Thank you for the recommendation! I am definitely very interested. You were lucky to have him as a teacher!

WOW! I'm also an A&D alum. Graduated in 85, so I attended at the tail end of Mr. Krigstein's teaching career. Never had him as an instructor, but I do remember reading this story, probably as a reprint somewhere! Never put 2 & 2 together until this video. Mind blown. 🤯

A&D Alum here also, class of 2001...just had this video recommended, great surprise that he was an instructor at my HS.

Hah! 2001 A&D alum as well. Glad this video was recommended to me.

I admire the fact that he ultimately followed his heart. He dipped when he probably sensed this is not fulfilling in any way

On the other has Marvel has published some non-kid friendly stuff over the years, which in many cases was good storytelling and good art.

You mean the Stan Lee that achieved worldwide fame and success? Seems like the guy might have had the right idea in the end. Krigstein seemed to have been insufferable and, let's be honest, rather uppity.

I don't think that's fair. Like Stan Lee famously published 3 issues of the Amazing Spider-man back in the 1970's where Peter Parker's friend Harry gets addicted to drugs. The Comics Code Authority refused to let him publish those 3 issues with the CCA symbol on them so he just published those 3 issues without the symbol on them. Also the idea in the early Fantastic Four comics of the traditional African country of Wakanda actually being way more technologically advanced even then the United States and even the idea of a Black superhero was very progressive for the time. Also Marvel comics published some important issues like an issue where The Thing goes to a Rhodesia like country to save the Black Panther from the racist government authorities and comments on how racist everything is (i.e. everything's so racially segregated that people of different races are even forced to use different water fountains.) Also the Luke Cage comics talked a lot about racism. Also when the Fantastic Four fight the Hate Monger seemed fairly progressive in terms of fighting hate. Like I think that Stan Lee just thought that unless most of the comic book publishers of the time mostly just publish PG rated adventure stories for kids they were not going to be able to pay the rent each month much less make a respectable profit. Like it wasn't just the government censorship. People were way less progressive then they were now. Like one time back in the 1950s a Black man created a comic featuring several short stories that had normal comic book stories of the time (a detective short story, a policeman short story, I think a pilot short story, stuff like that) except that they featured Black protagonists. The guy had created a print run of a few thousand copies and was going to ship them to customers except that the distributors simply refused to ship them for no good reason. Also after Dr. Frederik Wertham published his novel Seduction of the Innocent there was a wide scale witch hunt where even boy scouts and girl scouts took part in comic book burning campaigns where they were instructed by their Guides to go around collecting peoples comics, created piles of them and lit them into bonfires even though the Nazis had just conducted their infamous literature burning campaigns a decade ago.

@@Ares99999 He did on Jack Kirby's back. And then tried to claim the main credits.

​@@Ares99999 What he said about Stan Lee has little context though. It's possible he had this opinion of him based on their frequent disagreements. The difference between SL and BK were their visions for the medium. BK saw it as a something that could be fine art but at the time, that was a very niche concept. Lee had a business to maintain so he needed things with mass appeal. Marvel was still in it's very early stages as well, he couldn't really afford to take those kind of risks at the time - whether he liked BK's work or not. Comics were expensive to produce and getting shelf space in stores wasn't an easy task. So, Lee's position is understandable. Don't get me wrong, I'm not defending him but it's important to understand the inner workings and environment at the time before making judgements. That said, BK was a genius and understood the concept of "less is more" and allowing the imagery to engross the reader. Everything is said in the imagery of some scenes. It makes it more compelling and dramatic - like a good movie scene where there's no dialogue or music - the scenery and ambient sounds are all that is needed. He had the right idea. It just wasn't quite yet the right time. Had he been patient for a few more years he would've seen his idea bloom in the industry. It's also a shame he didn't live to see his work be truly appreciated - sadly this has been the fate of many like him. Underappreciated in their lifetimes, legendary posthumously.

What was their job? And were you in highschool

Its a real privilege to attend that school. Especially back in the day.

