Darkseid constitutes the kind of men Kirby was acquainted with in his youth. The slum lords, made famous in Will Eisner’s A Contract With God, were m… - Jack Kirby

I feel that story, first. I know those people, first. When I put them down they've already lived.

Jack’s aliens did not look like anyone else’s aliens. They were dangerous with “alieness.” His characters in general, alien or human, posed with drama. There was something alive, almost sinister, about the locations he drew, whether it was the swamp where the alien craft first landed, or the boarding house where the chase finally ended. Even the coloring was strange, full of raw hues and knockouts where one color was washed over most of a panel, like a raw spotlight shining on the scene. Most of all, the work was vital, bursting with energy even in those panels where characters were merely standing around. And if they were in motion, they moved with authority. It was like no other comic book I had ever seen. In microcosm, that was the genius of Jack Kirby. He was like no other artist who worked in comics, a uniquely gifted individual who brought a new sensibility and a fire to the art and storytelling of American comic books, a fire that burns to this day. I’m happy to say I’m still learning from him.

I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge — what kind of monster would fascinate people? I couldn’t draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn’t faint dead away. There was nothing disgusting in his demeanor. There was nothing about him that repelled you. My monsters were lovable monsters.