Atlantis Online

Science Fiction & Fantasy => Comic Book Creators => Topic started by: Watchman on June 05, 2011, 02:51:43 am

Title: Gene Colan
Post by: Watchman on June 05, 2011, 02:51:43 am
Gene Colan

Eugene "Gene" Colan (born September 1, 1926) is an American comic book artist best known for his work for Marvel Comics, where his signature titles include the superhero series, Daredevil, the cult-hit satiric series Howard the Duck, and The Tomb of Dracula, considered one of comics' classic horror series.

Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 02:53:31 am

Colan at the Big Apple Summer Sizzler in Manhattan, June 13, 2009.
Born    September 1, 1926 (1926-09-01) (age 84)
The Bronx, New York
Nationality    American
Area(s)    Penciller, Inker
Pseudonym(s)    Adam Austin
Notable works    Daredevil
Detectives Inc.
Howard the Duck
Tomb of Dracula
Awards    Eagle Award, 1977, 1979
Eisner Award, 2010

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 02:54:11 am
Born in The Bronx, New York City, New York,[1] Gene Colan began drawing at age three. "The first thing I ever drew was a lion. I must've absolutely copied it or something. But that's what my folks tell me. And from then on, I just drew everything in sight. My grandfather was my favorite subject".[1] He attended George Washington High School in the Washington Heights section of Manhattan, and went on to study at the Art Students League of New York. His major art influences are Syd Shores, Coulton Waugh,[1] and Milton Caniff.[1]

He began working in comics in 1944, doing illustrations for publisher Fiction House's aviation-adventure series Wings Comics. "[J]ust a summertime job before I went into the service",[2] it gave Colan his first published work, the one-page "Wing Tips" non-fiction filler "P-51B Mustang" (issue #52, Dec. 1944).[3] His first comics story was a seven-page "Clipper Kirk" feature in the following month's issue.[4]

After attempting to enlist in the U.S. Marine Corps during World War II but being pulled out by his father "because I was underage", Colan at "18 or 19" enlisted in the Army Air Corps.[1] Originally scheduled for gunnery school in Boulder, Colorado, plans changed with the war's sudden end. After training at an Army camp near Biloxi, Mississippi, he joined the occupation forces in the Philippines.[1] There Colan rose to the rank of corporal, drew for the Manila Times, and won an art contest.[1]

Upon his return to civilian life in 1946, Colan went to work for Marvel Comics' 1940s precursor, Timely Comics. He recalled in 2000,

    "I was living with my parents. I worked very hard on a war story, about seven or eight pages long, and I did all the lettering myself, I inked it myself, I even had a wash effect over it. I did everything I could do, and I brought it over to Timely. What you had to do in those days was go to the candy store, pick up a comic book, and look in the back to see where it was published. Most of them were published in Manhattan, they would tell you the address, and you'd simply go down and make an appointment to go down and see the art director".[1] Al Sulman, listed in Timely mastheads then as an "editorial associate",[5] "gave me my break. I went up there, and he came out and met me in the waiting room, looked at my work, and said, 'Sit here for a minute'. And he brought the work in, and disappeared for about 10 minutes or so... then came back out and said, 'Come with me'. That's how I met [editor-in-chief] Stan [Lee].[6] Just like that, and I had a job".[1]

Comics historian Michael J. Vassallo identifies that first story as "Adam and Eve — Crime Incorporated" in Lawbreakers Always Lose #1 (cover date Spring 1948), on which is written the an internal job number 2401. He notes another story, "The Cop They Couldn't Stop" in All-True Crime #27 (April 1948), job number 2505, may have been published first, citing the differing cover-date nomenclature ("Spring" v. "April") for the uncertainty.[7]

Hired as "a staff penciler", Colan "started out at about $60 a week. ... Syd Shores was the art director".[8] Due to Colan's work going uncredited, in the manner of the times, comprehensive credits for this era are difficult if not impossible to ascertain. In 2010, he recalled his first cover art being for an issue of Captain America Comics;[9] Colan drew the 12-page lead story in issue #72, the cover-artist of which is undetermined.[10] He definitively drew the cover of the final issue, the horror comic Captain America's Weird Tales #75 (Feb. 1950), which did not include the titular superhero on either the cover nor inside.[11]

