I Was a Teenage Sunbow Intern – Part 4

Title card for Tim Finn's blog post about his summer internship using a still from "Transformers: The Movie"

In our last episode ([Part 1] [2] [3]), Tim interviewed at Sunbow Entertainment and was offered an internship!

Nick’s school had had a housing shortage that year (emergency housing not usually associated with that institution), and he was possibly being kicked out of his apartment at the end of the spring.  So perhaps I could stay with him, but we shouldn’t count on it.  Between his classes and his job, Nick had little time to look for summer housing, whether that meant some kind of apartment with a month-to-month lease (I’m not sure if that really exists in New York) or a sublet.  One idea that emerged was staying in the NYU dorms, which people seem to do in the summers, although we didn’t actually investigate it.  So come June I must have run home to Maryland for a week or two, and then jaunted back up to New York, a plan having unfolded through no effort on our parts.

In short, we got lucky.  It turns out Nick was not being kicked out of his apartment/emergency dorm for the summer, and one of his roommates was moving out, and their school was slow to fill that slot with another student, so Nick’s sneaky idea was for me to squat.  I was a squeaky clean suburbanite, so this appealed to me:  Living in New York in an apartment I had already visited and was therefore familiar with, rather than leaving it up to Nick to find something on his own, something that could have been a living situation-nightmare the likes of which I’d only seen on TV and in film.  And it was a nice neighborhood, if you could call it that.  (More in a paragraph.)  And further, as much as it was an apartment, it was also a dorm room.  Again: safe.

But then there was an element of danger:  What if the school found out I was there?  Would I be kicked out?  Would Nick?  Would I have to couch surf all summer, bouncing from apartment to apartment, using up any goodwill I might have had with the cousins and friends-of-family who lived in the Big Apple?  But since I didn’t know anyone in New York, this scenario was tantalizingly worrisome and romantic at the same time.  (I actually did know a friend-of-the-family in NY, so it probably would have fine, but that option was off my radar since this was to a be a summer with Nick, another 18-year old very much in my boat, doing what college sophomores did in the summer: work.) Plus it would be cheap, and meant I had to do no legwork.  All I had to do was to move into Nick’s apartment.

I should note here that Nick’s apartment was unusual.  It wasn’t in Manhattan, even though his school was.  And it wasn’t in Brooklyn, even though that’s where a lot of cool, artsy people that couldn’t afford Manhattan were moving.  It was on Roosevelt Island, a no man’s land that even native New Yorkers don’t know much about.  It’s a little sliver in the East River, between Manhattan and Brooklyn.  My knowledge of it is limited, but almost no one actually lives there.  And with so few residents, hardly anyone is ever outside.  From my limited view in 1998 Roosevelt Island boasted two apartment buildings, a mental hospital, a grocery store, a video rental store, a beautiful view of Manhattan, and nothing else.  It was isolated.

A single subway stop allowed access to the two neighboring boroughs, (although long term MBTA construction meant that the F train acted only as a shuttle all summer, moving between two stops and requiring an additional transfer).  Barely anyone drove cars.  No traffic lights.  Just one or two roads.  You couldn’t even drive to Manhattan, despite the fact that the island itself is directly under the Queensboro Bridge!  The lone road off the island takes you to Brooklyn, and then you can turn around and take the Queensboro back to Manhattan.  A giant trolley car does ferry people directly from Roosevelt Island over the river and into the city, but this felt more like a novelty ride than an actual mode of transport, like taking a Duck Tour in Boston to get from your hotel to Fenway Park.

Plus the southern tip of Roosevelt Island is abandoned.  Maybe there was a power substation there?  Much of the island was green, with grass and trees.  The two apartment buildings seemed to be mostly students from Nick’s school.  The total effect was that of a ghost town.  People were there, but we didn’t see them, and everyone left for the workday.  It was strange, and I noted while reading books in the park looking out on Manhattan, oddly beautiful.  So, yes! What a thrill!  I lived in New York City for a summer in college!  But no, I didn’t really live in New York.  I lived in The Twilight Zone.

What scenario threatened the peace in Nick’s apartment?  Tune in next time to find out!

[Click here for Part 5]


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I Was a Teenage Sunbow Intern – Part 3

Close up of Sunbow Entertainment logo for Tim Finn's blog entry about his internship

In our last episode ([Part 1] [Part 2]), Tim called Sunbow.  Would he call again?

