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M O D E R N

M A S T E R S

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F I F T E E N :

MODERN MASTERS VOLUME FIFTEEN:

MARK SCHULTZ edited by Eric Nolen-Weathington and Fred Perry designed by Eric Nolen-Weathington front cover art by Mark Schultz front cover color by Art Edel front cover design by Randy Dahlk all interviews in this book were conducted and transcribed by Fred Perry

TwoMorrows Publishing 10407 Bedfordtown Dr. Raleigh, North Carolina 27614 www.twomorrows.com • e-mail: twomorrow@aol.com First Printing • January 2008 • Printed in Canada Softcover ISBN: 978-1-893905-85-6 Trademarks & Copyrights All characters and artwork contained herein are ™ and ©2008 Mark Schultz unless otherwise noted. Cadillacs and Dinosaurs, Xenozoic Tales, and all related characters ™ and ©2008 Mark Schultz. Cadillacs and Dinosaurs cartoon series ©2008 Nelvana Ltd. Cadillacs and Dinosaurs toy series ©2008 Tyco Toys, Inc. SubHuman and all related characters ™ and ©2008 Michael Ryan and Mark Schultz. Nemo Girl ™ and ©2008 Clayburn Moore. Batgirl, Batman, Flash, Lois Lane, Saturn Girl, Superman ™ and ©2008 DC Comics. Black Widow, Fantastic Five ™ and ©2008 Marvel Characters, Inc. Conan ™ and ©2008 Conan Properties International, LLC. Almuric ™ and ©2008 Robert E. Howard Properties, LLC. Dejah Thoris, John Carter, La of Opar, Tarzan and all related characters ™ and ©2008 ERB, Inc. Flash Gordon, Prince Valiant ™ and ©2008 King Features Syndicate, Inc. Bone Sharps, Cowboys and Thunder Lizards ©2008 Jim Ottaviani. Aliens, Predator ™ and ©2008 20th Century Fox Film Corp. King Kong ™ and ©2008 Universal Studios. Gorgo ™ and ©2008 King Brothers Ltd. Hatari! ™ and ©2008 Paramount Pictures. Mars Attacks! ™ and ©2008 Topps. Sheena, Queen of the Jungle ™ and ©2008 respective owner. Editorial package ©2008 Eric Nolen-Weathington and TwoMorrows Publishing.

Dedication To Donna, whose faith and love are beyond measure; to Eric, who trusted me enough to give me a shot; and of course, to Mark, who is as fine a friend as he is an artist. — Fred And as ever, to Donna, Iain, and Caper Glee. — Eric Acknowledgements Mark Schultz, for the long conversations and for taking the time to rummage through the art files. Special Thanks Jerry Boyd, Clayburn Moore, Benno Rothschild Rick McGee and the crew of Foundation’s Edge, Russ Garwood and the crew of Capital Comics, and John and Pam Morrow

Modern Masters Volume Fifteen:

MARK SCHULTZ

Table of Contents Introduction by Clayburn Moore . . . . . . . . . . . . . . . . . . . . . . . . . 4 Part One: Of Dimetrodons and Coelacanths . . . . . . . . . . . . . . . . . . . 6 Part Two: Xenozoic Age! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Part Three: Cadillacs, Dinosaurs, Spin-offs and Tie-ins . . . . . . . . . . . . . 47 Part Four: Expanding Horizons. . . . . . . . . . . . . . . . . . . . . . . . . . 60 Part Five: The Barbarian and the Prince . . . . . . . . . . . . . . . . . . . . . 77 Part Six: The Barbarian and the Prince . . . . . . . . . . . . . . . . . . . . . . 88 Art Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Part 1:

Of Dimetrodons and Coelacanths

MODERN MASTERS: So, Mark, you were born in western Pennsylvania?

MARK: About half, I guess, of my youth in western Pennsylvania. But a lot of my particular interests and my sports loyalties were formed while living in the Pittsburgh area. Many of the interests that play throughout my life, like my interest in dinosaurs, are tied up for me with that city. Pittsburgh has the Carnegie Institute, which features a natural history museum with a magnificent collection of dinosaurs.

