIBIT BB
JA1817
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1002 of 3
Page
HARVEL COMICS GROUP !": :"·· :i[;_,::;r

387 PARK AVE SOUTH
FREELANCE REIMBURSEMENT 6
NEW YORK NY 10016
NINETY DOLLARS NO CENTS
i I
JACK KIRBY 86-os-os. ********90.oo:

25-90 SAPRA ST
THOUSAND OAKS CA 91360
HARVEL COMICS GROUP Fs6~6~-os 1 i ~~-~"~~~~~

387 PARK AVE SOUTH 01 12 ooqqpqM3,$t7"
' " ' •I , i J f J
'' ~ ' ' . r·-·--;·--
860424 84586 52 860429 9000 1 9~00
I
I
I'
.-..I
9000 . ! 90Ji(i__
. ~. ~. •.·~·~·1·:-1 :;: . -: ..
-,,
JA1818
0-j
.·.~:'.\:{':.:
z:;... Ol
r-
(")
.,...
·~~··
0
0
....!
w
•By acceptance and >
endorsement of this 0:::
~
check, payee acknowl- ::2:
edges, a) full payment ,.i-.e.:~· ...
for payee's employment :-!.:· ·~
by l.lagazine Management ·:...·.
Co. , Inc. andjor Marvel
Comics Group, b) that all ·.~//
payee • s work has been
'1:: thin the scope of that
e-n1 y•r:.c'lt. a'ld c) that : 7
all D~'.'E'e 's """'rks are and
sht1l1 be CO=''> ide red as
v:crk:: ..,,qde f"r hire, the
prr>'Jer~y of Magazine
Ma:-·<c ,..r,..,ent Co., I no.

'lnil'cr Marvel Comics
'iroup.•
....
:. f .....
...., .
.• ·.
. /1
....!
~
i=
z
w
i~
·~· . 0
u::
~ z
JA1819
0
()
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1001 of 8
Page
EXHIBIT CC
JA1820
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1002 of 8
Page
JA1821
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1003 of 8
Page
!:?!l&IIJ?/ sAYs-- ''11DN'T ASk11r'

.-rvsr BUY AJJ17 ReAo TOTAL. ~@!!1§VJ§!JJ&~V!JffJJ;JIII«~
· VOLU""E TWO COLLEC
K 00817
JA1822
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1004 of 8
Page
THE COLLECTED JACK KIRBY COLLECTOR, VOLUME TWO

A TWOMORROWS PUBliSHING Plitru:TIOII 111 ASSOCJATlOII Willi rHt KIRBY ESTATE EDITED BY JOHN MORROW
llES~ & LAYOI!l BY JOHN & PAMELA MORROW PAOOfllEAlJIIIJ BY RICHARD HOWELL rovER CllOII BY JACK KIRBY
COOlllllUIOOS TERRY AUSTIN 0. BROCE BERRY GlENNS. FLEMING DAVID HAMilTON BOB LATIMER TOM MOREHOUSE
MARK PACELLA Sffi'E ROBERTSON MIKE ROYER DAVID SCHWARTZ MIKE TtHBOOEAUX RAY WYMAN
SP£cw. l1!W ra: MARK EVANIER GlENN B. FLEMING RAND HOPPE RICHARD HOWEll BOB LATIMER
TOM MOREHOUSE MARK PACELLA MIKE THIBODEAUX THE TJKC #Hl-12 CONTRIBUTORS &tJ COOlf.l THE KJRBYESTATE
This voluroo reprints issues lt1Q-12 of The Jack Kirby Collector, plus new material
© 2004 TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. 919-449-0344
Second printing • Printed in Canada
DfDIUTID TO:
The late Rosalind Kirby. in loving memory.
Her constant support of The Jack Kirby Collector
is the reason this book is poss1ble, and her legacy,
as well as Jack's. lives on in every issue.
(OPYRMiHTS:
2001· A Space Odyssey, Angel, Ant·Man, Balder, Baron Zemo, Beast. Black Panther, Black Rider. Bucky,
Capt. Britain, Captain America, Crystal, Cyclops. Daredevil, Deviants, Dr. Bloom, Dr. Doom, Or. Strange,
Enchanters, Eternals, Falcon, Fantastic Four, Galactus, Hawkeye, Hulk, Human Torch, Iceman, lkaris,
Invisible Girl, Iron Man, Jimmy Woo, Kamilla, Lockjaw, Loki, Machine Man, Magneto, Marvel Girl, Mr.
Fantastic, Nick Fury, Odin, Patsy & Hedy, Quicksilver, Rawhide Kid, Red Skull, Rick Jones, Scarlet Witch,
Sersi, Sgt. Fury, Sharon Carter/Agent 13, SHIELD, Sif, Silver Surfer, Spider-Man, Steve Rogers, Sulr
Mariner, Ten-For, Thing, Thor, Toro, Ulik, Union Jack, Wasp, Watcher, and Yellow Claw are TM and ©
Marvel Entertainment Group Inc.
Batman, Big Barda, Billy Batson, Blue Beetle, Boy Commandos, Brooklyn, Captain Marvel, Challengers
of the Unknown, Clark Kent, Darl<seid, Demon, Esak, Goody RickelS, Granny Goodness, Green Arrow,
Guardians, Hlmon, Jimmy Olsen, Kalibak, Kamandi, lois Lane, Losers, Manhunter, Mark Moonrider,
Morgan Edge, Mr. Miracle, New Gods, Newsboy Legion, Oberon, Orion, Sandman, Sandy, SiVana,
Speedy, Superman, and Ugly Mannheim are TM and© DC Comics Inc.
"Angel." Captain Victory and the Galactic Rangers, "Joshua at the Walls of Jericho," "Moses;
Goozlebobber, Tiger 21, Big Masai and Silver Star are TM and© Jack Kirby.
Destroyer Duck, Battle Axe, Medea and WoO! ina Strangelegs are TM and© Steve Gerber and Jack Kirby.
Uncle Giveaway, Bullseye, Fighting American, Speedboy, Yuscha Uffso, Sawdoff, Stuntman, Fred Drake,
Sandra Sylvan, and Don Daring are TM and @ Joe Simon & Jack Kirby.
Capt. 3-0 TM and © Harvey PuD!ications, Inc. • Shield/Private Strong, The Fly TM and @ Archie
Publications, Inc. • Link Thorne, Airboy, Earl The Rich RabbH, Lockjaw The Alligator, Swifty Chase, Sunny
Daye and House-Date Harry are TM and© Hillman Periodicals. • Lone Ranger and Tonto are TM and©
Broadway Video. • Forever Amore, Nocturnus, and all associated characters are TM and ©Jack Kirby and
Michael Zuccaro • The Black Hole and all associated characters are TM and ©WaH Disney Productions
• Captain Nice Is TM and © NBC·TV • Darth Vader, Luke Skywalker and Star Wars are TM and ©
Lucas film Ltd. • The Prisoner is TM and© lTC • Herbie The Robot and The New Fantastic Four are TM
and© DePatie-Freleng • Thundarr, Ariel, Ookla, and Animal Hospital are TM and© Ruby-Spears
Productions • Space Stars, Scooby-Doo, Scrappy·Doo, and Shaggy are TM and© Hanna-Barbara • Lord
of light and an aSSOCiated characters are TM and © Barry Ira Geller Productions • Dr. Mortalis and
Mindmaster are TM and © Empire Entertainment • Kelly Groan TM and © Stan Drake & Leonard Starr •
Conan TM and © Robert E. Howard • Tarzan TM and © Edgar Rice Burroughs Inc. • Green Hornet and
Kato TM and ©The Green Hornet.
All artwork Is ©Jack Kirby unless otherwise noted • All editorial maner is © the respective authors
nle page photo courtesy Bob Latimer
SUBMIT SOMHHING, AND SUBMJS510H GUIDEliNES:

Submit artwork In one of these forms:
GH fRH ISSIJfS Of TH£ JACK 1) Clear color or black·&-white photocopies.
2) Scanned images • 300ppi JPEG or nF
KIRBY (OLLKTOR! 3) Originals (carefully packed and insured)
Submit articles In one of these forms:

The Jack Kirby Collector is a not-for-profit
1) Typed or laser printed pages.
publication, pu1 together with submissions from
2) E-mail to: twomorrow@aot.com
Jack's fans around the world. We don't pay tor
3) An ASCII or Rich Text file.
submissions, but if we print art or articles you
4) Photocopies of previously printed articles
submrt, we'll send you a free copy of that issue
or extend your subscription by one issue. So get
OK
creative, and get writing! And as always, send We'll pay return postage and insurance for
us copies of your Kirby art! originals - please wrrte or call first
2
K 00818
JA1823
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1005 of 8
Page
JOIIWSMEIOX ALPHABETICAL INDEX OF HEW

Welcome· to OOt' SGCOI'Id. Trade Paperback,
reprinfing.i$ale$ #10..12 of THE JACK KIRBY
cotLECTOR! Since ltlose issues were first
(OMTIMTS KIRBY ART IN THIS VOLUME
published in 1996, TJKC reaJJy came into its Introduction by Pamela Morrow . . . . . . ..... .5 BOOK
own..~ thou~ds ol mflil ~and. Action Comics
n'IOr$ N.n a COIJPie of~ and El$ner Award
"The House That Jack Built" #638 covt>r pencils . . ... 28
~ llfotlg. the way, Since. •10.12 are A Britishfall's account of his visit to Jack's home,
SOld out; and I prom!Md Way ~In TJI<C #1 to by Glenn B. Flcmittg ........................ 6 Captain America
~.try to keep the badt i$SIJBS in stock (at #102, page 2 pencils .. . ................ 14
~. pt!Ce$), theGt compiJatioos are the THE 00 KIRBY OliKTOR #10 #102, page 6 pencils .. . ................ 15
most ~ Wfl!l· of doing that. This also (Humor issue) #102, page 8 pencils .. . ............... .16
~ me: the opportuf!!ty to~ "Ttle House That Fighting American cover ......... , ....... 35 #102, page 10 pencils ... . .... 17
..tatt Built; a 'Wonderful~ of a British fan's "Don't Ask! Just Buy It!" ................. .37 #193, page 3 pencils .............. 10
WJit tO J9dl and Roz's heme {particularly appro- Roz Kirby Interviewed .................. .40
priate sirn;e. .. thiS volume reprints our Etemals
Simon & Kirby's Early Humor ....•..• , .... 52
"'ntemlltionar ~ iSI/We).·The af1Jde made #4, page 11 pencils ........................ 5
• rrnt think of my own trips to the Kilby holise, and A Toy Story ............................. 55
#4, page 12 pencils ....................... 11
.,an lhe ~eonveiSa!lcns l.hadwith Roz.. Favorite Stories About Jack .............. .58
#4, page 13 pencils ...................... 12.
With her passing, those lliGh nave sadly come. S&K's Big Red Cheese .................... 62
#4, pagel4 pencils ....................... 13 ··
·tO an end, but hopefully this article will serve as A Kirby Cameo .......................... 63
. a "'QUfded tour" for> lt!oH ol )00 w1lq weren't Super-Heroes & Stupid Villains ............ 64 Hiillger Dogs Graphic Novel
• fot'lumlte ~· to ~ the Kltby11·· . Kirby On Art ............................ 66 page 14 pencils . . . .... , ................. 32
~·~ . . --·alWay$~ Kirby On Sports ..... , ................... 68
~ ofT.JKC. and tt 11iouldn't be whete it
page 14 inks ............................ 32.
Definitely Not Brand Echht . , ............. 70 page IS pencils ..................... ·~ ... 331
Is today wllhoutMr. Crazy, Man, Crazy! ...................... 71 page 15 inks ...............•...... • 0:; •••33'
let m& labJ a motnent here 1o
Ordway and Batty. w~Msor..smitb .tot•. ~r
!hank·""" Steve Gerber Interviewed ................. 72
superb (li'Jy«-
\)4} tbt 1$$Uealn tl'll$ voi!JI!'ICJ,
anu ~ .lhanlm 10 tlllrl'liiQIJfar ~rom
MMMS Pencll5 .........................76
PRO Magazine Art .......................77 .
Machine Man
#6, page 10 pencils ..................• ;~; ..24 •
#6, page 11 pencils ................. , ... ' .25,., ·
Ziullo for ~ «tmdng TJKC'a pati&; 1ll£ 00 KIRBY (001CTOR #11
~Rfchard~b'~uswatch New Gods Reprint Series .
(Hollywood issue)
···ow Ps 'and· O's (and 81 the otner lelllnl: World #4, back cover pencils ........... , .... ; ... 39
Wkltl. ~ Raoo Hc:Jppe tot~. Stuntman cover ......................... 78
#5, back cover pencils ......... , ..........2~
TJKC' witH the world; SIM ~ Mark Lights! Cameral Punch 'Em! ............... 79
#6, page 6 pencils ........................ 31
Evanier. an<! Mllte ~for~ being The Unfilmed Ideas of Jack Kirby ..........85
.there; flli:lMrt Kab: and the l(fmy Estate for car· A Nice Surprise ......................... 1:16 Our Fighting Forces ·· :
ry!ng oo !he ffadltlon of ~!he •Q!PIS"fn May The Source Be With You ....•........ 87 #159, page 14 p6!CiiS ...... : •....... , ..... 1~.i
Raleigh, NC for sharing. warm ~ and· Kubrick aIa Kirby ....................... 90
<lOfd l)!tta ~ a new I$Si.le lleOOa to oo Once Upon A Time: Kirby's Prisoner ....... 91 The Prisoner
~ my betw!ifut • Pam Jet her tltiCOUr*. The Black Hole: How Deep Is It? ..... , •.... 96 page 6 bottom panel ptncils ..... ~ .- ..... .'118
~and atiPPOI1 <am thf$ ~ ~ Seeking The Lord Of Light ................ 98 page 8 pencils .. : ................ : •..... :.. 8
~my sltqhtfy ~ ~ page 9 pencils ................ , ........ ;;· .9
The Animated Life of Jack Kirby .......... 104
Editor Jen a Cl)ok& tct ttte ~ ot won:~&
J didn't have 10 Write my$8!f: and ~ ali Kirby &The Sailorman .................. 112
Strange Tales
ltle KlJby fan$ and Pf(l$ .out ltlmt 1¥ho've C(M't- Cinekirbyesque ......................... 112
#141, page 5 pencils ....................... 6
~ to TJI<C by Wtiilrig 31'11Gfe$lltld letters;. "Heeeeeeere's Kirbyln .................... 114
#141, page 7 pencils ................... : ... 7
~art. or~~ up -*t.MW Forever Amorem ..•..................... 115
~ 'fbu're wnat #'$ alt about. folkt. • Collector Conuneni:S .................... 117 Superman's Pal. Jimmy Olsen
~ ~ us.ed 10 ask me ht:tN l<»1q. a Jerry Ordway cover inb .................119 #148, page 10 pencils ......... , .......... 26
~ abl:!ut a sing~& artist could sustain #148, page 11 pencils ..................... 27
lt&d. After '*" yQal1l and fOrty .~$Sue&, ~
flnally· st~ asking; and. u long aa you're
THE JACK KIRBY (OI.l£(JOR #12
(International issue) Thor
lltkmleted and rm able, we'11 keep~ badt Barry Windsor-Smith cover inks .......... 120 #143, page 7 pencils . . . . . . . . . . . ...... 22
tJenlt I.Wf!lfy few .I'OO!'!tfls to swap tlOte$ aboi.lllhat Jack Kirby Interview .................... 121 #143, page 8 pencils .....................23
atl'lliZ.iflg art~at trom !he tower East Side- Kirby in the United Kingdom ...... 124· #155, page 5 pencils ................ .' .. : .21
Jack Kirby. Review: jack Kirby Quarterly ............. .127
John Byrne Interviewed ................. 128 IUUSWOONS
Kirby in Au..~tralia ...................... 130 "Angel" inks ................. ·~ ......... 19
Captain America pencils ................. 131 "Joshua at the Walls of Jerichoff inks ........20
Jack Kirby Recalls Lucca, Italy ............ 132 "Moses" pencil .............. ; ........... 20
John Mooow, Ed!~ Kirby Around The World ................ 138 Thundarr Daily Newsr13pet Strip pencils .... 34
TwoMorrows P1.1tll!stllog Third Annual Kirby Tribute Panel
10407 ~nOr. • Raiefgfl, NC 27614 with Evanier, Wolfinan. & Stern ..... 144
(919}44~ •FAX {919)449-0027 Kirby: The French Connection .. 154
e.mall: t~@aol.com Collector Comments . . .159
Mike Thibodeaux cover inks ............. 160 Front cover inks & colors: fad Kirby
Back cover photos: Glenn B. Fleming & Bob Latimer
3 K 00819
JA1824
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1006 of 8
Page
II
Rosalind Kirhy fnten•;twcd (conducted by john Morrow on December 12. 1995)
THE jACK KIRBY COLLECTOR: What's your favorite color? ROZ· Yes. It was the summer of 1940. I was telling everyone I was dis·
ROSALIND KIRBY· Yellow. I love yellow roses. appointed. I thought he was going to fool around! (laughter) And
from that time on ... let's see, I was 17'h. on my 18th birthday 1
TjKC What's vour favorite ice cream flavor'! became engaged. We were engaged for a year, and when I was 19 and
ROZ: Clwc... ~o. actually, I like cherry jubilee. he was 24, we were married.
7jKC: Wow. that's an interesting choice! So where were you born? 1jKC: What did your parents think of Jack when they first met him?
ROZ. I was born ROZ: Well, they thought, "He's an artist. He'll never make a living."
in Brooklyn, (laughter) His parents always wanted him to be a mechanic su he could
September 25, make a living. In the Army, he was a mechanic for three months, and
1922. Now you he couldn't even change a tire. (laughter) I have a little 3" x 3" diploma
know my age! from the Army that says "Jack Kirby, Mechanic, U.S. Army." He didn't
(laughter) even know how to change a tire, so you can imagine .. .! (laughter) But
he always called me a cheap date, because !lived upstairs, and he didn't
TjKC I won't do have to go far to pick me up to go out.
the math. (laugh-
ter) What was TjKC: Did your dad like him right off the bat?
your childhood ROZ: They got along pretty well. I was always really ill as a young girl,
like? Did you grow and I didn't do too much dating. Then when I met Jack, we really
up in the same became close pretty fast. We just hit it off, that's alL
kind of neighbor-
hood as Jack? TjKC: Was he a "Ladies'
jack and Roz at home in 1991.

ROZ: Jack was
brought up in the
Man"? Did he have lots
of girlfriends? Sib
lower east side of
Manhattan, in tenement houses. I was brought up in Brooklyn in
ROZ: When I moved in, &aoKrN'
small, private homes. But my folks were also very poor, and they had
the neighbors had five
daughters, and every
:Stcflr,.
a tough life. My father was a tailor, my mother did a lot of work dress- one of them was after AIN'T I.?
,
making and things. I was very ill as a young girl because I had asth- him. (laughter) It
ma. From age eight I was very sick. I used to sit up at night and help was lots of
my mother do hand-sewing and I became very good at it. Before I met fun, let's put it A drawingjack
Jack I was working as a lingerie designer, doing very fine work design- that way! sent to ajan while
ing all those pretty things you put on women's lingerie, and laces and (laughter) stationed at Camp
things like that. That's why I was able to do inking, because I always They all Stewart, GA
used a fine pen and ink for the lace work. Right after I graduated high wanted to during WWII.
school, I got the job and did it for a few years. marry off
their daugh-
TjKC: Did the Depression hit your family pretty hard? ters, and
ROZ: Well, it didn't have to hit. There was always a depression for us. they want-
It was always pretty difficult for my folks. They worked hard all their ed to get
lives. We moved to so many places. When we couldn't pay the rent, ahold of
we had to move to another apartment But they always managed to a bache-
have a roof over our head, and have food for us, and the children lor.
always came first for them. They were good parents.
I}KC How did you and Jack meet?

ROZ: That was one of the times we were moving. It was to one of these
attached brick homes, and Jack's family lived downstairs, and my folks
rented the apartment upstairs. The first time I came there, he was
playing stickball with his friends. I was l7'h. and Jack was five years
older. His parents and my parents were getting acquainted, and he
came over to me and started talking. The first thing he says to me is,
"Would you like to see my etchings?" (laughter) I didn't know what the
word 'etchings' meant. and he said. "My drawings." So I said, "Oh, sure."
So he takes me to his bedroom, and I thought, "What could happm?
My folks are there, his folks are there." (l11ughter) And that's the first
time I saw Captain America. I'd never read a comic book in my life.
TjKC: So he was already working on Cii[Jtain Amaic<1 at the time?

,,~
- 3S3Hl. 1.\i sn 'dO::i >i001 OS '0'/t:"::l ,.<St?'.L/V/:":::1 51?'77VO
40 5H.L aN\i i\10.7 .7/JI/0.7 c?di?'JI/Vb' 5'H.L /11~
JA1825
-----------
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1007 of 8
Page
!llustrntinnjor a
Kirby family
Christmas card.
RVEL
COMICS
GROUP
OFFICIAL
SWINGIN'
STATIONERY it book by book, and everybody thought all the books were the same.
1jKC- After working as a team for so many years, was Jack concerned
when Joe went into advertising in 1959? Was it difficult for him
SI1!1Aflf lOt AU SOCIAl COUESIONC>lHCl AHD INrltNAnONJl rllATIU emotionally to be out on his own again?
ROZ: Well . the field was very bad, and they were both looking for work
walks with the children. took them for ice cream and things like that. at that time. But Jack was always able to get work. Not as much, but
he was always able to find work. Jack never liked the advertising field.
TjKC: Were Jack and Joe really close, or were they just co-workers who I'm su re he could have gone into it, but he never liked it. His heart had
got along really well? always been with comics, so he stuck with comics. So Joe went his way.
ROZ: I wouldn't say they were close, but they got along very well. Jack and Jack went his way. They both had families to support, so they did
always thought of Joe as a big brother. the best they could.
1JKC: Well, he was so tall! (Roz laughs) TjKC But the parting was amicable? There wasn't any kind of big
ROZ: Jack was always the shrimpy. (laughter) blow-up or anything?
NOZ: No, no, no. Nothing like that. It was just economics.
TJKC I've always wondered how t\vo tough. rugged guys like Jack and
Joe did all those rom ance comics. Did you give them ideas for stories? TjKC: Let's talk some more ahout Jack's work habits. You said that he
ROZ: Oh, no, no. If I suggested anything to Jack, he'd get hysterical. liked to work late at night Was that from the very beginning?
You know the crazy names he always carne up with? I'd say. "I have a ROZ: From the day I met him, he always worked in the evenings.
great name for you." He'd look at me and get hysterical and start When he came back from the service, we were living with my mother
laughing! (laughter) So I said, "Okay, I'm not gonna give you any more until we were able to get our own place. We had the bedroom, and he
ideas!" (laughta) worked there. I'd go to bed, and the baby was sleeping. and he'd he
If I read a story. I'd tell him if !liked it or not, and he liked it working aU night long. That's the way he liked it. And the funny part
when l did that. But I never gave him any ideas for anything.
Sometimes when h<> came up with things like the Silver Surfer and the
1\lack Racer. I'd say. "It's crazy. It'll never go over. What kind of crazy
names art> those?" (lau.~hto) But hi~ vision ... he'd look :1head and say.
"Don't worry, they'll cJtrh on. fJon't worry."
TjKC: When Jack and Joe's ,'v1ainline company went out of business
due to the whole Comics Code thing and the way the industry was
going. was it a reaUy scary time in your lives?
ROZ: I'm trying to rt<member. 1 never dealt too much with the busin e.~s
end of that But it was tough times. Like nowadays. the books wnen't
doing welL If you put money into it. you lost your money. At that
time, with that guy Dr. Wertham. there was a lot of that going on.
TjKC Did Jack have many sleepless nights over parents burning the
books and Dr. Wertham going on his tirades?
ROZ: He was always very angry :J bout it, but there was nothing ... he
called Werth am all kinds of names. (laughter) But life wmt on. There
-
wasn't anything he could do about it. They felt their books weren't jack at his fabled drawing tabll' in 1991.
that bad. But Wertham lumped all the books together. he didn't take
5#0~
43
::iO 5 .10 1 dn >I::J id aMi '::J>fC .1 3.10WOl:kl 0 .1
JA1826
1:10-cv-00141-CM-KNF
-------------------~--------
01/26/2012,
Filed 03/25/11 1008 of 8
Page
of it is. even when we moved to our own jack did this pencil drawingj;Jr joe Sinnott's son /l,fark in return for joe inking
place, he always liked to have voices the Fighting American drawing that appeared in the Kirby Unleashed portfolio.
around him. He'd have the TV picture (See page 30 of this issue)
going. and the sound turned down so he
could see action. Then he'd have the radio
going to hear the voices. (laughter)
TjKC: So after he'd work until the wee hours

of the morning, would he sleep until noon?
ROZ: Yes, I'd let him sleep late.
TjKC: So then would he spend the

afternoons with you and the kids?
ROZ: Right. If I had to do my food shopping,
he'd stay with the kids. We did a lot of things
together. He helped me a lot with the
children. He was very good about that.
TjKC: So then he'd start back to work

drawing after dinner?
ROZ: Yes, the kids would be quiet, they'd have
their dinner and their baths, and they'd be put to
bed. Then he'd sit down and do his artwork.
TjKC: Did you get to take some nice vacations

around then?
ROZ: No, we couldn't afford vacations. We'd
go up to visit my sister. She lived up in the
Catskills in the summertime. But we never
took any real vacations with the children,
or even by ourselves.
I did go to Europe with my brother.
My brother was working for the airlines,
and I had three children at the time. I was in
my thirties, and I said I needed a vacation. So
Jack says, "Go. I'll take care of the kids." So I
went with my brother Larry to Europe. We
landed in Helsinki, stayed a couple of days
in Norway. Denmark, a day in Paris. It was
a very fast trip, two weeks. But I had a
good time.
When the kids were older, Jack and I
went to Israel, before he passed on, about
eight years ago. That was great, because he
always wanted to go there, to see the Wall.
He put a note in the Wall, so J said to him.
~what did you write?" And he says,
"Thanks for the vacation." (laughter) We
were there for about three weeks. We went To tell you the truth, it's difficult for me to remember.
with our temple. with a group of about 40 people. We had a great
time, because they took us to the out-ofthe-way places. We were up TjKC: Through the years. did you generally see what Jack was working
on the Gaza Strip, and right on the borders. It was very. very exciting. on? Or were you too busy taking care of the kids?
Everybody should do it. I'm glad that, before he passed on, he got to ROZ: Oh, no. I always looked at his work. I'd tell him if! liked the
go on that trip that he wanted. story. or if I didn't like the story, or if [liked the drawings. I always
put my input in. Of course. he still did what he wanted to do, (laugh-
TjKC: How much inking did you do over the years? fa) but I still gave him my opinion.
ROZ: Well, when we were in my mother's house, in the bedroom, we
had two tables there, and I would help him ink while the kids were 1JKC: Well, that's called "being married!" (ROZ laughs) But did he
sleeping. He would do most of the outlines, because his hand was discuss the ideas with you as he was coming up with them?
steadier than mine, and he knew how to make it thick and thin. And ROZ: No, he never discussed the ideas, because he would sit down at
you know how he's so good at putting in all his shading. He made it the board. right? With the paper blank, he would just start drawing.
very easy for the inkers because he put in all the shading. It was very I'd ask, "How do you know what the story is?" He'd say, "I know what
easy for me to just go over his shading lines. the story is." Like when he was doing the trilogy- The New Gods-
three books at one time. or four books. I said, "How do you know
TjKC: Do you remember which specific books you inked? when one story starts and one story ends?'· He says, "Because I just
ROZ: You'd have to ask Mike Thibodeaux. He would know. (laughter) know." And that's the way he was. He'd put a h;md in on;y~~l, and
- ::WVCl:? 1Vl:J3A3S QN3lili OL 9NINN\ild 3l:J.3M '>il:JOM
44
NO dn .LH9n'ti:J 9Nili39 O.L NOI.LIQClli Nl -l:J~~v
JA1827
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1001 of 3
Page
EXHIBITDD
JA1828
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1002 of 3
Page
AGREEMENT made this 1r-l day of . ~ 1 197 [>" 1 by

and between ~ ·~v -;".-+~~'? \ f tJ
residing at .t.t;.'Z.. :-A';"~~o'<. . p ,:_., S'AN fC:OJ.:.o, ~ q~7 Jt.
(herein "Supplier") and the Matvel Comics Group, a division of Cadence
Industries·Corporation, 575 Madison Avenue, New York, New York 10022
(herein "Marvel").
···'·-·>·•
. · ;.·
MARVEL is in·the business of publishing comic and other
magazines known as the Marvel Comics Group, and SUPPLIER wishes to
have MARVEL order or commission either written material or art work
as a contribution to the collective work known as the Marvel Comics
Group. MARVEL has informed SUPPLIER that MARVEL only orders or
commissions such written material or art work on an employee-for-hire
basis.
THEREFORE, the parties agree as follows:
I:n consideration of fdJ<.RVEl·' s commissioning and ordering
from SUPPLIER written material or art work and paying therefor,
SUPPLIER acknowledges, agrees and confirms that any and all work,
writing, art work material or services (the "Work") which have been
or are in the future created, prepared or performed by SUPPLIER
for the Marvel Comics Group have been and will be specially ordered
or commissioned for use as a contribution to a collective work and
that as such l'lork was and is expressly agreed to be considered a
work made for hire.
SUPPLIER expressly grants to MARVEL forever all rights
of any kind and nature in and to the Work, the right to use SUP-
PLIER's name in connection therewith and agrees that MARVEL is
the sole and excl 'lsi ve .copyright proprietor thereof having all rights
of ownership therein. SUPPLIER agrees not to contest MARVEL's ax-
elusive, complete and unrestricted ownership in and to the Work.
This Agreement shall be binding upon and inure to the ben- .
fit of the parties hereto and their respective heirs, successors, ·
administrators and assigns.
IN WITNESS WHERE9F, the parties hereto have executed
this Agreement as of the date first above written.
SUPPLIER MARVEL COMICS GROUP, a division

of Cadence Industries Corporation
CONFIDENTIAL
MARVEL0008220
JA1829
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 1003 of 3
Page
? AGREEMENT made this / f day of ;fltfk/ 1 19 7f; by

and between .::J7)/t7V /2&t?#t I t;t-'- ' ·f
residing at . ~ lfz/~AI ~ #~5'F""A/ .Y. //~U
(herein "Supplier") and the Marvel Comics Group, a division of Cadence
Industries Corporation, 575 Madison Avenue, New York, New York 10022
(herein "Marvel").
'
MARVEL is in the business of publishing comic and other
magazines known as the Marvel Comics Group, and SUPPLIER wishes to .
have MARVEL order or commission either written material or art work
as a contribution to the collective work known as the Marvel Comics
Group~ MARVEL has informed SUPPLIER that MARVEL only orders or
commissions such written material or art work on an employee-for-hire
basis. -
THEREFORE, the parties agree as follows:
rn consideration of Ml>..RVEL's commissioning and ordering
from SUPPLIER written material or art work and paying therefor,
SUPPLIER acknowledges, agrees and confirms that any and all work,
writing, art work material or services (the "Work") which have been
or are in the future created, pr.epared or performed by SUPPLIEF
for the Marvel Comics Group have been and 'llill be specially ordered
or commissioned for use as a contribution to a collective work and
that as such Work was and is expressly agreed to be considered a
work made for hire~
SUPPLIER expressly grants to MARVEL forever all rights
of any kind and nature in and to the Work, the right to use SUP-
PLIER's name in connection therewith and agrees that MARVEL is
the sole and exclusive copyright proprietor thereof. having all rights
of ownership therein. SUPPLIER agrees not to contest MARVEL's ~
elusive, complete and unrestricted ownership in and to the Work.
This Agreement shall be· binding upon and inure to the ben-
fit of the parties hereto and their respective heirs, successors,
administrators and assigns.
IN WITNESS WHEREOF, the parties hereto have executed
this Agreement as of the date first above written.
SUPPLIER MARVEL COMICS · GROUP, a diyision

of Cadence
/
/
; ·
/
CONFIDENTIAL
MARVEL0008187
JA1830
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page76Page
Filed 03/25/11 of 1001 of 11
EXHIBIT EE
JA1831
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page77Page
Filed 03/25/11 of 1002 of 11
I
ARTWORK RELEASE
Re: Artwork identified on attached nine (9) page inventory.
!n re<:oenition of the put p&nicipation by the "Artist" identified below io the pr,pan.tion on MII">'el's
behalf of the "Art wort" identified above, Marvel Comics Group ("Marvel") is pleased to deliver u a cift to the
Artilt the original physical Artwork, tubject to the following •1:1'CCment !:>y the Artisl:
I. 1be A.rt"'ork wu •pecitlly commissioned b) tnd prepared for Marvel. subj~t to Manoel't tupervision for
uu in a collective wort, and it a wO<k made (<:If hin punuant to all applicable copyri~t laws.
2. The Artist"'" fully compensated f<X all his I her wort. in preparation of the A.rtwort. and oo royal tie• or
other payments are or "'ill be due or owine to the Artist for or on account o{ MII">'el's put or futute use oc
nploitatioo of the Artwork. unless e~prelll] provided ln l t.epiln!e written aeroement.
3. Marvel is the e~clusive worJd.,.ide owner of all ropyright in and to the A.rtwor\: (a.nd to the e~tent, if
any, that such copyright is not owoed by MIJ'\'el by operation of law, the Artist hen:!:>y irrevocably a.ssi(Os his I her
entire right therein to Mll"'el). MU\'ellw the worldwide rieht in perpetuity to prepare and e~ploit i.o a.ny media.
any alterations. adaputions. n:visioru or other derivative worts ba~d upon, derived from, or u•i.oj the Artworlr;,
and the Artist waives any moral or other right provided by law to ob)eo;t thereto.
4. The Artist will DO( reproduce. commert'ially uploit or publicly exhibit any po!tion of the A.rtwori or any
nuttrial b&~ upon, derivod from or utilirini the Artwork, l!ld will DOt use or exploit the l1.liToe of MU\'el, or the
rwne, title or lil.eness of any character depicted in the Artwork, io any maooer or mediA. All tnd..nurl: and other
riJht3 therein are owned eltclusively by M&Nel.
S. The Artist n:presents t.nd wi.Tl"ana thtl to the best of his I bet lcnowled~:C. information and belief, DO on.e
else ha.s any ri 'ht or claim to the Artwork . The Arti" lw no claim or right o( any kind in or to 1.11y other artWort. or
material prepared by him aod. presently in Marvel't posseuion, except artwork or materiw that hu been
contracted for under separate cootnct with MIJ'\'el (nor any claim or rieht on any artwork not prepared by the
Artist), and Marvel m.&) tnrufer such an work or m.aterial to whomever it may desire, a.nd utiliu or exploit the
s.ame to the full n tent prov idcd here in with respect to the Artwork.
6. Marvel nuy. if it desires (but need oot), U!le the Artist's oarrte, lil.eness and I or bibliorrapbiul material
for the f>Ul"F''K of promotin& MMvel' s exploitations of the Artwork or any 1'!141erial utiliz.in' the Anwott.
7. l"!ili A~ment s.lu.ll inure to the beoefit of Marvel and its Jucuuon, assiens and licen.t.eoe$, and shU be
bindin& upon the Artist. a.od his I her heirs, n:pn:senwives, exe.:utorl, administn.tol'l and usiam. who shall
never caotest or dispute or claim ri~:hts inconsistent with any of MII">'el's ri~:hts provided herein, or usisl anyone
el.Je in ..:. doi.oj
AccepteJ by MIJ'\'el Comica Group
DAT'E
Atm-IOR I ARTIST MARVEL COMJCS GROUP
By ________________________
BY---------------------------
ME0154
JA1832
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page78Page
Filed 03/25/11 of 1003 of 11
TITLE ISSUE # HOF PAGES BOX #
~~~ZING ADVENTUP~S 1 11 5
,,
If c:
' 8 s
c 8 5
AI'AZ ING ~DVENTURFS
(s~COND Si'OJES) l r 7
'
" 3 ,,r, 7
II /1 r,, 7
ASTON!~H!~G TALES J c: 7
t'
? r.\ 7
~~~~Nf.F~S l l/1 1!
f/ ? 1r, II
.,.1
If
3 13 It
,,
s 1~
• .I
lj
II
G ..17, ,
/I
II 0
7 4
II
8 Jl ~
II 1
lC 1:
If
lf u 11
PRAND :.CC HH 5 "

) 7
CHA.nm o~ D.~PKNES"S 4 It 7
,, r s 7
·'
/f r
~ C0VEO 7
r:r-~zy 't s 7 ME0155

JA1833
DFVJL Dl~!ns~u~ 0 1",..,\f ........
'
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page79Page
Filed 03/25/11 of 1004 of 11
K!REY JNVENIORY/2
TITLE ISSUE # /1 OF PAGES BOX #
FANTASTIC FOUR 3 }6(' ~OLiflTED) 1

II ~
J 20; 3 PAPT!AL
PArES ( T0PH)
II
7 p:
.• .l
1
"·
II
8 15
II
n ,~
.J 1
1/
10 J~ 1
II
11 15 J.
II
12 15 I
II
13 14 1
II
14 14 J
II
15 Jb -1
II
lf 15
II
17 J.ll 1
1/
20 J.li 1
!I
21 I 11
II
2.3 1: 1
II
2U 1.5
II
?7 1~
--]I' 1
II
3~ .1
II
32 13 1
II
33 _F_, 1
II
-1
34 13 .
II
II
3E ..•
p
1
38 E 1
II
30 12 1
II
II] !.3
II
'- 1
IJ2 B
" II~ F-· 1
" 4S 12 )
" Li7 F J
" 51 12 .1
ME0156
JA1834
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page80Page
Filed 03/25/11 of 1005 of 11
KiRBY lNYt:NfORW
TITLE ISSUE # # OF PAGES BOX #
FANTASTIC FOUR 63 12 1
II
65 12 1
II
71 13 7
II
72 13 7
II
QO 12 7
II
g2 12 7
II
93 13 7
II
Q4 12 7
II
95 13 7
II
96 11 7
II
97 10 7
II
98 13 7
II
99 13 7
II
100 12 7
II
101 11 7
II
102 10 7
II
108 8 7
CANTAST[C FOUR ANNUAL 1 14 1
II
2 35 1
II
3 14 1
II
4 13 1
CANTAST!C FOUR COVERS 70 COVER 1
II
71 COVER 1
II
75 COVER 1
II
78 COVER 7
II
90 COVER 7
" 92 COVE~ 7
" 93 COVER 7
" 100 COVER 7
" 101 COVER 7
CANTASTJC FOUR MJSC, UNKNOWN 1 1 ME0157
JA1835
" UNKNOWN (., ...J,....PAGE
,.., ..,_., .... .. '\ 1
,
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page81Page
Filed 03/25/11 of 1006 of 11
KlRay_INYENIORY/4
TITLE ISSUE # # OF PAGES BOx#

FANTASTIC FOUR ~ISC, AD 1 7
II
SKETCH 1 7
GUNSMOKE iiESTERN 63 4 6
II
64 3 6
II
66 4 6
II
57 4 6
II
70 4 6
II
7l 4 6
II
73 4 6
1/
77 3 F
HULK 5 lS [I
INVADERS 7 com 7
JOURNEY INTO MYSTERY/THOR 52 4 3

II
55 2 ~
II
58 0
- 3
II
5? 3 3
II
60 4 3
II
61 4 3
II
63 3 3
II
66 8 3
II
~7 5 3
II
68 5 3
II
71 8 3
" 7:2 8 3
" 73 1~ 3
" 74 8 3
" 75 L\ 3
" lf 7 3'
II
78 8
" 8~ 8 '
3
ME0158
JA1836
" "
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page82Page
FiledW'"¥'"'Z
03/25/11
1 = •of 1007 of 11
I
TITLE ISSUE # # OF PAGES BOX ~
JOU~NEY INTO MYSTERY/THOR 82 7 3

II
85 8 3
II
89 8 3
II
93 8 3
II
97 Q
" 3
II
gg 3 3
II
99 3 3
II
101 11 3
II
102 ll I
II
1n3 11 7
J
II
104 11 3
II
105 8 ~
1~6 21
II
3
II
10? lf
_, I•'
II
110 lfi 3
II
lll 1?
··" 3
II
112 13 ~
II
113 19
~
)
II
ll4 l3 3
II
115 13 3
II
116 13 3
II
117 l3 4
II
118 13 4
II
120 13 4
II
121 12 4
II
122 13 4
II
125 13 4
II
126 8 4
" 127 8 4
" 131 8 4
" 132 8 4
" 137
, 4
" l4rl "
0 4
ME0159
JA1837
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page83Page
Filed 03/25/11 of 1008 of 11
TITLE ISSUE # ~ OF PAGES BOX #
JOURNEY l NTO /'IYSTERV IT HOP

II
m 10 lJ
lli2 1 4
II
143 F 4
II
144 8 II
II
lli6 1 4
" 147 10 7
" 1/18 10 7
II
lL!q 13 7
,,
150 J3 7
II
!52 8 7
" 153 8 7
II
158 ..1 7
II
16ry 8 7
" 161 'I 7
II
l72 8 7
II
173 8 7
II
l7l! 8 7
" 175 g 7
" l76 8 7
II
179 8 7
JOUQNEY INTO MYSTEDY/THOR
CO'IEPS 123 COVER 4
" )41 COV':R lt
" li!S COVER lJ
" 1116 covEn 4
" JI•~ COVF 0 e
" 157 cov::~ 4
" 172 C~VE 0 7
" l73 COVEP 7
" 1711 CO'/EP 7
" 175 C~VF.P 7
" J]f. COVE 0 7
ME0160
JOU•NEY IHTO ~YSTE•Y/TH0°
,, JA1838
illo.lV~lf'l!.tf.t
1,1' ~r,
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012,
95-31 509518, Page84Page
Filed 03/25/11 of 1009 of 11
Tl TLE ISSUE # H OF PAGES Bod

~ID COLT 03 3 5
II
95 5 5
II
119 3 5
MARVEL COLLECTOqs' ITEM
CLASSICS 19 COVF.P 7
rARVEL'S ER~ATEST COMICS 27 COVSR 7
II
28 COVER 7
II
7~ COVEq 7
MMVEL PRE,~!r:PF. 31 COVE? 7
MAQVEL SUPER HEROES 27 COVED 7
MACHINE MAN 0·' COV!:D 7
RAWHIDE KID !.8 1~

