Back in my assistant editor days, probably in 1973 or 1974, Allan Asherman and I were dispatched to a Brooklyn warehouse where DC had some of its old files. I’ve long forgotten what we were sent there for (hope we found it), but it turned out to be a building that Warner Bros. owned and had inherited from the days when they made movies in New York City. Maybe it was First National, an early movie company that had been acquired by WB in the twenties that had originally owned it? In any case, the warehouse was a mile or two from my childhood home, and I’d walked past it many, many times without ever realizing it. Our prize find that day was one of George Reeves’ costumes, a brown and yellow one used for shooting the black & white episodes. Allan, a great expert on the Reeves shows and the earlier serials, understood what it was immediately.
Thanks, Robert. I especially appreciate reactions from folks like you who knew Will. His teaching years were one of the least documented parts of his life, and so many of his students were great to share their memories.
Nope. Done some single lecture/seminars on aspects of comics writing, and many years ago we did a long program at DC for some prospective new comics writers that I spoke at every week (and yielded the talented Mindy Newell and longtime Dark Horse editorial wizard Randy Stradley), but never any writing on the subject.
Most of the good stuff from the Implosion was eventually published, and I think there were very few instances when single (or double or triple) pages were cut out. The tendency was to cut 25 page stories into two issues, and fill in the back with 8 pagers that either existed or were commissioned for the purpose, as I recall.
Over the years there were a few single pagers cut for one reason or another…I recall a Legion page from the Grell era which we eventually printed in an AMAZING WORLD OF DC issue…but it was pretty rare.
Hi, Eli! Great to hear from a survivor of the basement headquarters of TCR. Thanks for all the trips round the collating table.
Everything kind of adds up in life, I guess. The fanzine days certainly opened the door to my professional life by introducing me to the people who made comics, and letting them get to know me. I’ve had the rare life experience of never really ‘applying’ for a job as a result.
But maybe more to your point, some of the tasks I did as a fanzine publisher directly prepared me for things I was able to do as a comics professional. I told the story of DC’s annual production schedule a day or two ago, and thinking over it in terms of this question, recalled how I used to type up complicated (needlessly complicated, I must point out in retrospect) annual schedules for TCR and its sister publications.
Everything you do can help you learn. (Maybe those unless walks around the collating table made us all learn some patience?)
Most of what I wanted as a fan that’s plausible to reprint already has been. Sadly, the other goodies (like Shelly Mayer’s SUGAR & SPIKE or some of the more interesting art that appeared in DC’s war titles) feels unlikely to ever be commercially viable. Of course, I’d love DC to finish off runs of all the Golden Age super hero material that I never collected, but having read most of those stories, even I can’t claim the world’s missing out on much by not having the pile of GREEN ARROW short stories under new covers.
I’m not working on my spring travel schedule yet, and my only con commitment for 2016 so far is San Diego, which is a unique joy for me because of the number of friends I can see in one swoop. Try me again a bit closer to Christmas?
Much as I love Shelly Mayer’s work, I could never figure out an economic model that could make this work for DC. Maybe someday.