MARK SCHULTZ: No, actually I was born in Trenton, New Jersey. I’ve been a lifetime resident of Pennsylvania; my parents were lifetime residents of Pennsylvania, but at the time they were living just outside Philadelphia, which is smack up against New Jersey, and my mother’s obstetrician was associated with a hospital in Trenton. So I was born in Trenton. Much to my chagrin, I have a New Jersey birth certificate even though I’ve never lived a day of my life in New Jersey, or indeed any place other than Pennsylvania.

MM: Do you remember about what age you first went there? MARK: Absolutely, it was a life-changing experience. I think I was probably six. I was aware of dinosaurs already; I don’t know where I first learned about dinosaurs, but I had already developed an interest and I had been after my parents for a long time to take me to the Carnegie so I could actually see dinosaur fossils. Actually my parents were probably the people who told me about fossils at the Carnegie, and once I heard that, I constantly pestered them to go see the skeletons. It probably didn’t take very long actually, but for me it seemed like it was forever.

MM: Wow, that explains so much about you. [Mark laughs] Then you spent most of your youth in western Pennsylvania?

MM: Was this the first time you had seen a dinosaur skeleton? MARK: Oh absolutely, other than in books. Standing under that Tyrannosaurus—and the Tyrannosaurus skeleton that is at the Carnegie is the type specimen from which all Tyrannosaurus rexes are described. There’s this huge thing, and at the time they had a big mural on the wall—a depiction of the living creature roughly life-size—just behind it. I don’t think the mural is still there but that made a big impression on me, too. Although it wasn’t that great a painting, at that age I was pretty darned impressed. This was about the same time that the movie Gorgo was in theaters. Not a great movie, but as a young kid I was so impressed by the ads 6

in the newspaper. I didn’t get to see it in the theatre; I couldn’t get my parents to take me. But the ads showed an upshot of Gorgo, this giant dinosaurian creature over the city, and the mural at the Carnegie of the tyrannosaur kinda took that same angle, looking up at it. The two images tied together in my mind and reinforced my interests in motion pictures and dinosaurs. MM: Had you been much of a doodler then? Had you been drawing? MARK: I’ve been drawing as long as I can remember. I can’t remember a time I haven’t drawn. MM: Were you drawing dinosaurs before then? MARK: I don’t think so. It was right around that period that I started drawing dinosaurs. In fact, the first thing I can remember drawing, sitting at the kitchen table with a little tin of water colors you got in a kit, was a water color of a brontosaur. It was the first time in my life I had a direction for what I wanted to draw, something other than every day reality, like a house or my family. Dinosaurs fascinated me. MM: And then it took off? You filled your room with your drawings of dinosaurs? MARK: Actually, I started putting together little books. I’d already come across children’s books about dinosaurs, like the How and Why Wonder Book series. I got really interested in the idea of books, collections of writings and drawings working together. I was actually drawing lines to indicate where the text should be in relation to the drawings. I’d assemble the pages and staple them together. MM: Were the books you were reading about dinosaurs fiction or primers for children? MARK: It was all non-fiction. I have vague recollections of seeing comic books with dinosaurs in them, but we didn’t actually have comic books at home. I assume I saw them on the newsstand. MM: What were you reading other than the dinosaur books? When did you start reading Edgar Rice Burroughs or Robert Howard?

Previous Page: Hyner, Pennsylvania, as it may have appeared circa 350 million B.C. Above: Original poster art for Gorgo. Left: T-rex sketchbook illustration. Artwork ©2008 Mark Schultz. Gorgo ™ and ©2008 King Brothers Ltd.

Right: If you want a strong female character, look no further than Will Eisner’s creation, Sheena, Queen of the Jungle. Below: Of course, if you did stop there you wouldn’t get to Hannah Dundee. Next Page: A very early Xenozoic Tales drawing, which Mark says was “probably done before or during working on the Death Rattle “Xenozoic!” story.” This piece was used as promo art for Kitchen Sink Press’ Kitchen Sink Pipeline newsletter. Sheena, Queen of the Jungle ™ and ©2008 respective owner. Hannah Dundee, Xenozoic Tales and all related characters ™ and ©2008 Mark Schultz.