.4 5
II
II
20 .1? ~
5
II
21 12 5
II
22 1) 5
2n 18 5
II
1/
27 18 5
28 12 5
I
;
II
II
30 12 5
31 13 5
I II
32 12 5
I
I
II
"
311
43
2
lj
5
5
I SGT, f"URY 2 10 lj
" 3' 15 lJ
" 13 )1 4 ME0161
SILVER SU~f"Eq 18 r(liiCO

, JA1839
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
10 of 11
KlRBY IMYENIORY/8
TITLE ISSUE # H OF PAGES BOX #
ST 0 ANGE TALES 72 3 f
II
75 /I
' F
II
76 II
' 6
/I
77 6 r;
II
83 8 F
II
24 8 G
II
85 8 r
\)
II
89 8 li
II
90 u 6
If
,, gl 4 E
Q?
.~ 8 [1
II
II
93 8 6
94 8 f
If
95 8 5
If
0.6 8 6
II
II
?8 8 f,
OQ.. g F
If
100 0
' F
II
1~.1 R ~
If
112 8 f
II
103 8 h
If
II
105 8 6
l08 8 n
If
II
135 6 f
Jll2 1 t
II
lU3 8 6
STRMIGE TALES ANNUAL 2 12
TALES OF SUSPENSE/CAPTAIN
.AMERICA 72 li 5
" 73 5 ") ME0162
" 79 h '5 JA1840
" ~li c
Case 1:10-cv-00141-CM-KNF 78-2, 01/26/2012, 509518,
03/25/11 of 100
11 of 11
K!RSY INYENIO~Y/9
TITLE ISSUE # H OF PAGES BOX #

TALES OF SUSPENSE/CAPTAIN
-
AMERICA 81 f 5
II
8~ 6 5
II
83 f r)
1/
II
811 ~ s
85 F 5
II
8F II
'
~
-
II
II
m p
-'- 7
]~4 12 7
II
)05 10 7
II
1n8 12 7
II
100 18 7
TALES nF SUSPENSE/CAPTAIN
A,~~R ICA COVERS 101
II
com 5
103 CO'IER 5
II
125 COVEP 7
TALES TO ASTONISH lll 8 5
1/
83 12 5
TWO GUN Kl ~ 55 3 5
II
If
58 1? 5
50 11 ~
/1
f0 l.l 5
II
~1 12 5
II
F2 14 5
x-I' EN 31 C~VEO /I
ME0163
JA1841
1:10-cv-00141-CM-KNF 01/26/2012,
Document 97-1 509518, Page87Page
Filed 03/25/11 of 1001 of 8
EXHIBIT FF
JA1842
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 of 1002 of 8
'-' \ ' t"~ II
K 00061JA1843
- --··--- - - -- - - - -- --
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 of 1003 of 8
- - - ........ -..... ~ - ---: ··.~·• ..:~ -~ .......i- )· . . I ~ t.;.,
tS ' -,
~ t
~~~==~~=~~!!!E!!!! .I .·!
/ •J
~~-tf··~~ . ""j
j
·· ::J
"''l
I
· - - - - -· - · o __ _.. _
. H .. ...,_ , '
K 00063
JA1844
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 of 1004 of 8
- _-:-::...:...... - -- _
__:
K 00064
JA1845
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 of 1005 of 8
'
. tl
' '
.,
,<
f.,
i
...:..,:• .(
. ' -
'·
1.::·
oj
\
'I•
, :, ·. , . ; • I
lo
------ --- - ·· ... - - · -··- ---- -- -~-----
K 00065JA1846
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 of 1006 of 8
. /.?~)I _;,..yJ - J /- J -
~- . ~~Pd. /IC.. : · :. : '
K 00068
JA1847
1:10-cv-00141-CM-KNF 01/26/2012,
Filed 03/25/11 of 1007 of 8
.. . ··- ·····-·- - - - - - -
K 00069
JA1848
1:10-cv-00141-CM-KNF 01/26/2012,
Document 97-1 509518,
Filed Page94Page
03/25/11 of 1008 of 8
· -- - - - - -
- ·- - - -
,. .. .. ,, .....
~ ~ · -.
' "I
•·' I
:1
.-~ -Iy
L
l
l.- •. .
K 00072
JA1849
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 100
1 of 10
EXHIBIT GG
JA1850
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 100
2 of 10
JA1851
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 100
3 of 10
AfAILUR£ TO (OMMUNICATI: PART TWO

hot ,·an tw "ntH·n
THE fABULOUS F.F. FACE THE MOST POWERFUL FeE OF W .1hoo~ (;ala~ tu-t thdt
h3\ll t ll<'('ll
<'Xpn·;><-d alrl'J(h lv.
hi'\l ori~w~ fa1 n u ~rt· ·
111fun n~d anJ ~loyurnt
th•n f? 1\m k t·s ' fan uff
hilhin lhc W!ll(·~t •lt"tbi 1
i.l\:'1 11~ \ thfHH': f._ ht' a
l'illain? By lt-\l l,.x•k J<fi
nitioo ht i') not: ht·\ u1on'
,,jan ad1 ersa,... "'ant•~
on i't. ~nd ~iv;n t ht ·
pr<'.iom opr••K1 11~ 'u1x·r·
ht-H~ had fan'<.i up t•• lu;
app<·ar:tll<·~.lw repr<"'><nt~
ritlttr thr uhimalt·
adn' N<r\' or • nlal!oni>ti<
owri:ill - take y<•ur pkk1
tlalaetu, i~ a prim,.
rxample ofthf thinkm~
ma u ·~ opptllu·nt: i.t . :m
ad,'eroary that i~ ' ' ' po11·
rrhtl it quirkh· l~,·nm<·'
apparent that· ph)·, ieal
opp ISition "·ill <~\!11> yood
in subduing hil11. A plan
has to Ill" devi.«'d nr a "~I
found to defeat hi111. In·
earliH stNie' f<>r Marn.J.
Jack played nith tht
notion of an alit=-u \'isitt~r
o f e nMfllt\U\ p<IWC>, hut
1her wt re more or If">\
mi;guid<·d !lmJl<Mihlt
!\1an or Infa nt Tnriblel.
<•r thrr pn<...J n•• thrtat
' '' n1ankind (the Strar ~'f)
(;alaftu'. t>n tla>olhff
l~« nJ . is n•>t noi,l(uidc-<1-
'luitr the rontrary:
I)('CJU"' uf lth \WI
rl'a"<>n fl •r t>.•ito!(. hr !"'""
thr ultimate thn'atl••
----<)
I .
~.
ll>ankind.
In iuten:i""''· )ark
"tmld '<n rha1 -( ,abrtu ..
l\ ',;l !oo Cud:;,; ! ah\ 3\':-o \o\'utJ·
dt·rcd i!'!ack n•all~ mr•nr
- ··-- ' / { ;.),t. (;~;,nlt.'J. ( ;31:~rtu\
wa' dr fi ni11·k " ·e.,,.r
but \tlf..ll' n,;, J/1; ,;,,d .
"I<• ~p...·uiatc·. l)('rh•t "
Ia< k ,,.• ,\<!\in)! that if
~11 ( )(1 r-hrrlw' \H'rl ett•r
to ! ~( (' (;oJ. (;a1JdU"'
" <ltrld l)l- a I)(»I( a> ~rr •l
JH ad' l"r, an a..- tht•t
<<>trld~""",j"'''r. ~rip<''
ht·rt>n ""' <" bred ali<-"'
lwliln·. a!ld jhl\1'Nilll
."-YJJ~ / ::A ~/... _r;;;.:,. •. · / 7'J,t[ 1l1 W~ I ll..): hut it \\ 3' I Itt
.: .w7.' ,..;.<_,
_ . , t ',-..- /, .• /I AI . ..t....: 7? /
1'1:'
JA1852
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 100
4 of 10
JA1853
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 100
5 of 10
" "~J ar~ illltrpH·tt·d

Cal~ccll" 10 tiH- ""'"''
! IW !!I~tk hillrtl !< 1ir<
o.;run· ~od . llo·... ih· . .. .
introdun·d cn;oJ,. all th
c.JiffiTtdt Ct.· to tltt- hh tor
of nm1 i\o;. ll i ~ ~ m Hl li~
lre1ald<d lo1 l h H ,,,,.
hut "" ' p•l~•·<'rful ah~u
h(·~Jre f ~t· ~ \ <·n Jrrtq-.~ .
trllin!! tht r,·••k r " '
--''<"11f t" that tlti., \\ a') oo
y•>ur typical n ;Hinp.
alien mrrtat'<·; th,, '' Jh,
n rt•na,~ : thb ;, 11 ~
.Jack intr<><ltu·eJ
(;;dartu< In H #~ X: the
ler ond haJt',>l lhe hO<>k
is utilil<·d " ' prrpan·
rtader~ for hi<arril al,
whif·h cuhuina lt\ ••itli
tire la;t J>a)!t·. l hi>~ive-s
yuu an iJe" of
what Jack wa~
tlrinking about :
Uf\'o)t ing half an
;,sue ,iust to> prt-·
pan · the readt·r
wa~ ~l in~
511( ' unwti>iug ahuut
'/€¢ thi<drarar!~r.
'1)1~
Thillg> rtal11· gt-t
.'IloY IIIOI'iii!(With
f'r_'"fll
114\.1 and '<'t ar~
1·e n· tortun~ H· 10 han ·
thf~t uninkt·d ~·nrih
from that hi"<•ric ; tory.
.~, oppo""d to my anidf
la.\t ;, ,ut. rhrrr ;, no
faiJun' 10 ron•munina1f
J)(·ntttll l\irh1 and 1£>:
Oil this Stof'\'lln~. S!31l
t(>llnwfd J"':k\ dim ·rion
"·itht)tlf n r!l kir t~ 111Jjor
rha rH~t)"'· anJ rht> .'tof")
fh\11\,lx>.lutifulh hecJ>~
l.t t· ~turk t•J Kirl' >\
pinning - and lo1 >llffl'
l)l: nt>mi~t a~t· ah.oUt ,.fl,> ·
plo lf<'O and pat n l thi<
;t or~ . Jl<·>pit(' l>hatrrfr
itrput ~t all r ni~tn <lf
m i ~ht •w t\ 't· h ad ~~ the
rOI,l<t ptual pha><'. tht"-(
ruo.1rgin no lt·\ \ hi)\\ 'he
<H Liqn and drama!IC
inlpJ<'J •Jft hl' pi n~t• l. .
"!*'""' in\ lan·rl.' tus·
"'" ' br6 n ,,·jth Kcrhy.
!lui whilt· !:ll'k " " th<'
"l:ll lwr" d11..,,Ji act rh.
-:m~cP /r ~- Cc;6 J A?~ ",. \haH '>fl' -- to ht'

rn·dll - - 1.<'<' mal h3>f
~ IA~J
h l •fJ l h r!- ,,t\'inr
!/I 1111 csmtpr~r.·t/1 t'::, r fJ.'H;'i/, Jo fh, pub/1\hj ~ I \!tJn~·~. 1'1 1:i ?/ •s ' J;o; • u;/, , J, ,c ) JI! I:, II/ · a~
ltr J.'tt llii•J' J· ·,/,t ·or hslt J.. /IJ l.lt-..l. .#,'-/ - · \ I lac " ' .'>Jll e< .~~
"'c'J. ''Jrw /th(r/u~ m /; t l wlillo;. m, lll.fw:.: ,,itnw-.; 1\.ft cf , \ ;;1 ·~. f.· i:•h111.1 \ /t11,-, t!;,tmg ,}," u lfll I r fJl !1cl1/ \l a r \ ~..· 1 h i st,H ~ j.. rdll'
I'l l
JA1854
1:10-cv-00141-CM-KNF 01/26/2012,
Document 97-2 509518, Page100
Filed 03/25/11 of 100
Page 6 of 10
,·
"
I •U
·;, / ' I~ , / '• ·;

jf J/•4'
( I .ll'l
j!; I :~ .
; .l .. ' .,..
JA1855
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 927 of 10
/f}(il"" • ~ - .--.. - ...... .. S~Ay-- _,.b llCIII! ~
<14f'Jf
renwd. tha t· " tll<-
r•.'ri.- 11~/·•r, Cai;", "'
"'"''"'"!"11••1 ,,,,,.,_
1\'ith the imrulu•1h•J;
'''this charJ<I< :.Ia. k
entr rt<l into J I><'"'''
()t't',>'llJik 0 l'3ll\'il\ '
!!ratltt•ci IK' \1. <:1\ aln·~\·,
cn·atU t~ lt-rhnoJtJ2il:.t!
(1.t•ntkntll'l lt. lxu .ll•'\\
tw h'J'> inn~qk·,r:~d1 1 ~
rht- \'ni\ <•f 'it in rn:un
<1! hb idt·a\. Ahq '
\ ;alaru" ramc ~lib
Spar<. th•· t\n c 1t,,.
( 'oloniz<n t:~o thc
l.i1i11~ Planet:;.....,,,,,.
Trolh ;, J1,,,, had
orik•l - - ,, P'-'" •rio!
a!it-11- in thl'ir
, ·ompJn~ . It \\ J \
spa<r-aJ(<' n>ylholull'
t:Cnhert-<1h1 hirl11, and
1\irhl'\ n~w -;~u'
was (;afactlh.
)ark ha' ~i<l
thar atrer •H·atiu!?
\;alart\ls IH' l1ad t<•
-,tcp '"·"k
ln>11< hi111."
An·ortbn~ to hhtonan
.\1;~rk
b ·anit-r. Kirhy
fUr
Ul1\'f r Jn (·Jn t
Calartu; to hi> a
rt•funing nh~ace- ,i /11
J>r. DO<;tn. 11<-mieht
~~~him ~~nin. ool
''"'Ywa riu~ ly. '" ~'
lo maintain tht-
a•H'!<(>Ilk" '"''ur.· .ith<·
charal'tt'r. ''"''dl<"'-~ ,,..
sa\ . Gabnu' lk·ranw
.,; illiiJ\1-di;nr hi>n11t.
th<• rt•aoef' .,f th•·
t il n~. Ftw in l•>tu·lc
hith lh<' t"n ba,.·.l <'t'
unduuhtc-dh· h?anl
thl'ir plra' ,;,r '"'
r('tunL :\r.. on l iu~ t11
!"l·anirr. afln pr- mtj ~ ·
in~ fr,u!! St ;,n. l•rk
lrrc~cf!lct <&n1••' t.ad.
111 I\• II Oil I\' r~mltHII•
1-~ wr hut n~rtf ;t.;; \\di.
\o tttank' '" l «· w~ol
1he fam ). ",. h-'"'
llhlTf ·'n'.tt 1\irh\
( ~Jb\'~1!-. \ to rh ' :md
art tlc:nt p c• >lul>k
''H'uld ha' l l' \ J,t«. ti
o thrn\ t\c .
t\dnn' n.-wmiu~
(;;,l:lrt\l ' , ,, , ,, .. rt .
'"' ~ ad.J,.,! ,, ,,.,,,11
tanwtl l,, fl,, Th,,r.
J.'/(i
JA1856
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 928 of 10
·.
~
.
$ ... . , __ _
..
,,
- . ...-..- .
7)18 &t:£4J..J t1F.IJJ t (/ i l t IJ£ po;.tg

' .V ,1/c; ?1/>ft;' F:GA(
.IJ.t.?i'
JA1857
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 929 of 10
(
l
, _,;·, .
__
6Ar:ACit/f ff/.I!J71.£J /'OR. g,qurc

/(C .5//Yf - - YOU C0 7 7'"~£ /E J7J A r
44Y - - 7h'EY~l #~ ;C()R.. 411//f/16 t9s
JA1858
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
Document 509518,
97-2 Filed Page4
03/25/11 of 9210 of 10
Page
Jack dtfinitdy wamcd to pt'n the origin ,,f
this ('h~ractrr. But rhcre ~<"liS, by this time,
a fail 1m' to rommtmicate ,_,, h ~- who rru~y
have had his own ideas ,f the rhararter\
Peginnings. A_< set>n in l]KC *14. "hen the
GJlartus s..qurnce was completed, there
wt•re many w,u.>e<J pages left 0\ff. but none
uf them pertained to the origin part of the
storyline itself. so .lack w~~ at least able to
put :111 origin in before ·ID\lng" the tharat1er
ro SOmt'one tiM- or leaving \brvel,
which he did ~ tluo a }'~"3r Lat..r. (It's ''ill
unclear how much of the published origin
W3S jack's idea. :wd how much was Stan's.)
At the entl of the unpublished pages
from the origin ""qtlenre, Kirby was going
to have Galattus battlt along;idlo Thor;
pemap; Jack Strapped the idea, or Stan
(wL~ly) rejeoed it, thinking that it Y>!mkl
lead to the character's denigration (which,
as we have setn from subsequent stories
after Jack left- and ovem<:e of the chat·
acter- it probably would have). ln my
opinion. to this day no one has yet b<'en
able to capture the awi'SOrne nature of
Galadus as well as his creator, Jack Kirby.
What made Gala<1us '>0 riveting a
character? From the outset, everyone who
knows of him bci'ore he appears is ren-
dered in characterizations of f~r. d!l'ad,
and aw~: The Skrulls, the Watcher (whom
we already knew to be an extre-rnfiy pow·
erful character). and even after Galactus
appears, the Surfer as welL In the uninked
splash to FF #49 we see how awestruck
the FF are -much moreso than in the
inked vernon. Mo5t teUing was the reac-
tion of the t'Veryday people scattered
throughout the storyline. This was indeed
the coming ofa god - Kirby's god -
and it terrified plenty.
What made Galactus so terrifYing?
Was it his power? The fact that he could
destroy the entire planet? Probably in part
- but what made him tenifYing to me
was more pSJ-·chological: The fact that
Galllctus did not even recognize that man
existed, or cared if he existe<L or needed
to exist; the fact that Galactus made man
look at himself and say "( kill what l need
(or want) to survive; not bothering to
ratiooafu.e if what r kill has a right to live.•
Heck, we don 't worry ab<mt a carrot's
Thor #160 page (with outstanding inh by Collet/a); <Jgairt. Stan douly fallows /iicb lead whm dialoguing. right to life, so when' we realize rhatwe
are as little to Galactus as a carrot Is to us,
Ego story in T!Jor #134; just as Thor leaves the Black Galaxy (where it'I enough to scare the hell out of you- nor so much when you read
Ego dwells) we see the great Calactus appear. He is scanning the Black it as a kid, ironically. Only as "rational" adults do we realize how scary
(;a~axy, whetting our appetit~ for a Galactus/l'go confrontation. Jack this concept is. And the topper is you can't condemn him without
then "steps back" from Galactus, not using him again until Lee requests condemning yourself. So in thr end ,-e see man as an extension of
a Galacius story in FF. Jack eventuaUy returns to the Galactus/Ego (;od; nut in the long mn Galarrus- God- is an rxtemion of man.
·seed" he planted in llwr #160, more than rwo years later. finaUy Calactus is man. pushed to the ultimate degree; a tenifYing concept
bringing his classic myt hologlcal figurts and space god together for indeed'*
'-"Vera! stories. The Ego story leads to an 'Origin ul (;aJactus" plotline
that t>wnrually culminates in fhontl69. (.Y.>xt i.ss~.' Part Tim~ af- l Failurr /rt C"mmunicort · " ilh
jack touches on the origin story in T11or *Hi2 but thffi lea>>" it, not th,· Si/rer Surj(r raughl brfl>'n n Kirhy & LH, an1/ mortgrMl
returning to it until #lo8, ft is undear why this is so: Et·:mier teeh that uninktd pmri/s from FF 149!)
!99
JA1859
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 92 1 of 3
EXHIBITHH
JA1860
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 92 2 of 3
ARTI~I
''Somebody wanted me to do a naked Doctor
do rou un lllfr odtu:tu m \Onl.llitJ~s bt:hH14/ the work. ftt\ r,nd lhc'
00
t•H h "rJit' '-l-\RK: }(•u ,}li e c t ed :fJiif tr ;r t'(\ 01 u fill ·
for a gu\· "bu ttt't'd( no introJut ·~ h \ pt•. and Jhat 'J h'h ut Jhr.' p1t: l 'c.' ~~ ,J/'lr.J i l J ('!t:HI . hJ:n:u·/
t>on ., Sh t •uld I I<Jkc tht' h•s ~ •nc - .. ·til the r,·al luck K~r/> 1 '"'" plt<l ll'
: Jf'J'rrul , h -
tltc l'tlrh· \eun. Fktf\ Hoop. HunJ up. .Jl\ (' 1\ : St·n~~•h: n !! .. Jptut<.··J "'~ 'nrcr'-~ . . t
f:nnef' ami I Kef' ~ Tht• lt;(· Surr(ln , ul~ ;,nd I . . , ...~ . . ~~~ '"' d't ;t
fohorcttrn n\ ' Jl: r ) i/\·t•r ,-fi!(" 1\'lfd , /f 1r
rv ht·I'!J .\ .fat\d ' Shc11f f 1ertun<l iht' m J ,\ C K KIRBY: The re are "'' la,lu•c' .n
c/U.f l n ,Jf lft ·lt ll l.' 'rc a/1 J'ldt•btt•tf fo :he life -- JUSt peo ple v. ho quu ' '~ ' " " "' I j ,\ l l\. : t-.'r .• ' t"'" · · ·n~ 1:11)~ ~' '" I'm
Km~ ' b<he\c nerylloo1) ha' ttl<: 'arne j)Ottnt<dl Jd!O~ ..1 t.!ifkf ::.'hl ta._·l't ,,f II Jfld J" 1\1 dd·
Somr·hl•h •T(JW' t~f tlrt.St'
upl m · ,t't'!tl I h3' ~ the ..ame P<~l!nllal h > pby the P'""'' I ll~ 11 f••r pt'nple ~h .t, J u _.;.1 11 1 dn ' t f..H
rr(~ht( f11 "h l•)r tlus lr I <'flf1~
tllft' " r'e1, . 1\ ht< Gi\en time I Nuld ~ P:ukr~\\'Ski. hm - KLII'n ,,......,,, I •n "" ' "'~ ,, lir.c 111ne
~Jdt:r r,~ hr ahi)U/ Ktrb\ - J}u mun ntf I ha ve no !Odln3tl•>n to pia' ttl.: p 1Jnn f he;-~ ' r (' l tnc.' :.Hll' h ,\ ... fl..J \~ .J &:~'>.. kl rdJ ·
tn•nx rlr.u •wko CUJIIC5 /,\''[J:.'RVIF.W GIVen time . t ·u never b< Pad ert,. , k i' ll •ln ~~ IP Thc.t\ hk..\ th~ -~,,,,J.. un,J I ~'\"'
Htm d ow /r-om all Thr rru n t1 .~n-eJ \lARK RORAX : 1/...llll!l,hll'r I -.·m "' h:tt~ ' t:l t he~ "'k k 'r 11 ·.. _ the p rt} -
r cdJCr.\ ,m fll dt.fllr /(,ok ell :ht• ch \trs,• f'CI - JACK: And 11 """n ·t maH~r 10m~ . "'" tt"'-'11 ·1\ J I t hm~ t•' ll t ' I n: .:untetH
comics 38 Interview
JA1861
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 92 3 of 3
the artists handled both story and art!'

1945- WWJJ mds. and infamr~man J:kk KirbJ. comes honw 1.o Srip~Qn ~h. 'IY. The caption on th<! bad, of this pb<.to
~ · ·A.nn~ rood ~ou.~y. Flpr~ great!"
w~ wante d w Jo. :.nd .,.c <,aw to 11 that books . which was hi s job. St~n was pro- mu The re"'~' no t>me lor t h~ Jrt''' not
everyth•ng .... , fr~' h and new Steve duction ~oordinator. But the artrsts were w do 11
Ditko. I think., ><·as rhe ,, ~ rhat •n my the ones that were h..ndhng both story and Acwally. th~ HL'LK "-J' gn nn~ lx
esti!T!Olflon <Je,·eJoped SPIDER M:\N , kept art. We had tu - there was no time n<rt to' d i,~utlllnued afler the lhtrd '·"uc
hrm g<' tn)'!. and ~ e pt hrm selling. MARK: ·c/JJise _wu wer£ pwring our ;o E'eryhod: "a' kmJ ,,f "" J duv.ner.
\tARK: Won Sle >t> "'"" ~ u f,>t ojllrc p/(Jf· maflr flllu ~ach monrh .1 okay' S<' 1n con~e;, 1he <c c, >lkge guv' from
ftnK (~( rlrl' orr -:u,1J/ hon~ , or WiH 5ton do · JA('K: J "a' doing almost a// the titles' Columbia o r ~YL:. df\U the~ get d ' " ' nf
inx all u/ n ' So SPIDER-MAN was gtven to Steve c·ollege name' - J nd Ilk ' 'd! .. file Hulk
JACK: The ~rti't> v.-.:n: dntng rhe plot· Ditko. ~nd he did a wonderful job, he b tM ma~or '"•f .1u r do rm t kTr ~ I krk!v..
!mg - Stan wa> !U'l UM.> rdioatinl' the developed it. he mad~ people mt.:re,ted ri~hr aw;,y w c ·d ~<>llhc u >lkg~ c rov. d -
comics 45 interview
----------------------- ---- · --~--

JA1862
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 92 1 of 2
EXHIBIT II
JA1863
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
03/25/11 of 92 2 of 2
___,
/
HOUR TWENTY-FIVE
f~rrerpl:l.jn~m tht: !Wilt KJ'FK !)(J .. Ftt lfl.\ _!ngc/('_\' \net1U' /idum
and .\'lel'e r,"crlu>r diH'U\scd]tu·k .r httllk trith \f,lrtl!l t:nmin
hilt: r11di11 _~bou· trheN·jdt-J: Au'l11. /-rank lfdlt•r \far/.• ft dlllt'r \rthur Ill tl!!t t ·1111
r1f't'r the rdurn of hn ungm,tl11rf • lnmsarl~t·d hr joh11 ltornl{r
,
IJOI R .!i lhmt"w :.1 \H!ItT rou gt'! 10 kl·tr wur 111:111- her<· jack'~ 1\nrh t~ tht• h·Nt :>luff !li;tl \f;trl,·l l OlD!<.
U\-i.ripr~. l(wu·fc JH ,un-.t. 1h1~ dot'.\ not fl('(C'>'-;uth IJ.L.., Jun . . , 1\\t'!lll \I'Jf'- or '>O. turnt·d into rlw lt1tJ·,f
1Jb1Jt1L j<i(k. <dlat happt'lll'tf1 [ll•l\t'rful roflttf lll:11lk. puhlhhcr rrt !lw tomnn f!tt·
"You can hide a -l }KK 1\IRH\: \\hat hJppt·ncd "-'.l" thai \land dt·ntlnl
to rt'Him !lw pagt~ to tlw JrTisl:- ~Hd the\ \('Ill rht•
Ilk:!~ fllJt \p(;JJI~ fr!IHI !tilll into piffllfl'~ ----- ifi[O ,1
\hl!JI '>Hit· tlk~ lf"{' ltdi-!JHI\'. JJitfH' flOW no<.~.--
platoon of I our ro lht' rurmh mbts rha11hd ;wrk fiw tht1H

rell•;t\t~
ma tlw WJP~ \ty rdt"J.'\t' \I.a.\ 4urte Jifft•n.·nltllan !lw
haH· nol ht't'U cn·diit·d rn hi111 h\ \bnd. Ewnnrw nr
it J\110\\-'> 1\h;ll
till' HltJUSit\, t'\l'('f011i' JJtpdll'rt• IWJf
assassins in a nfht·r>. I! wa..., J rdt'l."i(' I coulili(! ~i)!.n. Jnd t!ut rreairJ

/w. (Ofltri-hullon was. '.1'.1nd is refH:-\111~ to ad\lltJid-
eJ~,. thi~. Jnd WI\~ tbt'\ 're wi!llholdm~ frum hinr hr.
complex deal! " a contrrl\er.,\_ It lllV'iUfied lilt': I (hm ·I know 1\11\ t h'Ht
thb kim! of a rdea.'>t· lr wa~ a li-mr-r:~gt· rdt"J5c !I ~Aa.'i
0~11 ph~'>lfJI Jrhw-rk \\hkh lht't Jrt· withhu/Jflll!, frJI!I·
rw one dS{· I rt•Jd t!Je..,t· dnnunt·fll\ the\· V.:flll hitll t(l
Don Ridcles, Jimmy Olsen .llmo:;t likt· a coJIIJJCI, •.rht"rfa.'ltlw l\t•ra~· rde·.t.'-'t'W:L<J
\i~J: II\ the JIW'>I offt'O'>hl' kga/ tHJtion I\{' t'H'r
#141 (1971J,p.l6 :->mndhing I could :.1g11. I \l.'l}ldd'H· :-.ign('d it J11d tht·n·
n·<~d. It'' wn: insullin~o:
o;~.ouhJ haw !wen Jn ordinan· t'\l'h;tngt· of r('k•:t.-;(· :tiJ(J
p-.ij(t'\. TiltY crr-att"tl a ~ituariun in \.\hkh f wa.;; _.;furl\: if :--; fE\ E GEHHEK f !hink t!'s JJHI~ortml 10 point mu
bt·cmk· a !t'gJJ thmg. and I'm '>orry- J.bOIJI !ht" Lirw.m- Jbo that tht'\ tlt'H'r paid for tht pin sind Jli\\orh. f'ht·l
<il:tlln' itself~ hur it was dw~ 1\'ho :-t'nl the rek·.ti-t' nttL don·! 111~11 tht• pln:-iul ;trtv.urk if':-. tlwn· onl}
and it wa.~ I '1411o ca.n 't ~i!QJ il. .){J till~ kt•pl fll\' p~es h~·rau.~. ~tppan:ntl~: pm..w:-..">itJO ~., nin('·lefllhs ul !l1t
The top j)t111el r.}fpa,Jit! ff) rJf J;m .11 the nwtm'lll
X-Mm #/7 {bottom) tt'llJ{Jaxfed HOI"!{ ~5: iiHI h~H: dont' thous.ands and lhnu ... and'i of
or·er Shnun ~rr lire ja(k :to p;:tgt''> owr thl' H•ars And I must :-.ay i!'~ on~ ~bnel COHR· In tht' lati'SI iNlt' of n~~.· r.'tmul:I)OIIrlltl/. lhl'l
unused pencilla.J·outr ami Wi..-ft' !Jiking ab.Jlll; 'o'oilh f)(, I!Wrt'S liP rmhfem. !rJd f:ttJ.lo~rtl Jlld accnu!l!('rl for thrt'('·(jU<Jrlt•r.-. of thr
tntlrgifl notes lhtll remain tmtkr flag<~. For \Olllt n",J~ln since dwn. th('\ 'H· d(_·ridetl
Klllli\': According to >lati;,lit:i, he dune ont' quartl·r of
the f>i<tle-up that thl'n'~ on!~ XR ra.l!rt"". JrJJ if lht ... itualiun·s
Man.d\ ('fHirc output. ·nwn,.·s a lot of hJt<l.:mrk
dr:U1).!l'tl. rlwy're not 'ia~ing h01\ o( wh~
!lOI R ~')-.Did till'~ .IQ\1.' }OU a straJglurun~;mJ rt';t.'>Oil

f(Jr till". )ark~
KIKH\: r:uronh gut':\~. :1ntll'tn noT gtl!ng to dhrn:.-.
f
an~ )?.Ut·s~in?, on !ll\ p-.u1. It'> wn llarJ to cottmurnicll1
\\ 11h ,\farn'L the-y rJ.n.:~- .lib'' er I k:t\l' 11 l'lllin:l~ To
111\ ht\\.w•rs. I'm If\ lOg Ill do it m a rnn,entimul Jnd
,. \l'!I.'>Jblt• lcgJJ ll1Jill1cr. I tn- not to off{'ntl Mand Ill .1111

wa\: ltn to hi.· as [MIIik :b pn:;sihk 1n'gJJli IH<Ill~''llt'lll
I ;t.., important!J('nplt lo \\Ork for: f :1/way-. haH· \I~ toh
!J,b .dwa\·s Oren to sell tlook'>. \\'hen \'ott -.;e/1 hook_..,_
100 hl·nefit tlw puhlhhl'r J> \\('/1 J'> \ollr~lf Wh;HI d•·
I' h noT ow of ;mr itli!Jk diHr?;Mtl f()r man:Jgt'flH·nl I
j
."l't' 11 a-. a IHJ~lllt'S\. l'q, ht-e11 a ruhlr\hcr 111~:-df.
•iJJrd(( -.\
[!,4(!'"-
1-f()l K !): lht' c'tm/fcS joumrd ft'JW11td thl'rl' 1\'J.\ .1
JWld ,JI Cmllir-CmJ iu ~an IJkgo last Juh. .wd /rs!l
\ltn<rtcr p;meh.·t.l \lllh \'trll and Frank Y1dkr l!id -.will'
11!htT'> dt\CIJ:>:->!tJ)! IIH\ ~h011!t:f \ll.\ Ill tilt· JHtllt'lllT
.md ht' ~~~~·~up J.f!l.l \,ud Jt om· pc.JHH rhal IK thotrl!.lll
1o11 \hould lhlH' tht' an had... Jle J!\o \:!JtlillJI .l">
fwhind If. JIHI J lor of hard tlnnklltl!r hl'hHtd Jt It\ 1-.dttnr In Chwf J! .\Lind. no dl'{ f'>ltllh 1q-rr made
:-.mne!hm~ that\ h1ghl" inJiqdu:d. hi~hh crnt1te. Jnd II, itliOIH llt-. t'Ofl(llfrl'!lO.' TIJJI \\Otdd \l.'l'lll (11 h(' J
JhH\e JIJ. II ~old \('f) 1•dl ri·J:->JIILthlt- 1\J~ !0 ~!Irk !IJin_t.:.~ IIIII htJIII \l'tlll' till'
n·a\ntuhknt":i\ uu.kd n~lll thtrl'
\IHIH'R KYHO\ COVER·-\.-. f 11111kr~!.tnd 11 1-11Jm Ih('\
~t'nf loll the tiH!r-p.u:e mnrl' (IJI!lplt\ for111 lht<\ d 1\/RB\ TI!I'I II n-wrn JT\1 .11-r. 1/ /"11-..l~tl rh.tl n·k;bt'
IJf!l\ Jdtntl to ltJ\1111; ,'iH Jl<lgt'' of Jrl\1orh nrH IJI lllih(· md I l'JIII 'IC.fllt
dJoU:o.Jild.~ nf pa~n \ott thd
\1/f I FR Kn1111d llw JIHJIIJ!II u( 11urh /Jfh drd JnJ
1\ff<HY- fhcn·\ t·t~ht hnok~ rfllohnJ fhm·' SK p-.1~1'" 'old tlw f<l(f I'> n·, ,o!l rn.th111t; rllnlll'l 1'!11
l.io\1 ',lf'll t!
lfllnl~rd lhtTI"--.. !htllh,md" n( hnob I did Jild J!J ll!J"I poptll.tr [liilllt l'l1,oh tlllh1' CtHIIIlf\ I'> rill' \-!fell
!h('l offl'rl'd 1\J.\ l'll;ht ~AIIH h '' ''flt· <Jt _I;Kk·, If \Jrli ~'' dJII\1! II\( lr-.r pnrh.1
hh lilt Jill! rJiiiH-/ll'\l ~1\ du\\JI '.\d! f,,.JI!~ \\IJ,IIllt'
HH\1\ \HI I U\ I!' HT\ unpnrl.Hll 111 hf''IJ 111 1111111!
1bd (JJI '•IIlli(\ 1\J:-. t'1111rllHIII" lilt' >.\1\ok .,Jup,· ul
1/JJI Ill' rt· l;l)/..IH~ .tholll .Ill 1'\II'Jilf'd!II:Jn \lli!.lli'it!
II Hill(\ Ill flll-,1' filii('' 1'> h.r-.t•d 11!1/.tlh.., \\urh
JA1864
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 921 of 4
EXHIBIT JJ
JA1865
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 922 of 4
galiuy· siud m11crpts totl/llsr minute, shJ·mo panel uqurnCt'S lit' loved so
JACK KIRBY IHTIRVIlW

