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Kamandi, The Last Boy on Earth, Issue 2, Page 2-3

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Kamandi, The Last Boy on Earth, Issue 2, Page 2
MRE1957's picture
Posted by: MRE1957 | June 18, 2014

Shocking.

That anyone could give this less than 5 stars. Just look at the complex human characterization Jack gave our rodent friend on the right. He looks wary, sly and very, very dangerous!

After the Fourth World books, we all wondered where Kirby would go next. Well, we didn't have to wait long because Kamandi and The Demon were soon upon us. And with double-page spreads like this one, we could tell a new epic was beginning!

Anonymous's picture
Posted by: Anonymous (not verified) | June 18, 2014

KAMANDI

Why is the inking so 'weak' on the destroyed suspension bridge;(or archway) everything else has the same intensity except for THAT area of the panel?

kc

James Romberger's picture
Posted by: James Romberger | June 18, 2014

Not weak

That inking on the suspension bridge is not "weak" at all, rather it is VERY skillfully done by Mike Royer to be a bit lighter than the foreground elements, to enhance the impression of deep space that is involved in this wonderful drawing

kc's picture
Posted by: kc (not verified) | June 18, 2014

'weak' ink

MIKE is THE BEST IMHO but that technique on that panel puzzles me regardless the explanation

We'll let it go at that ;-)

James Romberger's picture
Posted by: James Romberger | June 18, 2014

Determinedly puzzled

Hmm, you asked a question, I provided a sensible explanation and you choose to just ignore it and still plead incomprehension. That makes a lot of sense

kc's picture
Posted by: kc (not verified) | June 19, 2014

weak

well it is what it is; personally I DO NOT LIKE IT; DO NOT LIKE THE TECHNIQUE; we can agree to disagree...no flames no nastiness. That is all ;-)

kc

Frank Fosco's picture
Posted by: Frank Fosco | June 19, 2014

Nothing weak about this

I agree with James. That technique by Royer from foreground to background is spot on. It's just not the bridge but the water has the same line weight as well. What you may be having a problem with, kc, is the erraticness of the line which is deliberately done to give the look of decay. Open line shadow and no solid blacks to add to the distance/depth. As a whole, this works.

James Romberger's picture
Posted by: James Romberger | June 19, 2014

Haha, well, holy mackerel,

Haha, well, holy mackerel, note to self: watch out because some unverified peoples DO NOT LIKE well-done depth techniques in inking!!!

Frank Fosco's picture
Posted by: Frank Fosco | June 19, 2014

Jacked up?

Let's not totally give credit (or blame) to Mike here. He probably followed very close to what Jack had drawn. We do know Mike was the most faithful to Jack's pencils, correct?

Mike T's picture
Posted by: Mike T | June 19, 2014

Atmospheric Inks

I think the fact that Royer went with a finer line to provide an atmospheric effect to the bridge and other items in the distance is the best aspect of his inking on this 2-page spread. I'd like to know whether the original pencils were like this, or if Mike did it on his own (rather than conjecture).

Frank Fosco's picture
Posted by: Frank Fosco | June 19, 2014

Pencil to ink

Jack's pencils were pretty full and Mike would ink those pencils quite faithfully. He would go as far as inking the individual lines in a shadow even if Jack was meaning for it to be a solid black. I would go as far as saying Jack would even do the line weights in pencil and Mike would mostly ink what's there. It's not so much conjecture when we have seen Jack's pencils during this time because of The Jack Kirby Collector and this site and then seeing the final result of the inks by Mike. However, it would be nice if there were a copy of the pencils to this piece.

Mike T's picture
Posted by: Mike T | June 19, 2014

Likelihood vs. Certainty

The likelihood is that it is exactly as you suggest. However, I don't recall ever seeing Jack capture an atmospheric effect in his pencils.

James Romberger's picture
Posted by: James Romberger | June 19, 2014

Depth

Royer did say about this particular Kamandi issue that Kirby's pencils were perfect and pristine, some of the best he'd ever seen Jack do--and that he went out of his way to do a good job inking them. I don't know if Jack lightened up his linework, or if this was Royer's interpretation, but I love it. It reminds me of a similar depth effect seen when Harvey Kurtzman inked John Severin on a story in the first issue of Frontline Combat, and likewise of the brilliant inking on Michael Golden's first 'Nam story in the first issue of the black and white Savage Tales magazine (vol 2)

WinstonLee's picture
Posted by: WinstonLee (not verified) | June 19, 2014

Aerial Perspective

It's called aerial perspective. I think's cool.

f ron miller's picture
Posted by: f ron miller | June 19, 2014

I think it's cool too!

