Мортимер Вайзингер: Комикс өнерінің шебері

American comic book writer

Mortimer Weisinger ('/w//aɪ//z//ɪ//ŋ//g//ər/; April 25, 1915 – May 7, 1978) was an American magazine and comic book editor best known for editing DC Comics' Superman during the mid 1950s to 1960s, in the Silver Age of comic books. He also co created such features as Aquaman, Green Arrow, Johnny Quick, and the original Vigilante, served as story editor for the Adventures of Superman television series, and compiled the often revised paperback 1001 Valuable Things You Can Get Free.

Weisinger was born in the Washington Heights section of New York City, New York and was raised in the Bronx, as the son of Austrian Jewish parents. His father was a businessman in the garment trade. At 13, he was introduced to science fiction by means of a borrowed copy of the August 1928 issue of Amazing Stories (featuring Buck Rogers and The Skylark of Space). By 1930, Weisinger was active in some of the earliest SF fan clubs and fanzines, including The Planet. In 1931, Weisinger hosted a meeting of pioneer SF fan club "The Scienceers", which was attended by a young Julius Schwartz, who recalled that the two became "very friendly [and] got along well together." A year later, Weisinger, Schwartz and Allen Glasser joined fellow future professional editor Forrest J. Ackerman in founding The Time Traveller, which they styled "Science Fiction's Only Fan Magazine". The claim was more than mere youthful bravado, according to SF historian Sam Moskowitz, who described the 'zine as the first devoted entirely to science fiction. Drawing on information they had gleaned from writing letters to the SF magazines and authors of the day, the young fans published interviews with, and short pieces by, established SF writers, and in the process gained increasing familiarity with the personalities and situations of the genre in that era. The first issue featured "a one page biography of Edward 'Doc' Smith [and] some news items." and bought stories by Hamilton and others from his former partner Schwartz. Weisinger was soon editing a range of other pulps by Standard, including Startling Stories and Captain Future, and "was in charge of no fewer than 40 titles" by 1940. and he served as a sergeant in Special Services. Stationed at Yale (and rooming with Broderick Crawford and William Holden), he wrote scripts for a U. S. Army "radio show called 'I Sustain the Wings' " in New York City. Many of Weisinger's ideas came from talking to kids in his neighborhood, asking them what they wanted to see, and then attempting to riff on those ideas. Such talks inspired him to create the Lois Lane and Jimmy Olsen spin off titles "over a lot of opposition" from the management who "protested that the characters weren't strong enough." and hired him for a popular run on "The Legion of Super Heroes" even after discovering that he was only 14 years old. Weisinger encouraged a static picture book style of illustration in his stories, and was known for reusing previously published stories as new story ideas. A noted example of this is a 1950s story featuring Superman encountering an alien being he thought might have been his long lost brother; this was reused in the early 1960s as a Superboy story introducing Mon El. Over time, Weisinger found himself growing disenchanted, and even embarrassed to reveal his primary job, saying "When people asked me what I did for a living, I would suppress the fact that I was editing Superman. I'd tell people that I wrote for Collier's or The Saturday Evening Post." Criticism has also been leveled at Weisinger for quashing creativity by dictating storylines. Jim Shooter, who wrote for years under his editorship, praised Weisinger's "rules" for writing comics but criticized his rigid adherence to them: ". . Mort’s rules always worked, story mechanics wise. Easy, idiot proof, safe. Trying things that explored the frontiers beyond the confines of Mort’s rules was tricky—fraught with opportunities to fail—but if you were daring, if you had the necessary depth of understanding and the skills, you could do wonderful things. "[emphasis in original] Weisinger has commented, "People have always accused me of being an egomaniac as an editor because I always gave the writers my own plots. I did that for a reason. If I asked a writer to bring in his own plots, and he spent a weekend on four of them, and I didn't like any of the four, then he's wasted a whole weekend. . . The least I could do was to think of a plot for the writer and if he liked it – I'd never force it down his throat – we'd kick it around and evolve a story."