The Truth About Rejection…Dan Jurgens

13 Sep

For every fan of the exciting and long running Superman mythos (that uniquely American saga first dreamed up by boyhood friends Jerry Siegel and Joe Shuster, and finally introduced—after much struggle—to the world in the pages of Action Comics #1 in 1938), there will always be that one truly exceptional artist whose work shall forever define the character and mythology in the reader’s own estimation. Artist and writer Dan Jurgens is that definitive creative talent in my book, a sentiment shared by countless Superman fans who breathlessly followed the exhilarating consecutive epics “The Death of Superman,” “Funeral for a Friend,” and “Reign of the Supermen” (in my personal opinion, Mr. Jurgens’ Superman #75 from 1993 remains the greatest single issue since the character’s initial introduction by Siegel and Shuster themselves), and were irrevocably hooked to see the just as thrilling aftermath which led, with a stampede of suspense, into “Zero Hour,” “The Fall of Metropolis,” and beyond (fans were even given the longed for treat of witnessing Lois and Clark finally tying the knot under the watch of Mr. Jurgens and his collaborators, with 1996’s memorable special Superman: The Wedding Album).  

Dan Jurgens’ amazing and critically acclaimed career certainly extends well beyond the Superman universe, garnering, with each new decade, an exponentially-growing fan base through his distinguished and varied contributions to every flagship character residing within the famed libraries of industry giants DC Comics (Booster Gold, Justice League America, Green Arrow, Teen Titans) and Marvel Comics (Captain America, Thor, Spider-Man).

It is certain that Mr. Jurgens will continue to amaze and define the great superhero mythology to the delight of readers, and it is a wonderful honor to herein share such an industry legend’s own insight on the issue of rejection.                            

Dan Jurgens:

There comes a point where every artist has to deal with rejection.

It’s different for different people, and I suspect you’re talking more about the idea of people having difficulty getting into the business and the feeling of rejection that goes with it.

I was fortunate, in that I started on a monthly book for DC– Warlord– and had plenty of work, good work, from day one. 

Nevertheless, there’s always a point where an editor might not feel you’re right for him or simply doesn’t like your style. Some take it as rejection. I simply say no one bats 1.000 and move on.


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