After virtually all the Timely staff was let go in 1948 during an industry downturn, Colan began freelancing for National Comics, the future DC Comics. A stickler for accuracy, he meticulously researched his countless war stories for DC's All-American Men at War, Captain Storm, and Our Army at War, as well as for Marvel's 1950s forerunner Atlas Comics, on the series Battle, Battle Action Battle Ground, Battlefront, G.I. Tales, Marines in Battle, Navy Combat and Navy Tales. Colan's earliest confirmed credit during this time is penciling and inking the six-page crime fiction story "Dream Of Doom", by an uncredited writer, in Atlas' Lawbreakers Always Lose #6 (Feb. 1949).[12]

He would rent 16 mm movies of Hopalong Cassidy Westerns in order to trace likenesses for the DC licensed series, which he drew from 1954 to 1957.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 02:57:55 am

Daredevil #48 (Jan. 1969). Gene Colan (penciler) and George Klein (inker) slip an in-joke into this Times Square scene. Whatever caused the apparent frustration, note the word at Daredevil's left hand.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 02:59:20 am
Silver Age

While freelancing for DC romance comics in the 1960s, Colan did his first superhero work for Marvel under the pseudonym Adam Austin.[13] Taking to the form immediately, he introduced the "Sub-Mariner" feature in Tales to Astonish, and succeeded Don Heck on "Iron Man" in Tales of Suspense.

Shortly afterward, under his own name, Colan became one of the premier Silver Age Marvel artists, illustrating a host of such major characters as Captain America, Doctor Strange (both in the late-1960s and the mid-1970s series), and his signature character, Daredevil. Operating, like other company artists, on the "Marvel Method" — in which editor-in-chief and primary writer Stan Lee "would just speak to me for a few minutes on the phone, tell me the beginning, the middle and the end [of a story] and not much else, maybe four or five paragraphs, and then he’d tell me to make [a 20-page] story out of it,"[2] providing artwork to which Lee would then script dialogue and captions — Colan forged his own style, unlike that of artists Jack Kirby and Steve Ditko, whom Lee would point to as exemplars of the Marvel style:

    [W]hatever book he thought was selling, he would have the rest of the staff try to copy the same style of work, but I wouldn't do it. I'd tell him if you want Stevie Ditko then you'll have to get Stevie Ditko. I can't do it, I have to be myself. So he left me alone. ... He knew I meant it and that I couldn't do it and there was no point in trying to force me to do it. Stan recognized something in my work from the very start, whatever that was, that gave my first big break. And I always got along very well with Stan; not everybody can say that but I did ... so he let me do pretty much what I wanted to do.... [T]here was always some little change here and there, but basically he left me alone. ... And I was intimidated by Stan. I didn't want to go into his office, it upset me a little bit, but he was very nice to me. He left me pretty much alone because I was able to deliver pretty much what he was looking for, so we never had any trouble.[2]

Colan's long run on the series Daredevil encompassed all but three issues in an otherwise unbroken, 81-issue string from #20-100 (Sept. 1966 - June 1973), plus the initial Daredevil Annual (1967). He returned to draw ten issues sprinkled from 1974–79, and an eight-issue run in 1997. Colan admitted relying upon amphetamines in order to make deadlines for illustrating the series Doctor Strange.[14]

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:00:27 am

Dr. Strange #180 (May 1969). Cover art by Colan and inker Tom Palmer, utilizing photomontage.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:00:47 am
Dracula and Batman

Colan also in the 1970s illustrated the complete, 70-issue run of the acclaimed[15] horror title The Tomb of Dracula, as well as most issues of writer Steve Gerber's cult-hit, Howard the Duck.

He had to lobby, he said, to be assigned to Tomb of Dracula: Colan, already one of Marvel's most well-established and prominent artists, said he had lobbied for the assignment.

    When I heard Marvel was putting out a Dracula book, I confronted [editor] Stan [Lee] about it and asked him to let me do it. Be didn't give me too much trouble but, as it turned out, he took that promise away, saying he had promised it to Bill Everett. Well, right then and there I auditioned for it. Stand didn't know what I was up to, but I spent a day at home and worked up a sample, using Jack Palance as my inspiration and sent it to Stan. I got a call that very day: 'It's yours.'"[16]

