In all the retro style comics I’ve done over the years, the Holy Grail was to get the color to duplicate an authentic “big dots on pulp” look. We succeeded in the 1963 series because we actually hired the guys who used to do the color seps for old comics and we printed the books on real pulp. But since then, computers have taken over comics pre-production and the “big dots” option in Photoshop doesn’t really fool the eye.
Even though I was a neophyte with Photoshop, I started experimenting and came up with a way to scan in old comics, sample their big dots and pulp, and paint with it. The effect, which you see here on a page from “America’s Best” in Tomorrow Stories Special #2, is tedious but it really worked. In fact, I’ve gotten a number of queries by folks who were fooled completely into thinking there really was an America’s Best in the 1960’s.
The story has never been collected in trade paperback. Script by Alan Moore, pencils and color by Rick Veitch, inks by Andrew Pepoy and lettering by Todd Klein.