… had this been printed in colour what colour would the background be?
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Good question. I don’t tend to think in color, so as I drew it, it was just white. Don’t think that would be the right hue for the mood of the panel, tho.
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Hmmm, I thought the blank-ness of the white worked very well just as is. It really gave a sense of how isolated he must be feeling with the loss. I could definitely imagine Kurt being the only thing in color in this panel.
Sorry that the Superman experience was a nightmare for you. Also interesting that Dave Cockrum had trouble with a monthly schedule back then. I've always felt a smart editor would take guys like him who can produce, say, 10-15 pages a month and have them on a team book doing one story and a second doing a backup - the LSH did that for a stretch in the 70's which I quite enjoyed as a kid (gave me a chance to see secondary characters in the backup and start to care about them). Smart editors would make use of the talents of the artists they have, not try to force them into a round hole. Sadly I get the feeling the good editors were few and far between. Thus why today we have top talent here doing 'fanfic' instead of producing quality work for the big 2 (among other reasons I'm sure).
Today's page is a good reminder that super-heroes would still be human - regardless of appearance. Losing a loved one is hard and you force yourself to keep going when things need doing, but boy does it hit hard when you get a moment to think.
Interesting that JB thinks in black and white - wonder if that is common with comic book artists given they need to draw in black and white most of the time. Hmm...wonder if old directors did too in the days of B&W movies/TV?
Honestly, the panel is ideal in black and white. It gives me something of an Eisner vibe, letting the posture of the figure take readers beyond where words can go.
(edited to clarify the idea above)
Edited by Andrew Bitner on 30 August 2021 at 8:14am
Also interesting that Dave Cockrum had trouble with a monthly schedule back then ...
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My earlier question (deservedly spanked) was meant to question why they would rehire Cockrum for a second monthly run on the series after he struggled on the first. Appealing to fanbase with familiarity maybe (Didn't want to go with an unknown after such a successful run)?
Dave was a nice guy and everybody liked him. It was hard to say no to him. When he asked to return to UNCANNY he did so assuring everyone he could hack the monthly grind. I’m sure he believed it himself.
(Someone said Dave would get two-thirds of a job done in the time allotted. Give him a year to draw three pages, and he’d turn in two. Give him a month to do thirty pages, and he’d get twenty done. An exaggeration, obviously, but sometimes it seemed not so far from the truth.)
Side note, The High Ways arrived this weekend and read it in one sitting ... first I've read in a looooong time. Funny feeling, when you're away from these books for a while you have to re-educate yourself in how to read them. Great fun! Not surprised there has been an interest in optioning the property. It would translate well if adapted faithfully. It made me wonder how much was changed for the Edge of Tomorrow's adaptation from the original source matrerial.
That otherwise empty panel is a picture that tells a thousand words!
OT on Cockrum: In Japan (with weekly comics the norm) there are usually multiple assistants under the main credited artist. Akira Toriyama started running a credit of Bird Studios rather than just his name, but many don't do that. It's a bit like how you might have uncredited Terry Austin inking backgrounds in a '70s comic credited to Dick Giordano. It doesn't seem to have been done with uncredited pencilling that I know of here. The Japanese comics developed more out of animation and I think the assistant was seen something like an inbetweener or a background artist (they also have inkers, but again not credited), and the name artist was like the key animator. I've seen 'Osamu Tezuka' comics that were as much as 80-90% completed by others, and Reiji Matsumoto (Space-Cruiser Yamato, Captain Harlock) started out as one of those others with him (a bit like Disney, again the animation influence).
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