In February or March, I called back, and Randy asked about an interview.  Hopping on the Greyhound from Providence to NYC was no big deal, so soon I was in the tiny lobby of 100 Fifth Avenue.  It was grey with dark walls, and just big enough for one black desk with a security guard and a company directory of white letters and floor numbers behind him, and two elevators.  It was not grand, but it was a tall building in Manhattan on a busy street a block from Union Square and a subway station, so much of that New York mystique was intact.

The elevator opened onto the fifth floor, a tiny annex with a glass wall that separated the elevator foyer from the office itself.  On that glass was the Sunbow logo (I grew up with Sunbow Productions, the company was now called Sunbow Entertainment), and through it was visible the receptionist’s desk in front of two orange walls that blocked the rest of the office, a load-bearing column (also orange or perhaps magenta) and two hallways.  One went right and the other straight.  This was the corner of the entire floor, and the rest of Sunbow stretched out unseen behind the receptionist’s desk, behind her orange walls.  Sunbow had moved a few times since its founding, and as of 1998, took up just one floor, though the entire floor, here.  The receptionist was nice.  I was nervous.  Private offices with views of Manhattan lined the edges of the whole space, while cubicles with half walls took up most of the middle and rear.  Walls had enlarged, framed stills from Sunbow’s TV shows – My Little Pony, The Tick, Salty’s Lighthouse.  No G.I. Joe or Transformers, though.  A glass-walled conference room took up the center.

Randy was busy, so Tamara Shear (Hi, Tammy), who I hadn’t spoken to yet, handled the interview.  She was number three in Production, and shared an office with Randy.  We sat in the conference room, which was nice since it offered some privacy – I would have been nervous if in Tammy’s office the phone had interrupted us – but it also added a level of severity to the proceeding.

It was also informal and pleasant.  I probably told Tammy about Animation at RISD, and she talked about the two shows Sunbow was making at the time – Salty’s Lighthouse, an educational show for The Learning Channel, and The Brothers Flub, a comedy for Nickelodeon.  And that the company had three departments – Development, Production, and Sales.  Plus an office on the West Coast where artwork was made.  This office, Sunbow East, generated no artwork, and the artists who worked for the company were not in New York.  This was disappointing to hear, but I probably also had the good sense to know that even being a traditional gopher would yield valuable experience, networking, and a resume entry.  Tammy asked to see my portfolio, which was… I dunno… good-not-great?  I think my drawings were fine for a sophomore, and the animation was probably cute enough to be memorable, but a CalArts character animator I was not.  Having issue #5 of my Transformers parody comic might have helped – it showed follow-through, even if fan-art was a kind of black mark.  I don’t recall my “Little Timmy Meets Tracks” film getting a reaction one way or the other, but I suspect that my resume looked good, and I was probably wearing a tie.  Those combined with the RISD name and a positive experience with That Other RISD Student who had interned (a note to students:  Don’t mess around with jobs and internships.  You’ll make it harder for the next person) must have left a good enough impression.

Tammy ended the interview by asking about my availability for the summer. I wasn’t sure since I lived in Rhode Island and would have to figure out housing in NYC, but we agreed that I would call at the end of the spring and fine tune my schedule.  But here two conflicting memories muddy the narrative, and I don’t know how to reconcile them.  On the one hand, I was actually being offered an internship, but it was in such a casual way that I didn’t fully comprehend it.  “When would you be able to start?” is different than “You’re hired.  When would you be able to start?” The first one, which is what I recollect, implies they’re not decided, so I was nervous I didn’t get the internship, and worried about it until I did call back in May and was certain the position was still waiting for me.   On the other hand, the interview had been a breeze, and rather than making me feel like I had to prove my worth or pass some test, Tammy and I had just chatted, and getting the internship felt obvious after such a great interview, like it was a foregone conclusion after the first minute.  So whether I walked out feeling anxious or cocky is lost to memory, but it was probably both.

Either way, I now had a plan for the summer.  As the end of the school year approached, I started talking with my friend Nick, who lived in New York City, about apartments.  If visiting New York made me nervous, finding a place and living there for three months was much worse.

Where would Tim live?  Tune in next time to find out!

[Click here for Part 4]

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I Was a Teenage Sunbow Intern – Part 2

In our last episode, Tim heard about Sunbow Entertainment’s summer internship!

