Not a dream! Not a hoax! Not a retcon! The Crisis Tapes are back with a vengeance, as Adam Murdough and Peter Rios (that's right, BOTH of 'em!) finally turn their analytical attention to the first issue of the Crisis maxi-series itself, just in time for the 30th anniversary of its publication! Observations will be made, thesis excerpts will be read, and this podcast will never be the same again! (2:08:47)
Listen here.
Comments
Adam's thesis can be found via this link:
https://etd.ohiolink.edu/ap/10?0::NO:10:P10_ACCESSION_NUM:bgsu1151329477
https://d1466nnw0ex81e.cloudfront.net/n_iv/600/715377.jpg
I saw this post and it just brought a HUGE smile to my face. Looking forward to listening to it!
What I find interesting is how most of the things that were wiped away came back eventually: Kara, Barry Allen, etc/
Total time taken on footnotes and first ten pages = 20hr and 21 mins
time taken for those ten pages was 2 hours plus change, call it 12 minutes a page.
there are another 326 pages to go which is 3912mins or 65 and a bit hours to come!
Time bubble technology might be needed
On the Flexographic process, a few notes. I was in college when this came out and had been a comics enthusiast for 15 years at this point & reading for 19.
I was *so* looking forward to this issue and Flexographic nearly killed the enjoyment for me when I got the first issue home from the comic shop.
Anyway, Crisis was not the first title to use this process - that dubious distinction belonged to "Spanner's Galaxy", which came out a few months before.
To clarify - the process itself was called Flexographic, but the paper it was printed on was Mando paper (no reflective sheen to it), which was a step below Baxter (which is what covers were - and, essentially, most current comics are).
Flexographic referred to the printing plates, which were of a rubbery type of material instead of the traditional aluminum. They wore out quickly, too - not something you really want when you're pressing hundreds of thousands of copies.
DC hailed it as the "next step" in comics technology. And there was a considerable amount of fanfare surrounding it before a single issue printed by it had appeared on the rack.
The process used a water-based ink (rather than oil-based). Truly, it brought brighter, more vivid colors to the product, but the result wasn't nearly as spectacular as it had been in the test runs. Further on in the print run, water-based ink also stopped sticking as well as the oil-based. In conjunction with the wear of the plates, well, you saw what happened.
As you both mentioned, the weakness of separations became far more apparent in this process (particularly registration problems) and sometimes entire objects were missing from the page.
Thankfully, DC discarded it shortly after the first issue had been printed.
Lastly, your comment about the reprinting reminded me that - when it was published in collected format for the first time in hardback - there had been pencils reproduced *as* pencils running at the bottom section of one of the original issues. When they reprinted it, George inked them for clarity. I didn't care for the effect as much. But I suppose that's for a much later episode.
Again, my thanks for your scholarship on this most wonderful of all special/maxi/series. It was one of the very few comic book events I have ever truly enjoyed.
LOOKING FORWARD TO THE NEXT EPISODE, GUYS!!
Pax, harmonia,
Brian G. Philbin
www.metropolisplus.com
The Spectre was also aware of it.