It's uncertain whether this Bulletman story is an example of very early Chic Stone art; he may only have assisted on backgrounds or inking. However, there most assuredly WAS a prankster in the office, with young Stone at the receiving end. Take a close look at the note in panel four; the message reads: "Chic Stone is a jerk." Image from Comic Book Plus http://comicbookplus.com/?dlid=58057
"Inside Dope" a baseball oriented humor strip which took up the middle tier in between ads, appeared in Lev Gleason's Boy Comics # 31, December 1946. Image from Comic Book Plus: http://comicbookplus.com/?dlid=14760
For the short-lived Consolidated Magazines Stone drew two episodes of the "Bobbie and Sox" feature appearing in Lucky Comics. The above splash, signed with Stone's trademark illustrative signature, is from # 4, May 1946. Image from Comic Book Plus.
Stone succeeded artists Joe Maneely and Mike Sekowsky on The Gunhawk, a character who starred in his own title and was also featured in the anthology Wild Western from 1950-1952. Stone's earliest Timely efforts appeared in 1942, on the "Jeep Jones" feature in USA comics. While Stone was prolific in western-themed stories, he also illustrated sports, crime and mystery tales for Timely/Atlas. The above example points to Stone's ability to draw more detailed, realistic characters and settings. Wild Western # 21, April 1951. Scan courtesy of Michael J. Vassallo.
In the 1950s crime thrillers were popular fodder (and highly profitable) in comics and Stone drew many stories in the genre. Although Stone's natural style tended to be cartoonish, he had a strong sense of storytelling and layout, as can be observed in the first two panels. "In His Father's Crimson Footsteps", author unknown, from Ace Magazines Crime Must Pay The Penalty # 26, June 1952. Image from Comic Book Plus:
http://comicbookplus.com/?dlid=15225
http://comicbookplus.com/?dlid=15225
Stone appeared to be an enterprising businessman, seeking out assignments outside of the comic book industry throughout his career. Tim Tomorrow is a store giveaway, dated August 1952.
Ace also published horror tales, and Stone showed a facility for the material. He would return to the genre in later decades, as we will see. "Sinister Return of the Princess of Baal", writer unknown, Baffling Mysteries # 11, November 1952.
Stone continued to produce horror/supernatural oriented material for companies, including Charlton. The impressive splash is from This Magazine is Haunted # 21, November 1954. Author unknown, lettering by Charlotte Jetter.
Many artists who worked in comics during the 40s and 50s were versatile, some due to natural talent, others out of sheer desperation. There was a better chance of getting more work, particularly in the 1950's, when romance, crime, war, western, jungle, science fiction and horror comics were in abundance. Stone clearly had an affinity for lighthearted material, as seen from the "Little Hank" strip which appeared in Boy Comics # 99, March 1954. Thanks to Frank Mastropaolo.
It's no surprise that in later years Stone became a prolific contributor to the Archie line of teen characters. This page, from Charlton's TV Teens # 5 (October-November 1954) displays his flair for animation and caricature. Stone art (and possible story), Charlotte Jetter lettering. Image from Comic Book Plus: http://comicbookplus.com/?dlid=25994
It's no surprise that in later years Stone became a prolific contributor to the Archie line of teen characters. This page, from Charlton's TV Teens # 5 (October-November 1954) displays his flair for animation and caricature. Stone art (and possible story), Charlotte Jetter lettering. Image from Comic Book Plus: http://comicbookplus.com/?dlid=25994
Another Charlton series that Stone drew, and likely wrote, was My Little Margie, based on the popular TV series starring Gale Storm. Splash from My Little Margie # 6, March 1955, lettering by Jon D'Agostino. Image from Comic Book Plus: http://comicbookplus.com/?dlid=30374
From 1956-1962 Stone's comics work was sporadic, with only a handful of stories appearing, mainly for Charlton and ACG. This was a lean period in the field and many companies folded following the senate investigation on comics and the subsequent creation of the Comics Code. Stone branched out, finding employment in Advertising agencies and as art director for magazines such as True Experience, The American Salesman and Dig. Other jobs included animation work and an attempt at publishing his own magazine, Boy Illustrated,
which lasted a scant two issues.
"The Case for E.S. P.", Richard Hughes script, Ed Hamilton letters, Forbidden Worlds # 112, July 1963. Image from Comic Book Plus: http://comicbookplus.com/?dlid=26740
"Old Ya-Hoooo!", Richard Hughes script, Ed Hamilton letters, Adventures into the Unknown # 143, September 1963. Image from Comic Book Plus: http://comicbookplus.com/?dlid=26733
Stone was a prolific contributor to the American Comics Group line (commonly referred to as ACG), working for writer/editor Richard Hughes on a fairly consistent basis from the late 1950s into the mid-1960s when the company closed its doors. Most of Hughes titles centered on romance and mystery/suspense/fantasy anthologies, and Stone had a hand in many of them.
Stone was a prolific contributor to the American Comics Group line (commonly referred to as ACG), working for writer/editor Richard Hughes on a fairly consistent basis from the late 1950s into the mid-1960s when the company closed its doors. Most of Hughes titles centered on romance and mystery/suspense/fantasy anthologies, and Stone had a hand in many of them.
In addition to his ACG gig, by late 1963 Stone sought additional freelance comic book assignments (he drew a few solo stories for Archie and National in the early 1960s). Having worked for Timely/Atlas in the past, he looked up his former editor, Stan
Lee, whose Marvel line, though still a small operation, was gaining momentum. Stone arrived at a fortuitous moment, as he recounted in an interview with James Cassara in Jack Kirby Collector #
19, February 1997:
“I happened to walk into the Marvel offices at the time Stan
Lee was editing a Jack Kirby pencil job. Looking over his shoulder I was
totally awestruck by the magnificent penciling. Stan looked at me and asked, ‘Chic
would you like to ink this?’ My knees turned to jello; all I could murmur was, “you’re kidding?” Leaving his office, for the first time in my life I doubted my ability
to do justice to this man’s magnificent art.”
