Trademark and copyright information of characters used in the main story.
Reprints
from Comic Book Comics (Evil Twin Comics, 2008 series) #3 ([February] 2008) [Artwork rearranged and reduced to fit inside two pages.], #1 (March 2008) [Artwork rearranged and reduced to fit inside two pages.], #2 (October 2008) [Artwork rearranged and reduced to fit inside two pages.], #4 (October 2009) [Artwork rearranged and reduced to fit inside two pages.], #5 ([March] 2011) [Artwork rearranged and reduced to fit inside two pages.], #6 ([November] 2011) [Artwork rearranged and reduced to fit inside two pages.]
Traces the origins of comic art, including Outcault's Yellow Kid and McCay's Little Nemo, plus how the animation work of Max Fleischer grew up contemporaneously.
Recounts Kirby's time employed by Max Fleischer and how Fleischer originally found more success than Disney by being cost-conscientious, but Fleischer's labor troubles and Disney's success with Snow White saw Disney eclipse Fleischer before the end of the 1930s.
Recounts Joe Simon & Jack Kirby's time working for Martin Goodman, creating Captain America. Eventually they leave for DC Comics, believing that Stan Lee had betrayed them to Goodman.
Real people: Joe Simon; Charles Addams; Will Eisner; Walt Disney; Walt Kelly; Bert Christman; Jack Kirby. Featured characters/properties: Morticia Addams; Uncle Fester; The Spirit; Beetle Bailey; Mickey Mouse; Pogo; The Sandman.
Synopsis
As the USA joins World War II, many comic book creators find themselves working for the military.
Recounts the rise of Marvel Comics in the 1960s and the special attention Stan Lee received from the media, at the cost of his working relationship with Kirby, while Ditko's objectivist outlook likewise drove him from the company.
Recounts stories of the French comic book marketplace from Tintin to Métal Hurlant and how while US comics fell out of favor in France, the French influence opened up a space for creator-owned comic books in the USA.
Recounts the many legal battles in the comic book industry, from Siegel & Shuster over Superman to Jack Kirby seeking the return of his Marvel Comics art.
Recounts how Alan Moore developed Marvelman and Watchmen, leading to an influx of imitators and work for many other British comics writers in the US market.