Brilliant, really. When I look at this I see good old fashion color theory applied. Dark colors advance while light colors recede. https://sites.google.com/site/scienceofcolour/how-colors-advance-and-rec...

Excellent, atmospheric spread. Though I will say a wee bit atypical for the bombastic Mr. Kirby! He could be incredibly subtle about somethings. Not usually when it came to stuff like this.

Krackles's picture
Posted by: Krackles | June 19, 2014

At Most, Erik…

…I'll trade Royer's Stratospheric Point of View against Crapletta's Exospheric Perspective anytime!

See you in Paris next july, Erik :-P

Mike T's picture
Posted by: Mike T | June 19, 2014

taking a "Crapletta"---AGAIN?!?!?!

Good God man! Again with the Colletta-bashing?!?!?!? Shouldn't you be seeing a doctor about this obsession of yours with Vinnie?

Mike T's picture
Posted by: Mike T | June 19, 2014

We love you, Krackles!

Yep.

Winston L's picture
Posted by: Winston L | June 19, 2014

Arial Perspective 2

Should post by logging in, in that way I will not lose any of my previous posts.

Yeah, I'd say Royer did a wonderful. We forget too that works like these ardone under a deadline. He could have plowed through this stuff, but it's detailed and carefully administered work. The decisions and techniques of penmanship and brushwork takes a hell of lot of experience that most e people could only dream of doing.

Winston L's picture
Posted by: Winston L | June 19, 2014

Blasted

Blasted! Can't get use to the finger pad on my notebook!

Krackles's picture
Posted by: Krackles | June 21, 2014

Sorry, Sore Eyes!

Obsession? More like an agression from Vinnie…
… I just received the Jack Kirby's Mighty Thor Omnibus Vol. 2 and, each time I turn a page, I feel like I'm on the receiving end of an eye gouging by courtesy of Crapletta!
Besides, I need to practice before meeting Erik Larsen, Vinnie's most prominent proponent, next july in Paris. I eagerly anticipate a nice insightful discussion in debating Gil Kane's viewpoint when he said that "Vinnie Colletta was his second favorite inker".

Claude's picture
Posted by: Claude (not verified) | June 21, 2014

Colletta, Kane's second favorite inker?

At Dallas Fantasy Fair back in the mid 80's, I got to discuss Colletta with Gil Kane. I prefaced by comment with the apologetic phrase "Vinnie Colletta may be a nice guy, but..."
Kane cut me off. He was seated at a table, doing sketches for $20 a pop. He looked up at me over his glasses and said, "Vinnie Colletta is NOT a nice guy!"
Now, I don't know if that had anything to do with what Kane thought of VC's inking abilities, but he clearly didn't hold him in high regard.
I was going to tell Mr. Kane that Colletta seemed to have no talent and very little in the way of skills except for tracing over pencil drawings.
We had a brief discussion about inkers and he told me that one of his favorite inkers was Rudy Nebres. This kind of shocked me because I thought Nebres got rid of any trace of Kane's style with his inking.
But I was left with no doubt that Colletta was not exactly a favorite anything of Gil Kane's.

Krackles's picture
Posted by: Krackles | June 21, 2014

Strip Tease

Claude, you were supposed to ask:
Who's Gil Kane's favorite inker?

As for my personal opinion on Colletta, I would not say he had no inking skills, but he clearly chose a path that led him to slaughter art on a regular basis and he was a total mismatch for Kirby's explosive and very stylized art.

Frank Fosco's picture
Posted by: Frank Fosco | June 21, 2014

Okay. Gil's favorite inker

I was at a convention and heard Gil talking to a group of people. He told them that Vince Colletta was his second favorite inker. Someone from the group asked, "Who then is your favorite inker?" Gil replied, "Anyone else." True story. Must have been part of Gil's shtick.

Mike T's picture
Posted by: Mike T | June 22, 2014

Twisted Admiration

You gotta admire a man who has the special talent of taking a conversation or thread--any conversation or any thread--and turning it into a platform for bashing Valorous Vinnie. It's a talent so very few of us even have an "inkling" of.

Krackles's picture
Posted by: Krackles | June 22, 2014

Bashful Me

So much praising Mike, you'd make me blush but, really, I don't deserve half of it since Vinnie made it so easy for most of us!

Mike T's picture
Posted by: Mike T | June 22, 2014

don't be modest

Now don't be modest, Krackles. Accept credit where credit is due.

thestikman's picture
Posted by: thestikman | June 22, 2014

A master and frequent flyer

A master and frequent flyer of this technique of using different ink-line-thickness to establish different planes of distance from foreground to background (hoo-boy!) was the great Joe Maneely. It appears most often in his Atlas western genre work.

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