Despite Stone's misgivings, his first inking job over Jack Kirby, a 13 page Thor story from Journey Into Mystery # 102 (March, 1964) was bold and distinctive, as this splash page clearly demonstrates. Lee must have been impressed by the results, as Stone became the regular inker on Thor from this point on.
Strange Tales # 118 (March 1964) was the first of many Stone-inked, Kirby-drawn covers that graced newsstands and compelled kids to pick up Marvel comics in the 1964-65 period. The Dr. Strange vignette is by Steve Ditko, taken from an interior panel. Artie Simek letters; Stan Goldberg colors.
The "power of Kirby and Stone" (to borrow a phrase from the cover copy) mesmerized many a kid in the 1960s (me included), but, I suspect if this was the first time I'd seen this image I'd still be taken by its vibrant energy and graceful composition. Tales of Suspense # 54, June 1964.
Stone inked his first Fantastic Four cover a month before he was given the interior assignment. At Marvel covers were usually produced after the inside art was completed, so this was an impressive preview of what was to come. Fantastic Four # 27, June 1964.
Stone's splash page inks on Fantastic Four # 28, July 1964, set the style for his tenure on the series. While some of Kirby's earlier FF inkers, including Dick Ayers, were quite good, Stone's rendering of the quartet took the work to another level. Stone enhanced Kirby's kinetic forms, in particular adding weight to the Thing's rocky structure.
An Aside: I would be remiss not to point out Steve Ditko's inking on the interior of FF # 13 and the cover to # 14. Even though he likely filled in due to deadline problems, Ditko's lively embellishment is memorable.
Speaking of cluttered covers, this free-for-all is another animated Kirby-Stone effort. Stone took over the inking duties on both the Avengers and X-Men beginning with the July, 1964 dated issues. A formidable task, particularly since he continued on the Fantastic Four, making him the inker of all three superhero team books. In the space of a few short months Lee was confident of Stone's ability to keep pace with Kirby's whirlwind output. Avengers # 6, July 1964.
(A note on cover dates for those interested in minutiae - and why else would you be here? - Although FF, Avengers and X-Men all share the same cover date of July 1964, and, as many know, cover dates were advanced by 2-3 months to maintain longer shelf life, it would follow that all the July cover-dated comics appeared on stands in March of '64. Not so. Avengers and X-Men showed up in stores in early March, 1964; the FF made it to the corner candy store sometime in April. Got that? Then please explain it to me!)
Through staging and body language Jack Kirby choreographed quiet scenes with the same sense of urgency and tension as he did with over-the-top brawls. This splash page is but one of countless examples. Stone's craftsmanship is icing on the cake. Avengers # 7, August 1964.
Many Kirby covers had a sense of mystery and suspense, and a panic-filled city with a character turning people to stone would hold the attention of many a youth. On a personal note this issue (as well as Avengers # 6) is stamped in my mind as some of the earliest covers I recall from childhood. Journey into Mystery # 107, August 1964.
The FF walk down a foreboding street as the image of the omniscient Watcher hovers in the heavens above. To set the record straight, there is absolutely NO truth to the rumors in fan circles that the FF was based on real life Yancy Street Gang members, Barry Pearl, Jacque Nodell, Michael Vassallo and yours truly. We have had the same look of trepidation, though, when we approach our computers to see if anyone is reading our blogs! Fantastic Four # 29, August 1964.
Unbelievably, Stone was not only able to keep up with Kirby, but had time to ink other artists at Marvel, including some of the "girl" titles, which at that time, were a mix of humor and soap opera. A year before Peter Parker graduated high school, Patsy and her schoolmates were deciding whether to go into the work force or continue their education. While only Stan Lee and Al Hartley are credited (full credits didn't always appear in the teen titles), Chic Stone's distinctive inking is evident, and, to cover all the bases, Artie Simek was the letterer and Stan Goldberg is the likely culprit as colorist. Patsy Walker # 116, April 1964.
Stone inked all the new stories in Fantastic Four Annual # 2, Summer 1964, with the exception of the cover (production man/artist Sol Brodsky did the honors) and turned out a superlative job; his lush brush work is evident on this page. "The Fantastic Origin of Dr. Doom!", Stan Lee co-plot; Sam Rosen letters, Stan Goldberg probable colorist.
In addition to the two stories in FF Annual # 2, Stone also inked all the special pin-ups, including the gallery of villains.
Stone inked many Strange Tales covers starring the Torch and Thing which were often more compelling than the non-Kirby-Stone interiors. While there is only one Ditko, whose imaginative Dr. Strange stories were the real treat of each issue, the Kirby-Stone team admirably captured the essence of his approach on the bottom tier sequence. Strange Tales # 126, November 1964.
The Hulk's title was cancelled after only six issues, but Stan Lee kept him in the public eye, bouncing from title to title as a protagonist in The Avengers, FF and Amazing Spider-Man. The Hulk was given a second chance as the co-feature in Tales to Astonish beginning in issue # 60. This time out Steve Ditko was at the artistic helm, but Jack Kirby continued to draw all the covers, with Chic Stone inking the majority of them. Tales to Astonish # 61, November 1964.
Another magnificent Kirby-Stone pin-up that appeared in X-Men # 8, November 1964. Sam Rosen letters, Stan Goldberg (probable) colors.