Back at DC in the 1980s, following a professional falling out with Marvel,[17] Colan brought his shadowy, moody textures to Batman, serving as the Dark Knight's primary artist from 1982–1986, penciling most issues of Detective Comics and Batman during that time. He was also the artist of Wonder Woman from early 1982 to mid-1983. Helping to create new characters as well, Colan collaborated in the 1980s with The Tomb of Dracula writer Marv Wolfman on the 14-issue run of Night Force; with Cary Bates on the 12-issue run of Silverblade; and with Greg Potter on the 12-issue run of Jemm, Son of Saturn. As well, he drew the first six issues of Doug Moench's 1987 revival of The Spectre.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:01:06 am
Colan's style, characterized by fluid figure drawing and extensive use of shadow, was unusual among Silver Age comic artists,[18] and became more pronounced as his career progressed. He usually worked as a penciller, with Klaus Janson and Tom Palmer as his most frequent inkers. Colan broke from the mass-market comic book penciller/inker/colorist assembly-line system by creating finished drawings in graphite and watercolor on such projects as the DC Comics miniseries Nathaniel Dusk (1984) and Nathaniel Dusk II (1985–86), and the feature "Ragamuffins" in the Eclipse Comics umbrella series Eclipse #3, 5, & 8 (1981–83). All these were written by frequent collaborator Don McGregor.

Independent-comics work includes the Eclipse graphic novel Detectives Inc.: A Terror Of Dying Dreams (1985), written by McGregor and reprinted in sepia tone as an Eclipse miniseries in 1987, and the miniseries Predator: Hell & Hot Water for Dark Horse Comics. He contributed to Archie Comics in the late 1980s and early 1990s, drawing and occasionally writing a number of stories. His work there included penciling the lighthearted science-fiction series Jughead's Time Police #1-6 (July 1990 - May 1991), and the 1990 one-shot To Riverdale and Back Again, an adaptation of the NBC TV movie about the Archie characters 20 years later, airing May 6, 1990; Stan Goldberg and Mike Esposito drew the parts featuring the characters in flashback as teens, while Colan drew adult characters, in a less cartoony style.

Back at Marvel, he collaborated again with Marv Wolfman on a The Tomb of Dracula series and with Don McGregor on a Black Panther serial in the Marvel Comics Presents anthology.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:02:10 am

Colan page from The Tomb of Dracula #40 (Jan. 1976). Inked by Tom Palmer.

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:02:40 am
Later life and career

Colan did some of the insert artwork on Hellbilly Deluxe (released August 1998), the first solo album of Rob Zombie, credited as Gene "The Mean Machine" Colan.[19]

In the 2000s, Colan returned to vampires by drawing a pair of stories for Dark Horse Comics' Buffy the Vampire Slayer series.

Colan and his second wife,[20] Adrienne, moved from New York City to Vermont late in life.[citation needed] At various points he has taught at Manhattan's School of Visual Arts and Fashion Institute of Technology, and had showings at the Bess Cutler Gallery in New York City and at the Elm Street Arts Gallery in Manchester, Vermont.[citation needed]

He penciled the final pages of Blade vol. 3, #12 (Oct. 2007), the final issue of that series, drawing a flashback scene in which the character dresses in his original outfit from the 1970s series The Tomb of Dracula. That same month, for the anniversary issue Daredevil vol. 2, #100 (Oct. 2007), Colan penciled pages 18–20 of the 36-page story "Without Fear, Part One"; the issue additionally reprinted the Colan-drawn Daredevil #90-91 (Aug.-Sept. 1972).

On May 11, 2008, Colan's family announced that Colan, who had been hospitalized for liver failure, had suffered a sharp deterioration in his health.[21] By December, he had sufficiently recovered to travel to an in-store signing in California.[22] He has continued to produce original comics work as late as 2009, drawing the lead feature in Captain America #601 (Sept. 2009). Subsequently, he won an Eisner Award for Best Single Issue (together with writer Ed Brubaker) for his work on that issue.[23]

Colan's estranged wife Adrienne was found dead in their family home on June 21, 2010.[24] The previous December, the 67-year-old Adrienne briefly stayed at a mental health facility in New York after an alleged self-harming incident.[25] The couple's children, Eric and Nanci, then became involved in Colan's business affairs, taking it over fully in March.[25] On March 31, Adrienne physically assaulted Colan, leaving him with a separated shoulder that resulted in hospitalization.[25] Colan had an order of protection served against her, and remained in the hospital. Adrienne pleaded guilty to the assault in mid-May.[25]