New York still intimidated me when I visited, but I had been there several times recently, and part of the culture at RISD was that You Went To New York. I don’t necessarily mean professionally after graduation, but at some point you would visit because that’s the center of the art world, and it’s only 3 hours away, and the inertia began with the Freshman Foundation bus trip there a year prior.  Every freshman goes there for a day.  And I’d visit Nick there (Hi, Nick), friend and now G.I. Joe book editor, each year for his birthday.  (And have ever since.)  So being in the Big City was a little scary: it’s dirty, it has a reputation for crime, and if goes on forever — sidewalks horizontally, buildings vertically.  But it had some appeal as well.  Though I’ve always taken art and history museums for granted, even then I knew New York was THE PLACE for that.  And though I wasn’t yet thinking about life after college, I must have had some abstract notion of going to New York or Los Angeles when the time came.  Before Flash and the internet decentralized the animation production process, those were the two cities where you’d go if you wanted a job in the industry.  (Not entirely true, but I didn’t know anything as a college sophomore.)

I got a number for Sunbow from Dee or Mystery Person, and in the late fall or early winter of sophomore year, called.  I should take a moment here to point out that this very act is a nerve wracking one.  I don’t know what everyone’s relationships to telephones are anymore since cell phones are also HD video cameras and internet hubs in your pocket, and famous people are easy to find through e-mail and Facebook.  But before I was using these much, there was the paper letter and the cold call.  And telephoning an office filled with busy and important people, people who can easily say “No” and hang up on you in the fulfillment of a filmic cliché, was intimidating.  Plus it was long distance (*sigh,* I’m dating myself), so each attempt would cost ten cents or something.  Again, paying a dime for a call isn’t a big deal by itself, but it adds to the heaviness of the act.

I had been good at public speaking (thank you, grade school), and had made a few important phone calls before, so this was doable.   Randy Koshinskie, #2 in the Production department took the call.  Randy was warm and kind (Hi, Randy), and while I didn’t know it at the time, in 8 months he’d be my boss.

The trick was to get in and out quickly.  Introduction, say something nice about the company, or at least prove I knew something about it, express an interest, and then shut up.  So it probably went something like this:

“Hi, my name is Tim Finn.  I’m an animation sophomore at the Rhode Island School of Design.  Dee Boyd or Someone interned with you last summer and gave me this number.  I’m looking for internships this coming summer and would be interested if you have any available.”

Without nerding out or sucking up I demonstrated some knowledge of Sunbow’s library, and that I was a big fan of Sunbow’s Transformers and G.I. Joe cartoons. Randy seemed pleased with that, but in telling me a little about the company explained that Sunbow was very different than it had been in 1985, now making only a few shows and recently focusing on educational programming.  He asked if I had a portfolio.  I did.  At that point it consisted of a few figure drawings, some zoo animation drawings, a background or two, and a VHS (or U-Matic!) tape of my three Animation I projects.  (One of which depicted the Autobot Tracks transforming from Corvette mode to a robot and rescuing me from being lost in the barren wasteland of Washington state.  Which is either the cutest portfolio piece ever for a Sunbow internship application, or the most embarrassing.)    Also, the then-newest issue of Nick’s and my hilarious and now slightly embarrassing Transformers parody comic book.  My timeline is fuzzy, but I think this was before Christmas and Randy said I should call back in a few months when the Production department would start working out its summer internships.

Did Tim make that fateful call?  Tune in next time to find out!

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I Was a Teenage Sunbow Intern

The story of how G.I. Joe got me into comics may need a rest for now, so here’s a different story:

I Was a Teenage Sunbow Intern title card for Tim Finn blog

I WAS A TEENAGE SUNBOW INTERN

In college at RISD I majored in Animation.  It was a great four years.  While the Alumni and Career Services office did have some 3-ring binders of information on companies offering jobs and internships, I barely spent any time looking.  And while our professors did give us much in the way of problem solving, technical skills, and creative thinking, landing an internship was not stressed.  That’s not a complaint.  (It’s a recent requirement for upperclassmen at my school, and I assume RISD Animation has moved in this direction.)  It’s not a complaint because at the time it did not seem like a deficiency and because I stumbled into an internship anyway.  Here’s how.

Summers in high school were a mix of wasted relaxation and real art productivity.  A portfolio class helped prepare me for college admissions.  The summer after that first year of college I vacationed with my family, drew comics, and attended BotCon.  No job, but something would coalesce.  In the fall of college sophomore year I took Animation I class, and worked weekly in the Film Animation Video equipment lock-up office.  There I gabbed with J. Gaston (Hi, J.) and tried not to do any work, instead letting J. fetch all the Bolexes and tripods while I doodled.

