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Shangri-La, July 1941
Page 6
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---------------------------------------------------------------------- PAGE 6 SHANGRI-LA ---------------------------------------------------------------------- freshing difference of Fugua, Krupa, Schomburg and other newcomers who were sticking their necks out for a basting. For a while only. Their "freshness" became stale when they entered the realm of Mass Production. To wit, every illustration comes out of the same box neatly tied up with a ribbon labelled "Imitation". None of these new men have made a serious attempt to produce anything but stereotyped illustrations. If the story contents of AMAZING are an experiment in encouraging new readers (if we are to believe certain statements elsewhere), I cannot agree that the art work is. The first blow against the Institutionists was struck by CCC Campbell. (My initialing stands for "Convention - Cobweb - Cleaning"). Quietly and without any flag waving, Howard Brown slipped off the cover staff. If you check with the late 1938 ASTOUNDING'S, you will notice that on several covers Wesso came in. With the inception of astronomival covers, Brown slipped out faster. This was an unprecedented stop, for, with the exception of a Wesso cover in June 1937, Brown had done every cover since Street&Smith took over from Clayton. At first the change wasn't particularly noticeable. Schnooman did a cover and received a certain amount of praise. But a muttering began to be heard when Frew, a newcomer, didn't reach anywhere near previous standards. The muttering rose to a howl when Campbell used even more unknown men. Rogers' first cover was good, but was immediately followed by some very poor stuff by Gladney. The howl echoed right across the Atlantic and reverberated back again -- and still Campbell persisted with his cobweb cleaning. Interior artists of long standing either altered their technique or wont the way of the authors who couldn't change their styles to conform with the new requirements. Dold dropped out, and another outcry burst forth. I have an idea that Elliot either ran into illness or found a more remunerative outlet for his talents. Wesso was curtailed also in the reshuffle. Taken all round, the changes were not at all well received, and the Institutionists took a peek round the rest of the field for a place to hang their worship on. Ah-ha! Allah be praised! Back in the fold was Paul, doing sterling repitition work throughout a variety of new magazines. What matter the literary standard against the incomparable worth of The Institution of science fiction? But, hero-worship did not rest there. A newcomer with a flair for offtrail art had also become an Institution.
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---------------------------------------------------------------------- PAGE 6 SHANGRI-LA ---------------------------------------------------------------------- freshing difference of Fugua, Krupa, Schomburg and other newcomers who were sticking their necks out for a basting. For a while only. Their "freshness" became stale when they entered the realm of Mass Production. To wit, every illustration comes out of the same box neatly tied up with a ribbon labelled "Imitation". None of these new men have made a serious attempt to produce anything but stereotyped illustrations. If the story contents of AMAZING are an experiment in encouraging new readers (if we are to believe certain statements elsewhere), I cannot agree that the art work is. The first blow against the Institutionists was struck by CCC Campbell. (My initialing stands for "Convention - Cobweb - Cleaning"). Quietly and without any flag waving, Howard Brown slipped off the cover staff. If you check with the late 1938 ASTOUNDING'S, you will notice that on several covers Wesso came in. With the inception of astronomival covers, Brown slipped out faster. This was an unprecedented stop, for, with the exception of a Wesso cover in June 1937, Brown had done every cover since Street&Smith took over from Clayton. At first the change wasn't particularly noticeable. Schnooman did a cover and received a certain amount of praise. But a muttering began to be heard when Frew, a newcomer, didn't reach anywhere near previous standards. The muttering rose to a howl when Campbell used even more unknown men. Rogers' first cover was good, but was immediately followed by some very poor stuff by Gladney. The howl echoed right across the Atlantic and reverberated back again -- and still Campbell persisted with his cobweb cleaning. Interior artists of long standing either altered their technique or wont the way of the authors who couldn't change their styles to conform with the new requirements. Dold dropped out, and another outcry burst forth. I have an idea that Elliot either ran into illness or found a more remunerative outlet for his talents. Wesso was curtailed also in the reshuffle. Taken all round, the changes were not at all well received, and the Institutionists took a peek round the rest of the field for a place to hang their worship on. Ah-ha! Allah be praised! Back in the fold was Paul, doing sterling repitition work throughout a variety of new magazines. What matter the literary standard against the incomparable worth of The Institution of science fiction? But, hero-worship did not rest there. A newcomer with a flair for offtrail art had also become an Institution.
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