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:03:06 am

Interior pencil art includes:
DC Comics

    * Batman #340, 343-345, 348-351, 373, 383 (1981-1985)
    * Batman: Gotham Knights (Batman Black and White) #15 (2001)
    * DC Challenge #1 (1985)
    * DC Comics Presents (Wonder Woman preview) #41 (1982)
    * DC Science Fiction Graphic Novel Nightwings (1985)
    * Detective Comics #510, 512, 517, 523, 528-538, 540-546, 555-567 (1982-1986)
    * Elvira's House of Mystery #11 (1987)
    * Fury of Firestorm #19, Annual #4 (1984-1986)
    * Jemm, Son of Saturn #1-12 (limited series) (1984-1985)
    * Just Imagine Stan Lee With Jim Lee Creating Wonder Woman (backup story) (2001)
    * Legion of Super-Heroes vol. 2 #311 (1984)
    * Legion of Super-Heroes vol. 3 #27 (1986)
    * Little Shop of Horrors movie adaptation #1 (1987)
    * Nathaniel Dusk #1-4 (1984)
    * Nathaniel Dusk II #1-4 (1985-1986)
    * New Teen Titans (Night Force preview) #21 (1982)
    * Night Force #1-14 (1982-1983)
    * Phantom Zone #1-4 (1982)
    * Secret Origins (Crimson Avenger) #5 (1986)
    * Silverblade #1-12 (1987-1988)
    * Spectre (vol. 2) #1-6 (1987)
    * Who's Who: The Definitive Directory of the DC Universe #2, 11, 16-17, 25 (1985-1987)
    * Wonder Woman #288-305 (1982-1983)
    * World's Finest Comics (Zatanna) #274, (Superman and Batman) #297, 299 (1981-1984)

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:03:30 am
Marvel Comics

    * Amazing Adventures (Black Widow) #3-5; (Killraven) #26
    * Astonishing Tales (Dr. Doom) #7-8
    * Avengers #63-65, 206-208, 210-211
    * Captain America #116-137, 256, 601
    * Captain Marvel #1-4
    * Daredevil #20-49, 53-82, 84-100, 110, 112, 116, 124, 153-154, 156-157, 363, 366-368, 370
    * Daredevil, vol. 2, #100
    * Doctor Strange #172-178,180-183
    * Doctor Strange, vol. 2, #6-18
    * Dracula Lives #6, 8
    * Howard the Duck #4-20,24-27,30-31
    * Howard the Duck Magazine #1-5, 7-9
    * Iron Man #1, 253, Annuals #10, 13, 15
    * Iron Man and Sub-Mariner #1
    * Marvel Comics Presents #13-37, 101-108, 112
    * Marvel Preview #8, 16, 23
    * Marvel Super-Heroes #12-13 (Captain Marvel), 15 (Medusa), 18 (Guardians of the Galaxy)
    * Marvel Team-Up #87
    * Savage Sword of Conan #33
    * Silver Surfer (The Watcher) #1-3
    * Strange Tales (Brother Voodoo) #169-173
    * Sub-Mariner #10-11, 40, 43, 46-49
    * Tales of Suspense (Iron Man) #73-99
    * Tales to Astonish (Sub-Mariner) #70-77, 79-82, 84-85, 101
    * The Tomb of Dracula #1-70
    * Tomb of Dracula Magazine #3-6
    * Tower of Shadows #3-4, 6
    * What If (Fantastic Four) #21

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:04:32 am
Awards and honors

Colan won for the Shazam Award for Best Penciller (Dramatic Division) in 1974. He received the 1977 and 1979 Eagle Award for Favorite Comic Book (Humor), for Howard the Duck, and was nominated for five Eagle Awards in 1978.

In 2005, Colan was inducted into the comics industry's Will Eisner Comic Book Hall of Fame.[26]

The Cartoon Art Museum in San Francisco, California, presented the retrospective "Colan: Visions of a Man without Fear" from November 15, 2008, to March 15, 2009.[27]

Colan is the recipient of the 2008 Sparky Award, presented December 4, 2008.[citation needed]

He won the Comic Art Professional Society's Sergio Award on October 24, 2009.[28]