Someone who may have been Dee Boyd (Hi, Dee), my TA from Animation I class, mentioned someone else in our department had had an internship the previous summer at a studio in New York.  I don’t know how this came up in conversation, but as sometimes happens during the exchange of equipment and a liability signature, someone will talk about some project they’re up to, or some accomplishment a friend has made.  And while I don’t think I was talking about G.I. Joe and Transformers that day, I was starting to be known as a G.I. Joe and Transformers crazy person.  (Freshman year I had hosted a screening of Transformers: The Movie and 15 minutes of Transformers toy commercials in a dorm lounge with a big screen TV.  For the next three years I hosted it in the RISD Auditorium, where I sold shrinkwrapped VHS episodes I had imported from Canada since they were long out of print and unavailable in the States.  I also made a half-hearted attempt to secure a film print of TF:TM since we were equipped with two 35mm projectors, VHS looking only so good on the big screen.)  So Dee or Unnamed Upperclassman mentioned Sunbow, and probably something about how it wasn’t impossible to get the internship, or how it was interesting, or how I might follow up and try myself.

An internship at the studio that had produced my favorite cartoons ever?  And also such notable shows as My Little Pony, Visionaries, and The Tick?  Wow!  But how could I ever reach out to such an institution?

Tune in next time to find out!

[Click here for Part 2] 

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Hit & Run’s almost-1995 transformation

G.I. Joe 1988 Hit & Run action figure photo by Tim Finn

In 1988 Hasbro released a stunning G.I. Joe figure called Hit & Run.  Here’s a not-professional photo by me for context.

G.I. Joe 1988 Hit & Run toy photo by Tim Finn

No flesh tone, just green and black camo all over — his hands, his face, and his clothing.  Fun fact:  Hit & Run is [EDIT: one of] the only Joe[s] with whites-of-his-eyes.  All other figures 1982-1994 are flesh tone plastic with a paint detail in black, brown, blonde, or red for eyebrows and retina.  [EDIT: Two others have whites-of-eyes].

Here’s his turnaround, drawn by Mark Pennington, with machine gun, duffle bag (taking the place of a backpack), and accessories.

G.I. Joe 1988 Hit & Run figure sculpt input Mark Pennington

G.I. Joe 1988 Hit & Run weapon sculpt input Mark Pennington

G.I. Joe 1988 Hit & Run bag sculpt input Mark Pennington

G.I. Joe 1988 Hit & Run accessories sculpt input Mark Pennington

Many Joe fans know that Real American Hero ended in 1994, and the planned 1995 line was scrapped, although images of package artwork and product samples have circulated.  Did you know Hit & Run was destined, in a way, for a return?

G.I. Joe 1988 Hit & Run Hasbro memo as stealth figure for 1995

Indeed!  According to this memo from Greg Berndtson, Hit & Run, whose figure was never recolored or re-released, was going to be re-used for the ’95 line as the Stealth Tank Driver!  REVELATION.  Here’s his turnaround.

G.I. Joe 1995 Stealth Tank driver, sculpt input reused from 1988 Hit & Run, Mark Pennington

You’ll note it’s just a photocopy of Hit & Run’s, although a few specs have changed, which I have highlighted for clarity.  This looks to be early enough in the process that our new tank driver doesn’t yet have a codename, or if he does, as of June ’94 that’s happening in Marketing and Legal and the R&D guys don’t have the final name.

So what would he have looked like?  Kurt Groen’s breakdown tells us, even if it doesn’t show us:

G.I. Joe 1995 Stealth Tank driver color breakdown

Using these codes as a guide, I’ve taken the liberty of coloring that sculpt input myself.  So here for the first time ever is what the unnamed Phantom X5-3 Stealth Tank driver would have looked like:

G.I. Joe 1988 Hit & Run as unproduced 1995 vehicle driver

I’ve taken a small liberty here.  For clarity I used a dark grey rather than black, and I’m approximating “LT YELLOW GRN.”  “IVY,” as well, but that’s less up to guessing.  After the sidetracks and excesses of ’91 – ’93, the ’94 line was getting back to basics and ’95 would have only continued the trend.  That it never happened has always been a little sad, although the Real American Hero line certainly surpassed all expectations by lasting twelve years.  I hope you’ve enjoy this look behind the curtain at what may have been.

