Superman) previously presented in Archive format in more affordable color paperbacks, such as the DC Chronicles titles. While the Archives tended to focus on specific comics titles (e.g., largely separate volumes for stories presented in the pages of Batman and Detective Comics), the Chronicles and Showcase volumes took a more chronological approach, mingling the titles to present the stories in (roughly) the order they were initially printed. Since the mid 2010s, the Showcase line is replaced by the DC Omnibus books. Production In contrast to the higher-quality and more expensive paperstock used for both the Archives and Chronicles volumes, the Showcase Presents books were, according to Greenberger, presented on "newsprint to maintain a traditional look and feel as well as to help keep the collections affordable". The books were assembled largely from DC's extensive film archive (believed largely complete from the mid-1950s onward), with little need for extensive restoration. Occasionally, by virtue of the age of some of the film, Greenberger noted that "sometimes you find scratches that need cleaning", and even "[i]n some cases, you find odd missing pages". Other titles (such as the Teen Titans volumes) that had previously seen print in DC's Archives line even had the preliminary work done, leaving the Showcase columns with "nice, clean film or digital files to work from". According to the production staff, "[they scanned] in the photostats made from the film and then [scanned] in the stats. Then, on screen, [they cleaned] up scratches or blotches, correcting some punctuation and the usual work required to ready older stories for new readers". The book design was by "Louis Prandi, one of our fine art directors", intended to be "faithful to the Showcase titles that have come before this as well as versatile for the wide range of genres [DC] hopes to present" in the Showcase format. Possible reprint exceptions Initially, Showcase Presents volumes were limited to a specific time period (roughly 1955–1975), limited not just by the Silver Age scope and availability of film, but by differences in contracts signed between creators and DC between the years 1976 and 1997. As explained by Greenberger, "DC pays a royalty based on a percentage of the cover price to writers, pencillers, and inkers to all material published prior to 1976 and after 1997. For the period in between, the vouchers that were in use called for a set reprint fee to be paid.