Stone inked a total of nine Kirby covers in December, 1964 dated comics - more than half of Marvel's output in that month. The only titles Kirby and Stone didn't touch in this period were the teen-romance line, under the helm of Stan Goldberg and Al Hartley; Daredevil, drawn by the great Wally Wood, and Amazing Spider-Man, crafted by Steve Ditko. The house ad from Fantastic Four # 33 showcases four of those covers. As Chic Stone explained in his interview in Jack Kirby Collector # 14:
"Sales were very good at this time, and became even better when Stan conceived the idea of having powerful "poster like" covers. Of course no one could do that better than Jack Kirby. For a time, Kirby/Stone covers dominated the newsstand."
When Captain America was given his own 10 page feature in Tales of Suspense, Chic Stone once again joined Kirby as inker. Stone embellished all but two of Cap's stories during his tenure at Marvel (those issues were admirably inked by Frank Giacoia). Here is the splash from Cap's second outing in Tales of Suspense # 60, December 1964.
The neighborhood kids on the splash page of Journey into Mystery # 112 (January 1965) bicker over the eternal question "who is stronger, the Hulk or Thor", much like real-life youths fighting over their favorite baseball player or team. Stone inked thirteen consecutive issues of Journey into Mystery (#'s 102-114), making it his longest ongoing assignment at Marvel.
While it appears that Carl Burgos, the creator of the original Human Torch and a prolific cover artist for Atlas in the 1950s, drew the Giant-Man and Wasp figures (Burgos was drawing the feature at the time) the backgrounds and puzzled policeman may have been added by Kirby. Chic Stone inked it all.Tales To Astonish # 63, January 1965.
Dragon-Man was a Kirby monster filled with personality; his characteristics included a parrot-like head. The figures of both he and the Thing are almost 3-D like in appearance. Stone explained how he achieved this technique in his Jack Kirby Collector interview:
"Much of the figure work was rendered with a # 3 Windsor-Newton sable brush. I used a three-dimensional inking style which gave the illusion of depth to the illustration. This was a lesson I learned from none other than Milt Caniff, explained to me when I was a mere, wide-eyed sixteen year old."
Panel from "Calamity on the Campus", Fantastic Four # 35, February 1965.
Shades of Keith Emerson! Kirby was often ahead of his time; the villain on this cover looks like a crazed rock star playing a synthesizer, an image that would become commonplace in concert halls in a few short years. Avengers # 13, February 1965. As fast as Jack Kirby was, he couldn't draw every superhero title. He dropped the Avengers after issue # 9, continuing to produce sensational covers with Chic Stone.
Kirby and Stone were reunited on The Avengers one more time, at least partially, since Kirby provided layouts, with Don Heck completing the finished pencils. Kirby's breakdowns often consisted of rough figures indicating the basic composition, but the top panels, showcasing futuristic landscapes and spaceships, point to more than a casual effort. Avengers # 14, March 1965.
Kirby's innate ability to make each page flow effortlessly from panel to panel is enhanced by Stone's vibrant inking. Fantastic Four # 36, March 1965.
Kirby and Stone produced two covers for X-Men # 10. Either Lee or publisher Martin Goodman rejected the first version (in black and white), choosing to put greater emphasis on the figure of Ka-Zar. Sam Rosen's captions were retained for the published cover, with Artie Simek providing new lettering for the Zabu vignette.
The penultimate Kirby-Stone effort on X-Men brought a revamped Ka-Zar (formerly star of Goodman pulps and comic books) back to life, although no mention of his former incarnation appeared. Perhaps Goodman instructed Lee to reuse the name for copyright purposes? Poster-like splash page by the usual suspects. X-Men # 10, March 1965.
Arguably one of the finest Kirby-Stone covers ever. Kirby touches on his own combat experiences to bring the scene to life. Fury and the Howler's weariness and exhaustion from the oppressive desert heat is palpable in their body language. Chic Stone's inking, combined with the two toned coloring by Stan Goldberg, creates an unforgettable mood. Sgt. Fury # 16, March 1965.
Dr. Strange took center stage on this cover, with the Torch and Thing appearing in a vignette (although they did get to "Meet The Beatles" in this issue). Another example of the stark, powerful work of two great talents (Jack Kirby and Chic Stone, to be precise!) Strange Tales # 130, March 1965.
Chic Stone does an admirable job inking Don Heck's pencils on this exciting splash from Tales of Suspense # 64, April 1965. In addition to inking Kirby, Stone also embellished Dick Ayers, Larry Lieber, Carl Burgos and Bob Powell at Marvel (and I'm probably forgetting someone!). Like pairing the right musicians or actors together, some combinations work better than others. Kirby and Stone, however, was a magical teaming of talents.
Stone also inked a handful of Kirby's western covers (Two-Gun Kid, Kid Colt Outlaw and Rawhide Kid). This dramatic scene is from Rawhide Kid # 45, April 1965.
This iconic image of the Hulk leaping at the viewer was later used in ads, on a Lancer paperback cover and eventually as the corner symbol in Astonish and in his own revived title for years to come. Tales to Astonish # 67, May 1965.
Kirby and Stone's sixth and final X-Men cover is one of the best in terms of composition and effectiveness. The eerie figure walking on air and a mystified X-Men (and populace) complete the deal. X-Men # 11, May 1965.
Although Dick Ayers penciled this story, editor Stan Lee felt the first and last pages required a more dramatic characterization than Ayers rendered and had Kirby re-do them. On the splash it appears that Kirby only penciled the figures of Fury and Pamela Hawley. Chic Stone inked the entire story, with the exception of the last page, likely inked by staffer Carl Hubbell. While this was Stone's only interior contribution, he did a superlative job inking Kirby's cover art on issues #'s 11-13, 16 and 18. Sgt. Fury # 18, May 1965.