!rttcnriewrd bv Ben Schwartz on December 4th. 1987
murh. And all those )'ftlrs lt1ffr it still jdtll'eird. .-\gain I say }rlt. "jack's
comics don't/{)(.)1; real. but tho· feel rml. ll'hich is your rake-home-pay long
aftrryour Mom throws out the book.
Original~v publishriin the UClA Daily Bruin 1111 jmwary 22, 1988 About this lime !was writing a11d editingjor the U( IA Daily Bruin
and I gm·r mysdfthe assignment <!(writing a Sl'fies ofintavi<Ws with car·
(Ben Schwartz comments; Maybe The Jack Kirby Collector isn't the
toonists. llrmded Will Eisner, OJUckjonrs, anJ Milt Caniff I wanlt'tl a
piaa to s~y it, but jack cm:ped me out. Upon reading my_lirst }ad Kirhy
jiwrth, so I Jtarlerl shelling Mark Evanier with phonr m!ls....li>gel rid ofme.
aunir, Mister Miracle #18, <I (rimd and !-john Frauds Moore. a turrrnt
Mark arranged some lime with jack. 1/alf4 that conversation still exists on
wmics writrr- had identiml ;rat/ions. Dl'tades b~fore 1\!f fl't'f met-me in
tape, which you hm•e herr. !Jack then I thought, if! ha1•e a chance to talk to
Kmosha. WI, john in Huntington
Beach, CA---<IIIf respective sevm· lind
nine-year-old minds wrapped around
:vii.ster Miracle:~ last issue and we
thought: What IS this? JtVho an; clllthese
(haracters ? Who is Vermin Vundabar,
and that dwary; and that huge woman
Barda ?And worst ofall. Gmnny
Goodness., who Itill ranks in my opinion
11S the most frightening characta I'Vff
crMted in comics? And why was if the
last issue? Superman, Richie Rich,
Archie-thry never had hrt issues. A.TUJ
that big stone guy at the end, Darkseid.
laughing in that rndless, IIH;fu/ way
over a joke only he got-it was rrazy. To
tJS, el!f:rything about Mister Miracle
#18 seemed dark, elusive, and con.fos·
ing. What is this? ·!
Like I said, jack cmped me out.
1
It happened again. The next year.
l
age 8, my asthma kept me home from
I
school and my Mom bought me a
"Mighty 71wr"Treasury Edition, which
reprint~ Thor's epic battle with 1/ercules FJ~~~~~~i~~~\
and Pluto (ova-sized comics still kick
ass. by the way). Pluto appears as a
Hollywwd producer whoforces Thor J
'i
d(}Wn an infinity stainvay to Hades. His 1
face twists into an _t'Villeer and itfelt-
felt-expansive, confident, brilliant. It
matle me afraid; so much so that I had
to put down the book and wait till bed·
lime to finish it (a mistake-the night·
mares!); and at the end, the villains
beaten and the dav saved, Thor just sat
on a mck out in the middle o(lhe ixean, a Y:~i~:I~M1E~ \ii=BI~4Eia
lonely, bummed-out fhunier (,'od. lluh ? i;KniM~~~
77ris. is a happy ending? Supmnan nfl!er
mt on rocks. Batman and Robin SJVung
t1rfi'~~ft:~
l
~f;~~,~~i~~f.1Jrt~~
o(Tint,J the night, cast' dostd, joker in
fail. And Ri(hie Rich-wdl, he was still
rich. Again, !thought, u·hat is this?
l'mh, jack crt'cped me out. ~v thf
timt' I got to mllege I had pretty much
written .w per-hernes •!fl{and still do},
hut I started l110king thruugh Kirbv •·
reprints. /loved his ()ddly shaped char·
artcrs. I saw thr boldnc~ ofhis original
.-onrcpts as opposed to the ninc~v-ninth
gmmuion l!,( ihl'ln tlrr pub!t:~lu:rs hlllke,J
out thai month. 1 hunted up \lister
\tiraclt" tl 18. Aud IllS lead ot:fack ova-
~t•hl'lmillg me. I groo!'ed 1111 }u.H how lng
lhr guy though!, the powrr he packed
into his paneh, 11nd how he lcplfrom
Jock mt the Harda jilrf out !{this xuox.f;om .\1ister Miracle #5 to restore the une Mikr Royrr altned while inking
JA1866··j··
43 ·..
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 923 of 4
1·~.w·re working as last you do--l mt>an, is !lw ide~ to show these two stories. I wrote the pl0t~ . I did the drawings-! did the entire thing
~s equals. with that balance'! because nohodr else could do it. Thev didn't know how to do it or want
to do it and they Jidn ·t give a damn: They were taking money they
JA <'1\: Sure.
inwsted in the magazines and putting it in c;omething else. But I made a
BES: Okay. Then !0 do it that fast. did it just happt'n as you drew it? lil'ing off that. So I put out magazines that sold. I made sme they sold.
/AU\.: :'-\o. !\ ly idea was that there is just as much strength in e\'il as thE're flFN: I've heard stories llihere an artist would watch a publisher tear up
·is in lo\'e, .~ee·? And that's why e1 il is such a danger-the fart that it is his pa~es if he didn't like him.
so ~trung-an J ~~.> I 1\'0UIJ try to portray it that way.
jACK: Sure!
BES: ls that why 'lllf New Gods is ahout balance, too'( You ha\•e Orion
BEN: And that amazed me. Bffause you think this is Anwrira. right?
and the :\ew Gods in \lew Ge nesis and then Darkseid-
This shouldn't happen here.
j/t( 'K: Orion and The :Yfll' (,'vds is an allegory. really. And the :--!ew Cods
.lACK: Well. I'm telling you about an altogether different generation-
are just il continuation of the old gods./!n} the old gods, Loki was an
a generation that did that. A generation t~at would take guys at the
evil god. Thor was a good god, a god of virtues. But not only as an
neh·spapers, telling a great story one day. and the next day they'd
allegory. l had Thor as a human being, examining himself saying: "Here
throw him out on his pants. You know, they'd just throw him out the
I am, I'm ~upposed to be a great guy. right? Why dol kill people?"
door. And people were like that. So, they don't do that anymore. I
BEN: Yeah, that's the last panel here {Thor again/ where he's sort of think they've more or less grown up-and I thank God for that. I thank
asking . .. What good is it to be a god if you have to temper it?" God that we ran all sit and reason with each other.
lACK: Of course. of course, and that's his problem. Loki finds no BEN: So you think the industry has improved?
problem with that. see? In other words ·~
he's an arrogant type, see? He says. ~As
long as rve got this power and I'm bom
1\'ith it, what am I supposed to do-
ll'aste it?"
Rt'.V: There are a lot of consistent ideas
in your books. like the use of power. I" · . I
/ r' j'
fACK: Yes. ".i·.,
BEN: \Vhen was it that you first

became ronscious of these themes?
jACK: \Veil, just working in the comics
field you can feel the pushes and pulls
of power. In other words, the publisher
was the All Power. In order to stay
working you had to work along the
publisher's guidelines or else you'd put
out a magazine for yourself. which you
couldn't do. In my day money was hard
to come by. so risking money was a very ~
hazardous task. So we stayed within the
·~,.
editor's guidelines-but my sales were
vrry effective so the publisher couldn't
i
iJ
argue much with me, see? So I had an
easier time ofit than the average guy. ~
~
RFN: Yeah. in the last ten years comics
haw· changed where you'll have ~ome
<l!le like John Byme making hundreds
of t housands 1.J f dollars.
}.-ICK: Oh. sure. '\
RF..\': :\nd he has all this poll'er to do
what('wr he wants. But tor someone like
you in rour era. was it much diffrrent
then? ·
lA< 'f.:: Yes. Hecause I took a beating for
John Hyme. It was in my generation that
the puhlisher came to lea rn that sales
dept•uded nn how vou treated the artist.
r mean. if he was (e;tlly good-and that
no i<lea was really a bad mw. You go tta
g1ve an idea a chance to grow. ,\nd I did
that with the :\larvel books. lll'rote the
( ' !finished :V!ister \1iracle 113 page.
JA1867
.JS
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
97-5 Filed Page13
03/25/11
~.A/ of 92
Page
/~/, r~-:s ·"'4,_Jof(... 4·
1.-" ,· ', ·J.IP/-1 ~//./ /~(/ /'
JACK: No. I see professionalism. /.A;/6 /~1/f(; ~~'1'.:-v-;..
BEN: The Village Voice called your

work a broad kind of Expressionism.
Those things don't really concern
vou then?
JACK: No. they don't. What comes out
is ~·our interpretation. What comes
out is your opinion. I've already
fom1ed mine, see? I can tell you I
Jon 't throw B.S. I'll never do that to ..\
you. I'm never gonna contrive any- -~
thing so that it comes out clever.
BEN: l was impressed by how much
You must have loved the medium
because in the '50s comics weren't tt .
selling very well and it was difficult
to get a job. Yet instead of going into
advertising or anything else you
stayed with comics.
JACK: Yes. Joe Simon went into
adV('rtising. He said, "The hell with
it." And Joe was very good at adver-
tising. Actually, that's his medium.
He did well. The only thing J knew
best was comics and I went back to
Marvel and Marvel was in very poor
straits-all comics were in poor
straits-and boy I can tell you,
when I went into Marvel they were
crying-and Stanley was going into
the publisher and lock up that very
afternoon and I convinced him not to
do it. And of course I didn't change
things in one day; but I knew that in
a couple of months I could do it. And
that's where all your Fantastic Fours
come from. That's where Thor comes
from. I took anything powerful that
could sell a magazine-and I did.
BEN: Was that your intent? Milt
Caniff told me that he felt his first
job was to sell the newspaper.
JACK: Of course.
BEN: So when you went in there, you
were thinking, "Well, if we do this,
this, and thi s. we can really market it
and sell it.
n
JACK: Oh, it\ more than that. Today

they sell about 40,000 to 50,000 books.
And I understand there are issues of
DC that selllOO.OOO. And I can
understand that, DC is a very good
outfit. But in my day if! sold less than ;./A/ "'CA.PS A5 h'CA7'
SOO,OOO, I'd hang my head in shame. /~IC; u/' S.I0/1'? A7 /6/..,7'
C1ptain America was selling 900.000 a
month, and that's a lot of magazinrs. An action-parked pagefrom Captain America #1113.
ltjust proves that comic book> don't
Jttract any more than that. In my day they did; and not only that hut it was a good medium. And J think thar'~ 1rhat thcv \ ho tdd striw !i1r
! used to see my <)Wn lawyer sitting and reading a comic bnok on the now-their best. lr isn't tnough ro .~ <1\', 'Trn gonn; cT(':Ht' a ne1\·
.subway, okay'? I saw Wall Streeters sitting on the subway in \'ew York. galaxy,,, if you know what [mean. [(~· f' THHJ).d; IO 1\fitr l\! ll' \!Om! ho<lk
fhey would be reading comic books-and I think it was because the and have 500,000 guys ~ay. "Boy. that book is goud ." r!wt'~ prof~~
~ronalism, see?
comic books were good. Aside from the fact that it was a new medium-
JA1868
49
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 921 of 3
EXHIBITKK
JA1869
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 922 of 3
you know. they are proud. and I think if you did something like that.
WOW-WHAT AM IMTIRVIIW! rour nwther also would store vour stutf; that\ how motiwrs are! ln
;ny Jll'ighhorho,HI. you know. itwy didn't ('H' n lultl\v what a n artist
wa~; hJ lw ~<lllleone. vou h:~d to he a rar rnerhanir. and ~o 1,·hrn I
.A rrlfl' /t,dillfl i lllt-rl'it•H•.(r,l!lllhr 1.'17115. lramla!nl "I'. r;tln'r• l'rwlo 1/arhia i b(•r;une an artist. people couldn't cmderstanJ. they thoug:ht I wa~
,Vt.Nlfl I (1/llri. all ltafi,l!l /till, utft'n ·it'lt't't/.l•ir·I Kirb1· during }tlt'k.f trip ItI mixl'd up in ~onwthin g iflegal.
[.u(t'rl . /ta ll' in / 9';1i. HrJilr,. lrtping .\ l rl rlt'rl, Kirhr told \~Jiuri hr'll'll.\ pnrlir·
.VV :\ l'ter Jumbo, what did you do?
u/1tTir l~t~ppr a/J,mt thi1· intt•n ·it'll' lll'lwtsr hi1 f!alianJan:inr was ' a/lui
1\/RBr · :\fter jamho. I startrd to gravitate towards more stable and
Wl H\ ·: l ( );\ff( 'S-Iimiltlr IO tl/1( of A'irll\' .I ol ll'/1 r'rtrlv tilln. 'lht i n! r•n·inr
wrun· magazine~ . 1hat wne jw.t then nmli n~ ,,ut; things like :\ tlas
WtH d/1/r publishtri in Italian; till' ,;,~~illi;, i.l IIIII ll!'tt;!ahlc·. \(/ r;IIJio! l'aolo
t •>llli(·s. 1,·hirh later ber ame \ 1arvel. :\ntl tlwn t>f r•>ur~t' I Jid sorrw
&rrhiai n··tflln\lo!t•d if hack into Fnxlislr. If anrtlnng .\IJUIIri.> odd.
things tor Dt', and ~o m r things f(H a man nanwd \'illor Fox.
fr'III•'JIIbcr: thi~ is'' tmll.lltllitJII ""'' tmnslation. \'irtt>r Fox's nan1t might han· rmne out if you intervi ..wed
any Jrtist rny age Whll WOfkt'd in the fl rst yt'ars of
SfSSI.\.-1 ~mFRI: You ~a iJ earli(·r that
c.>rnirs. l ie was a pu blisher. he puhlish<'d
eJrly in your career you use:>d to work Weird ( 'mmcs, and
for J book call('d l·H !IV!
in grneral hooks
/.1( I\ 1\l!UW Yes. it was the tirst ,,·ith namt's like
ma)!a7ine I l'iorkt>d for. Jerry Sit'gel
Weird. Poll',
and \\'ill Eisnl'r used to puhlish it.
/lit. And
1her wen• mv bmses hack then. there were
anJthose 1r~rt' the fl rsl ~·ea rs of
publi~hers
comics. and IVOW- Wiwt :\ .\.1r1XII: int'
like ··susv·
was one of thl' fi rst comic magazines.
Arnvld
,_,\an\' of the arti sls who work('d in
it we;1t on to crea tt· grea t fr:Hures of
their own . a!. we were to see. People calllhis the
Colden :\ge of comics- I mt-an the Forties.
NV Do you remember anyone'/
K!N.RY Ye~. I ft'lnember all the pt>ople
who were there. There was Eddie
fl.~; >
< .
Ilerron. who neated Captain
Mar\'el. and Jerry Siegel and ]o{' ·
Shustt'r. Thev worked for()(
fro m the bt>ginning. the~· came
on the scene when ~ve rything
had just been creased and
en,rvone ran around from 011e
rompany to another. \'\'hen
Jerry Siegel and Joe Shuster
came along. they found
thrir place at !)( and stayed
there. I was a nut... if another company
oftt-retl mt' more, l w!'nt, ~o I leaped i'•.
around like a fly; maybe this was a ·,...,
good thing after all. hera cN ' it )
allowed me to work in diff<'rent
organizations. and meet dilftr- .".J
ent pt'ople .
.VV .\!h·r working f(Jr JI!()H', •.
whn(' Jid yl)u go?
KlkBr: lwnrked filr./umbo: I did
J. "part feature." om· {\f thl' tir~r .
~·:nwr ~trips. ra.!le.d "TI.w ()i;Hy f..! .r fwd liiJ pa~on al (;o/dm AXl'
ol lk llan ,·anl. I 1·e ~Ill! got fo"" ropii'S ~~{(·apt ain Amaictt # 1 & 3-!0 lu•und into 11
tht· hnok; my mot her krp~ it. ,-.....
/iartfhOUJid l'tlflll//1'. for tflr 0(1 tl.litlll. ftt' rfirf/;>/lf
1\nt I'm not a rnllrr tor. a hobby-
Cop -related pl'llril t!mll'lllgs anrllwd thon \(1/;ht'd
i\t t l f a ~pe<'i<llist. rm3 dof'r;
into it: !ll'tJ insidl' the /n)/// ((ll't'r, r~t't
H'ti l kind o11•ugh to ink !Ills "llt'./t•r this iswt'.\ (o tw.
:th• nll thl·nt. Hut mnt!wrs.
·-- -- - -·--·-·----..-------- ----------- - - - -- - - -
/J•, f,lcf.: A'tr!Jl· (;Jilt, lt•r. '. <ll. l :l. (let. l ! l ~ lli. l'uhl!,lm l hi·nl< >nthlv hr T wrl.\ lt lH Oh'\ \dH•rti\ ill)!. 'i02 '.ailll \ bn:, \t. . Raldgh. \'( 27tiW>. l \ \ . !I! !:J.I\:33-KilLI:!.
.\. \' tl.
f,>hil \ fN roll', Edit~<r. /11/111(/tl . \/, Jrr.>~ ,., .\ , o;h t,tnt Editor. \ in l! ll· j, ,l l ~\ : S-UI'i t•arh I ·s_ S'i. IO c~nJda . ) 7.-Hl o ur.~ i d ~ \nrth \ lltl·no. :. i x · i>.l u ~ ,uh-;,·npti nns:
j;:~ LOIJ l S. S L!.OO Ca n ~ tda .t th i \lt\it ll, .. nd SH.IHi oHt hHi<" '\',>rt h \lnt·nra. l 1r\r printm!l. !'lie inll iJI print ing ,,f rhis l \\ ll ~ 11 as mad,•d th•: h't'tk of t)n . :!1 . l'l~ l ti.
\II char:Jdl•r\ art• ·D th ~ i r n·~p~rti1 ~ rom p<~llic \. \ II ,lrtwnrk I' ~i~ JJrk f>.irhy Jfll ll·~' ot l ll' n ,·i ~t' nokJ . :\ll rJ itorial malin i~ \) th ~ T!'\jl~lli\l' ,Julhur\.
!J /
JA1870
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 923 of 3
1\·ho had their <l\\'11 t'O! np;ul it-~ ... mam of thtiW rornp<lll iP'> .tnd grnllf" :HJd kJiPI\ Jll thl'"!' horror stori ~~- and tl1t·\ · ust>d to make mv hai r
han · l·anisht'd: tndav on h \ bn·d and I)( an· h· ti . ~t a nd on t'nd: and t h i~ mav h:tV<' lw~ n J <'C.i\iH· ... l usl'd to l~ve doin~
th,•t ~or! of thi ng. ht-cau~t:\OU g(·t a n•spom<' frolll people: I think 1; 1~
XL You han- t'llllrHI<liJ.\ t'>.pn il'nn•. llnH .u·r ,·,Hn ir' mad, in
tilotht'r ,,·antt·d a r~·~p• •nw f rt l fll Jil L h1nth er word\. il yom mothn
.-\n11· rira'! \\'(' klHI\\ therl' b a ~tafhl<lr k '\ ~tt'Jil .
1\'alltl'd !our alt t•tllionl(n· ~o nw thing. \ llf rlli~ht ~ !tout at ~<lll or ho\
1\1/W l'· \-\'hat tht·~ J HI \\ ;b tP <'r~a n il t· a ,,·ay t<l ~ h art' W<lfl a ll ~<Hl ~
~ou r ear,; or'" <' llli)!.ht !t'll \'!HI :1 ~ t on . likt• minr ll\fd to d(l 11·ith II H.
se' <·ra l pt·opll': }'<HI r an hal't' a lt•tltT<'r. <Ill ink,•r. !hl'!l tla·n· i'> :1 .-"1
orist who put s in tht· colnr for thP prill t<'r'. and then ol .-nur,<· ~·• lll ,\ ' \ :· \ IJdw il \ lht· ht'\1 ~'a \· .
have thl' pt'1Kilt>r. <tnd IH· i ~ rl w :lrttst. fftlw :lfli<;t had 111 do all tho\c A.'IR.H L! think~~~ lt)( l.
things. he lfou ld lll'l t'f )1t'l th t· tinH· t•• do all tf11· worh. ")all tht·w
,\'\': l<lll havt ll'rittt·n 1·nur 1lll'fl \ torie\. text a11d d ra win ~s':'
pt>opi<- ar,• IH'<'f:''>'> an .
1\1/WL Y<'_'i . that'~ what I a l1,·ay ~ do and thilt'~ wha t f'n1 J oin!{ no'' .
,\Y· Clt>arlr thr inkt'r matter~ 1<><•.
.\ '\': ~o
nohod)· 1n itt•s your ~~Ti p h.
KIRRl': Yt's, surt. a good inker ll'ith an Jl! ran i1 t· o,tylt• cJ!l m:1kt· th('
K!RHL \o. llt'l·er.
artist's work look 1·er~ good. but t >IJ\intl.~lr th t· 111ain rletll<' ll t is tlk
penciler. The pencilt-r i'> th <' Oil<' ,,·ho It'll' ti ll' '>l ur;. . "·ho \'isuali 7t'' iL .V\ :·I l1111 Jo Y<IU ti>t'l ahout Italian <'omi r<'
lt'o, nut a w rit t'r·~ medium . ~ l !'l t t'n' r ·~
nwdium . an inker'!> medium . it \ ju>t...
tht' pt'lKilt'r tells thl' S( Of~ , as f \aid;
th<' writer could write his heart nut.
and be one of th<· finest writt· r~ in the
world. but if he gt-h tlw liTO II!{ artist ; II .
! ' I
doing his story (/.)[ him, it dies; that i~.
the dedsi1·r factor is thr artist.
Tah for instance your own maf(a·
!·I !·
zine WOW The first t bing you .~ ee is
-:'';
the drawing. and that tells you what
the product i.\ . You remt>mhN 1.1/'F
Maga:inc? They u~ed to have terri fit
writers in /.IF[, hut what used to ~ell
tht magazint- were the photograph s.
The hes t photographers sold the mag<J-
zine. tlw most striking picture.~ ... it
was that kind of product.
NV: I low did you start to do romics?
KJRJH': I sta rted out as an animator in
tlw .\1ax Flrisrh er studio; that i\. not
{ rt'ally an animator, but an "in-het,,·een-
i
J
er." I sav animator because it stlrt of
! gives at; idea of what I worked on: hut
~I
it ·s not reall~· the right word, ma~·lw.
The animator is the guy who ron trois
the t>ntin· production. whilc I. I was
I \ei'E'JJteen or eightet-n at thr timt'. I
I only worked on a light table and rlid

in-betwel'n p o> e~ so the character
could mow on the bn~ rd.
I did that for a hit, but th cn !lw
q udio dtridcd to rrlocatt' t o~ fia mi
and I stavNI in :\e\1 York and did othl'r
things. I.U'> l'd to 1m rk for a sn~;tll nt•'f'-
paper syndi catt- th<lt supplied 700
newspapt'rs. I did spt•rt'> cart tl{ lfl\. edi
torial cartoons and comic bclok'> . I
think th is t>xpt>rit>ncr gavc nw ,,-hilt I
tweded. a start ing point to It• II :1 11·h ol('
story in rom ir~. whirh llaH·r did in
comic hook' .
.\Y b th<'fl' a ~p l'ci a l reason ll'hy you
chow comics'?
KfRRL I dt,n't lmm,·. I th ink nom' nl us
knows d t•arly why hl' i ~ drall'll to ~<lllK
things. I kn011 ! used to lo\'(• st or~ ·
telling. At l(·a'> l tm· mot her lo1·t-d iL
Sht· '' '' ~ ;1 1\'cHldt>rfiJ! ~ t o rytt•ll ('r. ~h <' Spt·llkm~ ti(Rorrr ll 'iltd.lor-Smit!t. hm· ,1rr the ori~inal pmri/.1 .fro II/ rl f' ll.f!.t' Itt inkrd in ./rid ·, l'i7ti
had nmw lro m "Frankt'mtt•in roun tn .. "< ·,lf'lilill ·lmair '' :1 ll1r mtmni,lf/Jti/1/n .. '/ fl'rllllfl' fdition.
/:.!:.! JA1871
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page17
03/25/11 of 921 of 27
Page
EXHIBIT LL
JA1872
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page18
03/25/11 of 922 of 27
Page
1 DONALD S. loNGEL RECEIVt:..D

FRANCIS C. PIZZULLI
2 ENGEL & ENGEL NOV 1 7 19BO
9665 Wilshire Boulevard
3 Eighth Floor Oav•dson & Holmes
Beverly Hills, California 90212
4
Telephone: (213) 550-7178
5 •
Attorneys for Defendants STAN LEE,
6 SELLULOID PRODUCTIONS, INC., PETER
SllANABERG, MORRIE EISE~lAN and
7 PETER COFFRIN
8 UNITED STATES DISTRICT COUFT
9 CENTFi\L DISTRICT OF THE STATE OF CALIFORNIA
10
11 STEPHEN GERBER, ) Case No.: 80 3840 DVK

)
12 Plaintiff, ) NOTICE OF MOTION AND MOTION
) TO DIS~liSS; ME110RANDUM OF PO INn
13 vs. ) AND AUTHORITIES; DECLARATION OF
) DONALD S. ENGEL
14 CADE~CE INDUSTRIES CORPORA- )
TION, a corporation; MARVEL ) Fed. R. Civ. P. 12 (b) (l)
1.5 PRODUCTIONS, INC., a )
corporation; STAN LEE; ) DATE: December 8, 1980
16 SELLULOID PRODUCTIONS, INC., ) TIME: 10:00 a.m.
an association, PETER )
17' SHANABERG; MORRIE EISE~lAN; )
PETEB COFFRIN, )
18 )
Defendants. )
19 ___ )
20
21 TO PLAINTIFF STEPHEN GERBER AND HIS ATTORNEYS OF RECORD:
22
23 PLEASE TAKE NOTICE that on December 8, 1980 at 10:00 a.m.
24
1
or as soon thereafter as counsel may be heard, in the courtroom
25 of t~ Honorable David v. Kenyon, Judge of the United States
26 District Court, located at 312 North Spring Street, I~s Angeles,
2? California, defendants STAN LEE, SELLULOID PRODUCTIONS, INC.,
28 PETER SHANABERG, MOHRIE EISEMAN 2nd P!oTER COFFRIN will move this
tL t. ENGEL
ME00820
JA1873
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page19
03/25/11 of 923 of 27
Page
1 DECLARATION OF DONALD S. ENGEL
3 Donald S. Engel declares and says:
4
5 1. I am a member of the firm of Engel & Engel, attorneys
6 for the moving defendants in this action. This declaration is made
7 for the purpose of introducing certain documents supplied for pur-
8 poses of this litigation by representatives of the Marvel Comics
9 Group, a division of defendant Cadence Industries Corporation. All
10 of the attached items were provided from the files of Marvel
11 Comics Group ("Marvel"} from their East Coast offices.
12
13 2. Records of Cadence indicate that Magazine Management
14 Co., 1 Inc. was, and is, a Delaware corporation and a subsidiary of
1!5 Cadence. Until the early 1970's, Magazine Management Co., Inc.
16 owned and controlled certain assets related to its business of
17 publishing comic magazines, including the comic magazines which
18 are the subject of this action; at that time, it transferred its

•'
19 comic magazine assets to its parent corporation, Cadence. Thence-
20 forth, the Marvel division of Cadence published the comic magazines.
21 Both prior and subsequent to such transfer, Magazine Management
22 Co., Inc., Marvel and Cadence all operated out of the same premises
23 had the same executives, the same bookkeepers and the same account-
24 ing department. For all purposes of this oction, said three
25 enti~ies operated as, and should be considered, one entity.
26
27 3. Exhibit A appended hereto consists of copies of the cov
28 III II
CL & ENGEL
-20-
ME00839
JA1874
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page20
03/25/11 of 924 of 27
Page
1 and nine representative pages of the December 9, 1973 issue o£ a
2 magazine entitled ''Adventure i11to Fear'' with ''The Man-Thing.''
3 As noted on page l at the bottom, "FEAR is published by MARVEL
4 COMICS GROUP." There is also the following copyright notice:

5
6 Copyright C 1973 by Marvel Comics Group, A
7 Division of Cadence Industries Corporation. All rights
8 reserved. 575 Madison Avenue, New York, N.Y. 10022.
9 Vol. l, No. 19, December, 1973 issue.
10
11 4. According to the best information of Marvel, the first
12 depictions of "Howard the Duck'' (''Howard") appear on pages 18 and
13 26 and the following pages of Exhibit A, where he is introduced as
14 a millOr character in this particular comic ma9azine. Plaintiff

15 Stephen Gerber is listed on page las the "writer," Val Mayerik
16 is listed on page l as the "artist,'' Sal Trapani is listed on

17 page las the "inker," Art Semak is listed on page l as the
18 ''let~erer,"Stan G. is listed on page las the "colorist'' and
•
19 Roy Thomas is listed as the ''editor."
20
21 5. Howard appeared in subsequent issues of this particular
22 magazine, other comic magazines entitled ''Giant Size Man-Thing''
23 and later in magazines entitled ''Howard the Duck" and in special
24 publications featuring many Marvel characters, such as "Marvel
25 Team~p.'' Some representative copyright certificates in the name
26 of f.1arvel Comics Group for t:hese various m<l.<J<'l zincs <1 re appended
27 hereto as Exhibit B.
28
/Ill/
LL A ENGEL -21-
ME00840
JA1875
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page21
03/25/11 of 925 of 27
Page
1 6. Exhibit C appended hereto consists of copies of the
2 front and back of a check dated June 1, 1973 drawn against the
3 account of "Marvel Comics Group Division of Cadence Industries
4 Corp." and payable to Gerber in the amount of $285.00 representing
5 paymej1t to Gerber for his work performed as the "writer" of the
6 first comic magazine containing the character Howard, which is
7 Exhibit A hereto. The following legend on the back is typical of
8 checks endorsed by Gerber which he received on payment for his
9 work:
10
11 By endorsement of this check, I, the payee, acknowl-

12 edge full payment [for my] employment by Magazine Management
13 Company, Inc. and for my assignment to it of any copy-
14 ~ight, trademark and any other rights in or related to the
/ 1.5 material, and including my assignment of any rights to
16 renewal copyright.
17
18 7· During his employment as a free-lance writer for Marvel,
•
19 Gerber entered into an agreement dated March 18, 1977 with Marvel,
20 a copy of which is appended hereto as Exhibit D. The following
\)) 21 selected clauses contained in that agreement are particularly
·I'
'
1'',1 22 pertinent to the instant motion:
23
24 7. You agree that Marvel shall have all rights of
25 fvery kind and nature, in and to the Material, including
26 but not by way of limitation, the right to copyright the
27 same in the name of Marvel, the exclusive right to deal
28 with, publish, and use the Material in any way whatsoever,
L 81 ENG£L
-22-
ME00841
JA1876
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page22
03/25/11 of 926 of 27
Page
1 the right to reprint, rewrite, alter and change the
2 Material, all anthology rights, the right to exploit
3 the Material throughout the world in all languages,
4 the right to use the Material in sales promotions, and
5 for publicity purposes and the right to exploit the
6 Material on television, motion pictures, and radio.
8 8. Thereafter, Gerber ("the Employee") and Marvel entered
9 into an agreement dated October 7, 1977, a copy of which is appended
10 hereto as Exhibit E. That agreement contained, among other things,
11 the following clauses:
12
13 l. Employment. Marvel hereby employs Employee and
14 ~mployee hereby agrees to render services to Marvel, as
1.5 a writer for magazines heretofore and hereinafter published
16 by Harvel.
17
18 .' 3. Compensation.
19 (a) Basic Compensation. For the full and faithful
20 performance of Employee's duties and for all services
21 to be provided Harvel hereunder, Marvel shall pay
22 Employee, on a biweekly basis, a salary based on $26.50

23 per page for each color comic page of script written,
24 and $50.00 for each issue of each standard 32-page
25 ~omic magazine edited for Marvel and accepted by the
26 Publisher of Marvel (hereinafter the ''Material").
27
28 (e) Vacation. Employee shall be entitled to two
E:L 6: ENGEL
-23-
ME00842
JA1877
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page23
03/25/11 of 927 of 27
Page
1 {2) weeks of paid vacation each year.
3 (g) Employee Benefits. Employee shall be eligible for
4 all coverage or benefits under any plan or plans of health,
5 ~ospitalization, life or other insurance available to
6 other employees of Marvel who are paid a similar salary

7 and who have a similar position.
8
10
11 4. (c) Marvel agrees that Employee shall have
12 first option to accept or refuse any additional writing
13 and/or editorial duties connected with the HOWARD THE
14 DUCK feature for any Marvel publication for the term
15 of this Agreement, and that Employee shall be consulted
16 as to the choice of other writers and/or editors who may
17 work on the feature in the event of Employee's refusal.
18 /n the event of a license for a film, television or motion
19 picture adaptation of HOI-lARD THE DUCK, Marvel agrees to
20 recommend to such producer that Employee and Employee
21 only be used by such producer as script and/or story
22 consultant to preserve the integrity of the licensed
23 character. Employee may accept payment for such services
24 from producer.
25
26 5. Publisher. In performing all services required

27 hereunder, Employee shall act under the direction and
28 supervision of the Publisher of Marvel.
L e. ENG£L
-24-
ME00843
JA1878
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page24
03/25/11 of 928 of 27
Page
1 7. Rights to Material. Employee grants to Marvel

2 the sole and exclusive right to all Material delivered
3 to Marvel hereunder, including but not limited to, (a)
4 the exclusive right to secure copyrights in the Material

5 ~n the United States, Canada, and throughout the world,
6 (b) the magazine rights therein of every kind, (c) all
7 film and dramatic rights of every kind, (d) all anthology,
8 advertising, and promotion rights therein, and (e) all
9 reprint rights with repayment to Employee for same at
10 Marvel's then-applicable reprint rates.
11
12 10. Series and Ideas. If any Material delivered
13 hereunder is part of a series, the idea and characters
i
14 used therein shall constitute Marvel's exclusive property
J ~
1,'5 for all times. Employee shall not be required to submit

\:
I
I
'
:}6 ideas for new series under the terms of this agreement.
,( 17
18 9. Exhibit F appended hereto is a "Licensing Agreement''

1
19 entered into on March 12, 1976 between Marvel and Gerber pursuant
20 to which Marvel licensed to Gerber the right to utilize the
21 character Howard solely for the manufacture, sale and distribution
22 of "HOI-lARD THE DUCK BUTTONS TO BE SOLD VIA HAIL ORDER." Those
23 rights were limited to the United States and he was required to
24 pay to Marvel as a royalty for the license and rights granted
25 five percent of his gross receipts from sales of the licensed
26 articles.
27
28 10. There are also appended hereto as Exhibits the following
CL & ENGI'!:L
-25-
ME00844
JA1879
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page25
03/25/11 of 929 of 27
Page
1 items taken from the correspondence files of Marvel:
2
(a) Exhibit G: a letter dated March 24, 1978
from Joseph D. Peckerman, acting as attorney for
Gerber, to Marvel, with appended copy of a telegram
dated March 21, 1978.
(b) Exhibit H: a letter dated April 5, 1978
8 from Steve Gerber to James E. Galton, president of
9 Marvel.
10 (c) Exhibit I: a letter dated May 2, 1978 from
11 Stan Lee, publisher of Marvel, to Gerber.
12 (d) Exhibit J: a letter dated June 30, 1980
13 from Henry W. Holmes, Jr., acting as attorney for
14 Gerber, to Marvel Productions.
1.5
16 11. The foregoing exhibits indicate the dispute which
17 arose between Gerber and Marvel concerning the ownership of the
18 character Howard. In the telegram dated March 21, 1978 (see

I
19 Exhibit G), Gerber's then attorney purported to advise Marvel
20 that:
21
22 [U]nder the terms of said agreement [dated
23 March 18, 1977], upon the effective date of any such
24 termination, all of your [Marvel's] rights in and to the
25 characters contained in said comic strip shall
26 terminate .
27
28 Gerber wrote on April 5, 1978 (Exhibit II)
~L 11o £NGEL
-26-
ME00845
JA1880
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page26
03/25/11 of 92
Page 10 of 27
1 Please be advised that under the terms of our said
2 March 18, 1977 agreement, as of April 27, 1978
3 Marvel Comics Group's . . rights to the characters
4 contained in the comic strip "Howard the Duck" shall
5 terminate and Marvel shall have no further rights there-
6 in or with respect thereto.

7
8 Similarly, Gerber's present attorney by letter dated June 30, 1980
9 claimed that Gerber, not Marvel, owned all rights to portray the
10 character Howard ''in any media or manner" and demanded that Marvel
ll cease and desist from any efforts to license the use of the
12 character and return to Gerber "all materials and proofs and
13 publications" in Marvel's possession which depict the character
14 Howa~d or its name.

1.5
16 12. It is apparent from this correspondence that the dis-
17 pute between Marvel and Gerber can be stated in one sentence:

18
1
19 Who owns the rights to the character Howard?
20
21 13. Exhibit K appended hereto is a copy of an agreement
22 entered into as of September 1, 1980 between Marvel and Selluloid
23 pursuant to which Selluloid is granted an option to utilize the
24 character Howard in a live-action theatrical motion picture and
25 the ~ght, during the option period, to produce and distribute
26 episodic radio programs using the char<1cter Howard. The option
27 period for the motion picture use terminates at midnight Septem-
28 ber 1, 1981 and the agreement contemplates that if the option is
':L & E:NGEL
-27-
ME00846
JA1881
• Case 11-3333, DocumentDocument
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page27
03/25/11 of 92
Page 11 of 27
1 exercised, at some point in the future Selluloid would produce and
2 release a motion picture utilizing the character Howard.

3
4 I declare under penalty of perjury that the foregoing is

5 true ~nd correct.
6
if
7 Executed this /I day of November, 1980 at Beverly Hills,
8 California.
9
10
ll
12
13
14
1.5
16
17
18
1
19
20
21
22
23
24
25
26
27
28
L & ENGEL -28-

ME00847
JA1882
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page28
03/25/11 of 92
Page 12 of 27
' _.-,
._ ----:~-..;;-,...-;··- ...-:- ---:;:-;-.· -----~: .--·.---,.-...
..
.. -.
' ..
• >
• I . •
.... - : - •. ··:--
. ~.
'
... ----··. -- "
,';-~:) ~-.--..;
:~ > '
Ln .-·:: -.; ... : ... 1

. -.:.JJ·.... -~_\.. r.J ··"'
~
,~I···-
'
~ . -~:''T/~1
',, '
' --~
' • • . . . ~- .! •
:;~ ...
. __ .
---
,...,--
:.
;. :..::_
.--- - . .... - - . > .-
. .. -· ·-·-' - ..
. ·-·.
-. " '--""
'"'" · - ;
~-
• '!_. ::~- ...

' ··-·
•'--- __ ... -
···r
-- . .. .-
.
...,_ ...... - . -.
-
4
a- EXHIBIT C ME00867
JA1883
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page29
03/25/11 of 92
Page 13 of 27
Stephen Gerber
631 Nineth Avenue
new York, New York 10036
This letter will set forth the understanding between you and
Harvel Comics Group (Marvel) concerning the services you will
perform in connection with the production by Harvel of a daily and
Sunday comic strip featuring "Howard the Duck", (The "Feature") 1
·for the Register and Tribune Syndicate 1 Inc. 1 ("Syndicator"):

St.-r i r> t- ,"'<r{.,- ··--~ I
1. You agree to provide all the ·a~.~~k (The Haterial) required
to produce the Feature in accordance with the schedule set up by the

o.
Syndicator. To this end Marvel will advise you of the scheduling as
.,
reasonably practicable after it receives such from the Syndicator .
..
2. You will supply the J.laterial as long as required by Harvel
or until the Feature is no longer produced by Marvel.
3. The Material shall be similar in character, design and forwat
to that you have heretofore prepared and written for Marvel's comic
magazine featuring said character.
4. It is understood that you will supply said Material to Marvel
at your own cost and expense utilizing your own tools, furnishing
your own place of work and utilizing your ovm assistance.
5. Marvel agrees to pay to you l/3 of the net receipts it
receives fro;n the Syndicator 30 days after it receives such. Net
receipts for purposes of this arrangement shall be Harvel's share
ME00868
Marvel Comics Group
57:; M.1r!ison t\vf'nuc- - 4 9- EXHIBIT 0 CACC::NCE
Publi:;hinq & JA1884
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page30
03/25/11 of 92
Page 14 of 27
2
of payments received by it from the Syndicator for the Feature
less Marvel's out-of-pocket expenses (lettering and coloring)

incurred in COlu{ection with the production of the Feature. Harvel
agrees to furnish copies of monthly statements of net receipts
from Synd:J;cator and an accounting of Harvel's expenses for lettering
and coloring. ; .
6. You acknowledge that the Syndicator has the sole and absolute
authority to sell and/or license the Feature as it sees fit and
determine all selling and licensing costs.
7. You agree that Harvel shall have all rights of every kind
and nature, in and to the Haterial, including but not by way of
limitation, the right to copyright the same in the name of Harvel,

0-
the exclu~ive right to deal with, publish, and use the Material in
any way what~oever, the right to reprint, rewrite, alter and change
the Haterial, all anthology rights, the right to exploit the Haterial
throughout the world in all languages, the right to use the Material
·in sales promotions, and for publicity purposes and the right to
exploit the Haterial on television, motion pictures, and radio.
In the event Marvel sells or licenses the Material for uses
other than the daily and Sunday comic strip 1 then l·larvel shall pay
to you one U1ird of the net receipts (less any applicable commissions
or expenses) it receives from such sale and/or license.
B. You warrant and represent to Harvel that:
(a) that you are the sole artist of the 11aterial;
(b) that the Haterial is original and does not infringe
. -50-
ME00869
JA1885
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page31
03/25/11 of 92
Page 15 of 27
3
upon any existing common law or statutory copyright
or upo~ any common law right, proprietary right, civil
right, or any other right whatsoever:
(c) that the Material contains no matter that is scandalous,

•
obscene, libelous or otherwise contrary to law; and
(d) that the rights herein conveyed to Marvel have not
heretofore been assigned, pledged, or otherwise encumbered.
9. Writer shall be given proper credit notice in all advertisins
. and promotion used by the Syndicate.
10. This letter represents the entire understanding between you
and Harvel and may not be changed orally. The agreement shall be
governed by the laws of the S~te of New York and may be terminated
by J.larvel upon thirty (30) days prior written notice and by Stephen
Gerber upon ninety (90) days written notice.
Very truly yours,
Accepted and Agreed to this
r<?tft day Of /-larch I 19 77,
-51- ME00870
JA1886
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page32
03/25/11 of 92
Page 16 of 27
' I
-1-
?tl...
/\GR!OEfo;£1\T dated October 1}, 1.977 between f.\J\RVEL COr.HCS
CROUP (hereinaf.ter called "r.:arvel") and S'fEPHEK R. G.t:RBER
(hereinafter called "the !':tnployee").

h'HERE'~S r.~arvel is desirous of retaining etnployee as a
writer i for its magazines and • ~mployee is willing to render•

.
such services on the terms and conditions hereinafter set

I
,forth.
NOW, THEREFORE, in consideration of the pret.iises and of
the mutual promises and undertakings herein contained, and

--
for other good and valuable considerations, the parties agree
as follows: -::> .•
•
1. Etnpl~~~ Marvel hereby employs ~tnployee and ~:.1ployee
hereby agrees to render_services to Marvel, as a writer for
rnagazines heretofore and hereinafter published by Marvel.

;,
2. ~·
(a} Initial Tenn. The tertn of this Agreetnent shall be
for one year co1.1tnencing Novetllber 1., 1977 and ending October
Jl_, 1978 (sotr.etitnes referred to as the etnploywent years and

each 12-:nonth period shall be referred to as an "etnploytnent
year"),
(b) Renewal T"nns, In the abser.ce oJ notice to the contrary
given by either party to the other not less than sixty (60)
duys prior to the expiration of the Initial Tertn hereof, this
i\grect~ent shall be autotntically rer.e·.ted for one year on the

ME00871
JA1887
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page33
03/25/11 of 92
Page 17 of 27
-2-
Gawe tenr.s and conditions as those herein set forth except to
the extent provide·d belovr, There shall. be like rene~1als frotn
year to year thereafter, in the absence of like notice given
~o less than ~ixty (60) days prior to the expiration of the
then current tertn.
), Co~npensation.
J
(a) Basic Cotnoensation. For the full and faithful perfor-
wance of Etnployee's duties and for.all services to be provided
Marvel hereunder, r.:arvel shall pay "Stnployee, on a biweekly
basis 1 a salary based on ~26.50yer pa·ge for each color cowic

•
page of script written, and ~50,00 for each issue of each
..
standard 32-page cotnic taagazine edited for Marvel and accepted
by the Publisher of Jl';arvel (hereinafter the "Material").
Yor purposes of this Agreetnent 1 Employee shall deliver to

•
Marvel during each etnploytnent year ( 1\ov. 1 thru Oct. Jl)
612.pages at the rate of approximately 51 pages per month,
and shall perfortn editorial duties on twelve (12) standard
)2-page cotnic tn<!c;azines at the rate of. or.e tnaga7.ine per
month 1 according to the reasor.able schedules and deadlines
set by the publisher of l•:arvel. In this respect C::tnployee
will toake all changes and re"ork all l-laterial as reasonably
required by the Publisher of 1.';arvel without charge (that is,
reworks and changes shall not constitute pages for the
purposPs of cotnputing cotnpensation herettnder).
ME00~72
-53- JA1888
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page34
03/25/11 of 92
Page 18 of 27
-)-
•
(b)· 1\ddi tional Co1.10~nsation. :S1nployee shall be paid
additional co111pen~ation for the following services, but only
if and to the extent requested fiom ti1ne to time by Marvels

(i) #11 pages written for Marvel in excess of the
tninilllutn atnounts set forth in paragraph )(a) above
in any etnploytnent year at the rates set forth in
paragraph J(a) above •

• (ii) All pages written or editorial duties perfortned
for publications in any for111at other than that of

I
the standard four-color or black-and-white
J.larve 1 co1nics tnagazines. Rates for such lila terial
'Shall be detenni ned·~ separately frorn •this J\.greerne nt.
..
and agre';d upon in wri tir.g by l.brvel and the
Etnployee.
Additional cotnpensation shall be paid to :!':1nployee within
thirty (30) 'days after subtoission and acceptance of such
material by l·larvel.
(c) Notwithstanding anything contained herein, Marvel
shall, upon 60 days prior written notice, have the right in
the event of a general reduction of production or of work
force, or in the event of a partial closing as a result of
econo1nic conditions, to reduce the atnount(s) of work product
required of E1nployee with a proportionate reduction in pay
and other be~efits provided for herein. Such reduction shall
be only in proportion to the actual reduction of co1nic books
required by r.:arvel and shall be applied only after the ME00873

-~4- JA1889
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page35
03/25/11 of 92
Page 19 of 27
'
(d) In the event such reduction as nrovided for in
paragraph J(c) re~ults in the Etnployee's no longer earning
what he deerns to be a reasonable living waec, the Etnployee
shall have t~e right, upon sixty (60) days prior written
notice, to terr~inate the J\greewent.
(e) Vacation. Ernployee shall be entitled to two (2)
•weeks of paid vacation each yeai. At the option of ~arvel
·such vacation t:Jay take the form of Ewployee beine required
to deliver, in any given etnployt~ent year, not tnore than
fifty (50) weeks of weekly work.product and beiT'.g paid for

. . ·,.;)-. I
fifty-two ()2) weeks of weekly work product, or inay take
the fortn of Employee delivering fifty-two (52) weeks of work
product with Marvel paying an additional two (2) ueeks salary.
J{,arvel shall have the sole option to-.divide such vacation
rights betwe'en titne off and payments consistent with the ter:ns
of this sub-paragraph. Should·' vacation take the fortn of
titne off 1 such vacation tiwe shall be aj: the discretion of
Etnployee provided however, that such vacation time does not
conflict with r.:arvel' s production schedule. 1"/eekly v:ork
product shall be one fifty-second of total annual work
product.
(f) PC!vt.l'?nt Oatps. r.:arvel will pay Etnployee's salary
on a bi-weekly basis or at such other interv;tls consistent
with payroll policies then in effect relating to salaried

. -55- ME00874
JA1890
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page36
03/25/11 of 92
Page 20 of 27
•
c 1nployces doing sianilar functions as :=::tnployee. ~iarvel shall
have the right to withhold salary in the event that Employee
falls behind in rneeting his work ·requirclnent by one: 111onth 's
wo·rk product. Rei1nbursew:! nt of authorized· (in. writing and
in advance oP: the expenditure) business expenses. shall be paid
in accordance with !·larvel's policies relating thereto.
~~rvel agrees that salary checks shall be rnailed to;Employee
'via Special Delivery on the day of issue.·
(g) ~rnnlovee Benefits. Employee shall be eligible for
all coverage or benefits under any plan or plans of health,
hospitalization, life or other ._::nsurarice available to other'
elllployees of J.brvel who are paid a. similar salary and who have
a si1nilar position.
'·
4. (a) Conflict. During the period of this· Agreew=nt,
ELlployee wili attend to his duties with· due diligence, and
not.engage directly or indirectly in the. production of any

• oeriodicars or booki
other color or black-and-white comics magazines/ wn1cn are
co1npetitive with j.~arvel, or in any activity which could be
detrimental to i•:arvel or which may conf).ict with E1nployee 's
duties hereunder.
(b) Editorial Stinulations. Selection as to the wac-a zi nes

"'
or features written by E1nployee for Marvel, as well as of
artists, letterers, and colorists thereof shall be detennined
Ly ~arvel; except as provided for below.
-56- ME00875
JA1891
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page37
03/25/11 of 92
Page 21 of 27
(c) The sole exception to par3graph 4(b) shall be the
feature entitled HO'.IJliW TH:S DUCK, for which f,Jarvel ene;ae;es
Employee's servi~es as writer and editor for the ter1a of this
dgreement, extept in the event of said feature.'s discontinua-
tion. l•iar'kl agrees that 'SU!ployee shall have first option to
accept or refuse any additional writing and/or editorial
duties connected with the HO\'IJtRD THE DUCK feature for any .
•lflarvel publication for the teno of this Agree went, and that
E1np);aee shall be consul ted as to the choice o:f other .writers
and/or cdi tors who may work on the :feature in the event of
Employee's refusal. ·In the event of a license for a film, television
or mvtion picture adaptation o:~.)lOHARD THE DUCK, narvel agrees to
('eco)-"\o....., .. ""d ·
- !>=];:c"c to such !Jroducer ::hat :C:mploye~ .'lnd £roployec only be used
~oy such procuce~·as scriptandjor s~ory consultant to preserve
the integrity o£ the licensed c h a r a c t e r . - - - - - - - - - - - - - = -
- f(.-.f'{o'jee M"::! "'-"crt- f""-::1""~"'+ .for. su.;:..l.._
'>'Ser'I/Cc.cs t.-•~ fVoJ_"""-"'·
l•iarvel fu;rthe:::- agrees that any ch2.r.ge in l·~arvel' s_
policy regardir.g the rights o:f artists and writers to income
derived fro1n the licensing o:f their c:::-eations for purposes
of co1.11nercial exploitation shall be applice!.ble also to the
E1nployee and to ;JO'i/JifiD TE::: DUCK fro1n that day forward.
(d) Extent of ~ervice. :C::nployee agreeo not to drav1, vni te,
or edit any co1aic bool; o:- co1nic 1nrr;:;azi r.e 1nL'. terial for anyone·
other th:.tn l-~arvel during the tenn of this JI8':'C0Inent Y:i thout
the prior 11rittcn approv:Jl of f·iarvel. ME00876

-S7- JA1892
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page38
03/25/11 of 92
Page 22 of 27
\
/ -7-
(e) Credits. :=:tnployec shall be 131 vcn crcdi t as vrri tcr
and/or editor in all cotnics in which he is the sole writer
and/or editor, and in any reprint of satne,
I.
5· Publishr>r, In perfonning all services required hereunder,
Employee shall act under the direction and supervision of the
Publisher of T·larvel. E1.1ployee sh_all consult with hitn on
~11 ffiatters dealing with editorial policies, in order to
assure the efficiency and hannonious operation of ifarvel and
to llleet vri th the Publisher _of J.larvel at regular intervals at
):.arvel's offices in r:ew York, N.Y. Etnployee shall accept
assigmnents frotn the Publisher

~
·3-f r~arvel to write and/or edit
nll lllagazines presently published or hereafter published by
'·
r<!arvel and further agrees that he will 1n2.ke no cotntni t:nents
whatsoever (whether financial or otherwise) on behalf of
~larvel vri thout the prior written ·consent of the Publisher of
Marvel.
6. Tertnination. Nothing in this Agreetnent shall be construed
to prevent t.iarve 1 frotn ten1ina ting :<':tnployee 's etnploytne nt
hereunder at any ti1.1e (a) because of his fraud, tnisappropriation,
e!llbezzletnent,., or the like, or (b) if he has become so disabled
as to preclude hitn frotn rendering satisfactory services, or
(c) if he shall have violated any provision of this 1\g;:-eet.~ent,
or (d) in the event :Stnployee falls behind in subtni tting tn<tterial
to the extent of two (2) tnonths' I'JOr\: requirctnent for v1hatever
cause,. or (e) Etnployee 's work has not tnet the perfor1.1ance ME00877
~ t::, 0 JA1893
,,
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page39
03/25/11 of 92
Page 23 of 27
-8-
•
standards stated herein or required by ~~rvcl from other
employees perfonning similar services as Ewployce •. In any
such event, except as provided in (b) above, all obligations
<1f 1-~rvel •
hereunder shall cease and E10ployee shall. be liable
to J.\arvel for breach of this A_,areement.

