The Simpsons/Futurama Crossover Crisis II #2(2005) :
De comiclink !
Sinon pour les explications, voici dans le texte, celles fournies sur le site :
« Note that both pages are on one 10 » X 15" board. It was a common practice in 1974 for Marvel to have one art board per issue contain two pages worth of art. Profit margins were very thin in the comic book business in the mid-1970s and this was an attempt by Marvel’s publisher to cut costs by paying artists for 17 pages of story while printing 18 pages of story. Comic book historian Tony Isabella, who worked for Marvel as both an editor and writer in 1974 provided some background on this.
« What you have is an attempt by Marvel to cut the actual story page count of their comics without making it obvious that they had done so. All of the issues produced during that period, which I think lasted less than a year, had a page like this. Editorial didn’t want to cut the story count to 16 pages* of our 32-page comic books. We were told to plot our stories designating two pages which the artists would draw on a single board. Then the production department would blow them up to full size and run them as two separate pages. Some of us did double-page spreads. Some of us plotted so that the two pages would not appear next to each other and make it obvious that there was something not quite right about them. Eventually, someone figured out that all the extra production work was costing Marvel as much as it was saving by paying for one less page. »
Et sur HERITAGE, plus succinct :
" In 1974, Marvel briefly toyed with a policy of once-per-issue having the artist draw two pages on the same board. This was intended as a money saving policy, as the artist was only paid for one « full » page. It proved to not be a popular policy with artists and was quickly abandoned. The result is a very small number of these double-page boards."
Laurie B.
Ross Andru avait de l’humour !
Sur un forum dédié à l’artiste, certains pensent qu’il aurait modifié sa planche originale pour faire ce gag :
Un Barry Kitson de saison
Je connaissais la pratique (sur Avengers, c’est frappant, notamment pour les épisodes de Bob Brown : on sent bien l’agrandissement). Souvent, ce sont des doubles pages, comme dans Avengers #120.
Et parfois, ce sont deux pages simples, comme dans Avengers #121.
Et là, pour cet exemple de Spider-Man, tu as le numéro dans lequel c’est publié ? Je n’arrive pas à déchiffrer le numéro.
Jim
Si tu passes ta souris sur le dessin, la mention de l’épisode est indiquée.
Et en plus tu auras la version maouss !
Ici, il s’agit des page 12 et 13 de l’épisode d’Amazing Spider-Man 133.
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Si tu passes ta souris sur le dessin, la mention de l’épisode est indiquée.
Ouh là, des astuces technophiles !!!
Tu sais pas à qui tu parles, mon pauvre ami !
Merci.
Jim
Saperlipopette ! Mais tu as dû en louper des pages magnifiques !
Il va falloir que tu te retapes l’intégrale de tous les anniversaires !
En général, je regarde tel que c’est présenté, car je n’ai pas de détail à repérer.
Jim
Et donc ça donne ça :
Faut que je regarde dans Strange #109 comment ils ont fait, parce que je ne me rappelle pas ces cases agrandies…
Jim
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Je connaissais la pratique (sur Avengers, c’est frappant, notamment pour les épisodes de Bob Brown : on sent bien l’agrandissement). Souvent, ce sont des doubles pages, comme dans Avengers #120.
Voici la planche originale de Brown :
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Sinon pour les explications, voici dans le texte, celles fournies sur le site :
« Note that both pages are on one 10 » X 15" board. It was a common practice in 1974 for Marvel to have one art board per issue contain two pages worth of art. Profit margins were very thin in the comic book business in the mid-1970s and this was an attempt by Marvel’s publisher to cut costs by paying artists for 17 pages of story while printing 18 pages of story. Comic book historian Tony Isabella, who worked for Marvel as both an editor and writer in 1974 provided some background on this.
« What you have is an attempt by Marvel to cut the actual story page count of their comics without making it obvious that they had done so. All of the issues produced during that period, which I think lasted less than a year, had a page like this. Editorial didn’t want to cut the story count to 16 pages* of our 32-page comic books. We were told to plot our stories designating two pages which the artists would draw on a single board. Then the production department would blow them up to full size and run them as two separate pages. Some of us did double-page spreads. Some of us plotted so that the two pages would not appear next to each other and make it obvious that there was something not quite right about them. Eventually, someone figured out that all the extra production work was costing Marvel as much as it was saving by paying for one less page. »Et sur HERITAGE, plus succinct :
" In 1974, Marvel briefly toyed with a policy of once-per-issue having the artist draw two pages on the same board. This was intended as a money saving policy, as the artist was only paid for one « full » page. It proved to not be a popular policy with artists and was quickly abandoned. The result is a very small number of these double-page boards."
Très intéressant.
En gros, ils ont voulu économiser en filant moins d’argent aux auteurs, mais les coûts (et le temps, probablement) de production ont augmenté, ce qui fait que l’économie était nulle, et ils sont revenus en arrière (alors que s’ils avaient pratiqué ça pour toutes les pages, l’économie aurait probablement été réelle… Mais les auteurs auraient, à raison, râlé).
Je comprends mieux pourquoi il y a parfois une planche qui semble moins détaillée que les autres. Quels filous, ces éditeurs.
Tori.
Et tout ça pour maintenir à 18 pages. Ils ont fini par redescendre à 17 pages, et ce pour quelques années.
Jim
Marco Santucci