One of Stone's first post-Marvel assignments was taking over the "Nemesis" strip beginning in Adventures Into The Unknown # 157 (June-July 1965). Writer-editor Richard Hughes hoped to catch some of the Kirby magic, since Stone absorbed and adapted some of Kirby's traits, but the stories lacked innovation and were devoid of personality. Hughes reluctantly turned to superheroes in the 1960s when they regained popularity, but he was clearly more at home writing genre material. Stone drew Nemesis for thirteen episodes until Hughes returned Adventures Into The Unknown to its fantasy roots. The title ended four issues later, though, and shortly afterward, In 1967, the long running American Comics Group closed shop. Adventures into the Unknown # 166, August 1966.
In addition to comic book work Stone was busy on many outside projects, including a series of ads for AMT, a company that produced model cars. The example above appeared in August, 1966 dated DC comics. Ed Hamilton lettering. In 1967 Stone drew a specialty comic promoting Ideal Toys' popular Captain Action doll. Both ads were produced by ACG's Custom Comics division.
Everything's Archie # 153, January 1991, Rudy LaPick inks. Original artwork from Heritage Auctions.
Stone's affinity for humor came through in the hundreds of stories he drew and/or inked for Archie comics and their assorted characters. From the mid-1960s on through the early 1990s Archie publications provided a steady source of income for the artist. Only Marvel and ACG were runners-up in terms of the volume of freelance work.
In his later years Stone went into semi-retirement, although he still produced commissioned art for fans. He passed away on July 27, 2000 at the age of 77.
Much like a character actor or background musician, Chic Stone was a solid, dependable, often unnoticed professional, but when coupled with a "leading man" he rose to the occasion. For a brief moment in the 1960s Stone was teamed - by fate or happenstance - with Jack Kirby, striking a mellifluous note that resonates long past its inception.
The "power of Kirby and Stone" (to borrow a phrase from the cover copy) mesmerized many a kid in the 1960s (me included), but, I suspect if this was the first time I'd seen this image I'd still be taken by its vibrant energy and graceful composition. Tales of Suspense # 54, June 1964.
Stone inked his first Fantastic Four cover a month before he was given the interior assignment. At Marvel covers were usually produced after the inside art was completed, so this was an impressive preview of what was to come. Fantastic Four # 27, June 1964.
Stone's splash page inks on Fantastic Four # 28, July 1964, set the style for his tenure on the series. While some of Kirby's earlier FF inkers, including Dick Ayers, were quite good, Stone's rendering of the quartet took the work to another level. Stone enhanced Kirby's kinetic forms, in particular adding weight to the Thing's rocky structure.
An Aside: I would be remiss not to point out Steve Ditko's inking on the interior of FF # 13 and the cover to # 14. Even though he likely filled in due to deadline problems, Ditko's lively embellishment is memorable.
Stone took over the interior inking (and covers) on the X-Men with the 6th issue. Since there were more characters to portray, X-Men covers tended to be crowded, but Kirby was adept at drawing busy scenes, and they didn't turn out too bad! X-Men # 6, July 1964.
Speaking of cluttered covers, this free-for-all is another animated Kirby-Stone effort. Stone took over the inking duties on both the Avengers and X-Men beginning with the July, 1964 dated issues. A formidable task, particularly since he continued on the Fantastic Four, making him the inker of all three superhero team books. In the space of a few short months Lee was confident of Stone's ability to keep pace with Kirby's whirlwind output. Avengers # 6, July 1964.
(A note on cover dates for those interested in minutiae - and why else would you be here? - Although FF, Avengers and X-Men all share the same cover date of July 1964, and, as many know, cover dates were advanced by 2-3 months to maintain longer shelf life, it would follow that all the July cover-dated comics appeared on stands in March of '64. Not so. Avengers and X-Men showed up in stores in early March, 1964; the FF made it to the corner candy store sometime in April. Got that? Then please explain it to me!)
Through staging and body language Jack Kirby choreographed quiet scenes with the same sense of urgency and tension as he did with over-the-top brawls. This splash page is but one of countless examples. Stone's craftsmanship is icing on the cake. Avengers # 7, August 1964.
Many Kirby covers had a sense of mystery and suspense, and a panic-filled city with a character turning people to stone would hold the attention of many a youth. On a personal note this issue (as well as Avengers # 6) is stamped in my mind as some of the earliest covers I recall from childhood. Journey into Mystery # 107, August 1964.
The FF walk down a foreboding street as the image of the omniscient Watcher hovers in the heavens above. To set the record straight, there is absolutely NO truth to the rumors in fan circles that the FF was based on real life Yancy Street Gang members, Barry Pearl, Jacque Nodell, Michael Vassallo and yours truly. We have had the same look of trepidation, though, when we approach our computers to see if anyone is reading our blogs! Fantastic Four # 29, August 1964.
Unbelievably, Stone was not only able to keep up with Kirby, but had time to ink other artists at Marvel, including some of the "girl" titles, which at that time, were a mix of humor and soap opera. A year before Peter Parker graduated high school, Patsy and her schoolmates were deciding whether to go into the work force or continue their education. While only Stan Lee and Al Hartley are credited (full credits didn't always appear in the teen titles), Chic Stone's distinctive inking is evident, and, to cover all the bases, Artie Simek was the letterer and Stan Goldberg is the likely culprit as colorist. Patsy Walker # 116, April 1964.
Stone inked all the new stories in Fantastic Four Annual # 2, Summer 1964, with the exception of the cover (production man/artist Sol Brodsky did the honors) and turned out a superlative job; his lush brush work is evident on this page. "The Fantastic Origin of Dr. Doom!", Stan Lee co-plot; Sam Rosen letters, Stan Goldberg probable colorist.
In addition to the two stories in FF Annual # 2, Stone also inked all the special pin-ups, including the gallery of villains.
Stone inked many Strange Tales covers starring the Torch and Thing which were often more compelling than the non-Kirby-Stone interiors. While there is only one Ditko, whose imaginative Dr. Strange stories were the real treat of each issue, the Kirby-Stone team admirably captured the essence of his approach on the bottom tier sequence. Strange Tales # 126, November 1964.