It is likewise understood that no ~revision of this
'
Agree1nent shall be construed to prevent. the E1nployee frotll
ter1oinating his e1nploy1nent hereunder at any ti~ne because

of (a) willful fraud or misrepresentation on the part of
f.larvel, --
(b) l!.arvel's ir.ability to provide work assign~~ents
in suffici2nt quantity as speci~ied
...,. - in paragraph J(d), or
(c)· Marvel's. violation of any provision. of this 1\greelnen·t
. .... • ;
In any such ev~hts, all obligations· of E1aployee shall cease.
:Cwployee grants to f:larvel the sole

7• Riehts to ~aterial.
nnd ·exclusive' right to all J.'<aterial delivered to Karvel here-
under, including but not li1nited to, (a) the exclusive right
to secure copyrights in the ;.~aterial in the United States,
Canada, and throughout the world, (b) the 1nagazine rights
therein of every kind, (c) a l l film and .O.ra1natic rights of
every kind, (d) all anthology, advertizing, and pro1notion

rit;hts therein, and (e) all reprint rights with repaywent .{-n £:~pfc':je"-
for sa1ae at r.arvel's then-applicable reprint rates. The
exclusive rights herein granted shall pertain to all languages
::::::::::::::::::::::::-~~--'~'~,~~·:·~·-~--~·~~
· ·· 1~,r~~~~~~~_!~-ME00878
nrnnnrtv for -sq- JA1894 th~
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page40
03/25/11 of 92
Page 24 of 27
-9-
·-
8. Origi.n3li tv of f.';.t~erial. :":!llployce represents that the
).<.ate rial subt.1i tted by hiLl will be original and not heretofore
published and that it will not infringe upon any statutory
-copyright, cp1.0won law copyright, or any other proprietary

•
right,
9. Use of t:atne • r:.arvel shall at all tirnes have the right

•
to use Etnployee's r.atne and likeness in connection with the
sale, protnotion, and distribution of any tnagazines which
include I·laterial delivered to I·iarvel by Etnployee,
6 ..
10. Series ard Id.o>as, If any l•:aterial delivered hereunder
is part of a s~ries, the idea and characters used therein
shall constitute l>iarve 1' s exclusive property :for all titoes.

Lmployee shall not be required to submit ioeas for new series.
unoer the terms of this agreement.
11. Additional Docut,o.o>nts. Etoployee shall, at 1'~'-rvel's
expense, take such steps and execute and deliver such further
docutnents frotn titne to time as l.iarvel 111ay request for the
purpose of cqnfirwing the rights herein granted to j;:arvel.
12. rotices. Any notices required or permitted to be g1ven
under this J\e;reement shall be suffic.ient if in 1tri tine and if
-60- ME00879
JA1895
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page41
03/25/11 of 92
Page 25 of 27
-1.0-
sent by registered tlhlil to his residence in the case or the
E1nployee, or tC! Publisher, i·:arvel Co1nics Group at its principL\1
9f:fice in the case of ff:arvel (with a copy to Secretary and·
C"ounsel, Cadence Industries Corporati.on, 21. Henderson Drive,
Ylest CaldYtell, l\ew Jersey 0700.6).
,1). \laiver of E:c9ach, The waiver by fl.arvel of a breach of
nny provision of this Agreell!ent by the E1nployee shall not
operate or be construed as a waiver of any subsequent breach
by the E1Ciployee. The ymiver by the Eiilployce of a breach o:f
any provision of this Agreement·~y l.1arvel shall not operate
or be construed as a vtaiver of any subsequent breach by j.;arvel.

..
14, Coven2.nts, E1nployee agrees that he shall not wake and/or
sign any other contract or agree1nent, written or oral, which
shall be in conflict with the tenns of this AgreeJilent or
prevent or hinder his perfon'lance hereunder for the length o:f

'
this Agreement or any extension or renewal thereof, and
further'agrees that he has the full and unrestricted right to
enter into this AgreeJilent and deliver the 1r.aterial hereunder •

.. •
. --.----- ... - - · ·
Assiqnment. The rights and obligations of !!arvel under this
.. - .
J.greeJ:>ent shall inure to the benefit of anc shall be binding upon
· the successors and assigns of ~\arvel .
•
.. -61-
ME00880
JA1896
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page42
03/25/11 of 92
Page 26 of 27
16. Entiie Aoreem211t.

.
This instrument contains the entire
..
It may not be changed orally but
.
only by an agreement i_n wri_ting signed by the p,arty ag.ainst. whom

. - . - ·-·- . ·- -· --- .. ·-··
~ -------·-
enforcement of any waiver, ·change: :mod.i"fic~t-i.oo",' ex.tension or
-·----
discharge is sought. · '
It is understood that this Agreewent
in no \vay alters, supercedes, or nullifies any separate andjt:r~.
previous agreenent between l•'arvel and the :':rnployee except in

. ~
regard to v;orking arrai'ge1nents uri the st<!nda"i·d four-color or
bl;J.ck-and-.,.,.hi te co1nic 1.1agazines published by' T•:arvel.
----··-· -------
18. Arbi tr2.tion. Any clai1n, dispute or controversy arising
~-
out of or in connection with this Agreeroent or the breach
thereof will ~e submitted by either party to arbitration in
f/el1 York City be·f~re three arbitrators appointed by the
1\111erican Arbitr2.'cion Association. The arbitration·will-proceed
under the rules of the J\ssociation then obtaining. The award
of the arbi trato;:-s will be binding and conclusive on both
parties, and v1ill be rendered in such form that a judgJr,ent
may .be entered thereon in the highest court o:f any forum
having jurisdiction.
-62- ME00881
------------------- -- -
JA1897
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012, 509518,
97-7 Filed Page43
03/25/11 of 92
Page 27 of 27
IN \IITt.'ESS ';!HEREOF the part1" cs h ave executed this
Agrec1ncnt on
ATTEST
wrn:Ess
OFFICIAL rl' AL
SUE W. JOH-;.;-:, 0
NOT.qy Puauc ~ .... ~ :..J
lOS CAUr ORNIA
'I Ali:GftfS COUN;y
"1 tom ·
: :n. ttrn~s FEB 27 '
. 1979
-63- ME00882
JA1898
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 921 of 5
EXHIBITMM
JA1899
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 922 of 5
()
•
0 0)
,Z
m
<
::0
V1
)>
'--·
f"
-:~~
-.:.~
"'
-0-;
(b
z (b
V1
JA1900
6 STAN LEf: CONVERSATION) Tw WHm I 1968 7
Stan: Well, what we usually do IS, w1th most of the artists, I usually get a artist who hasn't done a certain stnp may have to do it because suddenly
rough plot. By a rough plot, I mean as much as I can write in longhand the other artist who is going to do it is ill or s.omething. He isn't familiar
on the side of one sheet of paper . who the villain will be, what the with the story line, and I don't have t1me to explain it. Now Jack has
problem Will b€, and so forth. Then I call that artist in, whoever's going been in on most of these things with me_ I can call Jack down_ I can say,
to draw the strip. I read tt to him _ . what I've written down, these .. Jack, make it a twelve-page story, and, roughly, this ts the plot." Jack
few notes and we discuss tt. By the time we're through talking for can go home, and the next day he has the whole thing broken down_ He
about twenty minutes, we usually have some plot going. gives it to the artist, and the artist just has to worry about drawing h1s
And we talk 1t out. Lately, I've had Roy Thomas come in, and he sits work on the breakdowns_ It's a lot easier than me spending a whole day
and makes notes while we d1scuss it Then he types them up which gives discussing the philosophy of the strip with a new artist Abo there are
us a wntten synops1s. OnginaHy-1 have a little tape recorder-! had some fellows who are starting a new strip, who are a little unfamiliar
tried tapmg tt, but I found that nobody on the staff has time to listen to They'd rather have Jack break it down for them once or twke until they
the tape agarn. Later too much of a waste. But this way he
.. so tt's JUSt get the feeling of it
makes notes, types 1! qu1ckly. I get a carbon, the artist, gets a carbon .
Ted: Of course, Jack has a very good <oense of action
so we don't have to worry that we'll forget what we've said. Then the
Stan: The greatest
art1st goes home or wherever he goes ... and he draws the thing
out. bnngs it back, and I put the copy in after he's drawn the story based
Ted: And his perspective . things seem to be coming out at you

on the plot I've gtven h1m. Now this varies with the different artists. on the page. It seems to me that his layouts are a lot more dynamic
Some artists, of course. need a more detailed p!ot than others. Some less static than a lot of the other artists who are working on
art1sts. such as Jack Kirby, need no plot at all. I mean I'll just say to Jack, their own.
"Let's let the next villain be Dr. Doom" ... or I may not even say that Stan: Well, we refer to Jack. It started as a gag, calhng him Jack "Kmg"
He may tell me, And then he goes home and does it He's so good at Kirby, but actually I mean it I think that this guy is absolutely in th1s
plots. I'm sure he's a thousand times better than L He just about makes particular field, he's the master.
up the plots for these stones Alii do is a Iitie edibng ... I may tell him
that he's gone too far in one direction or another. Of course, Ted: Of course, he's been working with Marvel on and oft practiCally
occasionally I'll gtve hHn a plot, but we're practlcafly both the writers on since Marvel started. He did the original Captain America, of cour.;e but
the thmgs he was doing work back before Captain America, back before he had his
long coltaboration with Joe Simon
Ted: He actually dtd do a scnpt while you were away on vacation.
Stan: I don't know anything about that because I wasn't here at
Stan: Yes. We had both plotted that out before I left But he put the
the time ... and I think he had been with another company before
copy tn on that one_ r do a ltttle editing later, But it was his story. Jack is
Marvel.
just fantastic We're lucky. Most of our men are good story men. In fact,
they have to be A fellow who's a good artist, but isn't good at telling a Ted: He did Blue Bolt.
story 1n th1s torm in continwty torm can't really work for us. Stan: Yeah ... I think that was for Fox. They're now out of business. But
Unless we get somebody to do the layouts for him and he just follows Jack .
the layouts. We've done that in the past
Ted: No, actuaJ/y that was for Curtis
Ted: That's what 1t means when you have a little note saymg "Layouts
Stan: That who it was?
by K1rby, Art by So-and-So ?
Stan: Yes. Now that 1sn't always because of the fact that the artist can't Ted: They had a different name for the company.
do layouts There are many extenuating circumstances. For example, an Stan: Might have been .
JA1901
15() ) IAN lt! (UNv!R'>Ari\Jf..)

ROY THOMAS I 1998 151
Thor alter leav1n5 thern lor four months and tor the f1rst t1me not wntmg
been thinkmg about-and maybe I even talked to h>m about 1t-that I
any CUfl11C'> fur a penod ot t1me I
wanted to make Jack my partner m a seme. I wanted h1m
Stan: Nu I thlflk you can compare 1t to nd1ng a b1cycle. no matter how
to be the art director and I though that he could serve 1n that funct.on Jnd I
lung you stay away. you get on the b1ke and 1t's JUSt hke you never left would serve as the ed1tor. Maybe th1s was way earlier. but I was d1sap~
1! For example. 11 I were to go back to wntmg a book now. I don't think pointed when he left because I always felt that Jack and I would be work~
the~! 1t wuuld I eel odd at all. my problem would be that I haven't care- ing there forever and doing everyth1ng
tully reaJ the preced1ng 1ssues, so I wouldn't know where the hell I was
>n the >luryline Or I rn1ght wnte a character 1r1 such a way that I think IS Roy: For some months when you became publisher. you needed
the wc~y to wnte hm1. but I wouldn t l;e aware that three other wnters someone to be art dtrector. so Frank Gtaco1a carne 1n [as "a~s1stant art
betore me had changed the ch.:trJcter totally, so I'm now writing 1t in the d•rector"], and, very soon. John Rom1ta succeeded h1m, becorn1ng art
wrong w.1y director.
Stan: But I wasn't think1ng of Jack bemg art d1rector because I would be
Roy: So when you wrtte tht:· 'Jp1der~Man newspaper stnp, you tgnor~
leavtng; I JUSt thought that tt would be great workmg wrth h1m 1n that
what t:Oe'> on 111 the cuml( books I
capacity. I was seNing as art d1rector and thought that he could take rt
Stan: Ot course I coukJn't cope w1th that, becau;e we do the newspaper
off my shoulders, so I could JUSt worry about the stones It probably
olnp •,u fur 1n Jdvance. and there\ no way that I could make 1! compat1ble
wouldn't have worked out anyway. because I rn1ght have dtsagreed w1th
w1th tt1e t>ooks-1mposstble

him about things-not about h1s own work. but d we started cnt1qUJng
Roy: Ar1uliler event 1n 1970 thJI had considerable 1rnpact at Marvel was other artists' work. Jack and I m1ght have looked at 11 d1fferently So 1!
Jack K1rby suddenly lt>av1ng Do you remember h1s phone call? might JUSt be that I never could have worked w1th any art dlfector who
Stan: Nu I know 1! mu>t have hdppened, but I don't specifically recall1t. would funct1on the way I did, because I guess no two people see any-
I don t k11uw who he called. 1! may not have been me Maybe he didn't thing the same.
even cc~ll. but I 1mt remember th,.Jt at one pomt he JUSt stopped work1ng
Roy: Also. with Jack being tn California, there would have been a
lor 111e
geographical problem. I have a memory that. somet1me before Jack left.
Roy: I re111ernber that he Cdlied. because you called us in and told us. In Jack called you up about some new ideas he had for characters I don't
light of all th.1t has hdppened >lnU". do you thmk that the relat10nsh1p think it went any further than that. Do you recall that at all' I was
could have been salv<tged c~t some polfltl always curious If those were the same 1deas that appeared a year or '>0
Stan: I thlllk 1! certalflly could have been salvaged tf I knew what was later as The New Gods. and wondered if they could eas1ly have ended
bothCflng t11111 He neve1 really told me. nor d1d Steve D1tko when he up as Marvel characters.
left You ( an't :.alvJ.gt :,umethillg 1t you don't know the cause. Stan: I don't know 1f he told me the 1deas and I had ~•d that I d1dn't l1ke
'emt [laughs] I JUSt can't remember
Roy: I rtcmernber the day tile!! Steve qUit, d lew months after I began to
wur~ at fvtuvel He JUSt carne 1n. dropped off some pages. and left. Sol Roy: The last few months Jack was work1ng for MJ.rvel, he ended up
l:lrod;ky then told me he had suddenly qUit Sol had a memo on h1s desk domg the writmg on a couple of serres-Ka Zar and The /nhurnans D1d
to add 'VJ llO to '>teve\ pdge rate. a cons1derable ra1se at that t1me, so 1t you mvite h1m to wnte at that time?
cert ..unly wa>n't ovN money He wandered off to do work for Charlton, Stan: I am probably the worst guy lfl the world for you to 1nterv1ew 1 (A) I
whiCh pcli<J hdlf ol what Mc~rvel wa> oHenng d1dn't realize he had wntten them, and (8) I can't remember 1l 11nv1ICd
Stan: As you know. I have the wor>t memory 111 the world, but maybe h1m to or not. I don't thmk that I ever would have ~peCJtJCally sa1d.
1knew wti'f he lt>ft at the !Jrne tlut 11ght now, I ab~olutely cannot remember. "Jack, I would like you to wnte." because I never thought of Jack as a
1he one th1ng I remember c~nd lett bad about when Jack lett. was that I had writer (but he was certamly a great plotter). Certamly 90 percent of the
JA1902
152 )JAr, ltl (UNVHl>AlrON', Rov THOMAS I 1998 153
"Tale; of Asgard" stone; were Jack\ plots, and they were greatl He whether we had, in a certam way, actually rarsed pnces by chargmg 20¢
knew mort· ,1bout Nor;e mythology that I ever drd (or at least he tor 32 pages.
en,oyPd makrng rt up') I wa; bu>y enough JUSt putting rn the copy after Stan: How the hell do you remember thaP
he drew rt
Roy: Because I was the guy who had to wnte that rnsertl [laughs]
Roy: I wa> always cunuu'> about tho;e three buddres, Hogun, Fandral, Stan: That was what was so great about havmg you there, I let you
and ot cour;e enormous Volstagg Were those characters your rdea or worry about 1t. I don't even remember rt
Jack\) Th-1!\ one of thme rdeas that I could '.ee either you or Jack
Roy: Do you still have the letter from the Department ot Health,
makmg up
Education, and Welfare which prompted you to wnte the narcotrcs rssues
Stan: I made those up I >peCifrcally remember that I drd them because I
of Spider-Man?
wanted a Falstaff-type guy, a guy like Errol Flynn, and then I wanted a
Stan: There used to be a scrapbook m the offrce, and rt 1t's strll around,
guy lrke Charles Bronson who was drre and gloomy, nddled with angst.
the letter would bern there. I haven't seen 11 rn a mrllron years I got thrs
Those three were mme.
letter-! don't remember the exact wordrng-and they were concerned
Roy: When M.uvei was Jcqurred by Pertect Frlrn, run by Martrn about drug use among krds. Smce Marvel had >uch a great mtluence
Ackerman -becau>e of the ':>aturJay Evenmg Post debacle, where they wrth young people, they thought it would be very commendable rt we
dr;rn,.Jntku the mag,wne, were you apprehensrve about that, or were were to put out some sort of ant1-drug message in our books.
you thmk111g rnu-,tly about the lad that now you'd be free to put out I felt that the only way to do rt was to make rt a part of the ;,tory, and
more boohl we made that three-parter of Sprder-Man I remember rt con larned one
Stan: I wa~ JU'>t cunous tu see wtMt was gomg to happen next scene where a krd was gorng to Jump off a roof and thought he could fly
I d1dn't J.:now what was gomg to happen It was the first trme that My problem IS that I know less about drugs than any lrvrng human
we were owned by a conglomerate and not by Martm Goodman, so being! I didn't know what kind of drug rt W<i!> that would maJ.:e you
•I wa-. a whole new expenence lor me I wa; JUSt hoptng that I could think you could tly! I don't thrnk I named anythrng, I JUSt s.:ud that he
keep my JUU, prob;Jbly--that wa> the thmg I alway~ worned about! had "done" somethrng
Then. of cuur'>e, Ackernldn lett alter a whrle and Sheldon Fernberg
Roy: It was just a genenc krnd of drug Just the -.arne way we used to
came tn Tnt•rt' wa> somethmg wrong wrth Perfect Frlm-1 don't
make up the names of countnes. You made up Latvena
knuw what rt wa>-but the stockholders or the bank or the board of
Stan: You're right! [laughs] Doesn't Latvena sound authentiC'
dtre<.tor; gut Martm Ackerman to resrgn and they put Sheldon Fernberg
1n h1s pi<~Ct: Fe111uerg changed the name of the company from Roy: I take 1t that you drdn't do a lot of research on drug>, then·;
Perfect Film to Cadence lndu;tne>. and then he was 10 charge for qurte Stan: I have never done research on anythrng rn my hfe. Out here rn Los
a while Angeles, I work with and know so many screenwnters, and rt amazes me
Roy: Wa, rl fe10berg\ deusron to make you presrdent and publisher/ the amount of research these guys do I was going to do somethmg
Stan: Yt"> tlut I drdn't stay presrJent very long about a pnson, and I gave up the project because I realrzed I don't have
any idea what the rituals are rnsrde a pnson and I JUSt couldn't be both-
Roy: Du yuu remember when we 11dd problems dunng the Wage and ered to look it up. But these guys would go and spend a week vrsitrng a
f'nce FreeLe dunng the Nrxun .1drnrn1stratron, over the fact that we prison~ven talking to the warden' I'm JUSt no good at that
droppe(1 down 10 srze .1tter one month of tho~e grant-size 25rx comrc
book<,) We h<td tu put a >lllk, (Oior, four-page rnsert m one 1ssue of Roy: Back in 1965 I took a phone call at the offrce sometrme after
fanta'>IIL fuw, supfJoserlly th~> was to make up for the fact that the
5:00 P.M. from somebody who asked me what you and Steve Drtko
Wag~.: and f'rr(e Control Board had deuded rt was nght on the cusp of were on-because you had to be takrng somethmg rn order to do those
JA1903
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 921 of 3
EXHIBITNN
JA1904
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 922 of 3
ck left-hand comer. but you know what I mean).

These passing years have done nothing to lessen
my opinion. Jack Kirby remains the greatest supe,-
hero CJeator of them ai l. Nobody has 01 probably
will come cl~ to equaling not only the meer power
Celebration
y of his work. but thncope of his irmginatlon and his
uncanny ability to create brilliant icon characters
after characters.
Think of it this way. )ack Kirby- and o nly Jack
Kirby -was a major and guiding force in comics for
every decadesupe1hero comics have e)(isted. No·
Tht following~ orillnaf!y writttn for ultn.-violet) on lack's lncrtdlble 'creativity, con· body else can come close to mak1ng that statement.
Jacll. Kirby's 1~17 birlhd.y Ulrprls# pArty: slant, never-ending imagination. and the brll· In tht ·40$. he drew a story in the very first issue of
liance of hls art. At the md of this little low poem to Cdptalrr Mdrvtl. ~ co-created Cap tain Amerlci!,
16 years ago, DC Comics asked me to write the the man who wAS unquE'Stlonlnqty the greatest NI.!WSboy l~gion, TM CuMdian. Manhunter, 5and·
editorial pages for the first issues of jack Kirby's supchero comics creator of all timt, I said that one man and many others. In the 'sos, he co-created the
New Gods. Forever People. and Mister M/rack. In it, day, when Man traveled to the stars, they would love comics genre, Boy's R.mch (my fa'u'Orite of all
I waxed poetic (okay. bade thm tht best I could undoubtedly ftnd Jack Kirby's signature in the Kirby comics), Ch;Jilengers of the Unlcnown. Fight·
muster was waxing deep purple, bordering on the IOWC'f r~hand comer (or ~yhe It was lower ing American, and many more. In the ·w,, he was
responsible for Ill€ style and creation of almost
every Marvel character. tn the '70. he created The
NewCcds, TheFo~People. Mr. Mirac/t, K~mandi,
The ftemals and more. And In the '8os, he made
legitimate the idea of Independent comk:s with his
work on Cdptain Victory
and more.
Put it this way:
Marve I's Ha ndbookai1d
De's Who 's Who would·
be Issues shorter by far
without Jack Kirby's
brilliant creations.
I am very happy to
be Included here In
praising one oft~ very
. few men in comics for
whom Ic.an honestly say
that without him Iwould
not be where l am to-
day. .
- IN.rv WolfrMn
A. fair number of people