Hogwarts

@@KeeperOfSecrets-42069thank you. All that exposition for a high school teacher Smh

The rich are the scum of the Earth

Yeah, I first read "Master Race" in the oversized hardcover collection _Horror Comics of the 1950s_ which was published by Nostalgia Press in 1971. I was in my teens. The ending knocked me out -- never saw it coming. Been fascinated by that story ever since

That book is setting right on my shelf right beside a well worn copy of "The Great Comic Book Super Heroes"

Thanks for sharing yours, too.

Fantastic

Same! I knew the thumbnail was familiar and realized it was from that same book. That one comic left quite an impression on me (as did the Superduperman parody 😂)

I'm of the opposite opinion. This guy really hated comics. If not, he wouldn't have quit and ran away. Since I love the medium, this guy then feels like a traitor, in a way? He was a part of it, but despised it as much as the government and the eventual CCA.

@@thatbluepowder I certainly can't say much about Krigstein without a lot more education, but he apparently didn't despise comics as a medium as much as he was frustrated by people he worked for and the restrictions within the business model. If he wasn't willing to keep working as a comic illustrator no matter what, that doesn't make him a traitor or an enemy. That's like saying Bill Watterson is a traitor to comics, or JD Salinger was a traitor to prose. Every art form needs people who are not satisfied with the way things are being done - some of those people will have to give up for any number of reasons, they can't all be heralded as geniuses in their lifetime.

​@@thatbluepowder you love it as it is today. Back then, it was not matured and the guy tried, but kept being leashed

@@jehhuty He wasn't the only comic artist then or before. He wasn't even the only comic artist on the globe. He left. The others did not. This video ignores the impact and style of European and Japanese sequential efforts and assumes this one artist was that important to the medium. Completely ignoring Will Eisner, Neal Adams, et al. I'm angry, because he left. He shouldn't be celebrated for quitting and running away. At least call him out on it.

@@thatbluepowder stop being a weirdo

I'm teaching an impromptu comics class, and I swear, I could do the whole class on Maus alone. My semiotics teacher in college was baffled by Maus - "If the writing isn't that great and the art isn't that great, why is it apparently amazing?" - but it's the medium of comics themselves, the panels and balloons and poses, it's basically Mahler at the orchestra platform. Even if it hadn't gotten any recognition, I'd tell everybody even attempting comics to read it and see what can be done. (In "Metamaus" he even says that he abandoned an earlier attempt at doing it in scratchboard, because the "good art" took away from the immediacy of the storytelling. Almost deliberately lofi.) Maus is the art of the space between panel and panel, word and picture, father and son, story and the march of image. Sorry to gush.

@@liimlsan3 excitement is infectious and need not be apologized for. Thank you for sharing.

We've had to analyse a Maus comic page once as a preparation for our national final exams in highschool. They are starting to put some major comics at the same level as other litterary works :>. Hope to see a bit of Moebius in the future too.

I legit gasped as I just started reading Maus a couple weeks ago, that reveal felt to me like the plot twist in the Sixth Sense, I got chills

And better still some schools are banning it, making it even more popular.

I remember reading it too, so you might be disappointed to hear that Maus has been specifically targeted by conservatives for removal from school libraries...I guess it doesn't portray the Nazis neutral enough or makes somebody feel "bad"

@@post-leftluddite The people of Palestine that are living under the boot of Jewish supremacy would disagree with you.

@@post-leftludditeConservative here. I’ve never heard of any conservatives complaining about Maus. The only people who I’ve heard about that complained about it were Jews who considered the books disrespectful.

@@superego8405 Might want to listen more, conservatives say it has too much nudity

Never read maus, but am currently reading sandman

Bullshit. Everyone has choices. Many fail.

​@@peril1His parents could be

He wasn't disallowed from doing anything. He had every opportunity to live up to his potential. He could have drawn his own comics in his free time and try to get them published. He had admirers from across the art industry and there is no doubt that he could have done what McFarlane did with image comics, but he didn't. So it's not really heartbreaking nor relatable, because he had everything he needed to fulfill his potential, but for some reason he didn't-

@@zyxyx6754 Exactly what kind of publishing companies do you think were out there for independent comic writers at the time? And do you think they were paying enough for a man to support his family and himself? Do you think self publishing would have paid enough if he even had the resources for that? And what kind of stories do you think he would have been able to publish with the comics code authority in place and heavily regulating all output by comics publishers and distributors? Certainly not stories he would have liked.