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:04:52 am

   1. ^ a b c d e f g h i "'So You Want A Job, Eh?' - The Gene Colan Interview", Alter Ego vol. 3, #6 (Autumn 2000). WebCitation archive.
   2. ^ a b c "Gene Colan" (interview), Adelaide Comics and Books, 2003. WebCitation archive.
   3. ^ GWings Comics #42, Dec. 1944 at the Grand Comics Database
   4. ^ Wings Comics #53 (Jan. 1945) at the Grand Comics Database
   5. ^ For example, see Patsy Walker #11 (June 1947) at the Grand Comics Database
   6. ^ Whose official title, per same issue of Patsy Walker as above, was "consulting associate"
   7. ^ Vassallo, Michael J. Marvel Masterworks: Atlas Era Strange Tales Vol. 2, "The History of Atlas Horror/Fantasy Pre-Code 1953" (Marvel Publishing 2009), p. vii (unnumbered). ISBN 978-0-7851-3489-3
   8. ^ Gene Colan interview, Alter Ego #52 (March 2006), p. 66
   9. ^ "Captain America #601 Cover Art for Sale", Gene Colan official site, September 6, 2010. WebCitation archive.
  10. ^ Captain America Comics #72 at the Grand Comics Database
  11. ^ Captain America Comics #75 at the Grand Comics Database
  12. ^ Lawbreakers Always Lose #6 (Feb. 1949) at the Grand Comics Database
  13. ^ Evanier, Mark. "An Incessantly Asked Question #5" POVOnline (column) April 14, 2008. Retrieved July 28, 2008.
  14. ^ "The Colan Mystique" (interview), Comic Book Artist #13 (May 2001). WebCitation archive.
  15. ^ As discussed in Wolk, Douglas. Reading Comics: How Graphic Novels Work, and What they Mean[page needed]
  16. ^ Greenberger, Robert. "Inside the Tome of Dracula", Marvel Spotlight: Marvel Zombies Return (2009), p. 27 (unnumbered)
  17. ^ "Jim Shooter Interview, Part 1", Comic Book Resources, October 6, 2000. WebCitation archive.
  18. ^ Daniels, Les, Marvel: Five Fabulous Decades of the World's Greatest Comics (Harry N. Abrams, New York, 1991), p. 132. ISBN 0-8109-3821-9
  19. ^ Rob Zombie at Richard De La Font Agency, Inc.
  20. ^ "[M]y first wife and I would go out on dates with" fellow Timely Comics artist Rudy LaPick and his girlfriend": Alter Ego, p. 70
  21. ^ "Comic Book Legend Gene Colan Hospitalized for Liver Failure" Comic Book Resources, May 11, 2008. WebCitation archive.
  22. ^ Evanier, Mark. "Gene Gene", "POV Online" (column) December 2, 2008
  23. ^ "2010 Eisner winners". Retrieved 2011-01-06.
  24. ^ Evanier, Mark. "Adrienne Colan, R.I.P.", "POV Online" (column) June 21, 2010
  25. ^ a b c d Johnston, Rich. "Gene Colan – His Health, His Wealth And Exactly What Happened",, May 24, 2010. WebCitation archive.
  26. ^ "Spirit of Will Eisner Lives on at 2005 Eisner Awards",
  27. ^ "Colan: Visions of a Man without Fear Retrospective",, November 15, 2008. WebCitation archive.
  28. ^ Evanier, Mark. "Genealogy", "POV Online" (column), October 26, 2009

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:06:01 am

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:08:10 am

Conducted by Shiai Mata


To comic book fans, Gene Colan needs no introduction. Entering the business during the 'Golden Age' of comics, he went on to draw thousands of pages over the last sixty years, and his pencil has given us exceptional...and in some cases, definitive...interpretations of such iconic figures as Captain America, Batman, Daredevil, Iron Man, Spider-Man, Wonder Woman, Howard the Duck, Sub-Mariner, Superman, and many others.

Of course, he's perhaps best known to many as the artist of Marvel's seminal TOMB OF DRACULA comic book in the 1970s. His identification with the vampire lord is what made Gene such an inspired choice to do two of the stories in Dark Horse's TALES OF THE SLAYERS project several years back.

I could go on for many more paragraphs, waxing rhapsodic about the artistic talents and accomplishments of Mr. Colan, but all I really need to do to make my point is to steer fans over to the TOTS graphic novel, and let them see for themselves what this man can do with just a pencil and a blank piece of paper.

But first, I invite you all to enjoy this Q&A with the man dubbed, quite accurately, as "Gentleman Gene".

SlayerLit: Gene, when did you first break into the comic book business?

Gene Colan: In 1946. I just got out of the Air Force and took myself up to Timely (Marvel). Got hired on the spot. Whew!

SL: Your style is often described as “atmospheric,” “moody” and “shadowy,” and it’s most definitely unique. Who were your artistic influences?