havt set the relatively
round-~e led world of
comk books back on its
Instep one~. Siegel and
.........................
...... """'" ............. .....,.
Shuster did it with Su·
perman. Bob Kane and
Sill ftngtr did it. to a
l~sser extent. wtth B.lt·
.•-~ r.~riV ~ ~~ -~ . . . . m,m, Will Ei5ner did it ,
r~lti!.~""~cei llldl~~· 1m 51. #\ in a related field. with
~~~ -~ · ··. -:···· :,:.:_· . . -" " ' - - -:;~.· y,,:;' <.:~ his Spirit comics sec-
. .. WfMftJthJI)koiJ~~ ·In ..,, ,.-- . . ~v'-'tto~homeln. ThoU..nd·:;
lions. C.C. Beck and the
o.b c:m. SunditY -attwn'oott.''-' a.tAa ·~ ;gqy·n~ne :~. ~-- • ~·1
· , · I · •. ' . •' .. .. •· · .: 0 • • •• • :' . l.i .. ' ·. . : .. ' • • ·: . ' · ' · • ·, •• -:'~: boys at Fawcett did it
corNu pi'ofesshmaft\1. J don~¢~·ren~W}?.t h;e .~ .._,.my~: :'
with Captam Marvel.
no;. t~~gb.. hew_.;
. .
poUUty.·~-.:
. ·,. . . .\ .~
TWo....i~ I~~ wwU. ,_,.~no:~.:
. :. . . .. .' . " . . . . . .. . .. ' :. ·:'/. ; Almost never. how·
.aout «~adng ~;.heeutMe~ ~. ~gty o~ the .pot. _ _tntngwng·.torv ,:
ever, does anyone have
beolnnlne. Tl'll•.tnAcfc m. ..
a~ua~ The..eondinln.o t ~ ta'th.t ,.
that kind of etfect on
he~ f..-~. int..-..wct ,.:, hta ~~~..- th.itt in hi~ corm_-; Thhl aWUcll: meth€ fudd twice. let dlone even more often. w1th
• s.d thlnv. bHeuae he wiQ 'iorfNfl!r -~ ..aooJIIt'ed With comlca. ·yet h - hew. .
literally decades separating the landmark events.
wOf'kl~st wtth • type of art 1...i ac:cn~ to mon. blli more ln~fttlnu to him. But then. there's neverreally been anyone quite like
t
f
~
· Jack Kl~ cre.c.ed some WondWfuf ~art that whould and wiD a.. remem-
~ IMyfavorhe Ia K•mendi.J Bu1 th.r.
be ren;ernber~~ too.
~eto hfm then coma-. n.~. mould w- Jack Kirby in the comic book field. has there? Of
course there hasn' t.·
Jack has knocked the field on its ear several
t - ERIC SHANOWEft
times. Once with Captd in Amerrca in the ear]l • 9~os .
i 16 TMl COMICS IO VUIAI lACK KlltiY TRIBUT! •,.1•. ,. KOu1 t56
JA1905
j
J
1:10-cv-00141-CM-KNF 01/26/2012,
Document 509518,
03/25/11 of 923 of 3
nitt the power of his technical exper1ise and the lack Kirby was a fivong. bruthing repository of He was a virtually onexhaustible weilsp m~g of
talent . The scope o( hts tmaginat ion was awesome. fantastic Tl€W ideas. concepts and des1gns Many
1mpac1 of his v1sual vocabulary, but above all his
work revtals the presence o( a vigorous and que-st- the power of his artwork breathtaking. and his yurs ago. Jack set a unique style of storytelling-
;og m1nd. In this re-sptc1 he was an £)(ample to me. cmematicapp roach tocontmuity boggled tht mind. through-pictures. and that style today is just as
and hopefully. to us all. I think he was qu1te s1mply Jack drew with hts emo11ons as much as woth his vdlid and as inimitable as ot was then.
one of the great storytellers of our timt. ~nco! His characters live and move with an energy During his long and memorable career. Jack lt(t
-steve ParilhouH and a dyna mism that were his trademark for dean indelible imprint on comics
cades. -sun Let
Jack and h•s magmficent creat ions CMt shadows
that go on to m(inily.
He w.ss one o( those wonderful human ~ings
Wh*" t first m.-t ..1-k he
-..tv ~ and
w- Jacob Kunzbere- He w-
tfMin simply In ......-ch of
oa. at.op *t •t.n. • few offered lt. Wh*t he .,_.....,
whose fantastic. unlimited ta le111 as an artist and r-~edlater - · • aw..ta~top• WM~ ~th.lln -~ lrtUdlofiUed
innovator was matched only by his kindne-ss to all wtth artt.... l~t..ckgrouncMra, ~-byeWCNtdng .tfat/ownerw-ho
who knew him, and 1 consider it a privilege to have d.vtsed ch~Uect.n . .nd the ploW from • ~ 11t the head of the room. The nudlo.
not urUike an EVYPtJan g.u.y llhlp, proctucj.d·.• compa.te comJo book r-.ady few
called him "friend.·
- OOft !Mdt
u,_.• to pubhttara oomlne Jnto the ,_,., burVeonlne CIOmiq fleld.
Moet of the ..-tJsta sl..-,t hou- ...,.,..and.lecllbeoenMJ_. eurtta. then Kkby,
rack Kirby star1ed with a proletanan sensibility. d..,..-.df-ntl on the f~. He - - • • ~ 0~)~ whO - offered to
pushed it very far. maybe as far as 1t will go. and ·prot~ me _.,nat • mafloeo ........,. M .....,_ oontfmJadon of our towef
added intelligence. Do that and you always get .-vt-. lnterMtln9fy. the ,.....,.. . he · -_. .-...,... • lgw w .... not the
capital-A Art. Muhammad Ali did it in boxing, aupemwo - - - Jllether, he Pf'QdluoM'.,.. c.- oiMo~tMCiiri.to. the flnt a...:.O.·
Stirling Moss in motor spor1s. Charlie Chaplin in
~ . . - . ... :.:.-.:· - .
slapstick comedy. like them, Jack changed the form ln the .t\op ... ahowed Mt lllliiW ...... . ' I ~the m..te.y of the onft, to
he chose to work in forever, (or the belter. and in the medium. .net the llr.:r.-u· a•Nj, kze at~~oM. tW....;. .nctproductJv..
doing that , created its standards. H• dNw wtth a haaYy tc•nd. My ... . or ' _, ....... . that .. W.. ~ ertf• .thfew.
When he left tbe ahop to Jofft ~ ........ &,..... ..,..-;.by~ .~ ·L,ou An. hlntJne
- Dcnnb O'Ntll
thathewouldlt~eto«cto,._ot : . --...... . . . ~"-~
When I was 11 years old, I saw Captain America by 1-ttttt-ofJ.... .tc-....,_JM.I·IIIIM....,.. .... w -- ~CIOflv.nlnp,
Jack Kirby. Even then, with no knowledge of comics eiw_aya cordi~ . . . ,.: .· 7 : '
or art at all, I was aware that I was witness to liliiWmcwaoftclmln · - - - - &« •••
something vital. To this day. Istill reflect the influ- l f~hla~ el .....,.. . . • • • •· ••
ence. The ensuing body of work Jack has produced took com.n.nc. of~,..... .:.,. t
has ~en the yardstick by which I've measured my Out 01 ttut rrrticm.. f~ • ..._.. ....._ .... -~-- .. , .;a .m.rt
ef(or1s. Like the maJority of my colleagues. l owe ~·•~echla· ldtlicofttM·a ,..._• ...._ . . . . . . . ...,..,.
.:
aa'
. t .... II~:
. . . .. .
jack Kirby much.
- John lomlt~
noane. ~NM. -
..............
·. ·. .~ .:~ -
· ·
.......
·:.
.......,......................
..... ,..... ____ ..._ ·· ....
!"!''.': , ~~ -
Greatness covers his tracks. Jack Kirby's accom-

plishments have been so relenllessly imitated that
(or many o( us younger artists it's difficult to re-
member how unique -even radical - he would
seem If so much of our industry hadn't remade itself
in his image. It's a safe bet that if Kirby could
somehow~ plucked from comics history. all those
spinner- racks and store shelves full o( color would
blink out like a disconnected ChrlstmM tree_
- Scott McCloud
In an age of the exaltation o( the primitive. the t.eiU.aitp..af- ROW in f.I 111111 If . . . ~ ..:tll--..u
demiurgic, and the Dionysian. Jack Kirby's forms of ;leo&l Kirby - ......... h1iih ~-' ...., ,...... • ~ ..at·-.,._ •• aiiOtl*
take on an archetypal quality with their unre- ...,._amem of Jaok'a ~ t.W ~ .- .,_, - · · ~hIt ta • viotoo'Y
strainedenergy. brilliant (reneftcism. and synoptic wNcti "-had ~ ..,..._.., _· _ ..... 'r11 whfcft becNoflb _..yo.,.
mode-s of violence. He was the contemporary era dltecUY.ltlthough , _ otvw ~- ~:'• · ii' · i cw tNnb to ~~~a Rf• and tria·w
unleashed and ~rsonif ied . -comptlahrnant..ttl!l ~·to..,..;~·~~.~ r.aMtanceandatamlna
- flume H09~rth and me M1fage battle with ha. ~ bea.l ~-~~ ~_,..._over hi• tight.
to ~- 8nd orlotnal art wtdtiMIId troin hlrri ~ not hQ -lldon• and not hJa
Jack Kirby is to co m1c book art what Pablo Picasso 1s ownerahlp by th.- oppu~JftMtt ad¥.......... But 1\a. flelrt ov• ~ct.. and the
to modem painting. One cannot seriously or prop- wttherlno. dla-trous tofl tht. ~ _had on
hfa atamtne and hfs health Is too
erly approach the form without first acknowledg- .tfactJno to rKatl In deulll. It Ia enough to lley 1:het - • r..utt of thle enduring and
ing tis master. ...odlng conflict, ev-v cartoonlat today whO-~ • conu-.c:t end achieves a
- l&rry Wlndsor·Smith non-eontaatabla copyright for hie ch-.oter, tide, and book. es well aa a llf&-
enhandng rnon.-tary r.-ttnn. and tho- novtoJe yft to come Into thla .alubrloua
When I thmk "Kirby." I see whirling gizmos. profaaalonal erana, owe Jactc ICJfby a profound, d~ • .--..-.ntt.~ bow of th•nka for
b11ght e)(plos1ons. flashing lights. nopt kachona giving th•m this gtft. For without hla sac:l'lftce, this oould never hava happened. And
dolls and CUbism He was t"e master and I'll 1ft us all gfve gr-t t hanks end aver1aatine ~adornant to A o z KJmv fOf' .._.,
follow htm forever. v•ltaftt sftoul"-· to-ahoulder ....,..._ through J1J fh..- trying ..,......
- ~rry/M rdn - 8UANI! HOOAI\TH
J
r•r co .. ,co touout J4C K Kll'Y TlliiUT! •••r •~Ill , . , 4 K00175ib !
JA1906 Jj
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-10 509518, Page52Page
Filed 03/25/11 of 92 1 of 2
Captaiu .\mtrica would llght six guys at a time.
JACK KIRBY INTERVIEW

( ·,)//rluc!fd bv Umn I hm~tg wrlh ,Hikt Tlubode.w.t inlht' carfr l.'JYOs
(,'lf:NN: Y'know. you always had :1 knack for that misundt:>rGtood kind
of ami-hero. "lot s<l much Captain America but~ wtiL evrn Captain
Amt'rica. In the beginning, he was this skinny kid, y'know? And when
J'ran.~mbul hy ( :Jm Mu.1ia/
you re-did the Suh-Marinrr, he goes back home ,md his race wa~ g<1ne
Cl.FNN f>..LV/.1<;: I'm doiny. an anicle ,,n how the prit'<'S for your art- alter he wa~ a bum in the bowery. or whatever.
tvllrk han' jumped, e~pt>ciJlly \ince l'vt' been r11llrrting, and it\ kind
/A( 1<: Ewry story has to have a little pathos.
t!f grt'Jt. Is it gratifYing to ~ee 1wople really Jppreriatt' yom stuff now?
(,'1_/:'.V.V. Something somebody can associate with, who\ feeling maybe
JACI\ 1\./RBl': It 1\otdd he grati!y111g to anyhody. [()know that \1hat
not in time with the world.
you·rr doing is not only \aluablt' hut worthwhile. !t :~ppeals €0 penple.
Thai's immt•nst>ly gratifYing. lt'njoy that feding. };1( 'K.: Actually. I wa~ telling rnysdf and the reader that we ran do it! If
we want to write a good story, then we could write a good story. If we
(:ff':VN: Do vou think there'll be ;lnothrr Jge like [the 1960s] again?
want to run a mile, \W ran run a mile. If we want to win a hockey
That ~tuff wasjmt so imaginative.
/:!CK: Certainly, of mur~e. t)t'raust>, as time gOt'.~
nn, ch;:mges com!.' with new times and tho\t'
change~ have to be "interpreted by the pt:ople o(
that particular p<>riod.
(:/INN: Do you think there'll be Renaissance
guy~ like you and Joe Simon and Stan Lee. who
wHe under the gun and had to product' tt'n tithe'S
a month? These guys now do otw hook and they
can't even get nut twenty pages in a month.
JACK: r\t rhat particular time. the busines~ was
young. The routine was certainly not developed
as well as it is today. So wr did what we imtinc-
tiwly telt had to b~ dDne .
.HIKL Tlll!IODF.-WX: You still had the quality.
though; the quality wa~ good.
JACK: l've always had the quality berausr it was
the kind of quality I wanted. I felt that each man
that doe~ anv kind of a task helicws that he can
do it. I mean. when you consider the kind of
emironment I came from, you >ay. "A fella th at
came from the Lower East Side~ where did he
get the idea that he could draw, and do art. and
dew·lop his art to a high degree?" Well, I did.
( ;U.'NN: '(know, there are a lot uf artists now
who can draw terhnically good drawings, hut
there isn't the heart behind it: there isn 't that
excitement. When you see a Kirhy drawing, it
_jumps ofT the p<Jge! ~ow you look and ~ay.
"Okav. it'~ halanced. bnt...?"
1.\CK: :'vly stories ~wre true. Tlwy involwJ hvmg
prople, ;md thry involvrd my~(·lf Tlwy involved
whatever I knew. r !lever lit:d (I) my n<Hlas.
(,If.V.V: It tame <Jilt Ill vo ur Jrt,mrk. \\'hatewr
1qs gomg on instdl' you and where vou came
t'rom. it ranw right out in nlur art\\tlrk- what
h;ipfWlled in your lik !'hat\ what J'm ~aying:
\by he \Orne of these Jrtl\ts. lwrause of tht> tny
tlw world is nnw- 1 dnn ·t knnw if it's corning
•>l!t in their :1rt. \t:Jyhe they haven'tlived the
'>!Ulfthar vu11lived.
/H '/\: f mu;;t adrmt that Jt the time I \lJrted. it
,,a~ n:rtainl\' a pt-riod ofturhul~rK£' and diJilht
,md fear. and l'terything ''"·~ h~ipp('nin)lto J!iW
people ,·au\(' to think '\,lt onlv that. it ;!J\\'
flt'<lj>ll' Clll'il' to tl~fll. :111d '><' f f;llltld m:\t·lf in
tht nwbt pf that kind nfa period. \nd 1dut
<'Oilllt' mn •>~' nw. mu'l! find in t ·,;ptoin :\mr'rica. ( (l!'('r prwil,(mm Captain .\merira 11210.
JA1907
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-10 509518, Page53
Filed 03/25/11
would of them
al\\ays Page
~··e 92 2ligluin)-!
of 2 1\'it h rlwmseh ,'
th('y artuall r had tlu·ir ( >Wll personality. 'I h ll
T!-4EREFDRE, WH Y DO IH'r<'ll.t just rl'il )111}'> and tha t\ wh1· you'd lm ('
WE ~ OT~IN
~tJ.IlCES :> T!{tNK OF ·l'm. Tlwy aclllally had pcr~on.ilit:;. l<~< l . i rn;
IT, SU8,;,MARINER-- rould identilr with thl' lll.
YOV~ POWER
COM911>JEO WITH MINE!
WJ./0 COUL.O I<>P£ 'ro' /:iCI\: I ~<lll' my 1·illains not as \'i lbin~. ! k 1u·"·
STAND AGA/ NS'f"US,?
villai ns had w t'Oil ll' fr1l!11 ~om<·wl ll'rt' and th1'1
raJJlr from p<·opll'. \t~ ,·illain~ 1\Wf JK ilJ>Il' th;,!
d<:\'t'lop<·J prohil-rll\. \\.hat , ,·a~ I\Toll!1with I l1.
Doo m'? lk was;, IW \' hichh-n·uardl'd s ci et 1 ti~ t
and ~·hat happ<·1wd ;,.;JS.th~t tl;en· wa-; an t xpJ,.
sion in his l~horat orv and it rui1ll'd hb fan-. If
scarred his t;Jre fnr lit(• and. lwin~ thr perffftio ni-;1
that hc- was. he had to hidt that fan·. And ht*
did ht· hid!' that fact? ln a 11 1<1\k of iron and stl'..!.
Doctor Doom beca nw a man \\·ith a deep. dt<'Ji
proul('m. and a m:m with a dt't'p problem is 1'(\lill;!
to gin· all the people trouble (laughia) The'l' arr
tlw roots from which villains spring if ~·nu di)!
deep beneath tlw stereo! ypes. and I did. y'kntm .,
Thef(· wert• people on my block who heca nH·
g-an~sters; there were people on my block who
hera me rops. My best friend said. "I'll berorm
an artist like you. I'll takt you to my mother auJ
you can t(']llwr that you're making mortC'}' at
drawing." and of coursr he told hi!. mother. I h·
said. "Jackie is an artist and tlwy're paying hilll
for his drawing~. and if! do th r sam e, the~.'IJ pay
mC'. too... And his motht·r \ays. ":-.lo, no!" l
remember that. Peopk really helieved in stert'tl-
types and she say~. "I know all about artists and
I want you to be someone--something dif!i>rent.-
She says, ''Jwant you to go out and get a decent
job ... (laughtl'r) \Vhen I came back from Basic
Training. my friend wa~ a 0Jrw York policema n
and he retired as a policr inspt>ctor. Can you find
a job more decent than that? Mothers being the
sacrt'd ohjerts that they were. a man would oht•y
his mother.
Gf.J;NN: Back then aho, if your dad was a cop,
they wanted you to he a cop. And if }'Our dad wa~
a plumber, they wanted you to he a plumb('r.
JACK: Of course; that kind of thing wa~ prevalent.
(,Lf,\'N: ·was there any pre~sure on you to not he
an artist?
jACK: No, no. My dad wa~ a factory worker, an d
Kirby prncifs. Sinnott inksfrom Fantastic Four # 102.
my dad lowd me and my motll('r loved me. Thry
game. we ca n win a hock£>y gamf. And I di d; I played hockey in th e always supported me and whatewr I I\ an ted to do, the}' k1W1,· that I
guttfr in New York. I playfd with wooden sticks. with people who would do the decent thing.
wanted to win. too. And it's human to want to win; to beat the other guy GLE.YN: Even in thr lean timt>s, did th(·y say, "(;t) do yo11r art "?
and say, "I won this gam£> and I feel great ahout it." Why? Because I
know I would. And that's the way llt>lt. Now. when I began to draw, JACK Yes. yes. They had a det'p fait h in mr.J lo\'t'd them fi.>r it. I madr
certainly I wasn't Rembrandt. I drew on the tenement floor and I up my mind to make my parents proud of me and I tried my best. ( )f
remember the janitor coming up and bawling me out . and he'd erase my course. I'd have tried tll\' best in otht'r fields: it could haw been in a111
drawing on the tenement floor. And I would draw another one. y'know? field. My object was to ~ake my parents proud, and !loved thrm derpl:~
(fnughtcr) And, of course, I found out that I liked it and I pursued it.
(At this point, thm•is a brt'o/.: in th, ri'Cording. and it n·suntcs u·ith 11 dismssion
Gl.ENN: A lot of peoplt don't know that you actually scripted a lot of o(/ht Arhillr !_auro incidmt.·ln Odnhtr 198.5. mtmbas o(thc J>ok~ tillt'
these storie5 - most of them. Even the Marvel stull. i ihrrafil'li Front. a mt'mbt'f·orr,anization l!f tht• N O. lni1;d.rd iht' II a/ian
rruisr 1hip Arhi/11' I aur,, while it wav at a!lilii'Tin f',Jrt Suid, 1::~\pl in th.-
jACK: l did.
M t'di trrranMII St a. a11d fltM i/.1 paJSI'II,~I'rs hm'fugc .\-fm~r Amtri!'llll
(,'[fNN· You always !!<~n> thr rillains - Dr. l)(}{)m . or Magnt'tn. or IOIIfists wae OJI-b,wrd. flit fuding rldl'f'~l'. wlud,kur-hound l mn 1\lill)?,ht!fli'r.
Su b-1\·lariner. or whoever - they wert the ultimatt' villains anJ they 1rho If'ill n bnrhoori (rimd of Kirb\' 's. 7hr fcrr.Jrisl> \fro! KliiJRiwff(·r in (1)/;1
wen· e\·il . but thC'y had thl'ir nt her !.idt>; the internal turmoil. You blood and thrt ll' hi~ hodr o;whotird. '{il ruh.Jurtllt'r salt tlllo 'tlu:-,n>tl!lrl,
17.J
JA1908
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page54Page
Filed 03/25/11 of 92 1 of 8
EXHIBIT PP
JA1909
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page55Page
Filed 03/25/11 of 92 2 of 8
·-------··-~·..·--··-····-··------~
KIRBY AND GOLIATH:

THE FIGHT FOR JACK KIRBY'S
MARVEL ARTWORK
AN OVERVIEW
By
MICHAEL DEAN
t ""'sjack Kirhy. 1K'maps more than 111n>m· dse. who tau~ht us how fl) imagine the
I IJ<'ha,i<>r of Sl>perheroes if lhn· inhahited the \\'cHid alon~~dr 11>. lk 19~0, !he romic bt~>ks
"'' rt<ul h~d ((>me tn rC\·c,lrr ~round l\irhr - his 1ision, hi; <1\'k, hi>1ki!l - like >:ttrllilt.l
.tround a stellar ho.Jdy. Rut !h~ mid-J9$0s fouml him at thr re lll l'f ,,r a .<1r11~k thl t
threateneclto nansforrn thr real world of the Ct>ll\irs inrlustn just a< radiCJlly as his
ima!'ination had 11 <utsfonned !he arslhetic f\llll'tlllit•ns of the SHIJ<'rhem genre.
The cru~ of thr disptlle was the in>i>tenre "I :>brvel Comic1. 1\imvs longtime
n!'atire hmnr. th:tt he sign awa~ all rights to the .\lan·d-publi<hed rharJcters he had
r.reatc·d. As a fOfrcire gesture. the rompan~· informed him th~t it ....-mold hold hostage all
1\.irb<· original art in its p<>.sseslion until he a!(lwcl w <i!(ll a >p<'cial reka.<e form that was
rrcptirrrl 0f no other \lan d frerbnrn. Klrhr rdn"·d to 1i)\n th~ dornmrnt, awl Marvi'L
in Hit n. rcfuSKrl w return hi~ original art, .1nd the r<'sultinj( stand-oil that played out
~"'tore the rest of 111 wa~ IJoth di>illusiuning aud inspitin~. On th•' our hantl, for tho.<e
wh•• ;~i ll , lot•ri;lol'd mrntciri~ nf th~ 1%/k ,1; a kind c)f ( ~und•JI . in which '1\ing 1\irb,'' and
\~;,nth c M~ n .. pte>idcd ol'er ~ h:opp•· hullp<'n.thi<11c.s • pan irulath•:«Jur rpil<l)\llf.
\l:u rd\ lvrpotatr 1<1">-rrs mnld haw cltr>5 ~11 no mort· df.. , ti1·r >-',tr t<> <pir on rhe rums ol
thl' Honse vlldn<- the Housr thlt. :u tht•v >ai'.Ja<k huih. 1\m onrhr nthrr hand, thr
ronflifl al10 prt"irntrd a ri.li<Jn of comirs crraH•f\. fl11<and indn<ln m~dia romitlg
lo~l'th rr t()rip th~ halanrt of p<~wn a~a in't a rc>r porate giJnt
In a rt-;tl sntS<', thr sutrK< ,,1 1\irby·~ nratil·r rffllrt., ''"rr thr 1·rn t hin~ that
marie '..larwl's lahwts >C<' the dtsirahilitv of sr paratilll( him from hi< creations. In large
pan dow ''' his «l>t L thr w min in<lumr. <<110 in p~rti<'llla r. thr ;uper ht'rll g••nre had ~:on<:
thrmtgh a rr1i,·al in the 1960s- ,,) mU(h 10 th<H the in1h~m ~-·ltraditiomllr u rde;s
.'W/rlofrmn
.mill!(\(>; ll>'''ar<l wpn ights aud •,qiHen r.rntraf't> h(·~an t<> dt~ng<. lr ••~•<n't jll<t mouthh Jack Kirby
rumor bc>Ol; 1hat ''err at >tlkr an' morr: it 11:~.» the 1<1.<t ancillar,· putrntial ,,f l!(,·n~in~ and M25terwo.ts,
lll<'H ha n di;i o t~ 1hr , onl<'lll of tiro'<' C<•tni(,, 1979.
K01887
·--
JA1910
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page56Page
Filed 03/25/11 of 92 3 of 8
~E-~!.IIm,:IJJ~+~L~~M~;f~t.~;ti~i'~'IA!§!li.~-p~j;~ti!I~B~3~.c~hi~:illllllllllllll-----------------------------------------------------------------~
r
- --------- - -~--~---------
ALL #liGHT
MUitf)EitER·-
YOUNA/1
YDIJit SAY·-.1
very a~o-are that the vahlt' of

his en-arion.< had ~tende-d
lx:vond the p;lge$ of rotllK
!~x>l:s beaux he had jmt
.:•mle bact from a monthS>
long ltim overseeing th.-.
animation of Famastic four
cartoon<. His wor~ on
the romin had b«n cut
bacl to allow for his
animati(>O worJ:, but as the
'IV animaMn sta.son
ende<!, he wa.< scheduled to
rrsume hi.! fonner pat:e,
writing and drawing some
I 5 pagt"S a llt'ek for Marvel.
Instead, he balked at the
new contract and depaned
~tarvcl lor good. He told
Tht Co mils fournal then,
"Maybe this is the right
lHf $PIIl1T TNAT
MAK£S AAAAH time of life to try other
WIUIHG TO~/£ things."
FOil WHAT HE Kirbv's deparrure may
8ELIEVGS tH·- ha~e been a CO!l.le<JUence of
the n~w contract or he mav
hare planocd to leave
a.nwtJI and saw no reason
t(>;ign ;m-ay rights to a
wmpanv he no longer
plannerl to work for. In anv
case. it was the beginning of
;m t"Siraugement that II"J-' to
culminate in a highly
publiciled showdown in 1he
mid-19>llls.
KirhY wa.< not the onh·
creator boihered by the
contra' t' that ha<l appearrd
'H<idenlr in 19/9. Although
rhe donnnent.s rlid ~ttlc
mor<' than spell out

c\plirit!l· th~ tmns that h~d
h<-en 1 J~~·clv presnmcrlto

t>t- in place aHakJng. there
Therefore, when the copyright law changed in 1978 to identify work for 11-as something ahout "-'ring their bow>' d•Hninion <MI ilw lruit of their labors
hire as a relatiornhip defined by written contra<l, tlw major compani~ rushed to desnibed ~ baldh· in black-and-white thai nude man1· creator; think rv.ice about
make sure their p;~perwon was in order. N('w. very sperifir rowracts wer( issued acqui"'ring. ~fi~e PIO<!lj "-alked ,Jf tht· j"h in the middk ,,(., 1\>io-pan lrrirdu.,rUI
l'lmd1.{ro111 Fantlslic that lft're careful to rovrr 1ne exploi&Jtion of comics characters and roncep~s in spetiol. \eal Adam; exhnncd his lcllow ar!l< t< n•>t to si~n1heir rights <~war. A11d
four #70, !968.. htktd other mroia.
ot'31Qrs bf.'gan ho\rling mcctin~; .md ttlkin~ <rr i<Hblr .1h<HII unions aud
IYy joe SimtJtt. When Kirby g-ot his lir:>t look at !.land's new rontran in 1979. he was •Jrg;Jnizing.
K01888 •.
JA1911
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page57Page
Filed 03/25/11 of 92 4 of 8
l}C. th<•ll)!h )(llih) of lierct union·htLiting

pr•ctif~s in tht' p~>t. harli(T"Adnallv come a long "'"l' l<•Wlld
impr<••ing its rd•t ion~ "'ith ur;,ton. It bad ackuo,.1edged
thr tight of nratcorl to the rr:turn or their t)riginal an as
<'arh· as l973and. in 1978, that ri~ht "'"-' expliritlv staled in
it~ rr<'alor run!r;H'tl. It later furthu mollified creators bv
in<tilllling a ro1-alti!'S srsttlll bv ~<hich all cre'4111rs ~<ere pairl
a 11n~ll lh.tre in fu ture [JrnfiLS rt'<ldtiu!( from reprint~ and
adaptatit•ns into tlll!l'r mtrlia.
\lam· I f<~to..rd nc~ ~ ~~d "ith r~pect ((/
rnurnin~ art anrl pa1ing royalties- or iucenri~es, as
~larwl called 1hcu1 - ami hmh companies 1\'tre already
rominelv rr:mrning new ori~nal.l rach monrh by 1976.

Gener.llJv, pc-milm received rwo-thirds of the pages of a
p.trticular ~l'llC, whili; inktrs receiwd on~ third. DC
indttstriomlv wcm through il5 b.1cl:s1ock of originll an.
tataloging it and mailing it to artisi.S. lt; policy, a.• explicitly
$lattd in th~ 1971! cnmr:rns. railed for DC to mum ne~< original art within a }'l'ar owner of all mpyright" relatt'd to the an. Creators were requirM to grant Marvel
or cnmpens.11c th~ artistl by paying an amount equal to the originally paid page the right to use the artists' name and likeness in promotions.
rare. If original an was l01t and then f01md after th<' anisi.S had been The form ·s language W3.l reminiscent of the contracts that had been
compensated. thl' art was sent to the artists in addition to the already paid in~tituted in 1979. and some creators objected to both the wording and the
rompcmation. crJtrcive tactk of tying it to the return of original art. Neal Adams mid the
~hrvel. on the other hand, held onto ii.S bacl:stock even as it began }IIUmal at the time, "Anybody who signs that form is crazy.... You dangle a carrot
returning new original art. Some arti~l.l, such as Jim Stera.nko an<! Joe Sinnott, in front of the artists' faces, saying, 'If you want your art sign this form.· It's not
hJd been able to get some or aUof their an bad, but for the most part, all tme; you don't have to ~gn it·
oripnal Marvel art had gone into storage. '11\e question of bad:stock was not one Most arfuts signed the form and m:ehoed their art, and even Kirby ~d
that \larvd wantt'd to see raised. Its stockpiles of original art were reportedly in he would've been willing to sign it. but that was nor the option that Marvel
such disarra,· thot cataloging and organizing them promised to be a mammoth onered him. If some artists had fotmd the one-p;~ge release O~txtionable, Kirby
undtrtaling. There was alsu the fear that large quantities may ha\·e been lost, was ouu-aged to fin<! that he and he alone had been sent a four-page document
pilft·rcd or gil'tn away according to whatr1·er whims had pre\ailt'd in the absence that multiplied the obligations of the creator and the righB claimt'd by the
of comi1tent poli<.irs. According to Irene VartanofT. wh<J was assigned to catalog publisher. Even the namre of the "gift" wa.s qualified in the form lent to Kirby.
~lan·cl\ backlog of original art in l9i5, the company\ storage facilities were \vl1ere the one-pagr form offered creators "the original ph}~ical artwork," Kirby's
piled high hith rh:• otical~· and prtcariously stacked art envelopes dating as far form offered "php ical custody of the specific portion of the original artwork.·
back as 1960. It look Vananoff a year to organize the warehouo;e and catalog iLS Always can.ful not to adnowledge that the artistl had any right to the art. the
conteni.S. She remaint'd in charge of the facilities untill980, and during her one-p-dge fonm made cl(".tr at least that the anisl.l would be the owners of the art
t ~nure. lh<' ><~irl. it 1\-;!S common for Marl'el execu tiv~s to give a..ay pages of onre the "gift" had been accepted. The gift to Kirov. howewr, W3.\ nothing more
miginal art as inrt lllil'es to bmin~i~ parlnm. Some time after VartanofT left her than the right to store the art on behalf of 'darvel. Though it wou!cl be in his
position, [.l.lges of original an were moved from the 1\-arthouse and kept near a possession, there was nothing that Kirby II'Ould be allowed lo do with it: "The
mack room urxt to a freight ele~-ator, according to Kirby's former original art Arti~t agrees lhat it will malte no copies or reproductions of the Artwork. ot ;UJy
al(flll Greg · nte~kston . Th~a kstcm said he had seen for sale by dealm original an pc>rtion thereof. in any m;.nner, that it will prepare no other anwork or material
rhat had brru raku from Man·d dming this pcm-1980 pe1iod. based upon. derirt'd from or utilbing the :\rtworl\. that it will not publicly exhibit
\\'hen \>larrd decided in 1984 to otTer lhe return of ii.S baclr.swd of ')tdisplay anv portion of the Artwork without ~br,.el's a<h<mce written
(lriginal an tu n eator!. ils offer to Kirbr "-as able 10 account for ontv 88 rages of penni-<.<ion, and that it will not commerciall)· exploit or ~!lemptto exploit the
1\irbY an out of a total of more than 8.000 pages that the artist had done for Artwork or anv material based upon, derived from or urili1Jng the Am.·ork in :uw
~larwlller•nTn J%0 and 19i0 - approximately on<.' percent. tmnner or media, and that it wiU not permit. license or assist anyone el<e in
:\s ~! an·e l hali remrncd new original an from 19i6 on. artists had been d nin~ anv of thr foregoing."
requirtd 10 sign btief rdta.«" statement\, about fou r lint>S long. and the 1984 While Kirby"'as forbidden from S{J much as displayin!( the art in publir,
offrr to return thr ~lr.Hctl 01i~ina l arl \\'J\ also accompanied by th~ requir('m('nt ~1ar rd wa.s to h~1-e rtM~' acres.< to itk>r 1dtatever pu~ it deemed desirable:
th;tt a fJIIe·page rdra.<e form be >i((ned. The form <!<:scribed lht art return as "a 'l 'pc•n Mant!'s reques~ with reasonable advance ntJ!ice. the Artist "111 grdnt Prmtls fr'om Destroyer
~ill' from ~larrrl In thr rrralors. B•· signin)( the form. the crrators Jgrred thai aaess 10 Man·d or ro Mm·ers designated represent.atires lo make copies of the Dud ttl, 1982. Jrhd
1hr an lmllleen " '0 1k fM hire and that \brr<·l \I<IS "the exclusir<' wt.nidloide portion of the :\nwor~ in the cu:;tollv e>f tht Artist. if Man·r l so nerrls or de,;ires try AJfrtdli Alalia.
K01889
..... ------~--- .. ------ - --·------ -----------
JA1912
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page58Page
Filed 03/25/11 of 92 5 of 8
92 T1t1: COMICS ~DURIW. LIIIWIY: J1ctl: IWIBV
swh copies in connection wid1 its business or the business of iu; lin•nsees." The whomever it may in iu; sole disfretion desire." In order to receive cuMody of the
artWork was also m!~ect to "revision~ and "modiiication" at Marvel'~ discretion 88 pages, Kirby was being asked to relinquish all right!~ to the thousands i>f other
1\s, worded, tlw fonn would not even allow Kirby to sell his own original pages of original art ht' had dont: for Marvel and to acquiesce to the disposal of
art, since that would constitute commercial txp!oitation. And in any case, he the additional art in any manner that Marvel chose.
would have nothing to sell bw the "physical wstodf of the art. He wa.s allowed to Kirby received the fonn in August of 1984 and, over the months that
•tnnsft'f to annrher pnson the physical mstody of the portion of the Artworl: followed, he attempted to negotiate some form of compromise with Marvel
being trarufern~d to the Artist by ~brvd," but only if the new custodian signed Editor in ChiefJim Shooter, ask.ing that a more thorough list bo:.' wmp11ed of the
the :>ar1w fouq~age docmnent that had heen present<'d to Kirby. original Kirby art in Marvel's possession and offering to ~nd a representative to
The long form addressed the question of copyTights in a manner !.imilar assist the company in cataloging tlw materials. Shooter refused all such reqtldts,
to the .short form, but in greater detail and with greater care to tnsuring that explaining in a Jan. 25 letter to Kirby that i1 would be "unfair" to single Kirby's art
Mar-vd rttained ·in perp<::tuity all other righL~ whatsoever." In airtight language, out for special treatment- though he apparently .o;aw nothing unfur in de~oising
the fonned claimed for Marvel all copyrights tltai belonged to the company a release fonn that 1argeted Kirby exclusively. Marvel's position remaintd firm
under the Jaw, but in the event that there were rights that Mar:.·el was not entitled that the artist must sign the 10m-page dorument in its entirety or he would
to under the Jaw, it insisted that the artist surrender those as well: "To the extent, rectiw: no art back.
if any. that all copvright rights and all relattd rights in and to the Artwork are not In the summer of 1985, the standoff Jx.tween Kirby and Marvel became
owned by Marvo:-1 as prov1ded above by Opt!<ltion of law. the Artist hereby public knowledge when Tht Cmn.ics }01Jf7Uli broke the story. The ]OW'tUiinot only
irrevocably gr.mts, com'eys, transfers and assigns its entire worldwidr right, title reported the controveny, it pursued the story tenaciously over the next sevef<l.!
and interf';<;t therein to MarveL" months, even!Ually taking np advocacy of Kirby's rights in the matter as a crusade.
To Kirby, who publidv disavowed any wish to chal!eng(' Marvel's In an editorial rntitled "House of No Shamt" in Tq !1"105 (February 1986), TGJ
DC's opm letter ro

Maml, ,;giM1Jy
puh/Uhed "' n.,
ComicsJ,.,J 1105,
copyrights, ont' of the most troubling aspects of the document he Vrm given w sign
concerned his tight w "as..,ist 1nhers in contesting or di.<:puting, Marvel's complete,
exclusive and W1restricted owrwrship of tl1e copyright to the Artwork. n He feared
thi::i pa.<&lge would prohibit him from testif\'ing on behalf of any other creators who
Editor/P11blisher Gary Groth wrote, i'ou don't need to have grown up f('ading
Jack Kirby's work to recognize that Marvel's treatment of him is criminal." The
editorial was part of a Kirby-themed issue "dedicated to swaying Marvel's heart, if
indeed the corpowion has one," Partly as a re-sult of the j{JU1TI(J[s dforts, Kirby
I
Fffinmry, 1986. might cunte_st Marvel\ cop;~ight claims or it> claims to ownership of all original art
done for the company. In fact, it forbade
became a comics rauu cfiilm: and Shooter and Marvel found themselves in the
middle of the worst public relations disa$ter in the comparry's history.
In an inten1ew with Kirby in Tq #105, the artist said, ~All I know is that
!
~----
------- --------- ---------
---------
him from o*cting e>·en in private to the
unfairness of the agreemem that Mane]
sought to impme upon him.
Even if Kirby had had no
I own my rlraw1ngs, b111 they've got them, and they know that I own them. Tiwy
k.now, and they're holding them arbitrarily. In other words, they're grabbers.
They'll &•nb a copyright, du;y'l! grab a drav.1ng, they'll grab a script They're
grabbers- that's thEir pulicy. 111ey c.m be as dignified ali they like. They e<m talk
I
l
intere-st othn than the saft return of
in lofty language, although thev don't usua!IT ... not to me [laughk'rj. They can
his original art, tht form offered him art like bnsines..smrn. But to me, thev're acting like thugs."
no asstJrJnces in that regard. The controvers;· became a common topic of comics convention panels,
Although only a fraction of the art sever-al pruminent rumics professionals, including Adams, Frank Miller and Garry
Kirby had done for Marvel had b<·en Tmdeau, >poke out on behalf 1lfKirbv, and even some non-comics media picked
identified and collected fM rt'tum. up on the ~tory, including Los A.ngdes television and radio statiom. AJuly 24,
the form spf'cified that in afCtpting 1986 episode of A.BC's 20/20. howt"V<T, profiled Marvel's accomplishments
the return of these 88 lfJges, Kirbv 1\ithuut mentioning 1\irb:r, let alone his displlle with the company.
was ad.nowltdging that he was Of the many letters on the subject that flowed into the }otmw1, only onE
entitkd to no ether art in defended MarvEl's [Mition. In an ts..'>a}' in T(jtll05, Miller noted, "Several voice:l
Marvel\ poss~~~ion: "lbe Artist h.ave been raised on Kirby's behalf. Many more voices, much quieter, havt shov.n
I acknowledges that he or she ha~ that a !{feJt de-al of ncoatiw: ingenuity is being devoted to the inventicm of exmo;es
',
I no claim or right to the for profe.>Sional rowardice." But despitf' the profwiona[ risks of defving thr
\,, , uwnership, posse.s.sion or rorporation. wht'n the juwWJl compo.scd a petition urging Mane] to
cuwxlv, or an~· other right in, unconditionally rerum Kirbv'.\ original art and cirrulated it among 200 individual
1\ any other or different arlWork comic; professional~. all but SO had signed it bv August of 19&i
or material prtsentlv in Marvrl initial!;· remaiwd intramigenl Artist Kenneth Smith
Marvel's p!l&Session, cu~todv
commented July 6, 1985 :n a Dallas Fantasy Fair panel. "It strike;<; me th;ll by
',\
threattnlng to harden its stante !f there ·rs public nitirism of its posmre, Marvel
or CO!Itrol, and th:!l M;u·vel
1,,
is not di.'>plaving tlw mentalitv of adoltseenL\; it's displa\·ing the mrntality of
mav, if it so desires, transfer
Shiite !trrorists. who have ma11aged \('take hostage smne yaJuable miginal art, a.s
th1• nlstodt· of am other
well as al-rilractlcga! rights nf the artists invohYrl."
.1uch Anvmrk nr mataial to
--------
K01890
JA1913
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page59Page
Filed 03/25/11 of 92 6 of 8
Even competing publisher DC 0lfnics sent the jwnwl an open leHt"r in and artist Jim Starlin motioned the editor in lhief owT The two spoke for on~· a
February o119fl.6 scolding Marvel for failing to follow OC's ethical eurnpk. (Ste couple of minutes_ Kirby's wife. Roz, later >aid, "I _jtk<;t tnld him what we wan red
Jetter at kfl) There was more than ethics, however, behind comics publishers' and [that] we weTe going to ~tand firm."
decjsion t0 relinquish any dairn to ownership oi original an. If a publisher were A! a Jad' Kirby f..omic --(__:on panel that same day, Groth statt'd that Marvel
to officially tak.e p<-\"-<.e&~ion of the physical art that it repnxlua·d in comi[ ·b<:K1k OW{'d Kirby at ka.~t three things: Return of his orig-iml <HI or monctarv
form, then, under the law, the transaction would involve more than the compensation when art had been lost or stolen, Cf{'arur credit> lor characters
<mignment of publishing rights; it would cort~titute tht sale of an object. ,'\s such, Kirby had created or co-ueated, md an apolngv_ Tiw audience appl:mded
the transaction would obligatt' the publisher to pay saks tax on thf' original an. Shooter, who had been sitting in th<:" rear of the rtlf)m during the p,lwl,
No one in the comics industry had been doing this and for longtime publisher" remained afterward to rKpond tn que;;tions from faBs. Shooter explained that ht
!ike Mar.·d and DC to insist on ownership of original art would've mtant had persuaded his superiors lo bt'gin re:rurning the original art bachtQ(k to
rmbr.~ring a disastrous debt to state government!. Marvel'~ relea_<;e forms. with all creators. but "before we were able to begin returning it, while lawyns were
thrir careful~· phrased referenw to "gifts* and ~phrical custody.* sought to have reviewing the situation, is when we staned to receive {!aims of ropJTight
it both ways, implying ownership without dirwlv claiming it. ownership from Jack Kirby. The claims of copyright ownership rhat (ame in and
In July of 1986, Marvel Vice President of Publishing Michael Z. llobson the way the demands were made made it very difficult to retum artowrk, because
issued a public statement telling the company's 5ide of the story: "Manoel has long any return of artwork, the way the demands wert phrasd, would be a tacit
bem ¥oilling to give Mr. Kirby suth artWOrk. in Mcordance with it5 artworl rnum admission of guilt"
policy. In fact, Marvel retmned hundreds of pagrs of artwork to Mr. Kirbv under According to Evanier, Kirby had made "a couple of thrrats," suggf!iting
its artwork return policy during his last period of emplopnent be(\'o·een 1976 and that Marvel's copyright> might be Vl.tlnerab!e to challenge. in the cmJrse of
1978, and Mr. Kirby signed all release forms submitted to him at that time. Since corr~ndence regarding creator credit issuts. "'fbev kept thwarening him and
that time, however, Mr_ Kirb)' has refused to atkJwwledgc Marvel's ownership of he kept threatening them," Evanier told the jmm11Ji. "It was the only way he could
the underlying copyright in the artwork remaining in Marvel's po:o.session, and get their attention_ And someOOdy at Manoel oveHtacted." Kirby's comments had
Jack Kirby alone has made adverse ownership claims to some of the underling only been aimed at gaining some ]e.,.erage in the dispute m·er rrrator rredits, WUl EisNr's &/J$ldtai
charactm which Marvel is presently publishing. These ownership daim~ by Jack according to E~anitr: "He had decided in ll1e early 1970s that, finamiallv and originnlJy ~ ..
Kirby were made despite the fact that Jack Kirby previous~· entered into several emotionally, the copyright issue ;o,-as not a fight he was prepared to fighC The ComiDi )oomal
agreements with Marvel in which he acknowledged Marvel's proprietary rights in At a MManel Then and Now~ Comic. con pand, on the question of Ill 0, Augw>l, 1'IIIIi
the artwork and underlying chmcters, and for which Mr. Kirby was fult.· paid by original art, Shooter stated unequiwxal~-,
Marvel Marvel nevertheless received a series of leum from Mr. Kirby's attorneys "We own it entirety."
during the past four years asserting claims of copyright ownership. As a re-sult of The final resolution came in May
this correspondence, Marvel insisted that in order for ML Kirby to receive the of 1987, nearly three years after Maml
had first begun returning original an
f artwork earmarh"d for him, ML Kirby wou(d have lo sign a longer, more det1iled
rtlease than the rdea.~ given to othn artists. Mr. Kirby refus«< to do this and ll1e bachtock and nearlv 30 )'ears after it
matter has been at a standstill." had begun accumulaling the art Marvd
II
If Kirhjo- had refused to ~ign the first of the work"for-hire conlnrts that had dropped its demand that Kirby sign
he had been presented with in 1979 and had not worked for Marvel simc, ¥o1Jal the four"page document and had
was the nantre of thf Magreements" Hobson daimed were already in place? amended the shor1 fonn to addms his ll-,a 1d>t
Arcording to writer and longtime Kirby confidante Mark hanier, Kirbv had concerns. Details of the amendments K1rtr.··-- ·,1: 1 '-'~1'-"<,
-<urn-~: uni!lrl.:d <n ) ng 1/:.e 1'\JNO{
signed, in the 196&, an affidavit ll1at related on~· to C.aptain Amtrica, and in were not rna de pu I1rK, but Kirffi. ~~"~ rhrr- h.l,-c "'Jd ~" 0\'Cf
~'lhgrDI!,n Y!Pv;- 10 r~
.
..' s
ff, to ld tIlf
' '-''k
n," '""~Jtr IJ:., l'c""' h.c, ? d"ln<v llre
1 10 '~ 1"tn ;,._.
19i5, an emplomwnt contract that did n-ot address copyrig-hL>. He had Jlso Iawyrr. Greg V!Ctoro / IJ J'~Jr, <k~a 1 Js OOd ~
apparently signl.'d a release in 1972, and it was this docummt that Evanier L-w•rna~ ~.Jack. gm i-mt about ' ' >;u~,~ . ' )f,] "'""'rr
J"" . r / 11_1. _\Uu, ~I rr;,--,~
hdieves fonned the basis of Marvel'~ daim to a copvright agreement f\'erything he wanted." The form rui!JJr<fc~ PIJb/" llllro,-., - , ~'tn~>;, nr,
I •n~J >n lllm"nm,o ~' m-.e ~:.t. lla:'t nnr 1.:
Mane!\ statement suggt'Sted that the conflict was mo\~ng closer ro ~'>".l:S signecl and the an was i ' L'rl 01 Inc~') "h """ t<t>r;," <i!!rog "''""
It ~ "''Dar: ~ 1 0,/ny g 'If fr'vn ltie ,;~;~""*'II' Jn Ame
J'tVllution a$ Kirby clarified that he W'J.<, not interested in challenging Mand'> rnumed. The eventual tally of
;:rill ;.-, -~·~Ill II) 1/,..!St c; - _~<'<g ';{ rr;,siJ "".rrt
u•pvright~. Marvel, for its part, W.L~ willing to drop the four-page re!ea.se it Kirbv Kirby art Man'CI had co!kcted for Ii ·\pecl::-cJc.,.~~~~r,..,_e.,:~r;:.<kl""', ll<:i
, ['\lf)Ji-<t.-,., ~•n m~l'-':.'lz!>•:'"' Itt,, ~J lh
would sign the short form. By this time, Marvel wa1 apparent!\· eager w retmn return came to approximatdv F.;o,-1!-.. "'tr""'l 'Wn1 "~
'''<lr- - '<l:e ,rl-/)11 :tr>J lh 'rn <m
the art page-s and put thf' whole fiil$Co behind it, hut among the drr.ail~; th<H 1,900 pages, still far short of his "1'''"'r"IJ)--.~/ecr,ng r~tt ~ !!'"~ ~e
i
AN[)-;;; <r
remained to be worked out 'W3.'l Kirby's demand that he be gr:mted rn:•atnr credits total output for Marvel hm .'}() PRoM/Tf{~~ _\tou l<l 1, 1,n:l, l>/ th,l e-rr;/(
whr11ever Marvel and it<; licensees used his char,-Kiers. In his swement, Hobson ronsidenblv mon' than the
n/, ,..i¥.>1, ~ " -'IN!) F1!R~~
1
" fc..-1 ~:~~~~:,7; 'M to 'llqu,,
-"'t r,,l !h., '£-reeraroon >f IS '"'P'rt.ll )I)
In < lT'<IOie "I
);lid Kirby had demandt:'ri that he be identified as the sole creator of such amount originall~- specifled. 1"-Uplt <rc ><or-h
I
rharacters as Spider--Man, the Fantastic Four ;~nd the Hulk. Ruz Kirtw wid the In the end, \iarvel c ''"" ,WI'Jr '"'>d'"-'1
fr!lmwl hn husband wonld not sign thr short form until tlw :111 th:lt w.1s to bt: was so worn do"'n by the
rrturned v.o;ts idrntifittl in iL~ entirety_ 'f11t credit issues had f-x>m raised. >ht said. mntroverw 0\'U its 0rif;inal
due to the aW'llt'e of Kirbv's name in tht neator credit~ of pa~l projerl!-, :md art polici~ ll1at it returned
thtir derna!ld WJS only that Kirby be among tho~ credit('d N\·al Adarm' art in May of
1\irhl' .md Slwotrr rntl lor tht firsltime in pnson .-111 Aug 2, !(!HI) ,llthe 1987 without ercn requiring -------
--------------
Clmir-Con International in San flil'go, when Shontn p:l.'>-\t'd nc11- Kn-lw's uhlr hirn to l'i!';D the >h,<rt form •}
K01891
JA1914
Case 1:10-cv-00141-CM-KNF
94 THE COMICS JOURNAL UIJWm JACK KIRBY
78-3, 01/26/2012,
97-11 509518, Page60Page
Filed 03/25/11 of 92 7 of 8
1
The Four-Page Agreement

i1 reco<jflilion cl the past partiCipa1ion liy the in<ivlduaJ irloolifed- 5. Tile Mist sllall"""' COIIIEst .-dispute, or a<stSt others k1 Artist is oot aware of any adverse claim thereto. The Artist hereby
(hefeil1after the ·Mist') in the preparnlioo oo Marie/' l>elJalt mthe cootes!ing or de,puting, Marvel's OJrflile!e, exclusive, comple!e and agree:; to rlelend, mderonily and hold harmle;s Marv<l and rts alfmale<!
artistic mate!ialilenlilied alxMl and other relatro artistic and/oc wriltol unrestrded owoorsiJip of the~ ilthe Mwork or Marv<l's compartles, and rts and their olfres, agents, empl:ijees, and iceosoos,
matooal (hefeimftef colectiYely the 'Mwork"), the Marie/ Comi::s trom and aqains! any costs, damages, clairm, HaiJililies, IOSS<!S oc
excluslw, C001ple!e and " " - - right to exploit the
Group (hefeinafler 'Mar.l:l') is pleased liJ be aiJie to ~-as a !llflto ArtwDI1< In any manner oc roolia, and the Artist shall""' dJon any experlSi)S of any ijflll or_, wllatroever [rocl<rdio!l reasonalrle
the Mist plljXal custo<ly " the S!>i'<ific i")ltioo of the Ollgil1allrtworl right OlC<Jrlsistent lhr<ew!tll. The l<fisl sh>llurlher never iJIJjr<t (an<l attmley's lees) wllich may arise oc be sustained or Sl.lffefed by any of
rertlfied iltlov<, sulject ID and in reliance UI'J!lthe Mist's beieliy Wllives any moral right pr..mt liy law ID iJiiect) to any them in com"l{'{;tion with any such adverse claim or resuftiog trom a
aclnowledgemerr and uOOertal<ings [lrD'IiJOO In llis lljreemrot remoo, modificatloo, oc ,.. materillllased UI'J!l, derived from or lm>::h ol any of the Artist's llnderlakioqs cootaioerl herein.
utilizing the Artwork. vmlr:h Marnl may make;, rts S<Jie and oolettered
The Artist aclrm1edqes receijlt of the above ilenlilied portlxl " II. The Nlist shall oof pu~idy or privately represent lila! he rx
<istretloo.
the ArtwiJii< and aci<oowled;!es and illjrees lllat oo~ plljXal custo<ty she has any rigllt to reproduce Of eXj.tloit the Artwort in any marm,
ot the specilic portioo o1 the Artwfll1<- aoove obeing 6. Marvel sllall 1\ave the right b<rt oo! the oblig;rtion, to use the and shall nGt otherwise make any statement oc representation
transierred trom Marv<lliJ the Artist, llullllat Marvel rernlns in Artist's name, likeness aoo ~ materill, IT Marv<l so rlesi'es, iocoosistent wilD !he terms of !Do Agreement e"'ffl ooly lllat the
perpetui~ a! ollie! rights wllalsoe'lerln the ArtwiJii< IIYooglooi the lrx ll1e purpose of~ ar<l'c< prOOlofi';j Marv<l's expblalioo of Mist may !ruthful~ describe to rrthers the Mist's OC!ual parOCipaiJoo m
WOOd, indudiillJilul oot limited to, the worldwide ropyrtgtrt and any the Artwork !t any material based llie!eon, derived tllerefrom or the Pf'!'llatior of the Mwo!k lrx noo""""mercial purposes
other ri!lrll to reprOOOC."' exploit the ArtwiJii< and all ollie! materill utilinng ~e Artwork. e"'ffl oo1y lila! the l<fist wit not be deemed to
have persooally er>1orse<1 any pmi<loc serv<e. 12. The Artist acknowiedges ~at he or sbe lias oo claim or right ID
base<lthereoo, derNal therelrOOl oc retalilg lhereiD, i1 any manoor,"'
many media, and oo such rights,., beir>J transterred, "'are brtended the owoersll~. possess100 or cust~. or any other rig!l! U1, any ot11er or
7. The Artist awees lllat IT wil- oo copies or reproducfirms different artwori< or material presently in Marvel's possession, custOOy
to be transferred oc will ever be r:lalned to llave been transierred ID
the Mist mparOCular, anrllurlher, the Artist spedfic<11~
of tile Mwork, or any portm therOJf, o any manner lila! IT Will oc -nl. anrllllat Ma"el may, IT IT so iles1res, transfer the custody~
acl<rlo'Medges, coofirms and agree; tll:rt prepare no other artwork or materQ base<ll/fXll, derived 1mm or any sucl1 ofber ArtwOif< 01 maiBriaJ lo """""er IT may In lis S<Jie
ulfloin;) the Mwork, lllat cl wil oot publicly exhibit or display any dlscretior des<e, and the Artist acknowled;ies and agrees lllat Marvel
I. The Artist's cooiiibulioo to the preparatloo of the Ar1w<rt portlxl olthe ArtwiJii< wiiOO<rt Mariefs advance 1\litten pennissllo, may otherwise deal wrth, oblize or exploit ai such olher lltwori or
was specially commlssiooerl and ordered liy l.larv<l and was and lflilt IT wia not oommerclally exploit oc attempt to etploltthe matehar to the lull ertent as provide<! herern wi~ respect to the
prepared subject to Marvel's supeMsion, direction and C«rtrol fl)f ArtwDI1< oc any materillllased ll"' derived rrom or utiH"ng !he litworl:, and !be Artist hereby watves, and rek;ases Marvel rrom, any
use as aconbibutioo to a collective wort, and the Ntwork and all Mwork, ~ any manrJer or iredia, :m that it Ml oot permit, I[Cense or dafn the Artist may lla~e rejating lllereto
related materla!s are works made for hire pursuant to a~ appitc-able assist anyooe else i1 lloir>l "lY of the fOffi!j!Mng. The Nlist may
13. Th€ Nlist agrees to execute and deliver, upon Marvel's
copyr~htlaws. transfer to another person the jllysical custody of the portion of the
reQtJeSI, any addit:iooal documents. assignments or other papers (wlflch
ArtwDI1< be"'J transferred ID !he l<fislliy Marv<l, oo coorlilioo lllat
2. The Mist was fully compensated for all worl pertooned m Marvel may execute in the Artist's name should the Artist fall to do su
such persoo furnished fD M:m, a Oljl)' ri ttis lljreemeot signed by
cOI1rleCOOrl with the ~'!'llatloo ol the Artworl for Marvel, and oo ~OOljlt~) and In perl!lllTI any furtbef acts. lfremerl oo;essary or
tile transferee ackno'w\edljfliJ Ire transferee's agreement to abide by
royalties or other pa)mO!Il; are or will be due or O'o\ing lrl the Mist desira~ by Mar~el to cootinn, perfect. support Of recool any of the
aH the t0111S set I~ berelll.
from Marvelloc or an accrunt or Marvel's past or fubJre ulilizaOO'! or for"J((ing
exploitatloo mits riglils i1 the Artwork. oo1ess expressly provided in 8. Tile Artist"~'"' not wutii1e In any manner !be name of
14. This A<jreemeot shan be rnflif"J lljXXr the Mist and hi'; 01 her
wnting ir1 a separnte ~between the parties. M<rvel, the name of any title oc the B1Jre or liken€ss of any charncter
heirs, representatives, executors, succesm, admiflistratCJS and
appearing in the AriYxJrk, and llr!'eil! an1otow!edges thet all trademark
3. Marvel o the aiJie and exctusi'fe rmner of all r:w;r\jrl i1 anrlliJ assigns, aruJ shall mure to lhe t>enefrt ot Marvel Mid rts successcrs and
and ollie! rl!i1fS mand to 01 std1 """' and 1teoesses are owne<l
the-~~~ the-· indurli';J wiltoot l<nllatloo, al rirjlrts assigns.
ex~ by Marie!, and the Mist O!Oinever Oll1tes\ dispute, aSSist
to any rerleVIill, extenstoo oc reversiln lhr<eof, all rights bJ O'.'lke
others In coolestiog ~ tlispuling, "'r:tain any ri!J~ OO!oslstenl with,
QPI>katioos '"' ~ "\iSSfatloo and IJJ '"""" fl1Jjright
re<)islratioos coverirlg the litworl:, and all rights m~ tlrotql-
Marvel's comple!e, exclusi'le and Ull'eSirlcled -.ship thr<eof 01 any I Arxording wthis ~mt, lftm was no guarrmtee that
of Ma""'s rig!1ls lhr<ein. Kirby would rln'ia' any mon oj" his arigin.al art than the
out the WO!ll1o - · ptlfu'l, exploit many""""' oc...,;, and I •mo.U 88 fx'li" lnmf bdru•. P"li" '16 lhrou§> 114 .y um
prole<! for M:m's aiJie bene!i( any modlli;afOOs. adap!atloos, 9. LllOO Ma""'s r"'les\ wllil '"""'No:mrrce ootice, the i book""' .~mrorro wuh ""from"""' i"l"'·
revisions or other~ works based ~. dertved from, or Mist wrll grant access to - oc ID -·s desigoaled
otherwise using the- representatives to - CI:IJies ~ U. portlxl of !be ArtwDI1< in the l
_ • f'an~ Four #38: jxlgfs 1-3, 6, 8. 9, 11, 12, 16-2fJ.
• Fantastic f"our #41: fxige:5 2, J, 5-8, 10.14, 16, 18.
custOOy of the Artist, !Mar.~:~ ., - tr iles1res such cwtes H1 • Fantastic Four #51: pagt:s 2, 3, 6, 8, 10.13, 16-19.
4. To the exlelll, ff any, lllat all ropyrtgtrt rights and a! retalol riglils
GO!lfled:ion witl1 its~ cr the~ of rts l(censees. • Fantastic Four #65: pagt's 2, 3, 5-S, 10.12,1{ 16, 20.
mand to the Ai1IIW<"' oot"""" liy MaMI as~- ab<Mlliy • Fantastit Four #if: fx¥;t11·3, 6-9, 12-15,19,20.
operation otlaw, the Mist llereliy l'revocably r)'>'rls. """"l'. tmsrers I0. The Artist represents anrl-lllat 1D the best of rls •
Fantastic Four #92: fxl.tr 2-5. 7. 9. I3. 1s.IR, 20.
• Fantastic Fom #93: jJagh H, i-9, II-14, 17-19.
and"""""' rts enti<e . . . - rigll\ Iitie and irrterest therein to knowledge, Jlfoonalioo aoo OO!ief, oo other person or D:lll1j}3ny has any
Marvel. ri!Jhllo the _,on 01 CUS!orly of any port"" of the ArtwOif<, and the I
'----- ----
K01892
JA1915
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-11 509518, Page61Page
Filed 03/25/11 of 92 8 of 8
KIRBY AND GOUATHt AN OVERVIE'.V 95
THE KIRBY PETITION FrrnnTheComk5Jooma/#110(NJgtrt1986)
ry.. ronjid """"'r <foil-~~ IN dUpW ,_,]"*Kim) ..J Mom! o,;, d hm ""-d.
offoi,/ j»!q '{The o.n;, J"""'" • """""f"* Kim) Wi<h Kim)'•
~<md~, "'~ ·J><filioo-ti.~""""""'J oR Mom~c,;,. ""'"']"'*
Mb)'•oigi>o/""""*- (l,pio <jiMJ><Otioo-"""" """- 200
imJiiM . - ~ Sn>mi ~ ~ lmfr'<, Umiro ..J Fin( m m1 m d."""""'""""'"""""-'""""'"""""
with"' 'I,~ mpia <jiM J><fitioo wdW
fr""" """""·Mo., <igmi, """""' diJ ... n. ~ ... did"" ig» .. ,.,._-"""" """' Mioml, ;,n,oc .<""*""~"oil •fow if"""""~ hJ d.
Mom! u,;,"' ~. ig»."""" ~ /ry The""""' l"""'
""""'<ftl. l""""'
fm;inm"""""" - · ""'~ JJ.m ""'"'~ ... """'Kim)""'""""""
' d.
" ' - ""' .;g;.u 0\ ~ ....... "'"'if if l"""" .. """. ~ "'J •. Jim"' 1M""""'~'""'""' piomi "'"'~"'1M~
We, the Undersigned affirm our belief that Marvel Comics should place no conditions upon lhe return of Jack Kirby's original artwork,
and urge Marvel Comics to return to Kirby his original artwork in !heir possessioo as qu~kly as possible. Furthermore, depriving Kirby
of his property and a portion of his livelihood is an ooerous breach of personal and professional elhics, refte<:ts poorty on lhe comics
industry generally, and stands in opposition to accepted and rightful practice in the publishing profession.
~-?lf'cP'fCP/~~~ ~-~
~IMams lJ€nrnsfuj!ake David Mamlcchell~ Ed Sta/t
Dan Adkins KerrJ Gammil SruttMcaoud Jim Starlin
SoJAmenOO/a Rick Geo!y Jim McGma/ Dave Stevens
Kei!tJ Anderson ~eve Gerber Roger McKenzie Jan Strnad
Vince Argoodezzi MichaellQ/Iffi Franld•lcla"'lllo Tom Sutlan
Peter Bagge Peter Gil~ ShawnMcMoooo -lhome I tr>< ~-~~d ~li'm my ~I C!W >\""""' Com!<• ~ jlloo:<
.krry Balls' Gerry-..:o H""v Mesnik' lf~e nto ""'""""""','-""""'h<r<t<ffno! ~kr\lmy>~"''"""""""'
Garllla1>;s lJnda Grant GeocgeMruger John Totleben "''!'" ""'"' q"'.'" '" ""'. "'" lo I'Jr~)
"" O<lql<1ol 1<1 llo<1o
""'"''""""~rurth«O>O<<d<-p<l•lnog!'J<t-,o!Ms
m...,.
Steven Groot Dean Traven
Mike Baroo
M~e &m Mike Gfel
Ffank Miller
Dougt.1rench' Garry Trudeau =~:d-:..:,:::
IJf""'""l >M """"'"'
:h:: ·.::=.:~~~~:::~~ ~-61
~ll<>n t~ .o<:e<p<«< ~~ha p<>dl«
lyOOa 8aTy Tom~g Alan Moore Tiroothy Truman'o '"'"'""""*""gP"<Ii<"'""- ' '
Hialy Barta Matt Groe1lng Steve Mixlre fk<1IU1111<
c. c. Beck GarjGml/1 Gray Morrow Va~lino
"""Bemoo
.krry Bln\Jham
Steve Bissette
Bill Blackbeard
Bo-
BrureHamiloo
Bob P.mey
Don"""
RlchanJ Mrozek
Dean""""'Y
Alex Nino
Rick-
lym Varley
Rrl Vertch
Tom Vlncent
Neil Vttes
Brian Bolland Kevin Nowlan Pete Von S/¥1/ly
lorn """""' IOOIU,WS~~
Doug Booth' Fred Herntx!ckl Rk:k Obadiah
B.C. Boyer Kevin O'Nei!l7 Matt Wal}'lef ;;;;;----
Man; """"'
Nonnan Brey/0(1< J>;k""""" JeiTJ omwa,< Davldlli/yWetss
E. Nelson Blii:twell Gilbert Hern<n:!ez Tom Oneclwn'ski Mark Wheatley
"'~Brooks Bruce Patterson Me! White
! L LDis Buhalts Jaime """""''
Marlo Hernandez George Perez Doug \\\'ley
II' "'~'-
Mdlael Hir Bob~""" Biji-
Bob Burden Richard f>iniS Marv Wolfman 11
811ffie """""'
James D. H001aa Bud Plar1t JomWren
l
1\eygie ""'
Tony Caputo Jooih fW: Peter Poplaski 8emie Wrig/11son /4 B"""llogarlh'•
I
Mike Catron
Joe[l;IOOo
Oa!!iel Clcwres
Jerry /go'
Chris Kalnick
~I Kane
Tom Poston
John Pound
Joshua Quagmire
Michele Wrightson
Tom Yeates
Cat Yronwo<le
. ,.......
fO...b
~~~~~
_j ~pdilim.
The eoouc, J~
#105 (Fdmwy 198/i).
I! Arthur Byroo CoverZ MOe Kaza/oh Bartl Rausch
Robert Crumb Karl Kesel i:ay-
Gregory Davis M~e King Trlna Robbins
Jeff Dee' Denis Kitdief1 Steve Rl!de ! 1ICVI:I!!le0011rDtrniiD'Jit?iliO:as!e<:fW00105~gn~r l''!'e adm>red Jact ~ if',j Ills 11«1< :-«:e 11't'il.'l d il1le w
Rffrt Dille' Michael"''"~"' Stan Sakai O!OO"Io\,IB!h!sOWlll1tw\tl:bJ<i:((ttermo::f~L>I€ fX.w~ttlalooe(l!tt\ei'lltlw\ectsli,tl>t~tqollf
lt.Jm!lowr,siJf'b¥~1:1\"ltrtlleaf~Mtl'<'S ~I!W~ i);m(.ss:llookfWI)f¢11oJ[IE!Nck!Jsifflflli(llJ
Buzz D&:on Harvey~ Klaus Schoeneleld
~·tct~ar~Jerts~.amsoor>,K~·nvstm~:J~JJJmeO
Jay Disbrow
Sh1J Do</
GaryKwapi1'J
Phd l.aso1la
Bob Schreck
David Schreiner
\ttrq10!1Hlob!go}est~~.r.; ;jj)ljf>;Jlll~
~ CM'adels r~ Qea\ed-
the r~~
?, -~·
(~c!way
rodle:.sM Jll ~ lo ~ (€bol rtl:i~
~at~ "MKID!.~IO'!Itl~Lee r.;
Robert Durham Steve l..ei:iOOa Diana Sc:hllt7 2 ~re!etedfu:;~-')1)!0'00$'~(:111!1>$~'<)1 ·~f(()'LU'~Iletauf.€'1!'1!!lcU:tllEm
til(rfe\IIOCII1bt'mM<fwl~ Slarlleet«i~efltl!s
Chris Ecker Billloebs Julie Schwartz 3 "WIIffi I re.:mM .looma/1100_1\US realystf'_arne.1111leri I
raJ aOOJ! ~&r.·ers ~~alm\l!~ o1 ~ t~ M f:.ty me ol mh!et)' troorttis, ~ wt!h a~~ 'It Mar'lel
Harlan El!ison tladioe lOObs Dal'id Scraggy 1regfyM11 kr(IWIIIhJIIwJIJ ooar.._-._,rt_shc;tffil!SI!"O:J ~ Pr~ Sllc~1Jacl'_I<Jbv001lef~tromfll:sa!so""
Steve Englmart Randy Lottidef Wlft Shetterty MJ ~ fco' afuture IT'~ .J! Fn)' I.Uiwi~NQ(I- but mrlele1NJtheffil!fetas!sefitffo;:eoll'ls~.ltOOI;g
Jack Enyart· Jean"Marc loffider Jerry Siegel ~l=<eii!cl'dllla:llt1.3liTH¢rl~I1Tf(a,st(';l?JI!l 'fr\asl!llJf)l<'ll~lfl(l)(le~Gf~
~A}f.lr~('(l-alle'.S:fc(l){l'll ~-~.::l=eli!l'llrd rrnYiilillltrlet~surr~
Byroo Erid::son Deni Lil..OO't Bdl Sienkiewicz lt<srlllttlt<,par\~<JStl;eymayllave~O'mtllle,
'M(ooti.tl",en)'Wf~'J~I<YrifFJ'!'ed I~
Chris Etheridge Hefdi Macl):ruJd DaY£ Sim l'o;:IC~doeswrntl}OOd'
i C3M:Jt ill [l»:l.JJlS0€1lU sllilj behioJ' \he r«)>C11 ol iJlls
~~have~'
Mark Farmer Ken Mackin Dave Simons ~ ~ Elustlm1 <bJie rqrt_
Mike Manley 10 TrumanalterftlhlspeiJIJ;Jllorea:ltl111111e~1r[lf11
Raymond Fehrenbach Don Simpson o ~lao;wlillth~)WI::til',emer,jmys,lflll\l~ ~~t>r~ ~ arl":;tan¢;810j)JXM01l0~<Yl!l"'}ttitR
Jlfles feitler larry- Bob Smith tile seoxo:J st:'l-w.:t met~· st31e'o wt!Jl !:l ~rJHer-Q .-, I~ (ll<l(:f]Ce dS WBt a-1 currt<rt Slai1o:l3!!!s, 1r1 ~ coom::s
Robert Loren Fiemi!IIJ sm Marks Kenneth Smrth fi'ot tlJt !:l !)\!Mf1 socf•J 'IIJ)' <!SlDJWe11 ~ffil" ~~~pril~·
Shary Flenruken Richard Marscha~ Toren Smrth G Mrend1 ~0\1 M Pf'hl»1 to re3rl tha1 Jbniti CmtJC$ 11 'N(;Ilrr!iil·:leftlf\!ll>'..,.-.---.s€·reflectsrrfll'yontlr:=$
~ j.~e ll(l ·ema· r~10 iifl ttl€ rtlu!n r4 Jad'. ~J'it(yrner~·
OwN Friedman Henry Mayo M Spiegelman M'!'S~aiai·/1001
K01893
JA1916
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-12 509518, Page62Page
Filed 03/25/11 of 92 1 of 2
EXHIBITQQ
JA1917
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-12 509518, Page63Page
Filed 03/25/11 of 92 2 of 2
OC COMICS INC
666 Fih:h Ao;enue
-Yon.. New von. 10103
(212}~·2802
November 19, 1985
To the ~omics Journal,
It is a sad history. During the first three decades in our