@@seranibitanta5774 What are you on about? He already had a stable source of income. He had working hands and eyes. He could have written as many comics as he would have liked. He was a teacher at a respected institute, how about teach a class where you use it as teaching material? Teach a class about the possibilities inherent in comics? He could have sent them overseas to europe where american comics code authority had 0 influence. He was not disallowed from doing anything. You're just saying he couldn't monetize it directly in america, but that in no way stops him from making art. Unless you argue that he had exactly 0 free time and the inability to make some, He chose not to make art. No one stopped him from doing so except himself.

I would watch a short film about a 10 year old, in what, 1956? finding that issue and reading it and the effect it would have on their worldview. We've all been exposed to media that changed the way we see the world.

@@wetterschneider The story would have struck me much harder yet if I hadn't known about the holocaust already.But it still DID impress me. How weird too to find a perfect copy of it just laying there on the ground in middle of nowhere in an area that gets a fair number of rain and thuderstorms. ( have a reprint of that issue and bring people's attention to it now and then. Needless to say, they are rather stunned. thanks for the comment. hmmmm.

feels like a case of "what did you buy at that shop there gimmy? this thing is bull, I'll throw it out of the car window" kind of deal, which is a thing that happens still (got beamed in the face with one of max bunker more, let's call it, IMPACTFULL comic) as far as the early '00

​@@RSEFX Maybe the discarded book had a story to tell to you...

Unless I'm misunderstanding what it is about films you're describing, I'm not sure if that's exactly right that there was nothing like this? While there's lots of talking in older movies, I can think of famous films from the 40s and 50s when Krigstein was working that have dramatic action scenes without much dialogue/voiceover. For some reason the first thing that comes to mind are the great chase sequences in The Third Man, but there's everything from Hitchcock's memorable moments hanging from the Statue or Liberty or Mt. Rushmore to Gary Cooper's famous fight scene in Cloak & Dagger. There's no talking in that fight, not at all like a radio drama. And from much earlier in the silent era, I'll never forget how clips in the staircase massacre scene in Battleship Potemkin gave me the same slow-motion horror feeling as these panels. Not to mention the edge-of-your-seat stunt-comedy films of Harold Lloyd, Buster Keaton. Am I misunderstanding what you're looking for in older films? Not to take anything away from Krigstein - those train panels in Master Race seem to be using the printed page to its unique strengths, not even in competition to cinema. I think they're amazing, and I'm sure they influenced artists working in all media.

@@booksinbed . Oh. Well that was a lot. Apparently I'm wrong. Congrats. You have obviously seen way more old movies than me. And you have probably read way more comics than I have.

@@ronniestanley75 No way, I'm only a casual comic fan and just heard about this particular comic and artist in this video. I'm sure you've read more than I! I do watch lots of classic film, though, and there's so much to be amazed by. It's an art-form that seriously hit the ground running. I was lucky to have a great introduction to it, as I see that older cinema often gets portrayed as more backward and underdeveloped than it really was, and that causes people to avoid it on the presumption it's just the boring and basic version of whatever is out today. Would it be rude to ask for an edit to your comment to not contribute to that misunderstanding? Edit: I really wanted to ask you what films you had in mind when you wrote your original comment just because I love film and love to talk about it, but when I read my question back I was worried it sounded too much like some horrible test, like a "Oh you like so-and-so's music? Name all their albums." type thing.

@@booksinbed . I don't think that old movies are necessarily boring. They just require much more attention and that is something that is lacking in today's world. But, when you look at the vast majority of cinema from then, you see drama based around dialogue and narration. The camera stays in one place throughout the scene. I think Hitchcock was very good at controlling the camera to focus attention where he wanted without talking but, most films were doing more narrating to explain the situation on screen. And no. I won't edit a comment to suit another person's ego. There is no right or wrong here.

