Bab 51: Chapter 46: Negligence
Chapter 46: Negligence
"Good morning, Colin," greeted the individuals at the newspaper office as Colin entered.
"Good morning, Jack, good morning, Harry."
Nodding to the two people in the newspaper office, Colin took off his hat, scanning the drawing paper on the table, adorned with partially colored ink. With a smile, he inquired, "How are things progressing? Any updates?"
"We are nearly finished," replied Jack, sitting at the workbench, handing over the drawing, still wet with ink, to Colin.
Rubbing his weary eyes, Jack continued, "We made some revisions to the frame content, resulting in a more streamlined plot for 'Superman.' Additionally, we enlisted professionals to handle the coloring process. While this significantly increased the printing costs, it also enhanced the overall visual appeal of the entire comic."
Transforming serialized newspaper cartoons into magazine format involves more than just printing.
Typically, serial comics are presented in the form of strips, consisting of four panels. However, since the decision was made to transfer the story of "Superman" to the magazine, the original strip format had to be altered accordingly.
Over the past few days, Jack and Harry had been working at the Messenger office with the specific goal of transforming the comic content from its original strip form into a format suitable for comic books.
Stretching out his hand and accepting the sketch handed over by Jack, Colin observed the rough sketch that still carried the faint scent of ink and glue. He meticulously flipped through the manuscript pages, examining the revitalized comic content after the addition of color.
Eventually, his gaze fixated on the topmost page, which showcased the recolored depiction of Superman. The superhero sported blue tights, a red cape, a prominent "S" shield logo emblazoned on his chest, and effortlessly held a car aloft on the Superman cover portrait.
The hired professionals, enlisted by Jack and Harry, demonstrated exceptional drawing skills and effectively restored the comic's vibrant coloring. They managed to faithfully recreate the image of Superman as Colin remembered him.
However, upon viewing the Superman cover before him, Colin couldn't help but feel a slight sense of dissatisfaction, sensing that something seemed to be missing from the illustration.
"What's the matter?" Jack promptly inquired, noticing the expression on Colin's face.
"Is there something amiss?" Colin hesitated before responding, pondering whether Superman could truly be Superman without the iconic red underwear. In later iterations, the inclusion of underwear became synonymous with the superhero's visual identity.
Instead of providing an immediate answer to Jack's question, Colin carefully perused the sketch once more, meticulously inspecting each depiction of Superman on the draft paper. With a bewildered expression, he closed the sketch and pointed at the region around Superman's crotch on the cover.
"I distinctly recall that in the comic books, aside from the blue tights, Superman also wore a pair of tight shorts. However, it appears that the artist who painted this rendition of Superman omitted them from the newly colored depiction."
Upon hearing Colin's reminder, Harry swiftly retrieved the cover of the "Messenger" and compared it to the colored version in Colin's possession.
He indeed noticed a faint outline of tights on Superman's crotch. However, it appeared that due to the limitations of black and white printing, the presence of this detail was not clearly discernible, leading the artist to overlook it during the coloring process.
"My apologies for the oversight," Jack promptly apologized, acknowledging the mistake.
Harry, positioned alongside them, ventured to propose an alternative perspective after scrutinizing both covers. "Is it imperative to retain this design? I find that Superman without the tight shorts appears rather suitable."
Nevertheless, the question of whether Superman ought to don these undergarments has perpetually engendered debate among readers.
Not everyone appreciates the aesthetic of Superman sporting such attire, as exemplified by Harry's dissenting opinion.
"That's because the image before you is the meticulously colorized rendition crafted by the artist. Naturally, you perceive no issue with omitting the tights design. However, once these comics enter the mass printing stage, it becomes considerably challenging to guarantee the preservation of this quality in subsequent coloring processes,"
Hearing Harry's suggestion, Colin was about to speak.
But Jack on the side took the lead in refuting his friend.
To cope with this predicament, artists of that era often supplemented shadows or colors at the pivotal points of the characters, such as the waist, hands, and feet, in order to enhance readers' comprehension of the characters' poses. The inclusion of the red tight shorts on Superman served precisely this purpose. It not only conveys a sense of dynamic movement but also mitigates unnecessary complications."
By adopting this approach, the artists aimed to convey character dynamics effectively while avoiding potential ambiguities.
During this particular period, printing methods were generally categorized into two distinct types. The first method involved black and white printing, which was predominantly utilized by publications such as "Messenger." The second method encompassed color printing, although its implementation was limited due to technological constraints and cost considerations. Referred to as four-color printing, this technique involved the use of four primary colors—yellow, red, blue, and black—to add color to the printed characters.
The prevailing economic climate, heavily impacted by the Great Depression, necessitated cost-saving measures within factories. Consequently, to reduce expenses, these factories often resorted to utilizing lower-quality paper, which adversely affected the quality of the final printed products—such as magazines and books—compared to the initial printed samples. Although this issue might not be immediately apparent in the text, it became increasingly conspicuous once applied to the characters, particularly after extensive printing.
Consequently, early cartoon characters frequently suffered from color overflow, where the color would extend beyond the intended outlines of the characters due to the aforementioned quality compromises in the printing process.
Upon Jack's insightful observation, Harry suddenly realized that he had taken certain aspects for granted. It became evident that the overall blue appearance of Superman, once subjected to mass printing, created a sense of visual discordance, leaving the impression of a conspicuous absence in the crotch area.
"I will call the painter and request a rework of the coloring," Harry declared decisively, acknowledging the necessity for immediate action.
Having contemplated the matter, Harry wasted no time and departed promptly to engage the services of the painter, fully committed to rectifying the coloring issue.
"It doesn't need to be so troublesome," Colin remarked, interposing his hand to halt Harry's movement. With a deliberate gesture, he picked up a paintbrush tainted with red pigment from the table and delicately outlined the iconic red tights on Superman's crotch on the cover.
"Don't forget, I am the artist behind Superman," Colin stated, his tone filled with confidence.
Setting the brush down upon completion, Colin surveyed the portrayal of Superman in crimson undergarments on the drawing paper, expressing contentment with a nod. He then turned his gaze towards the two individuals standing beside him.
...
Author: John Walker
"... Later, Harry Donnelfield confided in me that he sometimes contemplated how different Superman's image might have been if he had insisted on excluding those snug shorts. Naturally, we all recognize the implausibility of such a scenario, as Colin Luper would undoubtedly adhere to his own artistic vision, unswervingly confident and resolute..."
"To this day, a sense of regret lingers within me, for I missed witnessing firsthand the moment when Mr. Colin Luper brought color to Superman.
However, I take immense pride in being the first person to witness the colored rendition of Superman, following Colin Luper and his associates.
At that time, no one could have fathomed that it marked the inception of the illustrious golden age of American comics..."
- Extracted from "1932: The Golden Age of Comics"
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