I don't recall how I came to pencil the interiors of
Justice Machine #12 (Comico, December 1987), but I do recall disappointed at how it turned out. The lettering wasn't what I had envisioned, and the inking was somewhat rushed. Of course, I had never drawn a comic book that I hadn't scripted, lettered, and inked myself, and had control over the color. But even so, I had much higher hopes for this, one of my first "mainstream" superhero penciling jobs.
Ten years earlier, Mike Gustovich, the book's creator and inker over my pencils, had been one of the first pros I had ever met (at one of Stu Shapiro/Todd Loren's Fantasticons at Sans Souci Hall in Farmington, Michigan). He always had trouble drawing women, but Mike was awesomely talented when he took his time. He had a great Wrightsonish superhero style on his
Cobalt Blue work for Michigan's Power Comics. Unfortunately, ten years later, he had devolved into a total deadline-driven hack.
When I was tapped for the job of penciling this issue of
Justice Machine, I recall hoping that in some small way I would be helping Mike out insofar as he'd be able to take his time on the inking and the final result would justify the series' (and his career's) early promise.
I was also hoping, as an example of what I could do with "straight" superhero work, that this freelance assignment would lead to more mainstream jobs along those lines.
No such luck. The final result appears as if Mike inked eight pages a day with a trowel to get the title back on schedule, pure and simple. I always considered that a profound shame. This was before the days of convenient photocopies or scanning, so I don't have any documentary record of my original pencils (perhaps scripter Bob Ingersoll does?), but I know they were tight and polished, and a lot better than this sloppy hatchet job is able to convey.
The little girl looks awful, and I take full blame for that. But there are a lot of other qualities I brought to the job that were completely and forever lost, such as the graceful female figures, which are almost pathologically botched in the inking. You can still see some of the body language and layout sensibility I
brought to the job, but almost nothing of the finesse I brought to the
shading, and it's beyond anyone's ability to imagine how good this job might have turned out. Alas.
It would be fun to pencil these pages again and re-ink them, but every freelancer has a job that got messed up by some hack inker. Only, very seldom does that inker turn out to be the book's own once-talented creator. It was a discouraging experience.
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