@@ronniestanley75 I'd love to talk about Hitchcock, but your last paragraph bowled me over. There are specific claims in your original comment; it says two times that in movies before this comic "there was nothing like this". To claim that ignores the entire silent era of film, which had minimal narration compared to its action, and even included special effects. There are also plenty of movies from the time Krigstein was working that show multiple camera angles over a wordless action scene. I gave a bunch of examples in my first response to try to show that it was not just a few flukes of films that had comparable sequences, but that I was responding to a general misrepresentation of classic film. (Even though a few flukes would still disprove that "there was nothing like this.") I was trying to be friendly in the way I asked, but I asked you to put an edit on your original comment because I think it's spreading misinformation. It's not giving opinion; it's making specific claims about what existed in the 50+ years of film prior to the publishing of Master Race. There is right or wrong there. Can you help me understand better where you're coming from?

Frankly speaking never knew about Glacier But anyways Professional wrestling is a shit hole and will remain the same way

@@therealslimshady6763yea it’s not like one of the highest attended events in all of Pro Wrestling is happening this summer

Could you further explain how Glacier is responsible for the modern style?

@@GodInHumanForm He isn't. That's kind of my point. Dude was only in the game for a few years and most folks haven't even heard of him.

@@GodInHumanForm He didn't say he was, you misunderstood the OP's comment

Seriously! He's certainly come out of the gate strong! I'm just happy the algorithm pushed him to us.

Thanks for pointing this out, it made me subscribe!

@@himmelsdemon seriously, for a first video this is some lovely presentation.

Agreed! This is gold! Subscribed and hoping to see more

Dude saw his own channel and came out swinging, nice.

nothing you said here is wrong, but i wanted to elaborate on something - the japanese comics didnt simply had longer form "just because"; it was in fact something the gekiga movement was fighting for, tooth and nail, specifically to allow the visuals to breathe. this format was basically inseparable from the content - and when the parent groups were Big Mad over the graphic, dark and moody content, they went to restrict the format, calling for regulations that would only approve comics with certain text to visuals ratio.

A lot of the style of Japanese comics also comes from Osamu Tezuka, or “the god of anime.” And his inspiration was early Disney animation! He was an animator! So his comics resembled animations in how they have panel-to-panel movement. He pioneered the anime industry as well; the reason it’s so low-frame-rate and uses so many shortcuts is because he was trying to build an industry in post-war Japan, and didn’t have much money to work with, so they found all sorts of money-saving tricks. He was the creator of Astro Boy.

@@LimegreenSnowstorm Scott McCloud's statistics on Tezuka still show "moment-to-moment" transitions like animations as the least common type, accounting for only around 5% of panel-to-panel transitions, less than scene-to-scene transitions, but it isn't non-existent like in all the American and European ones he measured except 2 European ones: "The Long Tomorrow" by "O'Bannon & Moebius" (where it's also ~5%) and "Welcome to Aflolol" by "Cristin & Mezieress", (~1%), and some of Spiegelman's: "Skinless Perkins" (where it dominates at ~85%), "Introduction" (~20%), "Cracking Jokes" (~19%), "Prisoner on the Hell Planet" (ca. 3~4%) and "Ace-Hole, Midget Detective" (ca. 1~2%). His unspecific graph for just "Osamu Tezuka" looks like: Moment-to-Moment ~5% Action-to-Action ~44% Subject-to-Subject 30% Scene-to-Scene ~8% Aspect-to-Aspect ~13% Non-Sequitur 0% Total ~100% His graph for "Pheonix" by Osamu Tezuka specifically is very similar: Moment-to-Moment ~6% Action-to-Action ~42% Subject-to-Subject ~25% Scene-to-Scene ~9% Aspect-to-Aspect ~18% Non-Sequitur 0% Total ~100%

Their called Maeinga😂😂😂😂

It's also in the Smithsonian book of comic book comics. 👍🏿

​@@nerfytheclown the Smithsonian is the greatest institution...... at least concerning burying history. I don't know how many stories I've read/heard that have ended with "We called the Smithsonian, nobody ever saw the bones/artifact again."

@@archam777 ... Geez. I didn't give them any money; the book was published forty five years ago and there's a million of them. Sorry to bring you down on the flat, domed, stationary earth.

@@nerfytheclown I wasn't criticizing you in any way.

