Eric's Graphic Novel Review: THE SIMON & KIRBY LIBRARY: CRIME
Joe Simon and Jack Kirby were pioneers of comic books as both an artistic and entertainment medium. The seeds of their collaboration bore fruit that is self-evident in the industry today. Besides creating Captain America, the duo diversified comics into genres outside of superhero fare to keep the medium alive during a dramatic sales slump after World War II that marked the boundary between the Silver and Golden Age of comics. Titan Books' The Simon and Kirby Library: Crime presents one such venture in an attractive package built to last.
While comics as a method of storytelling has evolved since the late 1940s (beyond price inflation), there are still some things that both modern fans and creators can learn from their elders. First, there is a brilliant showmanship to these stories with an aim to constantly give the audience their money's worth. Each story is introduced with the theatrics of the narrative equivalent of a carnival barker. There, of course, is some quintessential melodramatic cheese, but damn if it doesn't draw interest. Like these mini-prologues, Simon's enthusiasm is infectious. The writer pours himself into each and every word he writes with a wonderful aplomb. He's not as verbose as what is found in Stan Lee's early work and the book is better for it. His work's strength is in its visceral, dare I say “gritty,” approach to the subject matter despite fulfilling the need for superficial entertainment as required by the times. The themes and message of “Crime doesn't pay” rings throughout, but there's a true variety in the way Simon utilizes his words in an almost experimental fashion. There's alliteration, simile, metaphor, etc. that shows a depth beyond the comics ringmaster, which might not present itself upon a surface study of the characters.
On the subject of the criminal minds fictitiously found within this anthology, the writer almost never lets the reader sympathize with his subjects except for a general feeling of desperation found throughout. The intentions behind these people falling into the underworld vary from psychopathic desires, to economic ambition, or to being tricked into the trade. Simon is careful never to justify his characters, even while the comic dramatization does glorify them a bit with violent excitement. There are a few instances in which the writer does aim for empathy, such as a story in which he compares a gun for hire to a lynch mob in his pursuit, but there's always the undertone of entertainment. Even the “true” crime stories are exaggerated to a point at which the historical adherence is questioned. The most enjoyable part of these scripts is in how Simon always surprises with a constant pulling of literary tricks out of his sleeve.
Throughout the decades, Jack Kirby has become known for his more abstract and surreal works found within the superhero titles he helped to create. Thus, it was refreshing to see how well his work stacked up when more grounded, even with today's comic art. The acknowledgment that he had less tools and/or technology to work with further astounds. Any fan of classic films will be delighted as Kirby places actors, like Humphrey Bogart and Katherine Hepburn, into the roles of these hardened gangsters or femme fatales. It gives an already timeless work an extra layer of ageless sentimentality. Another amazing quality to these panels is the detail in which items on a desk or people in a crowd might work to give a sense of place and grounding to each story. There's also a great bit of humor found here especially in the slumped and contorted faces of drunkards. Like Simon's words, there is the ever-present feel of experimentation to Kirby's art, which displays a medium still in its youth with boundless possibility. Looking back, one can only get excited that the tireless work of these greats would coalesce into what are now media empires with characters known around the world. With excellent work like this, it's easy to see why these books caught on.
While it may seem inconsequential, the quality of this collection's bookbinding is superb. It's well put together with a cover built with strength in mind. It has the weight and feel of a textbook, which is appropriate given that its contents contain comics history. The interior paper is made of a thick stock that shouldn't tear upon simple page turns as they might with their more glossy cousin. Like the stories within, this book was made to last even with multiple views. While the $49.95 (US) price tag may seem steep to some, the amount of content combined with solid workmanship makes for an appealing package.
Another positive of this book is its dedication to the work itself. Besides an insightful introduction from Road to Perdition writer Max Allan Collins and a cover gallery, The Simon and Kirby Library: Crime is nothing but 302 pages of old school comic goodness. Many collections such as this might provide reflective essays or fluff pieces, there's an appreciation her that the comics can speak for themselves (and they do).
When reviewing a book like this, it's hard to get past the respect held for the forefathers of the medium. It is heartening, however, to find that much of it is warranted. Sure, some things don't stand up as well to the times, but we wouldn't criticize Beethoven for not using synthesizers. For anyone interested in the history of comics or gift buyers for comic fans, The Simon and Kirby Library: Crime is not only a great read, but also an excellent heirloom piece.
The creators of Captain America and the Boy Commandos produced some of the hardest-hitting crime comics of the 1950s. Often featuring real-world criminals like Ma Barker, Al Capone, and Pretty Boy Floyd, and true-to-life events like the St. Valentine's Day Massacre, these adventures were torn from post-prohibition headlines. Explosive enough to draw the attention of the congressional committee on juvenile delinquency, they remain action-packed for today's graphic novel audience. These are the best of the Simon and Kirby Crime comics, fully restored and collected for the first time, with a brand new introduction from bestselling crime writer, Max Allan Collins.
Story: Joe Simon (forward by Max Allan Collins)
Art: Jack Kirby
Cover: Jack Kirby
320 Pages/FC
$49.95 (US)
On Sale October 28, 2011!
