I mean a big step in my career and at the time I had been doing Shimura with Robbie Morrison at the Megazine and it was all laser knifes, guns and hoverbikes and I wanted something that didn’t have any tech. so I said “Could you write me a story that’s just a lot of fisticuffs”. You know just some hand to hand fighting and he wrote me a one shot called “The Hand-to-Hand Job” (Laughs) and it was, actually it might be the best Lobo story I’ve ever read but it never got published. I did all the pencilling for it and sent it in, and I thought it was the best thing I had ever done. The editor there was a guy called Dan Raspler and I thought he was going to get back to me the next day to tell me how great it was. A week had passed and eventually he phoned me, and his opening line was. “Dude I don’t know how to tell you this” and my heart just sank. It was like your drawings are great, but your storytelling really sucks. He said, “I’ve written a letter and you’ll get it soon”. and it goes through the 24 pages. Page by page and it was like “This is a new scene, start with an establishing shot”. You know. Now that we have that establishing shot, we don’t need the background in every panel. It’s just other things like This is a fight we’ve already established the two guys throwing punches at each other you don’t need to have both the guys for every panel you can zoom in and have a fist connecting with a jaw. It was just really simple stuff I just hadn’t considered. I went through this letter with all these points, the letter was actually in a glass case at the Kelvingrove exhibition I included it because it was a total turning point in my career
Saturday, April 3, 2021
Frank Quitely describes the Lobo story he drew that was rejected, and how appreciative he was for the advice he received
Very long interview packed with good anecdotes covering the start of his career through visiting the sets for Netflix's Jupiter's Legacy.
Labels: comic books