Jackson (Butch) Guice
and I were approached by editor-in-chief
to create 48 pages of storyboards for a movie collaboration between
and legendary, independent film director,
George A. Romero ("Night
of the Living Dead", Day of the Dead").
The working title
of the film was
and it was to be Romero's foray into mainstream filmmaking.
Jim and George,
who were fellow hometown Pittsburgh, PA boys, put their heads
together and came up with an ambitious story of love, betrayal and
war set in a post-apocalyptic future. The title,
was derived from the color of the cyborg's metal skull.
Although my recollections of the actual storyline is sketchy
(no script or plot
synopsis has survived), the
basic concept was about a soldier, transformed into a high-tech
killer cyborg, who rebels from his fascist creators and leads a
underground rebellion against them. This was basically
(with a little Deathlok thrown in)
of them ever existed.
you will see from the pages, as I present them over the next few
months, this was a very ambitious project, with huge, sweeping
visuals and massive SPX. It was to be Romero's "Star
(On a side note: as a result of this labor-intensive project, I was
pulled off of the project I was developing for
at the time--a reboot of
Power Man and Iron Fist
create the storyboards for
Ironically, neither project would ever see the light of day.)
Jim and George had the notion to have Jackson and I create the storyboards as comic book pages, so that when the time came to produce the comic adaptation, we could utilize the actual storyboards from the film for the book's contents.
alas--it was not to be.
Making a film of this magnitude would require massive funding.
But--as the saying goes in Hollywood,
"You're only as good as
your last film."
In 1985, Romero's
"Day of the Dead"
premiered to lukewarm reviews and disappointing box office receipts.
determined that George would find that raising millions of dollars
for a risky and ambitious project like
would be next to impossible, given that his last film tanked.
As a result, the project died and the forty-some pages of COPPERHEAD art went into the Marvel art vaults, never to be seen again---until now.
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