to be emasculated. So yeah, these societal pressures pushed the women back into subservient roles and cut off their options. But you look at the films that were coming out in the ’30s and ’40s, obviously there were many strong, independent women. That’s a big reason I’m a fan of Hawks, John Ford, and the screwball comedies. They all consistently feature female characters as strong and independent as the males. MM: And of course, there’s one more strong woman we haven’t finished up with yet—you and Denise eventually got serious. MARK: Well, yeah—Denise and I began to get serious the year she graduated from college, ’78. We got married in ’80, and we’ve been together ever since. MM: I’m not sure who gets the credit for that.... MARK: Oh, she does. I’m not fooling myself. You’ve got to understand, too, that Denise had really no idea that I was going to renew my interest in comics or genre fiction. So she really didn’t know what she was getting into. I kinda pulled a 180 on her in that my interest shifted from fine art to a very specific and much more commercial field. Still, what I love about comics is that it is the perfect combination of being able to make a living in something and still having as much freedom as you can take. It’s a good balance of the two. So when I moved towards comics, she had to adapt too. MM: She adapted well. MARK: She’s been a big help with Xenozoic Tales. She did the lettering and helped with the coloring decisions with the covers. I bounce ideas off her in regards to the storytelling, working out plot elements with her. MM: And you discuss art decisions with her as well? MARK: Oh absolutely. She’s very strong-willed, as am I. She has definite ideas and sometimes we lock horns, but they’re creative differences and her point-of-view always helps. 26

Part 2:

Xenozoic Age! MM: The book helped you study the process of writing fiction, but what did you know about writing proposals for comic series?

MM: We talked about the art you were doing when you graduated, but clearly, Xenozoic Tales involves both writing and art for you. I was curious about what kind of writing you were doing before you started Xenozoic Tales and the story that was in Death Rattle or if this was something you did cold and was the first thing you had written in a decade.

MARK: Absolutely nothing. Looking back at the proposal I sent out for Xenozoic Tales, I’m embarrassed. I think I’m lucky that my art samples carried the proposal. MM: What did the proposal consist of, then?

MARK: Pretty much the latter. I went into this not having written anything for myself or for publication since my early years in college. But, as I became more and more aware that I did have a serious interest in telling stories through comics, I realized that I had to have some kind of guide to teach me how to do this. So I began to study not only the works of comic creators I admired, like Harvey Kurtzman and Will Eisner, but also a great little book I found at the library called something like How to Write a Short Short Story. It was a primer, a writer’s guide to short short fiction, a prose format that isn’t seen anymore. The format is only two or three pages long and because of its size and the tight structure it follows, usually the idea is to save some sort of kicker to the very end. I guess O. Henry was considered a writer of the form.

MARK: It was basically a one-, maybe two-page summary of the background of the Xenozoic Age. It talked a little bit about the characters of Jack and Hannah. It talked about how the construct of the Xenozoic Age would give me the freedom to tell different types of genre stories. I was interested in being able to play around and experiment in different genres. MM: And the art you included? MARK: I drew up an eight-page story that eventually evolved into “Mammoth Pitfall,” which we later published. I sent copies of pencils, copies of the inked piece... I can’t remember if I sent them the script. I tried to downplay that because in those days I was writing everything by hand.

MM: I was thinking of James Thurber. MARK: Oh, excellent, yeah. Thurber, too. It just seemed to me that the format fit very well with six-, seven-, eight-page comic stories. Those were the formats I was looking at from EC and Will Eisner’s Spirit stories. This book offered a great deal of help beyond what I could get from studying Kurtzman and Eisner’s work. 27

that really pulled me away from spending the kind of time on the book I should have been spending to keep it regular.

MM: Was that based on the fact that you couldn’t get it out as fast as you might like? Clearly the sales weren’t poor.

MM: And sadly Xenozoic Tales comes to an end in ’96.

MARK: Kitchen Sink had really evolved into another kind of publishing house. The people who by then had taken control of the purse strings were interested in tie-ins with motion pictures and video gaming, and developing properties they thought would have greater mainstream appeal. They were doing tie-ins with Duke Nukem video games and the second Crow movie, where they nearly lost their shirts. There were some questionable choices made—they never seemed to quite understand what Denis Kitchen had done to make Kitchen Sink successful in the first place. When the Cadillacs and Dinosaurs TV show didn’t become a self-perpetuating series—no more than a single year in original programming and the merchandise dying on the vine—the company became less interested in Xenozoic Tales. That’s not to say editorial wasn’t interested. Denis and editorial were always interested in continuing, but the people that made the financial decisions weren’t infatuated with me. So it was harder to get things done. That plus I didn’t help myself by being so darned slow in getting the product out there made it even less tenable, less attractive to put money into it. It became a property that had seen its day; it was time to move on to other things. Without the support of the merchandising and without being fast enough to make money off the comic itself, I just couldn’t afford to keep it going.

