About the amazing Photoshop, almost all the blue disappears just by cutting either the red or green or blue channel (which ever looks best at the time) and pasting that as the new composite channel. Instant clean page. So you can go relatively dark with the blue line print outs, thus saving your eyes. I love ink on blue lined pages.

I love Photoshop too. It's one of the first graphic design applications that was so well made, entire careers were invented using it.

1. Which issue of your Uncanny run leading up to this fantastic issue were you most proud of at the time or later on?

2. Any hints / ideas / revelations you can share as to the resolution of the Jean Grey plot you've presented?

3.  I'd love to see what your Kirby-esque visor for Cyclops would've looked like on this Cyclops.

Thank you again for a truly amazing experience with Elsewhen

JB and Frank Zappa, two of my biggest influences and similar ways of art creation.

Zappa used to take pieces from live recordings and merge them with other ones, adapting tempo and key through tape manipulation. He called it 'Xenochrony'. One can only imagine what he would be doing nowadays with digital technology and its many amazing possibilities.

John, did you use any corresponding "analog" tecniques on the pages before the computer stepped in?

The buildings in panels one and three are stats of the drawing from panel two. I always assumed that everything was redrawn panel to panel. In retrospect, OF COURSE you would use stats to save time.

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And (I would imagine) to keep your eye looking at the action and not the subtly shifting backgrounds.