Amelia Earhart, Judge Crater and Ambrose Bierce!
What Do They Have in Common?
Ask adventurer Tyler Flynn as he enters a world that's a kool mashup of everything from Lord of the Rings to Jurassic Park to Indiana Jones!
To Be Continued...Next Wednesday
Note that Carl, the first person Tyler encounters, mentions the aborigine we saw on Page 1, indicating either that Time works differently on this world or Carl (and likely other inhabitants) is very long-lived!
Written and illustrated by Bo Hampton, Eclipse's Lost Planet #1 (1987) was a pet project for Bo, who had already made a name for himself with superb work on Swamp Thing, Moon Knight, and Greylore.
He had written and illustrated a couple of short tales, but this was the first mini-series he scripted.
Hampton’s line art was done on Craft-Tint Bristol Board, used primarily by newspaper comic strip artists for the daily (Monday thru Saturday) strips, though comic book artists also used it.
(Wally Wood and Al Williamson, in particular, were masters of it!)
The textures were embedded in the paper, and different chemicals would reveal different patterns without smearing the India ink art.
It's rarely-used today because the effect can be recreated using Photoshop or other graphic programs after the art is scanned in or created on-screen.
As a result, the paper and chemicals have become scarce and expensive.
But the computer effect doesn't have the "organic" feel of the original paper.
Written and illustrated by Bo Hampton, Eclipse's Lost Planet #1 (1987) was a pet project for Bo, who had already made a name for himself with superb work on Swamp Thing, Moon Knight, and Greylore.
He had written and illustrated a couple of short tales, but this was the first mini-series he scripted.
Hampton’s line art was done on Craft-Tint Bristol Board, used primarily by newspaper comic strip artists for the daily (Monday thru Saturday) strips, though comic book artists also used it.
(Wally Wood and Al Williamson, in particular, were masters of it!)
The textures were embedded in the paper, and different chemicals would reveal different patterns without smearing the India ink art.
It's rarely-used today because the effect can be recreated using Photoshop or other graphic programs after the art is scanned in or created on-screen.
As a result, the paper and chemicals have become scarce and expensive.
But the computer effect doesn't have the "organic" feel of the original paper.
To his credit, colorist Tom Littlejohn did a remarkable job within the technical limitations of the flat four-color separation of the era to keep the final version from being too muddied!
BTW, you can visit Bo Hampton's website HERE!
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