MARK: Not to an end—to a hiatus period. But, yeah, at the end of ’96.

Part 3:

Cadillacs, Dinosaurs, Spin-offs, and Tie-ins MARK: And Michael Newhall and Randall Brendt did some of the work also. They did really fine work, though they were testing the water since Xenozoic Tales was created to be published in black-&-white. When I created the original art I used a lot of black areas and gray-shaded areas that wouldn’t be there if it was created for color; they actually take the place of the color. I love working in black&-white, but I approach a piece very differently if I know color is going to be added. They are two different things; I don’t put in a lot of texture and shading technique that I would if I was working in black-&white. So when they added color to work that was originally intended for black-&-white, it tended to be a little too heavy. There was too much going on, and it obscured things so that the images became confused. So, I’ve got mixed emotions about the work that was done on the Epic series. When we recolored another story a year or so later for the Cadillacs and Dinosaurs oneshot that was published to promote the toy line, Ray Fehrenbach colored that one, too. And by that time, Ray and I had gotten a better feel for how to color black-&-white artwork. He was still working with art originally intended for black-&-white, but he had learned to pull back, using a lighter coloring scheme and allowing a lot more white areas to remain. That was a coloring job that really worked.

MM: Let’s talk some about the different projects that came out of Xenozoic Tales while it was being published. The first one, I think, was the colorized version, Cadillacs and Dinosaurs, that came out of Epic. Do you remember how that came about?

MARK: At the time, Marvel’s Epic line featured properties that were creator-owned, which was a real break from the Marvel tradition of publishing house-owned properties only. They were looking for creatorowned properties to publish or republish, and Denis Kitchen had always maintained good relationships with all of the major comic publishers. I can’t remember who at Marvel we originally dealt with, but they expressed interest in reprinting the first six issues of Xenozoic Tales colorized. Things worked out well, and Tom DeFalco, the editor-in-chief, really came to bat for us. We asked for specific contractual items— protections that allowed us to retain certain key rights—and he made sure that we kept them. MM: How much input did you have on the coloring process? MARK: Well, the coloring process was actually done through Kitchen Sink. We hired the colorists ourselves. In fact, I believe Denise did her first coloring work for that project. MM: I know that Ray Fehrenbach, who did some of the color work for the covers of Xenozoic Tales, did some of the coloring in Cadillacs and Dinosaurs. 47

Part 4:

Expanding Horizons MM: In 1993, you did a cover for Classic Star Wars involving a giant squid.

MM: I’d like to talk about the work you were doing unrelated to Xenozoic Tales. The first thing I found is a King Kong cover from 1991.

MARK: There’s an interesting story behind that—I drew the cover so that one of the tentacles and a spear overlapped the Star Wars logo, and Dark Horse actually printed it that way. But when Lucasfilm saw that, they made it clear that, going forward, no art could ever visually obscure their logo again. So I like to think that I created my own special place in Star Wars history by making such a terrible blunder that called for a policy notice.

MARK: There were two covers actually, one that I penciled and inked and one that Al Williamson inked over my pencils. They were done for Monster Comics, which was an imprint of Fantagraphics that had the rights to adapt the novelization of Kong. The comics featured a pretty good line-up of artists, including Bill Stout and Dave Stevens. MM: That had to be a dream for you, working on King Kong. I don’t recall seeing any other King Kong art you might have done.

MM: And this was a creature originally created by Al Williamson. MARK: Well, my version of a creature created by Al Williamson. I tried to draw it just like Al drew it but I just couldn’t pull it off. Al’s got his unique stylizations that I can’t do—I did the best I could.

MARK: I have done some commission pieces but this is my only published Kong. One of my favorite subjects.