industry, comic art was destroyed by all the major companies
because they were inaensitive to even the personal value of
the work and unconscious that artists had any rights in it.
By the late Sixties, as protests grew, the majors ceased to
butcher artist•' pages, but hoarded them inatead in warehouses.
In 1973, DO acknowledged what should have been true from
the industry's beginning and what is true for all other maga-
zine• ,and _periodical literature. We, the pi.lbliahinq housea,
are paying only for the right to reprod~ce the work. The
ownerahip ot the page, the actual object, belongs unequivocally
to the artist, and the artist alone. The return of artwork
is an artist'5 inalienable right.
We emptied our wareho~ae, ••arching out ·artists who had
not worked for DC in yeara. In 1978, De became -- and still is
the only major cOMic book company to·qu•rantee in every contract
wri.tten for every piece ot
work. the return' of the' original art.
We also were the fir•t and only t9 guarantee, payment if the
artwork we had in ~ur custody·waa damaged or loat.
Jack Kirby is one of·our induetry•s greateat innovators
and contributora. We are all in hia debt. His artwork, like
that of all :the hundreds of other artiata who ht~._rece*ved
their page ... baclc.-U'Olll-Uu•-p\H>Hahe'r..,..-1:a-hT8 morally and by
industry practice for the paat twelve yea~~·
There has never been a time in tho•• twelve years that we have
ainqled out any artist and attached different condition• to the
return of hi• art. we cannot imaqine a circumatance in which
it would be appropriate or ethical. OWnership of artwork is
abaolute and therefore c,annot _be IUbjec~ to .negotiation.
Jenette Kahn, .Dick~Giordano, Paul Levitz
52 THE COMIC! JOtrRNAL #lOS, Febna.ary 1986
WOLF 0115
MARVEL0018764
CONFIDENTIAL
JA1918
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-13 509518, Page64Page
Filed 03/25/11 of 92 1 of 5
EXHIBITRR
JA1919
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-13 509518, Page65Page
Filed 03/25/11 of 92 2 of 5
JA1920
.. ' Case 11-3333, Document Document
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-13 509518, Page66Page
Filed 03/25/11 of 92 3 of 5
ME0629
JA1921
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-13 509518, Page67Page
Filed 03/25/11 of 92 4 of 5
ME0630
JA1922
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-13 509518, Page68Page
Filed 03/25/11 of 92 5 of 5
JA1923
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-14 509518, Page69Page
Filed 03/25/11 of 92 1 of 2
EXHIBIT SS
JA1924
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-14 509518, Page70Page
Filed 03/25/11 of 92 2 of 2
r~ . ... ----·····-·-~--..........._;.,
.. f
ATALK ITH ARTIST- RITIR-fDITOR JACK KIRBY

fnii'TI•IrU'I"J b_r !J!U(( 1/trmi/t.?JJ, and Originllf~l" puhfahrJ in f{ockds 8:ast ( Oflli<..'ul!e,'"1Ur 18J
rL
<
f
I
i
!EdiJur's Nott": 71us ir. lrn·irH· ~·a:i rll!ll.lucrrd !hortlra/fff./urk lift fl.f,m-d I did llt~ l for Ed di ~ Herron. ~
In 1970 {O (<'rJ/iu his Fourth w.vlJ Wii'S at DC) r
l
flHUCF..· U·( s ta lk a!J<.)Ut thf' fu t ur~. h 11 true that Supt nn~n 1s r~ ~H y
B!WCfi I/A,\ffLTON: Oo you cart> to dio;cuss your main rea~m~ {(n fr<lm ~ew Gen~si s7
switching to DC? JACK. No. it's nor. The people fror•l Ntw Gtnesi~ an- 11<1t the kind of
.lACK KIRBY: l don't mind at alL J can oniy say that 0( if.<~"~ rne my people wht) art> m:tdt into (Y-'rsons of~upen nan's class. although they
own editing alfairs, an d if I luve an idea I can rak<' 1.w dit for it. I Joo't
hJw; the {..,ding of repression thai I had at MarveL (don't say I wasn't
comfortable at Marvel. but it had its frustrating moment~ and th~n
Wa.!o norhing I wuld J t• about ir. When 1got the opp<>rtun ity to tramier
to IX. I took it. At DC I'm given the privilege ofbeiug a~i.ated with
arE- ~uper·bcings in tht>ir Ol'irt right. They don't stem fmrn that kind of
an uri¢TI.
!IRCC£ john Clark of Phoenix cam<' t.:p with tht- idea th~ other day
that maybe Supt>rman was rt'ally the ~on of Highfadter and that he'd
bt>Cu kidnappt>d by Da rk~i d and injected with a talse memory of hi;
I
t.
my own id!'as. If Tdid come up wich an idta at Marvel, they'd take it
away from 1nt and I lost ~u association with it. I wa~ n<"Vf.r given credit
f0r the writing which 1did. Mo~t of thE' writing at Marvt>l is done by
•Jrigin. Wt thought it was inttresting .>peculation.
jACK: There isa concept in tlw strip that the nut> son of Highfinher b
going to bt brought out . but it's not Supemwn.
!
the artist from the script.
BRUCI:.'. rn your many year~ of collaboration with JOE- Simon, we wert'
RRUCE: Was the coocept of the Fantastir Four your idt".J or Stan U:e's?
"ondering whl' u ~ually wrote. who penciled, and who inketl? Or
}A.CK: It was my idea. It was my idea lO do it tl1e way it was; my
did it somt>time.~ vary?
idea to de1•elop it the way it was. i'rn not sa}ing that
jACK: ]Ot- Simon is a wry very comfX'tent man and hf' is
Stan had nothing to do with it. Oi rourse he did.
quite capable of doing all tbo~ things, bot I wrott'
We talked things out. As things went on. I
them and I penciled them ... and (laughing) I inked
began to work at homf nnd l no longer came
up to the office. I developed aU the stuffat tht>tn half the timell! was a lot of fun doing thfln.
home and just ~~ it in. I had to come up though.
with new ideas to help the strip 3ell. I was BRUCF.: ls bP still active in c-ornks7
fact'd with tfte frustration of having to JACK: I don't know what )0<' i~
come up with new ideas and then having doing. I haven't seen or talked to
them taken from n~. So, l was kind j oe in about five )'l'ars.
of caught in a box and I had to get .'· ·
..··:
BRUCE: You wert' quoted in an
oot ofthat box, and when DC came
interview ~ix or stveo }'t'<lrs ago a~ ··
along and gav<' me the opportunity to do
Sll}~ng you didn't think the Alley
it, I took it. rbelieve working for DC can
Awards for the &>st Arti~t were giY~n ::· :
lead co other t>xpmmmtation and a ~ttl'r
to enougt1people. Would you car!' to ....
kind of comic book. and the kind of con1ment on that? ;l '
comic book that could lt'3d to allsom of
jACK: Yes. J beli~ve the Alley Award~
different things.
wert sewed up among a few pt>Ople anJ ·.' .
BROCF.: What do you [C('( is your single were handJ<>d in a 50rl of dique fils hi<.>n. In ..~ .
greatest C11:'a!ion in 30 years of working in other ~·ord<;, they were dominated by on~ =' :
comics? group. whkh gave i t ro one group. It ~ camt a :{-
jACK· Well, th~rf'·~ uo doubt that Captain kind of an overall self-promotwnal. which I :_:;i
Amt-ric<~ bt>camt some kind of an institution thought was wrong. l feel that the p;!Ople who
with SOffit' kind of a legendary status. I atcepr h.a[1ded out t hf :\lie..= A\,ard.s staved within their own · t· •
th:n a~ pwbably the big one·. hkt•s and di>fike~. They did~'t givl' enuugh study to thf odwr ·. ·
ani~ts ln the fi<'ld \\"h tj ~tert doing pretty competent wurk for ;~ .
BRUCl.': [s it rrue that sorn~ of the- thing~ signed by Simon &
olhE'r boo k~ . Titis was becau$e of the clique situation.
Kirby actulllly wntained work by other people? :-;
}AC~: Yb. We hat!, for instan(t'. Eddie Herron. the man who BRl '(E Are you familiar with thi ~ Ill'~<" pul:oltshH Skywald7 P o
cr~:<lted C3plain MaJVd. He was an editor for Fawcett who you know the 5101) ntnmd SOrll(' Of tht o(d (OffiKS th~y're reprinting'! : .
later ()(:Came a writer for IX. He- also created rhr )KK: Wdl. it's probah!y a ~imple st:>ry. ·:~ ·, .
Ht>d Skull. which I U$fd in an carry lfl!!!!!_ll••~~...--_.._ I don't kllow the <;tOr}' hdund .. ·
Cnptain Amalea. Comp:md it. but I've dont· thf. same thing ·
lo Captain Marvd. that in the pJo;t myself. Purcha'iing >
became his biggest hit. In 197/ll Cap dra~ ·ing. old artwork cuts dO\'o11 ou . -~~
fui, the Red Skull ~tands out a~ a kill(J of an all-timl' villain. costs. l Sl:'~ they gor hold ot ·· ,
He provt'd tu b<: a great ' hacacter- but ( didn ·, rrt'ate him. And ~ome of my old Bufl~qes. r ,
I usoc-d him to good dfea. We had things like that from lime to time. don't know how t hl')' tlid th:l1 . but I'm quite sure th<'y bought itlt-gi~i· ._-,: :
mately; but l don't know from whnm. :.
llRUCL:': There'; been a coutinuing controversy whethf'r you or ~k
tlrt'"" Captain Mnn•rl#l and who drew th~ Sprdoi Ufit)on that ram~ BRUCF: Do v•JU (('('! comil'~ :~re h<'rt: ro ~ta}' i:) :hd r rmsent imn.-?
out betoff that. Did you do drh<'r onf? jACK.. Nu, tl;ey're ool. I ft't'l that thty're going to chan~. f led th<'ft'.S ,. ·
)tiCK: I did tht ,\'pedal. l originatffi the t'O>tullle and all that hn~ iMs~. ~in~ 3 lot of t''f>rt irnt•nl :11 ion in that re~[K"Ct. I feel thK'IGt\044 ~
JA1925
. ~ -. . - . . .. - _.,_ .. _- ······--·-----
, --
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-15 509518, Page71Page
Filed 03/25/11 of 92 1 of 3
EXHIBIT TT
JA1926
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-15 509518, Page72Page
Filed 03/25/11 of 92 2 of 3
romancr comics and it meilowt>d us ~mt>what.
JACK KIRBY INURVI£

(Origmi!lly pn:stnt((/ in the ]97.5 Comic Art Convmtion prut ram ho,•J:)
Q: The matt>rial you did for Crt'stwood was. more or less, superior w
what you wen~ producing. just before and after your employment
there. Was this dut' mainly to your having editorial control7
/ntm >t(Mird by Strl'( ShtmUln KJR13Y. Yes-in ( rt-~ood . we had complete <'Ontrol of editorial policy,
of writing. of artwork We ser our own standards and Joe and I just
Many lributa by intdligem critiC$ havt bun writtm about }ark about had (Ompletr say over our material. We tried t'Vtrythingl We
Kirby The only thing missingfrom tht analysis. and tht cdrstial praist. were ~crt ing into satirical strip~ for the first time. I tried to do a satiri-
and tht biographical nofts is tht man s own rk'Ords. And.fack Kirby is n<J cal ~up<>r- ht>ro with Jack Olt>ck's Fightmg Amtrican in order to get
slouch whrn it comes to wvrds. He is articulatl', idea -omnted, and P•7intrJ. something new and. hopefully. get some response from a declining
Wr mav Stl' hts work as Sl1 basic that iJ uems instincttvt, but }ad:. has an readership. They did a.s weU a.~ any books of their time. It SOWlds !ike
obStr~r's ryt and aniJwarmrss ofhis ifftctivmess which mal:t him a I might bt' find ing excuses, but the field was in very bad straits at that
commtnlator worth listroing w-as you willfind in this intavicw. time. Not only did publishers have internal pressures. but they also
garncrtdfrom convmations Marl: Ev.mier and I had with him whm we had external pr~ures. One day a guy might buy a new car, and the
wt're planning a companion volume to tlu King Kirby Parif.Jiio. next day find the publisher cleaning out the offices. They were in a
Strvt Shtrman, 197S shaky frnmt' of mind. Only the publishers with outside sources of rev-
enue had any confidence at all.
QUESTION: What is it that would compel a man,
such as yourself, to stay up all hours-of the night ,
penciling comic books?
jACK KiRBY: Probably something in my psychic
make-up!! deddt>d to do comics because I liXed
comics. I d~veloped a deep interest in them at a
rather early age and ventured to answer an ad which
publiciud a cartoon correspondence course. I was
probably twelve or thirteen at the time. What makes
me stay up all night? Probably becan~ I want to
make a living!
Q: You're asked constantly where you get your ideas

from. Any dues?
KIRBY: An idea can come from anywhere. The
process of creation has no standards. You either
think it out by yourself or t.~lk it out with someone
else or with a group... but eventually you come out
with something. Ideas are everywhere. The guy in
the shipping room might come up with something
and what he has to say might be quite v.Wd. The fel-
low in clulrge has to have an editorial sen.se.ln other
words, he must rerogniu the salability of an idea.
And, while anybody may have an idea, it is the per-
son with the editorial capability who will recognize
its relevance to the particular situation at hand.
8/ai.'A: Magic came about bee:! use we saw a trend
emerging in comics back in the fifties; s.omethiog
begun by others but which we had to pkk up on if
i we didn't want to get ldt behind. ft wa.~n't a new
,.
j '
idea to use all those ghosts and spooks. but it was a
}~
saleable idea at the time and we were forturulte to
get involved in it early. We had to compete with
E. C.. so it was tough.
Q: At that time, you and Joe Simon were editing.

writing and dra111ing for the Crestwood people. And
you had quite a staff under you -some men who
could rival or even surpass the crew at E.C.
Editorully. were you trying to do things differently?
KIRBY: E.C. was very basic in their approach to hor-
ror. By that I mean. they left nothing to the imagina-
tion; same with most of the other horror producers.
That may have been part of their downi3U. You can
only throw that kind of thing at the public so long
before they develop an immunity to it. I think we
wtre a little more re~t rained with our stories, hut
that may he because we were purring out a lot of Thr drawing that btcamt thr m~trf(Jr the 1975 Comic Art Convention program bf)l)l:..
}80
K 00754
JA1927
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-15 509518, Page73Page
Filed 03/25/11 of 92 3 of 3
(~: You had a fi~W stalf, the timt-. 1prefer to

though. pend three pagt~ on
KiRBY: Extremely tal· an average day or if it\
en ted! Somr of the best a cover. about thrre
men the field has .-ver hour~.
seen were part of our
~ra tf. It was a wonder· Q: What do you con-
fill time to work in thE' sider a good arwt?
field ----if you nt'glect 1\.JRBY: One with imag·
the finan(iJ l problems. inalion and the ability
I wouldn't class the to tell a good story.
!lfties as the greatest How wt'U a man draw~
period in comics-it cuts no ice with me. if
was, to be frank. a really what he's trying to
ugly period. Ugly l';~;press comes our
dorhe.~. cars, people. \'ague and choppy.

But it was a time when
the most productive Q: What about writ·
people in comics were rrs?
still in the field. M<lrvin Kl RBY: The same type
Stein was with us-ht' of man. A guy with a
was a first-rate man fertile. active mind.
and one of the best Tht Dt:mon muts Broom l!ilda, Srwopy. and linuri Does onyoru know what con this was from? Tht> writer I respected
artists we had. Mort most is now deceased.
Meskin was at his height. Sttve Ditko was blossoming out and doing His name was Eddie Herron. He created the original Captain Mantel
fine work. There were stiU writers and artists around ... Good ones. It and was responsible for nwnerous storit>S which I considtred top
was certainly akin to working in a sort of Renaissance period. rate. He also fathered the Red Skull.
Q: Were people trying to break into the field at that time? Q: Was it easier to write the stories back then?
KIRBY: Well, I think many more were trying to get our. (li!uglu) But. KJRDY: Well, maybe not easier in terms of the time required. In sim·
yes, we had guys coming up who wanted to break in. People like Jules plicity, yes. By that r mean World War II lent itself to good dramas.
Fei1fer. Roy Lichtenstein. If their stuff looked good, we'd give them a The whole thing could have been written by some hack out at Warner
script. More than once. we'd give a guy a script and never see him Brothen. It was a black and white issue with a villain who was so
again. completely evil that it was just made to order. Anything you did in
World War II wa~ an act ofnobility. If you hung Hitler or killed hun·
Q: As the fillies drew to a close, the SupH--heroes began to return. drtds of Germans, you were on rhe side of the Angels. 1once got a let-
When you began the Challengm ofthe Unknown, w~r~ you striving terfrom a Nazi who wid me tD pick out any lamppost f wanted on
more for a super-hero rebirth or for breaking into science fiction and Tunes Sq~ because, when Hitler arrived, they'd hang me from it. It
adventure material more? was typical of a genre offans who have long since died out.
KIRBY: The issues I did were still fonnative and I can't answer for
what DC did with them. But they were heading for the super-hero Q: You enjoy reading the mail, don't you7
image when I left. In many ways. they were the predecessors of the FF. KIRBY: Yes, !love it I think that's because !love the fans- evl'n if
some of them are N<Uis. But when we were doing those romance
Q: At this time, you also started again at Marvel. comics at Crestwood, you should have seen the mail we got. There
KIRBY: Right. I was given monsters, so I did them. I would much was some lady who wanted me to adopt her daughter because she
rather have been drawing /Wwhidt Kid. But l did the monsters... we could tell from my stories that I was a good man!
had Grottu and Kurrgo and it... it was a challenge to try to do wme-
thing-anything with such ridiculous characters. But these were. in a Q; Whj"was it always Simon and Kirby?
way, the forefathers of the Marvel super-heroes. We had a Thing, we KIRBY: Simon was bigger! He was als() the fettt-rer. most of the time.
had a Hulk ... and we tried to do them in a more exciting way. With a parlay like that, I didn't h;~ve a chance. He's also old<>r then
me-like a big brother. He was great at layout5. One of the few true
Q: About your drawing. Ar your fa~ test, during that time, do you have professionals this field has seen. He stiU is.
any idea how many bMks you were doing?
KIRBY: I felt. fo r J while, like J was doing them all. Th e stuff ( wasn't Q: So why did he give up comics and get into m:~gazines?
penciling, I was doing layouts on. l got the books going-lrhink that KJRBY·Ile was discouraged. A lot of guys wt>re and Joe wa~o·t ttw first
was mainly my fun<"tion-so that. as Marvel acquired a tor-notch guy to try for bigger things. Wht'n Crestwood went under. it was typi·
staff. they could k~ep them going. You should remember that prior to cal of a lot of bad breaks we all had to put up with. A lor of guys gM out
this the entire staff consisted of Stan Lee. Sol (Brodsky) and Artie of comics for one reason or another... CC Beck, Eisner, Kurtz:man...
(Simek). Artie was in the most ~t>Cu re position. because no maner People of importance to comics left. I suppose I'm ('Onsidered some
what, thl' books had to be fettered. Anyway, I laid out the first Iron sort of a dinosaur in the field, but I'm sticking with comic~. I feel it's
Man and plotted it and Don Heck fin ished it up. Same with an important and powerful medium. I feel it's beEn belaborl'd by people
Daredt:~~il- BiU Everett penciled it over Ill}' breakdowns. And I'd pass who have an ax to grind -it's been down and it should bi' lifted to a
them on to other people. point where it reaUy proves its national importance. This i~ a visual
age and comics are a visual ml'dium. Not only can the intellectuals
Q: Were you pendling much faster then? grasp it, but also the common man. And. despite what a lot of people
KJ RBJ<Yes- there were lots of pressures and I was struggling most of may say. it's the common men who make history.*
181
K 00755
JA1928
iba u:sr.bU~JELL & WPC
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-16 509518, Page74Page
Filed 03/25/11 of 92 1 of 4
EXHIBITUU
JA1929
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-16 509518, Page75Page
Filed 03/25/11 of 92 2 of 4
Il
t.,,.
•
'
1/::J r
F.:.hibit: ---
7""._ '
Witness: ---~-~- -
_D'lte:
i!eporte ·
---=/~ •j!/-
·-·- --·-- -
r. A. Kate, CSR !1897
JA1930
FEATURING THE FABULOUS FEMALES OF MARVEL COMICS f
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-16 509518, Page76Page
Filed 03/25/11 of 92 3 of 4
Coprright (<) 1977 b7 Marvel Comics Group,

A Division of Cadence Industries Corporation
All rights reserved
including the right of reproduction
in whole or in part in any form
Published b7 Simon and Schuster
A Division of Gulf & Western Corporation
Simon & Schuster Building
Rockefeller Center
1230 Avenue of the Americas
New York, New York 10020
Manufactured in the United States of America
I 2 3 ~ 5 6 7 8 9 10
Lxbrary of Congress Cataloging in Publication Data
Lee, Stan.
The superhero women.
L Marvel Comics Group. :2. Comic books, strip,

etc.-United States. 3. Women-Caricatures and cartoons.
I. Title.
PN6725.L424 7 4!.5'973
ISBN 0 671 22766-1
ISBN 0-67122928-1 Pbk.
JA1931
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-16 509518, Page77Page
Filed 03/25/11 of 92 4 of 4
NOW YOU SEE HER-

NOW YOU DON'T!
WHEN you talk about favorites, the sensational
Sue Storm has to be right up there at the top of my all-time list. After
all, she was the first of the so-called new breed of superhero; she, and
her three colorful cohorts-the fabulous quartet that was destined to
make comicbook history as The Fantastic Four.
Let me tell you right up front why I'm still frankly fascinated by
the concept of the stunning Ms. Storm. At the time that Jack Kirby
and I put our noggins together and decided to come up with a new
team of super do-gooders, there wasn't much happening in those
circles. What few heroines there were all seemed to follow the same
pattern. They weren't actually heroines at all; they were just the
heroes' girlfriends. They worried when their man went off to fight the
ferocious foe, and they usually spent the rest of the time tearfully
imploring him to give up his dangerous calling-or else they'd wonder
why the guy they were dating in his Brooks Broth~rs suit wasn't as
brave and glamorous as the multimuscled misanthrope who was flying
around town in his cape and form-fitting long johns-never dreaming
that both of them were one and the same guy. Remember? Of course
you do.
Well, right at the outset I determined to do all I could to change
that pattern, to alter the formula. There must be a better way-or, at
least a different way. And that's where little Susie comes in.
After dreaming up the three male characters who'd provide the
brawn for the ol' F .F .. our next task was to make sure that the obliga-
tory female was included on the team. We could have made her the
girlfriend of o ne of t he ~uys, r.1 ~irl who never really 'iUspected tha t
the ma n 'lhe loved was. when dan ~er bec koned, the swashbuc kling
costumed idol o f millio ns. ·Nhom -; he too 'iec retl y .1dored . Or. '.ve could
have made h-=r a pre tty little pest who's constantly telling the ot her ;)
.· .....
. . .·~· ..
three to '>ettle down nnd lind honest jobs for themselves. But did we ' ~·:··
do tha t? Hah! Glad :,.·o u :1sked!