The Hulk's title was cancelled after only six issues, but Stan Lee kept him in the public eye, bouncing from title to title as a protagonist in The Avengers, FF and Amazing Spider-Man. The Hulk was given a second chance as the co-feature in Tales to Astonish beginning in issue # 60. This time out Steve Ditko was at the artistic helm, but Jack Kirby continued to draw all the covers, with Chic Stone inking the majority of them. Tales to Astonish # 61, November 1964.
Another magnificent Kirby-Stone pin-up that appeared in X-Men # 8, November 1964. Sam Rosen letters, Stan Goldberg (probable) colors.
Stone inked a total of nine Kirby covers in December, 1964 dated comics - more than half of Marvel's output in that month. The only titles Kirby and Stone didn't touch in this period were the teen-romance line, under the helm of Stan Goldberg and Al Hartley; Daredevil, drawn by the great Wally Wood, and Amazing Spider-Man, crafted by Steve Ditko. The house ad from Fantastic Four # 33 showcases four of those covers. As Chic Stone explained in his interview in Jack Kirby Collector # 14:
"Sales were very good at this time, and became even better when Stan conceived the idea of having powerful "poster like" covers. Of course no one could do that better than Jack Kirby. For a time, Kirby/Stone covers dominated the newsstand."
When Captain America was given his own 10 page feature in Tales of Suspense, Chic Stone once again joined Kirby as inker. Stone embellished all but two of Cap's stories during his tenure at Marvel (those issues were admirably inked by Frank Giacoia). Here is the splash from Cap's second outing in Tales of Suspense # 60, December 1964.
The neighborhood kids on the splash page of Journey into Mystery # 112 (January 1965) bicker over the eternal question "who is stronger, the Hulk or Thor", much like real-life youths fighting over their favorite baseball player or team. Stone inked thirteen consecutive issues of Journey into Mystery (#'s 102-114), making it his longest ongoing assignment at Marvel.
While it appears that Carl Burgos, the creator of the original Human Torch and a prolific cover artist for Atlas in the 1950s, drew the Giant-Man and Wasp figures (Burgos was drawing the feature at the time) the backgrounds and puzzled policeman may have been added by Kirby. Chic Stone inked it all.Tales To Astonish # 63, January 1965.
Dragon-Man was a Kirby monster filled with personality; his characteristics included a parrot-like head. The figures of both he and the Thing are almost 3-D like in appearance. Stone explained how he achieved this technique in his Jack Kirby Collector interview:
"Much of the figure work was rendered with a # 3 Windsor-Newton sable brush. I used a three-dimensional inking style which gave the illusion of depth to the illustration. This was a lesson I learned from none other than Milt Caniff, explained to me when I was a mere, wide-eyed sixteen year old."
Panel from "Calamity on the Campus", Fantastic Four # 35, February 1965.
Shades of Keith Emerson! Kirby was often ahead of his time; the villain on this cover looks like a crazed rock star playing a synthesizer, an image that would become commonplace in concert halls in a few short years. Avengers # 13, February 1965. As fast as Jack Kirby was, he couldn't draw every superhero title. He dropped the Avengers after issue # 9, continuing to produce sensational covers with Chic Stone.
Kirby and Stone were reunited on The Avengers one more time, at least partially, since Kirby provided layouts, with Don Heck completing the finished pencils. Kirby's breakdowns often consisted of rough figures indicating the basic composition, but the top panels, showcasing futuristic landscapes and spaceships, point to more than a casual effort. Avengers # 14, March 1965.
Kirby's innate ability to make each page flow effortlessly from panel to panel is enhanced by Stone's vibrant inking. Fantastic Four # 36, March 1965.
Kirby and Stone produced two covers for X-Men # 10. Either Lee or publisher Martin Goodman rejected the first version (in black and white), choosing to put greater emphasis on the figure of Ka-Zar. Sam Rosen's captions were retained for the published cover, with Artie Simek providing new lettering for the Zabu vignette.
The penultimate Kirby-Stone effort on X-Men brought a revamped Ka-Zar (formerly star of Goodman pulps and comic books) back to life, although no mention of his former incarnation appeared. Perhaps Goodman instructed Lee to reuse the name for copyright purposes? Poster-like splash page by the usual suspects. X-Men # 10, March 1965.
Arguably one of the finest Kirby-Stone covers ever. Kirby touches on his own combat experiences to bring the scene to life. Fury and the Howler's weariness and exhaustion from the oppressive desert heat is palpable in their body language. Chic Stone's inking, combined with the two toned coloring by Stan Goldberg, creates an unforgettable mood. Sgt. Fury # 16, March 1965.
Dr. Strange took center stage on this cover, with the Torch and Thing appearing in a vignette (although they did get to "Meet The Beatles" in this issue). Another example of the stark, powerful work of two great talents (Jack Kirby and Chic Stone, to be precise!) Strange Tales # 130, March 1965.
Chic Stone does an admirable job inking Don Heck's pencils on this exciting splash from Tales of Suspense # 64, April 1965. In addition to inking Kirby, Stone also embellished Dick Ayers, Larry Lieber, Carl Burgos and Bob Powell at Marvel (and I'm probably forgetting someone!). Like pairing the right musicians or actors together, some combinations work better than others. Kirby and Stone, however, was a magical teaming of talents.
Stone also inked a handful of Kirby's western covers (Two-Gun Kid, Kid Colt Outlaw and Rawhide Kid). This dramatic scene is from Rawhide Kid # 45, April 1965.
This iconic image of the Hulk leaping at the viewer was later used in ads, on a Lancer paperback cover and eventually as the corner symbol in Astonish and in his own revived title for years to come. Tales to Astonish # 67, May 1965.