@@archam777 i didn't think you were. Just don't think there was the slightest bit of correlation between my comment and your refutation of the institution... You look old enough to know that sometimes it's not worth saying something.

Not really. Sometimes. But usually not.

@@allendulles2481 Yes really, believe it or not.

@@josemejia9349 not on societyas much as on individuals, which isn't less

@@IgnacioCanas99 very much so on society and the aggregate of people that make up said society

@@josemejia9349 not really... So far I don't see it that way.

Krigstein did an out-and-out swipe of "Dynamism" in one of his illustrations for the children's book, "Rusty's Space Ship."

Thanks for providing time stamps

Attention span?

(2:34) - a young jew takes over, hires a bunch more jews... They stop writing about hope, honor, light, and life.... And start pushing death, decay, destruction and darkness on the masses.

It's literally 9 minutes

FLAWLESS VICTORY.

_...duuuuuuude..._

Exactly. It was one hell of a missed opportunity. You know how many people go to art class while they are in K12 and are told “No comic book or manga art, THATS NOT REAL ART!”… imagine if he would’ve did the opposite. He probably would’ve been able to speed up the process and/or see works and proper praise that suited his tastes before he died

If he felt burned by the business, he probably wouldn't encourage others to try. I'm sure Van Gogh wasn't recommending painting as a career post DIY ear op....

Read the top comment written by a previous student of his, the you will know that he did care about good art teaching.

Fear isn't the mindkiller, it's shame.

@@kommissar.murphy Oh he was, he hadn't given up even then. It's even been found that there's evidence he framed himself for suicide to prevent some kids who accidentally shot him playing with a gun from getting in trouble. Van Gogh was _wild_ and amazing. One thing people don't talk about? His style was an attempt to replicate the feel of Japanese art. He was obsessed with Japanese art and culture. Van Gogh was the first weeb.

Those are all newspaper strips which was a very different format than comic books.

@@joncarroll2040 Don't be so dismissive. The Sunday strips for all of those were full-page efforts and demonstrated that they were perfectly capable of doing comic book style layouts and storytelling - and doing it better than the vast majority of other artists in either format. If anything, the ability to use sequential art in a meaningful way in the single line of panels allowed for daily strips is more impressive than when you have a whole page or double page spread to work with.

​​​@@richmcgee434 that was a whole lot of words....... for only 2 periods between all of them. 😁 J/k, guess I'm just feeling like a jerk today.

​@@archam777 You used four extra periods than needed for an ellipsis (punctuation type). Which only needed 3 periods. 😂

@@richmcgee434 Newspaper strips were designed to tell serialized stories with new chapters every day/week. As such the artists had a lot more space to work with which allowed them to be more cinematic and visually experiment. Comic books were generally one and done stories that had to be completed in the space of twelve to fifteen pages this led to much more restricted storytelling. Comparing the two isn't quite apples to oranges but the same rules and developments in one should be treated distinctly from the other in the same way you would consider developments in oil paintings vs water colors.

The tragic thing about it was the person that caused the comics code authority, wasn't found out until the 70s to be a complete and total fraud, that made up his entire thesis because he just didn't like comic books. He nearly destroyed an entire industry based off of weird and strange accusations from a very obviously closeted person.

It was voluntary, so what possible consequences could there have been for ignoring the CCA?

@@valdotorg most retailers back then wouldn't sell comics that didn't have the Comics Code seal

It's like hearing "The Match that Changed Women's sports Forever" Because "comics", which is barely even recognized with a real word (that's just UK English for "comedian" because CARTOONS were seen as trifling BS) are next to Franco-belgian comics and Manga something like a SPECIAL category of special needs sports. This US-centric Iron Curtain where you only ever learn anything in DOMESTIC history is some Islam level disturbing stuff.

@@annabaker8137 Well Comic books are dead now because the Woke have ruined and stained the sellability of comics now. And telling fans are racist isn't helping.

With respect to the people you explained this to, I don't understand how anyone could ever possibly confuse illustration with storytelling.

Great observation! There are so many things both big and small that Krigstein does across those 8 pages, I wish I had the time to break down every single panel.