For the bene ht o f :ln yone who hasn 't read a comicbook in the past
::;enera tion 0r ·w. I'll tell you wha t ·...-e did. \Ve made her the llancee of
Reed R ic hMd s. the IIHe ll ~c tua l 'ender C)t t he ~ro11 p. D id you ~et t hat ? t '.,.
, · .... :
57 ,•,
JA1932
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-17 509518, Page78Page
Filed 03/25/11 of 92 1 of 4
EXHIBITVV
JA1933
J
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-17 509518, Page79Page
Filed 03/25/11 of 92 2 of 4
http:l'movies. ign.com/articles/03 5!03588 I p l.html
Interview with Stan Lee (Part l of 5)

June 26, 2000
IGN FilmForce interviewer Kcnndh Plume recently had an opportunity to talk to comic
book legend Stan L~c.
In his 60-year career in the comics industry, Lee has co-created some of the most popular
comic book characters ever made, including The Fantastic Four, The Incredible Hulk,
Spider-Man, The X-1\len, Daredevil, Dr. Strange, and the Silver Surfer, all of which are
planned to be made into movies (with The X-Men being released tirst. on July 1->).
Recently, he has branched out onto the Internet, with StanLee.net, creating new
characters and stories such as The 7th Portal and The Accuser.
In his tive-part conversation with Ken, Lee discusses his start at Timely Comics, the
creation of the super-hero comics, creating the Marvel attitude, moving on from the day-
to-day operations at Marvel. working at the Marvel Animation studio, his impressions of
the movies and TV shows based on Marvel properties so tar. the creation of Stan Lee
Media. his deal with DC Comics and more.
Check back tomorrow for the second installment of Kenneth Plume's interview with Mr.
Lee.
PLUME: If you were to sum it up, what was your introduction into the comics
industry'!
LEE: Well, I applied for a job in a publishing company ... I didn't even know they
published comics. I was fresh out of high schooL and I wanted to get into the publishing
husiness. if I could. There was an ad in the paper that said, "Assistant Wanted in a
Publishing I louse." When I t()lmd out that they \\anted me to assist in comics. I tigured,
"Well. I'll stay here t(Jr a little "hile and get some experience. and then I'll get out into
the real wor!J." In those days. it just Jidn't seem like comics \\as the kind of tield that
un hoJy \\ot!ld \\ant to make a cctreer in. rhev were the absolute hottom of the cultural
l<>tcm pok. \.luh<1dy had any respect I(Jr comic hooks in those dctvs.
I'Ll\H:: So this is, nhat, the early '-til's?
LEE: It "as either I 9_19 or '.tO \\hen I started ... I can ne\er ligure out "hich 'ear it \\as.
Exhibit: =:----
1-'
Witnes.s.-·. --z~~g":q~.--.-c:.:--
o,,., ~---LL~~LtL
Rt!portt"r: k Kate, CSR 11897
JA1934
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-17 509518, Page80Page
Filed 03/25/11 of 92 3 of 4
http:/ 1movies. ign.com/articks/035/035882p I .html
Interview with Stan Lee (Part 2 of 5)

"Very often, when people would write about us in the
newspapers or the trades, they would say, 'Stan Lee-
Creator of Spider-Man,' and that would get Ditko
angry."
IGN FilmForce interviewer Kenneth Plume recently had an opportunity to talk to comic
book legend Stan Lee.
In his 60-year career in the comics industry, Lee has co-created some of the most popular
comic book characters ever made, including The Fantastic Four, The Incedible Hulk,
Spider-Man, The X-Men, Daredevil, Dr. Strange, and the Silver Surfer, all of which are
planned to be made into movies (with The X-Men being released tirst, on July 14).
Recently, he has branched out onto the Internet, with Stanlee.net, creating new
characters and stories such as The 7th Portal and The Accuser.
In his tive-part conversation with Ken. Lee discusses his start at Timely Comics, the
creation of the super-hero comics, creating the Marvel attitude. moving on trom the day-
to-day operations at Marvel, working at the Marvel Animation studio. his impressions of
the movies and TV shows based on Marvel properties so far, the creation of Stan Lee
Media, his deal with DC Comics and more.
('LICK I IUU-: to access the tirst installment of the interview.
PLU:HE: At the height of your involvement, what was the number of books you
were writing per month?
LEE: .\bout 12.
l'Ll.\IF:: lluw did yuu juggle writing 12 huoks per month'!
LEE: Well. it 1\asn't that hard. I had tilllnd this S\ stem. \\here I 1\otddn't <Hite a full
'cript- like the 11ay you would write a screenplay or a tcle,ision show-- hut I \\ouiJ
discuss the story \\ith the artist. I 1\0tild tell the artist the story that I 11as hoping t(lr. anJ
then I told the artist tn draw it any \\ay he wanted. \Vhen the art11ork came in. I 1\<llild
~hen aJd the dialogue anJ the captions. I di,I that in the heginning as a method of
c\lgencv I'"" 1\eeping a lot ,,fartists hus\. anJ they \\ere all treebncers- so ifthev lwei
nnthing to do. tht:y \\t:ren't making money.
JA1935
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-17 509518, Page81Page
Filed 03/25/11 of 92 4 of 4
Lds say I was writing a story tor Jack Kirby. and then Steve Ditko carne to me and said.
"Stan, I'm ready t(Jr my next story." 13ut I hadn't tinished Kirby's yet. .. l couldn't let Ditko
stand around with nothing to do, so I would say, "Look, Steve ... Here's the ideal want ti.>r
the next story. You go ahead and draw it any way you want to and bring it in." So then I
was still tinishing Kirby's story- and Ditko was busy- and then Don !leek would come
in, and I would tell him the same thing ... And John Rom ita. and John Buscerna.
I did it just because it was the only way to get the books out and keep all our artists busy,
but later on I realized that it was the best way to do it. Our artists were really good at
story themselves- they were great visual story tellers- and they would lay it out the way
they saw best. Nobody can do layouts better than the artists themselves, so I would get
the best of their thinking- and then when the artwork came to me, all I had to do was add
dialogue that went as smoothly and perfectly as possible with the drawings that they had
drawn. It made it much more enjoyable for me and much more enjoyable for them, and I
think it made the stories better.
PLUME: I find it interesting the way you describe tbe working relationsbip. I was
doing some researcb, and tbere seems to be an opinion out tbere that you take more
credit tban people feel you deserve, especially in regards to the contributions of the
Marvel artists. I don't seem to see any of that in the description you just gave me, so
I was wondering what your thougbts are on why these opinions seem so prevalent'!
LEE: I have no idea. Every time that people talk about "creating the characters," I always
say I co-created them. I co-created Spider-Man with Steve Ditko. I co-created The
Fantastic Four and the Hulk with Kirby. I co-created Iron Man with Don Heck. Very
otien. when people would write about us in the newspapers or the trades, they would say.
"Stan Lee- Creator of Spider-Man," and that would get Ditko angry- but I had nothing
to do with that! I have no control over what journalists write.
PLlJ:\-IE: What was tbe easiest book for you two write'! Which character's voice was
closest to yours?
LEE: I've got to be honest with you- they were all equally easy or equally hard. I nev-er
had a feeling like. ".\ww gee, I hate having to IHite this \lne. because it's tougha to
'.Hite." Or. "(ice. l"rn glad I'm writing this <>nc. because it's easier." lncv.:r couiJ tell that
there \hiS anv difference. I wr<lte them all in the same amount <lftime and I enjoyed them
.til equally. rcallv.
l'tt:.\fE: Was it palpable at the time- in the early '60's- that there was this shift
:_:oing on in comics"? DC started aping the \lan·cl style to some C\tent, didn't they"?
JA1936
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-18 509518, Page82Page
Filed 03/25/11 of 92 1 of 5
EXHIBITWW
JA1937
j
.. Case 11-3333, Document Document
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-18 509518, Page83Page
Filed 03/25/11 of 92 2 of 5
. S6.'JJ
-
;
I.. '
By
STAN
....·..
LEE .
r 1
~ l
f
1'
JA1938
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-18 509518, Page84Page
Filed 03/25/11 of 92 3 of 5
THE YEAR 1963 was a bounteous bonanza for

superheroes. At Marvel Comics we were grinding them o ut like pop-
corn, and they seemed to be just as habit-forming.
Now , since we have to start somewhere, let's zero in o n the creation
of one of the most oddball teams of costumed cavorters to make their
debut that year, or any other year. In the riotous realm of superhero-
dam, they're not e xactly what you'd call a t y pical group of gregarious
grapplers, but then Marvel has never quite been known for being
overly typical.
It all started when Jolly Jack Kirby a nd I were scrounging around
for a dynamite new feature to inflict upon the hapless hordes o f
fandom. For those of you who may have been injudicious enough not
to have read our preceding volume, let me explain that Jolly Jack
was our numero uno when it came to illustrating superhero s trips.
Jack was (and still is) to superheroes what Kellogg's is to corn Rakes.
When such fabulous features a s The Fantastic Four. the Mighty
Thor, and The Incredible Hulk were just a-borning, it was good ol'
Jackson with w hom I huddled, harangued, and hassled until the c ha r-
acters were designed, the plo ts were delineated, and the layouts we re
d elivered so that I could add the little dialogue balloons and ca ptions
\Vith which I've s pent a lifetime cluttering up the illustrations of
countless long-suffe ring artists.
At any rate, I was a nxio us to come up with a new concept. and
t here was a germ of a n idea buzzing around my head . Almost a ll of
n ur heroes had gotten their superpowers from 'iom e outside source.
Spider-Ma n had been b itten by a radioactive <; pider ( cou ld happen
to a n yo n e): t he Hulk hnd heen t he vtetlm u f n gamma-ray -:>xplos10n:
.V!th The Fan tas tiC Fo ur It \V!1S :t ->udden prolonl4ed do->e or t ' 0 "H11 C
ray'): .tnd. just to <; how we 'Neren't ~e tting tnto a mt. T hor had :;a1 ne d
11is t;od like po wer by ptck tng up ;1 rot.u;h .,.; ooden cane rnstde a m v<;-
:en o us ,·ave .
JA1939
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-18 509518, Page85Page
Filed 03/25/11 of 92 4 of 5
Ot course. 1t's hard to rernernher that far hack. but I suspect that
I was beginn1ng to fear otlr readers m1ght get the tdea we were 1m ph·
111g that gaJIIJng a superpower wa' as easy as gettmg an msect bite.
bemg 1n the VICJntty of a gamma or cosmic ray. or ptcking up a st1ck.

'Twas tune for a new 3pproach-and I thought I had the angle.
Why not crente a group of characters who were born with the1r
umque abtltties' \Vhy not offer the reader a protagonist who was not
dependent upon some far-fetched pseudo-scientific accident? But. if
a character has a superpower (and superpowers are the name of the
game tn the madcap world of Marvel) and if no explanation is given.
how do we make that character's attributes acceptable to our finicky
far-flung aud1ence' There was only one possible answer-we would
create a team of mutants'
Mutant! One who undergoes a hypothetical unexpected change in
heredity, producing a new individual who is basically unlike the
parent. Or, to put it more succinctly, a freak, an aberration of nature-
one who has been changed for the better, or the worse.
The minute it hit me I knew the concept was basically sound.
Mutation is a scientific fact of life; it's plausible, possible, practical.
and provable. Best of all, it would allow Jack and me the fullest
scope for our imaginations. When thinking of all possible variations
of normal human beings. the sky's the limit-whatever power we
conceived of could be justified on the basis of its being a mutated trait.
No sooner did I discuss the basic premise with Jack than we were
off and running. We decided to create two groups of mutants, one
evil and the other good. One would be eternally striving to· subjugate
mankind. and the other would be ceaselessly battling to protect the
human race. The more we discussed it. the better I liked it. One of
the b1ggest problems in the comicbook field is the difficulty of finding
new storylines which don't seem to be bland imitations of the thou-
sands of stories that have gone before. It's a mmd-boggling task to
he compelled to come up with dozens uf new heroes and v!lla111s
regularlv. and sttll to g1ve them an a1r of freshness and surpnse. But
th" ttme 1t seemed we had a ready m:Jde veh1cle. sornethtng rdresh-
.n1-2,lv rw'.t..: .J!ld t()tallv different.
L!-t rnt· digress I(•TH~ c·notrgh \1) rrre!lti(Jtl ;lfHJther prohle:n th~n
.ilw;~n crops up 111 thc> ,jpvelnpment of any llt'W stnp-·-the prnhlem

,,~ tht· title. Thts ttnw I thought we had 1t made. There was one
:•;!.2,J~·~ll. rd)\.j()tJ\. periect utlt' for <;,tJch a feature. It 1.vuuld luok dra~
I +
JA1940
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-18 509518, Page86Page
Filed 03/25/11 of 92 5 of 5
r
I
I
dtd you \Vonder \Vhy '.;..:e cJtdn't --:,how _you

tl1e cover of the nwgazme in which The W3tcher's origin "tory ap-
pf::'ured? That'-; lJecDuse it's the very '>arne rn:1gnzine in \Vhich our next
origm t3le :~ppears. Since we don't want to show you the same cover
twice, [decided to "'J\'e it till you Iinish reading this scmtillating sec-
tion, the very last mtro I'll be writing for this valiant little volume.
And so we come to the big one, perhaps the most long-awaited
ori.~In tale of nil. Let me clear my mind of earthbound m<ltters as I
return in memory once again to the e3rly days of Marvel-to the
beginning of The Silver Surfer.
The year is 1966. The scene is a little luncheonette where Jack
Kirby and I had gone for a quick bite. and where we could continue
our discussion of what to do for the next issue of Fantastic FoiJr. The
FF had already fought Dr. Doom, The Mole Man. The Sub-Mariner.
and many, many other superpowerful foes. Both Jack and I were
wracking our bmins for some opponent who would be able to offer
a still gre3ter ch31lenge than any of those the FF hm! yet encoun-
tered. We knew we needed a menace which would prove to be
dynamic. daring. and totally different. Sounds easy, huh?
There's no need to make you suffer through the whole tortuous
process With us. Suffice It to say that we e:ventually came up \VIth JliSt
what ·. ve had heen looking for. The FF's next "Iper-foe \vould he
more th<Jn JUSt a man. rnore thGn JllSt :1 group ()f rnen. more thnn .·1
;lll'ft' LTt"dture trorn ,·-:lflother planet. nr JnV ~rnqp nf plant>t<;. ,\Jo. tht'"
FF's nc~xt ~11per-fne \vould he .1 <eem!ll~ly nrnr11pntent h~'rns ·_~,:ho
, >~dd ,J~~-;trnv .,-~11t1r+:-~ pl;Jnets ;Jt '.Y'ill .vhn ,_·nuld .-1lt~-'r .·1nd rt"·;ll:lpt:
rltJre ~vnrlds . . .1.11o \\';Js ,Js \tlpPnnr to Hornn -;:tplt'TlS .Js a rn.1n J'> to
111 lilt.
[(->
J\'J!l~
The FF'" next \Uper-fne \1..:o11ld
h:1rd to dr~-;cnhe CI:tLJctus· Jrnpact '!P()rl
h~--GdLlcttJS~
IJIJf
\·ntJ rhrnk f'm •':<;JQgeratJng. Tlw- fnns wr·nt 1pe. 011r <·de"
rt-';Jder'i W!IIFJl!t ,
!
~-
_• n.,
JA1941
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-19 509518, Page87Page
Filed 03/25/11 of 92 1 of 4
EXHIBIT XX
JA1942
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-19 509518, Page88Page
Filed 03/25/11 of 92 2 of 4
41
_.:. :·
JA1943
··-:·
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-19 509518, Page89Page
Filed 03/25/11 of 92 3 of 4
by
STAN LEE
A FIRESIDE BOOK
SIMON AND SCHUSTER

; . ;; ..
' , ("
JA1944
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-19 509518, Page90Page
Filed 03/25/11 of 92 4 of 4
THE GALACTUS TRILOGY
Th1S ;S :t- the o'g ,;ne'

,\s you ITlay or ~ay not I< now I spend a lot of t1me VISiting 'lanous c olleges
and un1versit1e s 3nd sce<JkHlQ tc the ra,thftJI about rre 'NOnder and the glory !hat
.s Marvel It also g1ves n:e a chance ro get out of thn off1 ce and away from lr·;tng
Forbush for a wh ile' Anyway. Nhllst bnng1ng a touc h c:l contemporary cul ture ro
th ose hallowed halls of higher nducatton. r·rn 1nevttably bombarded Nith
quest1ons from the br,ght-eyed and bushy -tailed believers who c omprise th e
r ighest levels of the rascally ranks of Marveldom
And Nhat :s the request most asked of rne? Hah. I thought 'fou'd never
get around to 1! 1 It 1S. of course . ·H ey. Stan tell u s about the Galactus Tr ilogy'"
The Ga lac tu s Tnlogy' N o tice how rhythmically 1! doth roll tnpptngly off the
tongue. The Galactus Tri logy 1 It souncJs ltke 1t oughta be required re!'ldir.g, nght
up there Nlth The J-hrvard Clas stcs and Wnr and Pence' And, for alii know. 1t 1st
When Kirby a nd I first set about pl!'lnntng our tttantc littl e tno of tales. 'NC httle
suspected that the Gi.llactus ep1sodes ·-Nould become such n. rna1or m11estone
in Marvel tl'Jgntftcence. Actually. all we ·N ere try·nq to clo NRS come uo w1th a
'11llatn strong enough to challenge our fearless ~ o ursom e after they h<id e~ lrendy
defeated some of the most po ...vcrlul baddies of the '/8i'.l r
And then it happened'
After hoLJrs of h(!ad scr3!Chll'9· gazmq 1t th.:: cedtnq. stmtchtnq yawntr.q.
bendtng pnper c:l tps. :->tanrc; tnl o space. then st;wnq .-,ut of snac e .•:e fql::JIIy ~or
•t it suddcnl'l ,·111 (arr;e trJqethr~r l];)lnc rt ,~F NF) <;hGLt '!O I !;r:n t kr o w •:h Rt ·I
IT:t::ant. biJf !h<; P<)l'r ··: ')()t_;n:,Jed r'~':lfZ1nqy tO !·,··e . IC1C i< . :JS I,Sl•i)i lJt,:fP.(~ :--'S s ·qar
and l"' rl r;:H;c •'1 ~o :~ 1.-:!< -JS .' he •:r:!:r.l!f; ly (H l ;.:n,)·.v ;, r>Cl t .f ·''0r,r· t. dnr: th<Jt Nii S
good eno~;qh '( ·r '"'"~ •.ii!l(l r; ti;S ·t :J-1'3 ;. ~ .-l '<1d';j r :;! :l ;'' l ':!· ·.'! ·• ''+1 Y ;r,-: l·""
'la~N .:1:! f'Je "''!·';· ~t7< ~ ·: . :1s 1 ~ t c r ·,~~
' :~ f: • I :t / r" / ' ~ ". :I"' it
;oursF-)if :.:<-r< . ; ~)~- -~:t ,-r; . : > ·:·-; - ~ t"l ~:.i' "'~ ~) ·1 · .-~, ·~ ~:-· 1 ·; .\' :'c r< · : ~ ' ~:)rc .' ·t .r {;,: if
1
' Jflt:,:rr;. 1;'i'l . 1 t:~ ~ :; :·: ...,:.: ;r·!:; .:· ~! _:! ; ·)•J.-.". '"' r ; l; ,'t' ,(; . : :· ·. -- :,1 "'~: .~:n ;,: ;\t( ;{~ ·;" :'~~~;
1~e ,: :nck. ~rc~ ' ': ; i : .:- ! ~~ : ·~·. n .f . . :· !~ ::: r·,. .· : ~ j':""':~ ·.n : 1 . :_,...\ :r- ::!'· ><· ·· ·!·n ... ~·· x.r ·fi .'J
·r:T:•...!r:s . .~ ~-: u ;1 ~ ·~ } 1 ·:t :··:) :~~~:~? '<· :..:! ~ : : :r· p /.r: ;.. · -~r t ,_ r;:_;,r· •>r · ~- r \ ; t- ~(; t,; ft""·)r ,...
J• •
JA1945
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-20 509518, Page91Page
Filed 03/25/11 of 92 1 of 4
EXHIBITYY
JA1946
Case 1:10-cv-00141-CM-KNF 78-3, 01/26/2012,
97-20 509518, Page92Page
Filed 03/25/11 of 92 2 of 4
llOYTIIOMAS, $1ANMRD
COMIU ,ANDNI
JA1947
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 3 of 4
Page
The New Super-Hero (Is A Pretty Kinky Guy)
"When I .:n.·arcJ Hulk with .mist J.tck Kirbv, we had the icclinK
that people l<>ve a guy who isn't perto:cr, • Stan r.:calls. "As l kid I al-
Putllnq On A Piu Of P1nttl1rs ways lo\·cd the Frankenstein monster. All kids know rhat Franken-
( &..._,1 lorft ) Art ttl ,,..t &or!Tr co·c ,.lfN !fw ..... •urtf••• for ,.,.,~HJC stein 's monster reJII:; isn't a haJ J;;U)',t hat he\ friendly to blind
,; ,_,on <1\o· ,.,.,. .•,-._ l>wl •""" I ! ~.aJiofrrtt '1•1 .,,,. e wo ••••~- • '' •••· " iolinists, .l!lJ that he just fel l imo bad co mp.my. " t_ Hulk WJ.S iricnd!y
.lt.. urorloi .,_ o•·..,.rt '"- , _, wl '"""''' .tc , ..,. " " l~p<l ·•7•1 '' ty .:A with t.:cn.ll;Cr Rick Jones. hut Jones drifted into <>t ht·r comic t-H>oks .tnd
"""" C,J L 0." &•UJ• lo) ~oo n may become the siJcki,·k oi C.1p1.1in Amcri..:J.)
(&bo•o "'JI! I) IW::Io ho-lf p - ·lloi tfws <0'>'1• fo•!•'\f•l "'''•" • •
(Jio•l"'." ,,,JA <0.,11 of rH" IAI•U . ... ...-otr 11'141 o:J•- MAr., A ·fcnr• [n .tddition to .1 ~rc~ n - s kinn cd >tar, \hrvd C<Hn ics kuur(• ,t number
••n •I • ~' ,.,.,,._.co- of :\~gn><:~ • .1 , i ~;n iii c ,ult hrc.tkthwugh ior t ht· othcrwi~o: w.1sp~· supcr-
IIS.c' ,..,.._ ' II I~ ...,...,...,... (1\ar«'tl'"- ,,.. /W~Io Aol•- ,.,. ...... hcmJom. dt h.Ls hccn su ~c,rcJ th.u th.: J3rucc \"''aynt·- lhtm.ln
C'f-l ......... (WK,I'"- .... I nunsinn i.; in .1 rt·,~ri.rt·d nci~h ll<>rhouJ.J In .tJJiti<)n to .l :-.i t·;~ ro c·itv
,·d iror <lrt<:J poii<'<' mel popui.JC<'. \l.trt·d I us~
trmv ,·nm b~t ma(hinc gu n ~ . anJ .1 mi" tl~- f i ring r~n k " hr~ c enough inr -·cnurn c l>l.ttk •U f' <' f · 't.lr in rh,• Bb (·k f' .tmhcr, who "' rcl lh- f'( Jul!.!,
:·.o,; o .kiJs insiJ~. · The t.tn k ,1ls<1 hls .1 ":~,;ghr v .-.Hlnon .mJ rork~;t :<>fl o i T'( !J.1ka. [' '('!n Jb, J prtn(t' Of :be \V;Jk.t!ltl.i trlhc• .lf;,J thclf
:.1un.:hcr. swiveling machin.:: ~uns, ~imu l.u .::cl tre.1Js .tnJ <Hhcr .lUI hemic rcprc~efll,t l i\'C to the Cnit,·J :\.uiPI15, is <l n~ ot d1.: '-'"'dJ's rid test m.:n
unk i\\Hurcs. ") .urJ o wn ~ 1n un,kr)l.rou nJ 'Ci,·mitic ..:iry.
The Hul k. .1 .:rccn- >kinn cJ munster who h.nes t h~ world hccamc ''\'('c wac ~oin~ t<> f)IJ\' hirn up .ts the t'ir>l hi.H k , upt·r· hcr<l wit h his
:he world l1.1tes him, h.1s. ~c vcr,d ri mes. 'inglc- h:wdcJ iv Jdc.HcJ the .>wn c:nmi( h<l<)k," 'ir.1n s.n·,, ·'Butth,·n w·t: ho:..:.unc .1 little gunshy. I 1.:
LS .-\ir Force. J)ur Hulk is >till .1 no:ar-..:I.Js~ic .:l sc ui par.moid schizo- w.ts <:rt'.u,·J bd,,rc the Black l'.u1thas ; tlw Airic.tn-.\mcric.lll <>r~Jn i
f'hrcni.l. Somewhere J,nvn in his primitive hrain is th.: kn,)w lcJ~c rh.u ; ,niorr j ~ <ll dwi r nnwri.:rv. .tnd nnw I rc.1llv .J,,n 't ~now wh,u to d,,
{~ ~ \l rlC~ w,1s .t gcntk 'oul l s-: i ~nti ; t Dr. Bnrrc B.tn ncri. Bur the f !ulk with hirn. !'he 11.\ ll h: is .t n unlu-:kl· c'<l in .:iJcnu:, !·,·,dk If we w.\nt w,_;d
!'.He' l:h nno:r toJr h,· i n~ \W.1k .mJ rwrnul, .mJ he i~ ,, h, c~s,•J wit h the im·nl•. cd in .\ .: ~<ii r i dH~ ' torY. w~ lt.Hitl<> .ln it ,,ur w .1 v .l tlJ not ' tufll -
~-ld oh,u he c 1n turn b.1.: k inw H.uuwr .11 .u 1y ti rn.:. ;,(.,. :mn ;t hn·.1uo;c: itc n.mu: •>t <lf h.' ul our ch.lr.Krcr.; h .1 ppcn~ ro he th~
•.unc .ts th.n ,,f 1 miiit.HH ~roup. \l atlw wc'll l<r him ,:ct Jn<..,),-....,1in
To h,·~ in cltlc' l fulk ,·,lmic, )r,ln wrot.:: ·c.ln .I s r.:.:n-,kinru:J intro-
ll.trlcrn tc.tclli r t~ :\ q~r<> ~ ·• lut h~ who do nnr >u~pcct rh Jt lw'< r,·,t ilv
··,·n wirh .mri,o,·i.tl tcndenc:<'S tinJ h.lppin<ss .1nJ fu!iillmem :n .1 nlOJ - :herr her<'. lll.1ek I' 1nriwr. "
·:rn rl1.H<:ri.tli ... ti"· 'illl'h.'t~ ?"'The .11l' Wt: r. tJf lotJr)t. is nu.
JA1948
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 4 of 4
Page
30 lnternew Condu<ted By M1ke Boume, 1970
!i-·hu is .tlso 1he richest m.m 111 rhe rnnld.

LEE: Y<·ah, ~o the whnlt ide.1. was d !itt!~ bit off. I w!J
Roy Thomas what I'd likt: to do with him is have Roy
write the P:u1thcr ~o he tt:achcs undcrprivi!.:ged children
in rhe gheno Jnd U $~ S his <>Wn knowledge .md his own
fMct: and leadership to help th ~c kids.
:0.18: H ow o~bout The r~t<·on .H.d bl.lck ruper-bero?
LEE: Now I think we hAve .1. bemr chance with The

FJko n. We've uscJ him in rhn:e sw ries, chen we dropped
him, .w J l want to w.ur JnJ stX ho w rhe mail ~:nm cs in.
I'm hoping it'll be ~ood ~nd 1\'J like t<>give him his own
book. I'J like to just m.tke him .1 guy irom the ghetto
who is like Clptain Americ~ or Darede,·il. :'\lo great
sup er- pow ~r, but Jthlcric Jnd heroic. And let hi m fit,;hr
for che cause that will heno::fit his <>wn people. l would
h:tYc J o ne this years Jgo, but again the p<lwers-rhat-be
.1re v<!ry cautious dbo ut things mJ l can't ~::o leaping.
\18: How serious r.>r how deep is the religious .dlegory

i11 The Silver Surfer?
LEE: I think pretty unconsciously. I'm reall y just trying

to write something kind of poetic and kind of pretty and
kind of mystical sounding. !think you .:an read .t lot into
it. In f~cr, when I discussed the character with Jo hn
Busccma before he startd drawi ng the book, Jnhn said:
"Wdl, how do you wJ.nt me to think of him? You know,
wh at kind oi ~y?" And l said: "The doser you come ro
Jesus C hrist, the better. " H e has that kind <>i a pcrson-
.tlity. He's almost totally good. unlike most of <1Ur heroes,
md I'm enjoying doing The Silver Surfer.
~lB : Hut u;by "Surfer· ~
LEE: Actuallv, we're stuck with t he name, because wh.:n

he iirst ,tpp.:a~ed, he appeared as .m iJKidcntJ.l ch~ractcr
in a F.mttrstic fnur ~tory. Jack Kirby just threw him in-
l think the name wa.s J.tck's-.wd ~.:a l!cd him The Silver
Surfer. I thought it sounJ t"d )~Ood .wd used him. Had I
known that we would end up Jning with him what we're
J,ling rnJay, I would have rakcn more pains t<> ).;Ct a name
that w.1s more .1pplicable. But JCtu.tl!y, nobod:• else seems
to mind the n&me. It's asv to n:mcmbcr .md it's .1lmost a
put-o n. And I haven't had lny complaints .tbnut it.
i ;'ll0TE: As I 've u:rittcn before, Yc Editor, ;;.:ho ;.:•.t5 in
the .H.:Irt:cl offices che !Lty Kirby's pmals ti>r [·!; #48 c.une in, ts in rhe j.1w rt·allv v-iolent .ts we do it. Even there it im't .1 n'•nnJI punch
in the jaw. It's usu JJ I~· nne invincible human being hittin!( Jn indc.muc ·
ne.trly 100% <'<'~"tdin rb.u rh e tJ.tm e j. 1ck .l{·<t·e the dJ.lr.1Cter itt his
m,rrgin nnt<'5 z;_·,rs ;;imply "Tbc S~t r(e r, ., .mJ tb.a tt ;<·.,; St.m t;_·/Ju riblc ,· rcJture ,,i some >nn. You Jon't even ~e t the !,·d ing .tn y•mc\ j.nv
:~ gettin!( hrokcn .lS it m i~ht happ~n in rt•.tlliic. It's .1!1 ' 0 t<)l.llh- iicti-
dniS£mcd him "The ~·ih:er \'mfer. ·• - Ror .]
tiou~ .tnJ \() rntJily tanciiul that ir i'n't -.vhat mr cll tl(\'f)l f011 i~ ,.t
\I.R: Uy ;L·.z/[;; .rnJ <'<'rli>lf!.. .1 rr p.tp<'r<'J :<:th 1/,zru ~l Co>~tto ,·" ;;~n. ' ;,lll'n c ~. l -~· <ltd . ! c.III it o:x<iti ng .md i.1SH1'm·ing .tnd i m.1~i n .uiw. But t
.wJ " '1<' c.zt c.mlt' 111 'm e ,l,ty .mJ ;.u d, "Tins ts rfw !lt,;,t :·w!.:nt -,_;,:.d! rnilv wou!dn 't .-Jll it <iolcm .
I':·~ c:·er ,,.en.'" IX'b,u .tl.h >l</ <·wlc>7u: m .1/,,·r:el ( .··JJnt<S?
\ fB: fl o;;.· ,/o J"U ;~·el ,dJ•>;tl the .;•>ry pu/J/1£ ,1/iom th.1t npf,,u
l.EF.: I Jon't know. \\ 'h.lt the hdl i ~ ,.;"1..-n<.:..:: I J o n'r thi nk our hooks :-roh'71<'(' ~ T!HJSC -u:hcrt• Y'Jtt >ce _iptk.::; throur.h )'•J:mg .~trls .111d Moo>J
.\fc ·;i,llcnt .n .11!. I th ink our bo<>ks .trc the <' XJCt "PP"'it c ,,i ,.iDk·ncc. I .<f'trrt/1/g .d/ •> ~·cr~
Jon't like to , ,w this b..:.:.1usc it\ hec,Hne .1 cli..:hc 1)\· now. bu r rcJ! lite ;,
viol,·nt. I mc;m crime, \'icrn.11n, p<w.:n,·..111d hi!!,otr:· .1rc ,·inl~llt . LEE: Wd l, dut '< wh.u ki lk J .-<>mics yl'.lrS .l!iO. We don't ,1<> .mnhin!!
iikc th.u . It do.:sn't p.trticubrh· hothcr m!.'. I th ink it's in haJ t.l.<tc.
Th~: rt: 's nothing <·iol..:m in our honks: good ~u1·s tr\'ing ro ~ J <·e the
There\ «l much to he qi,J .mJ thac 's ,,, m.1m· id,·,ls to he hrout;ht
world fro m b.lli gu~· s. If <om..:hoJ\' pu nch .:~ )<'lll<:h, ...l\' in .1 'lllr\', we
!n rth 1h.n •·ou it~>t J on'r nn·d .1llthJ1 :;nlc'.' "n; r 't utf. _\nd I'OU ~! ,,n 't
lhr,,w it in hccau ~e th<: kid ~ wo uldn 't buv 1hc ho,, k unless we· ,!iJ.
' lcl'J .t!ll h~· ,lirt\· , ruft·. It .1lm,,,q ddut~·s the llh:".lll~· ',;,,t hin>\ wrnn ~
J·r.1 nk lv, it\ o1...1r ... t,l1-.;t.'S-, iun ~~) the.• \ uU ilF.c.'r rc.'.h.h: r~ . l'h~.·r c: ~).l."t :o t)t' :t
ii.:ht ~t'<:n< ><lmcwh..rt•. ] t b t like ;·nu're notl!nin~ ro ~<:t .Ill)' q•un.:- kiJs ''. ith ~'",J horrnr 'IOri~~. hut ·cou iu;t ,io n't n,•cd 1hc thin~:~ th~t Jr<: in
•Ul'h h.ld 1."1'' dut ,..,u ,lon'l cv,·n tppre.:i.ne th.ll m.n·hc ~he ,ton· ·.v.ts
! <> ~" tu .t \X'e~tc• rn 11\<)\'ic unless there's »nc <lr two ~h ,>utin ~s. But
.~<l\ JJ h,·,·onJ th:u.
C <Hnp,tr~d to th e pr<\blcm s o f the '.\.'nr!J tnch;·, I ,J,,n't <'<lllSilkr ,1 pun,;h
JA1949
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 1 of 3
Page
EXHIBIT ZZ
JA1950
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 2 of 3
Page
J{KKIRBY - THI ASTIR Of COMIC BOOK ART

lntl'n'l'n•itd Frbruary 1987 by f<tn Vw/d
lntroc:h.ctian •nJ inl<lvi<'w 0 1981. 1995 by Knl Vi~. J\U rights
r~Vhi Thi~ inttf'ViN. tx<1:1pl or~. ~IUI<ll bt roprinrtd
noc ~ &om wiiiiOUt th< "'f'f= "Tilten cowmt ofKrfl Vi<lb.
!thank Gild thai in Ftbfii(Jry 1987. befnrr hr

passd through dial portal tv li11.' Positivf l_ont and lhr
cusmos bryonJ, I got /il med and inlmiLw Jack Kirby.
Lil:t a lot ofyou, { wasfortuflll/r mough to come of
ogco und grow up with )acJ.: Kirby. Owr 25 yrars had
p<!ssed sinct my urking andfertile mind hadfirst
mfollntmd and tmbraad }ad's art tJS i t kap<'d lljf the
racks n'ght into my hMds.
Thm war aIM vfwmic books tn choose from in
those days, c1r so it seemed, and not much monty lo buy
with, n-en at }(}I each... hut Jack's worl: never/(( yr~u
down, I can still, if! dosf n~y ryes and let myselffall
hac/{, Jeri that dlrill ofexcittmen/ and anticipation dial
canufrom the disc~'"J ofa lltW Kirby lx>cJl
rfirmly bdifVf that die best part ofus all, the
finality that giws meaning, purpose and satisfactiM to
our liws. if the ability to communicate and shart with
each ()thtr what is special abouJ bting human; toful
down to thf vtryfiber ofour being tlwJ. tingk, that 1pflrk
Jup in our soul; The Esstn~ OfLi./t.
Whtn {ftnt began Ute jcunu:y to fMh my 1987
film The Masters Of Comic Book Art, I had no idea if
woukl rod up being about ntc Storyte/kr- artistr who
both drmr and wrott. ft is the suprrmc chalkngc of tht
artist and tMr ability to tell the stary - liJ brwk it
!' down visual!~. in terms ofcon fen/, time. rpacc, action.
rmotilm, r¢{ection... tt a/. The accomplishmrot ofthat
''
goal is to take the pmonal and pn'vatt n:pmroa ofthe
artist and gil~ it to tlrt reader. To then he ablt to rom-
municall that samt spark oflife to the mas.'>eS is thr
mmt ofgifts. That achi(lltment is/ad Kirby's life's work.
In a mtdium which is comprised ofa singular
cxprmion, uniqut/y compoud ofa combinaJion of
words and pictures, with Kirby's work you alnwst didn't
nred tJu words.
Ht came from a humbleand appmsed beginning.
fnsriOed with a slron.g work ethic and an overwhrfming
dlirst for sun'iw.sl. hr se[f. inteflectualiud with his <liM
hand. hrart, (JTid mind his mwnr ol rscape.
Whm I visittd him in his ho,;,r in Thousand Oaks.
California. he had mode it to the lop ifhi.r mountain.
)ad had the support arui lm't' ofhiJ wift. !Wz. His <'hll·
drm were grown. /k wr?.T happy fulfilled. The lrgacv af
hJS life's >mrl: livrd on: a true mumph olth( rrul Cup rlug' tl nut with .~,,,,Tal boddil!5 - uninkFd pend Is to Captain Amt'rica I 103. page 17
Ame~ican Vrtam.
Close-up and inptnon. )111:J: was bursting with CllrT?J'. cradling. Kl!N VIOLA: When you approarh tht' blank comil: book page. how do
gfvwin.~. and awr·inspinng: rough·h(Wn 011 thr (Jutside. Jdnd unrl puu you service it in 1enm of tht' storytelling?
insik jACK KJRBLI m · that story first. I fee l that story fir~t. I know those
s
)11d 111/J mt tfwt l>t:hind Dr. /Jo;J/11 mas A: Wtl.l a_tiawfrs.1, umnorlnl peopk fir'i t. and I put them down as I'd like rht>m ttl live on tho.w
face that Doom could not hring himulj'to hroJ: upon.[/( told me how nw1h pages. My q ories :t re very sincere. My stories are pt'ople stories and
,. he loved young pro1plr, tlltlflng thrm kids wh,, gfl'w up 111 thr 1960s, m1· geu· there ar~ ekm ent~ that aft' \'ery. wry rl'al. I! doesn't matter what the
'· au/ion. ·an thr wall in hir stwlio was 11 photo ;flack ll'ith FraNk l ttppa. ,;nbjl't't is. and I've done ~torie s on a wide range of subjfi:t~.
How wdl he'd comt 111 und,·nr.md human 110t urc. I fee! that no matter what kind of a story you ·re ~oing to writt', if
' ( i1mir book ptoplr are the niast propk in tht worM.· hP1 cm{idol /o you're s1n<:ere in telling that story and not w ntriving il, you will fin d
mr. whatew r you fl"€'1will have a pungmt dt'ment of that story. l llt' reade1
t I miss/rim. Will tt>"l it, 1~'\'all~e he·~ (or ,;he\) no ditferrm rh~n you. l'w always tio lt
r
•
130
K 00704
JA1951
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 3 of 3
Page
to do something bt>yond their own way of lift. for which tlwy h~d no correct a V<.'l)' extreme situ:ltion in some hopdul manner, and tir;~t
method. Thq wert' willing ro put tht>mselves in that po~ttion, to crt · reflet·t~ in ev~ry ~tory that I write.
ate nt>w myths. which is not <1 small job, and Jid it! The hero im't free from the sam(' things that plague the villain.
I think if~ not only laudable, but natur~l. 1think !'wry ,llll' of u; lnt-y arl' both human beings with problems. l11e villain ha.\ the pmb-
ha~ thf' potential and tlw urge to do it. Somt" of u.~ do it with music. a lfm of greed. vengeance or whatever plagues him and it must be
lot of us with pencils. some wid1 machines. The bt-st car I eva drove rtsolved. Ont' villain I had was a likable feliow, and he'd give you a
was worhd on by a young man who lowd to work with autorMbilt> pntty good meal before he'd finish you off He'd be nice lnd that was
engines. This ftUa was an artist, he g<rve me a myth-making car. If I ~rea listic part of his make-up. He just had style but his intentions
had Pegasus. I'd have fdt the $3mt' as I did about that car, because it were very evil and destructive. He had the kind of probkms that
ran so smoothly that only an artist could've dont' that. And l feel that made him destruttive. and therefore these problems oot only had to
in his ~ay thb young mechanif did what r had done all my lift>. be altered. hut analyzed in some way. so they could be resolved. And
the hero was the form of analysis.
KV: You 'vl' said that tbe inrelle-ctu<~l approach to your work was based
on growing up in 1\ew York. KV: There was an incredible run of issues of the Fantastic Four, in
} I(: It had to be. WhatE-Vt'r way of life I projected was fashioned by which you created G al~ctus, the Silver Surfer, the lnhumans, and the
what r was. Wh<'lher I wrote about Europeam, or people from other Black Panther.
regions. it was my limited impressions that were put on }K: Yes, th:~t's true.
those pages. They wer~ involving impres..~ion s and rome-
how they made their wa~· to the reader becallj(' he felt KV: Do you recaU that period of creative break-
like I did. through, and your inspirations?
I'm a people writn I know the next guy. I know ]X: My inspirations were the fact that I had to make
what he's thinking, what he's capable of. The age of sale~ and come up with ch:uacters that were no
the writer is immaterial. I'm no wiser now than I was at longer stereotypes. fn other words. r couldn't depend
that time. I knew people weU, I wa.~ brought up among on gangsters, I had to get something new.
throngs of them. For some reason I went to the Bible, and I came up
l remember doing an editorial cartoon in which Nevillt' with Galactus. And there I was in front of this tremendous
Chamberlain was patting the ht'ad of a boa con.~trictor figun', who I knew very weU because I've always
-who was Hitler. In the center of the snake was a ~-~~~ ~--- felt him. r certainly couldn't treat him in the
bulge whkh lla~Ied Czechoslovakia. Neville same way I could any ordinary mortal. And I
Chamberlain had just given Czechoslovakia to remember in my first story. I had to back
Hitler. The boss of the syndicate called me in. away from him to resolve that story. The
He sez, ~You're only a young squirt. How Silver Surfer is, of course, the fallen angel.
dare you draw a political cartoon like that?!" When Galactus relegated him to Earth. he
During that day it wa~ really important. These stayed on E.arth, and that was the lx-gin-
things wert' really happening. We either sati- ning of his adventures.
rized or projected them in many ways. And They were figures that had never been
he sez, "How would you know about these used bd'ore in comics. They were above
thingsT I said, "It's not a matter of politics mythic figures. And of courn they were
to me. I know a gangster when 1 ~e onellf tht first gods. 1 began thinking along
you give a gangster one thing. he's gonna ask those lines, and 111r N~ Gods evolved. I
fur more!" That was the way of things. It's began to ask myself, uEverybody el~
sonwthing you just know and when you put bad their gods. What are ours? What is
it down the other guy understands. the shape of our society in the form of
All my storit:5 have been that way. they've myths and legends? Who are our gods?
never been contrived. If I wrote Petrr Pan. you Who are our evil ont s. and our good onesr
would lilu- it. Peter Pan would be a real great kid, I tried to resolve this in the New G&ds,
and the charaeters would be tht' kind of people and r came up with some very interesting
you likt>d, or disliked... and whatever I wrote characters, and very good S<lks, which satis·
would be positive, becau.w ahead I feel there's a fied me inunensely. Now, I didn't resolve the
happy ending for us all. That may he from my love questions. I'm a guy who lives with a lot of
of the movies. I can't intecpret it any other way. I q<H!st ion~ . and I find that vuy interesting. I
fed it's real, and no matter what happens. the end· say. "j\'hat's out there?" and I try to resolve
ing is correct. The t>nding is dramatic and w l' can that, and I never can. I don't think anybody
understand it. And I hope e\·eryone can interpret can. Who's got the answrrs7 I'd sure like co
thrir own script. hear the ultimate one. But I haven't yet, and
so J live with a lot ofquestions. !find that
;_,
<
KV· What are your basic concept~ for the hero en/(11.aining. If my life were to end tomor·
A (;lilac/us row, it would be fulfilkd in that manner. 1 '
,,•
and thl' viUain'l ' .
}K: Thr hero to mt> is an extreme. an ordinary drawi11,~jrom would say thl' questions have been terrific! ~
guy in an extreme po~it io o . The villain is the ~me FF Annual 1.5, I've had a good time.
e:r;cept the result>of his actions can be very hann- /,rter rr-liJrd ti" So Tfelt these new characters I'd come
ful and dra~tic . The hero's a; lions ran resolve the Man•dmil!l.ia up with were very valid and very rea.l. They
situation in positive tem1s. lie would do it for the asked the question which is rarely asked
villain's own g()()(i and welfare. The hero isn't a in our society. It's felt and seen but
cardboard tigurt', and neitht'r is tht' villain or rarely asked. Who are our gods?
the vinim. l feel that all th r'-'t' have to I'm sur~ you and I will never see
K 00706
JA1952
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 1 of 3
Page
EXHIBIT AAA
JA1953
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 2 of 3
Page
Stan Lee Interview