Kirby and Stone's sixth and final X-Men cover is one of the best in terms of composition and effectiveness. The eerie figure walking on air and a mystified X-Men (and populace) complete the deal. X-Men # 11, May 1965.
Although Dick Ayers penciled this story, editor Stan Lee felt the first and last pages required a more dramatic characterization than Ayers rendered and had Kirby re-do them. On the splash it appears that Kirby only penciled the figures of Fury and Pamela Hawley. Chic Stone inked the entire story, with the exception of the last page, likely inked by staffer Carl Hubbell. While this was Stone's only interior contribution, he did a superlative job inking Kirby's cover art on issues #'s 11-13, 16 and 18. Sgt. Fury # 18, May 1965.
In order to receive approval from The Comics Code Authority the Red Skull had to be toned down considerably (the 1940s incarnation was deemed too horrific; the Code emphasized that his face could not have the appearance of a "real" skull). Despite their outlandish demands Kirby and Stone managed to imbue the Skull with a sinister demeanor. "The Fantastic Origin of the Red Skull!" Stan Lee co-plot; Artie Simek letters,Tales of Suspense # 66, June 1965.
While Chic Stone didn't ink the interior story, he applied his masterful brush strokes to the cover of Fantastic Four # 39, June 1965 (Wally Wood inked the Daredevil figure). It would be his last contribution to the title with Kirby, ending a run of 12 covers, 11 interiors and one Annual. After an interim of fill-ins Joe Sinnott became the permanent FF inker; his sophisticated, precise line matched Kirby's increasingly science fiction oriented stories and their collaboration was a critical success. Stone's departure, however, marked the end of a very special era.
Sometime in early 1965 Stone made the decision to move on, looking for more penciling work. He had this to say in a personal letter to this author on March 22, 1997:
Indeed, Stone was prolific and didn't lack for work. He had already begun to pencil stories for his old editor Richard Hughes at ACG while still at Marvel and drew issues of Sea Devils, Metamorpho, Superboy and Batman (ghosting for Bob Kane) at National. In addition, he found advertising jobs, and that's just for starters!
One of Stone's first post-Marvel assignments was taking over the "Nemesis" strip beginning in Adventures Into The Unknown # 157 (June-July 1965). Writer-editor Richard Hughes hoped to catch some of the Kirby magic, since Stone absorbed and adapted some of Kirby's traits, but the stories lacked innovation and were devoid of personality. Hughes reluctantly turned to superheroes in the 1960s when they regained popularity, but he was clearly more at home writing genre material. Stone drew Nemesis for thirteen episodes until Hughes returned Adventures Into The Unknown to its fantasy roots. The title ended four issues later, though, and shortly afterward, In 1967, the long running American Comics Group closed shop. Adventures into the Unknown # 166, August 1966.
In addition to comic book work Stone was busy on many outside projects, including a series of ads for AMT, a company that produced model cars. The example above appeared in August, 1966 dated DC comics. Ed Hamilton lettering. In 1967 Stone drew a specialty comic promoting Ideal Toys' popular Captain Action doll. Both ads were produced by ACG's Custom Comics division.
Beginning in 1966 Chic Stone freelanced for the Tower Comics line, packaged and produced by Wally Wood, primarily penciling and inking Dynamo and "Lightning" stories. Stone often signed his stories, but the above example, though uncredited, appears to be his work, possibly over Wally Wood breakdowns. T.H.U.N.D.E.R. Agents # 9, October 1966, Ben Oda lettering.
In 1967 Jack Kirby produced two assignments outside of comics and called on Chic Stone to ink both of them. Captain Nice was a promotional piece for an NBC program debuting in January of '67. The show attempted (and failed) to capitalize on the phenomenal success of the Batman show which debuted in the previous year. Kirby and Stone's art was utilized in television ads and publications such as TV Guide. In the May 1967 issue of the prestigious Esquire magazine Kirby wrote and drew a three page story to accompany an article entitled "46 Hours and 36 Minutes in the Life of Jack Ruby". The coloring on both pieces is attributed to Kirby.
You can read a more detailed account, and see the complete story at this site:
http://harrymccracken.com/blog/2014/05/07/jack-kirby-draws-jack-ruby/
In 1967 Jack Kirby produced two assignments outside of comics and called on Chic Stone to ink both of them. Captain Nice was a promotional piece for an NBC program debuting in January of '67. The show attempted (and failed) to capitalize on the phenomenal success of the Batman show which debuted in the previous year. Kirby and Stone's art was utilized in television ads and publications such as TV Guide. In the May 1967 issue of the prestigious Esquire magazine Kirby wrote and drew a three page story to accompany an article entitled "46 Hours and 36 Minutes in the Life of Jack Ruby". The coloring on both pieces is attributed to Kirby.
You can read a more detailed account, and see the complete story at this site:
http://harrymccracken.com/blog/2014/05/07/jack-kirby-draws-jack-ruby/
At Dell, Stone drew TV related titles such as The Outer Limits, Garrison's Gorillas and, with ongoing interest in UFO's, stories for Flying Saucers Comics, including this attractive cover. Ben Oda lettering. Flying Saucers # 2, July 1967.
In addition to his collaboration with Jack Kirby, Stone also produced solo art for Esquire. I'm uncertain whether this example predated the Kirby job, but its surely mid-1960s era. This art accompanied Stone's interview in The Jack Kirby Collector # 14, February 1997.
Stone produced gory covers and interior art for Myron Fass' Eerie publications, a line of low budget horror magazines. Weird, Volume 3, No 1, February 1969.
Nestled in the back pages of Tower's Teen-In, a comic oriented to young girls which featured advice, fashions and Archie styled humor strips, Chic Stone illustrated a tale centering on an overweight girl battling issues of self-esteem. Writer unknown, Teen-In # 3, Summer 1969.