MM: Al had been doing the covers until then, so how did this one come to you? MARK: Al asked me to do it. He had been doing the covers for the series and I guess had fallen a little behind or needed to create some free time, so I and a few other cartoonists did some fill-ins. It was my first contact with Lucasfilm and, as I worked with them a number of times after that, I guess they didn’t hold my logo gaffe against me. They probably didn’t even know who did it. MM: You wrote a short story for the third series of Death Rattle, called “The Probability Chamber.” MARK: Actually, I drew the cover as well as wrote the story, which was drawn by Roger Petersen. It was a science-fiction piece that ended up not making a heck of a lot of sense. I tried to play around with the idea of probability allowing a kind of second chance at redemption, but it ended up not hanging together very well. MM: Did you enjoy writing it? It sounds sort of like you were given a topic rather than having free rein. MARK: Oh, no, it was my idea and I enjoyed writing it. It just didn’t work particularly well. MM: You followed that up with a twoissue Flash Gordon mini-series, working again with Al Williamson. MARK: Yeah, that was so much fun. Al approached me about that. Al had been inking at Marvel for years and Tom DeFalco, editor-in-chief there, had been a fan of Al’s art since way back and wanted to figure out a way to get Al to draw again. Al told Tom that if he could get the rights to Flash Gordon, he would love to draw that again, and that Al would have me write it. So Tom got the license from King, agreed I could write it, and there you have it. Al had all these ideas for different scenarios that he wanted to draw, and my job was to take all of the scenarios and somehow tie them together in a story with some semblance of a plot. But if you know Flash Gordon, you know there’s not a heck of a lot of plot. It was a great experience because I got to see Al do panel-by-panel breakdowns

working from a full script, comparing how he drew it with how, in my mind, I would have drawn it. And we bounced ideas back and forth about what could be found in unexplored regions of Mongo. At one point, Al told me he had some reference art for an elephant charge, and he wanted me to work out a scene with Mongo elephants charging. So I did, featuring whatever passes for elephants on Mongo, and months later when he actually started to draw, he calls me and asks, “Why the hell did you put this scene in here? How am I supposed to draw this?” So I reminded him he had asked me to. He said, “Oh, yeah, I guess I did...,” laughed and eventually found the stampede reference he had pulled. But it worked both ways. There was a page I wrote that required, because of space restrictions, a lot of creative visual storytelling involving a sinking spaceship and people that lived underwater rescuing Flash. I knew when I wrote it that there was an awful lot of storytelling to be done in just a few panels, and it wouldn’t be easy to fit it all in. I didn’t think it would be pretty. Under normal circumstances, I would’ve stretched out the storytelling, but I just didn’t have the space. And I gave it to him thinking I was really asking a lot, and darned if he didn’t work out the storytelling just beautifully. The whole thing was just a lot of fun and I learned from Al at the same time. 61

Part 5: MM: Earlier, we talked about your love of Robert Howard and Conan. Is there a Conan story you could say is your very favorite?

MARK: Absolutely. “The Queen of the Black Coast.” For me, it’s one of the more powerful stories because, first of all, there’s a love interest. Conan actually has a personal relationship, and we get some insight into his character as well as the woman’s. And it really rises to high tragedy. The reader becomes invested emotionally in Conan’s relationship and when it concludes, it has an impact. MM: And you get flying monkeys. MARK: And you get flying monkeys. You get the best of everything: Howard’s penchant for lost civilizations, the great sequence where Conan learns the history by falling under the spell of the black lotus and having a sort of memory-dream. I think just for pure beauty of prose, the last chapter—which is only a page or a page-and-a-half long, just a kind of coda—is brilliant. Howard was capable of lyrical, powerful description. MM: When you got together with Wandering Star, the publisher of Conan of Cimmeria Volume I, did you ask to illustrate that story? MARK: It just worked out. Because Wandering Star was publishing the stories in the order that Howard wrote them, it just happened that the first volume included the story. But it made me very happy. I would have been a little disappointed if I had not been able to illustrate that one.

The Barbarian and the Prince MM: How did it come about then that you were asked to work on the book? MARK: Gary Gianni had been working with Wandering Star, having illustrated the Solomon Kane volume, and then he was working on the Bran Mak Morn book. Marcello Anciano, the publisher at Wandering Star, called me cold.

Part 6:

The Shape of Things to Come

MM: Mark, tell me about Bone Sharps, Cowboys, and Thunder Lizards.

needed a cover, and he and I were sort of on the same wavelength, thinking it would be cool to do it in the style of the late 19th century lithograph circus posters

MARK: Jim Ottaviani, the publisher—are you familiar with Jim’s work?

MM: Were you familiar with the story of Cope and Marsh before Jim contacted you?

MM: A little bit. He’s popularizing science through comic books.

