Celebrating the Unpopular Arts

Kirby von Daniken: The Eternals

As I said in my Omac post, I didn’t care for most of Kirby’s Bronze Age work but The Eternals was an exception. Rereading them in TPB recently confirmed it was a cool series, albeit with ginormous problems.

In the opening issue, archeologist Professor Damian and his daughter Margo follow guide Ike Harris to a lost Inca city. There the professor discovers proof that the gods of Inca legend were real beings — travelers from outer space who descended on this world with technology our ancestors thought was divine. Ike, however, already knows this because he isn’t human — he’s Ikaris, one of the immortal Eternals.

As Ikaris explains to the Damians, the cosmically powerful Celestials created Eternals and humans, along with the monstrous Deviants, by applying genetic engineering to our ape ancestors. The Eternals are immortals, the source of our myths about gods and heroes. Zuras, Thena and Makarri of Olympia, for instance, inspired the myths of Zeus, Athena and Mercury. The Eternal transmuter Sersi is not only Circe, she taught Merlin everything he knows. The genetically unstable Deviants spawned stories of bogeymen, demons and monsters; Kro, the chief Deviant character, is a Satan lookalike.

Memories of the Celestials have become part of our religion. The creation of humanity by a divine being. Noah’s flood, caused by the Celestials destroying the Deviant empire of Lemuria. The dove that guided Noah to land was actually Ikaris in flight, but too far off to see clearly (we never learn how Ikaris relates to the Icarus of Greek myth, whose main claim to fame is that he couldn’t fly). Kro implies at one point that belief in Satan is just humanity’s interpretation of past clashes with the Deviants.In the first issue, the Celestials return to Earth to evaluate their experiment. It’ll be a fifty-year analysis, after which comes Alpha Day, the hour of judgment. It’s a pass/fail grade, and failure means the end of the world. The Eternals, knowing the power of the Celestials, figure waiting and hoping is the best strategy; fighting will only piss the space gods off.

The Deviants, however, are determined to fight. The Deviants dominated humanity until the Celestial sinking of Lemuria. If they can drive the gods off, they anticipate ruling again.

Humanity, meanwhile, struggles to take all this in. Governments ponder how to deal with these other races inhabiting the Earth, not to mention the Celestials. Zuras goes on the nightly news to encourage everyone to stay calm. The Eternals visit college so Professor Samuel Holden’s anthropology class can get a crash course in the truth of prehuman history.

The core concepts here were nothing new. SF writers have been giving pseudoscientific explanations for the mythological gods since the Golden Age. DC’s Captain Action identified the gods of mythology as cosmically powerful space travelers just a few years before Eternals. Erich von Daniken’s supposedly nonfiction books, starting with 1968’s Chariots of the Gods, brought the idea of “gods from outer space” and “ancient astronauts” into pop culture. Nevertheless, Kirby made the topic feel fresh and new.

Part of his success was the astronauts weren’t ancient: the gods were here, in the present, shaking up the world. Another was that unlike so many of comics’ cosmic battles, this one wasn’t confined to the world of superheroes. The whole world knew and had to grapple with the knowledge, particularly Sam Holden and Margo, who got to see everything up close.

Another part is that Kirby manages to make everything he’s drawing look big and imposing and just plain awesome.

I didn’t buy the book when it was new. My brother and I made our limited funds go further by buying different series, then reading each other’s purchases; this was one of his. I’m happy that I now own the entire series in TPB, even though it suffers, like Omac, from flat characterization. Ikaris is noble, Margo is scared, Zuras is a marginally less grump version of Marvel’s Odin, the Deviants are evil. Sersi, a light-hearted party girl with a sharp tongue, is the one who stands out most. I can live with that though: character wasn’t the selling point for the book, cosmic and cool was.

The book’s other problems are bigger.  One was that while Kirby wanted this to be a standalone series, Marvel insisted on setting it in the Marvel Universe (SHIELD agents play a role in a couple of stories). While that didn’t bother me much at the time, I realize reading the TPB that it ruins the whole concept. In Kirby’s vision, the Eternals and Deviants are our gods and monsters; in the MU, they’re just some people who get mistaken for gods and monsters a lot. Zuras isn’t Zeus, just a powerful guy who looks like him. That’s not Kirby’s fault but it is annoying.

Second, there’s the Deviants. As one of them complained in Walt Simonson’s later Eternals limited series, they got a raw deal: the Celestials created them to be genetic defectives, breeding even more monstrous forms with each generation. They’re understandably resentful. Kirby’s Deviants, though, are just evil monsters who exterminate their more monstrous children (the image of Deviants being shipped to their death has Nazi overtones I imagine Kirby intended). Even though Thena sees the most deformed Deviants as tragic figures, she still thinks they’re inferior, proclaiming the handsome Reject “the one object of value in this ugly domain.” That scene has an unpleasant taste.

Finally there’s the Celestials themselves. According to Eternals #7, no planet has ever measured up to Celestial judgment; on Alpha Day the Celestials always decide to pull the plug. That certainly ramps up the stakes for Earth, but as one letter-writer pointed out, it makes the Celestials genocides on a massive scale.