To see the entire story, which includes an inspired Stone art job, go to Comic Book Plus:
http://comicbookplus.com/?dlid=61170&b=i
Nestled in the back pages of Tower's Teen-In, a comic oriented to young girls which featured advice, fashions and Archie styled humor strips, Chic Stone illustrated a tale centering on an overweight girl battling issues of self-esteem. Writer unknown, Teen-In # 3, Summer 1969.
To see the entire story, which includes an inspired Stone art job, go to Comic Book Plus:
http://comicbookplus.com/?dlid=61170&b=i
In the early 1970s Stone returned to Marvel, briefly reunited with Jack Kirby on "The Inhumans" feature, one of Kirby's last assignments before leaving for DC. Unfortunately the four stories he inked lacked the dynamism of earlier collaborations. There may have been several factors involved; at this point, even though he was writing and drawing the material, Kirby was ready to move on; the 10 page length was also confining - Kirby was used to a larger canvas, and squeezing five or six characters into the story didn't help. Stone would fare better in other instances, and with different artists. The above splash, from Amazing Adventures # 2, September 1970, is an example of one of their stronger pages.
While Stone received assignments from Marvel he continued to freelance for other companies. Stone both wrote and penciled this "gruesome" (although not as gruesome as Eerie publications line) story for Skywald's black and white horror line. Jean Izzo letters. Psycho # 3, May 1971.
I'm uncertain if Stone ever had the opportunity to ink veteran artist Syd Shores in the Timely-Atlas period, but in the 1970s the results were rewarding. This was one of the last titles Shores drew before he died. "The Man Who Gunned Down Red Wolf!", Gardner Fox script, Denise Wohl letters, Red Wolf # 5, January 1973.
Stone continued to freelance for Marvel into the late 1980s, inking, penciling and often providing finished artwork over breakdowns by John Buscema and Keith Pollard. In addition to work on Fantastic Four and The Invaders, Stone had long runs on familiar characters Thor and the Thing (in Marvel Two-In-One) and worked with Sol Brodsky in the special projects division (coloring books, children's publications). Bob Budiansky pencils, Marvel Two-in-One # 59, January 1980.
Stone's affinity for humor came through in the hundreds of stories he drew and/or inked for Archie comics and their assorted characters. From the mid-1960s on through the early 1990s Archie publications provided a steady source of income for the artist. Only Marvel and ACG were runners-up in terms of the volume of freelance work.
In his later years Stone went into semi-retirement, although he still produced commissioned art for fans. He passed away on July 27, 2000 at the age of 77.
With a career in comics lasting over half a century Chic Stone should be recognized, not simply due to longevity, but for his own unique achievements. Stone skilfully crafted stories in a potpourri of genres, able to pencil and ink as needed, and quite often, did both with a distinctive flair.
Much like a character actor or background musician, Chic Stone was a solid, dependable, often unnoticed professional, but when coupled with a "leading man" he rose to the occasion. For a brief moment in the 1960s Stone was teamed - by fate or happenstance - with Jack Kirby, striking a mellifluous note that resonates long past its inception.
In 1997 Chic Stone inked Kirby's Thor one final time for The Jack Kirby Collector # 14. The pencil piece was drawn circa 1970 and published in a portfolio. Even in his later years Stone could bat it out of the park!
Dedicated to my good friend, Frank ("Dude") Mastropaolo, whose affection for the Kirby/Stone era was - at the very least - an inspiration for this post.
23 comments:
Thanks, Nick! A lovely celebration of a man whose work still makes the nostalgia kick in for me! Honestly, I would have been perfectly happy if Chic had inked EVERYTHING at Marvel in the early sixties. So much of his work still stands out as amongst the best of that era.
X-MEN # 11 is the comic I credit with being my first "grown-up" comic. I was 5 and could barely read but I memorized every like of that artwork!
And don't forget Chic Stone was the first to draw Captain Action in that little giveaway mini-comic! And he drew that LSD horror story for Myron Fass's Eerie Publications that STILL gives nightmares to many of us and was recently reprinted in Yoe Books' hardcover collection!
Just such an under-appreciated artist. Thanks for the appreciation!
You know how every artist has personal stylistic quirks that help identify their work...with Stone it was always the Chic Stone Eyebrows. His characters already wore them in the 50s before the rest of Stone's style had developed. Swirly, bushy and mannered...even Kirby characters, though inked respectfully, wound up with Chic Stone Eyebrows.
Steven,
Stone was so prolific, I could have made my post double the length if I had enough images and artwork from his many projects. Stone was a talented man and I'm glad to celebrate his art here.
Smurfswacker,
Those stylistic quirks are what make artists such as Stone one of a kind.
A great read! I think you should have included the Jack Ruby story from Esquire, though. Didn't Kirby ask for Stone to ink that? Stone is one of a few artists who did illustrations for his camp newspaper in the war. I should have a couple of those, in his humor style if I remember correctly.
Chic Stone inked some of my favourite Marvel stories, so his delineation of Kirby art represents a magical period from my childhood that is fondly remembered. Crisp and clear, his style is certainly a fine example of how to ink comics to best effect. Another informative piece, Nick - well done.
I am always amazed at the amount of work and research my brother is able to put into one of his blogs. Another great read and tribute to a underrated artist. If my brother left anything out chalk it up to the fact that he was putting this together while recouping from him getting sick from me. Sorry bro (we know you just wanted to see Sam). My dog for anyone who doesn't know. Keep up the good work.
I didn't realize Stone was such a chameleon; I really like the early humor stuff. As a kid, his heavy contour lines on Kirby reminded me of coloring book art, but he sure brought out the energy and emotion in stories like that Thor/Hulk battle. Stan G, if he was the colorist on these covers, looks even more brilliant in hindsight than he did back then.