GC: Although I loved Milton Caniff and Will Eisner, I was mostly influenced by film. Understand film, frame by frame, is very much like panel to panel. The lighting in black and white films taught me a great deal.

SL: The 1950s were a popular time for horror and suspense comics. Did you have the opportunity to draw those sorts of stories?

GC: Not really. My scripts were mostly Westerns, War and Romance.

SL: It was in the 60s at Marvel Comics that you really came into your own as a popular artist, working on some of the company’s most popular super-heroes. Was there any book in particular you most enjoyed doing?

GC: Daredevil was my favorite and still is!

SL: In 1972, the Comics Code Authority relaxed its previous prohibition on the use of vampires in comics, and Marvel decided to launch THE TOMB OF DRACULA. How did you come to be involved with the series?

GC: When I heard Marvel was doing TOD, I called [Editor] Stan Lee immediately. He told me he'd already promised it to Bill Everett. I wanted it so badly, I decided to draw a full page montage of Dracula in many poses. When it arrived at his office he gave me a call and simply said, "The job is yours!".

SL: Any truth to the rumor that you based your visual interpretation of Dracula on actor Jack Palance? And was there a specific reason why you didn’t opt to make your Dracula look like Bela Lugosi, Christopher Lee, or some other actor already established for having played the vampire in film?

GC: I knew long before there ever was a TOD script that if I ever had the chance to draw Dracula, I would use Jack Palance. His bone structure is perfect. Serpentine. It's worked out well.

SL: Marvel is famous for what has become known as the “Stan Lee Style” of writing, wherein the artist lays out and draws the entire issue based upon a plot outline…sometimes no more than a few sentences…and the writer then scripts the dialog to fit the art. Do you prefer this method to working from a detailed script? And in the case of ToD, what was the creative dynamic like between you and writer Marv Wolfman in plotting out each story?

GC: I loved working from just a brief synopsis by Stan over the phone. Gave me lots of room creatively to play!

As for Marv, although he wrote full scripts, he was totally open to my interpretation. I mostly did what I wanted with the scripts and Marv simply rewrote around me. He was great with me. I think I brought him the results he was looking for.

SL: You did all 70 issues of THE TOMB OF DRACULA, and another two dozen or so issues of other comics and magazines featuring Dracula over the years. What is it about the character that appeals to you so much, that you return to him again and again?

GC: Simply? Because they offer it to me! That may be a disappointing answer, but it's the truth.

SL: In 2002, you contributed two stories to Dark Horse’s TALES OF THE SLAYERS project, each time working from a story by writer Doug Petrie. Being a television writer, did Doug provide you with TV-style scripts, or did you work off of his plot outline?

GC: I honestly can't remember. But I do remember him writing stories that were clearly understood to me and not over-directing what I do visually. That helped a great deal in my feeling open to creative interpretation.

SL: Did you base the two Slayers you drew…Rachel O’Connor and Nikki Wood…on real people? The character of Nikki had appeared in flashback on BUFFY once before, but your interpretation didn’t seem to be based on actress April Weeden-Washington, who played her in that episode.

GC: I never saw any Buffy shows. I based my interpretation of Rachel based on the 8 year old daughter of a friend. She had the right bone structure and look. I knew I could make her older. People are always guessing at my faces. None but Palance were ever based on actresses or actors. I have a vast reference file and that's where I found Nikki. If I don't find what I want in my files, I'll photograph people I know or I'll go looking.

SL: Were you encouraged to add your own touches to the stories? For instance, on the “Truth” poster seen in “The Broken Bottle of Djinn,” it looks as if you slipped in a caricature of Cary Grant.

GC: Yes, Doug mentioned to use Cary Grant or any of the promininent actors of that time.

SL: And I just have to ask: Dracula versus Buffy…who wins?

GC: Dracula.

SL: Are you working on any projects now you can share with us?

GC: Yes. Several elaborate commissions, most of which can be seen at and more in the works for next month. And currently completing a special 38 page Captain America for the 'Civil War' series. Dave Guttierez is inking and Ed Brubacker writing. Both great! Should be a winner!

SL: Gene, thank you not only for taking the time to speak with SlayerLit, but thank you so much for a career that has been nothing short of legendary!

GC: Thank you, Shiai!

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:09:01 am

Title: Re: Gene Colan
Post by: Watchman on June 05, 2011, 03:09:22 am