WBAI radio NY
Conducted by Neil Conan
Aug 12, 1968
Transcribed by Steven Tlce
UNEDITED
NC: My name is Nell Conan and I'm in the studio with Stan Lee, the single person most responsible for
what many thousands of people call "the Marvel Age of comics." Stan, at this po1nt you're the editor as
well as writing several of the magazines yourself, isn't that right?
SL: That's right Neil. I think I'd rather you had said millions of people. We tell ourselves we have
millions of readers.
NC: What Is your circulation?
SL: Actually, it's sixty million a year.
NC: Sixty million a year?
SL: Now, I don't know that that's sixty million different people. There may be a couple of repeat sales
there, but thars how many magazines we sell, approximately.
NC: Does that make you number one in the field?
SL: Oh, well, we think we'd be number one in the field if we sold two. No, from point of view of quantity, I
think there's another company-who shall be nameless, as far as I'm concerned-that sells a few more,
but they print a lot more. We sell more of what we print than anybody else.
NC: In other words, magazine for magazine.
SL: Mm-hm. I think Life may beat us.
NC: [laughs] Okay, would you like to g1ve us some of your background, and I guess incorporated in that
would be the background of Marvel.
SL: I'd like to think they're almost synonymous. [laughs] I'm just, I'm not terribly important as an
individual. Everything I do seems to Involve Marvel. One of the few native-bam New Yorkers, 1guess,
extant. and I've been working at Marvel since I was about 17.
NC: What were they publishing back 1n those days?
SL: Comic magazines, too, but obviously I think they had Captain America, who was one of the b1ggest
at the time, and they had Marvel Mystery Comics. and Sub-Mariner. Daring Comics and Mys~c Comics.
Not too many others. It was a pretty small operation at the time. And I was there for awhile, and, as a
matter of fact, Jack Kirby, who 1s now just about our top artisl he was my boss at the time, he and Joe
Simon, who had hired me. And after I was there a short time, Joe and Jack left, I was the only fellow
remaining, and Martin Goodman, our publisher, asked if I would hold the job down until he could find
somebody else on a permanent basis, because I could see he didn't relish a 17-year-old handling this
entire. vast operation. And he's never told me that he found anybody else, but he never told me that he
stopped looking, so, as far as I know, I'm still there on a temporary basis. [laughs]
SLU/5tan Le~ interviewi\VBAJ Neil Conan./8-12-6Sipage l

JA1954
JM 00076
\ Case 11-3333, DocumentDocument
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 3 of 3
Page
NC: The only thing that strikes me about the Silver Surfer is how Galactus ever was in on the surfing
scene to name the Silver Surfer what he did.
SL: I have a feeling, I've got the worst memory in the world, but I have a feeling, when Jack Kirby named
him, he started out as a guest star in Fantastic Four. Jack and I can never really remember which of us
came up With most names, but I have a feeling-- He wasn't even supposed to be in the story. When I
plotted it with Jack, it was just Galactus and sa forth. And when I gat the story from Jack to write the
copy, he had drawn this fellow on the surfboard, and I think he called him the Surfer, or the Silver Surfer,
and the name was certainly euphonious, and we decided to keep it And we all fell in love with him.
NC: He's quite a character, but I just had a difficult imagining Galactus listening to Beach Boy records.
SL: Oh, you're quite right Did we have Galactus name him in the Silver Surfer?
NC: Yes.
SL: Well, you see, this is loosely translated. In his own language, obviously, he said something else.
NC: Right. I've heard rumors that you are also asked to speak at colleges and whatnot What do you
say?
SL: Well, it's more than a rumor. Actually, I hate to make- I've spoken at, I guess, just about every
college in the east, and I've been asked to speak at almost every college and university in the Free
World, I guess. I don't do It because I haven't gat the time to take these trips, much as I would love to.
But I hate to make speeches, and it always turns into a question-and-answer period. I'll get up there and
give a very long introduction, something like, "My name is Stan Lee, and I apologize." And thars about it.
And then they start firing questions at me, and, as you can probably tell, one simple question and I go off
on the deep end and forget the time. And, before you know it, two or three hours have gone by, and
everybody's asleep, and thars the whole thing.
NC Right. And you slink out.
SL: Yeah. In defea~ as usual. But I love doing it, and these college kids are terrific. And I'm always
amazed at the questions they ask, always on a philosophical plane. If they talk about Thor, let's say,
who's our character who's the Norse gad of thunder here an Earth, doing his goad deeds, they won't say
something as, well, you might expect the average comic fan would say, "Is Thor stranger than the Hulk, •
or, "Can he run faster than Spider-Man," or something. But I'll get something thrown at me like, "Haw do
you equate Thor's pcsitian in the cosmos and his father Odin with our awn gad? How can you reconcile
real religion and what you're trying to do in Thor, and isn't there a contradiction there?" And all of a
sudden I've learned that I have to become something of an amateur philosopher, myself, in order to have
these little lectures.
NC Well. I thmk, especially 1n Thor, you became something of an amateur philosopher writing the strip.
Sl: Oh, I guess I love philosophy. myself. and I think all of us at Marvel do, and it becomes sa much
more enJoyable when we can put what we cons1der to be a little meaning, and a little meat, and a little
philosophy 1n the stones, instead of just making them action stones.
NC: Well, I can remember trembling with anticipation waiting far the next Thor during the penad when
you had ld, the Living Planet, or Ega, the livtng Planet I think that was it.
SL: Yeah. That was Jack's idea. too. I remember I said, 'You've gat to be kidding.' He sa1d, ·No, let's
get a l1v1ng planet, a b1overse." Well, I didn't want him to think I was chicken. I safd, "All right, you draw 1t,
I'll wnte 1t." And. yeah. I think 1t turned out pretty good.
NC Is that how all your comics are done?
SLL'/Stan Lee interview/WBAI "lei! Conan/8-12-{)8/page 3

JA1955
JM 00078
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012, 509518,
03/25/11 21 1 of 3
Page
EXHIBITBBB
JA1956
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-23 509518, Page10Page
Filed 03/25/11 of 21 2 of 3
JA1957
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-23 509518, Page11Page
Filed 03/25/11 of 21 3 of 3
Well, it's finally happened! The world has caught up with

us at last! The Day of the Hulk has arrived'
1 still can remember when it all started-still remember
talking to Jolly Jack Kirby in the bullpen, lo those many years

ago, and telling him that I thought the time was ripe to try a
nutty new series based upon a heroic monster. (A heroic
monster! Now there's a contradiction of terms for you
semanticists to wrestle with')
Luckily, Jack didn't recommend a padded cell for his
starry-eyed collaborator, as some other less intrepid
illustrators might have done. No, Kirby caught the idea,
mulled it over, related to it, waxed enthusiastic, and within
minutes was off and running, whipping out model sheets and
helping me determine what the plot lines ought to be.
Well, I won't rehash all the excruciating events that
comprised the act of creation in regards tool' Greens kin,
since the entire subject has been magnificently detailed in the
very first volume of this star-studded series, "The Origins of
Marvel Comics." However, this may be the perfect spot to
discuss the growing "Hulk Cult," which seems to be
spreading throughout the length and breadth of the civilized
world-including Yancy Street (A little inside joke there, just
to make sure any old-time Fantastic Four fans are still awake')
Why all this sudden interest in the Hulk? Why is our rumpled
ram pager the newest darling of the media? Why the
fast-growing flurry of Hulk toys, games, puzzles, clothes, and
party surprises?
I wish I knew'
But, s1nce neither I nor anyone else really has the
1nswers, 1t might be fun to try to figure it out together.
One of my favonte explanations for the Hulk's popularity
.s the fact that people always cheer for the underdog. And,
Jesp1te h1s strength and obvious lack of diffidence, our JOlly
•Jreen g1ant always seems to have the odds against him no
natter what's happening. You've got to adm1t he s not the
';est-looking guy you ever saw, and h1s party manners aren't
Jnythtng to wnte home about He'll never win any "best-
;ressed'' contests, and 3S a conversatiOnaliSt he leaves much
JA1958
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-24 509518, Page12Page
Filed 03/25/11 of 21 1 of 3
EXHIBIT CCC
JA1959
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-24 509518, Page13Page
Filed 03/25/11 of 21 2 of 3
'
I
T~ GOLDBERG I'ARIATION$
'': •.
.-•·
' ")! •'
'·
6;_! ·4
[INTERVIEWER'S lNTRODUCTION: M ore than ,

una:, St<~n Goldbi!Tg has stood ,;t the crossroad$ of
comics history. He is one of the [<"'w human bridges
between the Tim ely!Atlas and .llurvel days, starting
,If At&~s in /949 ,rs ,, w lorist through the late '50s.
Stmr m,rde m,zjur conm1m tions to the 1960s .'rfar-.;e[
Universe by designing the wlur schemes fo r ,t![ its
early $uper-haocs, ;;,:hile drau: ing Millie the Mo Jcl
,rnd other popular titles tH ")t.w G. • Vcars [,ucr, St,zn
bcc.rme imporc,mt ,a a second comp,my ,;s che other
''Good Archie tl rrist," tukin g bis place .-·ith Dan
{J,•C.r rlo ,u one o/ Archie Public.ttions' m.tjor illm-
trMors. St.1n Goldberg's in.flumcr as .t top Archie .mist is a model for
.dl u:bo dr.t·<;,· rbc Rh·ad.zlc tcerr,:gcrs-,md t!Jru mcludcs me! -J im.)
I. ·1 Can't Remember a Time JA: \t'cre you mflumet·t! In

!ist~um 'l, ro r.uli(/ ; f,,;; ·;(
When There Wasn't aPencil in My Hand" COl. OBERG: t )h. ,.,.,, c:, , ,. ~. ,
w.! .tn tlw.t:'' rntlu.;n.:cJ •HL hut
:\ <lt .\\ much .lS r.t.li<>. It ;q , 1 h~
ST.-\!'l GOLDBERG: I w.ts horn in :--..cw Yu rk Cin·. \-!Jv '1. 1'1.\2. htrh ~rCJtCSt dt i n~: 111 the w,1rld. I r.m
111unrh, iitd1 eb}'. lllJ thre-e plus tW<l ~qu1l~ iiw. s,, ti vr i~ nw lu.: k1· i1o mc ri >\ht .tt'ter ,d,,.,ol .1nd
nullllwr. Dr.twtn~ .1lW,\}'' ~xi;t~J fo r 111~- r ,-,,n 't r·.:mc mh~: r ,\ ttme w!h' ll , t.trt<'d listertilll(: /)"n W 'in;l" ~ ' .,(
there w,,,n'tl p~nd ;n Ill\' h:~n J . O r bruwn p.1per tn dr.1w <!11. rbc .\'.n·y, .\/,mdr,IA'<', I L11~ · c ·'
.1/y,tery: .lllJ .til th.: .tir,·rn<>un
\Vc llJJ .10 extended l.unil:.- livi n~ with us. They <aid I w.ts l nice, ~ h"w~. l'J li .~ tcn nght up un til
qu iet, p•.lite kid hct'.lUoC ( .\f w .n·~ 'Jl in,\ c<H'll<'f .11\J Jrew. \fv c'O ll>in ~ ni>:httirnr to L11x Prcsc>tls
.tlw.n·\ tc.1sd nw .thour it. ! w.\S .dw.1y' in tae:<t.:J in tdling .1 ;t.,n· in llolh·::·<>od .tn.i d 1<11V'> li ke rh.H.
<'Hher l't cturc\ •'r ·.-,·rh.tll:· tdl in~ ~wries"~' ;,>k c~. \Vhcn I \\'.\''en· I\! lt·a cn !>) I <I·, Prc:oul···n
,., Jlt llg, I'J p•>kc .t 11<)1..: in the «mwr < )1 sc1·cr.tl ,he' d'> nf I' ·IP<'r .111J ric .1 S.uurd~,- llh>rnins. Th..:,· w ..:r~ 1!1
'!rtng .trnun.! 11• ..:r<'ltln~ my own c<>mi,·, .111.! dt ,\ r.tctcr~. Bur I it.tt<•d ~r<:.lt ,ru l i. I [.,,·,.J 1he• ,.,, ~.;,., 1nd
, lr.tw in~ "'"men .111d t'un nv pictures. \ 1" \tnries 11·c re lik,· " R(;i,J J·.ltt~'· lfn.u;ini n ~ whJt 1\ ·" h.l f' r<'lllf l>;.
<;nl,licr " t h '' t ~ t:l <'. .. F,.,_.,d,,.tfv l.,n k,·d ~~~ <' <:l.l:·k CJbl.:' 11.&" w"•n, '" u.tr '" aq. 1 '' ~h<H i now• th.J
I'd cf r.tw ;•t.;tUr<:' '" wh.H I
' ~'"' " • 1 \o...-.cl d·•••""9 •w• •• rP'I•t
ltlf •••t y (rU'\by t I t , , , •AI 'ftl' f••O'• ..I
JA1960
t'"•P .~ t' II •I • P,.,._,fO ( ,._,,,Hf' e'f ..:_
.. Case 11-3333, Document Document
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-24 509518, Page14Page
Filed 03/25/11 of 21 3 of 3
16 Stan Goldbtrg
JA: EC Comics m.1de mch .m impact on th<' wmifs /m;iness. Did

IX. "lhe Heroes' Arlus try to mmpete ;:;:ith them?
Colors Shou~ GOLDBERG: Yes. CJrl Bur!\OS and Bill Ev.:rclt must have b~en influ-
enced by EC. AnJ Stln probably tnld them til get d oscr w the kind of
Be Nice and Bnght" thing th.:v were Joirtg. We had their comics Jt the offices, J.Ild cverynne
was Jmaz.:d by those com ics.
JA: What w.:s the fim
humor ·u:ork you dtd for ]A: Atl.:s printed on chet~p p<tper. tcbich must hm:e :ttlded to your
Marvel? problem.
GOLDBERG: The fim GOLDBERG: That's right. The <:o lors would comt: through from the
t~~nagc feature I drew other ~ide of the page, Jnd the paper wasn't white, either. We couldn't
was Kathy, in I 958, after get a white background on the page. The wlors would sometimes be
we had lost our way oif from what we wanted. Th.u 's one rea$On why the ~r1 r dido'r
distributOr anJ work on The Hulk.
everybody was iired. I
h.1d been doing J- lnd 5- Color was something that should enhance the main character. The
pagcrs for the horror and heroes' colors should be ni<:c:: and bright. Daredevil was ydlow and red
mystery tides. I started at fi rst, and then hc became all red. It just works b.:ner.
doing those in 1951 ~nd Iron Man was gray in his first story because it made more sense. The
did ~o rne c:vcry fe w w lor <>f iron is gray. But we changed it to yellow be<:ausc it looked
momhs. I also JiJ .m hctter. Now he didn 't look like l robot and wasn't as scary- louking.
corrections while on
staff. in addition to There were i lot of colors I was afraid to use on rhe inside, like ran
everyt hing else. And I and gray. But Stan left everything up to me. The covers were the only
did some work for mhcr thing I had to check with Stan.
people. {didn't get
married unti l 1961, so I JA: No other company WIIS ever able to a£-hieve the kind of gray that
.~farvel bad on those co-vers. You kncru: how they managed it?
had the time to do
things. GOLDBERG: I really don't know how, and that's why I steered away
JA: Fimely <L"<tS knou.·n from the gray on the: inside. because .wyrhing could happen once the
for being a trend- silver priors wen: our of my hands. Sr.m wanted bright colors; he didn't
follower and never a trend- setrcr. Did that make ,m yone feel a5 want anything subtle. He said, "We do comic books. We wam the
though they were working for .m inferior compt~ny. as opposed to, ;,,y, characters to stand out. " He cold me to color them wit h bright reds and
EC Comics? hlues Jnd o n .1.nd on and on.
GOLDBERG: l don 't think so. I remember when EC folded and St.ln In the 1950s we were putting out a lot of material, and there were
hired Marie Severin, who had been EC's colorist. Stan was cx~ired about Jays I didn't even color rhe insides. I'd dole it out to the <>thcr guys in
it because he knew we'd bt' getting that great EC wlL>ring style. After a rhc department ,md I'd st.1y on the .:overs. I alwavs did the covers
month, he realized that the .mwork we d id W.\S different from the EC because: tho:y were the most important thing. There would he changes
wnrk .1nd the co lori ng didn't look the same. EC hJd better printin!\ th:lll made, so I was ,1lways ru nn in~ ba..:k .1nd io nh to Stan's office.
we Jid, so o ur bonks didn 'tlook as good. Stan ~a w that the cmly way we I remember having J big interco m machine
could 11l.1kc the books jump out ,\t the on my desk. I wish I srill had the thing; it was
reader was to make the co lors less sn bi~ ! I'd hc.tr Stan's voice wming rhrou~h .
.IUthcmic than EC did. For inst.wcc, EC ~.l y i ng, ·'Sran! Get in here! ! wmt t<> ~ce that
<.\'<luiJ nuke the uniforms gray <1r ~recn , , ,,,·cr now!" And his ,-oi(C would pr.lctically
.wd Sun q iJ ro t11rgcr r h~ t .tnd make ''u r w.1kc up the whole r<H>m. Thin;;s now lrc n1.1d~
h.,ok .~ bnght Jnd l ttraniw su rh~y 'J ,wJd
'" <mJII. hut th.u nu(hinc tl>t>k up h.df my
••Ut hctrer. :\nd S t JII w.1.s r i~.;ht. \'i.'c ,acri - ,Jc.;k.
:;~~·1 rolin· lo r imr.H.:t. .
j .-\: lt·: z.; ;<r<'.:n y•>ur m tgm,z/ , 1>•)1££' {1r l'lw
j .-\: /),,{ y.>u f,,,k .a iJ,,.. _. <~:ber u>mr .mie5 I f:dk t
.t;c,l co/. n·~
GOLDBERG: I'm rlllt ,· ~rui n , hut >t pwb,,bly
GO LDBERG: y,· ~. but it ,lidn't help w .1~. The Thin ~ w.t> ,lr.HH!,c. 'l' I (ouldn't us..:
:nut" h. For i1bt.uw:, DC\ .1rrists u~ u .tllv rh .H. I cc rr.tinl~ ,(i,Jn't pl.;n to m.1ke him red,
Jn•w in .1 ljUI~tcr 'lyle d1an •Hlr~•.wd th~i r .ll1J w~ kicked .trounJ the i.l~l .,( nukin~ him
, <> l min~.: ,!idn'r pnp ,,ut thJ r rnti<:h. The\· ~rccn. 1-.ut Stm w.lntc·J to trv f;I'.H'. I iought him
were horin". .md [ kn.:w whJ t St.1n w.uu<:d. <Hith.u. I !<liJ him whv it w,lUIJ n't work, ~nd it
"> I pund wJ thi n.;' u p .1 bit. Y<lll ~ou l d
d1dn'! ~<'<)r k, bcuu'<' w,· cutd,ln 'r k.:.:p the
·'1'<'11 up .mv DC ho,lk .tnd tl11:r .1ll looked c" l"r '"n'iscent rhrou,:hom th..: b,,,, k.
:he· ,.1111<'. \\:c h.1d .\ ,Jrlrer,·n t lo•' k th .1n 'i<lllld li:tC' r!w ! I,d k ll' .l~ ,!Jffe rcm ,h.> cks oi
•hn• did.\\\: were ~cuiol{ 1hc l' n•>ks in .md "r.ll', .l!IJ c1·~ n ~r .:c·n 111 .me fl.llld. It 1•:.: hJJn't
~ct; tn~ thcnt <>lH. I'd -~~r dt~ " :h.:,lul.: trnm .drc.d:· m.d.: l'ht: Thint!, <>r.ll11!,<:. tiut ',1 ILt\'t'
1h<· -:o lnrin ~ ,!crJrtll1c'llt .11111 it h.1J t>frv hccn thc· pc·tkct ,-ulor h >r Th ~ Hulk.
h~ ~o k s ·. H1 il. \nJ ·.v~.-· h.\J !(' ..:d tb: 1n L't..i L
JA1961
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-25 509518, Page15Page
Filed 03/25/11 of 21 1 of 3
EXHIBITDDD
JA1962
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-25 509518, Page16Page
Filed 03/25/11 of 21 2 of 3
STAN LEE UNIVERSE
Stan Lee and Jack Kirby

WBAI radio, New York
March 3, 1967
Interviewed by Mike O'Dell
Transcribed by Steven Tice
UNEDITED
MO: Who goes around saving maidens, preventing banks from being robbed, and committing deeds of
that type, under an alter ego for the name, "Peter Parker?" How about "Tony Stark?" Would you believe
"Reed Richards?" "Stan Lee?" "Jack Kirby?" Well, except for the last two, they're all superheroes and
they belong in Marvel comics, and they are written and drawn by Stan Lee and Jack Kirby. And Mr. Lee
and Mr. Kirby are going to be answering questions about their superheroes. And I guess the first one
would be addressed to Stan Lee, and it's the title of this program. Stan, will success spoil Spider-Man.
SL: (chuckles] Well, I don't think anything could spoil old Spidey, as we lovingly call him. Just have to
correct one thing you said, though. You said that, except for Stan Lee and Jack Kirby, the others are
superheroes. We like to think of ourselves as superheroes, too. Might add also that there are other
artists and other writers who do some of the other books, too. Jack and I don't do them all, although we
do the Fantastic Four and Thor. Spider-Man has been a success since he started, and, luckily, I don't
think he's been spoiled yet, so we just have our fingers crossed.
MO: I ran across Marvel comic books about six or eight months ago, and one oaf the things that drew me
to Marvel comic books, and Spider-Man in particular, is a panel that showed Spider-Man swooping down
on some bank robbers, and they said , "Whoops, here comes Spider-Man!" And he replies, "Who were
you expecting? Vice president Humphrey?" Now, this is not a line you expect to find in a comic book,
and it sort of symbolizes your whole approach to the field, which is offbeat and interesting. Was it your
idea, Stan? Where did it come from?
SL: Well, I guess, in that sense, in was my idea, since I write the dialogue. In a nutshell, our theory is-
Although maybe I shouldn't give the theory in a nutshell, because then I don't know what we'll talk about
for the rest of the half hour. But, at any rate, in a nutshell, our theory is that there's no reason why a
comic magazine couldn't be as realistic and as well-written and drawn as any other type of literature. We
try to write these thing so that the characters speak the way a character would speak in a well-written
movte, well-produced television show, and I think that's what makes our book seem unique to a person
who first picks them up Nobody expects, as you say, that sort of thing in a comic book. But that's a
shame, because why shouldn't someone expect reasonable and realistic dialogue tn a comic book? Why
do people feel that comic books have to be badly wntten? And we're trytng to engage in a one-company
crusade to see to tt that they're not badly wrrtten.
MO Jack, you drew and tnvented, tf I'm not mtstaken, Captain Amerrca, one of the earliest superheroes,
who's now plytng hts trade tn Marvel comtcs. How dtd Captam Amenca come to be, and does he have
any parttcular relationship to your other superheroes?
JK: I guess Captatn America, like all of the characters come to be, because of the fact that there is a
need for them. Somebody needed Captain Amerrca, JUSt as the public needed Superman When
Superman came on the scene, the public was ready for him, and they took htm. And so, from Superman,
who didn't exactly satiate the public's need for the superhero, so spawned the rest of them. The rest of
them all came from Superman, and they all had various names, and various backgrounds, and they
embraced varrous creeds. And Captatn Amerrca came from the need for a patrrotic character because
the times at that ttme were tn a patnottc sttr. The war was comtng on, and the corny cliche, the war
\tan Lee !Jniversc, Lee & Kirby· \N~BAI radio, NY, March 3, 1967 'page I
Exhibit:
3fo
Witnes<>;=_- ~-..4.1 . -~
oat., /:1. I -10 JA1963
He-oortpr·A l(,to ro:.o 1~on-.
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-25 509518, Page17Page
Filed 03/25/11 of 21 3 of 3
humor, quite a bit of humor, to them, there is an underlying sincerity. We take them seriously, and I think
the readers are aware of this.
MO: Did you also innovate the letters page? It adds to your stories, and frequently I sometimes find in
the blurbs you run that you advance the stories by means of these letter pages.
SL: The letters pages are one of our most successful devices. It also established a rapport between
ourselves and the readers, and I'm happy to say most of our readers feel that we're all friends. When
they write a letter, they don't say, "Dear Editor." They say, "Dear Stan and Jack," "Dear So-and-so."
They call us by name. And we give ourselves nicknames. We started this as a gag, and they've caught
on. The fellow here on my right isn't just Jack Kirby. He's Jolly Jack.
MO: I'll get you for it [laughs]
SL: Or Jack "King" Kirby. And I'm "Smilin' Stan." This is kind of cute, toe, because, as I mentioned to
you earlier, I think before we were on the air, we sort of think of the whole thing as one big advertising
campaign, with slogans, and mottos, and catch phrases, and things that the reader can identify with. And
besides just presenting stories, we try to make the reader think he's part of an "in" group. In fact, we've
discussed before, we're always a little worried abcut being too successful, where the readers will feel,
"Oh, gosh, now everybody's caught on to it We have to find something new."
MO: Is there a real Irving Forbush?
SL: Oh, I don't think that it would be right for me to answer that (Jack laughs] When we're off the air, I
might hint at it He's real in our imagination, I'll put it that may.
MO: I think you also pioneered the use of mythological superheroes. I'm talking about Thor, which you
two come up with every month.
SL: Well, you've got the right guy here, because I always say that Jack is the greatest mythological
creator in the world. When we kicked Thor around, and we came out with him, and I thought he would
just be another book. And I think that Jack has turned him into one of the greatest fictional characters
there are. In fact, I should let Jack say this, but just on the chance that he won't, somebody was asking
him how he gets his authenticity in the costumes and everything, and I think a priceless answer, Jack said
that they're not authentic. If they were authentic, they wouldn't be authentic enough. But he draws them
the way they should be, not the way they were.
MO: Did you do a lot of homework on that, a lot of Norse myths, and so forth?
JK: Well, not homework in the sense that I went home one night and I really concentrated on it All
through the years, certainly, I've had a kind of affection for any mythological type of character, and my
conception of what they should look like. And here Stan gave me the opportunity to draw one, and I
wasn't gomg to draw back from really letting myself go. So I did, and, like, the world became a stage for
me there, and I had a costume department that really went to work. I gave the Norse characters tw1sts
that they never had 1n anybody's Imagination. And somehow 1t turned out to be a lot of fun, and I really
enJoyed do1ng 1t
MO Isn't 1t rather tough to come up w1th VIllains that are a suitable match for a Norse god?
JK: Well, not if they're Norse v111a1ns.
MO: Well, you've also dragged in some Greeks. I remember one epic battle w1th Hercules
JK Well. Hercules had Olymp1an powers, Which certainly are considered on an equal bas1s w1th the old
powers of the Norse gods, and therefore we felt that they were an equal match for each other. and by
r~ghts they should contend w1th each other
-.;tan Lei;! lJnivcrse:Lt'e & Kirby \\.rBAI radio, NY \-1arch J. 1967·page -f.
JA1964
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-26 509518, Page18Page
Filed 03/25/11 of 21 1 of 3
EXHIBIT EEE
JA1965
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-26 509518, Page19Page
Filed 03/25/11 of 21 2 of 3
JAC IRBY: PRISONIR Of GRAVITY lntt'n·i(lv trdnsrri!>rd by John Morr11W

In 1992, Jack gavt un mtm•i<'W fo r a tllnadian tdtvisil)n pmgram called !t>pr~nted power. the pow~ vf 1he individual. I've alwar worshipped
l'rironns 0/(;ravity. ffcrr <Iff Sl>m( t:m:rptrfrom tho/mtrrviw: the individual b<.'cause I fdt that ~'Jch individual ha~ value. a1u.l hy giv-
ing value to ollter individuals. I give vai!Jj' to myst•lf. t\nd of co11rsc.
t).UES{!ON· Jack. why Jid you he<"ome a cartoonist?
that's self-<>atisfactiou. I've liwd my lite that way, :~nd l'vl' l>t>en h appie~t
jACK 1\/RRY: I decided to become a rartounist he<aust'!... wdl. I di.s-
that way.
l'OVE'red comics all hy myself. I wa~ born ofl the Lower East Side of
New York in a very ri.'Stricted :~rea. r!'ally. I just began to draw at a Q: Wht>n you originally rreatt'd Captain America. what wen• you
very young age, but it looked like l was marking up IS LOr<! .1J.JY ?DMA -r'~A,<~ ,r-:"r~A f tv'1/Y //...ff cu,N
the tenement iloor. I took 10 that sort of thing, and 1 ,;;r n p,uMfJ., 78 :;:c;.:_; ·; Qo w .; 4yJ· ''sj.tt?hc"e/ // / UAJ»rr
kept on with it until I drew more complicated ~ c;..J~~~
forms. Gradually I found my way to Atlas Comics.
which later becam~ Marvel.
Q: Why were you so drawn to rhe .~uperhero form'!
,lACK: Well, the superhero fom1, I think, is a feeling
more than a drawing. I likt> people naturally. and I
see people largeHhan-lift>. That's the only way I can
draw them. and superhtroes carne very naturally to
me I>«ause that particular fonn of drawing seemed
to represent my ideal of what I liked about men and
women in general.
Q: Back in the early W40s when you were getting
started. one of the things you helped establish was
the concept of the superhero's alter ego. Why did
you decide your eharacters should have two sides to
their personalities?
/At K Because we aUdo. We all dream. Yes, we act
realistically. but we dream beyond that reality. and
our dreams make us larger. We all want to be larger,
:md we all want to see what's beyond aUhorizons. I
believe it's part of the human make-up. and I reflect
that in my drawings.
Q: Why WE're masks so important to that? \Nhy JiJ
vou want to have your heroes' faces fOve red'?
.iACK: lkcause we. wear them. We find ourselves in
situations in which we have to mask our true feel·
ings. We have to look happy. or we have to look ~ad.
hut we may not feel like that on the inside. So I've
instilled that in mv characters too. And I hclieve
that !lla ke~ thern ;nore human. as wdl as the rest of
their r h~rarteri~tic s .
It What f(1 r you is tho! rm>st irnport:u\1 t>l~rn('nt in
!1·1l in~ a -;tory iu mmics?
} I( K The mo~ t nnp••rtant thing .lh<>llt relling a
l t•>rv rs tt>lling the ~t n r v. !n nt her W<lrds. to be
llflderstooJ: to let the olher p <!n tHl know ~~hat the
~tory is all ahout, w h~t th<' \ tllry repres~nt s.
whet her it has a moral or not. The other person, if
ht• uuJers tands mv 'tnrv. ho>!J understand allth()se
\': 1ri ou~ tacets ot it. So. I trv to tell a s1ory fullv·
rounded, and I htlieve that I've ~ u nwd c d in that. If
l'll U read mv comirs vou'll tlnd th:Jt betwt?en the
iwginning ~nJ the ~,;J, there are all sorts ot happen-
in ~s . <1 \'3rirty ,lfh appt- ni ng.~ . .md t hat '~ how life is.
1) : tlut how do rnu lay that out nn the p~ge. in order /..<:.Y.k 4 7' $ 1A
ttl l(ive it maximum impact? ·•lj "."'"4/< 7'..i 1/ ,9 G ·{p.ff- . 7'60
/ ;f' f _I>•:•W <"?/L ~ - • ,A/"J /1/ I-< ) .,'c.. A 7'
1. 10\: Wrll. I gave 1t maxi rnurn irnp:trt. I gave 1t all /'f"/,;.t.(
rht> [~lwer I had 111 fllj' "w n ,df. \ ly lwr•lt'S dHin 't
Juerely w.:J ik. thev ran. !'hey had lo111.1 ~tndes. l'hey
K 01072
JA1966
Case 1:10-cv-00141-CM-KNF 78-4, 01/26/2012,
97-26 509518, Page20Page
Filed 03/25/11 of 21 3 of 3
goiu}t ti1r'? WhJt '"ne you hoping to do with rh;~t

dl<~r~ctl:r?
JACK: Well. I was J very patriotie ~ort. :~s WJS )ott
Simon, my partner, Togetht>r, we rreatrd C;lpt.lin
·"merica, becwse that was a climate nfthe times.
Hitler was ~ei?Jng everything in sight in Europe.
•unl they werf:' very. very troubled times. You <'ould
f<>rl it here in :\meri<'a. We had a nantr~l villain.
and nattrral heroes. t)ur heroe~ were American, :mJ
w~ had that American !~ling. AnJ from these f<>d·
ing~ carne the hero thJt we ftlt would solve our
problems.
Q: In the early J9&h, you creat~ hundtt'ds of
heroes to populate the Marvel Vnivt'rse. Wh;lt did
the Fantastic Four represent to you?
}A< K The Fantastic Four were the tt'Jm, th~y werP
the young pt>ople. r lovt' young people. I love
teenagers. You'll find thJt the Fantastic Fnur repre-
~ent that group in many ways. They're very vital
~nd v~?ry active. The teem certainly are in that cate-
gory. SQ the Fantastic Four was rny admiration for
young people.
The Thing was really myself If you'll notice the
way the Thing talks and acts, you'll tinJ that the
Thing is really ]Kk Kirby. He has my manner~. he
has my manner of spt>ech, and he thinks the way I
do. He's excitablt>, and you'll find that he's very, very
active among people, and he can muscle his way
tl1rough a crowd. I find that I'm that sort of person.
Q: What prompted you to reinvent Thor for the
comics in 1962?
/KK Well, I knew the Thor legends very well. hut I
wanted to modernize th('m. I felt thai might be a
new thing for comic~. taking the old legends and
n1odernizing them. I bt>lievt" I accomplished that.
(J; What is it about ancient heroes like Thor that
make them so enduring JnJ relevant today?
f·ICK: Well, the heroes n•pre~ent tht> wholesome
part of society. Society ha.s a wholesome side and it
has a down side. We know where those fact'ts lie.
They're common to JJI of us. and if we want to he
our ·wholesome selves. Wl;ll stick with legends like
Thnr and Odin.
1~: Why are von \o l;tscinated hy gods?
J. H.K Wt> all havr :1 kind offet>lin)( that 1 rhink
we've had t()f thou~anJs ofvt>~rs. thJt dwr<.> ari' '/(/ ?:<'' 1.·!!7 ~--
higher heings ~omewht're. i think .dlmtr \pintu:d
,LOK./ ,4,~ :.~YJ
__,;; / ./::.E T
_- ...q,u / ~Y,-'A;,;.
,?O,.d ~71' /~A- ~.f# )A':lU AT" If//.!-<'--~
J'l/'lf?i<J / s4Y /(A~ A/C W ·
fN•Iings \tt>m from thJ!. The truth i;; that tlw ( • f<'Pk~
h.td fl~n·u!es, .-vr•n :1s tht ~or~rnen had Thor..l!ld rl1<!r n. I ,,JtJ 1fT um!l~r.f ['<t~~ tl~ ''' fhor #f.l7t•.:~e I I.
tltf<ltrl{h the ..~ge~ we\f' ha,l hen>t>~ ~irmbr ro dwm.
l :rrt<HllliSh t•J(l:Jy .lfl' their <J\VIl pl'T~Oll\. rht'V.Tt' Llldivi,Juais, 111J
In .lites past . .;.,.. had S:ullSon. wtw's n•1 fll<ifC than J su~)t'rhnn. -\nd
whatt·wr <'<IIlli'\ it Ito their mind~ is valid. Thrv 'hould tJke rhat validity
todav Wt' havt• our >Uperhenws. Wp beliew in th,•m ht>1au~t> we
.tnd wnrk 1t •lilt to their own satisbctinn. :uHj thev'll tinJ tltern~elves
!w!iew in ourselves.
lwrmnin~ true individu:lls. In .lning th;~t, 1hry'll v:llue them~d~·es .
1); What Jo vou think ha5 hecn vour greatest cuntrzbution to rornil's? .llld va!uin~ yourstlf is very. vrry important tn vour own growth.
/.tc 1\: I think tht> greate~t (l>ntrilmtion I made to lumin i~ the far! r J· What kind 1•f iullu~nu:• have rour h'ife diHI four kid~ be,•n to voui'
thJt I helped to !mild 11p re~dcrship. I think penplt> have acn•pkd rnf',
/ ;( }(· T!JPv've hl't·n .1 tr<·nwndn;J.~ infh1en\'P Tlwv ~how me that, I
~h('v :tr<'fpted Ill\' :>toni''· heuuse I rlllnk !lwv n· co~nizt> tht>sr nwn
klh)W tni<'.I<•H' . .Jnd knuwin~ tnlt' h•w. I think. i~ <HlP ,,f tht' greatest
·. :dut· ~ i11 those ->t.,rit·s. ! don't think the twnge f{' :;d~r bt'li~H·~ in
f(·dings 111 tli•• world It\ \ nr.ndftlllg thJt will :tb\nrh my t>nti~e i't'lll)\',
r.rtrv talc:>. :md ! \,· lle'>er giwn :~nrl11.~lv t.mv t.llt>s. Yt'' · l'w gin·n lie·
\lid ,, l,~orbi ni! .111 •11 !that f l·t\'t•. I find that I hv~ J wnndt<rhlllsfe. You
n, ,,;ahz.·d drJnn. but thr.~ drama i~ t•fl;;dtd .hv n·al pr•lple.
··.ud h.m· .J IV•Hrdertullifl· <'.ith<•tlt love. -\nd in l<wmg 111v I) Wfl farni-
,_1. What advJf(' wonld 1·•nJ oHi·r to tfw voung ,·.nton11i~l who\ ju't lv. rnv lift- 1s <'~t·n m<!Tf 1vnndntuL J[,IV<' n1v, ltildren. 1 lnvr my rela-
·t.Htlllg oqtl ,"""'.' I lo>t· tllV ,tf!• lil'fll .- ..Hid tht>';(' .il , . trn<' f.-dm y_s. 1·11 IWV<'r J<•nv
I 1! /1.. Ihev 'hou!d do " kll tlwv likt· to d<l. I fel'll h~t .dl tht> VHIIIH( 1lwm. J "'fll" '"' II• t V<' ··•.vr o,:f'totdv. T
JA1967
K 01073
CERTIFICATE OF SERVICE
The undersigned hereby certifies that the foregoing Special Appendix/ Joint
Appendix were served electronically by the Court’s ECF system and by priority
mail on those parties not registered for ECF pursuant to the rules of this court.
Pursuant to Local Rules 25.3 and 30.1, six paper copies of the Joint Appendix and
Special Appendix have been mailed to the Court on the date this brief was
electronically filed.
Dated: January 13, 2011 /s/ Marc Toberoff

Malibu, California Marc Toberoff (MT 4862)

Telephone: (310) 246-3333
Facsimile: (310) 246-3101
mtoberoff@ipwla.com

Lisa R. Kirby, Barbara J. Kirby, Neal L.
Kirby and Susan M. Kirby

Kirby - Marvel Appellate Document Record Volume 7

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Kirby - Marvel Appellate Document Record Volume 7

Загружено:

Авторское право:

Доступные форматы

Case 11-3333, Document 78-1, 01/26/2012, 509518, Page1 of 97

CASE NO. 11-3333

Marvel Characters, Incorporated, Marvel Worldwide, Incorporated,

APPELLANTS’ JOINT APPENDIX, VOLUME VII OF X

TOBEROFF & ASSOCIATES, P.C.

CASE NO. 11-3333

Marvel Characters, Incorporated, Marvel Worldwide, Incorporated,

APPELLANTS’ JOINT APPENDIX, VOLUME VII OF X

TOBEROFF & ASSOCIATES, P.C.

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

JA Docket Date Description Pages

CA Docket Date Description Pages

CA Docket Date Description Pages

CA Docket Date Description Pages

SA Docket Date Description Pages

Photocopies of Jack's uninked pencils

COPYRt~ 2001 Chi¥3dm, Angel, .A'Ier.gm. Bl!ast 8l.adl

A few weeks later, a package arrived FO~ . ALTH O UGH gRUCE

TIH USf fOR &AGAINST

I I itf~ ~ I I ( il ~~iiJI ~(ltll( ~~ if

Case 1:10-cv-00141-CM-KNF Document 95-16

Filed 03/25/11 Page 2 of 2

NOWiHJiiU:iFORB. tt.. s-ti- . - u Yowl:

2. ~ expealy ariiJIIID Maw& ia.,...,.....,

3. Admildlll'lrGr pelpCiftaaDy -ar-: (i) DOt tD CIOIStM U.V•l'• ~ ~ ..s ~ OWDa'Silip

Case 1:10-cv-00141-CM-KNF Document 95-17

. , 1l·~-.~· ~~~. !! f I!1'-\ h

Filed 03/25/11 Page 3 of 12

MA.RVU. COMICS STANDARD TALENT INCENTIVE riAN- 1003

Ia . . . . . . bymdye . . . . . . - ...... "lee•

Case 1:10-cv-00141-CM-KNF Document 95-17

If ~~ ij, ~ !JJ ~~ ! 1Hn1 :f'l

Filed 03/25/11 Page 5 of 12

CinpbJc Novel lncentiVOI • Prim lltm X COVCI' Price X 4.,,.

&!w+.. U1ld.r Ex..... tl7, dLe

- W'Jts. (tbr plot. satpc}: 3'7.,,."

II•* ft: S~illue RJII!riDt

... {llepriatlod oopi• IGld) - (Now net lDiitlliOld)

• The DOW liCit unitl h f:bG stqto.lJsao thle iJ 77,000.

"£:="' Ot CoUeorioG R.cpial

.. * R~ oftbD um•Jbc alU1d1110ld.. COIDic titJea IIIUit be profitable (• detwmiDcd by M.rvel) to

'lllrec (;f) papa of A..tw.dla oee (1)

NOW nJERBF'ORE, dlo ~ acroc as fbllowa:

1. In conJidenlim ofMind ~the Artwalk hm Admi:nillntor and~ AdmiDist:nttar • sum equal

MAaVEL CIIARACTEilS, INC. LISA R. XIRBY,

~: ____________________ Date: ,,_ L{-. 0~

.·• :~·~trt:!~~:t"±..t~c ~ ,..