Mass murder of inferior races has Nazi overtones I don’t think Kirby intended, but the Celestials right to destroy us goes unquestioned. Ikaris’ friend Ajak compares Earth’s people to crops awaiting the harvest, but crops don’t have feelings about being reaped. Nobody in the cast seems as eager for judgment as Ajak, but nobody finds what the Celestials are doing immoral either, just scary. True, religious believers accept harsh judgment from God as justice, but the Celestials are not God, just really powerful aliens. And even in the Bible, plenty of people try to argue God out of sending down plagues. Nobody tries this with the space gods. Like a Terminator they can’t be stopped, can’t be persuaded and can’t be reasoned with.

You’d think that once the Celestials began appearing in the Marvel Universe, someone might have challenged them, but instead Mark Gruenwald decided they really do have the right to wipe us out (although it wasn’t necessary) because they’re just that cosmic and awesome. I found this as unconvincing as John Byrne’s argument that if Galactus destroys a planet the universe was better off without it.

Maybe if the series had run longer, Kirby would have put a different spin on things. But I can only go by what was written.

#SFWApro. All art by Kirby.


  1. You make this series sound more appealing than I would have thought, even considering it’s Kirby. I have one of the $1 reprints of the first issue around somewhere, and obviously with the upcoming movie, the original stuff is a lot more easily available, so I may need to check it out.
    It sounds like the later Topps Secret City Saga comics had similar concepts to this as well, with the threat being more an underground race, from what I recall.
    Frank Zappa’s song “Inca Roads” also is based on the idea of alien visitors. Just because I want to get a Zappa mention in here 😉

    1. Edo Bosnar

      Well, I see your Zappa and raise you prog-rock. Any time I think about the New Gods or Eternals back in the ’70s, but also Starlin’s cosmic sagas in Captain Marvel and Warlock, it seems like the soundtrack should be provided by Yes, King Crimson, ELP, Jethro Tull and Hawkwind (yeah, I know, technically they’re considered ‘space rock,’ but that’s just splitting hairs…)

  2. Edo Bosnar

    Like I said in my comment to your Omac post, I ultimately found Eternals as disappointing as all of Kirby’s other material from the 1970s. I read the whole run about 10 or so years ago, and I recall thinking that Kirby’s enthusiasm for the property seemed to have dissipated after about 10 issues.
    I will acknowledge, though, that the Eternals is arguably the best concept Kirby came up with during this period. And yeah – even though I was first introduced to the Eternals in the pages of Thor (stories that I really liked back then) – I agree that it was a really dumb idea to fold the Eternals into the wider Marvel Universe. It’s very much a standalone concept that makes no sense in a world in which there’s already a ton of super-powered heroes and villains, the Norse, Greek and sometimes other mythological pantheons actually exist, sorcery is also a thing, and visitations by intelligent alien races, both benevolent and hostile, are rather commonplace.

  3. Jazzbo

    I just re-read this series last month. Mainly because I started making my way through my Thor collection again and had gotten to the issues where they fold the Eternals into the MU proper and figured it would be worth re-reading. When I originally read it 10 or so years ago I thought it was maybe the weakest of Kirby’s 70s outings (I’m a huge fan of the stuff he both wrote and drew in the 70s) On this re-read I liked this series a lot more. Not sure what changed for me. I do think it was stupid to bring them into the MU continuity. Not only does it make their story not make sense, but there just wasn’t any reason for it. There already were Inhumans and Norse god and Greek gods and alien races and others that make the Eternals just feel really redundant in the main continuity.

  4. frednotfaith2@aol.com

    I got a couple of issues of the Eternals when they were new on the racks. Didn’t really inspire me to keep reading. At the time, I loved Kirby’s art that I was reading in reprints of his runs in the FF & Thor, etc., but all of his new material, bereft of Lee’s dialogue, I couldn’t really get into. Still, I did get the entirety of his runs on Captain America & the Falcon and Black Panther, although in both his characterizations of Steve Rogers, Sam Wilson, T’Challa, etc., seemed utterly divorced from the same characters as written by Englehart & McGregor, among others, and I say that even knowing that Kirby co-created Rogers and T’Challa, but there had been a big gap between the previous time he had depicted the characters and when he returned to them in the mid-70s. Then again, there was an even bigger gap between his original run on Captain America in 1940 – ’41 and when he returned to Cap in 1964. Kirby, although taking inspiration from multiple sources, had his own individualistic take on things and apparently didn’t like having to take into account whatever anyone else may have been doing or was concurrently doing with a character he was depicting.
    Also, I vividly recall seeing the movie Chariots of the Gods at a theater circa 1973 when my family lived in Salt Lake City (I wasn’t born there — my dad was in the Navy, from 1957 to 1983, and had accepted recruiting duty there, mainly because SLC was the closest he could get to Wyoming where his father lived, and after having been estranged from him for nearly 20 years, he wanted better opportunities to get close to him and for my brothers and me to get to know him). Anyhow, at the time, as 10 or 11 year old, Von Doniken’s hypotheses seemed fascinating; as a far more skepitcal and somewhat wiser adult, I find them preposterous and even racist — as in taking the stance, “how could the ancestors of these primitive peoples have created the pyramids, etcs.? Obviously, they couldn’t have! Therefore, they had to have been made by aliens from space! Case closed.”

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