1978 | age 9 or 10 Luke’s under serious pressure now. He’s sweating and going blue in the face! Is it because he keeps on holding his breath before he shoots? Time to use the force, Luke!
BONUS CONTENT! More, extra panels on the back of a different page
This is the last of the TIE Fighter Attack pages. There are 2 more panels but I’ve added them to this update day as a bonus. I couldn’t make you wait 2 whole days just for those. Tomorrow, I’ll do another inbetween-updates update and upload the whole of the above detailed page.
Ben gave me his powers!
I’m gonna use ’em…
Art Notes: Weird Colour!
This is probably later in the year than the «previous early 1978 page. You can see that my drawing had improved—a bit; that and my ability to convey continuous action. Isn’t that blue lighting on Luke very strange? Heck, isn’t his face very strange!
The blue face though… You’d think he should look red and orange from all the flames outside. That’d be the obvious thing to do. But actually, the cold blue contrasts very effectively with the warm red, heightening the dramatic impact. Which is interesting, because it reminds me of what was happening in mid ’80s mainstream movies when many films attempted to ape the style of Spielberg. Often you’d see people front-lit in cold blue with warm yellow back-lighting (or vice versa) giving them a contrasting rim-lighting color. Or the whole background would be bluey, with golden front light. It was a type of movie mannerism: less talented directors copying the surface effects of a great director’s style.
Much like the so-called Mannerism period of the late Italian Renaissance which was characterised by ridiculously—and poorly observed—muscly figures contorted into unfeasibly elaborate poses. All of it was a reaction to the art of Michelangelo—especially his figures in the Sistine Chapel frescoes. In a sense, you could say that Michelangelo and Spielberg each gave rise to some seriously dreadful art and movies. Through no fault of their own.
The Negative Influence of Star Wars
Similarly, George Lucas noticed that a slew of Space Films poured out of the studios after Star Wars’ phenomenal success. He’s often tried to explain that his film wasn’t about effects—but about the characters and the story. The copyists kind of missed the point.
Taken to ridiculous extremes: crap imitates crap and you get the awful films of Tony Scott giving rise to the even more monstrously dreadful Michael Bay.