When the Silver Surfer comic was in its death-spiral, they brought in Stone, presumably to help recapture the original buzz of the character. I don't think it really worked over Buscema's pencils, but it was an interesting experiment, an attempt at "Kirbyfication", which was finally achieved successfully by bringing in Kirby himself to change the book's direction at the very end. Stone was so associated with Kirby he was often given work on that basis, such as following Kirby on Kamandi.
Nick, I hope you may be able to add some covers of the TV Teens series from Charlton. I think you may find Number 5 to be quite interesting.
Ger,
Thanks for the compliments! I had forgotten about the Esquire story! I'll probably add a page, and perhaps promotional art he and Stone did for Captain Nice.
Kid,
Stone was a favorite of mine, too, and I'm glad to give him his due.
John,
Thanks, bro! Even though you infected me with your cold I was able to trudge on, although a it slower than I had hoped.
Russ,
I was amazed at how much work Stone did, particularly the 100's of stories for Archie. Stone's inking over Buscema on Silver Surfer wasn't a great fit, although a few years later I thought they worked well on Thor.
Banks,
I'll look that one up. Before I'm done with you guys I'll be adding ANOTHER 50 images! :)
Always love Stone's inking over Kirby. I've been reading Marvels 60's output in release order from my masterworks(now at mid-1968) and was, also, surprised how much work he did for Marvel in such a short time. Wished he would have stayed longer. I would have loved to have seen him taking over inking Fantastic Four #'s 21-26 and, especially, Annual 3.
Thanks for the article.
David,
The 3rd Annual and the Thing/Hulk clash in FF #'s 25-26 especially!
Nice article, Nick. One thing, though: I don't believe that DC had anything to do with that CAPTAIN ACTION AND ACTION BOY comic. I am pretty certain it was published by Ideal via ACG's Custom Comics division, which created (ahem) custom-made comics for dozens of clients from the '50s through the early '70s (outliving ACG itself), illustrated by Ogden Whitney, Kurt Schaffenberger, Pete Costanza, and other ACG mainstays. (See the full-size, 16-page late '50s/early '60s BUSTER BROWN comics, for one easily found example.) The issue, which came out with the dolls, preceded DC's licensing of the characters for their use in 1968 by at least a year (I'd have to pull out my copy to see if the copyright is 1966 or 1967, but DC wouldn't have had any reason to be involved with the license this early). I think, perhaps, that the reason fandom believes it was produced by DC (aside from the fact that Kurt Schaffenberger drew the ads that appeared in DC comics because he was also working for ACG at the time) was probaly that Mark Hanerfeld included it in his list of comics missing from the DC library in an ad he ran for DC in THE COMIC READER (and probably elsewhere). We later determined between us that it was missing because DC had, literally, nothing to do with it except as copyright holder of Superman and Batman, whose likenesses were portrayed in the mini-comic. Using THAT as the reason for attributing the publishing of the mini-comic to DC, ignoring the fact that Marvel, King Features, Field, Robert Dille, Wrather,and Green Hornet copyrights also appear only because DC later licensed the doll, seems like a huge leap. DC didn't need to ally with ACG to produce this comic, in fact, had they produced it themselves, I daresay it would have looked quite a bit better. (This confusion reminds me of the ludicrous labeling of the similar-sized Western Publishing-produced set of Trick Or Treat Comics sold to give away at Halloween as the so-called "Dan Curtis Giveaways" because someone had no idea that Dan Curtis was the company which produced the DARK SHADOWS TV series--again, ignoring the other issues' copyright holders (Desilu, Cayuga, Ripley's, Western), and ignoring the packaging the comics came in, clearly titled Trick Or Treat Comics.)
Hi Mike,
Thanks for the detailed info on ACG's Custom Comics. I believe you are right and I'll revise that section. Thanks also for the many entertaining issues of The Comic Reader which I still have in my collection.
Thanks again for the shoutout! ;) Trepidation indeed!!!
We've all been there, Jacque! As part of the real-life Yancy Street Gang you deserve to be included with your fellow "wise-guys and scholars" as I've so endearingly christened us.
it was used as the main item in Captain America: The First Avenger, stonetrader
Wonderful blog, Nick. I've been a great fan of the Kirby/Stone teamup during the SA. I learned a lot of details regarding same. Your exposition on the covers is exceptional.
Thank you.
Just now found this. Adored Kirby and Stone and the team-up was magic!!! The covers just grabbed me! Corresponded with Chic a little in the 90's and let him know how much his work meant to me. Thank you so much for all the information I never knew! He made me realize what an inker was and I was aware of some of his solo work, but you shed much more light on it!
The sheer power of their combination was awesome!
Superflash,
I'm glad you enjoyed the post. I'm glad you got to let him know how much you appreciated his work.
I'm 72 years old now, but I can still remember the thrill of seeing a Kirby/Stone book in the rack/spinner.
I've always been a great fan of Dick Ayer's and Joe Sinnott's work on Jack, but the Chicster's work always had that special magic.
Thanks for reminding me of all those wonderful times.
Uncle Rob,
You are quite welcome. I agree that the Chickster's inks were quite special. I came aboard a little late to actually see them on the stands but my older brother John had many of the early issues of the Kirby/Stone team (one of the first I recall was JIM # 107 with the Gray Gargoyle - that cover left quite an impression) and I immediately was drawn to that team. Their work together still resonates.
Some years ago, when I had more time and money on my hands, I randomly collected WWII camp newspapers to see what cartoons and artists (if any) were in them. Among my lucky finds was at least one paper that had a Chic Stone title banner and possibly even more. I don't think I even scanned it, but I should still have it somewhere.
Hi Ger,
Wow! That would be great to see. Be sure to let me know if you find it.
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