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Gaiman covering Kirby might be interesting, but, y'know, people always talk about needing to streamline Kirby projects to get them to work better, and frankly, it's the hectic pace and *everything, the bathwater and the goddamn mechanoclone undergods of Cygnus 5* approach that made these things appealing to me in the first place.
I love Kirby's dialogue, his so-called word jazz, because I think that's how I actually talk more often than not. I - and not just myself, but lots of people I know - sound a lot more like Kirby or Morrison characters than Gaiman, than Byrne, or especially he-of-the-true-dialogue-everyone-speaks Bendis.
The lack of emotional affect is something I've never got out of his stories, but I read/hear it from others all the time. 'The Pact' is emotional, hell, even the Black Panther's intro in FF was emotional, 'Devil Dinosaur' plays at the heartstrings, songs of love, hope, and excitement, more efficiently that a story involving burnt-skinned dinos and a monkey with June Cleaver's hair should. I really think, given a bit of breathing room, Kirby could have churned out the '8 1/2' of comics, and came close a few times. Visceral divinity!
And Gaiman is/was concerned with whether it fit in Marvel U. continuity? Oh, hell! Does it matter? Did it harm or hamper the stories while you're reading them? There's no pre-knowledge necessary, really, of the Marvel U. and there's no cites or backtracking of that sort, so why not just hold on to the 'Eternals' bullet-train and enjoy the ride? Or can/should we take the 'Marvel Boy' (dis)continuity thread(s) here and just apply everything to Kirby projects, too? |
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