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Charles Valderrama
Byrne Robotics Member
Joined: 16 April 2004
Location: United States
Posts: 4726
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| Posted: 26 January 2017 at 1:30pm | IP Logged | 1
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Had Joe Orlando as a teacher in college and he was pretty tough in rules for layout and storytelling. He would have everyone pin their assignments to the wall and go thru them with tracing paper pointing out mistakes in red pencil. Sometimes I found him to be a bit harsh but I did respect his experience.
-C!
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Jason Czeskleba
Byrne Robotics Member
Joined: 30 April 2004
Posts: 4548
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| Posted: 26 January 2017 at 2:02pm | IP Logged | 2
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Terry's stories about Orlando surprised me too, because I'd previously read interviews with Wein and Wrightson where they talked about what a great and supportive editor Orlando was on Swamp Thing. It puzzles me that anyone could not like the work because Marshall Rogers on Batman was my very first "favorite artist." I was ten years old when it came out, and I'd been reading comics for years, but those issues were the first time I really took notice of the artwork and realized that it did make a difference who was drawing a book.
In the same interview, Terry describes how he and Marshall were told they'd gotten the regular assignment on Detective Comics. They'd done a fill-in issue of the title, and a couple months later Paul Levitz approached Terry in the hallway at DC and said "A bunch of people with no taste wrote in who liked your and Marshall's Batman job, so we're giving you guys Detective Comics." Sounds like DC was not a very creator-friendly place to work in the late 70s, at least not if you were a new up-and-coming talent.
Edited by Jason Czeskleba on 26 January 2017 at 2:03pm
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Doug Centers
Byrne Robotics Member
Joined: 17 February 2014
Location: United States
Posts: 5490
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| Posted: 26 January 2017 at 2:02pm | IP Logged | 3
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" He would have everyone pin their assignments to the wall and go thru them with tracing paper pointing out mistakes in red pencil"
...
I had an instructor that did the same thing. A lesson in humility for sure.
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Rick Senger
Byrne Robotics Member
Joined: 16 April 2004
Location: United States
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| Posted: 26 January 2017 at 2:21pm | IP Logged | 4
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Sounds like DC was not a very creator-friendly place to work in the late 70s, at least not if you were a new up-and-coming talent.
*****
Sure sounds like it. I get that the DC implosion was underway and much was up in the air at the time, but surely fan-beloved staff like Austin should have been treated better than what we're hearing. And it's not like Austin was that green; he'd been ghost-inking for Giordano for years by then so inside the industry he wasn't unknown. Rubinstein was another then-up and coming inker who got picked off by Marvel around the same time; I wonder if he got driven away, as well.
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John Byrne
Grumpy Old Guy
Joined: 11 May 2005
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| Posted: 26 January 2017 at 2:47pm | IP Logged | 5
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Marshall and Terry were/are very mechanical, for which Joe did not care. He preferred a more organic line.
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Jason Czeskleba
Byrne Robotics Member
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| Posted: 26 January 2017 at 3:03pm | IP Logged | 6
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Rick Senger wrote:
| Rubinstein was another then-up and coming inker who got picked off by Marvel around the same time; I wonder if he got driven away, as well. |
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As you noted, the DC Implosion was probably a significant factor. With 40% of the line cancelled, there was suddenly a lot less work available, and many of DC's editors seemed to favor veteran creators. And two of the editors who seemed most receptive to using new talent (Al Milgrom and Larry Hama) were let go, and shortly thereafter ended up at Marvel.
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Noah Smith
Byrne Robotics Member
Joined: 29 April 2004
Location: United States
Posts: 1217
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| Posted: 26 January 2017 at 10:46pm | IP Logged | 7
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I was maybe 10 the first time I noticed "breakdowns" in a credits box. I thought it was a joke about the artist having a mental breakdown while drawing the book. It seemed like a "Merry Marvel Bullpen" kinda joke.
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