Fun fact:  Hit & Run is the only Joe [EDIT: one of only two] with an ampersand in his name that doesn’t denote an animal companion.  Law & Order was Law, the MP, and his K-9, Order.  Spearhead and Max is the point man named Spearhead and his bobcat, Max.  Well, that’s the word “and” rather than an ampersand, but you get my drift.  Hit & Run is this guy’s whole name, ampersand-ed idiom and all.

[EDIT: Thanks to Tolan, who caught my two errors, as noted in the comments below.  -Tim]

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Zartan’s Chameleon

…And we’re back.  Sorry for the radio silence.  Thanks to visitors who keep clicking over here.

Today’s post features Zartan’s swamp skier, the Chameleon.  No one ever called it by name in the TV show, and offhand I don’t recall it appearing in the comic, though if it did, it would have been around issue #25, and I don’t think anyone called it by name.  Here’s Wayne Luther’s design art for it, dated September 13, 1983.

Zartan's Chameleon 3 drawing by Wayne Luther

Here also is a photocopy of a photocopy of an early sample of the Chameleon.  That figure looks like the HISS Driver, but I’m unsure.

Zartan Chameleon 4 photocopyWhy the HISS Driver, you ask?  This photo must predate any production samples of Zartan back from China, and likely any handmade samples, so for reference, any figure was placed on the vehicle.  HISS Driver debuted a year before Zartan, so one was on hand.  (Or whoever it is.)  These photos were sent to the TV producers, writers, and artists, and probably also the Marvel offices for comic book reference.

The water cannon was used in episode #6 of G.I. Joe, but I don’t recall ever “using” it when I played with my G.I. Joe action figures.  As the Chameleon was not a robust construction, and was always falling apart, I stopped including it in my G.I. Joe games soon after getting it.

There were two TV ads for Zartan and the Chameleon.  One for issue #25, all animation.  Here’s the toy one, which uses some of that animation:

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Apologies for lack of posts

Sorry for my absence, readers.  The end of school, several events at my comic book store, and the finishing and printing of my new comic have pulled away my attention from the blog.  I’ll start posting regularly very soon.  In the meantime, please enjoy this commission of Flint and the Incredible Hulk I drew Saturday at Boston Comic Con.

Flint and the Incredible Hulk by Tim Finn at Boston Comic Con

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Photos from Larry Hama signing at Hub Comics

Larry Hama signing G.I. Joe at Hub Comics

Photos of Larry Hama’s signing at Hub Comics in Somerville, MA, 07 April 2012, are now up here.  No log-in required.  Lots of shots of Hama sketching G.I. Joe characters.

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Larry Hama signing at Hub Comics

Larry Hama portrait - signing at Hub Comics

Larry Hama may now be an annual fixture at the Official G.I. Joe Collector’s Convention, and has attended more and more conventions in the last few years what with G.I. Joe back in the spotlight, but did you know he’s never signed in Boston?  Hama’s visit to Hub Comics (19 Bow St.) this Saturday April 7th will be his first-ever Boston-area appearance!  (Somerville isn’t technically in Boston, but it’s 2 miles from Boston, and borders Charlestown and Cambridge, which both border Boston.)  The signing is from 11am to 4pm, and Hama will be sketching as well.  Bring your Wolverine, Generation, Batman, Marvel Premiere, Daredevil, and Mort the Dead Teenager comics to get signed!  And Hub Comics will have every in-print IDW collection for sale:

Larry Hama signing at Hub Comics G.I. Joe books graphic novels on tableMetered street parking available.  MBTA-wise on the 85 and 87 bus lines/near the 91, 86 and CT2.

Hub Comics interior

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The Comic That Changed Everything – Part 15

Part 1[2] [3] [4][5][6][7][8][9][10][11][12][13][14]

In our last episode, Tim and his brother Kevin placed their biggest mail order of G.I. Joe comics yet, and the excruciating wait began…

My grade school had half-day Fridays every single week, so I would have lunch at Roy Rogers with Betty, my family’s housekeeper/nanny/second mom, on the way home.  And my brother, in 9th grade at a different school, didn’t get home until 4 or 5pm, whereas I was already playing Dig Dug on our IBM XT and watching Dennis the Menace at 1.  On a Friday after what felt like months, where every day I longed to see a package awaiting me at my front door, Betty and I pulled into the driveway, my neck still careening for an angle on the screen door in case THIS WAS THE DAY.

Indeed the screen door was just a tad ajar, but in no way the amount needed to make room for an eight-foot tall box of comics.  And there had been a few false alarms — small packages for my mom, or all our regular mail bundled together with a rubber band, so I wasn’t going to get my hopes up again on the short flagstone walk to the front stoop.  But there it was anyway, another modestly sized, tightly taped East Coast Comics box!