MARK: Oh yeah. It’s one of the great stories out of paleontological history—and out of the American West. I remember back in the ’80s, Steve Bissette did a great riff on the story that appeared in Bizarre Tales, one of those Marvel adventure anthologies. It was a fantasy version of the feud, involving the discovery of a living dinosaur. It was a pretty cool little story, which I don’t think has been reprinted since. It should be. The Cope-Marsh feud is a very dramatic story and only slightly less than the perfect story in truth, but Jim’s script adheres a little more closely to the facts than Bissette’s telling.

MARK: Exactly; I couldn’t have said it better. His company, G.T. Labs, has produced a number of graphic novels over the last decade, all aimed at getting the public excited about science. He’d been in touch with me, since ’89 or ’90, about the potential for working together. And he eventually approached me with the perfect project, a fictionalized history of the paleontological feud between Edward Drinker Cope and Othniel Charles Marsh that opened up the American West as one of the great hotbeds for dinosaur research. He

MM: Do you remember how many revisions you went through to get the look you wanted for the circus feel? MARK: Oh, it wasn’t too difficult. I just referenced some reproductions of actual circus posters contemporaneous to the period. I had a couple of concepts for the cover and ended up sending Jim two comps that could both work. He ended up choosing the one that I thought was the best. That’s one time I was able to come up with what both I and the publisher were looking for fairly quickly. MM: Did you have any harsh words for him for having such a long title for his book? The full title is Bone Sharps, Cowboys, and Thunder Lizards: A Tale of Edward Drinker Cope, Othniel Charles Marsh, and the Gilded Age of Paleontology. MARK: You know, it was a little difficult working out the lettering for the cover title, but it kept very much in the Victorian style of the time which tended to get wordy and ornate in its description. When I looked at posters for things like the Barnum and Bailey Circus, you’re talking about a relatively type-heavy graphic anyway. MM: And wasn’t there some associated work on Charles Knight at about the same time? MARK: While I was in the process of working on the Bone Sharps cover, Jim mentioned that he had another project going on which was actually not a comic. He had been in touch with Charles R. Knight’s granddaughter and estate holder, Rhoda Knight. And I’m not sure how it came to the surface, but she had discovered a manuscript for an autobiography that her grandfather had begun. It was in a rough state and only covered parts of his career. She and Jim decid-

ed that it should be published. Jim cleaned it up a little bit—I guess there was a lot of repetition in it—and then he asked me if I would like to illustrate it. So working on the Bone Sharps cover led to illustrations for this book, Charles R. Knight: Autobiography of an Artist. I did the plates in carbon pencil, using a technique that was popular back in the historical period in which Knight worked. So that was a lot of fun. MM: So, from that, you’re working on a book on genetics. Was there a logical step from this work to the genetics book? MARK: Not that I’m aware of. Other than the fact that I do incorporate science, especially the biological sciences, into a lot of stories I work on. I think that helped me get the work with Jim Ottaviani and then I think it probably also helped with the genetics book that was packaged by Howard Zimmerman. MM: First of all, what’s the title of the book going to be? MARK: The Stuff of Life: A Graphically Explicit Guide to Genetics and DNA. MM: Are you going for the mature audience by describing it as explicit? 89

Previous Page: Preliminary sketch for the cover of Bone Sharps, Cowboys and Thunder Lizards. That’s Charles R. Knight holding the paint brushes. Though legally blind, Knight became renowned for his paintings of prehistoric creatures. The dinosaur battle depicted in this sketch is a take on one of his most famous paintings. His last museum piece was created for the Everhart in Scranton, PA, near Mark’s home. Above: An alternate preliminary sketch for the book cover which was not used. Bone Sharps, Cowboys and Thunder Lizards ©2008 Jim Ottaviani.

Previous Page: Two color sketches trying to work out the color scheme for the cover of Time in Overdrive, a Kitchen Sink Press collection of Xenozoic Tales. Above: Mark says this piece was “done with my XT colorist, Denise Prowell. A piece of amberlith is attached to indicate where the background color should be laid in mechanically.” The printed cover is included for comparison. Page 104: Mark’s color guide for Xenozoic Tales: The New World, including his numerous notes to the Dark Horse production staff. Cadillacs and Dinosaurs, Xenozoic Tales and all related characters ™ and ©2008 Mark Schultz.

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Modern Masters Vol. 15: Mark Schultz