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Fans argue whether Jack Kirby really created the bulk (or possibly even all) of the Lee/Kirby characters. I’m among those who believe that he did, and I think that the Inhumans is a case in point. They debuted as supporting characters in Stan Lee and Jack Kirby’s FANTASTIC FOUR, but they embody tropes that appear over and over in Jack Kirby’s work – including work that he produced without Stan Lee. Let’s do a “by the numbers”:1) A hidden civilization? Check.2) Advanced genetics making some people superior to humans. Check.3) Extremely advanced technology. Check.4) Aliens coming into contact with ancient civilizations (An idea advanced and made popular in the 1960s by Erich Von Daniken in his book CHARIOTS OF THE GODS). Check.5) Characters with names and powers inspired by mythology. Check.These ideas appear over and over in Kirby’s work, and besides the Inhumans, they’re particularly strong in his Fourth World titles for DC and in the Eternals, the latter of which is arguably just a reworking of the Inhumans in the first place (Like the Inhumans, the Eternals were created when aliens visited Earth in ancient times and evolved a group of primitive humans into an advanced race. Like the Inhumans, the Eternals were a hidden civilization of super-powered beings with advanced technology, and names and powers inspired by mythology.). Everything about the Inhumans screams “Jack Kirby,” really making you wonder what Stan Lee might have contributed beyond the dialogue and maybe some bits of characterization.That’s an argument for another time, though. For now, suffice it to say that the Inhumans proved popular in FANTASTIC FOUR, so Marvel naturally thought of making them headliners. This volume collects the earliest attempts to do so, with stories originally published between 1967 and 1971. Those stories show, I think, why those attempts weren’t successful. The stories aren’t bad, but they’re pretty ordinary, and as in Lee and Kirby’s FANTASTIC FOUR, we continually see Black Bolt’s brother, Maximus the Mad, usurping or attempting to usurp Black Bolt’s throne. The Frightful Four, the Mandarin and Magneto do show up from other rogues galleries to provide a little variety (and, in the Mandarin’s case, a little outdated casual racism), but the Inhummans really needed more villains of their own and a greater variety of plots.That said, the stories are not without their pleasures. Personally, I think that there’s a lot to like about the Inhumans themselves, an odd-looking group with equally odd powers (Imagine a woman with hair that stretches, or a man who shakes the earth by stomping his “thundering hooves!). I always liked Black Bolt in particular, and I think that his signature power – a destructive voice that forces him to remain mute – wonderfully symbolizes the terrors of the nuclear age, and personifies adages about wise people remaining silent and power being both a blessing and a curse. The artwork also elevates the largely average stories. We have some nice work here by Jack Kirby, Neal Adams and Gene Colan – all at essentially at the peak of their careers. A bonus for me was seeing my favorite Kirby inker, Chic Stone. I didn’t realize that Stone had done any work with Kirby past the mid-1960s, but…here he was on four Inhumans stories from 1970, and it was nice to see him. The only down side, artwise, was Mike Sekowsky, whose work I found a bit ugly. Sekowsky only penciled two stories in this volume, however (the ones with Magneto as the main villain), so I could live with it.For most people, the first MARVEL MASTERWORKS: THE INHUMANS volume won’t be a “must read.” If, like me, however, you like the characters and enjoy this period of Marvel history, then you’ll at least have a good time.
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