I have no recollection of getting it inside, or forming half-words to Betty to express its significance, but soon I was kneeling on the bed in my parents’ room, an odd place for the unpacking operation, but one that makes its own sense.  Betty watched soap operas downstairs in the family room, and from an early age my brother and I knew we weren’t allowed to join in.  (At the time soap operas showed the occasional sex scene, all tastefully under the covers, really nothing more than prone kissing – tame by today’s standards.  But nonetheless we were chased out of the room if we lingered too long while fetching an action figure or an afterschool Pudding Pop.)  So that room was out.

My room was too narrow for stacks of loose comics so large they threatened to asphyxiate me should they topple over.  What I needed was a big space to spread out so I could take in all the G.I. Joe goodness at once.  We watched TV on our parents’ bed, and sometimes read for school there, so it was atop the brown 1970s bedspread and before the orange, brown, and white tulips of Vera Wang’s wallpaper that I gingerly dumped 40 new G.I. Joe comics out in front of me.

I’ve alluded to this a few times before here at Real American Book, the unattainably nostalgic feeling of reading during that first year of collecting comics.  This was when a comic took 45 minutes to finish, when I would read every page three times, and then read the comic again.  When I was legitimately concerned that whatever deathtrap or point blank pistol promised inescapable death to Snake-Eyes, to Ed Marks, to Daredevil on the cover might actually happen.  I was worried Snake-Eyes would step on that landmine on the cover of G.I. Joe #63 even though I had already read issue #s 90-95 — starring an alive and well Snake-Eyes!  (Okay, not always well, since he got hot ash thrown in his face in #95.)  But here now was an almost overwhelming tableau of those images, Marvel’s 1980s cover stock and color saturation popping off that bedspread, yellows that blinded, red that promised of blood, white in the steely eyes of determined heroes, flamboyant purples for villains, dangerous green jungles, ultramarine skies.  Like an amateur card dealer I shuffled the comics around with the palms of my hands, over and over, prepping for a game of Go Fish that would never finish, would never start.  These cover images, most drawn by Mike Zeck and Ron Wagner, are indelibly burned into my brain, and the power they hold, supported by the interior narratives, multiplied by the unassailable guilding of nostalgia make most other comics dissatisfying by comparison.

There would be no buyer’s remorse for this splurge.  Only the satisfaction of having half-completed an entire run of Marvel G.I. Joe in one fell swoop.

I must have spent a half hour just looking at them, moving them around, arranging them, picking some up, flipping through them.  Looking at them.  Looking at them.

While I was still curious how 40 comics hadn’t needed a box bigger than a coffin, that concern faded, and the entire stack went with me into my bedroom.  I sat propped up against two navy blue pillows on my lower bunk bed, Prince’s Batman soundtrack playing on my boom box.  (Oh, how I’ve tried to keep the ‘80s from overwhelming every paragraph of this blog.  Oh, how I failed on that last sentence.)  And there I read comics for hours.

I should note here once again how memory misaligns.  For years I’ve remembered this big order as my second, but the date (12/15/89) on the one I showed in part 14 of this story means this bigger order had to be our third.  And I remember it arrived in the spring of 1989, but the Batman album didn’t street until June 15 of that year.  And I wouldn’t have bought it opening day.  But school got out in early June, and not only did I come from school that East Coast day, I must have told Will all about it the following Monday.  Right?  So how was I listening to an album that I hadn’t bought yet?  Could I be conflating a later reading session with this victorious day of postal receipt?

Regardless of the answer, I have no memory of Kevin coming home later, and me telling him the good news, and him sorting through the stack, taking in the pulp bounty for himself.  But I do remember both of us spent hours that weekend reading, me prone on the family room floor, elbows digging into our soft yellow shag carpet, and Kevin lying on the couch, a tall pile of comics on the coffee table between us.  The coffee table where my father kept his coffee table books, the ones that indirectly seeded the idea for A Real American Book.

And though the dual afternoons offered us much in the way of thrilling narratives, double crosses and death-defying escapes, it doesn’t quite compare to that break in the tension storm when my months-long anxiety at last broke, and that giant East Coast Comics order finally arrived, on a spring Friday afternoon at the end of 6th grade.

I still think about that day when I listen to Batman.

Part 1[2] [3] [4][5][6][7][8][9][10][11][12][13][14]

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