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I don't recall
seeing the Web Centurian appear before the issue of Black Hood
(#12) that you drew. Was this something you got to design,
or was it already designed for you?
I think I came up with this, from Mark
Wheatley's script directions.
Were you aware that
the issue you were drawing was going to be the final issue of the
series?
No.
Had
you followed any of the Impact titles before drawing issue 12?
No, I'm sorry to say, I hadn't. I wasn't aware
of them until I was offered the job, as a matter of fact.
Who contacted you
to do this issue?
Mark Wheatley made the decision to get hold of
me, I suppose, although I don't recall who made the actuall phone
call...
What was the
general feeling at that time, with the Impact people?
Excitement for the Crucible series? Sadness, knowing that
it might be the end of it all?
I only got in touch with Mark, really, and this
was after it was all over. He seemed sad, though, and
disappointed that the whole thing was allowed to just die like
that.
By the time Black
Hood #12 came out, it had almost disappeared from the newsstands,
and yet the issue you did was one of the most important in
understanding the character. Comments on that piece of
irony?
Well, that's irony for you... like a taxi,
never there when you want it. Or is that sarcasm?
How was working
with Mark Wheatly?
A peach.
Mark Wheatley told me that
you were supposed to be the new artist for the Black Hood, but by
the time he finished the script for #12, the line got canned.
Comments?
Uhm, comments... I don't think I ever realized I was the
choice for new artist. I probably would have shit myself if I
knew... ;-) Obviously, I'm flattered now, especially considering
my short track record at the time.
Of course, since I didn't know this, I wasn't too affected by
the line's ending. But I remember being sorry because it seemed
like an interesting project.
How did you find out the
line was ending?
I think Mark Wheatley himself told me the line was dead.
Did you get any
input, storywise, or did you just draw what you were told?
Well , Mark's script was different - he didn't
write a full picture-by picture script, but rather a script
devided into pages with dialog, which let me break down the page
into panels. It's the only time I've worked with that, I
guess.
Your art style
seems to have changed quite a bit from your Black Hood issue to
your Starman run. Was this something you were striving
towards? Or just a natural progression?
Actually, The Black Hood job was one of the few
I did solely as a penciller. So part of the art style there is
due to the talented presence of Rick Buchett (Hope I spelled it
right, please check for me), who lately impressed with his
Huntress series. But, you must also remember, it's been what, 7
years from BH to Starman. A lot of water under the bridge.
Can you give a
short "personal favorites" career highlight list? (just
hit the projects you enjoyed the most?)
Whoa, that's a hard one. The Books of Magic
issue 12 and 13 I guess. I really liked the budding romance stuff
with Molly and Tim, and I was still new to the Vertigo Universe.
Look at me, I'm going all sentimental. But, then again, there was
The Dreaming, Terry LaBan did a wonderful job with that script,
and artwise it was a tremendous fun with Cain and Abel and the
houses and all. Even my wife who's not into comics at all liked
Goldie! And of course the Starr job. You know, I actually like
the guy. Is that weird? And Starman's Grand Guginol - you know,
come to think of it, I was really into Culp as a character
as well. Too bad he had to get his head blown off. And
going way back, The Lords of Misrule from Dark Horse - Actually,
I guess I could go on and on...
Contact Peter directly at Peter@Snejbjerg.com or visit http://www.Snejbjerg.com
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