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But I was also a big mouth, I started to develop a troubled relationship with Harry Shorten.
I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn't think in terms of structure, which is the whole point of deep focus.
If I had one quality that really ruined me and at the same time helped me, it was the fact that I never stopped looking, and by that time I was really working at it.
DC used to print up all of their pages, they were the only company that did it.
I was not too smart and constantly mouthed off and didn't know anything.
Then the war became a real problem and along with other shortages, they started to have paper problems.
First of all there was a guy named Charles Nicholas, who used to do all of the inking that Jack and Simon didn't do. Simon used to do splashes and covers, but Charles Nicholas, after a while, did the inside of all of the stuff.
Everything was sensory and I never saw the structure in anything.
But generally speaking, people weren't fired, art jobs were very hard to get, so something really calamitous had to happen to a person who was working there in order for you to find a space.
I was hired as a penciler.
I was hired to do as many Boy Commando, Newsboy Legion, and Sandman stories as I could.
By the end of the 50s, everything began to collapse and, little by little, I lost all of my work. I lost Rex, the Wonder Dog and all the westerns.