Search Results

Bruning, DC's art director, and Rozakis, DC's production manager, explain the shift from letterpress to offset printing that has transformed DC's output, noting that Camelot 3000 was the first DC book printed offset and tracing the development of Baxter paper, Rono-web paper for Ronin and Dark Knight, and the new dollar-priced offset format debuting with The Spectre. Bruning describes his integrated design philosophy — as seen in Watchmen (where the cover is literally the first panel) — and his earlier career founding Capital Comics and publishing Nexus, Badger, and Whisper before "Black September" drove small publishers out. Rozakis details the production department's heroic efforts to meet press deadlines, including Murphy Anderson's late-night runs to Teterboro Airport with film for the Montreal printers.

Part two of a conversation with DC's art director and production manager, covering corrections made for the collected DARK KNIGHT RETURNS edition, the production challenges of HISTORY OF THE DC UNIVERSE, and a detailed discussion of the troubled Flexographic printing press at World Color/Sparta. Rozakis defends his early support of Flexo despite disastrous results on WHO'S WHO #1, while Bruning critiques the inadequate black coverage and warns that letterpress presses built around World War II are aging out. Rozakis also reflects on the autobiographical roots of 'MAZING MAN and its cancellation.

Reader T.M. Maple praises the diversity of issue #45 and playfully riffs on being compared to Bob Rozakis; reader Frank Bonilla argues against comics censorship, contending that rating systems produce bland work and that the best response to objectionable material is simply not to buy it.

Uslan recounts being driven since childhood by a goal of bringing a serious, dark-knight Batman to the screen, teaching the first accredited college comics course at Indiana University in 1971, and training at DC Comics alongside Paul Levitz and Bob Rozakis before moving into entertainment law at United Artists. He and Melnicker describe the decade-long path from optioning the Batman rights in 1979 through repeated studio rejections to Tim Burton's involvement and the film's production beginning in October 1988. Both discuss their extensive slate of future projects including Batman II, Monopoly: The Movie, Swamp Thing TV series, and Fantastic Voyage II. A follow-up phone interview covers the state of Batman II planning, casting questions, and the marketing phenomenon of the first film.