Minä olen saanut sen käsityksen vanhoja Marvel-sarjoja lukemalla, että se olisi ollut enemmänkin yhtiön periaate. Olisi liiaksi sattumaa, että niin moni loistava piirtäjä olisi aloittanut kömpelönä Kirby-kloonina.
Jeps, tätä haastattelua muistelin (hieman väärin tosin):
http://twomorrows.com/comicbookartist/articles/02bws.htmlBarry: There was no pitching required, really— Stan loved my stuff because although it was pretty amateur and klutzy, it had the essence of Jack Kirby about it, and that was what sold Marvel comics in those days. Stan wanted every "penciler" in his employ to draw like Jack—not necessarily copy him, I must point out, because that has been misconstrued for too long—but, rather, to adapt from Kirby's dynamism and dramatic staging.
Many pencilers pretty much had their own personal styles wrecked by Stan's insistence in this matter. It was horrid watching Don Heck—a perfectly adept illustrator of everyday things and occurrences—struggle to create a dynamism in his work that simply was not a part of his natural capabilities. Herb Trimpe, John Romita Sr., and others were all twisted away from their own natural proclivities to adapt to the Kirby style—disastrously affecting their own artistic vision or needs. I doubt whether Stan pushed Steve Ditko to be more like Kirby because, after all, Ditko's style was already dramatic in its staging and pacing. If Stan had insisted that Herb Trimpe, for instance, should draw more like Ditko, I don't think Herb would have felt so buggered about by Stan's need for a "Company Style."
In my case there was no problem—I had an idée fixe that comics were Kirby and, in so drawing a comic, I drew it, to the best of my young abilities, as if I was Jack Kirby. However, if during that same period I chose to draw, say, a tree that I admired in some park somewhere, I would draw it in the correct and well observed manner that my brilliant drawing instructors had taught me at Art School. Real drawing was academic, but comics was Kirby.
