Leather, sadly, will have to wait until Thursday, or even to next week. There was just no writing time…well, at all since last Thursday. None. Not a jot. Which isn’t normal for me, but it’s start of school. And you know… start of school.
So, we move on to the last of the Home Front stories instead — but not the last Home Front post.
This was actually the only serial in The Home Front. And it was also the only one of these that was written entirely for Mythic Heroes, with no Superguy antecedent. It had been tentatively picked up by Greg, though the magazine had suspended production even before it was scheduled, if I recall correctly.
It’s not as downbeat as the last one. And it has actual story and conflict. So, you know. We’ll see what you think.
And now, I pass out and, with luck, die. But before I do, I thought you might like to see one other thing. See, to get the serial sold to Greg, I had to send him a pitch document. And this is the first paragraph from that pitch document. And it may be as good a statement about The Home Front that I could make.
At the end of any play is a cast party. Generally, the set is struck by the cast and crew working together, symbolically returning the stage to a neutral state. There is a liberal amount of alcohol consumed. Someone has ill-advised sex with someone else. Two good friends will get into a loud fight that might involve actually hitting each other. A videotape of the performance will be watched, to the great embarrassment of all who are involved.
And, inevitably, there is the last person at the party. He listens to the music by himself. He seizes upon any passer-by, regardless of any connection to the play, and talks incessantly about it. He walks the stage by himself, listening to the hollow echo of the naked boards, staring out into the auditorium, and swearing he can still see the audience, accept their accolades, hear their laughter and feel their tears. He goes through “post-theatric depression” for weeks, the connection he feels to the play refusing to die along with that play. And, if he’s not involved with the next production, he inevitably resents it and compares it unfavorably to “his” play, regardless of its merits.
The year is 1946. The age of the Mystery Man — for better or worse — is over. The Age of the Super Hero has begun.
This is the story of the last person at the party.
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